Mar 14 2014, 10h48 por psenough
Mar 5 2014, 9h51 por fabrykamagazineThe 88's - The 88's EP |self-released, 2013| 5/5
1. Get Me Through, 2. Addiction, 3. Time Was Right, 4. You Gotta Give A Damn, 5. For You, I'll Sing My Song, 6. Pride
The 88's trio which has been playing together since 2009 has an international line-up. The members make music in China, Portugal, France and the US. Joe Mahone brings the hard rock/metal drive through excellent drumming, Pheel Duarte feeds the songs with dynamic vocals, while Luis Coelho enriches The 88's music with Latin guitar influences.
The eponymous EP is their second release (the first one was out in 2011). The tracklist opens with a wavy guitar solo and gives you a foretaste of what to expect. "Get Me Through" has a melodic yet heavy mix, ensuring that you're listening to the work of experienced musicians who know how to skillfully borrow from a few different genres. They utilize latin music, blues, hard rock and modern metal structures as well. They undoubtedly worked this one out and avoided predictable arrangements.
"Addiction" begins with a heavy and rhythmic mix written for the drums, guitar and vocals. However, this passionate track has also a surprising acoustic side, based on soft melodic arrangements. A professionally played guitar solo influenced by classic rock, as well as guitar parts draw inspiration from Latin music. As an interesting aside you should note that the song is bilingual (English & French).
The 88's seem to be inspired by music of Metallica, Foo Fighters, and System of a Down. "Time Was Right" is a goof proof of this. It’s a heavy track built upon balanced arrangements, neither leaving empty spaces, nor invading your ears with arrogant intensity. The structure is diversified enough to keep your mind engaged, but also repetitive enough to stick to your memory.
A swinging mix of guitars, drums and bass begins "You Gotta Give A Damn", an example of a popular alt-rock theme, which easily fits into prime time airplay. The song is short, melodic, dynamic and instantly memorable. It has spots filled with guitar solos and intensified drumming, with very suitable vocals.
If you like Soundgarden or Nirvana, or just enjoy the grungier vibes, "For You, I'll Sing My Song" is, precisely, for you. The track includes also an interesting part performed by Pier, a guest musician utilizing a Chinese instrument called Erhu. She appears midway through the song and brings more of a world music feel. When it comes to vocals for the track, Pheel Duarte proves clearly that he can adjust his voice to different styles of music.
Now, it's time for a decorative jewel. "Pride" is a huge finish, definitely enriching the whole EP with a big, nostalgic theme. You can clearly imagine the lone guitarist performing on a stage. When he's focused on the instrument, locked in an invisible bubble of the sound, the entire world seems to disappear. There are only three things that matter here: him, the guitar and the music these two make in the limelight. You've heard that same, never changing tune from Santana, Clapton, Led Zeppelin or Queen and you'll hear it again, this time performed by Luis Coelho and The 88's. It's also a great movie track.
All the songs on the tracklists have a definite flow connecting them - whether it’s their rhythm or mood, or the technical skill behind them. Thus, the end of "Pride" interlocks with "Get Me Through" very well and you can listen to the entire EP on repeat.
The album is worth having and the band deserves your support. Their official website and social profiles should give you more insight into The 88's next move.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 28th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=526
Buy this EP:
Tags: music review, fabrykamagazine, discover music
Fev 26 2014, 12h42 por psenough
enrmp343 - The Silence Industry - Brother Sing, Sister Shout (And Other Conspiracies)
Album of gothic rock sounds with some heavy psychedelic and experimental noise influences. Signaling the return to the releases of Canadian project The Silence Industry.
Fev 19 2014, 18h15 por fabrykamagazineIn_zekT - Artifex |self-released, 2013| 5/5 metal, djent, cyber metal, industrial metal, dark ambient
01. Strain Reactor, 02. ARTIFEX, 03. Sub-Humanist, 04. Overman, 05. Dialling the North Code, 06. Ionize, 07. Termination Sequence, 08. No Fate But What We Make, 09. This is Not an Exit, 10. 
norwegian metal is best known for its straight-forward, merciless sound. It's no different here. This is one terrific album that takes what's best in industrial/cyber metal (raw anger, repetitions, sampling, SFX) and djent (atonal, down-tuned, stretched, syncopated guitar riffs) to a new level, creating a fresh, yet to be named genre.
In_Zekt was founded in Norway in 2002. They started with a slightly different line-up, and their music initially sounded differently, too. A chance to meet Ministry's founder Al Jourgensen in 2003 had resulted in having Luc Van Acker (his mate from Revolting Cocks) produce In_zekT's debut release back then. Also Chris Vrenna (Tweaker) was involved in mixing one of the band's albums. Artifex however, begins a new, more extreme chapter in the band's career with two musicians in the line-up: Peter Vindel (lead vocals, guitars, synth, programming, sampling) and Kjetil Ottersen (vocals, guitars, synth, programming, sampling).
The first song leaves no space for guessing how the new chapter is being developed. "Strain Reactor" is a deeply guitar driven track, but the riffs are distorted by various effects and modifications making them sound industrial. Also vocals, delivered by guest vocalist Secthdamon, are slightly altered. The arrangements change and build up a solid, tight composition without overwhelming the listener.
"ARTIFEX" starts with alarming, howling sirens. Then, electrifying guitar riffs along with drums and distorted vocals jump to the fore. The density of riffs, but also the combo of drumbeats and synths resemble motifs better known from newer Ministry and older Nine Inch Nails songs (the latter is specifically audible in the final part). The arrangements vary throughout the track, and the composition method makes it possible to avoid excessive repetitions. The bands operates with anger, tension, turmoil and silence very well.
"Sub-Humanist" erupts with no pause between the tracks. In fact, the rhythm keeps pumping so dynamically, that you'll probably begin headbanging right away. There are elements of thrash metal and a very little bit of electro, stimulated with modified, screamed vocals as well. The whole set is energizing and memorable, therefore I personally vote for "Sub-Humanist" as the best song on Artifex - at least when speaking of its 'metal' flavour.
After such a big dose of aggression, you may think that the musicians reached their limits and the next track can't be performed even more fiercely. Wrong. Each following song seems to sound angrier. "Overman" takes you on the first excursion into the world of dark tunes on this album - only at the beginning though, because wicked ferocity quickly breaks through the cinematic atmosphere. Buzzing, feedbacky, noisy industrial effects are sampled into the song, matching the other arrangements perfectly. Technically, some themes were gently borrowed from Fear Factory, but spiced up with In_zekT's own flavour.
Possibly to avoid a further escalation of mad energy, "Dialling the North Code" suddenly appears in a strangely fitting place on the tracklist. It's a dark ambient soundscape partly kept in vein of Mark Morgan's music (think of soundtracks to such classical video games as fallout or Planescape: Torment). The cinematic, cold mood is enriched with deep thumping drones and undoubtedly reflects a story - one your mind may create when inspired by these dark sounds. Test your imagination. It's also an excellent track for a science-fiction movie or an artistic installation.
After the dour break, buzzing guitars make a return. "Ionize" begins with a shattered wave of mechanical drumbeats (there is no human drummer present in the band) followed by distorted vocals, guitars and minimally present synths. The beginning of the song sounds rather monotonous, regardless of its expressive fury. However, the track grows in time thanks to tempo changes, arrangement placements and guitars that occupy increasingly more space within the composition. There are powerful riffs in the middle of the song, while its ending is marked with significant fade out and silence.
Now, it's time for the apogee. A composition of "Termination Sequence" is long, for a reason. At first, it reflects what's labeled as cyber metal or futuristic metal thanks to specific sound effects mixed into the guitar driven arrangements (with a guest solo by Archaon) and a fiery performance. It then falls into an intriguing abyss of dark ambient soundscapes - drones, tiny buzzing, haunting passages, motifs of ocean and outer space, etc. - the mood changes drastically. The musicians deserve a standing ovation for the way they morph the end of the dark ambient part with the arrangement that follows, seamlessly leading through industrial tunes into metal again. The band accumulates all the features present in previous songs - diversified arrangements, a murky atmosphere and an explosive blast in the darkness. Not many metal artists can do it skillfully but In-zekT prove themselves. "Termination Sequence" is the other best track on the album, in terms of its overall value.
"No Fate But What We Make" begins with a healthy heartbeat, followed by sampling and altered, piercing guitar riffs as heard in some djent compositions. Vocals are slightly modified with distortions and SFX. The overall dynamics resembles a thunderstorm, yet changes throughout the track, including ambient passages. The middle of the song is melodic and memorable, with soft and gentle vocals. Yet another excellent conjunction between this and the return of guitars calls for respecting the musicians' skills.
The final two compositions, "This is Not an Exit" and "" include a fair share of electronic and experimental sounds with additional samples provided by Vegard Dølerud. Guitars and metal arrangements appear throughout both compositions.
"" is a noisy limbo, as experienced by someone attached to a rotary drill digging a corridor in a coal mine. The noise however slowly loses its dirty, confusing power to gain a dark ambient atmosphere in the end. It's a 22-minute long composition (that's how professional noise composers do it - check out i.e. the maestro known as Merzbow) - it may sound tiresome for most, but fans of experimental music should appreciate it.
In_zekT's artistic need for expression forged into Artifex resulted in a powerful, yelling blast and cold furious sounds penetrating deep enough to re-program your DNA - all that to make you remember their songs for a long time. Artifex keeps a perfect balance. The trick here is that both passionate and dark sounds build up a contrast which makes arrangements/songs emphasize one another. Moreover, this creates an acceptable tension, a method commonly used in classical music compositions.
This release is available in both digital and physical formats (digipack). Don't steal it, buy it. Support the band, because they turn their brainstorming into innovative music, successfully. The high quality of mastering and production (done by Peter and Kjetil with an additional engineering of Ronny Furuseth Kaasa) should help the album climb high in alternative music rankings.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, February 18th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=525
Buy this album:
Fev 12 2014, 4h50 por psenough
Fev 7 2014, 15h18 por fabrykamagazine
Dead of Day - Sick and Twisted (song review) |self-released, single, 2014| 4/5 metal
Dead of Day is a British one man metal project formed by musician/songwriter Rikki Siddle in late 2012. Inspired by music of bands such as Machine Head, Pantera, Killswitch Engage or Metallica, he released Walk in the Shadows EP in 2013.
Wrapped with heavy arrangements and angry moods, "Sick and Twisted" is his brand new single. Its beginning is exemplary of the exact sound that develops throughout the whole composition. Some bands prefer to utilize the so called 'wall of sound' (played in unison or individually), usually in the third part of a song - just before the end. Instead, Dead of Day uses a heavy mix of downtuned bass, chunky guitar riffs and dense drum beats in the first part of the track.
The arrangements smartly repeat and there are similarities to what we've heard so far on older Metallica albums. Guitar riffs entwine with bass and drums quite often within the song, weaving a stitched pattern. This type of composition keeps listeners energized and ready for headbanging.
The lyrics express disappointment being mislead by someone’s false self-presentation, perhaps due to a friend’s betrayal: "You're not the person you portrayed / Routine life your masquerade", "Your moral compass is corrupt / Shouts for forgiveness are unjust / The thoughts of what you could have done / Sick and Twisted pass the gun".
Rik doesn’t sing here - he rhythmically utters the lyrics with a haunting, hateful voice. This vocal method is quite characteristic of metal and hardcore music, yet well matched to Dead of Day's sound.
"Sick and Twisted" could definitely benefit from a better mastering and production process. It’s understandable that an artist in this genre would want his music to be rough, grainy and noisy. Yet even a reliable 'garage quality' tune can be cleaned from unnecessary noise, then polished to keep the original sound, with much improved quality. Such mastering services are usually pretty expensive, but there are many on-line & print resources that allow for a bit of sound engineering DIY.
Regardless of that, "Sick and Twisted" does sound catchy in its own heavy way, thanks to a lively dialogue between choruses and responsive guitars. They fit in the groovy background created by bass and drums very well. It's also nice to hear the riffs cut abruptly at the end of the track, where one would expect one more repetition.
According to Rik, his main focus has been on songwriting and recording, but he hopes to hear other bands record and perform his songs as well. Whether it’s about licensing, writing or performing music together or just being a passive listener, you should visit his website to give his other work a spin.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 6th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=524
Tags: music review, song review, metal review, discover new metal band, fabrykamagazine
Fev 5 2014, 21h32 por Star_Music
Ilaria Argiolas è una giovane cantautrice Romana con origini sarde, eclettica e travolgente che riesce a conquistare con la sua voce e la sua musica regalando moltissime emozioni, una ragazza che nonostante le mille difficoltà si è sempre data da fare raggiungendo sempre i suoi obbiettivi nonostante questi sembrassero irrealizzabili.
Nel 2009 si diploma in tecniche internazionali di canto all’ accademia della musica e dello spettacolo di Napoli mentre nel 2011 l’incontro con Pier Paolo Palumbo editore e produttore del suo primo singolo “Prendimi le mani” le da la possibilità di firmare nel gennaio 2012 il contratto con la Kafer Records di Marco Adami collaborando anche con grandi musicisti di livello e fama internazionale, come il batterista Enzio Zaccagnini, il percussionista Giovanni Imparato, il bassista Luca Pirozzi, Bob Masala e il chitarrista Fabio Mariani.
Ecco qui potete ascoltare Saluto il suo ultimo singolo :
Oltre alle tue innumerevoli passioni il disegno , la poesia e la pittura sin da tenera èta grazie a tuo fratello Andrea hai coltivando una grande amore per la musica incominciando all’ eta di 6 anni a cantare sulle note di Battisti e De Gregori . Cosa ti ha affascinato di più nella musica di questi due grandi autori della musica italiana ?
Le Parole, il contenuto delle canzoni, il significato, e inizialmente, devo essere sincera “la semplicità” del giro di accordi ripetuto”, questo mi impressionava… rimanevo affascinata da come poteva un semplice giro di accordi riuscire a dare emozioni così diverse!
La cosa che mi colpiva di queste canzoni era l’impatto che le mie interpretazioni davano alla gente “se pure ero una bambina di nemmeno 10 anni”!
Grazie ai molti sacrifici della tua famiglia all’ età di sette anni incominci a studiare chitarra esibendoti anche in locali, piazze e partecipando a numerosi concorsi . In che maniera i tuoi genitori ti sono stati vicini , quanto ti hanno aiutato a coltivare questa tua passione?
Su questo posso raccontarvi un aneddoto divertente !Ho iniziato a suonare che neanche me ne sono resa conto e vedevo mio padre come l’uomo più critico e severo, esaminava ogni canzone che timidamente cercavo di interpretare, lo scoprivo spiarmi da dietro la porta e la maggior parte delle volte mi faceva pesare che non sapevo suonare bene, che il tempo nel cambio degli accordi era troppo lento rispetto alla canzone che suonavo, che ero stonata e per giunta troppo convinta di me. Però poi, puntualmente ogni volta che mi sedevo in salone e cantavo per loro lo vedevo piangere come un bambino indifeso… Col passare degli anni ho scoperto che quel pianto era l’emozione che involontariamente sapevo regalargli!
Crescendo ti avvicini sempre di più alla musica cantautoriale italiana , uno dei tuoi punti di riferimento di questo genere diventa Fabrizio De Andre definito da molti anche un poeta . In che modo lo stile musicale di questa artista ha influito sulla tua formazione artistica ?
Prima vi ho spiegato cos’è che mi attraeva della musica di De Gregori e se parliamo di testi musicali non potevo che innamorarmi del Poeta Maledetto! Da piccola ero un po’ chiusa e non avevo molti amici, per assurdo la musica mi aiutava a sentirmi meno sola… So’ che adesso mi prenderete per matta ma proprio la musica e questi testi così reali mi hanno aiutata ad aprirmi scrivendo e comunicando il mio stato d’animo tramite le canzoni, ha inciso molto sulla mia formazione in questo modo! Mi piaceva così tanto questa musica perché era controcorrente rispetto a quella dei miei coetanei, volevo essere diversa da loro, mi piaceva l’idea di andare in antipatia anche se questo mi faceva soffrire!
Nel 2009 ti diplomi in tecniche internazionali di canto nell’accademia della musica e dello spettacolo di Napoli mentre nel 2011 grazie all’incontro con Pier Paolo Palumbo, editore e produttore del tuo primo singolo “Prendimi le mani” riesci a firmare un contratto discografico con la Kafer Records di Marco Adami.
Quali sono le persone che ti hanno aiutato di più nel tuo percorso artistico e che magari vorresti ringraziare ?
Appena ho letto questa domanda, e poi l’ho riletta, mi è venuto in mente quello che proprio quel giorno ho pensato, e cioè che per la prima volta mi sento di ringraziare Ilaria Argiolas!Il giorno che ho incontrato Pier Paolo Palumbo ero praticamente scappata da lavoro, per andare a suonare come ospite al Battello Paolus, sotto il Tevere, vicino l’Arapacis, non ero nemmeno sicura di voler andare a suonare, ma alla fine ho lasciato il lavoro e sono andata lì da sola.
Quando lui si è avvicinato e si è presentato mi sono fatta forza, abbiamo iniziato a parlare e mi sono sentita una donna matura e coraggiosa come mai mi era successo prima.Un altro momento del quale debbo ringraziare ancora Ilaria Argiolasè stato quando Pier Parolo Palumo mi ha fatto conoscere il Folle “mi piace chiamarlo così, Marco Adami”, anche quel giorno ero sola, sono andata nel suo studio, mi sono fatta coraggio, entrambi mi sembravano così grandi e così importanti ed è il caso di dirlo che lì “ O Palla O Piede”!
Per non parlare poi della costruzione di tutto l’EP… Ci vogliono tantissimi soldi per realizzare un EP, senza vantarmi, se volete le cifre ve le darò ma rimane il fatto che prima di permettermi una cosa del genere ho lavorato praticamente 16 ore al giorno! E ho pagato tutto con tutto quello che riuscivo a guadagnare!Mi facevo ogni volta 50 km per andare a registrare le canzoni, ora non voglio vantarmi di chissà cosa ho fatto per arrivare fino ad oggi, sicuramente ci saranno storie più emozionanti della mia, rimane il fatto è che questa è la verità e che per la prima volta sono proprio contenta di aver comperato la mia fiducia!
Vorrei sottolineare che non è una questione di freddezza come negli anni mi è sempre stata criticata da molte persone, da amici e persone varie vicino a me, proprio questa freddezza mi ha portato a realizzare quello che non credevo potesse essere nemmeno il mio sogno, per me era così irraggiungibile che non avrei mai immaginato di fare un video clip di quella portata (Prendimi Le Mani ) e addirittura poi di fare l’EP….
E quindi, chiamatela freddezza, egoismo però con tutta l’umiltà che posso avere e che mi hanno insegnato i miei genitori io voglio ringraziare la forza e la costanza che ho avuto per pagare e ritrovarmi quello che oggi mi ritrovo e avere come ripago anche questa piacevole e breve intervista che voi mi avete dedicato!
Saluto è il nome del tuo ultimo singolo , un brano che in un certo senso parla anche della situazione e dei problemi che molta gente sta vivendo in questo periodo di crisi . Pensi che con l’ aiuto della musica si possano aiutare anche a sensibilizzar le molte persone ad affrontare i problemi che questo paese sta affrontando ?
Allora…. La sensibilizzazione delle persone credo sia un fattore davvero improponibile, sono convinta che alle persone si possa comunicare qualcosa, un pensiero, una realtà…“Sensibilizzazione” è diventata una parola in “saldo”, usata molto dalle grandi aziende o agenzie di volontariato (sensibilizziamo la gente a questo; sensibilizziamo la gente a quest’altro) a forza di usare questa parola la gente invece di venire sensibilizzata si incattivisce, quindi non credo molto nella sensibilizzazione della gente forse perché i tempi sono un po’ cambiati, bisognerebbe utilizzare un altro modo, non so precisamente in che modo, non sono molto efficace sotto questo punto di vista però scrivere canzoni come “Saluto” è un modo ironico per comunicare una realtà che esiste, che è presente, e che è comprensibile a tutti… logicamente non voglio vantarmi di una canzone che ho scritto ma credo semplicemente che parlare di realtà, con un po’ di ironia, sia più efficace della sensibilizzazione sulla gente con frasi fatte e belle parole, anche perché, per lo meno qui in Italia, siamo gente che non ama molto le frasi fatte o le frasi di retorica e i lieti fine, quindi ripeto, non posso giurare di sapere quale sia lo strumento ideale per arrivare alle persone però ve lo potrò comunicare quando ci arriverò a comunicare con tutte queste persone, allora lì faremo un’altra intervista bellissima come questa e vi potrò dire come sono riuscita “non ha sensibilizzare la gente ma a fargli vedere a chi fa un pochino di fatica le cose come stanno”, no? Bho, io scrivo poi non lo so, mi sono dilungata troppo? Fatemi cantare che forse è meglio!
Quali sono i tuoi progetti per il futuro , quali sono gli obbiettivi che vorresti riuscire a realizzare ?
Cantare Gracias a la Vida con Joan Baez, chitarre in mano, fuori il cancello gigante della casa bianca… però so che questo è qualcosa di quasi irrealizzabile, ma, a parte questo, Obama a parte, fino ad adesso se sono riuscita a realizzare quello che sognavo è stato perché non lo sognavo, quindi non voglio limitare i miei sogni perché ho paura che poi possano rimanere tali…Progetti ce ne sono e sono quelli di cantare ovunque, e se serve anche fuori il portone della casa bianca, e di farmi conoscere da più persone, perché adesso siamo in due, domani saremo in tre, dopo domani saremo quattro, non avendo i mezzi a disposizione specie quelli economici perché non prendiamoci in giro “quelli servono e anche tanto” quello che posso fare è questo, augurarmi di non sognare e fare, punto.
Fev 5 2014, 21h01 por fabrykamagazine
Maximum Sexy Pigeon - Unfit For Human Consumption EP v2 |NoiseBastard, 2013| 5/5 industrial metal grindcore
01. Tunguska!, 02. Dave Unlimited, 03. Army Of Arseholes, 04. Mindless Life Siphon, 05. HeadKick, 06. The Pig Welder, 07. NSFM [Messenger Of Shit], 08. Wreck Everything
Maximum Sexy Pigeon is an Australian band that has been active since 2004 thanks to the founders - Yok Rzeznic ('Rzeznic' could be translated to 'butcher' in some Slavic languages) and AD Millennium (also known from bands such as Dream Sleep and Viral Millennium).
They make industrial metal mixed with a bit of grindcore - music they enjoy listening to. Surprisingly for the genre, they put a bit of satire into it. You won't hear popular schematic themes made up to satisfy the masses on this EP. Instead, you'll remember key traits of Maximum Sexy Pigeon's music expressed through intense, mechanically repeating arrangements based on tuned down guitar riffs, groovy bass lines and distorted vocals kept in a rough 'I-don't-care' tone. In this case, their piercing performance can be compared to full force steam hammering.
Tunguska is a place in Russia where extraterrestrial astronomical object fell in 1908, causing large scale destruction. The blast is compared to that of the Little Boy atomic bomb dropped on Hiroshima, but about 1.000 times more powerful. Inspired by that impactful event, Maximum Sexy Pigeon wrote a song which is arranged for heavy and vibrating guitar riffs, an ear-drilling bass and matching drums. Together, the instruments build up a mighty wall of sound. The song in not overloaded with lyrics, but you may become slightly chased by the chorus line "I remember Tunguska". The overall package is instantly memorable after the first listening - just like 90s Ministry songs.
"Dave Unlimited" is based on a stretched bass line and an anxious mood, as if someone was locked in a loop of torment. Obsessive arrangements gradually step up or down. Vocals are adjusted to the bass while the slightly disjointed drums add another, deeper layer of rhythm. Heavy guitars are present only in parts of the composition. Finally, compulsive repetitions make this track another annoyingly memorable piece.
The next song, "Army of Assholes" sounds even more intrusive, with tuned down guitar and bass combo attacking the listener from all sides. Hateful vocals highlight the ironic contrast with the line 'I don't hate you' repeating throughout the track.
"Mindless Life Siphon" sounds like a jackhammer thanks to its density and speed provided by guitars. Harsh vocals and industrial noises of a shifting mechanism add a matching flavor. Something you won't hear on this EP too often - a groovy melody - arises from the overall turmoil, but it's cast back into the overwhelming sonic vortex quite quickly.
A rhythm based on a repetitive beat and chunky guitar riffs begins the spine of "HeadKick", but the tempo changes quite soon. You may notice a familiar sham laugh mixed with non-intrusive screams. Maximum Sexy Pigeon seems to be inspired by the sound of several influential 90s acts such as Ministry, pitchshiter or Godflesh. Thus, this kind of sampling was most probably borrowed from Ministry's music and plays a big part in this song.
Contrastingly, dark ambient moods open "The Pig Welder", but then are replaced by a grinding mix of guitars, bass, drums, and distorted vocals. Some arrangements may sound familiar if you've ever listened to bands such as Testify or Fear Factory. It's the longest song on the EP, with parts built upon heavy rhythms but also cold, ambient passages. Similarly to previous compositions, the bass stimulates the track.
"NSFM [Messenger Of Shit]" starts with a hammering reminiscent of heavy industry; a sound straight from a steel factory. The song is full of buzzing bass lines and heavy metal guitar riffs supported by drum beats. At times it’s slower than other tracks on the EP which increases the 'weight' of its sound.
Finally, creepy screams open the last, most chaotic and violent track here - "Wreck Everything". Low, aggressive vocals are tightly packed into recurring arrangements based on looped guitar riffs, groovy bass and less exposed drums. Listening to this song feels like being thrown into a fast rotating industrial mixer filled with bricks, metal rods and gluing concrete, with a 100% chance that you're going to be painfully hit by something.
Technically, Unfit For Human Consumption EP is an extended version of Maximum Sexy Pigeon's same-titled (and free) release which appeared in 2013. The duo decided to include three additional songs to the final tracklist. Their "Tunguska! (Water Retentive mix)" was featured on an Aussie electro V/A compilation in 2011 amongst songs by Skrew, Collide, Dismantled or Psyche. The new version provides a slightly lower tempo, while sounding less rough than the older mix. Still, it remains a track you can’t resist headbanging to.
If you enjoy true industrial metal or wish to learn what the genre used to be, grab this CD directly from Maximum Sexy Pigeon (preferably via their Facebook page). It'd be also wise to support the band so they'd come up with the next batch of simple, efficient and mighty tracks, just like the ones on this release.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, February 4th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=523
Buy CD via: https://facebook.com/maximumsexypigeon (contact the band directly)
Tags: album review, music review, australian metal music, australian industrial music, discover new metal music, 90s industrial metal, fabrykamagazine
Jan 29 2014, 18h01 por fabrykamagazineCalatrilloZ - A Glimpse At A Fool's Destiny (song review) |self-released, single, 2014| 5/5 metal neo-classical opera
Founded in UK in 2009, CalatrilloZ quintet offers much more than just heavy metal music. Their songs are composed around a tale entitled The Marionette's Theatre. Their live performances include special outfits, make up and stage design as well.
The CalatrilloZ' line-up consists of Zahyin (Mr. Z), Mobius (bass), Count Viktor (guitar), Azriel (guitar) and Mattias (drums). Diverse musical inspirations such as Led Zeppelin, Black Sabbath, Rush or Tool enrich their music with many flavors.
With the newest track, "A Glimpse At A Fool's Destiny", CalatrilloZ prove they're extremely talented and well educated musicians. Not only do they play instruments very well but also write professional metal opera compositions.
The song describes a one way trip to Hell, where an evil boy named Johnny is to suffer eternally due to the wrong choices he had made, as explained in a verse: "Hell is a place we all go / If you walk on the wrong side / Forever you shall remain (…) And now that you’ve seen where this path may lead you / Are you ready to choose between right or left?" If you read between the lines, a bit of politics may be at play here, as well. Johnny is one of many bad people to share the punishment along with "backstabbers, thieves, murderers, greed pigs, rapists", as listed in the song.
The overall dynamics brought by a fast paced mix of drums, guitars and bass are accented with Zahyin’s high voice. You'll hear many spots where his full vocal scale is exposed. The tempo slows down or speeds up where necessary throughout the composition, creating a specific, tense atmosphere. Various well-matched arrangements are brilliantly connected through smooth bridges. They easily manage to keep one's mind continuously occupied with every new part of the track. The mood is definitely epic, thanks to diverse and uplifting instrumental motifs.
It's a complex symphonic composition, where metal & progressive rock influences are splashed with abstract art. To me, this song is begging for a music video. It could be a production in the vein of David Lynch’s (or Marilyn Manson’s) video work - based on contrasts, absurd, horror, irony and distorted reality. I can see a circus arena rather than a opera hall, filled with opulent decorations, uncanny items, memorable outfits and lively supernatural characters - all wrapped in fiery colors mixed with sepia or black. The band themselves surely have a best visual concept for this on their minds.
Whether or not Jesus Christ Superstar is the most famous work that kind, the next piece about Lucifer may become even more successful with CalatrilloZ' involvement.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 28th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=522
Tags: professional music review, song review, discover new metal music, neo-classical metal, opera, fabryka magazine
Jan 24 2014, 20h40 por fabrykamagazineConsinity - Sea of Lonely (song review) |self-released, single, 2013| 5/5
Consinity was formed in Florida in 2005. The band is set to release its debut album in Spring 2014. It may seem a long time since the start, but the band had to solidify its sound and line-up before moving on.
"Sea of Lonely" is Consinity's latest rock ballad. The track opens with a gentle guitar, making you expect the motif to be a foretaste of a typical ballad. Yet the song is not deprived of heavier, rhythmical tunes thanks to the hard rock, grunge and progressive rock influences that come up soon after the intro.
You'll find passion, emotion and dynamics running within the music of Mark Kievit (drums), Jack Rose (bass), Wayne Hite and Chris Shupe (both on guitars). They perform very well when it comes to individual instrumental parts, as well as collectively. Moreover, their arrangements written for vocals and bass sound very melodious. If you focus a bit more, your ears should catch and follow these two lines only. The guitar solo with a bit of shredding near the end of the track puts a high accent on the rhythmic and repetitive background.
There's a undeniable yet neat contrast between the high pitched guitar and slightly raspy but still lyrical vocals. Beau Brady has a great voice representatively showcasing the genres mentioned earlier. In fact, it is as memorable as that of DANIEL JOHNS (Silverchair) or Layne Stanley (Alice in Chains).
Additional, angrier background vocals performed by Wayne Hite and Jack Rose support Beau and give the track an edgy flavor. The lyrics also perfectly fit into the arrangements and refer to feelings of solitude and frustration.
The composition sounds complete since there are no empty, unused spaces. The majority of it is based on catchy motifs and a chorus that will not leave your ears for the next few hours past the first listening. The intro interlocks with the ending part very well. Both the musical theme and the voice remain haunting.
What we’re given here is quite convincingly a potential hit.
(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 24th, 2014. Proofreading: Mike 'Vesper' Dziewoński)
This review on Fabryka Magazine: http://industrialrock.net/php-files_en/articles.php?article_id=521
Buy on: http://www.cdbaby.com/cd/consinity/from/fabryka