PSYCHE-"Babylon Deluxe" Recalling a ChainDLK.net interview I did with these guys a while back, I recalled they mentioned the theme for this then upcoming CD being based around modern day sexuality and it’s influence by the internet. Then listening to the CD, it’s pretty obvious though not entirely so on the surface, influenced by how people act once they are connected to the internet and it’s rather seedy underbelly. To think of it, it’s kind of brought back to mind how people act completely different once the allure of internet recognition comes about, sometimes in the guise of porn, sometimes in more subtle yet profound ways like how some people tend to get overly narcissistic (most are those people are obviously withdrawn who act like that) on places like Live Journal (not to insult the LJ users out there, of course, but you know these people). For the music, the music is tried and true Psyche, complete with their looming yet melodic dark synthpop patterns. Since the introduction of keyboardist Remi to the group a few years back, the sound has become more and more modern, adding up tempo dance beats and brilliant synth lines to the tune of Darrin Huss’ ala Soft Cell ?white boy soul’ vocals, which make for a very interesting clash of old and new influences. Some of my favorites from the CD are "X-Rated" (very Kraftwerkian on the chorus line), "Gods And Monsters" (a rather club friendly tune without getting all 4/4), and "Snow Garden" (the best track on the CD and some incredible sequencing). This is a great little Cd for those interested in the more intellectual side of electronic pop, as well the band in general is good for that effect. A brilliant mix of the old and new, both for Psyche and their influences as a whole. And one of the more innovative synthpop acts out there. Rating: 10.

With a sea of Depeche Mode knockoffs out there in Europe (i.e. Camouflage) and even some in America and abroad, it’s rare to see a Depeche Mode influenced group who just keeps it at an influence level while adding their own elements to the mix. Rammstein was one of those groups, as is Wolfsheim and And One. But this group takes the synth-driven beauty of that Depeche Mode influence and makes it barely unrecognizable, making something completely their own, something smooth and uncannily perfect in melody. Think of Depeche Mode circa "Violator" meets the laid back electro grooves of Lowy/Javelin’s "Broken Surface". In other words, a very laid back and atmospheric version of electropop and synthpop made more to touch the heart than it’s made for getting you out on the dancefloor, which is very rare in synthpop in general, and something I’m more than happy to see. Wolfsheim tends to walk that line, but I say Common Dream does it much better (though I do like Wolfsheim a lot, don’t get me wrong), not giving into the let’s-make-a-perfect-melody-and-slap-some-baby-hurt-me-lyrics-on routine that Wolfsheim tends to fall into at times.........."Introvert" opens up the CD, with a bright synth ambience ala Cleen’s "Second Path", laying the way for one of the masterpieces of this CD, "Save Me". This has a very skilled, very minimal and controlled percussion line aiding the whispering synth lines and the smooth vocals of Konrad Niedojadyo (they are from Poland, you can tell!), whose calm style of singing is never overpowering, very simple and sticking down to basics. He may not have the octaves of Deine Lakaien, but he has more than enough emotion in the vocals that can shine through much more than a lot of people who have high octaves and no emotion behind it. "First And Last" comes in with another very laid back, almost classical, atmosphere, again with Konrad’s charming and charismatic vocals pushing to the forefront. The bass beat is very subtle, akin to some of Haujobb’s use of bass beats on "Ninety-Nine", leading into a near-mid-tempo chorus, which also leads into a very intricate guitar section reminiscent of The Cure’s style of calm riffing. Another masterpiece of the CD is the smooth, mature and detailed "Pass It Over", in which a little of the Depeche Mode influence can be seen, but not overly so by any means. I love the switch they make between the slower parts and the more mid-tempo parts (the CD almost never steps above mid-tempo, nor does it need to), which shows an incredible mark of maturity in their song composition, especially considering this is their first CD. Even some of my hardcore industrial elitist friends have gotten into their sound, which is remarkable to say the least. This CD is in my mind utterly perfect and a great gem in the overflowing field of synthpop, standing out where a lot of bands prefer to moan and groan the same old love songs with two synth keys. I consider this a total perfection in music, period! It’s amazing how this young group may well make a lot of the older people in the synthpop scene sit up and start taking notes, there is a lot that any musician can learn from this passionate group. I rarely say this about a synthpop CD, but this is one of my ultimate pleasures in hearing, and I definitely look forward to seeing how this band matures even more and surpasses the imitators that are sure to follow. Rating: 10.

When people think of Portugal, they generally tend to think of the old Portuguese empire and port wine. But when you ask most anyone in the Portuguese, goth, industrial, or metal scenes what they think of when they think Portugal these days and this will most likely be their response. Being one of the first to bridge the bridge between gothic, electronic dance (as displayed on "Sin Pecado") and dark metal, they still play it as one of the very finest. Add to that a distinctive and proud showing of their home country (Portugal, of course), mysticism derived from sources as disparate as Lusitanian mysticism to Paganism, and a very dark and strangely logical view on the world, and you also have one that is extremely unique and inimitable. This CD pushes the bar up several notches on the artistic meter, incorporating a collaboration with famed Portuguese author Jose Luis Peixoto for the novel "Antidote", which is featured in great detail on the CD, as well as a very high grade video for "Everything Invaded", which has some very good nature visuals as well as a good bit of gore and horror. Unto the sound of the CD.................. The slowness of releases such as "Wolfheart" and "Darkness And Hope" is traded in for a more furious combination of blistering goth-metal patterns mixed with softer more subtle acoustic tones, dancey and rhythmic drum patterns (especially on the song "From Lowering Skies") modeled after Portuguese tribal drumming and Mediterranean elements, atmospheric and unsettling keyboards (a little less to the forefront than "Wolfheart", where they played as much as the guitars), lingering and patient bass, and the Carl McCoy meets Andrew Eldrich (with a very thick Portuguese accent) vocals of Fernando Ribeiro. As in other words, it’s a melting pot of multiple diverse elements that I don’t think anyone else has dared to attempt so far. Think of Fields Of The Nephilim with a bit more of a metal edge, a bit of Paradise Lost, a bit of Madredeus gone insane, a bit of Das Ich, and a twisted version of DeSade wit, but that would only be a start to what his group sounds like. My favorite songs on here would have to be "From Lowering Skies", which has one of the danciest natural drum lines this side of anything "Roots" era Sepultura ever put out (if only half of the electronic groups could start making drum patterns like this!), and "In And Above Man", which is pretty much an ode to Nietschian style power and will (or at least to me). Another superb effort from Portugal’s finest, and one of it’s most challenging (I love how metal elitists hate these guys for their experimentation) to date, as if they could get any more eccentric in their formula. They may have broke the way for bands like Type O Negative and Opeth into fame and success, but I think these guys are more than content with hometown glory and the opportunity to say "fuck you" to those who say that goth, metal, and experimentation are exclusive to themselves. Rating: 10.

Take a little it of Depeche Mode, cross it over with latter period Evil’s Toy, and some (though not as many as in the past) And One-isms, and Melotron is the result. One of the more original and best modern Depeche Mode influenced groups to come out in a while, they have a very high energy sound that tends to walk the lines between EBM, synthpop, and electro, while being all and none at once. The vocals this time seem more charismatic than some of the past releases, trading in the monotone talk-singing for a more dynamic range and more experimentation with octaves. But overall this should be pretty familiar to the long time Melotron fans like me (Woohoo! Melotron without the stigma of import prices!!! First Das Ichm now this, bless you Metropolis! Haha) who’ve seen some of their past releases. This one does seem to have more of an emotional edge to it though, and the experimentation has been kicked up a bit..... I got the chance to see and meet them a few months ago here in Chicago, they put on a very energetic show that everyone in the audience says topped even the almighty Covenant. Trust me, there were a lot more American fans by the end of the night! The singer gets totally into the music, dancing and prancing around with a charisma I haven’t seen in a live show since Bella Morte or Porcupine Tree, and the energy grabs you no matter how far back in the audience you are. Plus the keyboardist I talked to is a very nice guy, quite humorous. In short, if you get a chance to see them live, give up the Depeche Mode tickets as your one synthpop show of the year and check these guys out, I guarantee you’ll end up leaving a fan, whether you like synthpop or not. Along with Pulcher Femina and the aforementioned And One, this is one of my favorite modern synthpop groups. It definitely has an energy that a lot of modern synthpop simply cannot touch or comprehend, as well as more complexity. Rating: 10.

Well, what can you really say when you’ve grown up with these rivet stomping industrial gods? They’ve influenced most of the industrial and EBM bands out there, as well as a lot of the industrial metal explosion, they move forward with their projects at a speed that is mind-boggling, and their mindset about music works like a whole universe of sounds mixing and intermingling (I’m scared to know how many soundfiles these guys have). This is the new song and single for the upcoming CD "Civilization", this is one of the hardest hitting songs they’ve done since "Millennium", considering the latest CDs have dabbled more into the techno and EBM genres. This is more akin to "Caustic Grip", but more of a modern version, involving raw, stomping industrial (yep, we mean OLD SCHOOL industrial to get you stomping!) And more controlled and skilled use of guitars (versus "Millennium", which used one or two power chords) and a lot more layered sound structure this time around. Promising new song for a promising return back to FLA’s hardcore industrial roots. Rating: 10.