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Amber Teaser - "Human Ritual" - by Maxymox 2020

immage Amber Teaser is a virtuous Italian electro-project founded in 2018, whose line-up is composed by Mimmo Modeo ( vox ) , Antonio Iacca ( synth / programming ) and Teo De Cillis ( synth / programming ) . Each of the three members descends from musical experiences totally different from that one impersonated in their current band: in fact, Antonio was part of the punk-metal ensemble The Sovran, Mimmo played in the rock formation called Forks and in the alt-rock / funk / psychedelic Bellalingua, while Teo played both in the aforementioned Forks and in the technical death / thrash set Cosmic Heresy. Amber Teaser was born with the intention of spreading a sound that musically expresses mainly the dualism between the 'technical' and emotional aspects that characterize Taranto - the industrial city from which the protagonists come - so they love define their style as 'industrialpop', that is a balanced, elegant combination among synthpop / new wave / krautrock and italo-disco, elements enriched by a minimal post-Kraftwerk formulas. The result is electronically harmonious songs, often danceable, full of 80's recalls, sometimes hardened by rougher, alienating sounds, in a whole of midtempo / downtempo rhythms, sequenced symmetries, electric guitar fuzz-distortions, melodious keyboard extensions and a clear, intelligible vocalism, episodically melancholic and obscure, always catchy in its fascinating intonations. Identically to the sound-system, also the lyrics deal with contrasting themes directly connected to the sensitive human dimension, in opposition to the cold and speculative ones of the factories: existential dramas, visionarity, inner torments and disillusionment therefore intertwine in an effective synthpopish / waver musicality. The debut album "Human Ritual" ( 2019 / ScentAir Records ) represents today the band's first and only record publication; consisting of nine tracks - including the 'Hal-O-Ween Mix' version of the song "Dancing In A Restaurant" remixed by the German synthpop / futurepop / EBM platform Nova-Spes - the release externalises all the talent of a band rooted in the present times but at the same time disciple of the unforgettable 80's decade, worthy of being considered as one of the most interesting, new realities of the entire European underground scene in its specific genre, especially for having been able to give its music an indelible mark of authenticity, of refined decadence and of communicability. Gloriously Amber Teaser!

The best tracks of "Human Ritual", chosen for you by Vox Empirea:



- "Go Out From This Chaos" : the 'very-waving' / post-punk / synthpop instrumental aestheticisms of the solemn introductory phase herald an intensely atmospheric song, composed through midtempo drum-programming lines synchronized with the sequencer hatches, on which they rise suggestive flows of keyboards, an euphonic New Order-oriented guitarism and vocals full of bitterness. Danceability, meaningful lyrics and an irresistible 80's charm verticalize amazing sonances among which to get lost, escaping from confusion, abandoning themselves to a long, solitary contemplation of a fiery red horizon.

- "Here" : also available in video format, this new wave / synthpop episode is harmoniously punctuated by the cold luminescences of the synths and of the sequencer, electrified by the alienating riffs of the guitar, punctuated by the metronomic midtempo drumming and further made compelling by the shady chant by the vocalist full of ecstatic nostalgia, whose verses are flanked by the seductive counterpoints of the guest-singer Sarah Caprino. Performance of a disarming purity. Memorable.

- "Dancing In A Restaurant" : by the skilful interaction among new wave / synthpop and Italian-disco chromatisms, an immediately assimilable track arises, devised with sentimentality and with an excellent perception of sound beauty. The harmonious grooves of the keyboards project notes that enchant, while the romantic vocalism of the singer - embellished by the equally persuasive one of Sarah Caprino - together with the midtempo scans of the drum-programming and with the symmetrical pulsations of the sequencer, propagate velvety, softly danceable arias permeated by supreme grace.

- "Human Ritual" : the electronic / wavish / synthpop orchestrations of this chapter pay homage to the most illustrious 80's reminiscences, transporting the imagination into a sonic Eden to be overlooked in slow-motion mode with meditative participation. The two phases of the track initially feature a melancholic chant crossed by long pads and by a minimal, sectioned downtempo percussiveness, the same one that in the second cycle of the song draws essential intermittences, on which emphatically fluctuate bombastic keyboards, sequenced patterns, 'heavenly' chords and telegraphic impulses, all this in a triumph of symphonic, industrial technologism.

Conclusions:


In the debut album of the newcomers Amber Teaser converge musical schemes of excellent quality, in which intuitions worthy of a highly inspired inventiveness are denoted. The thematic concepts, the sonic alchemies and the vocality of this release are prodigious, subtle energies capable of involving the listener during every single act of the tracklist. "Human Ritual" is a mentally penetrating creation, executed by expanding the ability to 'play the emotions', an art of which the band demonstrates extreme knowledge. Full-lenght to be owned without esitations. Not even with all our imagination would we have expected such splendor.

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Agregat - "Left Behind" single - by Maxymox 2020

immage The Norwegian Eirik Askerøi ( vox / guitars / synth / programming / production ) and the German Kyrre Tromm Lindvig - aka 'Tromm' - ( vox / drums / synth / programming / co-producer ) are the creators of the duo-act Agregat, founded in 2003, perfected over the years and today synonymous with a perfect artistic interaction. Both fans of the alternative 80's synthpop / new wave / post-punk scenes and of their major exponents, the two protagonists, after an initial phase of adaptation, decided in common agreement to establish a sound design that drew inspiration from the reminiscences of that old, unforgettable decade, but which at the same time able to keep its own authentic identity, spreading a technologically advanced, communicative musical style, strongly melodic and highly attractive. Over the years the Agregat's line-up has integrated the following external musicians who collaborate occasionally as live performers: Sigrun Gomnæs ( drums / maletKat ) - member of the Norwegian contemporary music band Pinquins - Kristoffer Carlsen ( drums ) , Oyvind Mjelve Strandem ( keyboards / additional noises ) and Andreas 'Ljudkarl' Moe ( sound engineer ) , this latter still present in Agregat in the role of responsible of mixing and of lights-setting in the numerous concerts. Eclectic and remarkably enterprising, the skilled guitarist Eirik with he excellent percussionist Tromm come from experiences gained in various Norwegian projects, within which they have increased a solid professionalism and the precise knowledge of what it takes to conquer the public: in fact, Eirik was part of the jazz / pop band called Falleba, militating both in the children music platform called Pling as well as in the afrobeat / reggae / pop-soul band Queendom, while Tromm was the drummer of jazz-ensemble Quarter Past. However, although they play separately in a wide range and even allowing themselves some long interpauses, the two interpreters always respond faithfully to the recall of their Agregat project, through which they express a great compositional talent in studio and an engaging contact with the fans during the live sessions. Formulated through the best Instrumentations and eloquently illustrated, the musics of Agregat has joined an high level quality: it is the winning combination among synthpopish / electro / futurepop / EBM and vaguely new waving elements, played with the intent of transmit to the listener the sense of avant-garde melodism and dance, entertaining him continuously from the first moment of the songs to the end, all by limpid, fresh, essential post-Depeche Mode / post-New Order, post-Kraftwerk sounds, consisting of midtempo rhythms, symmetrical sequenced lines, harmonious keyboards, decorative guitar counterpoints and a catchy vocalism intoned with extreme clarity; these are the main connotations that characterize the entire discographical repertory of the power-duo, which chronologically mentions the debut album "Agregat Salutes You" ( 2009 / Jejune Productions ) , followed at first by the Agregat's 'Perversion For Profit Mix By Agregat' version remix of the song "Red Rain" by the Norwegian EBM / industrial duo Kant Kino, included in their anthology "We Are Kant Kino: You Are Too" ( 2010 / Alfa Matrix) and later by the legendary single "The Runners" ( 2018 / self-produced ) - mastered by Morgan Nicolaysen and mixed by Swedish sound engineer Stefan Sundström - succeeded then by the single "Funkhaus" ( 2019 / self-produced ) - mastered by Morgan Nicolaysen and mixed by the IDM / techno / downtempo mastermind Knut Petter Sævik - concluding with an important participation in the compilation "Neonautics V. 03" ( 2019 / SkyQode ) with the track "The Runners" and finally with this new single "Left Behind" ( 2020 / self-produced ) now reviewed by Vox Empirea. The texts of Agregat, cultured and often metaphorical, analyze abstractly or realistically the inner aspects of existence, the individual behaviors and the global social-politic sphere, treating in parallel also novel themes, which meanings are transformed into strophes full of vivid symbolism. The track "Left Behind", precursory of the next, long-awaited album, is the distilled, evolved and more than ever effective substance of what could be defined reasonably the 'Agregat sound': it propagates splendid synthpop / futurepop / new wave / electro sonances in which we can perceive indirectly distant 80's memories, through snappy midtempo drum-programming cadences, precise sequencer sections, bright keyboard embellishments and through an irresistibly melodic, enthralling chant. Evaluation 10 out of 10 on every point of view: the synergy Eirik / Tromm possesses the ability to convert every single note into a triumph of listening pleasure.

Conclusions:


Modernist atmospheres, danceable dynamism, electronically euphonic instrumentality and vocal elegance, are the super credentials of "Left Behind", an intelligent and representative song that confirms once again the musically superior height of this duo. The structures of the track, expertly technologized, encode a sound-system that has become the distinctive register of a project in progressive growth, launched faster and faster towards its definitive, well-deserved success. Exceptional, as only a few artists can be. We love Agregat, we follow Agregat, we believe in Agregat.

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Egoist - "Breaking Moment" - by Maxymox 2020

immage Coming from Poland, a land from which descend many of the best European names of the industrial electronics, the D.J. and remixer Kuba Wlo since 2002 interprets the solo-act Egoist. Always passionate about music in all its expressions, from post-punk to classical, the protagonist perceived in his adolescence a strong predilection for the sounds of the electronic avant-garde scene, a passion further developed over the years through several individual experiments influenced by the boundless potential of computers and by new ultra-advanced equipments. Free from descriptive conventions and refractory to clichés, the artist shows a special ability in converting his emotions and instincts into vibrant sonances, by injecting high quantities of ingenious originality into his music and intertwining advanced midtempo schemes, punctuated by a sophisticated percussiveness of drum-programming, outlined by pulsating segments of sequencer and by deep bass-lines, vocalizing forms of distorted android singing, made suggestive by polarizing keyboard melodies and decorated with massive vox-sampling inserts. Egoist's sonirities are circumscribable in a design called 'biomechanical electro industrial', in which, according to the different episodes of the title-tracks, we mainly distinguish the the danceable resoluteness of the Electronic Body Music by the Canadian band Front Line Assembly, the ethereal suspensions of the ambient and the structural complexity of the IDM, all this in an engaging whole of sonic refinement inspired by the conceptual symbiosis among Humans and Technology that characterizes the cyber subculture. The solo-venture's discography only mentions to date the demo phase of "Breaking Moment" ( 2004 / self-release ) , which evolved today into the album "Breaking Moment" ( 2020 / Aliens Production ) now reviewed by Vox Empirea. Egoist is also appreciated in his live performances, during the which is supported by three artists belonging to the Polish alternative electronic panorama, such as Wojtek - aka Król / kr-lik - founder of the electro-industrial band Controlled Collapse, Marek Smolski - aka Smola - from the electro-darkwave duo Monstergod, plus the musician / D.J. / producer Tomasz Krawiec - aka TomTylor - . Mastered by Anatoly Tokee Grinberg ( Massaith / UDPWNF ) , the full-length is an accurate selection of unpublished tracks composed between 2004 and 2010, in which are incorporated meanings of fear, sadness and anger, enhancing Kuba Wlo's aversion against Humanity in general and his personal disappointment towards the bleak reality of the post-modern world. A visionary and still extremely actual release, "Breaking Moment" demonstrates how a musician manages to combine in a functional way electronic reminiscences belonging to the past with emancipated frequencies, projecting them through a configuration of modulations that go beyond the space-time barrier. This is the perfect fusion of three elements: material human physicality, psychic dynamism and the cold logic of machines.

The best tracks of "Breaking Moment", chosen for you by Vox Empirea:



- "Century Of Sorrow" : the drum-programming scans midtempo danceable grooves, while the robotic chant pronounces arcane strophes that hover in the air, harmonizing them with the atmospheric melodies of the synths and with the micro-fragments diffused by the sequencer, in an EBM / cyber / electro / industrial song full of sidereal charm.

- "Automate" : rational midtempo drumming, symmetric sequenced intermittences, hyper-processed and essential vocals, surrounding pads and vox-sampling, build this EBM / electro / cyber / industrial track of dragging musicality, capable of generating urban landscapes covered by radioactive debris, obscured by leaden skies, pervaded by post-nuclear winds and populated by artificial creatures.

- "Whishlist" : the propulsions of the drum-programming and the oscillations of the sequencer elaborate dry midtempo beats, synchronized with the interplay between the chant expressed as a freezing emission of filtered phrases, the telegraphic vox-sampling and with the catchy euphonies of the synths, particularly fervent in the chords of the instrumental refrain. Exciting and evocative EBM / electro / cyber / industrial episode, a futuristic fresco painted with disturbing colors.

Conclusions:


Hi-tech orientation and oldschool retrospectives originate the multidimensional sound spectrum of Kuba Wlo, marked by balanced doses of intellectualism, abstraction, futurology and instinct. The solo-project is the broadcasting organism and the listener is the receiving subject: the cryptic signals of "Breaking Moment" are encoded immediately by the neural system, radiating energy in every section of the body predisposed to dancing movement. The immensity outside changes its appearance and its substance, transforming itself into a transmission unit, a powerful repeater through which Egoist spreads his music. There's a parallel world to explore on this album: set the parameters of your senses to maximum intensity.

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Finkseye - "Ecocide" - by Maxymox 2020

immage Founded in 1996 by the Swedish Henrik Fink Nilsson, the solo-venture Finkseye, better than many other names of his genre, has developed a style characterized by a strong individuality, a goal derived from the several directions taken by the protagonist in over two musically florid decades. Self-defined as 'A sonic landscape artist', Henrik began his course initially hybridizing 90's techno / acid-house / electro-industrial sounds, inspired by the dynamic sampling of the English duo The KLF and by the ingenious technological school of the Canadians Front Line Assembly - recently integrating also the industrial-metal connotations of the American Nine Inch Nails and the electronic gloominess of the British Massive Attack - at the same time crossing only for fun heavy metal digressions and later forming an EBM duo called Struma. But it's through the Finkseye's project that the artist extrinsics all his potential, transforming it into authentic inventiveness, stimulated by a multitude of concrete visions concerning the surrounding world, such as religions, war conflicts and the destructive inclination of Man, also exploring fanciful aspects of the sci-fi filmography. The result is a synthetically dark, danceable, engaging sound, gradually improved during the years until the achievement of the current melodism in which are combined dark-electro / darkwave / EBM / industrial elements. The whole musical Finkseye's evolution is illustrated in his wide discography consisting by almost by self-productions, many of which published in very limited edition and here he treats chronologically: "A Sample Too Much" ( 2001 / album / self-release ) , "Portatone Madness" ( 2002 / album / self-release ) , "Skeletons Uncovered - Compilation" ( 2002 / self-release ) , "Unique" ( 2002 / album / self-release ) , "Music & Forms" ( 2002 / EP / self-release ) , "Patterns" ( 2002 / album / self-release ) , "A Descent Into Analogue Space" ( 2003 / album / self-release ) , "Moviescapes" ( 2009 / album / self-release ) , "Corroded Hopes" ( 2014 / album / self- release ) , "Deadweight" ( 2016 / album / Razgrom Music ) , "You Reap What You Sow" ( 2016 / EP / self-release ) , "Shut It Down" ( 2018 / EP / self-release ) , "Under A Godless Sky" ( 2018 / album / self-release ) ,"Bad Luck Baby" ( 2018 / EP / self-release ) , "Bad Luck Baby ( The Forgotten Remixes )" ( 2018 / singl and / self-release ) , "on-fest 4.0" ( 2019 / EP / self-release ) and finally "Ecocide" ( 2020 / album / Razgrom Music ) now reviewed by Vox Empirea. The new full-length, divided into eleven episodes including two bonus-tracks, spreads a functional sound distinguished by classic dark-electro / darkwaving / EBM / industrial formulas, reworked in the particular, introspective Finkseye's concept and, especially in the four instrumental themes, embellished with synthpop counterpoints. Moreover, all the oldest and more "easy" tracks belong to Finkseye's repertoire are published online through his specular nickname called Ventil. The album "Ecocide" is conceptually influenced by the main events that are irreparably disintegrating human society, such as the innate human belligerency, virulences and the degradation of Nature, but also by significant personal experiences that have marked the life of Henrik. The songs of the tracklist are structured through squared midtempo / downtempo rhythmics of drum-programming and sequencers, by shady harmonies of keyboards and by a fascinatingly dark, sharp chant, pronounced with rational geometrism and deep tones, sometimes little more than whispered, all this in an atmospheric set of modulations capable of dragging the listener into an intensely realistic and ruthless sensory dimension, in which he will raise awareness of the shocking damages beared by the planetary ecosystem, the deterioration of a guilty society and the urgency of change that humanity still too unconsciously it ignores, then moving away from mondial dilemmas to get closer to the emotional sphere, participating in the internal torments and memories present in the soul of the artist. "Ecocide" is a coherent investigation of the global condition: it confirms Finkseye's lucid perception of the existential dramas of our times, representing a fundamental document to be added with pride in your collection. The eclipse of the world observed through an extremely evocative sound perspective.

The best tracks of "Ecocide", chosen for you by Vox Empirea:



- "Shadow Of A Gun" : the drum machine scans heavy midtempo beats, systematically intercalated with the glittering of the sequencer, while the synths propagate melancholic, solemn melodies, perfectly harmonized with the sadness of the vocals, in a dark-electro / industrial / darkwave song that will make unique your moments of solitary contemplation. The track is also proposed as a bonus-track remixed in a 'post-Depeche Mode oriented' version by the Swedish synthpopish duo Erotic Elk. You will be doubly enchanted.

- "Unreality" : danceability and technological charm are the prerogatives of this dark-electro / EBM chapter, punctuated by the symmetrical midtempo patterns processed by the drum-programming / sequencer synergy, adorned by captivating keyboard melodies and by a rigidly obscure, penetrating vocalism. You will go beyond the limit of what you consider concrete.

- "The Day The World Went Away" : written by the eclectic American musician / remixer / producer Michael Trent Reznor, the song predisposes a suggestive dark-electro / industrial / darkwave path, composed through downtempo drum-programming, linear sequenced hatches, circular euphonies of synths overflowing with shadiness and vocal intonations colored in absolute black. The prophetic and desolate photography of current times.

Conclusions:


Finkseye distances himself from ordinary technological specialisms, following paths that are essentially outside the box, based on an exclusive interpretation of electro culture. The sound of "Ecocide" is both the suffered, accusatory and unheard cry of the Planet, 'killed' every day by human indifference and senselessness, but also it's the truthful reflection of our unexpressed interiority. The release recalls present and future scenarios dominated by the earthly annihilation and by the mental-spiritual decay of our species, sensitizing reason, the urgent need for a radical collective thought transition that does not happen and perhaps will never happen. A significant album of extraordinary value, mirror of today and prefiguration of the tomorrow that awaits us. Music to listen to while imagining the distraught, next generations.

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HA[A]RP - "Political Crime" single - by Maxymox 2020

immage All biographical and discographical informations regarding this German duo-venture are available in the debut-EP report on "Destroyer" ( 2019 / Sonic-X ) , published in the 2019 reviews section of Vox Empirea. Encouraged by the excellent success received with the Extended Play, Frank Kittelmann ( vox / programming / keyboards ) and Jan Iwanow ( backings / programming / keyboards ) return to the scene after one year of refinements of the strategies, proudly presenting today to their fans the new single "Political Crime" ( 2020 / Sonic X ) . The release, consisting of three tracks, once again manifests all the ability of the two protagonists in knowing how to merge catchy sounds with meaningful, absolutely realistic texts, capable of describing the degradation that distinguishes the current global political class and the errors made by it, interweaving this acceptation with a prospectively 'crazy' vision of the world and with the sensations arising from the personal experiences lived in everyday life by the two artists. The HA[A]RP's style largely retraces in this song the amazing sounds heard in the previous EP, now further advanced and incisive; "Political Crime" is a combination of melodic, decipherable synthpopish / electro / new wave elements, in which the professional dexterity of the instrumentality and the expressive verve of the lyrics are clearly perceived. All the three episodes of the tracklist expose formulations that will conquer the admirers of simple and danceable technological harmonies, played through a clear vocalism, symmetrically scanned midtempo drumming, linear sequencing counterpoints and enchanting flows of synths. A remarkable performance full of involvement, in which stand out the primary colors of the authentic avant-garde pop, that elevates HA[A]RP to one of the most authoritative projects on the recent European electro scene. Needless to resist: it will be fatal attraction at first listen!

- "Political Crime (Club Chapter)" : viewable on the web also in video format, the track is scanned by precise midtempo grooves of drum-programming and sung with clear tones which reveal the intolerance towards hypocrisy of the political élite, all this embellished by the melodious hatches of the sequencer and by limpid keyboard euphonies.

- "Political Crime (Pure Clear Thoughts Mix)" : metrically more dilated, the song is pleasantly arranged through the increase in vocal-sampling, suggestive extensions of synths and through refined electronic complements. The elaborations of its structures amplifies the attractiveness of the original melodism, making it atmospherical and sophisticated.

- "Political Crime (Wutklang Remix)" : remixed by German electro musician / sound-engineer / producer Thomas Steuer ( Adversus / Age Of Heaven / Arts Of Erebus ) - aka Wutklang - the track turns into an effective dancefloor, thanks to the reinforcements of the keyboard schemes, to inserts of electric guitar riffs and to the enthralling, aggressive intensity of the chant. Beautiful!.

Conclusions:


The firmament of electronic music adds a new star to its constellation: the perfect balance between charming synthetic modulations and a good vocal personality, establishes an highly functional synthpopish climax, full of listening immediacy. The single-release fully illustrates the evolutive process of Frank and Jan, two ingenious explorers of the sonic technologism in possession of creative resources and in constant research for the well-deserved, definitive affirmation. "Political Crime" promises successive, interesting developments in the duo's career: the future of HA[A]RP will be truly radiant.

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Human Vault - "Self Rust" - by Maxymox 2020

immage Originally from Hungary and currently operating in New York, Gyorgy Turoczy - aka Mortum Exabyss - since 1997 has been the creator, mind and soul of the one-man act Human Vault. Particularly inclined towards refined, unexplored and intimate interpretations of electronic sounds, the protagonist today possesses numerous knowledges of technological musical abstraction, undertaken over two decades ago initially using a simple four-track recorder and developed exponentially over the years through at first the acquisition of increasingly sophisticated instruments, then the foundation of the self-label Exabyss Records, together with a series of constructive solo experiences and external collaborations, both Hungarian and American, in which the artist participates according to the circumstances in the roles of vocalist, sounds-effects player and sampling maker, providing also to editing, mixing and mastering. Gyorgy's contributions are present internally in the following projects: in the EBM / electro / industrial / trance design of Gazdag István called First Aid 4 Souls, with Vinnui Balazs Varga in three different platforms, as the dark-ambient / drone / industrial Voidmorf, the industrial / experimental / EBM Nadragea and the industrial / experimental / electro / minimal oMx, continuing his works in the polyhedral abstract / dark-ambient / noise / industrial / power electronics ensemble The Insect Worship Collective, in the old-school dark electro / EBM / industrial project by Andor Csontos called Willful Deception and in the dark-ambient / drone / field recordings / industrial noise Odor Sonour. Mentionable is also the recording of some interesting split-releases with the industrial / dark-ambient / power electronics / drone musician Von Cogwell. Particularly significant are the two parallel solistic identities of Gyorgy Turoczy, such as the dark-death ambient / drone / industrial / rhythmic noise creature Stone Wired and the electro / techno / industrial / IDM / breakbeat / EBM End-Tek. Due to its exceptional multiformity, the sound-system played by Human Vault - consisting of both entirely instrumental and other vocalized tracks - cannot absolutely be placed in a defined range: it's the result of balanced, transversal and experimental combinations of oldschool and avangardistic styles progressively evolved, in which we can distinguish the structural essentiality and the psychedelic non-melody psychedelic of minimal techno, the abrasive automatism of industrial, the artificial cerebralism and the rhythmic virtuosity of Intelligent Dance Music, the dystopian schemes of dark-electro, the contemplative utopianism of abstract music and the fantasy atmosphere of the dungeon-synth. Consistent and well distributed over time, Human Vault's discography enumerates the titles listed here: the split "Nadragea Versus HOG" ( 1999 / self-release ) , the three-tracks "Fuck Symbols Fuck Gods" ( 2002 / self-release ) and then the albums "Pagan Propaganda" ( 2005 / self-release ) , "Mutilated Dreams" ( 2007 / self-release ) , "Where Gods Die" ( 2008 / Exabyss Records ) , "Omnium Humanity" ( 2009 / Exabyss Records ) , "Tears Of The Quiet Ones" (2011 / Exabyss Records), "Existence Means Nothing" (2014 / Exabyss Records) , "As The Beggars" ( 2015 / Exabyss Records ) and "Holt Minta" (2016 / self-release ) released in the same year as EP and as 'deluxe edition album' formats, followed by the Extended Play on limited edition cassette "DataSect" ( 2017 / self-release ) , by the limited edition cassette album "For All Your Religions" ( 2017 / self-release ) , by the EP on very limited edition cassette "It Is War Again" ( 2019 / self-release ) , by the albums "Primordial" ( 2019 / self-release ) and "The Immortality Craft" ( 2019 / Exabyss Records ) , continuing with the Maxi-single "This Hate" ( 2020 / Exabyss Records ) , the digital EP also available on cassette "Devastated" ( 2020 / Exabyss Records ) and finally "Self Rust", published in two separate transpositions, in the shortened promotional version on tape-EP ( 2020 / Exabyss Records ) and in the complete album ( 2020 / Aliens Production ) now reviewed by Vox Empirea. The variant of "Self Rust" on EP includes six tracks - two of them more extensive than in full-length, which contains nine tracks - mixed and mastered with analog methods specifically reserved for the cassette version. Also worthy of interest is the Human Vault's succession of self-produced compilations, such as "The Last Soul - Demo 1997 / 1999" ( 2014 / Exabyss Records ) , "More Flesh More Pain - Demo 1998 / 2000" ( 2014 / Exabyss Records ) , "The Fault / The Total Collection" ( 2015 / Exabyss Records ) , "With None To See" ( 2017 / self-release ) , "Tears Of Her Mortification" ( 2018 / Exabyss Records ) , "Mortification - 2013 / 2017" ( 2018 / self-release ) ,"The Defeat Of Creation - 1999 / 2015" ( 2019 / self-release ) and "The Box" ( 2019 / Exabyss Records ) , concluding with the experimental reissued / remastered edition of "Holt Minta" entitled "Dead Pattern RE-EX". Passionate about occult science and metaphilosophy, Gyorgy idealistically expresses through Human Vault the primordial hatred that feeds on consciousness and the human spiritual energy subjugated and annihilated by anger, transforming the flows of thoughts into electro-sonic configurations full of emotional tension, atmospherical darkness and shocking imagination, manipulating frequencies not only as the propagation of vibrational oscillations generated by equipments, but as if they were pure and living psychic matter. The album "Self Rust" exerts a strong dominion over the listener's mind, spreading an alienating, corrosive musicality in which stand out multi-articulated midtempo / downtempo rhythms of drum programming, sequenced micro-fragments, emissions of synthetic ash, harsh vocals darkly pronounced, industrial noises and abysmal keyboard melodies. Here's another sound photogram of the Apocalypse to come.

The best tracks of "Self Rust", chosen for you by Vox Empirea:



- "Defragmented" : voluminous midtempo percussivity, intermittent pulsations of sequencing and oppressive prolongations of synths similar to frozen steam, characterize this instrumental electro / industrial / EBM of powerful sonances, evoking uninhabited post-nuclear landscapes visible through dense clouds of radioisotopes.

- "Self Rust" : midtempo cadences of drum-machine and asymmetrical sequenced trajectories, mechanically fractionalize the rhythm, while menacingly hissed vocals attack and torture atonal keyboard pads, all in a dark-electro / industrial / EBM song capable of arousing intense sensations of restlessness.

- "Time Leaks" : futuristic and mesmerizing, the fully instrumental patterns of the track pour an elaborate succession of percussive downtempo fractals intertwined with the long chords of the synths reproduced in the form of cosmic evanescences and cold expansions, punctuated by looping noises that recall those of a video game. Extraordinarily catchy.

Conclusions:


Hypno-inducing harmonies, intelligent 'braindance' drumming counterpoints and caustic vocal distortions, make "Self Rust" a document of considerable entity in the entire contemporary underground technological panorama. From the dark electro-industrial gleams of the album they rise degraded, toxic, sometimes chilling and always suggestive sounds, which contextualize the music of Human Vault in a both nightmare-oriented and fascinating dimension. Your virtual self-oxidation process is underway.

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Iamnoone - "A Primitive Trinitas" - by Maxymox 2020

immage The Italians Iamnoone can be reasonably described as a phenomenon with extraordinary compositional resources, as well as representing one of the best emerging proposals on the European alternative scene. The duo-act, founded in 2018 by Philippe Marlat ( vox / bass VI / synth / guitar ) and Stephan Seth ( bass / piano / backing-vox ) , stands out for the authoritativeness of its obscure, engaging sound imprint, resulting from a solid background of experiences gained respectively by Philippe through his gothic rock / darkwave solo-venture called Marlat and by Stephan within the Italian new wave / post punk band Nokeys. The definitive partnership between the protagonists, anticipated by previous collaborations, arose spontaneously in a training phase held on the occasion of a concert, a period during which the two musicians felt the need to concretize a common project through which to develop a style that would fully enhance the executive skills of both and at the same time spreading in an intelligible way, shaping them into a single register, the intuitions, the sensations and any other form of creativity aimed at the effectiveness of a musicality that is as authentic, communicative as possible. In Iamnoone's music converge multiple meanings, earthly and transcendental, each of them analyzed through a deeply introspective investigation and then illustrated by crepuscular notes, embellished with cultured texts, ranging from materiality to spirituality, from metaphysics to philosophy, from existential dilemmas to primordial aspects l inherent in Man. The current duo's sonances, consisting of a refined cold wave / darkwave / occult wave / post punk calligraphism and characterized by a perfect coordination between instrumentality and vocalism, are transformed into vibrations that lead to concentration, transporting the listener to more unfathomable recesses of his psyche through 'mind expanding' harmonies of guitar and keyboard, combined with the dark, melancholic intensity of the chant, with the linear midtempo sections of the drum-programming / sequencer, with the circular intermittences of the bass and with romantic piano counterpoints . The official discography of Iamnoone initially mentions the Extended Play "Dvplex" ( 2019 / self-released ) , followed by the digital single "Mantis / Moonspell" ( 2020 / Cold Transmission Music ) and by the debut album "A Primitive Trinitas" ( 2020 / Cold Transmission Music ) now reviewed by Vox Empirea. As the full-length title itself subtly suggests, the tracklist, consisting of ten songs, is divided into two conceptually opposed chapters: the first five tracks of the "Primitive" phase in fact dedicate their themes to the ancestral condition and related internal dramas, while the second five tracks of "Trinitas" scrutinize in turn meanings about transcendence. However, despite the radical differences among the atavistic instincts belonging to the "Primitive" cycle and the mystical abstractionism belonging to "Trinitas", there is a close connection that unites these two spheres: the primary elemental and carnal origins are investigated, reformulated and subsequently separated from their physicality, then placed in a dimensionally more complex and evolved perspective which finally modifies their interpretation. Visionary, intimate music, composed through orchestrations capable of seducing the imagination, leading it into a dark and at times incubotic sound corridor, within which it will be impossible to distinguish dreams from reality. After listening to this release you will be convinced that the tangible, effective conjunction between materialism and surrealism is no longer a utopia.

The best tracks of "A Primitive Trinitas", chosen for you by Vox Empirea:



- "A Fading Memory" : drum-programming / sequencer in symmetrical midtempo mode, suggestive keyboard extensions, systematic guitar arpeggios and regular bass patterns, form the instrumental bases on which reverberate the vocals, pronounced through fascinating ebony coloured tones. Ancient memories that seemed forgotten are now evoked by the abysses of the unconscious, slowly channeled by the senses to the surface of awareness, all in this extremely atmospheric, polarizing cold wave / darkwave / post punk song.

- "Hopeless" : the whippy midtempo synchronicities of the drumming and the hatches of the sequencer propagate a danceable percussiveness, while the guitar ornaments, the alienating nostalgia of the singing, the martial chorality and the misty flows of the synth, perturbate the sound, making it spectral, nocturnal. The icy touch of the cold wave synergizes with the electronic obscurity of the darkwave and with the psychotic inflections of post punk, metaphorically depicting the torpid, smug annihilation of Man. Destabilizing.

- "Stillborn" : The predominantly darkwaving / cold wave melody of the track is sublimated by a vocal-keyboard planning of great effectiveness, capable of projecting chimeric images on the screen of fantasy. The composition gives a new life to broken dreams, this through a velvety syllabized, infinitely melancholic chant, supported by the euphonic union among keyboard, guitar and bass, on which decadent piano notes hover. Chords full of passion and emblematic strophes make the listener sink into an emotional ocean. Memorable track. Impossible to define it differently.

- "Mantis" : cold wave / darkwave / post-punk song gravitating around the universe of relationships and sexuality. The performance takes place through slender scans of drum-machine and midtempo dancing-oriented rhythms, in support of the noble vocal configuration surrounded by sadness, on which replicated guitar scales, ecstatic keyboard pads, circular bass cadences and graceful punctuation of piano. You will contemplate the singing elegance and the harmonious gloominess of this episode full of mesmerizing power.

Conclusions:


The dark charisma of the musics meets the precious value of the lyrics, originating a wonderful sonic choreography that will instantly conquer every lover of this genre. The excellent prerogatives revealed in this album by Iamnoone go beyond the ordinary; the modulations, impeccably structured, open gates of immensity, making the border that separates illusion from objectivity invisible. "A Primitive Trinitas" is a generator of reflections, the exploration of interiority observed through a mentally advanced perspective, the silent embrace between the flesh and the highness of the ésprit. Every note, every word on this album deserves to be remembered forever.

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Iamtheshadow - "Pitchblack" - by Maxymox 2020

immage All biographical and discographical information about this Portuguese band are included in the extensive report about to their album "Embracing The Fall" ( 2018 / North Shadows Records ) which can be viewed on the Vox Empirea 2018 year reviews webpage. Pedro Code ( vox / guitar / synths / programming ) , Vitor J. Moreira ( synths ) and Herr G ( bass ) return proposing a new full-length characterized, like all previous releases, by conceptual and sonic contents of qualitatively excellent proportions. Filled with instrumental finesse and passionate vocal aestheticisms, the album "Pitchblack" ( 2020 / Cold Transmission Music ) triumphantly relaunches the typical and exclusive compositional form of Iamtheshadow, definable as 'early-Clan Of Xymox oriented', significantly restructuring it through more evolved, sophisticated and effective intuitions, while at the same time constituting an important stylistic advance towards the definitive positioning of the project among the most representative names of the entire international darkwave / electro-wave / gothic / post-punk panorama. The lyrics of the twelve songs of the tracklist incorporate the authentic substance of the Iamtheshadow: they scrutinize abysmal fears, suffocated desires, unspoken words and secret thoughts, stimulating the search for truth in ourselves as the conscious acceptance of our strengths and imperfections, self-analyzing the unconscious, freeing us from the ephemeral fiction of the masks worn by circumstances, in order to achieve the fully naked vision of our essence, of what we really are. The texts also melancholy speak of love, of regret, of the inscrutable charm of sadness, of loss, drawing inspiration from the abstractions of rhymers such as Fernando Pessoa, Mário de Sá Carneiro, Rilke and many poets belonging to the German dark scene. The structures of the tracks - built using analogue processes - keep unchanged the distinctive mark of the band, revealing more elaborated formulations than previous releases, thanks to a wide use of electronic arrangements and more complex instrumental textures; the sound system of "Pitchblack" spreads the unmistakable, linear and mainly danceable midtempo drumming of Iamtheshadow - with two downtempo episodes - combined with symmetrical sequencer hatches, languid electric guitarism, regular bass pulsations, atmospheric keyboard melodies and darkly nostalgic, painful vocals sung by deep tones, all in a musicality overflowing of spleen and decadent romanticism. The full-length is further enhanced by the participation of eminent guest vocalists active in the alternative sector, to whom are entrusted the singing sections of three different songs: they are the Italian Diego Merletto from the electro / darkwave / synthpop project The Frozen Autumn, the Estonian musician Kadri Sammel, known with his solo act darkwave / synthpop / IDM / techno called Bedless Bones and finally the Dutch artist Yvette Winkler, member of the alternative-rock / new wave duo Vaselyne. Vibrant suggestions, obscure refractions, suffering feelings, existential torment, lost love and sad disillusionment, will make you sink into darkness, making you perceive in true meaning of the 'black within'. Iamtheshadow have created an highly introspective and extraordinarily emotional album in which you are the absolute protagonists.

The best tracks of "Pitchblack", chosen for you by Vox Empirea:



- "Pitchblack" : second single together with the next "Always" and both available on the web in video format, this song spreads highly expressive electro-wave / darkwave / post-punk sonorities rhythmed by the midtempo cadences of drum-programming, on which predominates the Pedro's penetrating, charismatic chant, wrapped by warm keyboard pads, adorned with slight guitar counterpoints and divided by continuous bass touches.

- "Higher Than The Soul" : mechanically fractionated by drum machine's midtempo percussiveness and punctuated by the silvery underlining of the sequencing, the track predisposes a strongly attractive electro-wave / darkwaving / gothic / post-punk scheme, constructed through danceable midtempo replications of drum-programming / sequencer, straight bass oscillations, fascinating melodies of synths and harmonious guitar scales, all surrounded by dark, powerful vocals, able to evoke the most lacerating melancholy.

- "Shivers" : the midtempo grooves of the drum-programming / sequencer synergy scan the percussiveness by geometric precision, while the vocalizations of the singer penetrate the recesses of the soul, generating an electro-wave / darkwave / post-punk climax full of decline and ardent affliction, embellished by the soft chords of the keyboard, by the evanescent conjunctures of the guitar and by the intermittences of bass. The sensation of ice on the skin.

- "Rise" : the divine chant of Yvette Winkler harmoniously duets with that of Pedro, propagating from the introductory phase to the end of the song contemplative arias that taste of desolated solitude and of broken dreams, sublimated by vocal fusions of rare beauty and by elegant instrumental concordances, in an electro-wave / darkwave / sad-synthpopish context enlivened by metronomic midtempo drum-programming beats, blackened by extensive keyboard pads, decorated by the melodic segments of the guitar and fortified by the bass lines. Simply superb track. It will be like wandering musing around in a dreary autumnal landscape.

Conclusions:


The indissolubleness between the depressed sentimentalism and the shadowy melody of Iamtheshadow finds its maximum expression in their new album, through an exquisitely noble and innovative sound calligraphism. The harmonies and texts of "Pitchblack" are precious elegies to be transfused and preserved in the inwardness, reflecting on them whenever we feel the need to isolate us from the outside world, dedicating to ourselves moments of inner cogitation. Who will be able to fully understand the greatness and beauty of this release will know how to keep it in the spirit where it will dwell forever. Seductive music, like a caress received in the dark.

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Ish - "Second Line" - by Maxymox 2020

immage Igor Senigla, Slovak electronic musician and owner of the self-label ISH Home Studio, began his career in 2006 as a dark ambient / industrial / experimental solo-act called Ambiguous - today still active - through which he reflects his more sentimentally dark, introspective side, in stark contrast to the need to externalize that intrinsic brightness remained unexpressed in the protagonist and with the urgency to differentiate the conception of his sounds, a desire fulfilled with the foundation in 2008 of the one man project Ish. The compositions of the solo-venture incorporate the rhythmical complexity of the Intelligent Dance Music, the suggestive atmospheres of the ambient, sophisticated electronic experimentations and cinematic melodism, all this enclosed in totally instrumental structures characterized by advanced refinement. The releases published by Ish currently list officially the following titles: at first the debut-album "Inward Grip" ( 2009 / self-release / 2014 / Aliens Production ) , followed by the full-lenghts "Resonance Level" ( 2012 / Aliens Production ) and "Structures Of Mind" ( 2017 / Aliens Production ) , the direct extension of which is this bonus-release "Second Line" ( 2020 / Aliens Production ) mastered by Russian artist Anatoly Tokee Grinberg (aka Massaith / UDPWNF) and now reviewed by Vox Empirea; the new album includes six unreleased tracks extrapolated from the past repertoire, some of which played by the artist during his live sessions. The sensations immediately perceptible from the first listening are of extraordinary preciousness and elegance, thanks to the skilful combination of enchanting melodies of synths combined with voluminous ambient-oriented expansions, intricate downtempo schemes of drum-programming / sequencers and electronic micro-noises, whose synergy is able to make the imagination run towards surreal and inscrutable horizons. Hypnotically mystical and evolved music, that of "Second Line" expands psychic processes, increasing the individual ability to immerse oneself in a dimensionally abstract and engaging perspective. Listening to this sound is pure electronic magic for many, internalizing it is a privilege for elects.

The best tracks of "Second Line", chosen for you by Vox Empirea:



- "Silent Dust" : ethereal pads and essential sequenced punctuations spread sound configurations full of harmonious futurism, while the precise downtempo cadences of drumming mechanically fractionize the melodies, all in this IDM / ambient song as fascinating as a celestial vision.

- "Broken Light (Brain Processing Part One)" : a long path of misty keyboard extensions introduces ethereal, almost impalpable euphonies, played by flows of reverberated chords, downtempo cycles of drum programming, subtle dashes of sequencers, a feminine exotic chorality, synthetic 'clicks', minimal piano notes and dark electronic saturations. IDM / ambient episode perfectly suited to become the soundtrack of an astral journey.

Conclusions:


The avantgardism that characterizes Igor Senigla is exceptional, surpassed only by his rare ability to transform the vibrations of thoughts into avveniristic harmonies. The album anthologizes and enhances Ish's typical technologically high evolved style, constituting a fundamental paragraph in the discography of this modern 'sound-designer', who sculpts his music directly into the listener's soul. Thirty-five minutes flying overflying infinite spaces, contemplating enraptured the supreme grace of "Second Line".

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Last Influence Of Brain - "Insomnicons" - by Maxymox 2020

immage Slovak ensemble founded in 1999 by the same members of the famous and still active band Samhain born in 1996, this with the specific intention of creating an alternative platform to the main one, differentiating the introverted electro / industrial / dark-ambient tendencies of Samhain from the need to a more dynamic and open to the masses musicality, a goal achieved through the Oldschool Electronic Body Music orientation of Last Influence Of Brain, whose line-up, composed by Solo ( vox / musics ) , Blazena ( drums / sampling ) , Lubomir V ( guitar ) - recently recruited into the band - and Bop ( musics / mixing ) - this latter joined to Samhain in 1997 replacing the outgoing Peter Blazko - managed to unify in a new, unedited project the prerogatives that have always characterized the compositional spirit of all members, or the alchemical originality of the arrangements, an understandable cerebralism in the texts, a polarizing interpretation of the obscurity and a more aggressive expression of the sounds. Over twenty years constantly dedicated to the improvement of an advanced technological development towards the research for ever more specific musical strategies, have allowed Last Influence Of Brain to be welcomed successfully in concerts - spectacular and supported by suggestive video projections - to stand out clearly in the global electro scene and to collaborate productively with names belonging to the Eastern European underground, such as the Slovak EBM / industrial duo Kneel In Front Of The Executioner - aka KIFOTH - and finally to consolidate their style in an anti-dogmatic EBM / dark-electro / industrial range, focusing the thematics above all on the degradation of Humanity and on the daily conditioning exercised on the mind by the external stimulations that determine its closure. Despite opening up to a potentially wider audience, Last Influence Of Brain never gave in to compromises of the mainstream, invariably keeping in the music that distinctive high-class imprint that has made them so exclusive in all their artistic expressions. The band's official discography today consists of the following albums: "Illusions And Reality" ( 2004 / Black Flames Records ) , "Inner Wars" ( 2007 / Vendetta Music ) , "Two Faces" ( 2009 / Aliens Production ) and the new "Insomnicons" ( 2020 / Aliens Production ) now reviewed by Vox Empirea. Mastered by Canadian music producer / engineer / composer Ken 'Hiwatt' Marshall and conceptually inspired by the unreal dimension perceivable during the intermediate state between sleep and wakefulness, the full-lenght explores the mysterious aspects of the unconscious, trying to ideally establish the border between pragmatism and illusoriness, highlighting the cognitive abstractionism of the transition from the present to the past, wondering if this represents the need for an imaginary escape from this debacling world, or if this temporary dissociation between objectivity and fantasy symbolizes the evolution-devolution dualism in us. Semi-dreamlike thoughts and visions are conveyed into a two-dimensional heterotopic space, where the electronic sound of Last Influence Of Brain penetrates up to the brain substrates, illuminating them in the depths by a revealing and subliminal light. The album "Insomnicons" includes twelve tracks with a threatening temperament, punctuated by midtempo-downtempo percussiveness and vocalized by a bitterly angry chant corroded by filtering, all this entirely surrounded by complex, impure emissions of electronic micro-effects, vibrant guitar riffs, torrential sampling streams, massive sequencing profusions and by the toxic, dark melodism of synths. Frontal assault release, highly advanced and catchy: each song switches the energy of the music into an imperative exhortation to dance, fortified by the significant lyrics written by the Slovak freelancer Vlado Filipko, also the author of the artwork. Majestic, incisive album, full of power, torment and genius, in which traditional EBM / industrial doctrines intertwine with intelligent modernism. Release recommended to all admirers of higher level sound technology.

The best tracks of "Insomnicons", chosen for you by Vox Empirea:



- "Invasion Introverted" : dark-electro / EBM / industrial episode of impenetrable hardness, performed through enthralling vocal forcing, schematic midtempo drum-beats, sequenced circularity, essential keyboard harmonies and alienating synthetic perturbations. A pounding hymn that will thrill with every listening.

- "Hypnosphere" : restless and elegantly sophisticated, this dark-electro / industrial / EBM track transmits the identical impressions of a journey through the tortuous meanders of a nightmare: Solo's inflexibly harsh chant spreads an aura of solemn impetus, while the avveniristic extensions of synths propagate avant-garde melodies and the regular midtempo cadences of the drum-sequencing mark the rhythm with mechanical precision, among perfidious whispers and the psychotic desperation of sampling, all in a set of vocal phatos and obscure metrics. Hallucinating.

- "Broken Monster" : metronomic downtempo patterns, coldly wicked voice, effervescent sequenced hatchings, austere orchestrations of synths and electric guitar sections, give the song a marble solidity combined with a perverse charm. Dark-electro / industrial of overwhelming atmospheric intensity and extraordinary demonstration of sonic progress.

"Twone ( Ken Hiwatt Marshall Remix )" : the protagonist re-elaborates the intricate dark-electro / industrial textures of the original version, bringing greater linearity to the structures and leaving the dark perspective of the track unchanged, particularly vivid in the introductory phase, this through rational pulsations midtempo of drum-programming and through a grim singing, hissed and processed by machines, which enigmatic strophes propagate echoes among the punctuations of the sequencer and the inorganic fluorescences of the synths.

Conclusions:


The music of this band cannot be described through conventional definitions: it is a polyhedral, transversal configuration of modulations planned to involve body and intellect, an effective, totalizing propulsion of frequencies, rhythms and texts that conquer the listening, stimulating the formulation of thoughts and invoking the dance, probing at the same time the abysmal universe of interiority. The contents of "Insomnicons" amplify the individual neuro-sensory reactivity, harmonizing the science of sound with the analytical observation of the mind in its most unknown meanings, such as the paranoid obsession of doubt and the identification of semi-human entities visualized during the numbness of sleep. Superb and indispensable electro masterpiece and apogee of the whole repertoire of Last Influence Of Brain.

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Miseria Ultima - "Graygarden" - by Maxymox 2020

immage Every biographical and discographical informations regarding the Finnish duo-act Miseria Ultima can be found in the report of the excellent debut album "Phosphor" ( 2017 / Advoxya ) published on Vox Empirea pages in the reviews section of 2018. During the last three years Aleksi Martikainen ( vocals / lyrics ) and Kimmo Huhtala ( synths / programming ) have further perfected their personal, multiphasic dark electro / trance / EBM / industrial / gothic / darkwave style, developing prospectively the sonic bases of the previous full-length through an effective compositional process aimed at even more engaging tactical schemes. The target was perfectly achieved with the sensational ten tracks included in "Graygarden" ( 2020 / Advoxya Records ) , an album in which we can notice the important structural progress accomplished by the project, meker of a strongly dance-oriented technological musicality combined with significant texts pronounced through an incisive, charismatic vocal timbre. The sound system planned by Miseria Ultima has an high energizing power, capable of stimulating and activating the listener's sensoriality: the exuberance of the midtempo / uptempo beats of drum-programming, the precise sequenced lines, the futuristic melodism of the synths and the singing charm characterized in every episode by cold, punctuated vocalizations or by aggressive harsh inflections, generate whirls of authentic electronic pleasure. The power-duo converts without compromise sounds into pure dynamism, dragging the hearing into a deflagrating dimension of notes sometimes abrasive and poisonous, sometimes limpidly and rationally harmonized, all this while always maintaining a constant, very high level of entertainment. This release interprets and proposes in a sublime way what every true electro-fan wants: he will be inebriated by an irresistible technological advanced tracklist full of incredibly catchy sonorities. An amazing, super talentedly and motivated duo, soon destined to equalise the prestige of the most illustrious bands belonging to this specific genre. The new release is the glorious, awaited return in the scene of Miseria Ultima scene, as well as being the ideal opportunity to get to know and appreciate the phenomenal ability of two protagonists. Aleksi e Kimmo walk with supreme pride in their sound garden, in which stand out the primary colors of their great music, but also an inedited nuance that will change your perception of the gray color forever.

The best tracks of "Graygarden", chosen for you by Vox Empirea:



- "Bayonet Of Her Arms": rationally sung vocals, precise midtempo cadences of drum machine, punctuation of sequencing and melodic counterpoints of synths, create suggestive, irresistible dark electro / industrial / EBM darkwave landscapes. The sound of the track, elegantly technologized, is suitable for staging a sinuous, robotic dance among androids.

- "Circuit In The Scars": formulated through avant-garde dark electro / industrial aestheticisms, the song spreads a vocalism spelled out with mechanical coldness, over which gravitate the midtempo pulsations of the drumming, the hatches of the sequencer and the harmonious sections of the keyboards. Metronomically danceable, this chapter emanate streams of sound magnetism that attract with surprising rapidity. Internalizing this music is an experience that borders on the sublime.

- "Future Imperfect": pneumatic uptempo percussiveness, sequenced symmetries, systematic synth grooves and an alternately well-defined and angry chant, intertwined in an incandescent dark electro / industrial / EBM clubby context. A great track that will test your physical endurance in dancefloors.

- "Temple Behind The Shades": immense, encircling floods of electronic matter form the substance of this dark electro / industrial / EBM / darkwave song, surrounded by a subtle, dark gothic aura. The regular midtempo pulsations of the drum-programming are synchronized with the intermittences of the sequencer, while the keyboards emit compelling harmonies and the voice exposes the text with icy intensity. Impossible to remain motionless. Stand up and dance!

Conclusions:


Admirable executive ability, attention to details and a precise knowledge of the listener's needs, are the main prerogatives of the duo-venture, which for the second time concretely demonstrates a remarkable efficiency in playing such galvanizing music, distinguished by a resolute and communicative temperament. The album "Graygarden" honors the reputation of Miseria Ultima, raising them to a further prestigious level and confirming them among the most promising realities of the contemporary electro scene. Bombastic rhythms, subjugating vocals, exciting melodies, maximum danceability: this is what we mean by 'non plus ultra sound'.

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Morbid Fancy ‎- "Sepulchral Serenade" - by Maxymox 2020

immage The Slovak cult-duo Morbid Fancy is remembered as an authentic institution in the past global alternative panorama, having establishing itself for the particular originality, the energy and the effectiveness of its sound, in a short artistic career concentrated exclusively in the first 90's, during which, before the final dissolution, the project managed to create around itself an imperishable notoriety, still vivid and intense among the most radical admirers of the oldschool EBM. The line-up, formed by the front-man Miki ( vox ) and Patrick ( keyboards / instruments ) , demonstrated a concrete effectiveness in designing always exciting, danceable musics, simultaneously characterized by an experimental combination of Electronic Body Music and dark-industrial sounds, successfully exhibited in the concerts and widespread through an essential discography limited to two albums available on cassette, respectively "Shoe-Nail" ( 1993 / Crewzine ) and "Increased Tension" ( 1994 / Crewzine ) , in addition to participations in prestigious selections among which "Elektro-Immolation" ( 1994 / Side-Line ) , "Electrope Vol. II: We Came To Trance" ( 1994 / Electrope ) , "Maschinenwelt Compilation" ( 1995 / Maschinenwelt Records ) and "Collection Of Biologic Waste / Be Infected..." ( 1997 / Aliens Production ) . After a prolonged silence, the project re-emerges from the depths of time, proposing today "Sepulchral Serenade" ( 2020 / Aliens Production ) , a release containing totally unpublished songs recorded in 1994 at Studio Exponent and included in this full-length never revealed, originally left without both cover and label, created just before the duo ceased their activity. The abum, which can be considered a true rarity for collectors, is splendidly remastered by the mastermind Anatoly Tokee Grinberg ( aka Massaith / Tokee / UDPWNF ) and embellished by the pictorial touch of Ryby - the owner of the legendary Aliens Production brand - who gives the artwork a remarkable pastel colored aesthetic value. In the fifteen episodes of the tracklist we can immediately distinguish the typical, schematic technological sound style that have characterized the Morbid Fancy, now played by a more obscure, inscrutable, destabilizing procedures, conveyed towards a strong evocative direction. Conceived in the period directly next to the introduction of the technologically advanced devices that will condition our existence, the album projects at the same time electronic vintage / avant-garde sonic retrospectives, full of visionary futurism and extraordinarily evolved intuitions for that era, subliminally announcing what will struck humanity decades later. Tormented, gloomy, dismal and claustrophobic synthetic modulations drag the listener into a parallel macrocosm in which he will be swallowed and hypnotized by midtempo / downtempo drum-programming metronomies, symmetrical sequenced hatches, tenebrous keyboard austerity, subterranean noises, by the sinister charm of the vocals, by the strategic use of sampling and by a chant pronounced through sharply screamed cold tones, or stiffened by an incendiary tension. The minimalism of the structures is compensated by the powerful atmospheric charge transmitted by them, capable of materializing incubotic dimensions of dancing ghosts and of apocalyptically industrial desolate landscapes. An essential album for all those are looking for the disturbing angle of EBM.

The best tracks of "Sepulchral Serenade", chosen for you by Vox Empirea:



- "Psychoanalysis 771" : sectioned by downtempo drum-programming and by the elementary counterpoints of the sequencer, overshadowed by the alienating melodies of the synth and by the bass-lines, the song articulates a rigid EBM / industrial paradigm, causing restlessness and perceptive alterations of objectivity, sensations amplified by Miki's bitter vocalism, surrounded by the grim phrasing and by the electronic turbulences of sampling.

- "Kidnapping" : emotionally oppressive, the track propagates a very heavy dark-industrial sound, darkened like the sky before the storm, all this through fractioned downtempo drumming, perturbed extensions of synths on which hover disquieting notes of a carillon and skeletal loops of guitar and of a hoarse, abysmal singing. Music for nights without moon or stars, waiting for the unknown.

- "D.A.L.M." : dissonant dark-industrial frequencies run across the entire length of the song. The downtempo rhythm, mechanically punctuated by the drum-machine and the sequencer, is a turbid, metallic beat, synchronized at martial step with disstorted acoustics, performed by cadenced emissions of harsh guttural voice, a fragment of old replicated fanfare, electronic screeches and by a reverberated loop of soldier screams, all interspersed with short digressions of only voice and guitar arpeggios with exasperated melodism. A sonic delirium that captures without granting any chance of escape. Psychically disturbing.

- "Countenance" : the synths elaborate suggestive harmonies and solemn pads, while Miki's voice raises a depressed chant, bitter like poison, following the rational midtempo percussiveness of drum-programming, in this track in which are intertwined spasmodic EBM / dark-electro / industrial elements.

Conclusions.


It is not possible to affirm whether the album "Sepulchral Serenade" represents the prelude of the return on the scene of Morbid Fancy. However, it can be said with certainty that the release is a fundamental document attesting to how significant and inspired the duo-venture epic was. The full-length is a sound frame depicting Miki and Patrik at the top of their compositional phase, intent on boldly exploring one of the most enigmatic perspectives of the electronic musical concept, prophetically anticipating events that would have shaken mankind. The spectral symphonism of the keyboards, the plumbeous industrial clangour, the perfidious vocalism and the glacial drumming, dominate the listener's will, mentally leading him into a dark and terrifying sound space, within which his imagination will wander lost, torn, distraught . Reality or illusion? Take a look at the current world and you will have the answer.

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Morbid Fancy ‎- "Increased Tension" - by Maxymox 2020

immage All biographical and discographical informations regarding this Slovak duo-venture are available in the report of their album of unreleased songs "Sepulchral Serenade" ( 2020 / Aliens Production ) published on this Vox Empirea's page reviews of 2020. The ephemeral but intense notoriety of the the project, which began and ended in the early 90s, is now living its second youth, thanks to the emersion of past memorable publications - recorded at the time on cassettes - currently refinished in the studio through sophisticated sound cleaning processes and therefore widespread on the scene with the specific aim of renewing the same amazing emotions of that epoch in all the Morbid Fancy's fans even after more than twenty five years, but also to introduce surprisingly contemporary and avant-garde modulations to the current generation of technological music estimators. "Increased Tension" ( 1994 / Crewzine - 2020 / Aliens Production ) successfully recalls the iconic combination among electro / oldschool EBM / industrial / IDM that made so special the sounds played by Miki ( vox ) and Patrick ( keyboards / instruments ) , offering ten tracks of great energizing effect. Remastered as usual by the magical touch of Anatoly Tokee Grinberg ( aka Massaith / Tokee / UDPWNF ) , the album reflects all the strength of the vocal and instrumental elements that have marked this emblematic and more and more followed branch of alternative electronic music, enhancing both its more authentic aspects and the desire of advance through an experimental sonic audacity diametrically opposed to the usual canons that characterized most of the bands of that decade, this without however losing contact with the traditional Electronic Body Music's concepts. The contents of "Increased Tension" are an exciting fusion of midtempo-uptempo rhythmical dynamism of drum-machine, aggressively inciting singing, keyboards's essentiality and strategic using of vocal sampling: they result danceable and minimal structures definable as "linearly complex" , in which the rigid EBM's configurations are alternated with a sequence of sophisticated technological counterpoints and with unpredictable textures. The inedited alchemy of the two protagonists managed to melt concision and power, creating those non-ordinary and evolved sonances that made Morbid Fancy an underground phenomenon without comparison, so unique, unrepeatable. Top priority to this release for all the true music connoisseur who know how to move their bodies electronically.

The best tracks of "Increased Tension", chosen for you by Vox Empirea:



- "Boozy Girl" : song based exclusively on four elements: a schematic midtempo-uptempo percussiveness of drum programming, systematic sequenced hatchings, the caustic voice of Miki and provocative sections of female-vox loops. It's a formidable EBM / industrial episode particularly suitable for alternative clubs, able to conquer the listener and amplify exponentially the frenzy of dance.

- "They Are..." : the reverberated harshness of the chant is intertwined with the midtempo rational beats of the union drum-machine-sequencer, with the obsessive, essential melodism of the synth and with the functional vocal-looping transmissions, all this in an EBM / industrial track with hypnotic destabilizing force.

- "Cimexlectuarius" : the process of midtempo-uptempo snapping drums is synchronized with the circular replications of the sequencer and with the luminous contrasts of the keyboard, while the alienating singing meets telegraphic interludes of vox-loop. Danceable, compact, irresistible EBM / industrial song.

Conclusions:


The 'evergreen' sound of the duo-act, as well as astound for its actuality, represents today as yesterday a formidable model to refer to. The transversal interpretations of the EBM principles and their overwhelming originality are exhaustively concentrated in this album formulated through intrepid instrumental methods and incisive vocalism. "Increased Tension" is an important fragment of the History of European underground electronic music and therefore absolutely worthy of being included in your personal collection. Morbid Fancy still hit hard!

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My Love Kills - "Imitatio Dei" - by Maxymox 2020

immage A detailed biographical-discographical description of this duo-venture is available in the report on their debut album "Glitch" ( 2019 / ScentAir Records ) , published on Vox Empirea in the reviews section of 2019. Although the two protagonists live thousands apart of kilometers from each other and they have never met, the artistic synergy between the Swedish Fredrik Sigeback ( musics ) and the French VV Arkames ( vox ) - which over time has become a true brotherhood - still proves profitable, absolutely not conditioned by distance, thanks to a laborious interplay of comparisons, exchanges of sound material and of music plannings, concretized exclusively via internet. My Love Kills return to the scene offering their second spectacular album entitled "Imitatio Dei" ( 2020 / ScentAir Records ) , to which are thematically connected the following three complements: the EP "Silent Scream" ( 2020 / self-release ) , the EP "Kingdom Of Lost Souls" ( 2020 / self-release ) and the limited edition anthology "The Third Circle" ( 2020 / self-release ) , that included unreleased bonus songs and other tracks extrapolated from the two EP'S. The concept that unites all four publications is strongly influenced by the arcane meanings of biblical origin inspired by the allegorical Dante Alighieri's poem "The Divine Comedy", in particular by the chapter "Hell", and by the current feelings of Arkames, transfigured into a particularly shady condition, wounded after recent, significant personal experiences from which the musician tries to free himself through the sound power of this release. "Imitatio Dei" is a double album formed by nineteen tracks respectively divided into two acts entitled like the Dante's infernal rounds, "First Circle" and "Second Circle", while "The Third Circle" represents an extra paragraph reserved exclusively for the first fifty lucky buyers of the full-length. Each episode of "Imitatio Dei", like all those ones heard in the other three titles linked to it, reveals electronic formulations of rare beauty and perfection, resulting from the increasingly advanced technological progress that characterizes the musics of My Love Kills. The sound-system of the album vividly expresses the emotional flow through which it was created, spreading the poignant melancholy of memories, the sense of annihilation, irreparable inner suffering and resentments, simultaneously opening esoteric portals that lead the imagination into the depths of the infernal abysses dominated forever by the most intense torment. The structures of the album reconfirm the strong predisposition of My Love Kills towards catchy and danceable dark-electro / EBM / synthpop / futurepop trajectories, now further obscured by the gloominess of lyrics sung in English and French through harsh, angry, inflexible and sharp tones, perfectly harmonized with an instrumental melodism composed through squared midtempo-downtempo rhythms of drum programming, geometric sequenced hatches, bombastic bass-lines, vocal-sampling sections, atmospheric pads and through irresistible keyboard euphonies. Release possessing a limitless illustration potentiality and amazing sonorities that elevate it to one of the best proposals of the moment in its genre, a successful 'colossal' to be added with pride to your records collection. The skillful combinations between drama and the duo-act's technologism generate a dynamically suggestive musicality that will drag the listener into a surreal chasm of dark-oriented modulations, in which he will perceive with surprising naturalness the need to move rhythmically and surrender himself to the enchantment of so engaging sounds, enraptured in body and spirit. You will virtually sail on the misty waters of the Acheron river, transported up to the gates of an otherworldly reign by two silent, dark rowers called My Love Kills: you will realize time after you have traveled within the infinite space of your own consciousness. A disturbing sound journey towards the undefinable charm of the unknown.

The best tracks of "Imitatio Dei", chosen for you by Vox Empirea:



- "Kingdom Of Lost Souls" : mechanical midtempo cadences, symmetrical sequencing punctuations, vocal-looping and melodic evanescences of synths, propagate a very attractive dark-electro / futurepop sound, enhanced by the perfidiously venomous chant of Arkames. Doomed to perpetual despair, ghostly figures wander around lost, dancing to the pulsating rhythm of this music. You will walk in the dark with them, trampling the ground of unexplored and flaming lands.

- "La Voisin" : a superb track, performed through dark-electro / futurepop / EBM orchestrations oppressed by the cryptic, rancorous words of the singer, whose 'harsh' strophes hover among a fractional, danceable midtempo drumming, sequenced segments, vox-sampling, electric guitar riffs and the sinister organ melodies in the background, all this until reach the wonderful refrain, during which the singing and chords of the synths give off part of their tension, clearing up the climax and seducing instantly. Glorious performance and emblem of advanced electro culture. Sublime!

- "No Remorse" : the sequencer and the drum-machine process rational midtempo beats, while the synths emanate enveloping extensions and the voice intones words overflowing with sourness. This is a dark-electro / EBM track capable of imposing dance movement to what is inanimate too.

- "Mad Addiction" : the introductory phase of the song, consisting of an attenuated percussiveness, punctuated sequencer impulses, torrential micro-interferences and grim vocals, alternates successively with the solidity of the refrain, in which the compactness of the chant merges with the majesty of keyboards and with the geometric divisions of drum-programming, all in a dark-electro / EBM context to be lived fervidly from start to finish.

- "Wonderland" : the rhythmical slowness of the track evokes a dark solemnity, amplified by the diaphanous textures of synths and by a melodically depressed, alienating vocalism; the drum-programming scans downtempo beats, synchronized with the soft sequenced subdivisions and with the voluminous keyboards chords which shade the sounds of this dark-electro / futurepop / EBM song.

Conclusions:


The contents of the full-length can be interpreted as a metaphor for the parallelism that exists between Dante's painful infernal dimension and the existential anguishes of the living on Earth, but also the passage from the banks of damnation to those of hope, longing for the ardent desire of purification of the penitent soul, regenerated, cleaned of all its guilt after a long period of suffering and torture. Forefront-duo of exceptional talent, My Love Kills broaden the perspective of alternative electronic sound, charging it with arcane symbolism, dance energy, introspective nuances and exposing it with surprising eloquence. The album "Imitatio Dei", integrated with the two mentioned EP's and with the extra-bonus release, attests to the impeccable artistic virtuosity of Fredrik and Arkames, exponentially increasing the prestige of their project which today has reached a very high level of technical ability as well as a knowledge of the most effective strategies aimed at the carnal and cerebral conquest of the listeners. My Love Kills officially enter the legend.

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Neon Lies - "Loveless Adventures" - by Maxymox 2020

immage Describing the articulated artistic profile of the Croatian Goran Lautar is like traveling into an imaginary sound dimension, by observing the succession of periodically different landscapes. The musical journey of the protagonist has always been characterized by constant authenticity, by the desire to experimentation, by the need to experience unique stimuli every time and by the inextinguishable need to break the static phases, in search of further stimulating musical horizons that reflect his restless interiority. Since the beginnings of his career, the strong predisposition to change strongly stimulated the resourcefulness of Goran, who over years deepened his 'know-how' with acoustic instruments, traveling on tour, perfecting vocals and thus materializing his ideas by militating in Croatian bands belonging to different scenes: between 1997 and 2006, driven by interest in the garage / punk r'n'r, he played in The Babies, militating simultaneously between 2005 and 2011 in the garage / punk / lo-fi / minimal ensemble called Welcomin 'Committee In Flames, establishing from 2008 to 2013 his solistic garage-punk / rockabilly platform called Dykemann Family. Subsequently the musician founded in 2013 the punk / post-punk / synth punk / deathrock collective Modern Delusion, parallelly focusing the attention on valid initiatives extrapolated from the Croatian underground panorama, such as the particular assembling-compilation of multi-genre bands named XXX Tape Sessions created in 2014, continuing from 2014 to 2015 as guitarist in the famous Zagreb garage-punk / post-punk band The Celetoids and then in 2018 with the construction of the electronic / synth-techno design Lab Personnel. The Neon Lies solo-act, born in 2015, is instead the maximum expression of Goran dedicated to technological sound, the most representative form in which he identifies himself and through which he exteriorises his emotions, hopes, perspectives of life and everything what comes from the introspective sphere. Based initially on noises and on recordings made by vintage 4-track tape devices and by inexpensive keyboards, the sonorities of this daring solo-venture has evolved only partially keeping their spectral essentiality almost unchanged, in which are combined lo-fi / minimal synth / synth punk / proto-industrial elements and a dark, exclusive melodism that Goran defines as 'bedroom' darkwave. The complete discography of Neon Lies mentions in order: the namesake debut album on cassette "Neon Lies" ( 2016 / Cosmic Brood Records ) , the digital EP "Western Death Song" ( 2016 / Balkan Veliki ) , the limited edition 7" "Silenced / Sons And Daughters" ( 2017 / Vinylograph ) , the digital single "Visitors / Ephemeral Meeting" ( 2018 / Detonic Recordings ) , the limited edition album on cassette "II" ( Cosmic Brood Records / Black Verb Records ) and the new limited edition full-length now reviewed by Vox Empirea "Loveless Adventures" ( 2020 / Wave Tension Records / Cosmic Brood Records / Cut Surface / Black Verb Records ) , also available in limited edition cassette format published by the label Mental Healing / US and in CD version - including three remixed bonus tracks - licensed by the brands Periphylla and Diffuse Reality Records. Also worthy of reporting are the appearances of Neon Lies in the compilations "Synthetic Soundscapes Of Modern Urban Morality / Chapter 2" ( 2017 / Geheimnis Records ) and "Minimum Viable Product" ( 2018 / Detonic Recordings ) . Friendships blossomed during the many impromptu concerts in Europe and other special experiences lived by Goran in the last two years, inspired the contents of the previous releases: "Loveless Adventures" conceptually recovers part of those memories, which are evoked and expressed more intensely than in the past in the nine songs of the tracklist. The album's sound system - recorded on tape and mastered by the Dutch musician and producer Ruud Lekx ( Lekx / Voice Of The Mute ) - is electronically minimal, built though danceable midtempo-uptempo percussiveness, dense punctuations of sequencing, desolate synths harmonies and through an alienating, concise, disillusioned chant, pronounced with atmospheric depressed and reverberated vocals, in which an implied darkness is perceptible. Despite the apparent coldness, the overall atmospheres of the musics are extremely communicative, capable of materializing incubotic figures, restlessness, melancholy, existential unease, disappointing personal loss and estranging visionariness, but also enthusiasm and even joy. Very, very intriguing.

The best tracks of "Loveless Adventures", chosen for you by Vox Empirea:



- "Down" : the drum-programming and the sequencer rationally spread uptempo pulsations that stimulating the dance, while the keyboards extend long pads and obsessive melodies, overshadowed by the vacuous chant of Goran, all in a nervous, capturing minimal synth / synth punk / darkwaving song, synonymous with dynamism, perfect antithesis of immobility and therefore eblematic reflection of the intrinsic nature of Neon Lies. Spectacular performance.

- "Hands" : nostalgically decadent, the track propagates functional minimal-synthpopish / proto-industrial / darkwave modulations, edified through slender midtempo cadences of drum machines, linear sequenced hatches, voluminous harmonies of keyboards and melancholic vocals, over which a vague darkness hovers.

- "Alone" : fast, lysergic, this minimal-synth / synth-punk / darkwave episode is rhythmed by a danceable uptempo drumming adorned by the symmetric segments of the sequencer, by the prolonged flows of keyboards and by a faded singing, obscurely schematic, neurasthenic, in a set of tension, energy and synthetical sound technologism.

Conclusions:


Neon Lies has all the peculiarities to become a potential cult-act in the near future. "Loveless Adventures" is the direct transmission of Goran's thoughts: the release manages to interact effectively with the imagination of the listener, who will simultaneously participate in the narrations of the texts becoming the receptor of the turbulent sensations arising from the music. The artist has been able to give the album vivid meanings and a excellent sonic value. The emotions light up illusorily for a fleeting moment and then go out then among tormented vortices, leaving as evidence of their passage only a trail of gray evanescences that will live forever in this original, fascinating and at times dramatic solitary adventure without end and without love.

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On The Floor - "Breaking Away" - by Maxymox 2020

immage Every exhaustive biographical and record detail concerning the German band On The Floor can be found in the report on the album "Made Of Scars" ( 2017 / Alice In ... / Dark Dimensions ) published in the reviews section of the year 2017 of Vox Empirea. The strong tenacity with which the band has always systematically sought an incisive and effective sound has finally proved triumphant. The line-up, composed by Helge Jungmann ( vox ) , Dennis Lindner ( bass ) , Henning Thurow ( guitar ) and André Lindner ( guitar / keyboards / drums programming ) was able to create the definitive masterpiece of the entire repertoire generated up to to date by On The Floor, constantly evolving over two decades of experimentations. "Breaking Away" is the release that more than any other part manages to fully manifest the authentic essence of the inspiration inherent in the four protagonists, exponentially valorizing the individual executive capacity of all members of the project, synergizing them into a single, functional sonic organism. The new album impeccably intertwines all the peculiarities of ensemble's music, formulated through nostalgic 80's reminiscences - perceptible above all in the 'Mission-oriented' gothic-rock elements that mostly dominate the sounds of On The Floor - in perfect combination with the post-punk recalls, with the introspective obscurity of the darkwave and with the technological processes of the electro / synthpop. The structures of the eleven songs included in the tracklist mainly exalt the massive electricity of the guitarism and the decadence of a chant melodically uttered through baritone inflections, to which are also added symmetrical bass lines, midtempo / downtempo drum-programming and rational sequenced hatches. The highly articulated concept-album musically illustrates the connection that exists in the relationships of each type, among people, among people and things, or among people and different situations, highlighting the inevitable dependencies and the conflicts generated by the same relationships; the band deals this complex topic in the lyrics, both ironically and thoughtfully, exposing with realism its most hidden aspects connected to love, to the purification of the spirit and to the changeability of circumstances. The title "Breaking Away" therefore symbolizes not only the interruption of destructive bonds, the cathartic removal of constraints and relational subordinations, but also the possibility of being internally 'broken' by addictions, considering the consequences caused by free, intentional acceptance of the logical binomial: 'relationship = dependence', or of the more self-deleterious theorem: 'conscious relationship + dependence = damage'. The new full-length is further embellished by the participation of two important guest singers from the European gothic-rock / darkwave / post-punk scene, present in three different episodes of the title track: they are the German Tom Lücke ( Girls Under Glass ) and the Swedish Johan Sjöblom ( Sjöblom / Fake Moss / The Exploding Boy ) . A fundamental record. You will never separate from it.

The best tracks of "Breaking Away", chosen for you by Vox Empirea::



- "Backseat" : intense, melancholic vocals intone strophes full of meaning, while the midtempo drum-programming, the sequencer and the bass spread regular pulsations, sublimate into a a nostalgic gothic-rock / darkwave / electro melodism illuminated by alienating synth flows, by the circular turns of bass, by the romantic concordances of the first guitar and, in the background, by the flaming trails of the second one. A very atmospherically sentimental, obscure song. You'll love it before the last note ends.

- "The Way It Hurts" : the vocal ornaments of Johan Sjöblom duet with those of Helge Jungmann, raising a fascinatingly afflicted chant that touches the soul, rhythmed by the midtempo cadences of the drum-programming, together with euphonic keyboard, harmonious riffs of the guitars, sequenced punctuations and segments of bass. Torment meets ecstasy in this passionately gothic-rock / darkwave / synthpop track to which abandon oneself with total emotional involvement.

- "Walking Through Walls" : the chant of the singer extends fluidly melancholic, reflective, adorned by the powerful, reverberated counterpoints of the guest vocalist Tom Lücke. The drum-programming and the sequencer scan a cold midtempo percussiveness, rhythmically synchronized with the intermittences of the bass and made suggestive by the minimalism of the synth, all in a splendid gothic-rock / darkwave / electro song fortified by the energy of the guitars.

- "Better Man" : metronomic midtempo drum-machine, sequencer and bass, propagate a danceable dynamism, as well as the singing, absorbed and suffering, investigates the conscience, harmonizing with the iridescent tension of the guitars and with the opaque fluidity of keyboard. A seductive gothic-rock / electro / darkwave track, suitable for moments of existential self-analysis.

Conclusions:


Ardor, instrumental refinement and wide depth of thought, form the basis of "Breaking Away", an emblematic album, to be considered the grandiose celebration of an eloquent, inspired band that demonstrate excellent intuitions and a particular knowledge of human psychology, able to probe, even ironically and by an expressive musical language, the complexity of the internal dramas, the afflictions and the shady side that obscures the mind. The most representative and unmissable On The Floor's release since the dawn of their debut. Be certain of it.

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Two Moons - "Over" - by Maxymox 2020

immage Paradigmatic Italian band founded in 2009, Two Moons represent with honor the today's generation of disciples devoted to the glories of the early 80's darkwave. The line-up, consisting of Emilio Mucciga ( vox ) - aka the psychedelic wave / noise / electronics musician Emil Moonstone - , Joseph Rips Asanda ( bass / guitars / synth ) - member of the Italian coldwave / darkwave / electro / post-punk ensemble called European Ghost - , Angelo Argento ( drums ) , and Iacopo Palax ( guitars ) - this latter substituted the ex guitarist Vincenzo Brucculeri, aka Nils - , makes a significant advance in its artistic career, proposing a sound with an increasingly formidable charm, a solid compositional consistency and strong expressiveness. Two Moons were born almost extemporaneously from an instrumental project belonging to the bassist Joseph Rips and in particular on the occasion of a live performance which took place by bringing together the four protagonists for the first time, during which it originated the concrete intention to create a common design that exalted the interchange of individual musical experiences, encouraged by the enthusiasm resulting from the positive evolution of the concert. The success of the band, favorably described by critics as the reference point of the 'new new wave', is confirmed by the growing number of fans and its rapid distinction into the alternative panaorama, in which for eleven years it has shown resourcefulness, valuable inventiveness and desire to emerge. The ascent of Two Moons has beem enhanced thanks to many concerts, organized today as the past times in Italy and abroad, but also through a grandiose series of video tracks as a systematic support for the published releases, among which it stands ot that of the song "Rain", directed by Stephan Zlotescu, a master of special effects. Stylistically polyform, the band's darkwaving sound integrates, in different eras and in different measures, krautrock / electronic / synthpunk / post-punk / new wave / shoegaze elements, emphasizing the double, articulated theorem that has always characterized the music of Two Moons, or the fusion between darkness, deep inner observation and melancholy, combined with an actualized, polarizing and luminous image of electronic. This conceptual dichotomy concerning music also specularly reflects the meaning hidden in the name chosen for the band: in fact it ideally represents the double, enigmatic side of the moon, both the dark, the arcane, inscrutable one and the other one, refulgent, poetic, clearly visible to the look. By the combination of these criteria result tangible, explanatory modulations, diametrically opposed to the abstract dimension, which give a real physicality to each single note and a particular emphasis on the intensity of the texts. The official Two Moons discography mentions the following releases: the Extended Play "The First Moon" ( 2009 / self release ) , the bootleg album "Live In Svizzera" ( 2012 / self release ) , the debut album "Colors" ( 2012 / Swiss Dark Nights ) , followed by the full-lenghts "Elements"( 2014 / Irma Records ) , "Cognitive Dissonance" ( 2017 / Atmosphere Records ) and finally by the new album "Over" ( 2020 / Icy Cold Records ) now reviewed by Vox Empirea. The eight songs of the tracklist spread an uninterrupted cycle of atmospheres full of fascinating, nostalgic shadowiness, intersecting at the same time romantically decadent trajectories, sometimes estranging, fortified by a powerful evocativeness, capable of originating a sonic illustration so immersive as to totally enmesh the imagination of the listener, who will be enchanted by the suggestive flows of the synthesizer, by a predominantly midtempo percussion, by the 'waver' electricity of the guitars, by the pulsing bass lines and by a penetrating, communicative vocalism, as if it were this same part of his consciousness. The music of Two Moons turns into a pure emission of sounds and into a direct dialogue with spirit. Loving this album will prove to be one of the most natural instincts you've ever perceived.

The best tracks of "Over", chosen for you by Vox Empirea:



_ "Love Is" : the geometric midtempo cadences of the drumming rhythm a melodic instrumental climax, performed through reverberated guitar riffs, evanescent synth chords, sequenced hatching and circular bass scales, in a new wave / post-punk / electro song with graceful, elegant livery, sublimated by the melancholic obscure chant of Emil.

- "Never More" : a sound-system as dense, nostalgic as autumnal fog, consumed by torment and by inner desolation, built through darkwave / post-punk harmonies of great sensorial effect. Shoegazing guitarism elevates euphonic trails overflowing with spleen, joining the heavenly counterpoints of the additional section of strings, the vaporous expansions of the keyboard and the intermittences of the bass, while the drums punctuate a midtempo percussiveness and the voice sings strophes charged of depressed feeling. The magnetism of this track will fatally capture every dreamer that will approach it.

- "Look At Me" : Rhythmically slow, hypnotic, the song is formulated following a scheme definable as 'psychedelic darkwave' / post-punk, in which the singer's chant propagates disillusioned lyrics, vaguely apocalyptic and nihilistic, initially decorated by the delicate arpeggios of the guitar that later become lysergic fluorescences, on which hover turbid synth pads, noble piano punctuations and a massif shoegaze friction. Floods of emotions will pervade your mind for a long, long time.

Conclusions:


The musics of Two Moons can be circumscribed in a precise, aestheticized sound balance, in which triumph the restless interiority of the darkwaving sound, the modernism of the electronic conjunctions and the contemplative post-industrial poetry inherent in the lyricst. "Over" is a psychonautical journey in search of the unknown, the implicit exhortation to turn one's gaze towards a spatially wider and more imaginative perspective, in which to find fragments of lost reminiscences, or to fly over the unexplored recesses of one's subconscious through the not ordinary vision of the inner eye, crossing the boundaries of the unfathomable. This album will leave an indelible mark on your memory.

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Voith - "Voith" 4 singles - by Maxymox 2020

immage Voith is the pseudonym of the Swedish artist Lars Peter Karlsson, a multifaceted musician who in 1997 founded this electro solo-act with the aim of developing sounds dissimilar from the ethereal ones experimented with his previous ambient-oriented solistical project called Mortui Vivos Docent, also deviating from the hardness of death / trash / black / doom metal played militating in the bands Maze of Torment, Deceiver and The Pete Flesh Deathtrip, or individually behind the name Thrown. But it was Lars Peter's passion for pop-electronics of the 90's that decisively contributed to the idea of ​​establishing a concrete form through which independently formulate and spread his own sounds that would express all his creativity: thus Voith was born. This solo-venture enters with innate ease into the technological musical cosmos, combining a multitude of genres until reaching an unitary model in which it can be distinguished in the different phases of his career the melodic lightness of the synthpop, the danceable grooves of the electro, the evanescent soundscapes of ambient, the schematic dynamism of EBM, the dark nostalgia of post-punk and the enterprising innovation of the avantgardism. Voith's discography, integrally published in digital format and occasionally supported by video, mentions the following titles in chronological order: the album "Lo-Fi Alienation" ( 2017 / self release ) , the anthology of demos "Through Dimensions Of A Lo-Fi Ambience 1997-2015" ( 2017 / self-release ) , the EP "Persona De Lo-Fi" ( 2017 / self-release ) , the singles "Wir Sind Die Roboter" ( 2018 / self-release ) and "A Christmas Eve In Berlin" ( 2018 / self-release ) , the full-lenght "Emotions Of A Melancholic Lo-Fi" ( 2018 / self-release ) plus the three singles "Falling In Love With You" ( 2019 / self-release ) , "Lock N Load ( Aim The Sun )" ( 2020 / self-release ) and "Screenshot" ( 2020 / self-release ) . To exhaustively describe the artist's music Vox Empirea will analyze four of these singles, respectively "Falling In Love With You" and its extract "Unknown Texture", continuing with "Screenshot" and its extract "Into My Dreams", highlighting the peculiarities that they characterize Voith's style, which since the far beginnings consists almost entirely of instrumental tracks with the addition of sporadic inserts of vocal-sampling; only recently Lars has decided to introduce real singing sections within the structures, a choice that he wishes to protract also in the future. The lyrics of the songs reveal a melancholic predisposition, capable not only of evoking introspective and emotionally engaging atmospheres despite the brevity of the lyrics, but also of making the listener perceive all the sincerity and intensity of the feelings that move in the soul of the artist. The perfect fusion between the warmth of human sentiments and the icy technology of the machines.

- "Falling In Love With You" : an exquisitely synthpopish episode, performed through regular midtempo intermittences of drum-programming, linear sequenced punctuations, catchy keyboard harmonies and melodically nostalgic vocals, sung as always with deep, enveloping tones. Song with essential, enchanting musicality and full of romance. Only for modern dreamers.

- "Unknown Texture" : synthpop track evoking post-Camouflage / post-Depeche Mode sonances, built through midtempo beats of drum-programming, sequenced metronomies, inorganic keyboard flows and a darkly introverted chant, which, in the refrain, joins the sweet voice of the New Zealand guest-singer Hilary Gottfridsson, in a whole of 80's dancehall reminiscences and enigmatic charm.

- "Screenshot" : synthpop / electro / trance song rhythmed by a danceable uptempo percussiveness, to which are flanked the pulsations of sequencing and a 'telegraphic' chant, pronounced by an arcane, dark voice, all surrounded by the enthralling counterpoints of the keyboards. Recommended as floorfiller for alternative d.j.'s.

- "Into My Dreams" : the downtempo mechanical cadences of drum-machine and the symmetrical hatching of the sequencing energize the depressed and almost solemn melodism of this synthpop, embellished by enchanting keyboard euphonies and by the suggestively melancholic chant of Lars in duet with the vocals of Hilary Gottfridsson.

Conclusions:


Deserving of the utmost consideration, Voith's music proudly emerges from the surface of the unknown, using every resource to quickly ascend to the summits of a future success. The extraordinary talent of the protagonist stands out among those of a multitude of artists still temporarily hidden in an underground dimension of electronic sound, demonstrating excellent compositional attitudes and a marked inner sensitivity. The four tracks treated by Vox Empirea are jewels that make special every moment of the listening: they however only summarize a little part of the potentials of this pioneer, whose feats can be listened to in his voluminous recent and past repertoire available on the online platforms. With Voith the time has come to further broaden your sonic horizons.

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We The North - "2020" - by Maxymox 2020

immage We The North is the second project of the Swedish Johan Hansson, musically and conceptually different from his first artistic identity called Unitary, whose biography and discography are described exhaustively in the detailed report on the Extended Play "Woke" ( 2018 / Misty Recordings ) available in the 2018 reviews section of Vox Empirea. Founded in 2016, the solo-act We The North is a sort of sonic extension of the protagonist's tormented inwardness, whose musics are not only his interpretative and personalized response to the meanings of 'synthpop', but also a form of communication that effectively incorporates feelings of estrangement, anger, negativism, isolationism, capable of depicting in the imagination the frozen immensity of the wintry Scandinavian landscapes, the desolation that hovers heavily during the dark season and the alienating melancholy that surrounds them especially during the very long, cold nights. While the Unitary's sound - specifiable as 'Emotional Body Music' - is a combination of fast EBM / futurepop / dark-synthpop elements, that played by We The North - technically indicated by the term 'Nordic Noir' - is a set of electronically engaging, dynamically obscure sonances, performed through synthpopish formulations in which they synergize balanced old-style / new style orientations: the result is a whole of harmonies perfect to be listened to, danced and remembered. The discography of this platform initially lists the EP "Endemic" ( 2016 / Space Race Records ) , anticipator of the debut album "Dayblind" ( 2016 / Space Race Records ) , followed by the full-length "Unhealing" ( 2017 / Space Race Records ) , by the EP "Split" ( 2018 / Space Race Records ) - planned in collaboration with the Italian synthpop / new wave / darkwave / EBM solo-act TourdeForce - thus continuing with the digital singles "Is & Eld" ( 2019 / self-released ) ," Kall "( 2019 / self-released ) and" Vi "( 2019 / self-released ) , all three of them published associating the name We The North with the effigy 'Feat. Vita Arkivet'- aka an additional pseudonym used by Johan to distinguish these three Swedish publications - returning today on the scene with the digital anthology "2020" ( 2020 / self-released ) now reviewed by Vox Empirea, containing fourteen of the most representative songs taken from his entire repertoire - including the version of "Endemic" remixed by the American electro / goth / new wave / post-punk / synthpop solo-project called Mr. Kitty - remastered and structurally restyled at Earthbound Mastering studio. This document embodies all the musical and the sensorial essence of We The North, manifested through overall midtempo rhythms of drum-programming, systematic sequenced hatches, atmospheric keyboards and vocals of extraordinary, icy beauty, sung by euphonic, deep, introverted tones, in which we can actively perceive emotions wrapped with a certain indirect darkness. Intimism, danceability, functional technology and an intense melodism, are the peculiar traits that Johan Hansson has configured in his identitary creature We The North, through which he propagates catchy, intelligent sounds, orchestrated with advanced compositional art. If you are true fans of the evolved electro / synthpop and you want to listen to something even more superlative, in "2020" you will find many reasons to love viscerally this amazing album, from which you'll never want to separate yourself. A white, silent immensity. The chill wind is a whispering breath that mesmerizes. The pale reflection of Scandinavian light. The North.

The best tracks of "2020", chosen for you by Vox Empirea:



- "Vi" : in its introductory phase, the polychromatic punctuations of sequencing, the polarizing melody of keyboards and the precise midtempo cadences of drum-machine, summarize the subsequent electro / synthpop schemes of this masterpiece, nobly adorned by a fascinating chant pronounced in Swedish, through Johan transmits vivid meanings, nostalgic passion and something else that cannot be described in simple words, but so authoritative as to induce us to repeatedly press the 'rew' button on our device and listen to the song over and over again. What is meant by an unforgettable sound experience.

- "Endemic" : contemplative, intimate, this track constitutes one of the rare downtempo electro / synthpop chapters of the full We The North's discography. The drum-programming elaborates slow, asymmetrical pulsations embellished by sequenced luninescences, while the dense coverages of keyboards spread harmonious chords that blend with the magic of the vocals. A song to listen to embraced in a room, at the twilight of sunset, singing it softly with closed eyes.

- "Kall": the geometric midtempo percussiveness of the drum-programming and the intermittences of the sequencer configure a dynamic track that makes this song ultra-danceable, enriched by the melodic counterpoints of keyboards and by the penetrating melancholy of the vocals sung in Swedish. Fatally seduced by the cold.

- "Understand Me" : 'a triumph of sublime electro / synthpop consonances'. There are no more suitable phrases to define so much sonic charm. This song, rhythmically rationalized by a danceable midtempo drumming, sectioned by the logical replications of the sequencer, filled with gracefulness by the keyboards and made precious by the melancholic chant of Johan splendidly enhanced in the refrain, abducts us without compromise. The flow of attractive energy that you will immediately feel for this track is stronger than Earth's magnetism.

Conclusions:


Clear, elegantly suggestive, the sound design of We The North is a bitter gaze projected from the window of the soul towards infinite spaces. In it converge restlessness, depressed feelings, loneliness, inner conflict, whose vibrations are transmuted into electronic expressions of immeasurable preciousness. This album-compilation collects a fine selection of songs extrapolated from previous releases, beautifully perfected, reworked and ready to relaunch this formidable solo-venture worthy of all the prominence possible. "2020" is the electro / synthpop at its maximum resolution and at its maximum evocative power. Now you know what to listen to for the next hundred years.

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We The North + Unitary - "2020 Beta" - by Maxymox 2020

immage All the biographical and discographical particularities concerning these two phenomenal solo-ventures represented by the Swedish Johan Hansson are available on Vox Empirea in the review of the album "2020" by We The North ( 2020 / self-produced ) and in the report concerning the EP "Woke" ( 2018 / Misty Recordings ) by Unitary, displayable in the reviews section of 2018. Shortly after the launch of the wonderful "2020", Johan accomplishes the second miracle by publishing a very limited edition variant of the same release, the split-album "2020 Beta" (2020 / self-produced ) , containing eleven of the fourteen songs included in the original version, now fully remastered, plus seven new unreleased tracks remixed and also remastered, of which one by We The North and six by Unitary, all this with the aim of simultaneously polarize the attention of fans on both projects in one only tracklist. "2020 Beta" perfectly anthologizes the dual artistic identity of the protagonist, interpreted through the 'Nordic Noir' oldschool / newschool dark-synthpop of We North North and the EBM / futurepop / dark-synthpop called 'Emotional Body Music' that characterizes Unitary. Analyzing the musical paths of Johan Hansson in his two different expressions, it is clear that, in addition to the boundless mesmerizing power of the melodies, the immediately perceptible sensations are those of an extraordinary, total emotional involvement and evocative vastness, elements fortified by always introspective texts and by the magnetism spread in the chant; if the album "2020" can be considered apogee by We The North, "2020 Beta" integrates this concept also to the figure of Unitary, whose most relevant songs taken from his past repertoire triumph superbly today in redesigned schemes, ready to reveal all their avantgardistic beauty. The gloomy and melancholic singing fascinates the imagination, arousing nostalgic feelings, tormented isolationism and intimate reflections, dragging the listener's fantasy into a distant cosmos, consisting of the same material that makes up its interiority, an unexplored place that no one will ever be able to access. The aforementioned review of Vox Empirea about the album "2020" by We The North has already highlighted in detail and exhaustively every aspect of the release, including its best tracks, granting the report on the split "2020 Beta" the function to focus on the appreciable qualitative level of the mastering process of the songs, but above all to make stand out the attention on the remixes, elaborated by names of absolute prestige in the international electronic scene, such as the legendary German D.J. / musician / producer Rob Dust, the South African industrial / synth-pop solo-act Acretongue, continuing with Reagan Jones, the leader of the American indietronic / synthpop duo Iris, who participates in the remakes of the songs by Unitary "In The Age To Come" reformed by the German electropop / synthpop duo Spektralized and in that of "Frightful ", re-edited by the Swedish electro / EBM / synthpop duo Mechatronic. Also mentioned among the remixers for its relevance, is the American synth-pop / synthwave / electro / witch-house solo Mr. Kitty, already present in the regular tracklist of "2020". High-class electronic discipline, superlative euphonies, significant lyrics and authoritative charisma, are the peculiarities of "2020 Beta": the tracks extrapolated from the album "2020" by We The North are mainly based on linear midtempo rhythms of drum-programming, sequenced decorations, catchy synths counterpoints and on a perpetually shady, penetrating voice, from which transpire restlessness and a dark spleen, as well as the remixes of Unitary combine downtempo / midtempo drumming, systematic sequencing punctuations, atmospherical orchestrations and an intensely solemn, suggestive chant permeated by sensitive introversion. Two different music styles interact in one mind: Johan Hansson is the humanized equivalent of immensity.

The best tracks of "2020 Beta", chosen for you by Vox Empirea:



- We The North - "Endemic - Rob Dust 2020 Remix" : hyper-danceable midtempo percussiveness of drum-programming, pulsing hatches of sequencer, enchanting flows of keyboards and an indescribably compelling vocalism, constitute the paradigm of the remaking of this dark-electro / synthpop song, enriched with superb arrangements and able to transmit waves of technological energy. His listening is addictive.

Unitary - "Miscreation - Acretongue Remix" : the singing is the liberating expression coming directly from Johan's soul, an inquiring, disillusioned voice, harmonized with the noble symphonies of keyboards and with the fractionated midtempo cadences of drum-programming, all this in a bewitching dark-electro / synthpop track, as austere as an ice sculpture.

- Unitary - "In the Age to Come - Spektralized Remix feat Reagan Jones" : the convergence of symmetrical midtempo patterns, sequential intermittences, enveloping melodies of keyboards and seducing vocals, generates an evveniristic and dance-oriented synthpopish episode that will delight you instantly.

Conclusions:


The highness of the sound-design built by Johan Hansson cannot be worthily praised with simple superlatives: this is music to listen to, live and interiorize with total involvement. The remixers coordinate the instrumentality of the songs with surprising ease and professionalism, manipulating, destructuring and reassembling it wisely in new forms, adding further sonic value to them. For Vox Empirea, by far the best electro-releases of the first half of the current year: in our opinion there is so far nothing that can compete par excellence with these two splendid masterpieces. Every word of the lyrics, every single note of "2020" and of its amazing extension "2020 Beta" deserve to be remembered forever. Nordic, unitarian perfection.

Reviews 2019 Eng
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