Music Reviews



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Artist: Sadiztik Injektion (@)
Title: Global Genocide
Format: CD
Label: Advoxya Records (@)
Distributor: Poponaut
Rated: *****
Turkey hasn't been so far that place, where to hunt for the freshest, international operating Electro/Industrial artists, although this one-man project, established by Samet Ozgur, can already look back on some years into the Harsh EBM genre. Samet made his most well-known compilation appearance on 'Noise Terror Vol. 2' so far, released by Dependent in collaboration with their side-label NTP, which got founded by Johan van Roy of SUICIDE COMMANDO. So at some point, Johan has been responsible to introduce Samet to a wider audience. 'Global Genocide' in its kind, and in its cover art, is simply that kind of an album, you would have expected: a highly danceable work featuring a straight 4/4-on-the-floor-attitude, rough and distorted vocals with lyrics proclaiming another end-of-mankind-drama, cool sounding scream- and cyber-war-like samples, and Techno-/Industrial-inspired synth sequences and bass lines. So far so good, I can certificate Samet a good talent to service the right drug for all dancefloor junkies out there in the international based dark clubs. Tracks like 'Mechanical World's Chaos', 'Realize The Suicide', or 'Cyber Terror' are hot enough produced, to cause an ultimate stomp-feast. But what 'Global Genocide' definitely misses, is an own and unique outfit, a problem, which most releases nowadays are suffering of. Samet falls a bit too often into repetition of his chosen sounds and rhythm elements, and he also doesn't allow one or another of his tunes to break with its straight and harsh attitudes. A bit more courage to try something different, something, what could add more personality into his tunes would help. A good addition for all the still hungry distortion-kidz for sure, but in no way stuff to discover, if you're longing for a more demanding experience under a pair of headphones for example.


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Artist: Black Hole Nine (@)
Title: V. 2.0
Format: 2 x CD (double CD)
Label: Mutant-Tek Records (@)
Distributor: Disconexus
Rated: *****
Congratulations, the relatively small Spanish label Mutant-E, here in form of their newly established side-label Mutant-Tek, could arrange the deal with this Venezuelan Harsh-EBM talent, which has left impression by an international audience with their freely available last album 'Velocidad de Escape'. In between, and only a few months ago, this band has additionally released a 4-track-EP 'Rebirth & Remixed V. 1', with which the band has picked out 4 tracks of 'Velocidad...' to re-vamp them a bit with a more dancefloor-oriented sound design. To set all of this a crown on the head of the responsible musicians, this simply entitled new album 'V. 2.0' puts an end to the previous recognized phase of this band. Unfortunately this band currently suffers a bit of some problematic conditions, because it seems, that Siva Black, the leading protagonist behind this project, had to move and has left Columbia to settle down in Mexico. Not a problem normally, but it seems, that the band formation itself consists out of thin ice, because the new audio part 'V. 2.0' got completely produced and recorded by Siva Black alone. That is really a pity and alters the quite good impression, which the predecessor has left, because it has been some of the good inserts of the second official band member Kaiper, who could integrate vocals and some Black-Metal-like guitar assaults, which have been synonyms for a relative unique outfit of this band. The new tracks, especially those stomping tunes like 'Shoot It In The Head', or 'Cheap Shepherd', are convincing in its typical Hellectro-/Harsh EBM-environment, but they lack of this tiny influence, which Kaiper normally would add. And vocals, no matter, how much distorted and fx-processed like a cookie monster they may sound, are still the most important instrument in a mix, 'V. 2.0' completely avoids this essential element. Too bad, because to offer only instrumental versions leaves an unready impression of this album, so let's hope, that they can decide to collaborate as a complete unit again. This DCD set compiles all three releases of this band to an important collectable-item, also and because if you don't like to hunt for their free downloads available at their web resources.

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Artist: MZ.412
Title: In Nomine Dei Nostri Satans Luciferi Excelsi
Format: CD
Label: Cold Spring (@)
Rated: *****
Released for the first time back in 1995 by Cold Meat Industry, IN NOMINE DEI NOSTRI SATANAS LUCIFERI EXELSI was the first album by MZ.412 after the name change from Maschinenzimmer 412 (with that name they released the albums "Macht Durch Stimme" and "Malfeitor"). Back then the four band members were still painting their faces and used different names (Henrik "Nordvargr" Bjorkk was often credited as Kremator, then there was Drakhon, Shaitan and Ulvtharm) and universally they were recognized as the inventor of black industrial, a genre that mixes industrial noise, ritual ambient and black metal atmospheres. This new reissue is the first of the Cold Spring reissue series that will release the five MZ.412 albums individually and on a limited to 300 copies wooden box containing also some extra material. All the albums have been remastered and have bonus tracks and also the design has been updated and the covers now recall the Deutsche Grammophon logo, due to the fact that we're dealing with classic material of industrial music. "Daemon Raging", "In Nomine Dei" or "God Of Fifty Names" now sound bright and powerful and I hear them like "opened". Now you can distinct every digital distorted sound, the samples and the drones and you're able to enjoy the experience at full. On this album you can find also three extra tracks of which two unreleased: the opening "Black Earth" (starting with light clanging sounds and distant tones, the track little by little grows mixing a ritualistic mysterious atmosphere to percussions, feedbacks and distant distorted vocals), "Surge 2" (digital noises with blasts and filtered vocals are the core of the track but some melodic lines enrich the atmosphere here and there) and "Infinite Hollow" (it sounds like an industrial mix of classic music thanks to the viola and orchestral reversed inserts just to turn into a pounding industrial battling soundtrack with metal percussions). This reissue is a must to rediscover a classic album. Don't miss it!
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Artist: BLACK ELECTRONICS
Title: Suited Scums + Rhythmic
Format: Download Only (MP3 + Lossless)
Label: Binalog Productions (@)
Distributor: Juno Download
Rated: *****
Black Electronics are duo of producers that collaborate living in different countries: they are Greg Maierson (from Detroit) and Dieter Köpke (from Germany). SUITED SCUMS and RHYTHMIC are their debut releases which came out on digital format the first of December on Binalog Productions. Containing six and five tracks respectively, the EPs mix techno fragmented rhythms, electro bass lines and melodic flashes. Alternating mid and fast tempo rhythms the duo tend to build dancefloor alienated atmospheres which on the first release have been influenced also by ambient (check the opening "Insert & Play Now = False & Is Release" and "Bomboombooom Error#3") and by a bit of acid (on "Source Code: Unknown" and "Manic Cockroach#9"). I can't say that I fell in love with these tracks at the first listening but at third I started to get the point: the fact is that even if there are some melodic lines if you follow those ones you'll get nowhere because frequently they are like hints or fill ins, the key to enjoy Black Electronics' music is to let yourself go with the flow and then wait for an element that will pick you up to lead you through the rhythms and sounds.
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Artist: Tshaka (@)
Title: We
Format: Download Only (MP3 only)
Label: nonine (@)
Distributor: Kudos Records
Rated: *****
According to West African culture, a griot is one of the most prominent repository of the precious oral tradition and a key-figure of a community as he doesn't only hand down the most ancient cultural treasures and teachings of ancestors (sometimes fundamenteal for the preservation of some African countries past knowledge, if you consider the fact that many West-African countries, such as Senegal, Mali, Ghana or Nigeria, has no written documents of the glorious ancient ages...), but also have an influence on community's life as he normally combines its eloquence with singing skills for making satire or political comments, being quite close to the key-figure of the bard in European Middle Age historical memories. Even pop culture had sometimes celebrated griots, but the inspired spoken words of the talented Tshaka, whose work could be associated to the one made by arsonist trying to set even ashes on fire, could let you argue this could be a case of body possession by some ghost of a contemporary griot, turning the toaster's tongue into a sort of brush stroking fast-rolling images in listener's mind. Tshaka's acting ability, whose peak has been in reached in Spit in my opinion, whose passionate and heating fervor looking like the one of a captivating street preacher has been highlighted by the ascending funk-slapped rhythmical mantra embroidered by Me Raabenstein, and the musical mantle by the mentioned Mr.Raabenstein, whose deep knowledge of contemporary music is an important propellent to this 3-track delicious issue by his crossing of "jazzed-up" broken beats, afrobeat and electronic hiccups - a mixture which is going to be appreciated in particular by all those listeners appreciating stuff by Dj Spooky, Anti-Pop Consortium or Dj Krush - lent in the past for some previous tshaka's albums (One" and "Bloodlines"), make this divertssment even more intense and engaging. And yes...the whirling wheel by Tshaka (whose wordy reincarnation's mounted like a jam in a ring in his full name Tshaka Menelik Imhotep Campbell!) flings meaningful bullets out from the roads he crosses! Really inspiring!
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