Music Reviews

VV.AA.: Terror Night Vol. 2: Sounds of the Dead Future

 Posted by Steve Mecca   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Dec 12 2016
Artist: VV.AA. (@)
Title: Terror Night Vol. 2: Sounds of the Dead Future
Format: 2 x CD (double CD)
Label: Insane Records (@)
Rated: *****
Are you ready for some Aggrotech? I mean, are you ready for A LOT OF AGGROTECH? Well, if not, you'd better move on and read something else because this massive 2 CD compilation from Russian label Insane Records and Terror Night radio show is loaded with it, and 100% exclusive tracks at that. This is the second compilation in the series, the first being Terror Night Vol. 1: Industrial Madness'. Thirty bands from over the world appear here with their maddest synths, harshest vocals and most aggressive beats ever to pummel the dark dancefloor. Okay, well, to be fair not ALL of the bands/tracks are in this style-
there are a few less-agressive, non-distoro vocal acts, and that might not be such a good selling point for Aggrotech-heads. A good number of these bands you've probably heard of, and some are undoubtedly going to be new to your experience but that's what compilations are all about eh? Discovering something new. Space and time doesn't permit a critique of every band on the comp, but they all deserved to be named at least, so here they are- Reactor7x, Encono, Hell:Sector, Alien Vampires, 00tz 00tz, PreEmptive Strike 0.1, Angels Of Suicide, Kill The Sleeper, Asdeandare, Larva, Archazard, Psyborg Corp., T3rror 3rror, Schwarzblut, Technolorgy, nolongerhuman, DYM, God Destruction, Bleeding Corp., Reaxion Guerrilla, Viscera Drip, C-Lekktor, Thornsectide, Shadow System, Cygnosic, Benjamin'sPlague, Sleetgrout, Chamaeleon, Okkulta, Vault 113. Seven of these bands ware on 'TNV1' but obviously not with the same tracks. Seventeen of these tracks are remixes or special edits/versions.

Now Aggrotech or Hellectro never used to be my favorite sub-genre of EBM or dark electro, mainly because of the harsh/distorted/raspy vocals. I had a thing for actually understanding what the vocalist was singing. Lately though, I'm finding that I care less and less about the words and and more about the feeling when it comes to this style of music. I also believe there has never been a more appropriate time for Aggrotech, especially in light of recent events. Over all, it's a very good compilation. Still, considering personal tastes, some bands/tracks are going to resonate more with some people than others for various reasons, whether it's creative synthwork, beat danceability, or vocal style. I'm only basing my observations on personal tastes, so what really grabbed me may not be what grabs you. First, let's start with the best stuff on CD1- as expected,

Alien Vampires make a great showing with "Harshlizer" (Disorder Faith Remix), nasty but catchy; 00tz 00tz surprised me with "Ouroboros" (Vocal Terror Mix) as Krysta shows she can hold her own vocally with any other rasper and Nicky channels Velvet Acid Christ in a real dancefloor stomper; Cretan band PreEpmtive Strike 0.1 impress with some fancy keyboard work; really liked Kill The Sleeper's "I Am The Ocean, I Am The Sea" with harsh vocals that weren't difficult to discern and great synthwork to boot; T3rror 3rror's "The God Of Fire" (Terror Night Mix) was a cool change of pace with a neat creative mix, just what the
DJ ordered. Now for the dogs- Dutch band Schwarzblut's "Vogala" is just too weird with vocals that sound like they belong in a cough drop commercial; Technolorgy's "23" (Club Mix) has a good mix but vocals (in German) just sound too synthpoppy. Let's move on to CD2.

Best stuff first again- DYM's moody, but dancefloor friendly "aDeiu" (Terror Night Edition) is something to chew on; Reaxion Guerrilla's "Sacrifice" (Asinaptico Remix) is about as fine dancefloor fodder as you'll ever find; Viscera Drip offers up an equally appealing dark dance tune with "Aggrosex"; Sleetgrout's "I Bought Coffins" (featuring
Cygnosic) (Destructive Noise Remix by Nero Bellum of Psyclon Nine) is just about the most twisted track on this compilation; Chamaeleon's "Suppression" (Hard Balls Remix by [Sin.thetic Squad]) has a huge sound and a really great remix. The two tracks I couldn't get into at all on CD2 were God Destruction's "Redentor" (A.D.R.O.N. Remix), a nasty piece
of business with relentless machine gunning percussion and mental ward harsh raving vocals; and Vault 113's "Ami Go Home" (Original by Ernst Bush) which must have been some sort of joke. It's a European (sung in German) anti-American political song done in the old style but with a pounding beat. It's not the anti-American sentiment I have a problem
with, but this style of music just does not belong on a dark electro compilation, no way, no how.

So there you have it, a mostly pretty damn good comp with a few missteps. Limited to 300 copies, so get yours before they run out.

v01d: Greeted As Liberators

 Posted by Stuart Bruce (@)   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Dec 12 2016
Artist: v01d
Title: Greeted As Liberators
Format: CD + Download
Label: Artoffact
“Greeted As Liberators” is Toronto-based v01d’s second album, after 2009’s “Burnt Upon Re-Entry”. Seven years has been v01d plenty of time to create something accomplished, polished, with very rich production- but potentially over that time, also slightly watered-down.

Though branded as industrial metal, this is an accessible album which respects pop music- think the harder side of Pop Will Eat Itself, Blue Stahli or Celldweller. The vocoded vocal sections on tracks like “All The Rage” are even Hyperbubble-esque. The cinematic flavours of “Veils Will Fall” and “Exit Strategy” could pass as a bit of Tom Halkenborg film score.

“Hoof To The Sky” has all the regular ingredients- heavy guitar loops with attitude and screaming two-note solos- yet you find yourself wondering, “what would happen if he had turned all this up to 10? Because right now it feels like he’s turned it up to 7.” The skills are all there clearly but it feels like the shackles have been left on. This is perhaps most true in the vocals- the arrangements lend themselves to heartfelt screams and full-on throat-wrecking passionate rock vocals, yet vocally it’s often understated, almost polite. “I question your commitment” is a lyric from “Exit Strategy”, and there’s a certain irony in that since that’s the strongest vocal on the album.

The gentler sections of “Abhor A Vacuum” and much of the closing track “The Sun Is Late” drift towards drone and shoegaze sounds, and it would have been equally interesting to hear an extended journey in that direction, but as it stands “Greeted As Liberators” unfortunately feels like it’s not quite enough of any one thing to really stand out.

Master Class: A Kiss is the Beginning of Cannibalism

 Posted by eskaton   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Nov 24 2016
Artist: Master Class (@)
Title: A Kiss is the Beginning of Cannibalism
Format: Tape
Label: Broad Beauty Tapes
Rated: *****
Master Class is a duo consisting of Bert Bergen and Jesse Reiner. Other than that, I know little about this act. The tape comes in a knit sleeve, so I’m expecting some DIY oddness here. Their website proclaims, “Culled from freak-out sensory experiences in California, filtered through the austere assimilatory ethos of New York, Master Class has actualized. Master Class, a new martial ecstasy. A relentless rhythmic pulsing beneath the tectonic plates of melodic discordance undulating to transport initiates into the realm of disciplined bestial otherworldliness. This is Jim Jones guiding the People’s Temple while in an opiate haze. This is Father Yod’s terminal hang glider flight over the decayed monoliths of a forgotten sacred geometry.” After reading this I was expecting something a bit noisier than what I got. I was somewhat surprised when I heard what sounds like old school electro. Imagine Front 242 circa 1986, but with 2016 synths. This is not quite as stripped down as, say, Geography, but still with that feel. The main problem is that it became rather repetitive. The main departure comes at the end of side B with what I am going to describe as “droning and moaning.” I like old school electro. I’m a big fan of Front 242 and love Geography as an album. But this didn’t really do it for me. Perhaps it was just too repetitive for my tastes. But there is potential here.

Sino Re-Build Projects: Ruined Silence

 Posted by eskaton   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Nov 22 2016
Artist: Sino Re-Build Projects (@)
Title: Ruined Silence
Format: CD
Label: re-build records (@)
Rated: *****
This project is the work of Tokyo-based artist Sino, who has been active since 2000. This is my introduction to this project, but the fact that he managed to make it onto one of the Industrial Nation sampler CDs is promising. The artist describes the music this way: “SINO's sounds don't have any lyrics, so they don't contain any messages. Of course, to make a new sound, I have an image in my mind. But I don't expect that you feel as itself. I believe my works are felt freely by each of you.” OK, instrumental music can be quite good, so let’s see how this goes. This album opens up with “Ruin,” a symphonic noise track that starts with a heavy, ominous synth line that gets noisy – not harsh noise wall, but gritty. I was gearing up for a nice slab of harshness when “Blast” kicked in and shifted gears. If you were wondering what happened to 1990’s coldwave music, Sino Re-Build Projects has you covered. If I were a gambling man, I would say that they were pretty big fans of Chemlab and Angst-era KMFDM, with “Null” providing a nice synthesis of the two bands – the guitars are KMFDM, but the attitude is totally Chemlab. The biggest difference though is that this is all instrumental. This works at times, with “Rise” laying down a short track of heavy bass drone reminiscent of Chemlab’s “sutures” and the breakneck percussion and overdriven synth of “04.” Other times the lack of lyrics becomes a liability, as in the case of “02 (Burst Mix [reproduct],” where the pounding drums and crunchy guitars begins to get repetitive. Overall this would be a good album to pick up for fans of old-school coldwave. This album weighs in at around 39 minutes.

Fractional: Tepes

 Posted by Steve Mecca   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Nov 21 2016
Artist: Fractional (@)
Title: Tepes
Format: CD
Label: Raumklang (@)
Rated: *****
Belgian electronic music artist Fractional, aka Pierre Remy, aka Eugenie has been putting out albums since 2004 and 'Tepes' is Fractional's 5th album (not counting the 'Blood Remixes'). Much of Fractional's previous output has been atmospheric electronica with excursions into breakbeat and jungle, some dark, some light, some tracks better than others, but always interesting, and definitely experimental. Fractional's 'Tepes' is more focused on the industrial with a harder edge and razor keen incisiveness. Gone are the breakbeats (for the most part) and noodly synth lines that sometimes appeared in previous compositions. In their place is a pervasive heaviness and doom that shrouds the entire album. I'm not saying this is a bad thing; quite the contrary. The stately staccato, near classical chord progression that open the album on "Tess" give way to an industrial trudge with squalls of synth noise that just steamrolls over you. "Lahle" begins almost as a dark ambient piece which builds into a crushing industrial rhythm with occasional atmospheric breaks. Music for Godzilla to be sure. Title track "Tepes" gives me the impression of what Bill Leeb's Noise Unit could have been if he was more focused on the industrial and less on the ephemeral. Fractional has a way of taking tired old progressions and breathing new life into them on this album; simple in concept but utterly awesome in execution. Another thing Fractional seems to excel at is incorporating weird sample loops such as native chanting and Tarzan yell mixed with hard rhythmic industrial beats as on "Thirsty". Synth sounds are more industrial than Fractional has ever used before, often with plenty of overdrive and distortion. Not to say there is no let up- brutal passages are often juxtaposed with quiet ones for good contrast. My favorite track on the album though has to be "Vampyr" with its old world flavor combined with potent pounding beats and virulent feral rhythm. It is the incorporation of melodramatic antique piano and violin along with odd dialogue snippets that really makes this track crackle. It captures the essence of the vampyr as bestial predator, as opposed to the latter day sparkly romantic Twilight creatures. Immediately following "Vampyr" is an over 9 minute excursion into sub-bass dark ambient, infrequently interrupted by some brief electronic sonic effluvia. No rhythm here and the unwary listener is likely to be lulled into a state of narcolepsy. This is just the uneasy calm before the storm that erupts on "Cestje" pummeling you senseless with all the industrial prowess Fractional can muster. If you thought THAT was heavy, just get a load of "Lod," a track with total overkill in brutal beats and noise. "Vine" continues the electro-industrial assault, and maybe by this time you've had enough. Maybe not. Final track "Field" comes across like hard industrial dubstep with a heavy hand on the mod-wheel, and a little dirgy. It's probably the weakest track on the album. I would have preferred it going out in a blaze of glory. Be that as it may, Fractional gives industrial music fans a lot to chew on with 'Tepes' and all without the support of vocals and lyrics, remaining engaging throughout.

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