The gray industrial urban landscapes of Newark NJ must be what inspires Hive records' owner David Pittman to pick this extremely talented and great sounding breakcore-industrial bands without ever missing a beat, pun intended. Seriously, Hive records is one of the few record labels that to me represent a guarantee of quality. When I get a Hive record I already know it's good, the question is just how good and good in what way... which of the shades of this widely-eclectic genre will it live under?
Canadian Matt Rosen's Liar's Rosebush's long anticipated solo debut is no exception. "Circle the Squares" is an incredibly mature debut. The 12 tunes crawl towards you quietly, with echoes of dark-ambient music, nerve-wracking atmospheric sounds and ill-fate-anticipating drones before unleashing the full sonic assault of the distorted and sliced-n-diced breakbeats featured in the following pieces that make this album. The full extent of the assault is further intensified by cut-up and re-pitched chords of a super heavily distorted and compressed electric guitars. Eventually, and every once in a while, the listener can take a breather again as the music loosens its grip to let some more rays of atmospheric sounds and even small non-distorted guitar parts ("Like a Nicotine Halo") shine through. Liar's Rosebush direction is still taking shape, I believe, but obviously Mr Rosen in inspired by bands that know how to bring haunting melodies and atmospheric moods into the formula. Except for the intro of a piece like "AAA", this is not really a Nine Inch Nails sounding record, but it does borrow some aspects of their formula in that way. Rosen understands as well as Reznor does that tension and release is the name of the game and that the quieter and moody this part is, the more brutal and visceral that part will sound. Differently than Trent, Matt seems to be more inspired by the warpy british ambient scene when it comes to his more subdued compositions (or part thereof).
If you absolutely must have some references, think of it as a mixture of Squarepusher, Flugschadel, Noize Punishment, Ambassador 21, Venetian Snares, Duran Duran Duran, Autechre, Cenotype and Uglyhead and but don't let those names be a limiting factor. Rosen is very personal in his approach and obviously his musical skills as an instrumentalist (and not just a laptop programmer) have heavily influenced the making of this record in ways that only instruments can do. Very interesting record. I am already looking forward to the next one.

After releasing the demo "In Vulva Infernum", the mysterious duo behind Menace Ruine started to play gigs around Canada. The Montreal band soon caught the attention of the Canadian label Alien 8 which already released other bands which had metal influences on their sound. The first album by Menace Ruine contains seven tracks and despite some black metal influences (see the vocals on the opening "Process of bestialization") and some obsessive percussive parts, the band is capable of creating a convincing mix of dissonant melodies, despair and tension which find its top on "Kill the egregore". On this one we have a razor like sound which seems to come from the sewer where a guitar which sounds like an Farfisa organ duet with a rumbling percussive tambourine and a female chant. "They who enter caves" has a similar scheme but the male vocals are less original because follow the black metal rule of having bleeding sore throats on vocals. If you don't consider that, CULT OF RUINS will sound different to your ears and you'll appreciate the mud which will drip from your speakers...

Discrete Encounter is a NY based trio (music duo + visual projection person) who play some kick-ass female-fronted aggro-electronica, or whatever else you might want to call a powerful mixture of electronic music with heavy scratching distorted metal guitar riffs: industrial metal? electro metal? It doesn't matter really, the point is, it is good and it is hard!
I've always been a fan of bands that mix pounding EBM/industrial rhythms & sequences and mash them up with distorted power chords and screaming guitars. Band leader Taras Mashtalir (who wrote all the material and also occasionally sings in his low growly voice) plays guitar with the impact and sonic assault of, say, Zakk Wylde but makes sure to let the music be beat-driven and electronic to the core. However all this vengeance's counter-part is the beautiful and soothing voice of Natasha Romanova, whose contribution will make "2B1" interesting and approchable even to fans of synth-pop and some darker music. Definitely right up the alley of fans of bands like Rammstein, Die Krupps, FLA, F242, Killing Joke, Strapping Young Lad, Oomph!, Clawfinger, Skinny Puppy, KMFDM and so on and so forth.
Their newly released CD comes in a beautiful digipack art work and contains eleven tracks.

Mankind is Obsolete is an amazing band hailing from Los Angeles. I discovered and seen recently live at The Nite Lite Cafe in Berwyn, Illinois. They put on an outstanding show and are playing all over the states and making history wherever they go. They are not signed yet but I can tell they will be in the nearer future. Trapped Inside is the name of the album and it is awesome all around. We open with track one " Awake " which is an upbeat track that is bouncy and alive. Nice guitar solo blending well wit melodic synths and Natashas sweet voice. Natashas sings, " The world whats asks for so much but leaves me worst than empty" " Is this all there is, theres nothing to see" makes us think about what mankind is really doing to exterminate this world. This track is sure to be a dance floor hit and a track to get the audience moving and groovin. She sings from the heart and soul with all members backing her singing their hearts out for a cry for help. Track two is " Picking at the Scab " which is a whimsical track that leaves us wanting more. Natasha sings, " So rip the bandage off to see what's underneath" " Picking at the scab to give me some relief." Real heavy lyrics at first then sweet sounding like a Tina Root in synth- phony then growling " but I still can't find relief " Hope, than no hope for this troubled soul singing her tragedies. Track three " Parasite " is another killer track on this album. A song that we can all relate to and share the same sentiment. Natasha sings, " The more I give the more you take, " " It's never enough, your feeding from me." With back up singing, " take it away." This track flows nicely and is hard driven and hard working on your psyche. It makes you think and feel her pain as we all feel pain from one that begged, borrowed and stealed our soul. I love this track and see it as another dance floor hit and a song to remember this band by. We proceed on to " Trapped Inside " and the title of the album is has almost punk beats and growls. It is a definate mosh-pit song and is designed for you to move your feet and go crazy to it. Natasha sings, " I'm trapped Inside " in repetition, letting you know the hell she is in. All and all the rest of the album proves to be angsty great fun and left me with a great impression and a thought that if Mankind if Obsolete, then we should all go down to our deaths with this band serenading our deaths. 4 stars ~ Michelle Russo

After releasing their latest album few months ago, here is a new Bisclaveret CD on my player. This time it isn't a proper new album but a collection of nine remixes plus a video of "Insane in God". On the remixing desk we have Moan, Sleeping Pictures, Endraum, Ghosts of Breslau, Loverdozed, God's Bow, Hoarfrost, Horologium and synta[XE]rror. These projects gave their version/vision to "Insane in God", "Ritual of all embracing madness" (two tracks contained into the "Psyche nomine" album), "Duch moj" and "All things lost" (here reworked by Loverdozed which gave to the track an electronic experimental touch). Even if we have different version of three tracks the bands are able to give to the listener a good range of styles and solutions. We start with dark ambient with a bit of goth and pass to ritualistic industrial, e.b.m., minimal dark ambient, electro goth, minimal experimental, industrial dub and bleeping ambient i.d.m.. The best track, in my opinion are the less minimal (basically all but two) because it's really difficult to make an interesting track with few sounds (mostly pads), no rhythm and no melody. Anyway, seven tracks out of nine are worth your attention and if you already knew the ritualistic experimental electronic music of the band here you'll find new interesting interpretations of it.