Music Reviews

Khost: Copper Lock Hell

 Posted by Andrea Piran (@)   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Dec 01 2014
Artist: Khost
Title: Copper Lock Hell
Format: CD
Label: Cold Spring (@)
Rated: *****
This new release from Cold Spring is debut from a duo that is presented as band presenting 'an intense wall of sound' and is touring with Godflesh. So the noisy soundscape of 'Copper Lock Hell' opens this release as an introduction to '14 Daggers' whose cello introduces the listener to a slowly developing juxtaposition of heavy guitar upon a distant voice. The oriental flute of 'Hypocrisy Banality Possession' acts as a chill out moment before returning to the heavy mass of guitar lines. 'Amoral Apathy Suppression' is even heavier in his searching for a deep guitar drone made out from a drop guitar tuning. The first part of 'In The Nest Of The Red Throat' is interesting as it drops the low frequencies guitar drone that reappears after three minutes hiding the drum part. 'Drain' features the most experimental moments of this release while 'Pacify' closes this release with his slowly guitar lines as '14 Daggers (Kevin Laska Remix)' is a remix trying to enlighten the moments buried in the mix.
This release seems too close to his models (Sunn O))) and Godflesh) as the mixing is perhaps too focused on the guitar and takes all other elements in the background but it seems as has some ideas how to evolve this model. Waiting for the next release.

KMFDM: Our Time Will Come

 Posted by Vito Camarretta (@)   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Nov 30 2014
Artist: KMFDM (@)
Title: Our Time Will Come
Format: CD
Label: Metropolis (@)
Rated: *****
I have lost the count of the number of studio albums by evergreen German industrial rock band KMFDM whose energetic enamel doesn't seem to know erosion even if they have been active for more than thirty years. A solid fan-base as well as the pervasively nefarious political dynamics of our age which fed their angritude could certainly be the most relevant factors for their inflexible creative force so that a title like "Our Time Will Come" sounds like athe definitive self-mockery about their longevity, even if the cover artwork that got traditionally designed by Aidan "Brute!" Hughes (another key factor of KMFDM logevity!) could let you surmise a possible paraphrase of the well-known slogan "Our day will come". In spite of the electronic nuances and the occasional dashing of funkier riffs on tracks like "Get The Tongue Wet" and "Shake The Cage!" (not a cover of Morning Parade' sond for PES2015...) they inoculated in many moments of this release, they kept the sonic distinguishing marks of KMFDM sound almost intact and I might even say that "Our Time Will Come" is maybe the album which includes more similarities and consonances to their first steps on Wax Trax! that particularly resurfaces on the lines of songs like "Brainwashed", "Playing God", "Blood vs Money" - a track where Sascha Konietzko sounds like singing over the same hoarseness of Killing Joke's Jaz Coleman on "Democracy" - or "Respekt" (ft.Tom "Tritoxin" Stanzel). Someone could surmise it's a clue of a vague lack of originality, but I honestly can not imagine that KMFDM could throw something different from what they're actually forging. They would be something else and I'm pretty sure they would not have lasted so long...

Borghesia: And Man Created God

 Posted by Paul Muhller   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Synth Pop / Electro Pop / Synth-Electronica
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Oct 16 2014
Artist: Borghesia
Title: And Man Created God
Format: CD
Label: Metropolis (@)
Rated: *****
Look who the cat dragged in! In a decade, just some live gigs and a "best of" came from Slovenian band Borghesia, but it seems that they have still to say something and they choose an appreciable mixture of electronic rock, EBM sprays and many stylistical unpredictable influences, which are quite different from the dance-oriented EBM stuff they used to spread to reach some visibility in the 90ies, which permeates some tracks of "And Man Created God" such as "My Life Is My Message", "Too Much IS Not Enough" and "C'est La Guerre", a song which quotes Bertold Brecht and recaps the spirit of this band ("Love in my heart/Peace in my mind/Gun in my hand/War in my blood"). As you can easily guess while inspecting the cover artwork - a greenback of 100 YES, a currency whose name comes from the symbols of yen, euro and US dollar -, they keep on emphasize political statements in a provocative, straightforward and meaningful way: the opening "We Don't Believe You", where they wisely inserted a banjo which reminds Americana folk sonorities, could be the hymn of awaken mankind from the regime of flexibility, mass mental manipulation and other centerpieces of our political money-driven systems; Arabian nuances cannot but feature "194", a wise song whose meaningful words got written by an anonymous group of students from Gaza; the intelligent exotic scents of "Kaufen Macht Frei (Buy Baby Buy)" perfectly renders the plastic illusions and the ephemeral peace of mind that got inoculated by consumerism as well as the Mexican nuances of "Para Todos Todo", whose lyrics have been taken from Subcomandante Marcos' words, and the quote of Marcuse on the final "Shoot The Clock!", which echoes some philosophical and sociological essays which explains that the control of time is the real foundation of contemporary oppression, are likewise guessed hooks. Paraphrasing the lyrics on "C'est La Guerre", this record could be a possible tool of revolution inside a world which seems to trust in money and nothing else...
Sep 18 2014
Artist: Metalycée (@)
Title: Expat Blues
Format: 12"
Label: Interstellar Records (@)
Rated: *****
The sinister and fascinating sound of Telharmonium, the electromechanical organ developed by Thaddeus Cahill more than a century ago, immediately sets the mood on the opening track of "Expat Blues", the third album by Austrian project Metalycee. which inserted one of the forefathers of synthetic instruments in their line-up and I have to highlight that such a choice doesn't misfit their style at all. It rather emphasizes the catching tone of their songs to such an extent that it could surmise the forgotten tradition of radiophonic tales. Besides putting the evocative voice of Melita Jurisic in the limelight, Metalycee's tales don't weave plots about adventurous love affairs, schmaltzy proto-soap radio operas or martian attacks, but sounds like portraying sweltering urban settings, ghoulish borderline entities, suffocating diving into miry ponds of conformed society, strategies of escapism and self-liberation and other psychodramas which reaches the best moments on tracks like the oppressive "Ballad of the Half Orphan", the tormented compulsiveness of "Torturer", the shaking jeremiad of "Everything" and the tricky mirage of emancipation that gushes from the final "The Right Track". The eminent forefather of synths squirms into clots of hard-hitting abrasive rock, gunky electronics, nettlesome trip-hop hooks and clattering grooves which could surmise some stuff by Metalycee's fellow countrymen Sofa Surfers, whose make is so good that some listeners could hope they won't wait five years before coming back on the scene, even if everybody knows that good dough requires long leavening times...

Candida Kandinskij: Premature

 Posted by Emanuele Ratti (@)   Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
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Aug 26 2014
with image
Artist: Candida Kandinskij
Title: Premature
Format: Download Only (MP3 only)
Label: self-released
Rated: *****
Candida Kandinskij is a one-man-band by Giovanni De Benedetto from Udine. The project falls under the big umbrella of 'industrial rock'. On his website, Giovanni De Benedetto cites many influences, such as Nine Inch Nails, Placebo, Death in June and Einsturzende Neubauten. 'Premature' is self-released and it is a 11-track album. I have to be honest'¦this album is pretty bad. All the tracks are sloppy and boring, except for Obliquium, Dobermann and Hill. But why exactly is this album so bad? First, the rhythmic section is sloppy, uninteresting and the single sounds selected by Giovanni De Benedetto are pretty bad. I know how it is difficult to find nice drum sounds, but doing something more than the sounds of this album should be mandatory. Second, the voice. The tone is coarse, sometimes inappropriate to the music. However, one may say that such a tone could be a stylistic choice, so that my remark may sound a little bit out of the line. But there is a bigger problem with the voice: the English pronunciation. As pronunciation sounds really bad to me that I'm italian, I cannot imagine how this may be perceived by a native speaker. I think it is important to cure this aspect because the voice sounds really really botch. Synths (except for Dobermann) are badly arranged (if arranged at all), and I am also skeptical about the choice of sounds. The only decent aspect of the album are probably guitars, but this is not enough to save this piece of work. I'm afraid Candida Kandinskij has still to find its own way.

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