• In Virgo album review industrial rock metalcore

    6 May 2015, 16:00 by fabrykamagazine

    In Virgo - In Virgo |self-released, 2015| 5/5 industrial rock, metalcore

    1. Set Me Free, 2. The Light At the End, 3. The Chosen, 4. Lost All Of You, 5. The Poison, 6. Breaking Apart, 7. Public Enemy, 8. Bully The Few, 9. Revolution, 10. Colors, 11. Exposed, 12. Part Of Me

    It's quite common in the music industry to find a guitar-driven album holding between one and four hit songs. In Virgo's release however may be a breakthrough in that category, since almost every of the 12 tracks present here has the potential to be a hit.
    Chris Egert (guitar/synth/programming) has already proved his songwriting skills through making catchy music for his past project Replica. He then joined an electro/rock band September Mourning a few years later. The singer, Emily Lazar worked together with Chris, and also a little with Chris Vrenna (Nine Inch Nails) and Dave "Rave" Ogilvie (Skinny Puppy), leading to the Melancholia album released in Europe in 2012. While we’re talking collaborations, In Virgo's tunes are enriched with clear and metal-orientated voice of Chris Hodges, who definitely sounds fitting.

    "Set Me Free" opens the tracklist with a gentle piano arrangement which is then joined by a dynamic fusion of edgy guitars, drums and vocals. There are guitar rock solos, the bass sounds thick, and every tune fits into the place perfectly. The lyrics here, and in other compositions on the album, refer to breaking from restrictions - and that can mean a break-up, a suicide attempt, opposing bullying, but also awakening to something new or an emotional detox.

    "The Light At the End" brings a buzz of dynamics thanks to a tight mix of the guitar-bass-drums combo and rebellious, slightly raspy vocals. The track sounds catchy from the beginning to the very end and the choruses are going to etch themselves in your memory pretty easily. Such attributes make it a smashing hit to be performed live in front of a bigger audience.

    The pace slows with the arrival of "The Chosen". The song's mood feels a bit darker than in the first two compositions. A bit more light shines through the choruses, however. As the song’s lyrics develop, a line of standing out vocals casts a feel of courage as indeed, anybody feeling as a 'chosen one' would be expected to express. Amazingly well written arrangements make this track a must-listen. Fans of Filter will dig "The Chosen" right away.

    "Lost All Of You" begins with the sound of an unplugged guitar and catchy choirs, as if to avoid a repetition of intro techniques. It then develops into an alt-rock composition by bringing broad, uplifting choruses. My guess is that it was written to flow with sounds of many new and liked bands of the aforementioned genre. Yet there's no copycatting - it’s just In Virgo's original song writing enriched with the by now ‘usual’ edgy guitars. A lively and gentle guitar tune finishes the song, making its end a smooth match with the song's beginning, inviting to a looped listening.

    A different vibe is utilized for "The Poison", which is kept in the vein of drum'n'bass thanks to phat and bubbly synths. There are, however, softer vocals used on the top of all the electronica. These can speak for Hodges' talent - his voice sounds at times rebelling, then velvety - and always adjusted to any song's mood. Since "The Poison" is one of tracks bringing slower tempo to the album, you can catch a breath before the high energy returns.

    "Breaking Apart" will definitely please Filter’s fans, but they will not be the only ones enjoying it. Aside from bringing a familiar groove and melody, the song is vibrant to the point of spawning images of a fast-pace music video accompanying the track in your head. It has moments of drama, followed by the release of all the gathered-up tension. The drums and bass collaborate nicely here, keeping the dynamics steady. The vocals also comfortably appear as planned along all the instrumental parts, making the whole composition of "Breaking Apart" a prime example of great songwriting. Listeners who prefer heavier tunes get an exciting wall of sound, spiced up with aggressive vocals near the end of the song. Big applause to Chris Egert for the spreading of a harmonious mix of both electronic and guitar driven arrangements.

    Next, we have "Public Enemy" with its vibrating, graded guitar riffs and a rebellious, marching vibe. The song moves from aggressive to melodic (and back again), especially in choruses. Through this track, In Virgo proves that a balanced composition needs to keep vocals at bay when there's a good moment to bring up instrumental parts only (and vice versa). Yet another great live show song.

    As the title implies, "Bully The Few" touches on the very hot and relevant topic of bullying and speaks about breaking away from your enemies to honor your personal human freedom. It brings an equal portion of synths and guitars along with aggressive vocals and powerful dynamics. Yet again, In Virgo gives you a lesson in how to end a track properly.

    "Revolution" comes with a slower tempo than its predecessors, but remains energetic thanks to the edgy guitar riffs. Its overall tune is softer, gives a hopeful feel, and could swap the vocals for female ones. Yet another track on the album good enough to be supported by a music video, as it brings a lively set of images to your mind while listening. While the synths put more 'air' and build up a space within the tune, the guitars, bass, and drums keep the entire composition properly grounded.

    "Colors", on the other hand, is opened very lightly, with electronic samples. An effusion of guitar riffs follow next bringing a completely different 'color' to the palette of available sounds, including both brighter and darker shades. The riffs here sound dirty at times, while the drums are exposed. The song's mood is positive and uplifting though, with wide-open straightforward and repeating vocal parts make it a highly memorable hit song.

    The theme of "Exposed" refers to dropping a mask without fear and living one's life in peace with the authentic self. The composition begins with a delicate tone which is then surrounded by a groovy, interlaced line built upon bass, drums, and guitars. Again, Chris Hodges presents his full voice range and you should be able to tell by now that he's a talented and definitely well trained singer. In addition, tiny choral elements in the background bring an “easy listening” feel to the track.

    The album finishes on the peaceful note with yet another mild song. "Part of Me" offers a blend of modern rock sounds and therefore is a perfect track to be aired on the radio. The vocals and guitars are strongly accented but not pushy at all. They both flow smoothly, supported by matching drums and bass lines. "Part of Me" also calls for providing a suitable video for promotional purposes. Finally, if you listen closely to the lyrics, you may find traces of romantic poetry expressed through lines such as "I traded a photograph for sand and blue sky / It fades when the light falls short of your eyes when you cry".

    Every composition on this album recalls a full circle - an entirely complete piece of art with extremely well written arrangements and compositions, professionally mixed, mastered, and produced. The tracklist order is set to gradually shift the listeners’ mood and attention for the ultimate listening experience. Fans of , , metalcore and those in love with Dope, Filter, the 90s Nine Inch Nails or even Celldweller will not be disappointed - but by no means should the audience for this album be limited to those groups. All the tracks could easily find their way to TV, movies or ads through licensing. They are equally promising for powerful live performances or intimate private listening sessions. The LA-based duo distribute their debut album in tune with a revolutionary new business model - you can either download music files for free or buy them. This should guarantee the In Virgo album reaches as many listeners as possible. Make sure you give it a try as soon as you finish reading this.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, April 9th, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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  • Mephistosystem - Place You Today video single

    3 Mar 2014, 15:39 by fabrykamagazine

    Switzerland based electro-rock band Mephistosystem released a video single for "Place You Today" new song. The plot is about breaking free and getting rid of psychological pressure which is continuously holding back one's activity.

    Source & video to watch:
  • 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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  • 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)
    This review on Fabryka Magazine

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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:
  • File Transfer Protocol - The Gargoyle Studio Sessions album review 2012 industrial…

    20 Nov 2012, 18:01 by fabrykamagazine

    File Transfer Protocol - The Gargoyle Studio Sessions (2010-2012)
    self-released, 2012
    Rating: 4/4

    01. World of One, 02. Rain, 03. Shadows, 04. Attrition, 05. Ivory Towers, 06. The Singularity, 07. This Machine, 08. 99%, 09. Regime, 10. Subversion

    The true industrial rock scene has seemed to be dead for some time now, but this is not a secret for die hard fans. Provided that the United States has been the genre's homeland where it found success in the 1990's, European bands have come up with a few new industrial musical sub-genres over the course of the past 5 years that are personified as i.e. electro rock defined by more melodic arrangements. I cannot say however that these modifications have increased the chances for a revival of the original scene. Nonetheless, there are still new bands being created by musicians who's period of teenage revolt occurred in the last decade of the 20th century. Some of these artist have never set themselves free of this revolutionary attitude, yet they have been ignited by idiotic ideas that are introduced by factions of our governments. Following this theorem, we'll look into Texas, the police state of America where Sean Rieger, the founder of File Transfer Protocol makes his music.

    It should be noticed first that FTP's sound has undoubtedly been inspired by the accomplishments of Nine Inch Nails, Gravity Kills and Stabbing Westward at some point. New artists who seem to be fascinated with cold, industrial & guitar driven music have been encouraged by the success of Trent Reznor. Many of these artist find themselves as the founders of one-man projects that they utilize to express their frustrations through music with either aggressive or melancholic attributes.

    Sean Rieger appears to be well balanced somewhere in-between. His songs bring positive vibes, yet they do not touch upon the common elements of pop music. His lyrics raise awareness about topics that should be important to every down to earth American, however Sean doesn't stir anger by relying on the use of brutal arrangements either. The idea behind his music seems to be rooted in the promulgation of warnings supported by sheer facts. He wants to redirect the listener's attention to issues which may happen to become a real danger in the near future and which are being prepared by legislators whom the citizens have elected.

    After three years passing since the release of the debut album Bipolar, a new compilation album has just been released entitled The Gargoyle Studio Sessions. The album title harks back to Sean's personal fascination with magical gargoyles which he collects as figurines and displays in his recording studio, although he treats them as protective totems. This release features a set of 11 songs recorded and released as singles between 2010 and 2012.

    "World of One" is the opening track for this compilation. Pulsing beats as well as various effects that are created with the utilization of samplers build an intriguing atmosphere which is followed by slightly echoing vocals. The tempo speeds up as the intro is joined by drums and guitars. There are ethereal piano sounds as well in the end of the track which standardize the composition, giving it a classical feel.

    "Rain" is an instrumental arrangement that features distorted guitars, most probably inspired by Nine Inch Nails' album The Fragile. Once again, the piano appears to create a very interesting contrast when held in comparison to the sound of modern electronic music. The atmosphere feels kind of sad, but this may have been done to illustrate the psychological process of dealing with some problems.

    "Shadows" is the best song on this album as far as I'm concerned. The first element of the song structure brings arrangements that are inspired by 'big bubble' effects and phat beats that are commonly utilized in electronic dance music. Although these aspects can also be heard in rock-sounding songs by bands such as Nine Inch Nails or Gravity Kills. Most often, Sean creates tension within the verses of his songs which becomes a sensation that increases and is finally released throughout the choruses; a method that has also been used in “Shadows”. The overall sound of this track is far beyond uncanny, which may cause the listener to feel shivers up their spine. This effect is due to an interesting mix of guitars and samples. A contrast of lazy, sensual tempos and non-distressing tensions have built a plot for a song that has turned out magnetic.

    Gothic sounds reverberating from a bass guitar along with industrial samples and declaimed lyrics are the opening sequence for the following track called "Attrition". The listener may find a few connections to the music of Gravity Kills, but also to another industrial rock icon - Stabbing Westward. Effectively distorted guitar riffs are reminiscent of tunes on The Fragile as I mentioned above. Due to a slow rhythm, piano and lengthy vocals present in the choruses, the atmosphere of the track sounds a bit epic. Nevertheless, it has been wisely crosscut with beats and rasping guitars, but also hushed up effects.

    "Ivory Towers" plainly forces the listener to react either by stamping the floor, headbanging or other activity which lets them adjust to the rhythm and dynamics of the song. This specific method by FTP of building tension in the verses as I mentioned before, stands out in this track and makes emotions explode through the following choruses. Overall, the composition recalls of a junction between songs such as "Gave Up" and "Wish" by Trent Reznor, which are both marked by turmoil and nervous anxiety.

    "The Singularity" is the next song on the tracklist. It is expressed by a murky, concerned introduction that is based on synths and cold, layered, protracted guitar riffs. This composition blooms in time, which enables it to gain speed along with a colorful portrayal of emotions. Sean perfectly matched the rhythm of the lyrics into the arrangement. There are also subtle effects present in the verses which are laid over the vocals. On top of it all, memorable choruses turn out as catchy as those which are present in the song "Ivory Towers".

    A melancholic and gloomy intro foreshadows a song entitled "This Machine". It is surrounded by samples and intelligently layered guitars, drums as well as bass which create an interesting background for deeper, brooding vocals which come next.

    On the other hand, both "99%" and "Regime" originate from two events which occurred in the United States, but gained momentum and spread across several other countries in 2011.
    The first song is related to which featured angry Americans dissatisfied with levels of poverty. Many of whom are seeing their rights abused every few weeks by legislators whose actions are exposed through the national news cycle. They oppose the policies and long accepted practices of banks, Wall Street and the super wealthy during this time of extended economic crisis. The mood of the song is closest to "Ivory Towers", which is characterized by a rapid tempo that may illustrate anxiety and insecurity as well as methods of escape or attack. Background sounds have been orchestrated into layers enriched by screams, guitar riffs and vocal communications that are stylized to sound like the TV news.

    The idea behind the track "Regime" has come out of a recent attempt at censorship towards Internet content as well as advancing surveillance upon civil society. This is based on legislation masked by innocent looking four-letter acronyms such as , or PIPA. In fact, ACTA has been signed by representatives of the United States along with a few other countries without any public consultation, but a few countries in the European Union have given up on this idea due to the fervid public protests of internet users. The pulsing beats in “Regime” are for instance reminiscent of early Stabbing Westward songs. This aspect combined with edgy guitar riffs and well matched vocals make yet another memorable track that has been written to encourage the mentality of the people to wake up.

    "Subversion" finishes The Gargoyle Studio Sessions album. It's the newest track and is a bit different from the other songs due to heavy, funky bass lines a'la Red Hot Chili Peppers which begin this composition. As for the atmosphere, "Subversion" brings an aggressive feel with it mainly due to a rhythmic bass line along with buzzing samples, effects and screaming vocals. There is no graduating advance of tension either. Instead, listening to the entire "Subversion" track feels like sitting on a bomb while playing with a TV remote-control style detonator in hand which works as good as a game of Russian roulette.

    There are a few ways to call for a revolution - from throwing Molotov cocktails to making punk music. This can also be accomplished with the use of more subtle methods such as presented by File Transfer Protocol through this album. I'm not sure if Sean has successfully gotten rid of his tension, however a listener will be undoubtedly left watchful and alert after listening to The Gargoyle Studio Sessions. Both the music and lyrics assign a mature form of rebellion which is used by this artist to protest against the abuse of a citizens' freedom by their respective governmental institutions more and more often. The Gargoyle Studio Sessions will open the eyes, ears and minds of listeners in regards to a few issues which are not only important to Americans, but also citizens around the world who blindly follow 'Made in the USA' trends which sometimes have a bad impact on their individual rights and liberty (see: ACTA controversial legislation).

    Musical know-how, writing skills, intelligent arrangements for multiple instruments, well thought out compositional characteristics, valuable inspirational elements, smooth performance techniques as well as high quality mastering and overall album production make this compilation stand high among many other industrial rock releases.
    To top it all off, The Gargoyle Studio Sessions are the tireless work of one man. Ten years ago an album like this would have been released by a major label and never have been offered as a free download. In this current market independent artists control their own business and a digital copy of this release can be easily downloaded for free directly from FTP's official website. Of course this doesn't mean that a listener should not try to offer support to this musician financially if possible. It is important to keep Sean motivated to come up with yet another great album while he remains inspired and there are definitely many other items you can purchase from his online store!

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, November 18th, 2012)
    This review on Fabryka Music Magazine:

    Download this album (through Fabryka Magazine; FTP's upload to Google Drive, no registration is required):

    Buy 'Bipolar' album & merch:

  • Richard Patrick to play in High & Outside movie | Scum Of The Earth - new album in…

    30 Jun 2012, 08:28 by fabrykamagazine

    FABRYKA MUSIC MAGAZINE - [06/30/2012]:

    Richard Patrick to play in High & Outside movie -

    Scum Of The Earth - new album in August -

    Filter Richard Patrick
    Scum of the Earth The Devil Made Me Do It
  • Mike Drazka - Songs from the Asylum 2012 4/4 soundtrack video game movie

    19 Jun 2012, 19:49 by fabrykamagazine

    Mike Drazka - Songs from the Asylum |self-released, 2012| 4/4

    01. The Awakening , 02. Angels Of War, 03. The Nightmare, 04. Black River, 05. Sucker Punch, 06. Crown Of Thorns, 07. Path of Destruction

    Mike Drazka is an American songwriter and self taught multi-instrumentalist who has already placed his music into various forms of visual media such as TV, radio and internet multimedia sources including Oxygen Network, News12 Networks, MSG Networks and The Motion Picture Association of America with the award winning documentary Flight 587. His Songs from the Asylum album brings seven instrumental tracks that could be easily utilized in action video games as well as movies.

    The album begins with "The Awakening" which brings orchestrated rock sounds spiced up with electronica. It would be perfect if Mike hired a metal genre female singer to add vocals to it. The compositional aspects of the song are built on verses and choruses with cumulative moments and spots where a listener's brain can relax as well. Arrangements which have been written for guitars, bass, drums and keyboards have resulted in a cool rock track that has a chance for hit potential despite missing vocals.

    "Angels of War" is a heavy track due to its looped guitar riffs and sampling. Atmospheric parts in the background based on angel-esque voices and violins are interlaced with the main theme.
    On the other hand, "The Nightmare" has an intro that consist of brooding metal bass lines and drums which are joined by noisy guitars and cut with a synthesizer sometimes too. This would be also a perfect song to have male rock vocals added that could intensify the track and add a remarkable aspect. Overall, the dark and heavy moods sound as if they smuggled a nightmare into an asylum.

    Creative noise opens the fourth song on the tracklist called "Black River", which I personally find one of the best compositions on this album along with "Crown of Thorns" and "Sucker Punch".
    "Black River" sounds powerful due to chunky guitars joined by keyboards while the drum beat builds the structure of the song. An unforgettable and ear-friendly guitar motif that appears in segments of the song may also steal your heart. Moreover, the guitar tracks act as a surrogate to vocal parts which makes a listener take no notice that the song is missing a vocalist. The composition flows quite stable and the arrangements match one another well. "Black River" is as full of dynamics as it is memorable, this is thanks to Mike's great songwriting and sound design skills.

    Mike Drazka wrote and played each instrument on every song except for two. You can hear very heavy metal, yet distorted riffs played by American guitarist Frank Guertin as well as the drum beats by Russ Miller in "Sucker Punch" and "Crown of Thorns".
    The first of the two, “Sucker Punch”, is a track where heavy metal collides with electronica. Hardcore riffs lead the song over backgrounds which feature drums, bass and rhythm guitars, but electronic effects and sampling appear in some spots too. This track would be a great fit to an action movie trailer since it can underline specific scenes and moods very well.
    "Crown of Thorns" turns out quite short (less than 3 minutes), though it is fully dominated by deep tribal drum beats. The initial mixture of Mike's concept of synths and silence gave me a flashback of Harold Faltermeyer's compositions. The intro may be a bit too long, but the track continuously evolves. However, if the purpose of the song was to be background music for a presentation or a video game with a few images slid into the beginning, the length of the intro would make a perfect sense.

    "Path of Destruction" finishes the Songs from the Asylum album. It seems to utilize the same ideas as are found in "Crown of Thorns" (the length of intro) in the beginning, but the overall vibe is more electronic and noisy than in the previous songs. There are some guitar riffs involved, although it seems like they were processed through a digital sequencer.

    Well designed music doubles the joy of playing video games as well as watching movies. Images and motion do speak directly, yet they become harsh without matching music. Some game designers and movie directors have awesome works in progress, but they are missing music that can emphasize their work to a maximum dynamic effect. Mike has an excellent set of songs which would match any type of 'action' motion picture or video game due to their climactic guitar driven instrumental themes. It would be great if Mike had a chance to collaborate with such professionals as mentioned above to utilize his music in their productions and allow for visually stunning multimedia. Hopefully some professionals who are in the gaming and film industries may find Mike Drazka thanks to this review and begin a creative and successful collaboration together.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, June 11th, 2012)

    Buy this album on as well as iTunes, Deezer, Myspace Music, eMusic, Nokia,, Simfy, Google Music Store and MediaNet.

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    Quoth Mike Drazka:
    Thank you sooo much for the fantastic review! It is very honest and well written. I agree with you that some of the tracks would work really well with a vocalist. Unfortunately I don't sing and I didn't want to ruin a good song with bad vocals. If you happen to know any singers who might be interested in collaborating please let me know. (June 18, 2012)
  • Ministry Relapse 2012 album review

    20 May 2012, 09:34 by fabrykamagazine

    Ministry - Relapse (2012)

    This release sounds clean with exceptional mastering and has been well produced. However, Relapse is missing a spine, concept and plot along with very few intriguing arrangements. The compositions are divested of depth and any spiritual involvement. The songs don't invigorate the grey cells either, compared to the levels they did on recent Ministry albums. Continuous criticism expressed towards American conservatives on prior works was compelling listeners to look up the resources utilized in the song construction. This included aspects such as quotes or video content which helped to prove their points and exacerbate the bloopers of the Republican party that was led by G.W. Bush at the time. Instead, the band came up with melodies, ditties and "la-la-la" anthems on the Relapse album which are hushed with repetitive, yet hyperactive speed metal guitar riffs.
    (Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, March 29, 2012)

    Rating: 2 of 4

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    Tags: Ministry,Relapse,,,,,,,,,

    Good: Bloodlust
    Bad: 99 Percenters
  • The Seas - A Separation album review - recommendation

    1 May 2012, 20:22 by fabrykamagazine

    The Seas - A Separation |self-released, 2011| 4/4

    01. You're the one we've been waiting for..., 02. Judas, 03. Human Condition, 04. Lost at Sea, 05. The Great Wave, 06. A Separation, 07. United / Divided, 08. Paper Moon, 09. Paper Sky, 10. Meltdown

    It's quite difficult to stay neutral when a concept album in the vein of A Separation is wrapped up with such a huge emotional charge. It comes like the attraction of a first love - it opens up, steals one's soul completely, then it leaves the fragile human dry, crying for more.
    What's important, A Separation is The Seas debut album. Most bands usually shape their style with time to sound their best on their 2nd or 3rd releases (unless they've quit a previous project that has already released a debut album). When listeners come across The Seas music, they cannot say "I've heard that song before" or "What was that band name?" They will simply say it's The Seas and that the band is nothing but pure talent.

    Regardless of their influences (such as Nine Inch Nails and Tool) whose music has been copied by many musicians, The Seas do have a distinct, particular sound of their own and they can remain confident about it. The influence of NIN can be heard throughout Logan Powell's guitar riffs ("The Great Wave", "Paper Moon") while Jeremy Williams' bass lines as well as Rich Sester's drum beats recall the groovy, yet dark moods of Tool songs ("Judas", "Human Condition", "The Great Wave", "A Separation"). However, the closest match to their music may be a band called F.E.V.E.R. from Portugal and the sound of their 4st - Fourst album. This is mainly due to some songwriting concepts and minor similarities when it comes to atmospheres.

    If you must label music, then music by The Seas has been tagged as 'industrial rock'. It may draw the attention of many listeners, however it's not the pure industrial rock we've gotten used to. The band uses samplers programmed by Rich Sester to intensify the songs. Samples fill in the background of tracks like "You're The One We've Been Waiting For...", "Paper Moon", "Paper Sky", "Lost At Sea" or "United/Divided". This post-production technique deepens the impact of the music on the listener's perception. Thanks to atmospheric and melodic compositions, the music sounds closer to alternative rock than industrial rock, however the sampling makes the overall sound comply with the second above mentioned genre as well.

    The vocals give A Separation unique character. Not only will Michael Sliter's voice steal your attention, but it may steal your heart too. The vocals release maximum emotional impact and are passionate, yet very far from falling into the abyss of hysteria. His voice operates within a wide vocal range so that he can sing in harmony ("Human Condition", "The Great Wave", "Meltdown") as well as scream low or snarl ("A Separation", "United/Divided", "Paper Sky"), but he doesn't sing out of tune in any case. His clear, distinctive, memorable, well controlled and professional voice gives the song additional significance. Michael accents every single word and verse of the lyrics on this album. This is what makes the meaning of the music even more powerful. When he's singing, the listeners body will respond and make them feel like they want to sing along with him. It's a huge advantage to have such a voice in a guitar driven band.

    There's very good collaboration between the musicians and they avoid showing off their talents in an overbearing manner. The songwriting and compositional structures aren't complicated, however they are arranged extremely well. The tracks were specifically created with each instrument in mind as though they were created for a classical orchestra and set in a manner which would feature their sounds fully and thus let them build specific moods. The band efficiently operates within the confines of both sound and silence while utilizing techniques such as muting instruments in spots where other instruments come in to take part.

    Listeners may remember an instrumental track entitled "Lost At Sea" very well. The sounds of digitalized dolphin-esque voices and mysterious whispers coming as if from the depths of the sea are interlaced with waves of guitars.
    "A Separation" will open you up, tear you apart, then leave you dry. It comes in silently and pleasantly with a funny disco intro, then turns into a powerful rock'n'metal composition as intense as a hurricane ripping through your soul. It is a song certain to have a huge impact on sensitive ears and wandering souls thanks to both the attractive vocals, the song structures and an overall performance.
    The song "You're The One We've Been Waiting For..." is an intro to "Judas", then "Paper Moon" makes an atmospheric space for "Paper Sky" to come along next. Both are connected and cross over extremely well. Additionally, in each intro the lyrics include a verse pertaining to the previous song title. "Paper Sky" is as meaningful and recognizable for the sound of The Seas as "A Separation", and both songs should be promoted as often as possible.
    Fans of melodic, yet emotional tracks may also enjoy "Meltdown" which is the track that completes this album. The first quiet seconds of "You're The One We've Been Waiting For..." are mixed very well with the song. Techniques such as this provide the listener with the most impact from this album when played in rotation.

    You can't go wrong with arrangements that are crafted so well and allow the songs to be so inspiring. Each musician works hard while collaborating with the lead singer's vocals. This is what makes the songs so memorable. These intelligent and very intense rock songs contain real spirit which even the best known top Billboard songs seemingly lack these days. Music by The Seas may turn out to be timeless, leaving their sound as intriguing in 2012 as it can become 15 years from now.

    This sort of music however needs a closed venue for the purpose of live shows. It might require a high end sound system to make the most out of The Seas music in a live context. Their vibe is simple, yet rich in moods and thus the silence plays a huge role in the overall song structures. Any feedback caused in a live setting due to bad wiring or microphone setups could ruin the atmospheres of the songs.

    The band has been working on a new EP, but it seems this should be no problem for them to make another release that is just as good as A Separation. They shouldn't hurry with their next release either. It takes years to make meaningful music. The entire process can be compared to writing a novel that withholds a tight yet unique storyline.
    A Separation could be a life changing experience, but a spiritual catharsis is guaranteed. This band deserves a lot of exposure from the music press, TV, radio as well as possibly being featured on compilations and in movies as well. Many opportunities should start dropping like rain when The Seas music goes viral. Hopefully their songs will be purchased as often as listened to.

    (Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock Magazine, April 17th, 2012)

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    Tags: The Seas The Seas