It's indeed a good year for comebacks of veteran acts, and this one once-in-a-lifetime-giant of the legendary Zoth Ommog label isn't an exception. It fits perfectly that Sevren Ni-arb, his better female half Estefania and his old partner in crime, Raive Yarx, have decided to collaborate with Infacted Recordings for their comeback ' since Infacted label-chief Torben Schmidt (LIGHTS OF EUPHORIA) is another important time witness of this glorious label. So how big can expectations grow after so many years without any audio sign of life? I think it rather belongs on personal preferences, to each one its own taste. XMTP have earned a lot of appreciation during their early years for the try not to repeat themselves over and over again ' and to me, this can be noticed on this new album too, because 'Inner Zone Journey' sounds like none of the previous released albums before. 'Inner Zone Journey' and its chosen sounds and arrangements are the work of true Electro/Industrial experts with real and senses-touching compositions and a matured state-of-the-art-like sound-design. If it really comes to search for a hair in the soup, I tend to criticize one or another track as being too obviously infected with that often discovered 'we-need-a-catchy-club-hit-to-appease-the-masses'-syndrome ('Run Away', 'Seventeen'), as these tracks are losing intensity in sound and composition. But tracks like 'Human Scientists' or 'Snapshots In A Dark Room' are true masterpieces, which surely appeal the rather Dark-Electro-inspired fans of their golden days ' maybe these tunes are more comparable to the XMTP-side-project RINGTAILED SNORTER and their deep sadness-spreading 'Absolute Void'-times ' but hasn't this historic masterpiece received the best reviews in those days? It does good to have XMTP back, although the release of 'Inner Zone Journey' has produced a lesser euphoric reaction compared to the release of some other cult acts. Quite logical, because this album is rather dedicated to satisfy the parental and experienced Electro/Industrial listener, as it doesn't offer any pseudo-aggressive Hellectro-like bawling - it is nevertheless one of the best comeback releases of this year so far.

After a longer pause for this Spanish Electronica-project, here comes the comeback for Frans Beltran. This is a quite special release brought out in a rare format. To release a CD EP with only three tracks completely packed in a beautiful and artistically valuable digi-pack speaks for the courage, but also the endless confidence from the label Caustic Records into the abilities of the artist. The title of this EP has received the additional name 'from the original Francis Ford Copolla's motion picture soundtrack' ' and it is shortly said a three-track EP of a cover version on a well-known instrumental film score available in three different versions. Being asked after the sense of this release, Frans' slated in his artwork his dedication for the works of the original composer of this Dracula film score, Wojciech Kilar. A quite fabulous idea and well done performed, but I doubt, that the concept in our rushing times does earn the required success. Does the artist or the label expect to enter higher chart positions, or at least do both expect to have any serious chance against a still dominating Hellectro project in the clubs? May I am totally wrong to ask for this in this case, to switch a relatively known artist in a same manner with stronger than usual sales, because musically these three different versions offer a lot of demand and are musically complicated enough produced, to kick any repetitive act out of the Hellectro-camp out of the ring. I would wish for all included, that the listeners at least pay a bit more attention to those, which produce Electrnica music not only to stomp after, but also to consume it while sitting in front of a wwell sounding home entertainment. It's because this IBERIAN SPLEEN release services both needs...

'Limited Edition ' Extendet Play' ' although small typed right below on the front-cover, this has been one of the first positive facts of E.S.R.'s latest release. French fellow Vincent Pujol at least adds another goody to his rich filled and excellence-infiltrated discography. 'Distorted Memories' holds totally 13 tracks and can be temporary seen as a remix companion to Vincent's last full-length album 'Post-Industrial' (DSBP/Gravitator/Urgence Disk Records), but too as being a kind of EP to offer new tracks and to introduce some new projects and tendencies, how and in which kind Vince could continue.
You'll get 4 all new tracks, a new and still untitled demo track, a cover version on Public Relation's 'Eighty Eight', plus a first track named 'Twisted Shadow' of the new built side-project JOINT VISION, which includes Vincent and his friend Jerome Caulier. At least a remix contribution by the French act PSYCHICOLD accompanies this release. With more than 70 minutes of pure, adrenaline-driven Electro/Industrial music, you'll get a lot quantity, but also the quality of this on only 100 exemplars limited EP should be able to appeal you as being the interested listener.
In the first instance, the focus of attention lays on the four new tracks, from which the title-track 'Distorted Memories' 'available in two different versions - offers the most intensity in both parts of the composition ' it features an attractive synth-layer programming with a high recognition level, as well as a song structure, which invites the listeners to sink completely into the arrangements and it allows dancefloor movements of masses. What additionally attracts attention, is the fact, that Vince seemingly concentrates more to add a smoother fx-processing on his vocals ' compared to his earlier albums the vocals are sounding lesser harsh, although still aggressive enough.
As for the 4 remix works on his latest full-length studio album 'Post-Industrial', well, I guess you all know since Vince's self-released collection 'A Passage in Time V.1', that he quite often produces alternative versions on his tracks. This attitude helps out also on this EP, because all remixed tracks ('Cyberthief', 'World Domination', 'Resurrected' and 'Fallen Angels') got completely revamped by Vince himself ' no foreign remix work on his older tracks, no so-called prominent names offering remix contributions with questionable quality ' in all, it is a quite welcomed idea, to concentrate on his own abilities. The Warlock Mix on 'World Domination' is at least my personal favorite, especially after consuming Vince's icy-cold, but richly detailed synth pad programming on this tune.
As for the additional stuff, the still untitled new demo track sounds promising in its first versions, while the mutual new side-project JOINT VISION can't be judged on after only one track. The already above mentioned cover version sounds as expected from E.S.R., while I've to admit that I don't know anything about the original and have never heard of it. At least we'll get the remix work on the new track 'Low Life' of PSYCHICOLD and so the only one foreign band contribution, which adds musically the integration of some guitar riffs into the Electronica-driven sound.
A lot of stuff to discover, as usual from E.S.R., but I won't leave this one without a small word of criticism. I thought it was 'Wounds And Scars', released 4 years before, with which Vince has received his personal best-of-the-best album, as it was this one, which offered the most diversity and different moods pressed onto one silver circle. After consuming 'Post-Industrial' and now this EP, I come to the conclusion, that these both can only follow the quality of 'Wounds And Scars', but can't formulating anything new. To reach perfection and an automatically working process of composition can't be any longer the target of an Electro/Industrial project after 5 different studio albums, one collection and now one EP ' or to say it in short words ' Vincent runs into danger to repeat himself. Contrary to nearly all previous released albums, I miss a bit that groundbreaking idea in Vincent's work for a new or refreshing sound-design, a more consequent variation of speed, or simply the try to question own compositional tactics ' whatever may the most promising formula is to result into more diversity. But I am sure, that Vincent is quite aware of this situation and will find the right weapons against all upcoming hints of stagnancy.

Not too long ago I was given the nod to review two albums that came from the same source, although not the same record label. The two bands, Freakangel and Suicidal Romance are both from Tallinn, Estonia, and share a key member ' Dimitry i., who on this album does vocals and seems to be the leader. What he does with Suicidal Romance we'll save for the next review. Although there are some dark-electro similarities between the two projects, Freakangel has the more aggressive style and Dimitry is definitely the vocal captain in this band. He is assisted by Art (ex-Kamaloka) on guitars, and frOzen (frontman of cB, aka Cyclone B) on keyboards. Also, these guys really seem to look the part; starkly goth-industrial at a time when most similar American bands just seem to be going with a nondescript look.

In the realm of dark-electro-industrial EBM music, it's hard to come up with anything that hasn't been done before. The style has been well-defined by the likes of Suicide Commando, Hocico, Funker Vogt, Leaether Strip, Wumpscut and so many others. Obvious comparisons to these bands are nearly pointless. So how does a band possibly stand out from the pack? Well, it ain't easy, but I have to give Freakangel credit for trying.

The opening prelude, 'Frailty,' on 'The Faults of Humanity' is a moderately slow industrial instrumental dirge with a bit a dramatic strings and crunchy percussion. That's followed by an old-school EBM style stomper called 'Gods Blind Game'. The synth riff sound is fairly standard and Dmitry's vocals are pretty much along the lines of Hocico, but perhaps a tad nastier. I have to say that it is catchy, and good dancefloor fodder. Rock solid guitar work by Art too. I like the triple-beat on the chorus; it adds a bit of character. There is also a cool bit of dark industrial ambience at the end. 'My Darling Bullet' is another straight ahead stomper but it has a couple of interesting things going for it- a sparsely interjected dialogue sample ('Do you want to die?') and smoothly gliding wordless female vocals, I'm guessing from Viktoria Seimar of Suicidal Romance. What a contrast, something really different in this kind of music.

'Crawling in the Dark' slows the pace down a bit and is plenty gloomy. Dimitry's vocals are no less malevolent though. Very gothy. 'The Last White Dance' picks up the pace again and frOzen's old-school analogue synth work is commendable. Nothing you haven't heard before, but well-done. 'Curse.Forgive.Kill.Cure' seems like it goes on for a little too long without anything of significance happening. 'Together Against It,' which follows is a little more sonically interesting, and also has a better chorus. 'It's Not a Lovesong' almost seemed like another piece of filler until the wordless female vocals saved it from being a fast train to nowhere. By the time I got to 'Price For All of Us' I realized there was little in the way of beat variation throughout most of the material. I don't think it's necessary to make them ALL dancefloor suitable. Some extended atmospherics and unusual beat-play would have been nice, but it is what it is. Since there really isn't any variation in Dimitry's vocals, some variation in the music would have been good. 'Under Code' carries on in a similar manner with nothing particularly outstanding. A little disappointing. 'Finale' is a brief atmospheric piece with wordless female voice, synth and piano, and no percussion. I would have rather have heard that expanded to five or six minutes and have skipped one or two of the lesser interesting tracks on the album. The band is to be commended though for not overusing dialogue samples, a flaw that a lot of dark electro-industrial bands succumb to.

Oh, 'The Faults of Humanity,' they are manifold, aren't they? For a debut album, this is still pretty good; not perfect, not great, but pretty good. Worth checking out. By the way, this album also comes in a 2 CD version (I only reviewed the 1 CD version) if you can't get enough Freakangel.

Neutral Lies are a duo coming from Lille, Northern France, formed by Jean Francois Dean and Nicolas Delbarre. A DECEPTIVE CALM is their debut album under this moniker but they have on their back years of activity with different bands. Since 1986 they gathered experience with: Mr Collins, The Vegetable Men, Integrite Absolue, A Place Apart, Frenetic Convulsions, Process On and Concept of Xeno. On A DECEPTIVE CALM they focused their musical skills on a mix of synthpop, upbeat electro and melancholic mid tempos someone, at this point, would name Depeche Mode, but Neutral Lies didn't have exactly that goal, because their music is more influenced by electronic new wave (check tracks like"Nostalgia" and "Slough of despond") and a bit of 80's e.b.m. (on the label's note you can read the name of Absolute Body Control). With intimate lyrics that cover the high and lows of human soul (mostly the second ones), Neutral Lies added to an analogue synthetic sound, a vocal style in balance from melody and detachment that sometimes didn't convince me fully even if with different listening you get used to that and you start to enjoy the cool sounds they use.