• Kiss is Kill - Imposter Syndrome debut album industrial rock

    30 Dec 2014, 14:01 by fabrykamagazine

    Kiss Is Kill is the solo project of producer James Chapple (Triptaka). Heavy riffs, phat beats, and searing synths dominate Kiss Is Kill's sound, with a layer of aggressive vocals to complete the picture. Their debut Imposter Syndrome album was released in the end of 2014 and includes a few guest appearances as well as a cover of Killing Joke's "Communion" track.
    You can buy either the CD album (via CD Baby) or a digital download on Bandcamp.


    Tags: , , , , Victory Pill, Be My Enemy, Killing Joke
  • Cybertoyz - Undo.Exit 2014 metal electronic album review

    26 Jun 2014, 14:26 by fabrykamagazine

    Cybertoyz - Undo.Exit |self-released, 2014| 5/5 metal electronic

    01. Enter: A Fistful Of Dust, 02. Absolutely Identifiable, 03. Battery Operated pt 1, 04. i:Romance, 05. Bleed Your God, 06. Battery Operated pt 2, 07. Survival Type, 08. The Dead Drive Fast, 09. Heavenly, 10. Exit: A Handful Of Stars

    Cybertoyz is the solo project of Zyggie (Alexander Korpusov; guitars, programming, sampling) - a guitar player armed with his favourite Framus Diablo 7-string and Ibanez JS1000 guitars. Undo.Exit is the sophomore release of the Moscow-based project founded in 2004, coming 8 years after the debut Chaos Theory album.

    The newest album brings a mix of two main sound themes - guitar driven and electronica, matched together successfully so far. As Zyggie admits, he managed to incorporate catchy riffs on odd chord progressions and Satriani-like legato shredding into industrial and electro tunes. He was inspired by highly influential rock artists such as Led Zeppelin, Rush, Steve Vai, Buckethead and Jeff Beck as well as electronic acts: Aphex Twin, The Young Gods, Nine Inch Nails, Gravity Kills, Switchkicker/MM9, Pitchshifter and Die Krupps.

    The technique called 'shredding' is quite important for the majority of metal guitarists - either for their own finger training, best guitarist contests or just showing off. It is always entertaining to watch or listen to, but when included in several songs on an album, it must be well arranged and mixed to avoid sticking out. Undo.Exit is an example of production done right.
    You'll have a taste of shredding in the very first track, "Enter: A Fistful Of Dust", which would suit an action video game perfectly. In fact, it reminds me of a theme from Quake III. However, aside of the guitar soloing, there are electro synths and a symphonic female voice in the background. The composition is pretty short but rhythmic with somewhat an epic motif.

    The following track, "Absolutely Identifiable" begins with a high-pitched looped guitar riff, later altered by a small spattering of electronica. The mix grows potent when dense drums and bass join in next. The guitar returns with a memorable, spiritual solo further along the track. The arrangements change quite often in this purely instrumental track, and probably only the rhythm remains solid throughout.

    If you're craving modern electronic music, listen to "Battery Operated pt 1". It is not deprived of guitars, reminiscent of how Robert Fripp (King Crimson) uses his instrument quite often. Think of spirals drawn with high-pitched sounds and expressed with the entire scale. There are also a contrasting groovy bass and fundamental drums in the background so in all, there's some good fodder for your ears.

    The moods on this album do come in different shades, but they don’t change too often. You can already sense differences in the song titles, e.g. "Battery Operated pt 1" sounds technical and sophisticated when compared to "i:Romance" which brings the style of the 80s rock songs through a warm and melodic vibe. There are upbeat dynamics and classical guitar solos that go well with tiny electronic add-ons. Balance in the track has a strong focus, certainly helping listeners keep a healthy, steady heartbeat. If this track is about a romance, it's about a spirit-opening experience.

    After that you get exotic, nostalgic, stretched and singular tone guitar passages wrapped around a rather cold and 'windy' composition. "Bleed Your God" sounds like typical Middle East music but performed on an electronic guitar instead of traditional Eastern instruments. It is a very short instrumental track, that might as well have been used as the intro to the album. Here, it gives you a breather before you dive into the complex arrangements written for "Battery Operated pt 2".
    This composition, built upon improvisation and performed on guitars, drums and bass is even shorter than the previous track, so you won't get too deep into musical confusion. Think that you've just jumped into a malfunctioning electronic device, where some lines of code are still working well, but others loop like a damaged vinyl record.

    "Survival Type" begins with a KMFDM-like electronic passage, but then turns into a prog-rock or even a prog-metal composition, thanks to dualistic guitars vs synths arrangements. There are symphonic metal elements smuggled in as well, with an additional dose of beat-driven electronica, which fits in very well. The guitars seem to have an argument with the bass regarding leadership. Both however, stitch interesting arrangements individually as well as together, so they do complement each other like lovers in a passionate relationship.

    "The Dead Drive Fast" brings a bit of an iconic Depeche Mode-esque motif but then falls into rock'n'blues & rock'n'roll. Not entirely though, if you recall the main goal of the album - to reconcile guitar driven arrangements with modern electronic music. There are far more variegated influences coming from different genres (metal as well!), thus only you can decide if Ziggy succeeded.

    Linking tracks within an album to make changes in the tracklist smooth is a good move - check out how "The Dead Drive Fast" slides into "Heavenly". The latter is a rock ballad, but you should forget about nostalgic boredom you may find in trendy songs by Chris Isaak, for example. You'll find a bit more of Clapton's guitar mastery instead, but still altered with clean, chillout electronica in some spots.

    All this leads us unto the final track, "Exit: A Handful Of Stars". A sad (but not melancholic) mood permeates this song. Female background vocals appear rarely, just enough to give the track a slightly heroic feel. This instrumental ending of the album should leave listeners in contemplation.

    All compositions on Undo.Exit flow smoothly, instead of possibly interrupting each other when groovy electronica extends what guitars only kick off. This speaks perfectly for Zyggie's expert songwriting - after all he studied jazz theory in a college, but also spent around 15 years on self-mastering his guitar techniques.

    The guest musicians on this album are: Anna Lyapina (vocals), Sergey Timofeyev (bass), Alexander Karpukhin (drums), Dmitry Oslyakov (drums) and Ruslan Dzhigkaity (drums).

    It's also worth adding that mastering and production are very well done (by Nickolay Vengrzhanovich at Light Temple Records, Moscow, Russia). Both styles of music that meet on this album need a different mastering approach, and it turned out successful on Cybertoyz' Undo.Exit. Neither guitars nor electronica take up all the bandwidth.

    The excellent, cyber-punkesque blue cover artwork was designed by Eugene "Jonny" Postebaylo and looking at it while listening to the music feels just right.

    Watch out for Cybertoyz in your area - they do play live gigs. Zyggie also had an endorsement contract with Framus/Warwick and AMT Electronics between 2009-2010. You should not miss this release if you're looking for innovative guitar driven compositions.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, June 23rd, 2014. Proofreading: Mike 'Vesper' Dziewoński)
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  • Spookshow inc. - random songs review electronic rock

    28 May 2014, 10:20 by fabrykamagazine

    Spookshow inc. - random songs review |self-released, Visions of The Blinded World (pt. 1), 2013| 5/5 electronic industrial rock

    Scary Dream, Falling Down pt. 2, Cyberage

    Born and raised in Lithuania but making music in UK and , Lucky Spook (guitar, programming, songwriting and production) released the Visions of The Blinded World (pt. 1) album in late 2013, even though the majority of the material on the album was written 10 years ago. His inspirations come from a diverse host of bands such as Pink Floyd, Paradise Lost, Rob Zombie, KMFDM, Skinny Puppy and Nine Inch Nails mixed with modern beats made famous by Prodigy or Chemical Brothers. He can still recall that Pink Floyd and KISS were on the list of dangerous and unwanted Western culture products, as he found out at school in his Soviet homeland back then. Motivated to rebel and equipped with a guitar, he began playing with fire soon after.
    The album is available as a digital download and a limited edition CD with the same 10 songs available through both channels. This review covers only three of them.

    "Scary Dream" is one of the opening tracks and refers to a phenomena of dreaming, its symbolism and hidden meanings. In the lyrics, the author speaks of an oniric encounter with animals such as snakes, unicorns, and dogs. These stand for either the author's or the society's primitive instincts related to magic, which he needs to face himself.
    As for the music, it is a rhythmic track. Because the lyrics are relatively short, the leitmotif is rooted rather in the repetitive instrumental parts than vocals. The leading guitar riff is altered, looped and mixed with tunes typical of Prodigy or Sonic Mayhem songs. Arrangements are wisely thought out and include a fair share of dynamics but also silent spots. "Scary Dream" sounds suitable for an action video game.

    "Falling Down Pt. 2" is a slightly darker track, where guitar riffs are mixed with electronica and sampling. The screamed vocals have a touch of added processing, as much as you would spot in an average coldwave track. In addition, they are mixed with a variety of well-matched sounds, which place them in a lively surrounding. It's a highly memorable track thanks to the rhythm, repetitions, female whispers, and the high-pitched guitar leitmotif. If you like White Zombie or Rob Zombie's solo work, this may be your favorite song of the three.
    The track is short just like its dark lyrics are. They seem to relate to OBE (out of body experiences) that take place when a dreamer or someone meditating feel their spirit leave their physical body and traverse through space. In this case, the dreamer seems to be a fan of an access-all-areas with evil intent.

    Finally, "Cyberage" speaks of a person born in an age of no peace, only fear and hatred leading to war and isolation. But there's the Internet, a cybernetic child that almost everybody adopted and got addicted to through video games, dating, trolling, gathering information or stealing copyrighted materials. Moreover, the fear of privacy abuse keeps haunting about, even though a lot of people leave open traces of their own on-line activities.
    Sonically, the song resembles Prodigy with its single high-pitched guitar riff, but also KMFDM or Sister Machine Gun thanks to the minimally exposed, whispered or processed vocals. There's a nice groovy line based on beats placed between the lower and higher end of the spectrum. Both the beginning and the end of the track sound very intriguing and pleasantly attractive. The track could be a great way of getting the listeners interested in hearing more from Spookshow inc.

    These are songs of high quality in terms of mastering and production - an additional advantage aside of their dynamic musical themes. It's also worth mentioning that Lucky Spook along with his friend Soltex and additionally hired musicians supported The Legendary Pink Dots live in 2005.
    Hopefully, you'll check out the remaining 7 songs on Visions of The Blinded World (pt. 1) and will look forward to the release date news for the 2nd part of this album.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine,, May 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
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  • Victoria Love - Yours For The Taking rock electronic 2014 review

    24 Apr 2014, 20:56 by fabrykamagazine

    Victoria Love - Yours For The Taking (song review) |Elle Indie Records, Ataraxis, 2014| 5/5 rock electronic

    Victoria Love is undoubtedly 100% certified Texan, not only thanks to the singer/song writer Monique Jamail's rebellious looks, but most importantly her half raspy, half sad voice.

    "Yours for the Taking" is characterized by a mix of both organic-symphonic and industrial sounds. The former represented by the cello, viola or oud, while the latter introduces programming and samplers. The song begins with a cello but then an industrial set creates a surprising, yet matching contrast to the opening arrangement. The two continue crossing each other throughout the entire song with a viola, bass and guitars joining them next. The bass is quite dominating - not only giving the song a rhythm but also a dark tone. The composition is well thought out and written, leaving a balanced space for both instrumental and lyrical parts.

    As mentioned, Monique's raspy voice is very memorable thanks to its interesting timbre. The vocals sound sweet yet aggressive at times. It's seems like she could sing you a whole story a capella, and you'd still be affected by the impact of underlying emotion.
    The open, easily understandable lyrics complete the music extremely well: "I spent most of my life afraid of myself / My thoughts, my actions, my temper, my hell / Behind my door hides every emotion I’ve ever felt / I never really talk yet have so many stories to tell".

    Apart from Monique Jamail (acoustic guitar, vocals), "Yours For The Taking" features guest musicians such as Ivan de Prume (drums; ex-White Zombie), Marc 'Frap' Frappier (bass; ex-Circus of Power, ex-Skrew), Roberto Paolo Riggio (Atash; violins, oud), James 'Roz' Rosnack (drums, programming, electric guitar, synths) and Jen Mulhern on cello.

    In addition, the song is supported by a high quality video single. It tells the story of a sensual relationship between two adult women and the revenge taken after the discovery of a third party joining a seemingly committed union. All the transforming feelings and behaviors relating betrayal are portrayed in vivid imagery - tears, questioning, depression, sorrow, anger, blame and despair. Apparently, there's some karma to be worked out and lessons to be learnt for one's spiritual development. The bitter find leads Victoria deeper into inner self analysis, and consequently the discovery of issues such as holding things back and unbalancing the proportions of giving and receiving. Nevertheless, the video reveals a quick fix for the unexpected problem, which results in a murder driven by wounded feelings, just like in a psychological thriller or drama. Monique, who plays the role of the betrayed woman seems to be a good actress, with very expressive eyes.

    Finally, it should be noted that a different version of "Yours For The Taking" was released on Monique’s Just Breathe EP in 2011. The new master version reviewed here and present on Ataraxis, features Ivan de Prume on drums. Also, according to Victoria Love, the drums are produced better this time. The third, acoustic version was published by Victoria Love's own Elle Indie Records label. This track is also featured in the movie White Rabbit and a few compilations. The pre-sale of Ataraxis will begin in the Fall of 2014 and the album will be out this winter.

    Victoria Love actively discovers and supports women in music by releasing compilations and organising a music festival. Make sure you'll visit her official website and support this artist by buying her music as well.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 24th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
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  • Gender in Metal Week: Is Metal a Masculine Genre?

    29 Jan 2014, 14:39 by miotailtmilidh

    This will literally take a minute to head on over to and tick a box. You can also leave feedback if you wish!
  • 22HERTZ - Detonate 2013 industrial rock like NIN

    4 Oct 2013, 13:52 by fabrykamagazine

    22HERTZ - Detonate |self-released, 2013| 5/5

    1. Give Me A Sign, 2. Access Denied, 3. Into This, 4. Is This Real, 5. The Signal In The Noise, 6. Getting Through, 7. Darker Shades Of Black, 8. Everything, 9. Detonate

    If you found the last few Nine Inch Nails albums disappointing or think that waiting for the newest release of Gravity Kills takes too long, Detonate by 22HERTZ is what will steal your attention whether you dig music or not.

    22Hertz is a solo project of Ralf Muller, who founded the band in Toronto, Canada in 2011. The debut album released two years later brings a cloud of distorted guitar riffs, gentle piano add-ons, slightly distorted but melodic vocals, brooding yet not depressive moods and tension - all wrapped into a high quality production.

    The opening song 'Give Me a Sign' sounds memorable thanks to its hooky choruses and quite simple arrangements, broken up with intriguing sampling and a variety of guitar riffs buzzing in the background. There's surely much more going on here than words could describe, but you'll discover all the gems once you listen to the song.

    'Access Denied' is based on a set of noisy guitars, low tuned bass, little exposed drums and almost 90s synths making a good background layer for nihilistic, 'lazy' kind of vocals. The song arrangements may sound basic, but there’s a variety of matching NIN-like samples on top of them, to break through its simplicity.

    Now, we're rolling to my favourite track called 'Into This', with its haunting, yet provocative atmosphere. It always sounds better when the song is not overloaded with vocals and the instrumental part is well developed, as it keeps the song safe from falling into the pop genre. Tension, memorable repetitions and a trance-like rhythm are what may make you like the song. There are also gradated rock guitar riffs, pulsing synth effects and great vocals matching the balanced arrangements very well. The riffs, vocals and tempting whispers come in all the right spots. Still, some of the arrangements appear only once, making the song stimulating.

    'Is This Real' may be related to what we've heard on both Gravity Kills and Nine Inch Nails albums so far. The song brings edgy and quick guitar riffs along with gentle piano chords. The latter produce brighter accents over heavier themes, while the overall tempo remains moderate. Furthermore, seductive whispers, later replaced with shouts, keep coming back with a catchy (if sinister) line: 'If I can't have you, nobody can'.

    The next track is fully instrumental. A cinematic dark atmosphere arranged with synths, a sound of ocean waves and other extended tunes make up for an oneiric mood. The part near the end opens up for two repetitive, collaborating and merging signals, enriched with isolated piano chords. It's a brilliant track that should leave listeners in a state of reverie. 'The Signal in the Noise' should be definitely utilized in an ambitious short movie.

    'Getting Through' brings themes which old-school NIN fans should find most attractive. The connection to Pretty Hate Machine is quite recognizable, with the track’s simple arrangements built upon a low tuned synth, distorted vocals, slightly syncopated drums mixed with varying beats and alternating whispers and shouts for vocals. Regardless of the obvious musical heritage, the sampling sounds fresh thanks to a pulsating bass line that bubbles so deep you can imagine its sphericity.

    'Darker Shades of Black' sounds haunting with its instrumental intro recalling what Trent Reznor and Adrian Belew did on The Fragile album. The composition is thought out very well. While the tempo remains solid, contrasts occur. They come out from dominating, possessive themes arranged for bass as well as samplers and brighter motifs (thanks to stretched guitar riffs). Both easily grab a listener's attention.

    'Everything' begins with a simple, rhythmic drum beat enriched with vocals. References to Nine Inch Nails music are quite clear here, thanks to distorted guitars and repetitive arrangements. Moreover, short moments of silence are mixed with a bit of a piano, enforcing a dark atmosphere.

    'Detonate', the last track is divided between moderately melodic verses and aggressive, purely industrial rock choruses. The song may have been inspired by Gravity Kills music, since it involves similarly sounding guitar riffs as well as sampling. Ralf knows how to create and develop tension in music very well. There's an instrumental bridge after a pure guitar fueled drive which puts a new theme into the composition, yet perfectly fits all other arrangements.

    To sum up, most of these songs have quite the potential to be genre hits. Not only does Detonate offer high quality production but also catchy and dark themes, edgy guitar riffage and industrial distortions. The vocals, drums and sampling are accented in the majority of compositions, while instruments such as guitars, piano and bass have been used to enrich the arrangements. The album is very memorable and perfectly represents industrial rock.
    If you like trying out new things, you can buy Detonate for a few s - the revolutionary new virtual currency (more standard currencies are accepted as well). A note to the buyers: the CD version contains a bonus track entitled 'White Dove', not present in the digital download.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, October 3rd, 2013. Proofreading: Mike 'Vesper' Dziewoński)
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  • Zeistencroix - Stranger review electronic 2013

    9 Sep 2013, 20:04 by fabrykamagazine

    Zeistencroix - Stranger (song review) |self-released, Stranger, 2013| 5/5

    When you have a band with an original name, chances are you'll be noticed. Some may break their tongues trying to pronounce Zeistencroix (seemingly referring to German, Dutch or French). However, it's great to be visible in the world of the Internet ruled by search engines where algorithms decide about a brand’s 'to be or not to be'.

    Zeistencroix is an American band founded by singer and guitar player Orlando Draven along with a guitarist Jack Akopan in Los Angeles, CA in 2011. Basically speaking, the duo combine their skills into a mixture of tunes full of catchy electronica and soft guitar riffs.
    Without a shadow of doubt, "Stranger" has major potential for an everlasting hit. If you're looking for an awesome single for your radio, podcast or TV channel, don't look any further. "Stranger" is a winner thanks to smooth arrangements, memorable and danceable melodies, a Depeche Mode-like romantic softness and an feel. It's mostly an electronic song, but there's also a swift guitar riff taking the melody even higher and touching both the ears and souls of the listeners. The riff - a truly uplifting - appears in the most desired spot of the composition.

    The song’s length is ideal for radio-play. Less than 4 minutes of enchanting rhythms makes you want to play it over and over again. Of course, anything repeated too often will become less interesting. Until then, you'll probably spin the song a few more times as well as share the news about the band with your friends.

    On the technical level, the song mixing, mastering and overall production are very well done. What's usually very important in any composition - the volume of the vocals - sounds just perfect; the drum beats don't sound too pushy and background synths don't steal the melody, either. All arrangements are brilliantly put in the right places and every instrument as well as each hook can be clearly heard.

    Aside from powerful music, "Stranger" delivers a message of desire. The lyrics speak about a casual romance, a night spent with a stranger in an apartment. The narrator’s sex is not specified, though. There's such a genre as '', and you can easily fit ‘Stranger’ into that group thanks to lines such as: "Come now let's burn the flame, feel the desire, lose yourself, release the fire of your skin, unleash your lust consume the sin" which are skillfully aligned with the track’s sensual atmosphere. In addition, lyrical rhymes match the song’s rhythm very well.
    So, are you interested? You need to know more? The latest news is that Zeistencroix have been working on an album called Stranger during the last few weeks. You can track their updates about its progress on both the band’s Facebook profile and their official website.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, September 8th, 2013. Proofreading: Mike 'Vesper' Dziewoński)
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  • Evestus - No God EP electronic electro industrial 2012 review

    5 Feb 2013, 13:21 by fabrykamagazine

    Evestus - No God EP |Self-released, 2012| 4/5

    01. Dirty [02:56]
    02. Voices [03:56]
    03. The Fall [04:27]
    04. No God [04:21]
    05. Sleep Forever [03:46]

    Evestus is an Estonian band founded in 2004 by Ott Evestus. Initially a solo project, Evestus has turned into a four-piece band featuring Latvian drummer girl Tanya, guitarist Jan and HK playing bass and keyboards. No God is the fifth studio release from Evestus and includes five brand new songs.

    The opening track titled "Dirty" begins with a synth usually heard in Electro music styles. Slightly distorted bass, drums and lead guitars follow. Additional layers of noise make Evestus sound more Industrial. The vocals, when performed in the same heavy-duty manner, match the arrangements well. The lyrics are dark and sound very imaginative: "To see the smiles on your dirty little mouths while you're crawling all over me - an army of bugs" and thus, they bring up an idea of an artistic video as well.

    "Voices" could be bracketed in the genre as a result of the synth, which accents throughout the entire composition. The band smuggled guitars into the track as well, giving it an edgy tone. These however, are covered with a dense and jumping layer of electronic beats. The song has been illustrated with a high quality video production, which includes various different camera perspectives cut together in a fast paced and interesting montage. To give you a little glimpse - the plot begins with a group of young yuppies, along with some desirable goth/ women partying together. A mysterious man sprays gas into their room in order to break in and steal a suitcase. Be sure to visit the Evestus YouTube channel to discover more about this video.

    The third song on the album, "The Fall" brings in a Breakbeat-Electronica sound in the vein of The Prodigy, The Crystal Method and Propellerheads. If you listen closely, you will hear symphonic sounds that conjure up violins. On the other hand, there's Big-Beat spiced up with a lot noisy FX that may make this song pleasant for less rock-orientated listeners. There are many instrumental movements in "The Fall" but Ott left room for the vocals, which come in shouted and distorted. It seems also that a soundtrack compilation CD would be a good idea for a better exposure of this track.

    "No God" is reminiscent of Marilyn Manson’s music and is presented with psychedelic synth, grooving bass, dirty guitar riffs and haunting vocals. Yet, the song’s mood is mixed. Initially there's melancholy, created by the sound of the piano that opens the song, but you'll also experience many dynamics performed on bass and punk-esque drums. Anger strikes within the choruses as the vocalist contests the existence of a deity, arguing that no god has protected the human race against tragedies: "There is no god. For every miracle you witness my friend there's a disaster and there will never be an end to our fears and our dreams and the hope that they feed so you believe someone else will pick you up from your knees" and “I'm lost but my madness will lead me to the answers I need to know, not to believe in".

    The final song on the album could be a perfect soundtrack for a big budget movie, however Evestus have already illustrated this track with a meaningful video in a black & white production style. "Sleep Forever" begins with a subtle piano joined by cold background samples, synth and broken drum beats. This quite innocent mood continues for almost 3 minutes until it dramatically changes. Nostalgic atmosphere turns into a fast ride with rhythmic drumbeats, pitched up synth and yelled vocals.

    On a side note, the lyrics of "Sleep Forever" may refer to , a behavior resulting from avoiding problems and the reality of living a struggled day-to-day existence. An individual who becomes frustrated with too many overwhelming issues, locks himself in an alternative world built upon either activity or the opposite, passivity. In this case, the lyrics dwell on escaping into sleep - either into an everlasting dream world or more presumably, a suicide: "I don't want to wake up ever, I just want to sleep forever, let me leave this cold and clever world - don't want to be here".

    Any day can be a good day to launch a new music release. Nonetheless, Evestus did it on 12/21/2012 - the fearful date on the supposed to mark 'the end of the world', and frequently brought up by the media last year. Happily, not only have we survived but we’ve also received an interesting new EP.

    No God is available from most of major digital distributors and also as a digi-pack CD, limited to only 300 numbered copies. It's also worth mentioning that Evestus is going to release a new album in 2013 which may be followed by a series of music video singles next.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 4th, 2013)
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  • Insomniaddict - Farewell (electro mix) 2012 hit feat. Chris Poland Megadeth Danny…

    26 Dec 2012, 17:13 by fabrykamagazine

    Insomniaddict - Farewell (electro mix) (song review) |self-released, single, 2012| 5/5

    "Farewell" is a track for those who crave bouncy, oontzy electronica songs with hit potential to heat up the dancefloors, make girls in leather and PVC drown into a passionate kiss and cause heavy booted rivetheads to swing to a phat beat! However, not only should electronic music addicts dig this song, but also fans of pure metal. Huh? Indeed, Chris Poland (ex-Megadeth, Circle Jerks) had a guest appearance performing on guitar to give "Farewell" a fiery rock spin in the middle segments of the track during the choruses of the song.

    Insomniaddict is the solo project of Ian Garner, a certified sound engineer (L.A. Recording School) who has been in different bands since he was 15. He has also been inspired by different, although consistently dynamic genres such as electronica, EBM, metal, grunge and punk. Bands of his interest include Megadeth, but also Depeche Mode, so this may be the reason why the overall sound of "Farewell" is so catchy. Ian fused some of the techniques from these influences into the arrangement of the track, which speaks of a person who got tired of making improper decisions and dealing with his own demons.

    A jumping beat opens "Farewell" along with almost robotic vocals. The verses were sung by Ian while the choruses were performed by Danny Craig of the band Killing California. Danny's voice sounds edgy, however some harsh effects were utilized to additionally filter the vocals which then bring a more or less dehumanized characteristic of resonance that is quite fitting for industrial style music.

    Silky, sparkling synths join next in the mix until raving and raging choruses tear the main theme into pieces. This is the moment of the song best recommended for putting away any sharp objects as you may start to headbang, skip around and slamdance. Guitar tracks by Chris Poland come in at the perfect spot to pierce the listener with high-energy, shimmering riffs which sound as though they are crying, elevating and twirling like a sinister ballet dancer in the limelight of applause. This is followed by a light piano motif as well as a subtle rhythm until the driving beat returns soon after. Once again the power of samplers dominate the track to finish it with a single, yet not exaggerated accord.

    Overall, the song "Farewell" as written, arranged and produced by Ian Garner and co-produced/mixed by Keny Palmer sounds very dynamic with amazing energy while emulating calls for taking action. This track sounds predatory while remaining harmonious due to its addictive vibe that may make you feel insatiable after the first time you listen to it before you return for more. Having said that, the song is sure to make your body twist with expressive contortions of diabolical style.

    "Farewell" is currently available to download as a single. It should also be mentioned that a different version of the song will be included on an upcoming full length album from Insomniaddict that still remains untitled.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 22nd, 2012. Proofreading: Scott M. Owens)
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  • Free legal downloads - come get some - indie industrial rock & industrial metal

    4 Dec 2012, 10:48 by fabrykamagazine

    All these downloads are totally legal because files are given away by the bands themselves! There are EPs and full albums.
    Links go to Fabryka Magazine where you will be redirected to band pages where they store the files (we don't host any) = official websites, SoundCloud, Google Drive, zips) or you can keep browsing for other albums not mentioned in this post (but also legal!).
    Support the bands, support the magazine!


    Fabryka Music Magazine

    Evilminded - "Lady Cadaver" EP (2012)
    The Ugly Facade - "Sinking Anthems" (2012) industrial,
    File Transfer Protocol - "The Gargoyle Studio Sessions" (2012)
    The Sequence of Prime "Virion", "Inter-" (download for free or buy, band allows for both)
    Maximum Sexy Pigeon - "Unfit For Human Consumption" industrial metal
    Download at

    Dead Animal Assembly Plant "All My Heroes Are Dead" (2012) industrial, electro
    Promonium Jesters - "EP2010", "Your Face", "Time and Place", "Psychic Warfare" (download for free or buy, band allows for both) - industrial, experimental
    Transdusk - "Transdusk" industrial
    Download at: