Public Domain Resource – Dead Surface

1013453_513928692028130_380341138_n

     Until the arrival of their debut album it is probably not too far-fetched to assume a great many like us were not aware of Public Domain Resource and their magnetically crafted contagious sound. The recently release of Dead Surface has certainly addressed that lapse and such the potency of the synth pop bred waltz marking this fifteen track temptation the only recommendation is for you to go immerse yourself in this band. It is an album which ebbs and flows at times to both intrigue the imagination and occasionally leave the appetite wanting a little more from particular moments but taken as one radiant proposition the album is a riveting and vibrantly refreshing slice of electronic adventure.

     The Bergamo based project consists of Pietro Oliveri (music, synths, programming, vocals) and Ugo Crescini (vocals) though founded in 2012 it was initially a solo venture for Oliveri before Crescini linked up with him in March of last year. The band’s first year saw the appearance of Under The Ground, a track which reached 3rd place in the Industrial Music chart on Soundclick.com. Its successor Nemesis-The Third Day and the following The Hang were no less eagerly received either with the two songs riding high in IBM charts and all three now appearing upon the Space Race Records released Dead Surface. Combining a weave of sounds and flavours from eighties synth pop to EBM and varied electronic spicery, it is an encounter which warrants plenty of encounters to discover all its little nuances and seductive essences but one which constantly rewards with those unveilings. Whether the album will rival your all-time favourites time will tell but certainly it will earn and deserve a regular feature on your adrenaline cast playlists.

   The album starts with its best track, a title Ideals never relinquishes despite the strong challenges to come. Opening with a Dead Surface Coverdelicious bassline right out of early songbook of The Cure, the track immediately has interest hungry and eager to learn more. Tantalising electronic strokes soon join the persuasion alongside energetic rhythms and roving synth temptation but it is the excellent vocals of assumedly Crescini which seal the deal. It is hard to know who provides vocals actually each voice clearly distinguishable but only if you know which belongs to whom, something we could not find out in time. A more than healthy Depeche Mode feel evolves to wash through the song as it expands its lures and enterprise as well as a sturdy rock element to the vocals especially, it all adding to a masterful infection clad synth pop triumph.

    The following Red Lines has a more tempered energy to its candescent electro glow aligned to shimmering enticements and also has little difficulty in seducing ears and thoughts. There is a rich emotive breath to the track from its opening note and first lyrical syllable and though as it progresses and builds a rich intensity in its melodic colouring and emotional depth the pervading shadows within never waiver or lessen their evocative call. Its successor Under the Ground is a similarly crafted blaze of melodically hued imagination, different in sound and delivery but as provocatively expressive and built with dark edges to provoke the imagination. Both tracks continue the impressive start to the album before passing over to another pair of pinnacles on the release.

    The title track from an arguably predictable opening dips enthrallingly into a darker climate of voice and sound which brings thoughts of New Order to the fore. It is when the song takes a breath and puffs out its melodic chest and rhythmic muscles around a pulsating nagging electro core that it ignites a virulent fascination of sound and shadowed seduction. The melodic groove which laps at the heart of the song alongside impassioned piano strokes only go to accentuate a Heaven 17 like bait fuelling the outstanding track, its success straight away matched by Fiat Lux. Admittedly the song took a little linger to fully convince but evolved into a strong favourite. Like those before, it has a unique character seeded in familiar yet fresh seeds. Once more thoughts drift to the eighties, this time from the chilled atmosphere which reminds at times of post punk band The Passage and a discord kissed vocal delivery which persuades like the haunted expression of that band’s creator Dick Witts crossed with the wily tones of Fatima Mansion’s frontman Cathal Coughlan. It is a ravenously addictive slice of electronic tempting adding further depth to the album.

    After such a strong passage maybe it was inevitable that the release would wander a little in potency which it does with the slightly predictable Negative Fields and the unsurprising Nemesis – The Third Day, though both are undeniably enjoyable and conjured by accomplished craft as they sandwich the arresting electronic landscape of Always Prey for Them – The Reich’s Station. Their enjoyable presences are soon lost to thought as the minimalistic beauty of Mishima San and the impossibly addictive Your Blood Is Mine combine to ignite the passions all over again; the first an elegant stimulation of melodic mesmerism and sultry synth pop engagement which is as epidemically contagious as any full on virus and its successor a multi-spiced electronic web which hustles and imposes its grandeur on the senses whilst holding them in a warm atmospheric embrace. Both tracks are irresistibly memorable, something you can say about the majority of the album as proven by The Hang. Heavy in texture and similarly weighty in infectiousness the song is a slow burning rousing of the imagination which needs longer than some to fully convince but does so without reservation before The Second Day takes its swipe at winning over emotions, its inevitable success going on what has gone before soon confirmed by its resourceful and skilful electronic maze of adventure.

    Completed by two more than decent remixes by Tourdeforce (Red Lines) and Retrogramme (Under the Ground) as well as the Magnetic Fields edit of Mishima San, the thrilling Dead Surface is an exhilarating incitement of a united dancefloor and individual passions. Increasingly more impressive with each romp through its insatiably addictive and inventive body the album marks Public Domain Resource out as a new protagonist in exploratory synth pop, a band draped in shadows for not much longer you suspect.

http://www.publicdomainresource.net/

http://ekproduct.bandcamp.com/album/dead-surface

8.5/10

RingMaster 10/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Tactical Module – Into Exile

a3502574178_2

Having been seduced by previous album World Through My Sight from UK industrial band Tactical Module, there was a definite anticipation and expectation upon its successor Into Exile. The new release’s predecessor was a slow burner of a persuasion but one which made the securest potent convert of the passions for its aggressive symphony of electro enterprise, punk attitude, and industrial intensity. Into Exile is no different except that it makes a more immediate impact and its core ingredients and invention comes with a greater intensive snarl and uncompromising confrontation. It is an enthralling and challenging release which has reaped the impressive seeds of earlier releases and sounds to hungrily explore their sonic blossoming with greater craft and imagination.

Hailing from Poole, Tactical Module is the solo project of Michael Davis, a musician who since creating the band to unleash his creative imagination within has earned and garnered strong constantly deepening praise and acclaim through his releases. Using inspirations from the likes of Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode in his invention, Davis after numerous EPs and remixes made his first strong wide mark with the Dead Zone EP of 2012. The release triggered greater awareness and appetite for his sounds which were soon feasting greedily upon the single Where Angels Rise and earlier this year the impressive expanse of World Through My Sight and the Resurrection EP. Receiving its first CD release with Into Exile, Tactical Module has sculpted an album which is more diverse and adventurous than the previous releases, and they were no slouches in experimentation, and an encounter which employs decades of industrial/electronic whispers into one invigorating magnetic incitement.

Released via Juggernaut Media, Into Exile takes little time in bringing attention and imagination to bear on opener Awaken, its emergence through a sizzling sonic haze chilling yet thoroughly tempting. Brewing up a greater menace to its climate, the song has complete control of thoughts and senses, especially when the predacious guitar tone unveils its metal spawned restrained yet voracious causticity, matched by the confronting vocals of Davis. A definite Gary Numan spice glazes the invention whilst organic beats cage the fired up passions further, herding them into the fierce electro embrace. It is an excellent gripping start not quite matched by the following title track. The song is certainly alluring; its ebm breath stalked by a great electro twang which spears the evocative ambience but there is a spark missing compared to the first which debatably might be down to the track evading the metal bred antagonism. Nevertheless it is a pleasing continuation of the strong start and evidence of the variety of ideas and sound upon the release.

Outer City Limits soon picks up the earlier baton of strength with its instrumentally stalking flight of coarse textures and electro beauty, both combining for a voracious journey through dramatic and suggestive climes. From providing the imagination with a sinew clad impacting plaything, Into Exile then reveals more of its emotive heart with Breathless. The song is a fizzing electro plaintive with angst drawn vocals cursing agony over the acidic sounds. Like the second song it takes a firm hand on ear and thoughts without challenging other tracks on the album for the passions but all the time deceptively it is working away and though face to face impact is less startling it is a moment which returns at will even away from the release.

Both Cypher 2.0 and Downpour urge limbs and emotions to take part in their electro waltz, the first with a pulsating veining of jabbing rhythms. A real plus for the song and album is the use of live drums which brings an organic pulse and frame to the album setting it apart from most others instantly, and with the crystalline fire spawned electronic pulses and stabs from around the ever satisfying and shifting vocal delivery here an irresistible instigator. Its companion is a rhythmic raptor, beats prowling and stomping with ever switching rabidity whilst the electronic teases and kisses come with their own sense of menace and salaciousness. There is a punk essence too which is a mere hint, as on other songs, but there waiting and probing vocally and musically alongside a Pitchshifter like primal suasion. The thrilling duo are backed up by the more than decent Hellfire, a cantankerous fire which merges moments of slightly underwhelming electronic bait with addictively thrilling aggressive almost corrosive metal and guitar voracity. That punk element is back here, a Spizzenergi nag pleasing thoughts whilst, and not for the first time, the electro calls bring Fad Gadget into the mind, and in even greater potency upon Unbreakable. With a post punk/metal esurience and attitude to its presence, the song is another pinnacle upon what ultimately is one exciting and inventive release.

    Into Exile comes in digital and CD format, both with unique remixes. The former format finds the Back to Hell, Back to Reality Mix of the title track by D.E.P, which gives the track the flame arguably missing in the original, the Destructed mix of Downpour by Detuned Destruction, and Corroded Master’s Harlot Mix of Breathless, both inventive takes without matching the originals. The CD offers the G-Mix look at the title track which certainly takes it into a new adventure, the Knife Fight remix of Breathless, and another by Defeat, with both formats seeing the Ruinizer Remix of Awaken, the track becoming a nastier predation and antagonist to the album version.

     Into Exile is an exciting and richly rewarding provocateur, a release showing the ever evolving and increasing strength of Davis’ songwriting and its striking realisation through Tactical Module.

https://www.facebook.com/TacticalModule

8.5/10

RingMaster 05/10/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

 

Coursing struggles: an interview with Mike Haggerty of Krebs

480967_465563193489574_929529019_n

    Industrial/ebm is about to feel a new fresh breath of imaginative and caustic creativity with the debut release from Philadelphia band Krebs. The Cellophane EP is a potent and evocative treat with a metal apocalyptic breath riding the captivating industrial and electro snarls. The solo project of Mike Haggerty, Krebs is set to make an instant mark with its first release via Bluntface Records so we took the opportunity to find out more about the release, band, and Mike himself.

Hi Mike and welcome to The Ringmaster Review, thanks for taking time to talk with us.

First thing we have to ask you is to tell us about Mike Haggerty, as well as your background and musical history before Krebs.

Thanks for having me! Well I’d say I’m just an average guy who loves music, videogames and junk food. Music is really my passion, it relates to everything I do. Genres like punk and metal really captured my attention at an early age and got me into making music myself. I was in a band before Krebs with a few friends, we played grunge inspired hard rock. Then I discovered industrial/electronic music and that all brought me to where I am now.

Was there a specific intent when creating the project Krebs?

My intent was really just to try my best to make something fresh and hopefully capture the attention of old school and modern industrial fans alike and maybe even draw some new fans into the genre.

What are the inspirations which have most impacted on your ideas and sound?

To start, I always loved Front Line Assembly and the unique sound they have, so they are a big influence on my sound. Skinny Puppy’s ability to experiment and still sound like themselves is another thing that had an impact on me. Videogames and books also influence my ideas and song writing strangely enough. I love apocalyptic themes as well as futuristic themes that are explored, and if the two are brought together then I’m in heaven!

You are about to release your debut EP Cellophane, a release which captures the imagination with its varied and inventive mix of flavours. You can only assume your personal tastes incorporate a wide expanse of genres and styles.

I always try to find ways to make each song really stand out on its own and separate itself from the others. I always say that each Krebs song is its own animal and I do my best to give them all their own identity, if that makes sense.

Tell us about the EP, its creation and the songs within.krebs-cover-600 (1)

The EP was formed simply because I happened to have five songs that I considered finished and at that point Otto (Kinzel) mastered them for me. They were the product of several weeks’ worth of writing and recording. The songs themselves are mostly the product of what emotions I had at the time I wrote them. Other times I would have ideas that I thought were interesting, so I literally started writing thoughts down in my notebook and lyrics formed out of that. It’s basically poetry set to music. The album art was the last piece of the EP that was needed. My friend Jake Skalish created it at my request and I think it came out very well.

Everything comes from your ideas and craft on the release, but did you bring anyone else in for any aspect of the release or is it truly the complete solo release?

For this release I wrote and recorded everything myself, so it is a complete solo release; I did get insight from my friends Chris Pasquarelli and Chris Bollinger from Varicella. They really encouraged me and continue to help me get Krebs out there and I can’t thank them enough.

How do you write your songs and expand your ideas musically?

I usually have a melody or a rhythm in my head that I record right away, and then I figure out the structure. That’s when I create an atmosphere and layer more sounds. I compare it to starting with framework for a house, then gradually adding on to it, then decorating it and adding the finishing touches. Lyrically, as I’ve said, it’s usually the result of a strong emotion that I feel at the time or anything that I’ve read about that catches my attention.

Musically, I try to incorporate various sounds and instrumentation to expand the sound further. Things may sound strange upon the first listen, but strange is what I do!

Listening to the EP there is the sense that songs have an organic and continual growth to them. Do your songs evolve right up to the final mastering?

My songs do tend to go through multiple changes; it feels like my work is never done. The songs have all undergone change from the time I made the first synth line to right before I had them mastered. It varies between how drastically they change. I like to layer sounds and create hidden parts that people can catch. I also hope to invoke introspection in the listeners with each song.

Is there a theme or intent behind the songs on Cellophane and their lyrical paintings?

A theme that carries through most of Cellophane is the idea that people are always suppressed and restricted in some way or another, be it by government or by their own conscience. The themes oscillate between external and internal struggles and the goal of songs with internal struggles is to make something that people can relate to. It’s almost like letting the listener get to know who I am as a person.

As mentioned the EP is your debut release, is there any part, moment , or aspect of it which gives you the strongest thrill or tingle?

What really excites me is the fact that my songs will be out there and open to a broader audience, maybe not huge but it is something I always wanted. Just having an official release is something I always dreamed about and the fact that it’s actually happening gives me a euphoric feeling, it’s crazy!

krebs-2And any elements you wish you could have explored further or since have developed the appetite to investigate in future songs?

There are aspects of ambient music I hope to delve into for future releases. I also hope to bring in more elements of punk, like the speed and raw feelings associated with it. I feel it will be a very interesting mix.

Cellophane is released through Bluntface Records. How has linking up with Otto Kinzel and his label helped the realisation of the EP apart from the obvious of course.

Otto really helped this take off. He helped me realize that there is nothing wrong with self-promotion and that really helps gain confidence (and fans haha). As a side note I also started to realize that people have a different view of a band or artist when they see that they are on a label. Sadly, it’s almost like a lot of people have a bias towards bands on labels.

You have Chris Mattioni join you for live shows, how did you meet and is there a chance the band could expand further for your live performances in the future?

Chris and I have been buds for a few years. He expressed interest in doing vocals with me a while ago and he eventually decided to come on stage with me and do backup.  I do hope to get more friends to contribute to live shows in the future, a drummer hopefully *cough* Ryan Skalish *cough*.

How about in the studio ahead?

I have songs in the works already for a full length album. This one will be a concept album inspired by a certain game, but I won’t reveal anything else. I’d like to keep it a surprise. ;)

You are also releasing Peace Injection as the single from Cellophane. Can you tell us about the track and the single package it will come in?

Peace Injection is a song that was sparked by my thoughts on America. The fact that our country feels the need to intervene in affairs in the name of “Peace” and “democracy” is something that has bothered me and this song is a response to that. The single contains the original version from the EP and three remixes, by Virus Cycle, Otto Kinzel, and Varicella. They are all talented guys and it was really awesome to hear their takes on my song. It’s also free and is available for download now.

What is next for Krebs once the EP is out there?

Krebs will hopefully get to perform some live shows in the near future and work on the concept album for a not too distant release date! Stay tuned.

Once more thank you for chatting with us, anything you would like to add?

First, thank you so much for having me and for the review. I’d just like to thank Otto for arranging everything as well. It was a pleasure and I hope to talk to you again soon!

Cellophane is A FREE download available in the Bluntface Records online store at midnight, June 29th!

www.bluntfacerecords.com

Read the review of Cellophane @ http://ringmasterreviewintroduces.wordpress.com/2013/05/27/krebs-cellophane/

Pete RingMaster

The RingMaster Review 31/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Krebs – Cellophane

Krebs 2

    Krebs is a new electronic/ebm project to recently emerge and on the evidence of its debut EP Cellophane, will be one we will be hearing a lot more of across future horizons. Just signed to excellent independent label Bluntface Records, the Philadelphia, PA band mark their next step with a release which is potent and evocative, and though in some ways it manages to miss providing the sting which listening to its five tracks you sense is within its heart, there is nothing but unadulterated and exciting promise left in its wake.

Started in 2012, Krebs is the creation of Mike Haggerty, the vehicle for his merger of ebm synth sounds of the 80’s and 90’s with industrial and electro snarls. There is also a metal apocalyptic breath to the shadows which permeate the sounds for a resulting cross genre adventure. Influences come from the likes of Front Line Assembly and KMFDM with further whispers of others such as Skinny Puppy, Combichrist, and Virus Cycle all making suggestions within the imagination capturing invention. Honing the sound through a full range of industrial exploration Haggerty, since joined by Chris Mattioni on backing vocals for live shows, has sculpted and unleashed a debut which seduces and excites with a freshness and enterprise that suggests 2013 will see Krebs making an immediate impact.

The June 29th released Cellophane stares directly at the ear with opening track Humanity Drained, its sinister toned Krebs-cover-600atmosphere and brewing rhythmic dust hazing the skies before a dark melodic hook prowls and intimidates with a compelling voice. It is a suggestive and provocative lure which mesmerises to leave senses open for the following industrial metal cast of energy to pervade and thrill. As the vocals of Haggerty enter with the shadowed narrative the track takes a step back, his tones given space and assistance to bring a rich expressive dark caress to bear upon the ear. At this point the track reminds only of Fad Gadget, the vocals with a Frank Tovey gait and the sound heavy in suggestive ambience but with an electro temptation which is never far from lighting passions. The coarser presence of the air surrounding the chorus presses into further adventure whilst the song itself twists and turns across varied industrial pastures for a captivating encounter.

The great start is followed by Chisel (Guitar Mix), a track which expels a venomous rabidity to its electro wash and intensive energy. It is an oppressive light smothering test but equally creates its own acidic radiance with addiction making melodic taunting and electro venture. Like the first, the track does not settle into a straight forward passage but shifts and turns in on itself to ensure intrigue and eager attention. It does not quite match the opener for contagion and strength but still leaves the strongest satisfaction in its wake and hunger for more.

The song also is one with fails to deliver the bite it suggests is waiting to break out, something which can be applied to the whole release. Across its excellent invention the wish it would go for the jugular especially with its more industrial metal escapades, is a strong feeling which is never quite satisfied, though as the only aspect lacking within Cellophane it does not defuse the enjoyment and quality skilfully played out.

     The Corner opens with a Visage like beckoning, that eighties pull wonderfully potent again especially as once the vocals join the stance and the sound spreads its arms further thoughts of Fad Gadget again make their irresistible persuasion. The track is an emotive slow stroll across weaves of shadows and through a kaleidoscope of electro imagination, its enveloping tone and impacting textures hugging thoughts and emotions tightly with a hint of menace though without an element of danger. The track makes way for the first single from the release, Peace Injection. With bold and heightened rhythms and hot electro stomping, the track is a full contrast to its predecessor with a swagger and hungry enterprise which enflames the air. At times it looks like the song will unleash its predatory hounds but restraint wins the day and from start to finish the excellent temptation eagerly taunts and teases with impressive craft.

Closing song Rings is a pleasing riot from combined shafts of harsh ebm, rapacious ambiences, industrial malevolence, and rhythmic intensity. It is forceful and highly infectious, a song like the album which enrols varied flavours and spices into a gripping and fascinating confrontation. At its conclusion the proof that Cellophane is an excellent debut is open evidence, proof that only sparks a greedy appetite to hear more from Krebs. Accompanied by the first single Peace Injection, which itself comes in a full package containing remixes alongside the song from new label mates Virus Cycle, Otto Kinzel, and Varicella, and released as a free download, Cellophane is the arrival of one of the more inspiring and exciting bands within industrial. Are you ready for the shadowed temptation of Krebs is the only question left to be asked.

www.bluntfacerecords.com

http://www.bluntfacerecords.com/fr_krebspeaceinjectionsingle.cfm

8.5

RingMaster 27/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Machine Rox – Activate Your Anger

Machine Rox

© Alex Cooke Photography

After struggling to catch a breath after the riotous, energetic and overwhelmingly exhausting Activate Your Anger EP from UK industrial/electro band Machine Rox, you can only sit back with a satiated hungry appetite and contemplate basking immediately again in the feast of satisfying sounds. Like that favourite meal you may constantly choose in a restaurant, the release is a familiar and arguably unadventurous encounter for the palate, but one which brings the deepest and fullest senses ravaging pleasure.

Machine Rox began in 2007 as the solo project of Richard Kaltenhauser (aka Richard K), a member of industrial bands Meat Machine and Global Noise Attack (who supported the likes of Rammstein, Napalm Death, and Covenant). His ideas and sounds blended the potent essences of electro, industrial, and ebm with a corrosive metallic guitar bred attack for as subsequent releases show an impacting and incendiary brawl of a magnetic encounter. The arrival of Aga in 2010 on backing vocals and keyboards brought the project into a band stance with two years later joining Aga and Richard (electronics, vocals, guitars), drummer Nuj Farrow and guitarist Valerian Oproiu added their presence for the live aspect of the band. Since then Machine Rox has supported bands such as Leaetherstrip, V2A, and Deviant UK, and played numerous successful and acclaimed shows and festivals. Activate Your Anger follows a quartet of well received EPs which has increased their stature rapidly but with the new Static Distortion Label EP and its increased aggression, intensity, and contagious energy, expectations are of this being a trigger point to even greater awareness.

The London based band immediately coats the ear in a static cursed electro rub instantly joined by heavy caustic riffs, predatory 175430660-1beats, and burning sonics as opener Move Your Body (Until You Die) winds up its lethal dance. A thumping pulse driven rampage with devilment and rhythmic belligerence in tow is an easy persuasion especially with the dual vocals of Richard and Aga offering a devil and angel seduction. Whether from the acidic melodic venom of the guitar or the bewitching wantonness of the electro spotlights and their spearing shafts of warmth, the track is an unrelenting tempest which incites a full engagement and compliance to its irresistible call.

The following Night Riots is not just content to follow in the wake of its compelling predecessor without making its own contagious declaration on the ear which it does by initially provoking and caging the senses in commanding and synapse resonating throaty beats. Hitting the primal target which leads again to capitulation before the forceful and greedy energy as well as the infectious temptation beckoning and grinning from every note and corner of the track, the band without quite matching the potency of the first track holds the passions in its grasp and takes them on an invigorating irresistible ride.

Next Nothing steps up to offer a snarl to the release which reminds of Ghost In The Static, its bruising and scuzzy sound and intensive sinews the most imposing and threatening part of the EP. It like all the songs has hooks which deep root themselves in the listener for the most potent contagion though up against the following Where You Are still looks like a novice in that department. Taking centre stage with an instantaneous swagger and impossibly catchy lure, the new song is an intoxicating hypnotist with sparking crystalline seduction and an authoritative cogent rhythmic web which enslaves the senses and passions. Virulently infectious with a presence which is like Dead Or Alive meets Hanzel und Gretyl with Marilyn Manson and Angelspit in close attention, the track is electro manna for which there is no defence.

Bringing the release to an equally riveting and explosive conclusion is firstly Time To Survive, the track bringing back a thicker muscular wall of sound to further tease and exploit the now brewed ardour towards it with insidiously entrancing sonic enticement and ravenous heavy duty rapaciousness, and finally a remixed version of Next Nothing. Though Activate Your Anger does not offer anything dramatically new, it and Machine Rox unleash a tempestuous energy exploding experience which few recently have rivalled.

http://www.machinerox.com/

8.5/10

RingMaster 28/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Moving Mountains: Various

12202_303796476386449_529053808_n

    From Juggernaut Services, Moving Mountains is a compilation all industrial, harsh electro, and EBM fans needs to know about and welcome with greedy open arms. The release brings some of the best underground artists and sounds into the light whilst simultaneously showing that the above genres have never been healthier and more vibrant at their still to be discovered cores.

Formed by music writer and co-editor of Brutal Resonance magazine Nick Quarm in the summer of 2012, Juggernaut Services has swiftly built up a formidable reputation for its work in supporting and helping new and struggling artists get their creative sounds further in the world. The management and promotion company provides bands with know-how and support to help overcome and succeed against the challenges the emerging artist within the industrial and electro scene encounters. In a short time the company has earned a strong name for itself and with first release Moving Mountains, has put some of their impressive clients under keen focus.

The album brings together the darker more heavily aggressive artists working with Juggernaut Services, and an impressive collection of artists it is. Offering a wide soundscape ranging the full length of industrial and harsh electro shadows, the fifteen track album is a constant incitement to the senses and pleasure for the passions. Generally any compilation has dips across its length due to personal tastes when covering an eclectic expanse of flavours but Moving Mountains is one riveting ride from first synth coaxing to its last lingering touch, impressively supporting the earlier statement of the status of underground music.

The release opens with One For You, One For Me 2010, a previously unreleased track from US industrial band nolongerhuman. Emerging from a dawning horizon of emotive ambience the track brings sampled female vocals into a gradually squeezing wrap of brewing intensity and resonating beats. Into its stride the song opens up its doors to a full prowl of agitated melody soaked energy and simmering heat which simultaneously brings its own distinct shadows into the heart of the elegant yet sinister encounter. It is an impressive start soon surpassed by the following Tactical Module track Dead Zone and then Teenage America from Cease2xist. From the UK, both projects have had great recent success with releases, the first with the Dead Zone EP from which this track is taken and the second with the album You Are Expendable which has given the two songs (Tonight the other)from the band on the album. Dead Zone is a seductive scourge with malicious shadows driven by the insidious rabid tones of guest vocalist on the Michael Davis project, Osmar Diaz from Mexican industrial act Acrophilic Project. It is a compelling scarring matched by Teenage America, a virulent song of destructive mesmeric resonance from Dayve Yates and his solo project which feasts on the dissidence and antagonism within us all.

As the dangerous temptation of All Gone Awry from San Jose duo RetConStruct and the fermenting brilliance of Halloween from Polish electro/industrial band Controlled Collapse encroaches upon the senses the album already is making the greatest persuasion of its purpose and the depth of important sounds around. Each track on the album inspires a richness of impressed and excited responses to rifle through thoughts and emotions, the likes of Warsickle with their two stirring instrumentals and a sensational track from Plastic Noose as well as equally incendiary second songs from RetConStruct and nolongerhuman fully impacting rewards.

Further highlights which suck the breath away from the senses come through the two industrial metal tempests from Eschaton Hive, a second restless intrusion from Controlled Collapse and the corrosive grandeur of the blistering force Tapewyrm. Zombie Attack Plan and Want.Need.Have from Eschaton Hive ravage the listener with caustic elegance and irresistible sonic teasing united in contagious brawls which send its victims into rapture whilst gnawing on their synapses. The band takes top honours on the release though seriously challenged throughout with the addiction causing This Nightmare from Controlled Collapse and the acid burn of Insomnia from industrial noise conspirers Tapewyrm with its rasping sonic licking of the senses violations of the highest order.

Moving Mountains leaves the clearest indication of the freshness and force within industrial driven music right now whilst offering up some of the finest new invention from the most imaginative emerging bands, and as a Name Your Price purchase it is an invitation impossible to refuse.

http://music.juggernautservices.com/album/moving-mountains

Tracklisting

1. nolongerhuman – One For You, One For Me 2010*

2. Tactical Module – Dead Zone

3. Cease2xist – Teenage America

4. RetConStruct – All Gone Awry

5.Controlled Collapse – Halloween

6. Warsickle – Help From Outer Space

7. Eschaton Hive – Zombie Attack Plan

8. RetConStruct – The Maelstrom

9.Warsickle – Call For Help

10. Tapewyrm – Insomnia

11. Cease2xist – Tonight

12. Controlled Collapse – This Nightmare

13. Plastic Noose – Zu Allen

14. Eschaton Hive – Want.Need.Have

15. nolongerhuman – Transcend Humanity

9/10

RingMaster 07/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Calming Cyclones: Various

     coverAccompanying their Moving Mountains compilation album, Juggernaut Services and its founder Nick Quarm have released a second album of artists working with the management and promotion company. Calming Cyclones brings together tracks and bands which reap the rewards of and flourish within calmer melodic areas of industrial/electro. Consisting of sixteen tracks the album is a warm and refreshing further evidence of the passion and powerful imagination and creativity within underground electronic music right now, something which has maybe always been the case but now with the likes of Juggernaut has an emerging voice to be heard by.

     Made up of tracks from ten artists, with some offering two entries, the album offers the dancefloor and emotions a vibrant alternative to unleash its passions to, a collection of new artists for which invention and original thought is as instinctive as breathing. The album opens with Burning Down from XP8, a duo from Italy, who also closes the release with the track Trip remixed by Cutoff:Sky. The song is a riveting expanse of golden electro kisses with an acidic heat coursing through the elegance but also offers a sinister intimidation across its embrace which is startling and unforgettable. Infectious and virulent to feet and passions, the track is a potent opening statement for the album, soon ably backed up by UK band MiXE1. The solo project of Michael Evans, the band engages and seduces the ear with the delicious embrace of Breathe, a song which smothers the senses in warmth and melodic mastery brought through emotive radiance. Originally released on the EP Module 01 via Static Distortion Records, the track like the first holds a menace deep within its heart which snarls from within the dazzling depths. Evans also offers a second song in the even more impressive electro tease of This Is Not Goodbye from Module 02, the song a union of extremes and unpredictability offering a NIN/ Celldweller meets Sonic Syndicate treat.

Another band which ignites the fullest rapture on the album is Oklahoma based electronic band, Pittersplatter who firstly with Necrotech enthrals and deliciously contaminates the senses with explosive cyber spawn melodies and an exhausting soundscape before returning again later to equal strength and addictive allurement with Mummies And Music Boxes and its invidious sonic theatrics.

Throughout its rich breadth the album continues to enchant and raise shadows with craft and enterprise. The album like its sister release has  impressive consistency in quality, imagination, and depth to all the tracks featured. Most single compilations waver within personal tastes but the pair from Juggernaut Services ignites the passions with every minute of their declarations. The likes of Manchester, UK band Cortex Defect with their two slices of future pop, Bliss Of Surrender and Heart Of Dust (Club Mix), the twin goth/darkwave offerings Messiah and Songs Made Of Solitude And Pain from Belarus band Kaltherzig, and Washington DC Retrogramme all cast their diverse and emotive sonic instigations upon the listener bringing the fullest rewards. The last of the three is a trio of musicians who create a tapestry of synthpop, darkwave, and ambience into a mesmeric and enveloping atmospheric encounter with a pop lit heart and electro voice. On Calming Cyclones their songs 911 For Locals and Heaven Is Closer Than You Think entice and infuse the most open of emotions and pleasure.

The likes of Revenant Cult from Australia and Canadians Psykkle with their dark electro continue the shifting infection upon the album whilst Scottish misanthropes Plastic Noose ensure the album ends on an elevated pinnacle in the sonic sedition Road To Perdition immediately backed up by Tactical Module and the Cortex Defect Remix of Dead Zone.

As with its companion compilation, Calming Cyclones in its own unique and distinct presence leaves the previously hidden shadows of industrial/electro underground with all it glorious detours an openly lit invitation, something which to ignore would be irresponsible to the passions.

Get the Name Your Price purchase @ http://music.juggernautservices.com/album/calming-cyclones

8/10

Tracklisting:

1. XP8 – Burning Down

2. MiXE1 – Breathe

3. Pittersplatter – Necrotech

4. Cortex Defect – Bliss Of Surrender

5. Kaltherzig – Messiah

6. Retrogramme – 911 For Locals

7. Revenant Cult – Spectral Heresy

8. MiXE1 – This Is Not Goodbye

9. Cortex Defect – Heart Of Dust (Club Mix)

10. Pittersplatter – Mummies And Music Boxes

11. Retrogramme – Heaven Is Closer Than You Think

12. Kaltherzig – Songs Made Of Solitude And Pain

13. Psykkle – City Of Nodes (Revenant Cult Remix)

14. Plastic Noose – Road To Perdition

15. Tactical Module – Dead Zone (Cortex Defect Remix)

16. XP8 – Trip (Remixed By Cutoff:Sky)

RingMaster 07/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Tactical Module: World Through My Sight

cover

    Tactical Module is a band which holds no fears in challenging and imposing its confrontation upon the listener musically and the world lyrically, but rewards its sonic intrusion with an aggressive symphony of electro enterprise, punk attitude, and industrial intensity. New album World Through My Sight is a brawl of ideas and sounds which with magnetic and compelling abrasion leaves no doubt that there is a formidable force dawning within UK dark electro/ rock.

Founded in the summer of 2010, Tactical Module is the solo project of Poole college student Michael Davis, the venture seeded by his need to find a vehicle and freedom for his creative imagination. Fusing industrial metal, EBM, digital hardcore and harsh electro, Davis has built a steadily growing reputation with his uncompromising and startling sounds. Using influences such as Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode to name a few, to sculpt his invention Davis has released numerous EPs and remixes as well as being involved with some impressive collaborations each marking his territory of provocative sounds. It was with the 2012 release of the Dead Zone EP though, which featured the intimidating vocals of Osmar Diaz from Mexican industrial act Acrophilic Project that a new fire of attention turned his way and strong anticipation brewed for this release. The latter part of the year also saw Davis sign with US dark electro/industrial label Engraved Ritual and release the track Where Angels Rise from his impending album, a song which lit up the ears and appetite of new and old fans alike.

The brief awakening of sound in opener The Lining of Sights is really an intro to the feast of sound and intent ahead but in its brief presence is the irresistible first step into album and its startling title track. An immediate resonating probe upon the senses, the track opens up its stance with great punk rap vocals from Davis heading a controlled charge of intimidating rhythms and intensive sonic rubs. Melodic warmth is grown and employed in the following infectious chorus and the ever present caressing ambience, though even that has a threat which is not to be ignored. At times the track reminds of a mesh of Killing Joke around the time of their Turn To Red EP and also Conformist with a certain punk simplicity at its heart.

The strong opening is continued through Where Angels Rise, the song a blistered acidic kiss upon the senses with scarring vocals and treacherous whispers as well as an equally caustic caress to the predatory pulse and hunger of the stark melodic breath. The song is pop at its darkest and most malicious, a seductive scourge with the darkest siren shadows matched in blackness by Dead Zone featuring the insidious rabid tones of Acrophilic Project. The track is a nasty devour of the emotions, its bestial ravage coated in bewitching sonics and melodic lime which mesmerises whilst corroding the senses.

After the stunning instrumental Skyline, its soundscape an irresistible merger of flaming melodics and ravenous guitar conjured energy combined to forge an encounter which seduces and gnaws away at the listener with impressive craft and invention, the album gradually evolves into a harsher and darker proposition. As Erase the Defect soon shows, the warmth which penetrated the earlier intrusive confrontations begins its slow dissipation song by song, this track an excellent defiance with unreserved aggression. Melodically the tracks still offer a balance and melodic whisper but it is a colder and less giving embrace which changes and enhances the album further.

Fragility is a low point on the release due to the clean vocals Davis brings to its compelling sounds and striking stature. Initially the song with its Spizz Energi reminding sonic tease and soon joining predatory bass sounds, hits the passions with unerring accuracy but once Davis sings it is all lost. As the song goes on to show he can growl, snarl and rap with impressive style and strength but sing sadly not, the song title ironically apt unless that is inspiring the display, and for personal tastes it ruins a deeply promising track. It is a passing issue though as further songs like the incendiary and evocative Cypher and the invidious Zeroed whip the fervour back to its earlier heights.

The album also includes remixes of album tracks from the likes of Project Rotten and Nahtaivel, with the two by Cease2Xist and Enfermo 666 especially dramatically impressive. World Through My Sight is an excellent album which arguably is not one of the more immediately engaging releases but certainly one of the most rewarding within its genre.

https://www.facebook.com/TacticalModule

8/10

RingMaster 06/03/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Returning to play – An interview with Fredrik Croona.

Fredrik Croona4

This month sees the debut album from Swedish harsh EBM/industrial/dark electro band Cynical Existence unveiled, a release which ignites further the already blazing passion inspired for the one man project of Fredrik Croona as forged by his previous two EPs.  The founder and one half of the excellent aggrotech/industrial act Project Rotten and former vocalist of dark electro/industrial band Menschdefekt, Fredrik with his first album Come Out And Play ventures further in to the darkest corners of the human condition through his own personally inspired and emotive experiences and thoughts to provoke and evoke. Grabbing the opportunity to talk with the man again and ask about his new imaginative and melodically abrasive dark engagement we asked him about the release and more…

Hi Fredrik and welcome back to The RingMaster Review. It has been a year since we last talked with you how has the time treated you personally and with Cynical Existence?

Thanks Pete, Wow…really? Time flies when you’re having fun eh? I’ve been keeping active that’s for sure, working on new stuff and playing around quite a bit. I can’t really complain, 2012 was a pretty damn good year and I hope 2013 will be even better.

You are about to release your excellent debut album Come Out And Play in February, how are the emotions as the date it is unleashed draws closer?

I am eager that’s for sure, and I really hate to wait. It will drive me crazy one day, that’s for sure. And it’s not close enough! Damnit, I want it out now! But to be honest, it’s exciting to be able to watch what you’ve been working on for quite a few months become something physical (yes, I already have a few CDs here at my place).

After the well-received responses and acclaim garnered by your previous EPs, A Familiar Kind Of Pain and Ruined Portrait, are the emotions different in regard to Come Out And Play this time around?

I have no idea, haven’t gotten any reviews of the album yet, besides yours of course and you really seemed to enjoy it. I’m hoping that when I do get other reviews and opinions from people they will enjoy it. Well I actually lied, because a few people have heard my teasers and really seem to be digging it haha.

How would you say your songwriting and sounds  have evolved between your first release and the new album and certainly the stuff AM1187CDyou are working on now?

In the beginning I don’t think I evolved that much to be honest, I just kept working and working and working on new stuff every f*cking day and basically shooting out tracks. When I started out I could make a track in one day more or less, but the more I actually worked and played around the longer it took to make a track. Now it can take me 3-4 days to complete the music alone (if not even longer sometimes). And when it comes to sound it always depends on what I am listening to at the moment.

Come Out And Play has a stronger intensity and investigates deeper shadows than the EPs, is that fair to say?

Yes, mainly because the album focuses more on my own life and my experiences throughout it. Sure the older tracks are also connected to me in most cases, but this one holds more feelings and I try to express them through my music and vocals. What I can say now thought is that my new stuff is even more personal and deep than the debut.

Again the album is borne of your personal experiences and thoughts then?

Every track I make is more or less personal in its own way and holds a story of its own. What I want to do in the future is actually make a “concept album“ with every track linked to specific events of my personal life. Even thought everything might be personal, there’s still some fiction in there.

How difficult is it to interpret your feelings and thoughts into your music and do you attempt to get the listener to feel exactly what you are revealing or just to feel something?

It’s not really hard at all, since basically as soon as the lyrics are connected with a track and the vocals are on there the song changes from “just another track” to song that actually has a meaning to me. I write music for myself and if I can manage to deliver a message or get the listener to understand what I’m trying to express it’s all great. But in the long run I still focus on making something I feel strongly for.

Where do you start when writing songs?

Hell if I know lol. I just start with whatever comes to mind.

Are you a writer who once a track is finished can leave it alone or someone who has to keep nibbling away at it? I ask as you are known for some great remixes of other artist’s music so wonder if it also applies to your own creations unofficially :)

It depends, sometimes I throw a track over to a friend to see what they think of it and then maybe we’ll bounce it between each other every time I change something and in some cases I just work on it and feel that it’s ready and well that’s that. And about remixes, I have no idea what you mean since I’ve only made about 3 remixes so far. I hate remixes, it’s boring as hell.

Fredrik CroonaThe album also includes a couple of tracks from the earlier A Familiar Kind Of Pain, both songs Paradox and Insecure two of our persistent favourites. Why the inclusion and have you tweaked or revisited them creatively for the album?

Those are two of my first and best tracks ever, so why not? They will rip the dance floors apart! And about changing anything about them, I don’t think I actually did. The album has after all been ready for a few months now.

Do you have any particular moment or track on the album which makes you the proudest or gives you a personal tingle?

I’m broken which is reworked by Pre Emptive Strike 01 is probably the best track in both terms of music and vocals, since it’s very personal to me. Other than that track GDI is fun, and I wonder how many of the listeners will actually manage to figure out what inspired me to create it and where the samples are from.

What is the next step for Cynical Existence after the album, possible live performances?

Going straight forward! Going to work on my second album and get that done and then I’m going to play a few shows in the US this spring, hopefully I might get some more interesting ones. We’ll see what happens.

Could you bring us up to date with your other band Project Rotten? What has been happening in that area of your work over recent months?

We’ve been busy working with the new album that’s been in the works for almost 2 years and then of course we have a new EP coming out tomorrow (1st of February)! So it’s been a busy time and this year will probably also be really busy, hopefully.

Is it still challenging to juggle the two bands or have you found a more relaxed working schedule between the two?

It’s not challenging at all really, I mean I just do vocals and lyrics and Kettil makes the music and the production. So basically he sends me a new track when it’s ready and I create my magic and BAM it’s done. So it’s very laid back.

How different is the buzz between working and releasing something which is created and performed by just you and working with Fredrik Croona2another creative force in Kettil for Project Rotten?

Project Rotten is obviously a lot bigger than Cynical Existence since we’ve been around longer , so I guess PR’s fanbase is bigger and well then it’s pretty obvious that you hear more from the fans on that side than on CE’s side. Naturally I hope that CE’s fanbase will grow even bigger and expand a lot these coming few months. I have to show people how awesome I can be.

Many thanks for sharing time with us again Fredrik and good luck with the new album.

Thank you and hope you will enjoy it even more after a few more listenings.

Would you like to leave with your personal favourite tracks from both Cynical Existence and Project Rotten?

Do I have to? LOL, just kidding. With PR I’d go for a new track called In Total Control and Club Death.

With CE I would go with I’m Broken and GDI

Read the review of Come Out And Play @ http://ringmasterreviewintroduces.wordpress.com/2013/01/17/cynical-existence-come-out-and-play/

https://www.facebook.com/cynical.existence.official

The RingMaster Review 01/02/2013

Copyright RingMaster: MyFreeCopyright

Say Just Words: Screams in the Darkness- A Collection

cover

Screams in the Darkness- A Collection is the new album from a band which has emerged as an enveloping impressive force within the world of harsh dark electro and EBM. Say Just Words grabbed the attention of a strongly growing allegiance of now fans with their EP The Perfect Killer at the very end of last year leading into this and with its release December 21st through Engraved Ritual and Mutante Records, Screams in the Darkness will end the year with a high for dance floors and passions just as the band marked its start.

As the title suggests the album is the coming together of tracks from various areas from the band, songs which have been culled from the six year history and earliest recordings of the band. A limited edition CD release in hand–numbered form as well as available digitally, it is an album sure to inspire a ‘brawl’ for its physical ownership. The tracks ignite the senses with a variation of melodic and sinister encounters which leave only elevated satisfaction in their wake and an impatience for more from the band over the next year.

Hailing from Chile, Say Just Words is the project of José Brantes (all instruments, music, vocals) and Eduardo Espinosa (Eduardo Cid (lyrics, live synth)). Early releases A Dark Desire Machine and first album The Shadow Of The Chaos, both self released, certainly marked the band as one to watch in their limited introduction but with the arrival of The Perfect Killer, the band stepped up into one which was promising to have a big say in the direction of the genre, something despite the older material within, the new album continues that impression.

Screams in the Darkness takes over mind and emotions within moments of the opening title track, the dawning melodic ambience and insidious vocal effects evoking chills before the song unleashes its rampage of thumping beats and acidic discord within sonic elegance. The distorted vocals the band are noted for as much as their sounds, lick at the ear with a serpent tongue which brings a caustic edge whilst only engaging and tempering the smouldering beauty wrapped around it and the energetic gait. The track features vocals by Ralph Stahlnebel of Stahlnebel & Black Selket, one of a number of guest appearances upon the release.

The outstanding and disorientating sonic bruising of Infeccion lies its verging on debilitating presence and hungry energy upon the ear next, and is easily one of the best tracks on the album. It is a tsunami of heat and intensity which treats the senses to an unrelenting wash of abrasive breath and synapse challenging enterprise.  Say Just Words is a band with a mastery of fusing melodic wonder and unforgiving sonic intensity and one certainly going by this song, which relishes offering a spiteful intrusive breath to their accomplished triumphant weaves.

It is fair to say in what is really a compilation in many ways there are no fillers which you enjoy but swiftly move on from, all tracks a diverse and invigorating pleasure and emotive soundscape to investigate. Personal highlights though come with firstly This Is Not Salvation, the single which teased us before the album release with its golden shafts of aural sun and electronic caresses. It is a track which treats limbs and emotions like a puppeteer, taking them to lofty raptures and equalled in their own distinct presences by the darkest shadows of Terror Horror featuring the always menacing yet compulsive vocals of Fredrik Croona (Project Rotten, Cynical Existence) and the blistering intimidation of Noise of Broken Souls. Both tracks whip the senses into a storm of malevolence and delicious sonic trials to survive, the latter a seductive weave which kisses the ear whilst ripping fissures of danger deeper within.

Further guest contributions come from Katia Braut of Die Braut on Agreement of Death and Exsubte of Reaxion Guerrilla upon Controlling Me (Skullfucked Mix), again tracks which evoke imaginative thoughts and reactions to their skilled touch upon the senses.

Screams in the Darkness- A Collection is an excellent album which either as a retrospective feast of older material for existing fans or an introduction to Say Just Words for new, inspires nothing but impacting thrills and deeply satisfied emotions. You feel 20123 is going to be a giant year for the band with this album the perfect lead in.

https://www.facebook.com/sayjustwords

http://engraved-ritual.bandcamp.com/album/screams-in-the-darkness-a-collection

RingMaster 09/12/2012

Copyright RingMaster: MyFreeCopyright