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  • Sekten7 - I Will Be Light (2015) review industrial metal

    5 Mar 2015, 20:15 by fabrykamagazine

    Sekten7 - I Will Be Light (2015 version) |self-released, single, 2015| 4/5 industrial metal

    The band’s name as well as its influences are connected with spirituality. Take the soul's rebirth during a cycle known as karma, for example. Many cultures have identified an astral realm (named in Tibetan as Devachan) where the spirit rests after its mortal vessel ceases to be. This is not a place of permanence however, but a dimension where the spirit can 'recharge' its energies through bliss and joy before it reincarnates and before the cycle ends.
    Seven is a potent number relating to basic human chakras, deadly sins, stars and many others. Finally, the 'light' as featured in the song’s title, is considered as the beginning of everything (including life after death) but also the final destination, a source of unstoppable joy, and a spiritual messaging system too.

    With so many references and a guitar driven industrial vibe, 'I Will Be Light (2015 Version)' turned out pretty addictive. The overall composition is reminiscent of the well known simplistic 90s approach with a fair share of both and guitar driven arrangements of proper weight. The intro is expressed with dark ambient, then phat synth-based arrangements come into play, followed by mid-tempo drums. The core of the track is built upon low, chunky, repetitive guitar riffs and the drumming theme mentioned above.
    There are select moments within the song where silence is incorporated to contrast the sounds and where metal guitar & electro synth amplitudes were slightly changed. As a result, these parts are accented better and draw the ear's attention more.
    If heavier instrumental parts stand for the 'darkness', then the beautiful female voice casts the 'light' into the entire track. Listeners will spot that even though guitars are catchy enough, the vocal melody is of a traditional Arabic tone. 'Hizbollah' by Ministry or 'Temple of Love' by The Sisters of Mercy may be the closest matches to give you an idea of how it works here.
    There's a feel of math rather than rage when it comes to the songwriting audible in this track. The spirit arises from the atmosphere because the mood is dark, heavy, hypnotizing, and seductive. Both the atmosphere and the repetitions make "I Will Be Light (2015 version)" a very memorable track.

    Daniel, who's currently the sole member of Sekten7 has been in industrial/metal bands for a long time. He played all instruments on the track but also produced, mixed, and mastered it. He has been looking for a vocalist and plans on making new Sekten7 songs in the near future.

    Many so called Lightworkers around the world have been reporting daily that the Earth energy grid has finally begun changing from the old 'me first' 3D patterns to the 'all is one' 5D type. Therefore, you may want to tune in also through this music; not just switching to somewhat corny New Age serenades but a solid heavy metal vibe as well. In any case, let the light-the spirit guide you as it neither knows boundaries nor judgment.


    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, March 5th, 2015. Proofreading: Mike 'Vesper' Dziewoński)
    Source: http://industrialrock.net/php-files_en/articles.php?article_id=552

    http://www.tribeleadermusic.com
    http://soundcloud.com/tribeleadermusic
    http://twitter.com/tribeleadermsc
    http://www.youtube.com/user/tribeleadermusic
    https://plus.google.com/104609781451682193904

    Buy this song on: http://www.cdbaby.com/Artist/Tribeleader

    , , , , , , ,
  • In_zekT - Industrial-Scale Murder review 2015 industrial metal djent

    22 Jan 2015, 11:06 by fabrykamagazine

    In_zekT - Industrial-Scale Murder |self-released, single, 2015| 5/5 industrial metal djent

    After their successful release of the Artifex album in 2013, In_Zekt had come up with another idea. The newest, over 20 minutes long extended single is made up of various compositional parts. It's an avant-garde suite, which technically could be compared to those better known from classical or progressive tracks, though In_zekT's music is definitely much more 'bratty' yet disciplined than these.

    The first five minutes of the suite is built upon all-engaging dynamics. Ferocious arrangements were written for vocals, guitars, bass, drums and synths. All sounds are digitally altered however, which gives them a cybernetic-quality. The mood is aggressive, raging yet haunting and the inclusion of an EBM-like rhythm mixed with chunky guitar riffs will easily turn you into a headbanger in this pat.

    Since it's also industrial, you should expect machines - their silent or very loud sounds such as clicking, buzzing, whizzing, hissing, humming etc. are a significant ingredient of In_zekT's music. These, along with saturated, dark ambient backgrounds become welcomed breaks between more turbulent arrangements. And so, the next few minutes of the single will turn your imagination on.

    Then again, around 11th minute of the single, hell breaks loose again with uttermost intensity. Dense arrangements are expressed through a collaboration of heavy screams, digitalized drums, bass and chopped guitars. There's no place for spontaneity here, only discipline and order. Metal/djent fans will go crazy about the ultra fast tempo, atonal rhythm and violent formula which this part of Industrial-Scale Murder is made of.
    Don't be fooled though when the follow-up comes out softer, melodious and even sentimental, thus letting the heart slightly drop its heightened beat. In_zekT knows how to shock a listener with a sound, therefore you'll definitely witness it while listening what's next.

    The final portion of the single is 'the music of a vehicle', probably a bulldozer or excavator. If you enjoy environmental sounds so called 'field recordings' which are not synchronous, harmonic or pleasant for the ear, then you won't skip this part.

    Technically speaking, the sound quality, the mastering and production of Industrial-Scale Murder are all brilliant - the bass is deep, the riffs are scalpel-sharp and omnipresent industrial samples are crystal clear. The separate parts link very smoothly. Yet, the arrival of a new arrangement is usually unexpected, so this should keep your ears and brain fully attentive.

    The band members - Kjetil Ottersen (vocals, guitars, bass, synth, programming and sampling) and Peter Vindel (lead vocals, guitars, bass, synth, programming and sampling) admit to be inspired by works of Merzbow and other extreme noise-experimental artists, as well as hybrid metal bands such as Meshuggah.
    To me, fans of djent style, or the likes of Strapping Young Lad, Devin Townsend, and Fear Factory may find Industrial-Scale Murder a must-have release. In addition, there are scarcely any new genres being coined these days but with this single, In_zekT is undoubtedly stepping into something new. Should it become mainstream? This is up to you, the listeners, to make it more known through your support.
    Finally, according to the musicians, the concept of the single is based on a contemplation of events that unfolded throughout 2014 - a divide caused by conflicts between scarcely compatible societal models and civilizations.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 20th, 2015. Proofreading: Mike 'Vesper' Dziewoński)
    Source: http://industrialrock.net/php-files_en/articles.php?article_id=525

    https://facebook.com/inzektofficial
    http://soundcloud.com/in_zekt
    http://www.youtube.com/user/inzektofficial
    http://twitter.com/inzektofficial
    http://instagram.com/inzektofficial
    http://www.discogs.com/artist/378518-In_Zekt

    Buy on:
    http://in-zekt.bandcamp.com/

    Tags:
  • Concept 7 - The Machinery Of Control review techno metal

    5 Dec 2014, 13:38 by fabrykamagazine

    Concept 7 - (random songs review) |self-released, The Machinery Of Control, 2014| 4/5 techno/metal

    1. Innerstate, 2. Mindfield, 3. Beserker, 4. Seven Declared, 6. Catastrophe

    This UK based band (secretively and purposely hiding their musicians' names) are not new on the music scene. They've been releasing albums since 2001. Their discography includes such titles as The End Of Time Project, Time Project: Remixes, Extract E.P, and The Undeniable Constant. They also contributed a soundtrack for an sci-fi anime Full Metal Panic. According to the musicians, they have decided to put out a set of songs - defined as 'projects' - online, since CDs have a decreasing value. One of these is a very fresh release of The Machinery Of Control.

    Concept 7 make a hybrid built upon music genres such as metal, techno and industrial which are driven by the beat and speed. Speaking of , it is the very recognizable UK-techno style with all of its vital high pitched synths on the top along with dense, curved and looped dynamics in the background. And such is the opening track 'Innerstate'. Its compositional spine is based on a groovy bass line mixed with chunky guitar riffs but purely instrumental arrangements divide the song into catchy verses and choruses.

    The love for - trains, engines and machines is expressed in 'Mindfield'. A big part of the arrangement however - riffs and techno synths - is based on a mix already known from the previous track. The difference is that they sound heavier and more aggressively thanks to guitars. The song is supported by a music video single you can watch on the Concept 7's YouTube channel.

    Once you see the title 'Beserker', you’ll probably imagine a song represented by hard-hitting dynamics. It is true for this track, although it begins quite innocently with only a vibrating riff which suggests what is to come next. It is then joined by a 'rain' of tiny synthetic sounds and a sampled male voice in vein of Skinny Puppy's or Ministry's best known tracks. The guitar versus synth ride continues to the very end of the track.

    The band seems to like number 7, which has been universally used throughout centuries, to mention 7 luminaries, 7 heavens, 7 wonders, 7 seas, 7 deadly sins, lucky 7, etc., but also utilized in video game or movie titles. 'Seven Declared' makes for such an interesting title as well. The song begins with a motorcycle engine, then is extended into a rocket-like launch whizz. Beats and sampled vocals come out next reporting a bomb detonation (in a reference to the nuclear test at the Mururoa atoll conducted in 1971). The song's mood is lighter than 'Berserker', but still uneasy.

    'Catastrophe' is my favorite of the five songs described. It begins with a mix of repetitive noise and a very intriguing sound that beams like a laser ray into the composition. The sets of dense hard techno/ beats sound haunting. Your head will bang to the rhythm. The composition and arrangements are simple, but it's that simplicity of the sound which attracts the human ear, especially if it involves beats. They put the mind in a state of trance, just like ancient drums. The track ends with a sound effect resembling an altered purr, just to make a difference perhaps.

    All these songs on The Machinery Of Control are good for listening on their own, but one can get the most of them if utilized in video games or as background illustration in a motion picture. Played alone, they may sound too restricted and rigid. Concept 7 have defined their sound on this release. Therefore, if you're looking for a non-intrusive yet catchy, guitar driven arrangements, you should get these tracks.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 5th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
    http://industrialrock.net/php-files_en/articles.php?article_id=547

    http://www.earthspike.com/artists/concept-7/html/
    http://www.soundcloud.com/concept-7
    http://www.facebook.com/pages/Concept-7/124030514324397
    http://www.reverbnation.com/concept7
    http://www.youtube.com/conceptseven
    https://twitter.com/ConceptSevenUK
    http://www.last.fm/music/Concept+7
    http://www.purevolume.com/concept_7

    Buy on: http://concept7.bandcamp.com


  • Celestial Flesh - Suspended Motion review djent progmetal

    26 Nov 2014, 19:03 by fabrykamagazine

    Celestial Flesh - Suspended Motion |self-released, 2014| 5/5 djent progmetal

    1. Dictating (Voices In The Ocean), 2. Open Heart, Open Mind, 3. Breathing With Swollen Lungs, 4. Exposure, 5. Bent To Your Will, 6. Light On The Surface, 7. Speak To Me, 8. Suspended Motion

    There are listeners, like me, who are looking for passion, intensity, might, emotions and soul cleansing locked all together inside sound, yet expressed with heavy guitar driven arrangements. Suspended Motion by Celestial Flesh is a perfect choice to fulfill such a desire.

    The band's founder, Eric Machel (guitar, bass, drum programming, synth, production) has been playing guitar since he turned 15. In love with intense music by metal acts such as Meshuggah, Gojira, Tool, as well as a varied array of music genres, he has his own vision of music he wants to write and perform. Due to various circumstances however, this American musician has decided to launch a solo project instead of joining or creating a band. Either way, it’s great that he chose to invest his time and talents in music, otherwise we could have never heard of Celestial Flesh.
    His newest album, Suspended Motion brings eight instrumental compositions which give a new meaning to the word 'intense'.

    'Dictating (Voices In The Ocean)' opens the album with versatile arrangements and a skillful mix of genres. The core of the composition is based on down-tuned, syncopated bass and guitars. Synths and a higher guitar riff contrast the groove, so the mood becomes brighter at times. The drums (played by guest musician Ettore Fritz, also present in the next song) appear in all the right spots throughout the composition. Since the bass & guitars combo drives the rhythm, the drums step in only when a heavier beat is required. If you listen closely, you'll also hear traditional Eastern music arrangements on guitars.

    'Open Heart, Open Mind' brings the best of and together. Drums & bass arrangements represent metal while old-school synths are very typical of the former. Fans of Rush & Steven Wilson's music will feel excited. There are choruses and verses, composed very swiftly yet with pleasingly repeating themes. A diversity of perfectly matched riffs, beats and cold synth passages make the track sparkling and memorable.

    Eric's a musical architect. He structures arrangements (bass) then paints them with moods (synth). Since he does listen to a variety of genres, he was able to incorporate their characteristics into his tracks, yet leave listeners without confusion. The less intense, but more atmospheric 'Breathing With Swollen Lungs' is a good proof of the above. There are moments of true progrock & passion with their knotty schemes drowning the world out easily. The beat present here in the more tender parts of the composition is just enough for an ambient track when supported by dreamy guitar riffs and looped synths. Again, fans of Rush-style bass will instantly recognize familiar sounds.
    'Exposure' comes out quite innocently at first, with just a simple stick against stick beat and a gentle guitar riff, but then the arrangements grow big and thorny. The beat is taken over by down-tuned guitars but aside of their exponentially unfolding complexity, there are also delicate riffs, fast bass play and guitar soloing interlaced within. The track production and mastering are very well done, as various instruments are properly exposed when necessary, while the overall sound is kept clear.

    One might think that there's no chance for progressive metal or djent to sound catchy due to their seriousness and intensity but Celestial Flesh tracks have hooks with decent amounts of hit potential. My personal favourite, 'Bent To Your Will', makes time and space become less important. Listening to it actually feels as if the track drags the listeners away from the ‘here and now’ and throws them into a new, undiscovered dimension instead. It begins with an in-your-face stitching guitar cannonade wrapped with a lovely riff. No sound is left unheard and all are equivocally important. The arrangements live their own mighty life as if they were flooding, erupting, crying, dancing, racing - so they will obviously seize your attention completely. Drums fit in between competing guitars very well, but get full exposure at time as well. Eric showcases his genius guitar & song writing skills here. A natural reaction to this experience may be spreading your arms wide, letting the sounds open and lift you up, then purify to the point of the transformation of your self. A truly addictive song that will rip your emotions from the depth of your spirit after the very first listening.

    Now, as a counterweight to this behemoth of a song, the next track called 'Light On The Surface' let’s you rest, as it is characterized by a slower tempo and more rock (even hard-rock) oriented guitar and bass arrangements. This 7 minutes’ long track includes also fierce, repeating moments in the latter half of the composition, but its overall mood is more subtle compared to previous songs.

    This undoubtedly therapeutic music is a perfect fit for someone with a good visual imagination. Play the album loud and draw what you feel while listening to it. 'Speak To Me' may be a good example, and it's the only composition on the album to include a person’s voice. To give you an idea, it's sampled the way Ministry used to play with G.W. Bush's speeches on their albums. Drums and guitars are bringing all elements of the composition either closer together while engaging in a friendly battle or driving them apart, giving each other enough space to flourish separately. A lot of high-pitched riffs are crushed into pieces with more down-tuned ones.

    There's a good balance hidden in the tracklist - passionate songs are followed by calmer ones. The final track, 'Suspended Motion', features a guest appearance by Alex Basart on guitars and synth and is mostly a soothing, almost romantic affair, yet hides a few potent moments. It allows for taking a deep breath before... playing the album again, and again.

    Suspended Motion is a masterpiece of which Eric Machel should be absolutely proud. It brings a powerful catharsis - the soul purification, for both the creator and the listener. Those who understand how music influences brainwaves and heartbeats, will love it. It's a truly colorful, superb release which should never be forgotten. Make sure it won't sink amongst all other indie productions - buy it, promote it, review it and interview this musician. You're gonna love it.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 26th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
    This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=546


    https://soundcloud.com/celestialflesh
    http://www.youtube.com/channel/UCbYdaMzK6U2hQjCCfjqgSDA/videos

    Buy on: https://celestialflesh.bandcamp.com/album/suspended-motion

    Tags: ,
  • Sister Machine Gun returns with new music. Treponem Pal's unreleased track online.

    9 Nov 2014, 17:31 by fabrykamagazine

    Sister Machine Gun returns with new music

    One of the 90s industrial rock/electronic bands - Sister Machine Gun has announced its return with new music planned to be put out in spring 2015. No further details are available yet, except for an artwork.
    It's been 7 years since the band went on hiatus. The latest studio album, Influence was released in 2003. SMG had collaborated with Wax Trax! records in the 90s before setting up its own label thus, the new album is supposed to be released by WTII (Wax Trax II) too, according to SMG founder, Chris Randall.
    Source: http://industrialrock.net/php-files_en/news.php?readmore=521

    ---
    Treponem Pal's unreleased track online

    Previously unreleased 'Silico's Return' track by Treponem Pal has been published a on TP's SoundCloud page. Track entitled 'Silico' was released on the band's self-titled debut album in 1989.
    Source & audio player: http://industrialrock.net/php-files_en/news.php?readmore=518
  • Interview with Ogenix (electro metal, Canada)

    2 Aug 2014, 10:03 by fabrykamagazine

    Ögenix (Ogenix) - interview (2014)

    About music, technology, religion, books etc.

    I also believe that with the advent of social medias and the hyper-solicitation of people's attention, this has built a generation which is suffering of a nearly pathological attention deficit disorder, which means that they will probably not have the cognitive capacity to take the time to research and dig for the best bands or music deep within the the ocean of s**t which represents the majority of what's available today. (Gabriel Duceppe (vocals, electronics, modular synth))

    Full interview at http://industrialrock.net/php-files_en/articles.php?article_id=543

    Tags: Ögenix, , ,

  • 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)
    This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=542

    http://vk.com/cybertoyz?w=wall-15251635_115%2Fall
    https://www.facebook.com/Cybertoyz
    https://soundcloud.com/cybertoyz
    https://www.reverbnation.com/cybertoyz
    https://www.myspace.com/cybertoyz
    https://www.lastfm.ru/music/Cybertoyz

    Buy on: http://cybertoyz.bandcamp.com
  • Godflesh returns with a new song 'Ringer'

    25 May 2014, 15:35 by fabrykamagazine

    British industrial metal band Godflesh returns with a new Decline & Fall EP to be released through Broadrick's own Avalanche Recordings on 06/26/2014. One of the songs, 'Ringer' is available for streaming on SoundCloud.

    "Decline & Fall" track listing & preview: on Fabryka Magazine at http://industrialrock.net/php-files_en/news.php?readmore=498
  • Crash-Scan - Repeat Until False review metal experimental 2014

    25 May 2014, 10:45 by fabrykamagazine

    Crash-Scan - Repeat Until False |self-released, 2014| 5/5 metal experimental industrial

    1. Choke, 2. Pure, 3. Ohm, 4. Desolation, 5. Senescence, 6. Chrome Lies, 7. Chronic Atrophy, 8. Plans For Winter, 9. Tentacle Vortex, 10. An Eye For A Tooth, 11. Subduction, 12. Out Of Reach, 13. Under The Dirt

    Crash-Scan is a heavy yet innovative band from that formed in 2008. Repeat Until False album was released 5 years after the band's debut album Catalyst and is written, performed and recorded by Ron Nobbs (vocals, programming), Bryan Tabuteau (programming, synths), Vivian Stewart (guitar, bass) along with Brad Gallen (additional percussion).

    The music presented on the latest release is inspired by a variety of and bands such as Nine Inch Nails, Skinny Puppy, Ministry, Fear Factory, Meshuggah, and Gojira. Crash-Scan however, have taken the industrial metal genre to the next level. There are no melodies, rather pure torment expressed through machines and guitars. They took the core of what heavy steel industry is all about and transferred it into music - repetitions, noise, weight and all the impact you can imagine. The music on the album is about 'processing', 'making', 'transforming' and other associated activities. The atmosphere in all songs is comparable to that on Godflesh albums, though the sound is more modern.

    Let's look into the following 13 songs, with average track length varying between 3 to 6 minutes. The tracklist begins with "Choke", which will give you a taste of things to come. It sounds like a slower and distorted sound of the late 90s Ministry and Fear Factory, but flavored with Crash-Scan's own ingredients. It gets even noisier with experimental add-ons but the repetitions and heavy guitar riffs (cut with lighter motifs in a few spots) make the track as memorable as a mantra.

    "Pure" involves a bigger share of electronics, reminiscent of Frontline Assembly, but mixed with guitars and beats. The contrast between verses and choruses is accented better than in the previous song, but still almost lacks any melody. Distorted whispers add a sense of thrill.

    "Ohm" begins with a set of structured rhythms that are then followed by chunky guitar riffs. A variety of additional effects creates an experimental feel, with the vocal style similar to that of digitized black metal compositions. Heavy guitars create an interesting wall of sound near the end. Since they are digitally processed, there's a strong sense of higher mathematics flowing throughout this track.

    "Desolation" involves tuned down guitars and a very contrasty world music motif, as if it was derived from Turkish or Middle Eastern music. The sound may be irritating at first, but at the same time it sticks to your ears and underlines the verses. It is as if a painter splashed a natural color image with neon paint with equidistant spots. Angry, digitally processed vocals, looped effects (used so often by Fear Factory) and the overall sequence of sounds make it a memorable composition. In fact, it could gain even more attention with a matching music video.

    Now it’s time for the best track on this album. At first, there’s a creepy, piano-based intro enriched with a digital, gloomy follow-up. Then, it's transformed into amazing arrangements accompanied by a heavy load of guitars and distorted, hellish vocals that you'll love. The composition is complex, but this speaks for the band’s song-writing skills - and Crash-Scan are definitely proving theirs here. Less deformed guitars appear a bit later, and the overall feel of "Senescence" is that of shifting dynamics.

    The songs seems to be carefully put in order on the tracklist, and so those heavier are intersected with slower but equally dark moods. This applies for instance to "Chrome Lies". It sounds like it could have been developed better, however. The drums sound a tad too simple and repetitive, with the vocals falling into the background and almost gothic melodies coming out in some parts as well. Fortunately, the end of the track brings an intriguing heavy guitar arrangement.

    "Chronic Atrophy" brings atonal, broken rhythms and has quite an experimental feel, still being supported by healthy metal riffs and factory-like industrial tunes. The beat and the drums are perfectly set up for this composition, which is alive & kicking (or even stinging) inside of its dark meaning. You'll probably sense a bit of Ministry's Filth Pig and The Darkside of the Spoon albums in this song.

    Likewise, the next track "Plans For Winter" sounds like a mix of "Chronic Atrophy" and "Senescence" in terms of the composition complexity as well as general heaviness. The load of low tuned guitars and altered vocals are what Godflesh fans will enjoy here. If you like sounds accompanied by matching visuals, you may imagine a mining drill or any heavy gear making its way slowly through rather inaccessible terrain.

    "Tentacle Vortex" sounds like a heavy take on impressionism mixed with a complicated device manual - open to interpretation despite initial definition. Arrangements here are based on very heavy, tuned down guitars, noises, repetitions and distorted screams. They appear only in the background, so that they are not overwhelming. Besides, "Tentacle Vortex" is a very cool title; not only does it suit this track but also a book, movie or painting.

    Then there's "An Eye For A Tooth", another slow'n'heavy composition in case you thought it couldn't get any heavier. The song is not as 'easy' to remember as "Desolation" however, even though a similar high-pitched sound appears in a few spots. Again, classical industrial attributes are treated with a modern approach and, of course, guitars.

    You'll relax when "Subduction" appears in your speakers. It's a purely instrumental composition and a short one at that - a dark interlude, one of those you may associate with science fiction movies like Aliens or Event Horizon. It fits here thanks to the silently droning, reverberated sounds which create an atmosphere of both mystery and anxiety.
    To trouble your balanced mind, "Subduction" is followed by another heavy song entitled "Out Of Reach", bringing a heap of distorted sounds, feedback and dissonances. There are random low tuned chunky guitars, sampled monologues and angry deformed vocals; things which can be found in Ministry music but ground a bit better.

    The 13th song, "Under The Dirt" is the most traumatizing, even brainwashing experience. Not literary, but your brain may feel overwhelmed when reaching just the middle of the track, regardless if you try to fish out separated instrument tracks or understand the entire composition. It presents a combination of everything heard so far on the album but kept even dirtier, noisier, tuned lower, chaotic yet technical at the same time. I'm not talking about diving into a symbolic 'hell', but something way more disturbing.

    Repeat Until False sounds haunting and grabs your attention as much as a trip down into an endless spiral, thanks to repetitions and guitar riffs, but also omnipresent atonal rhythms. The beat is not too intense or overused, otherwise the songs would sound too danceable and marching and thus, shallow. The tracks on the album express depth, darkness and gravity, instead. You may find them occasionally chaotic because of the extended use of noise & distortions but the range of chaos is narrowed down by mathematically precise arrangements.

    Finally, it is worth mentioning that the album is available as a simple digital download as well as a highly customized, sophisticated and limited version on a 4GB USB drive.
    Crash-Scan are planning a few more live shows around New Zealand and the release of a new EP with 4 new songs and remixes from Repeat Until False. I urge you to support this band, since they still care for what others have abandoned - creative ideas.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, May 23rd, 2014. Proofreading: Mike 'Vesper' Dziewoński)
    This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=535

    https://soundcloud.com/crashscan
    http://www.reverbnation.com/crashscan
    https://www.facebook.com/crashscannz
    http://last.fm/music/Crash-Scan

    Buy on:
    http://digitalstore.crashscan.net/
    http://crashscan.bandcamp.com/album/repeat-until-false
    https://itunes.apple.com/us/album/repeat-until-false/id871690763
    http://www.amazon.com/gp/product/B00K2U2Q78

    See also: 'Choke' music video




    'Game Over' music video (from Catalyst album) https://www.youtube.com/watch?v=PdERa_lrrfA
  • Skrew - Universal Immolation new album release date, preview and video

    16 May 2014, 11:43 by fabrykamagazine

    A long awaited Universal Immolation album by icon Skrew will be released on July 4th, 2014. It seems like no coincidence (American Independence Day) as the album leitmotif touches issues related to injustice, human freedom and riots.
    This is the 5th album in the band's discography and it is put out by Awesome Kickass Records. All songs were written and composed by Adam Grossman.
    A video single for the song 'Rise' has been released today, May 16th, 2014. Click http://industrialrock.net/php-files_en/news.php?readmore=496 for the final tracklist, songs preview, personnel list, album artwork and to watch the video.

    Source: Fabryka Music Magazine http://industrialrock.net