Subtle is the debut EP from Seattle based Hallows; a collection of tracks which resonated in ears and the imagination with increasing effect listen by listen and encounters that are sure to fascinate any appetite for darkwave and post punk exploration.
Consisting of Dom R. (vocals, guitar, synth, drum programming) and Vanee D. (vocals, synth, bass), Hallows emerged in 2018 in Minneapolis / St. Pau before relocating. As their first EP reveals, the duo create songs and soundscapes as atmospherically revealing as they are post punk bred and dark wave mysterious. Each of the five tracks within Subtle make for captivating encounters which got under the skin in varying degrees but all deeply fascinated from first to last tenebrific breath.
Even in the individual character of their sound, Hallows reflect inspirations from modern peers like Soft Kill and Ritual Howls but equally there are certain aspects which bear essences of eighties bred bands. EP opener Out Of Sync is a lure of dark shadows and electronic suggestion, its web portentous in a way yet melodic radiant before the following title track consumed attention. Around the temptation of Vanee’s warm tones, its rhythmic touch carries intimation of early March Violets, almost concussive small explosions on the senses drawing that echo which is only enhanced by the dark throes of bass and Dom’s equally inky tones. This is turn brings thoughts to the likes of Skeletal Family and Children on Stun yet firmly Hallows set their own identity down, the track a striking persuasion.
In a Sleeping World is next up, rhythmic bait tapping air within a sonic shimmer initially before the song breaks into a lively dawdling gait lit by electronic phosphorescence. Again there is an old school breath to the track colluding with a fresh intense sigh carrying a touch of Dark Register to it, but once more the duo breed their own unique presence and a moment which only entangled ears and imagination before The Call // Ravenous dug even deeper into the psyche. Mystery and darkness soak every second of its dramatic presence, it’s almost claustrophobic air lit by electronic beacons of sound and seduction as again the union of vocals unite imposing shadows and streetlight like safety. Effortlessly compelling, the song is superb and with the title track stealing top honours.
The EP ends with Far Too Gone, a muggy bordering on suffocating hug of sound and atmospheric gravity which subsequently evolves into a just as thick and ravenous mist of ephemeral beauty and synth borne temptation if still shrouded by heavy invasive clouds of matching intimation. It is a spellbinding and gripping conclusion to a similarly hypnotic encounter, one announcing Hallows as one great reward in embracing darkness.
In a world cast in increasing chaos and ravening shadows, the heart and determination of a warrior defines those that try to bring defiance and hope to the blackness. Maybe every century past and to come is wrapped in such respective darkness, but the spirit of ‘heroes and viragos’ certainly thrived in medieval times and now within the debut album from US dark electronic collective Dispel.
The fascinating Lore is a concept album embracing the “historic lore, mythology and mysticism” surrounding a hero’s journey in those Middle Ages but equally a tale as agile in inspiring thoughts and experiences echoing the now within an electronic soundscape of darkwave, Neo-Classical, and gothic rock just as primed to ignite ears and imagination. In sound and word, Lore is a captivation; a musical and lyrical tapestry which effortlessly grabbed attention from its very first breath to weave even greater intrigue and compulsion by the listen whether as a broad view and personally intimate incitement.
Dispel is the creation of drummer/keyboardist Scott Dispel, a founding member of old school hardcore band Face Value and currently the drummer for TEXTBEAK whose Mike Textbeak produced Lore. Alongside Scott, the band is completed by the richly magnetic tones of mezzo-soprano vocalist Ravensea and the potent presence of fellow vocalist Sean Gallows. The album also sees guitarist Sean Morrissey and bassist Jae Jones add their dark craft to the adventure , one which swiftly caught the imagination through album opener, Spiritual Warrior (The Hero).
The first track strides forth from an ecclesiastical dawn, its step confident and bold and matched in voice and swing. A tenebrous hue coats every electronic note and Cimmerian shaded syllable escaping Gallow’s throat, the track like a magnetic Clan of Xymox meets John Foxx era Ultravox enticement and quickly and thickly gripping.
(cover art by Scott ‘Wizardfool’ Stearns)
The Call (to Adventure) continues the album’s fine start; the just as swiftly enthralling voice of Ravensea radiating from within the song’s gloomier but no less tempting breath and embrace. The less defined fuzz of guitar adds a sinister almost toxic aspect to the track’s air yet is soon engulfed by the electro pop infectiousness of a chorus which had us keenly bouncing whilst prompting thoughts of March Violets in their more synth ‘pop’ styled moments.
The light and romanticism of Ravensea’s voice and the crepuscular instincts of the sounds around her again provide an ear enthralling landscape within next up Modal Consequence (The Threshold). Its melodic mist carries a great Visage-esque shade whilst its rhythmic gait, whether a sombre amble or elevated dance, is thick incitement for song and body before Abyssal Hammer (Chaos) with an instantly more imposing rhythmic swing driven by air splattering eats and the tantalising hum of the bass needs mere seconds to have us hooked. Emerging our favourite song, the track is a warning come declaration of darkness as virulently infectious as it is eagerly menacing and quite superb with the blend of Gallows and Ravensea’s voices pure harmonic charisma.
The first of a pair of “Sacred Choral pieces” is next in the evocative shape of Gift of the Goddess (Andante in Bb), later in the album Atonement (Adagio in Bb)a similarly provocatively woven piece inspired by ‘Infelix ego,’ a Latin meditation composed by Girolamo Savonarola before he was burned at the stake. Each proved a seed for the imagination before the following likes of Hero’s Revelation (The Helper) with its overcast melodic and atmospheric beauty, again centred by the radiance that is Ravensea’s voice, and The Depth of Transformation (The Return) with its Tartarean arising from similarly infernal depths respectively had ears and imagination alive.
Slipping back across the album and between those two pairs of tracks sits Temptation (The Last Test), an enchanting and bewitching slice of electro intimation and vocal glamour as dark as it is lustrous and another song within Lore which got under the skin in an array of ways.
Though it captivated from the first moment it graced ears, enthralment only grew as the tale and melodic electronic adventure within Lore was further were explored and revealed play by play; an emprise sure to connect with your own personal journeys.
Dicepeople has never been afraid to venture into the shadows within their electronic sounds but as already hinted by last album End Of Line; they have been increasingly tempted into the thick realm of dark electro. Now the UK band has fully embraced its lure with new full-length, One From Many, emerging with their most compelling and magnetic proposal yet.
Founded by Matt Brock (musician, songwriter and producer) back in 2013 and completed by Zmora (vocalist) and Rafael Filomeno (visual artist), London based Dicepeople have drawn increasing attention and praise across their albums and EPs to date and a live show as visually immersive as it is musically involving. As mentioned, their sound has evolved and grown by each moment and as suggested forged a new captivating plateau from within One From Many. It is borne from an eclectic array of flavours including synthpop, EBM, darkwave, and post-rock with its own identify and originality nurtured by the record. The new album openly embraces those essences also but ingredients in an aural Pandora’s Box where the imagination is exposed to “a provocative and otherworldly place, immersing you in your fears and dreams, and exposing you to the darkness and light within.”
One From Many opens with the sonic dissonance of Void and its passage through crystalline shimmers and distortions all leading to an evocatively challenging sample. Imagination provoking, it eventually leaves the listener to the waiting infectious trespass of Gone. Synths and rhythms immediately stroll through ears; each bringing a catchy lure to which Zmora adds her magnetic tones. A relatively calm affair even with its infectious presence, the track has an underlying dark edge which provokes rather than invades the imagination, a darkness offering threat emphasized by the guitar of Roger Le Guin within its overall seduction.
The following irresistible Multiplicity instantly invades the senses and psyche with its kinetic pulses, resonance shaken off every synth cast palpitation before it expands into another virulently infectious escapade this time seeing guitarist Rob Ackerman adding his prowess. Brock joins Zmora vocally as the track invades with its inimitable contagion before Celestial brings a progressive rock breeze to bear on its electronic exploration. This time Brock is joined vocally by Sara Dee, their union a perfect fit with the Celtic folk hue which also arises in the outstanding encounter which soon had the title of best track on our lips, reinforcing its grip as its electro pop tenacity infested body and spirit.
From its ethereal and physical radiance, the album’s climate becomes darker and more intense through Nitro though the inherent relish of the band to create infection spun enterprise is never far from the surface. Featuring the vocals of Darien Graham-Smith and Atashi Tada, the song courts the dark corners of thoughts in something akin to Cauldronated meets Deutsch Amerikanische Freundschaft but undeniably individual to its creators.
The following Addiction nags and niggles on ears with repetitious catchiness in its arsenal and discord in its nature, a restrained yet feral weave of temptation which as so many tracks just compels lustful attention, while Pigs is a web of discontent and dark intrigue within a portentous atmosphere but again one as alluring as it is tenebrous as it envelops and manipulates the senses and imagination respectively.
Even darker depths and layers of intimation are unveiled by This. With Hemiola guesting on vocals, the track is electronic smog invading and enticing with equal relish. Its cloudy cacophony devours as it seduces, its inharmonious air woven from melodic prowess as deceitful and deceptive as it is hypnotic.
Duality brings the release to a close, it too bred from a discord of noise and suggestion before parting with melodic bonds for the ever ear gripping tones of Zmora. Light and darkness once again merge in magnetic inharmony; each making vocal claims on thoughts and emotions before everything falls back into the void.
It is a truly provocative and spellbinding end to an album which with moments of real magnificence captivates and excites from beginning to end. Dicepeople are deserving of major attention, One From Many just might, should be the key to unlock that recognition.
Standing impressively tall with an album and sound which plays like a mix of Rammstein, Poets Of the Fall, and Type O Negative yet emerges as something richly flavoursome in its originality; French metallers Radium Valley provide a seriously compelling and fascinating proposition. Debut album Tales From The Apocalypse is a full immersion for ears and imagination into an apocalyptic lyrical and emotional landscape coloured by a tempestuous yet fluid blend of industrial, gothic, and melodic metal. It is a masterful darkwave fuelled incitement which just grows and flourishes the more time and attention it is given.
Formed in 2012, the Limoges hailing band takes inspirations from the likes of Rammstein, Paradise Lost, Ghost Brigade, and Katatonia into their sound, as well as lyrically for certainly their first full-length an eighties background embracing its current events and culture. The combination paints a wasted world stopped by the Chernobyl disaster and littered with radiation embraced survivors. It makes for a vivid and intriguing canvas to which Radium Valley casts similarly dark and turbulent sounds. Produced by Alexandre Granvaud and Romain Janvier, with its mastering done by Logan Mader (Machine Head, Soulfly, Fear Factory, Gojira), the Pavement Entertainment released Tales From The Apocalypse is a riveting and often haunting proposition.
The nine-strong band instantly awakens the imagination with Song of rain, a vintage sample discussing the first nuclear bomb luring in attention against a sonic croon and distortion kissed ambience. It is not long before the musical weight and prowess of the band is seizing ears, melodies from guitars and keys laying down thick enticing smog which is littered with jabbing beats and dark throated bass temptation. A slight relaxation then brings in the impressive vocals and further expressive hues from the keys, their electro seeding a dulled yet mesmeric radiance in the imposing heart of the song. It is a seamless and impressive mix of textures, dark and light extremes as enthralling as the dramatic narrative presented by the increasingly impressing clean vocal delivery.
As the album proves itself to be, the opener seems to get bigger and better with time, something emulated by the following Sweet infection. The second song emerges from a cyber-sculpted darkness with melancholic keys which equally have a bold statement to their presence, before flowing into an electronic glaze and synth rock infectiousness. Finding a presence which is somewhere between Depeche Mode, Nine Inch Nails, and Poets Of The Fall, the song soars over the senses with a sultry caress and fiery temperament. It is a bewitching song which seduces more than grips but to the same successful end before the Numan-esque start of For all of us takes over. Raw abrasing riffs stand perfectly against the electronic sizzle of the synths whilst vocals once more gently but powerfully spark thoughts with their theme. There is rich drama to the song which comes in waves without ever departing, the strikes of guitar and inventive bass designs alongside them creating much of that gripping lure.
Both Darkest hours and Behind me create their own slice of intimidating but welcoming persuasion, the first an almost brawling proposition which switches between urgent rampages and slower crawls of predation without losing any of its fluency, despite the turbulence of sound and passions explored. It is an intrusive treat of a track allowing no rest to take in the sights yet leaves no sense of dissatisfaction, just hunger to go back to explore more. Its successor merges electro elegance with a voracious metal appetite to produce a captivating adventure calling on sparks of Rammstein, Fear Factory, and Paradise Lost. There is also a seeming intimacy to the touch and heart of the song which only fires up the vocals and rhythmic punch of its striking exploration.
Next comes Le terrain vague à l’âme, the first of two interludes with the second, Une charogne coming before the final track. With each being predominantly a French spoken vocal piece they do not really add much for us language handicapped souls so it is hard to evaluate their presence, something much easier to do with the excellent instrumental Radium Valley. It is a rigorously descriptive piece of composing which takes the imagination through its provocative soundscape into a rugged and violently hued terrain, the skills of the band providing a threatening and contagious journey.
Through the melodic tempest of Into the undergrounds and the hostile yet theatrical Last resort, the album ventures into new aspects of its starkly bred and adventurously expressive character. Each provides a memorable creative emprise, darkly poetic proposals which leave a lingering and inviting mark on emotions. Their unique offerings lead, after the other interlude, into album closer Wings of disease. It is possibly the least gripping track on the album but still a thoroughly engaging and unpredictable pleasure with the band no less impressive in sculpting its structure and temptation.
It completes an outstanding release in Tales From The Apocalypse, an album needing time to truly show its depths but rewarding with a blistering and exciting encounter. Radium Valley is a band destined to grab your attention at some point and their debut album definitely makes a potent suggestion that the time is now.
Fuelled by emotional shadows and darkened energy the new album from UK electronic/darkwave project Illustrial brings forth a reflective journey born of its creator whilst being the inspirer of personal involvement and feelings. Eloquently Violent is an album which offers a journey through heartbreak, inner loneliness, and slightly destructive dark essences of life. It is vibrant though bringing as much hope as resignation to evoke thoughts and feelings which all can interpret to their own struggles and blistered highlights.
Formed in 2006, Illustrial is the solo electronic project of Baz Badrock (aka Neformore). Early EP Discipline the Devil’s Country drew good responses to the project though it was with the link up with London-based artist Strobegirl a more concentrated attention came their way through songs Don’t Look Back and a cover of California Dreaming. 2010 saw the Genesis EP to be followed a year later by third EP Darkness Falls and a returning full collaboration with Strobegirl on the enthusiastically received album Glitter and Twisted. The same year also saw Badrock team up with another vocalist on two songs Lost City Ghosts and Dream again to very favourable responses. Eloquently Violent is the first full length solo release from Illustrial and easily marks itself from the outstanding sleeve artwork from OneTwoTree Designs through to the sounds within as the best individual and mature work the artist has produced.
The album opens with Xciter, a pulsating electro pop dazzle upon the ear. It has a definite early Fad Gadget feel to its air without arguably the pop infectiousness but is still a satisfying treat. As with the majority of his songs Badrock brings a minimalistic presence to the track allowing its ambient whispers and atmosphere to give service to the passion and emotive heart. The original intent for the album was for guest vocalists on some of the songs but as the release developed Badrock fell into an ease and rapport with the music and his own style to end up taking on the role himself. The opener shows it was not a bad move and again offers up the Frank Tovey comparison here and at varied times during the album.
Heartbeat follows and is a more reserved manipulation of electronic weaves. It brings splintered pulses and fractured melodic twists and only really finds a full appeal when it raises its temperature through an eager and driven energetic surge. It is still a strong and appealing song though showing the variety to the album as well as a firm yet rippling consistency which never leaves one drifting elsewhere in attention.
The title track has a similar feel and intent as its predecessor though seemingly carries a more personal heart for more intensity which ignites further the searchlights of melodic enterprise. It is quite mesmeric as it envelopes the year and continues the strong start commendably. Coming in its wake though is Tribal Dance which did not failed to inspire similar responses though it is as much down to expectations from the title than the composition itself. Expecting something primitive in energy and raw the track is a quiet and one means quiet, measure of beats and electronic whispers. It feels like an interlude to be honest but with a beefier production would probably have made a bigger impression.
From here on in the album brings a fine mix of ideas, textures, and sounds, from the sultry Gothic Fantasy and wonderfully distressing aural violation of My Distortion on to the likes of the New Order influenced The Silence and the haunting darkness that is Dark Night Of The Soul. The release consistently treats the senses to invention and imagination and though at times this exploration does not always quite come off as well as in other parts but it is never less than intriguing.
The latter half of the album unveils further thoughtful and evocative songs as the sinister Horrorgasm alongside the melodic caress of Breeze which inspire responsive feelings to the aural triggers. Eloquently Violent is an album which graces with expressive and satisfying sonic tapestries for the ear to immerse within. It maybe is lacking a raw edge and anger at times to break up the unerring shadowed smooth fondling of the ear but it is a release which effortlessly leaves one in thought and reflection.
One of the more impressive debut albums to emerge in recent months has been Change of Scenery from Russian metal band Rosa Infra. The band and release treated the senses to an impressive and impassioned blend of gothic metal/electronic /darkwave brought with outstanding craft and expressive delivery. The band has over recent times shared stages with the likes of Paradise Lost, To/Die/For, Embraze, and For Selena & Sin whilst building a might reputation and devoted following in their homeland. We had the pleasurable opportunity to send a series of questions over to Rosa Infra founder vocalist, bassist and composer Nikolay Karpushin to find out more about the band, their music and of course their excellent album.
Hello and welcome to The Ringmaster Review. Thank you for talking with us.
Could you firstly just introduce the band?
Hello! With a great pleasure I’ll tell of my band whose name Rosa Infra
How did Rosa Infra start?
We began our way at 2006.Then I dreamed to play qualitative and powerful gothic-metal and actively composed songs in this style.
Was there a clear intention before the band about the kind of sound it was to create before its formation?
The basic representation about a sound I had before the creation of band. First of all it consists in low tuning of guitars and bass and common low frequency sounding. All rest was formed gradually from concert and rehearsal of practice, and at the present time we are addicted to this idea and we continue to experiment on this way.
What were the inspirations that brought you to the desire to be a musician and the band you are?
Aspiration to play qualitative and too in time sincere music! Probably sounds arrogant, but not only in Russia, and all over the world is not enough of such music now. Here I shall allow myself to quote of David Bowie: “Music became ordinary, as a water conduit and electricity “. The Qualitative releases are thousands. But is there a lot of them deserve to play in your playlist almost daily within many years?
Before we move on to your recently released album, please give us some back ground of the band up to this point, highlights and how it has grown?
The basic conception of music of the Rosa Infra always will be a low and deep sound. It’s our mania, our point of view on metal and music at all. It was very difficult to me to find people who understood my idea, and I thanks to my friends and musicians Evgeniy, Zinaida and Vsevolod.
How would you describe your sound for newcomers to Rosa Infra?
Power, low, growling, groove, atmospheric. Sometimes colder like cosmic vacuum, sometimes deep like a сoffin underground. Anyway it’s will force you to distract from daily problems and to listen! And much more important- to think about your life, may be about your soul, and may be to learn the Russian language.
As mentioned your excellent new album Change of Scenery has recently been released, how has the response to it been so far?
Our fans in Russia were very pleased with an album. A lot people came on presentation and very warmly have supported us. It is always pleasant to see happiness in eyes, which look at you!
What were your hopes for it as it was unleashed on the world?
We are always played our music for all people-Russians, Europeans, Americans, Indians, Chinese, Japanese etc. We from the very beginning tried to work at a level of the global standards of metal-music. And we are happy, that our creativity has deserved attention in the world.
How long was Change of Scenery in its creation?
Little more than one year. Some problems happened about search of guitar sound and then were big problems with search of studio for record of a vocal. One familiar composer promised us free-of-charge record at his studio. In Russia there are not enough of good studios for record of vocal and we very much counted on him. But then this man likely has decided not, as he had more favorable pop-projects. Urgently it was necessary to search for alternative variant for the acceptable price. And we find it! There was “Ross Studio”-The professionals of the business, with them it was very pleasant to work and we are very pleased with result!
Different to many bands from your and surrounding countries you have kept to your own language not singing in English, something we like for sure. But do you think it might limit how far and how many people you can spread the album to by doing so?
I very much respect bands which sing on the native language, is special if it is made beautifully, it is competent. Russian literary language is very beautiful and is melodious sounds and it is a pity, that many our bands ignore this fact. Still it is a very pity that our language is strong degradated for last 15 years. It is connected to historical problems, with politics and society, but I do not want to go deep in to it now. I only want to inform beauty of Russian language to the people. Including in other countries there is Finnish band Kursk (KYPCK), even the Finns sing in Russian! But unfortunately texts in their songs is not always competently built and sometimes that sounds funny. But when there was no mistakes, Russian sounds not worse than English. And it is true proof that Metal may to sing in Russian! But probably we’ll record some our songs on English if we have that opportunity.
Was there any pressure to revert to English from anyone?
Yes, of course but I don’t listen that councils. I sang many covers in English and it is not a problem for me but our basic language is Russian.
Despite being unable to know the lyrical content of songs we could feel the passion and emotions behind songs very openly, this is an aspect you take great care with as much as creating great sounds?
Certainly the emotional message is a very important in vocal. Sometimes even Russian public don’t understand the true sense of words simply because vocalist does not have this emotional submission. We care a lot in our music and important part of it is an expressive vocal lines.
Tell us how the songwriting works within Rosa Infra?
The writing of song works pass differently. Basically I write the musical theme on piano then create all lines for two hands. So there is a prototype of arrangement of the future song. Then I distribute the voices on different instruments which will be played in potential song and rewrite the notes for these (guitars, bass, keyboards, drums, samples etc).The words for music more often I write much later.
What inspires your lyrics and ideas within songs?
Mmm! Excellent question! Certainly experience of my life is partially reflected in the texts; partially it is reasonings on a theme of essence of the people, their qualities of soul (both light, and dark). In these reasonings I express also my sensation of the world, hope and believe in the people.
Going in to its recording how much were the songs finished and how much did they further evolve as you worked in the studio?
The musical parties were authorized even before record. We only needed them to record in alive. We have spent much time for search of a suitable sound (especially it concerns guitars). By result we are pleased.
The album also features many guests, could you tell us about them?
I shall begin with remarkable string trio: Evgeniya Kasatkina (alto), Anjelika Vinogradova (cello), Grigory X (double bass). We have invited all of the guys to record a fragment of song Pis’ma Niotkuda (” the Letters from Nowhere “). All of them the students of a conservatory, and Evgeniya still participates in folk-metal band Bear Beer.
As in recording of the album guitarist Iliya Mamontov (“Epidemiya” band) took part. He has played solo in songs Proschenniy (“Forgiven”), Krilya (“Wings”), Sonata di Dolorum and Smena Dekoratziy (” Change of Scenery “).
Change of Scenery was very varied making a release which was unpredictable and persistently engaging, is this ability to make things distinctly diverse a natural thing or an aspect you work specifically on?
I always aspired to a variety and riches of used receptions in a composition and in time it was not end in itself. So получалост by a natural image, since I always concerned unbiasedly to various musical genres and never hesitated to mix them in the songs most by unexpected image.
Vivid example – song Snejniy Angel (Snow Angel) .Common atmosphere is more similar on dark wave, gothic rock but in middle of a composition mine unexpectedly enters a bass – solo typical more for funk. Other example is a song Kriliya. In her are combined gothic metal, industrial, synth-rock, and even much psychedelic elements.
In general, I consider that all life to play strictly within the framework of one style is self-restriction.
The two instrumentals on the release in the stunning Sonata Di Dolorum and Rassvet are very powerful tracks which inspire many thoughts and reactions. When bands put instrumentals in a release it is interesting to know why they are not given lyrics, how was it with your two tracks, what made you keep them as just music pieces?
Guitarist of our band Evgeniy offered to think up words and vocal line for Sonata. But I am primary it planned as instrumental, since wanted to express some tragical experiences of my life by language of music, instead of words. Is glad, that it was possible to me, especially guys so it is magnificent it have played. Rassvet is original intro for a song Krilya, on that it is obvious, that she should be without words.
A few times we were reminded of Finnish bands in the album, Stam1na in particular. Has Finnish metal been a sure influence on you?
This influence was faster reflected in the early compositions, such as ” Nadejda na Utro ” (Hope on Morning), ” Edinstvo v Grehe ” (Unity in Sin), ” Lozh vo Spaseniye ” (Lie to Helpness). In other creativity the influence of many other directions is felt, not only metal, but also electronic music.
What is next for Rosa Infra?
The following step will be the further creativity. We do not stand on a place and we do not limit ourselves to frameworks of one genre, and for us is to surprise you! Closer by winter 2012 we plan to begin record a new single which will be the announcement to the second full-album. This album will be conceptual. It is a uniform history divided into parts, i.e. songs. While I can say one: above idea of this album and history I already reflect about 10 years. Partly it is fiction, partly vital experience transformed into structure of a design of product. Now we prepare the concert program with songs from the future album.
What are the chances that the rest of Europe and the UK might have a close up of you live?
I think that same, as well as at other Russian bands. Per century of information technologies it is much easier to inform the creativity up to the masses. But on the other hand at the sated information flow a high probability to miss main. In the world (including in Russia) there are a lot of same bands and not looking on high quality, in a result the attention dissipates because of similarity all against each other. We make the rate on sincerity in creativity and individual sight.
A big thank you for talking with us, would you like to leave a last comment for people?
Thanks to you!
I already have stated much. I can add the following: aspire to individuality but not as to end in itself. In all the golden mean is necessary. Try more often message dialogue with the heart, reason, soul. Be able to set correct questions to find the answers. You see we call for this in the music!
shot taken by Martin Tzr Niklasson- http://www.tzr.se — with Iva Insane and Psylocke.
Already well respected from his work with Menschdefekt and with his band Project Rotten let alone numerous other collaborations and projects, Fredrik Croona brought another absorbing, impactful, and stirring release to incite our hearts from his new project Cynical Existence in the shape of its debut albumA Familiar Kind of Pain. A release of harsh EBM and dark electro might and infection the new album continues the impressive contribution and creativity of Fredrik that has installed him as one of the more inspirational and notable people in the genres and subgenres his projects easily envelope. We had the pleasure of Fredrik agreeing to answer our questions so we could find out more about him and his music.
Hi Fredrik, many thanks for taking time to talk with us.
Firstly tell us not about the musician but about the man Fredrik Croona.
Well, what can I say? I am a normal guy who has a day time job trying to earn enough to make a living. When I don’t do that I prefer to play video games and go to the gym and pretend to be a strong muscular dude. I am pretty much a nerd.
The first introduction to you for many of us was when you joined Menschdefekt in 2009, is there a musical history before that point for you?
I started out as a vocalist in a heavy metal/new metal band back in 2003 and after that I was a vocalist in a death metal band and some minor short lived dark electro/darkwave projects. I doubt that anyone heard about these bands besides my close friends, cause we never got past the demo stages and only performed live in my home town of Gothenburg.
How did your union with Dominik R. in the band come about?
I think those who know me well enough know that I have a passion to start side projects or collaborations with other artists and I was actually surfing around Myspace and found Menschdefekt and Dominik was holding some kind of competition for a vocalist who wanted to try to write lyrics and do vocals for a track (I forgot the name of it). I wasn’t into it at first but I thought hell why not? And Dominik loved my vocals and lyrics and wanted me to join as full time vocalist.
Next you formed Project Rotten alongside Menschdefekt for your solo work, what did you want to experiment with and create that was different to Menschdefekt?
First off I wanted to make something myself, or at least try but I failed. I made two tracks myself which were pretty terrible in all aspects of both music and vocals and so I got a guy called Jan to join me, cause I needed help. And after that Kettil joined and helped improve the music drastically. In the end I wanted something more raw and sinister than Menschdefekt.
I would say that everything but the vocals is different. In CE everything is created and produced by me and this in return makes me create anything I want to create. I have total control and nobody can tell me what to do and not to do (not saying that is the case with Project Rotten). But still there is more freedom this way.
You are no longer involved with Menschdefekt, was this because of the demands of working two bands or that Project Rotten was naturally pulling in all your creative energy into itself to leave less than you wished for Menschdefekt?
My biggest problem with Menschdefekt was that it was stealing too much attention from Project Rotten and the sound didn’t evolve too much in my ears. I always strive to evolve and so does Kettil and we want the same things. It’s easier to work this way and I still make the final mixes in Project Rotten so I can make it sound the way I want it to. Dominik is a great musician and I had lots of fun in Menschdefekt but it got to a point where I couldn’t evolve with it anymore so I had to cut it off.
What have and do the three bands differ in and offer distinctly differently to your creative ideas and craft
Menschdefekt was focused on catchy hook lines and themes about war, corruption and human decay.
Project Rotten was based on fiction and horror with heavy beats and dark aggressive music (which has evolved into a more club oriented sound).
Cynical Existence is a personal project with a lot of feelings and lyrics about past experiences etc and it’s whatever I want it to be. One track can be a bit future pop-ish and one can be really dark and aggressive. I have no boundaries to what I create.
With Project Rotten and Cynical Existence is there sometimes a battle within you over which gets priority over a new idea you have?
Nah, Kettil is the musical drive behind PR so if there would be a battle it would be for the lyrics. Both bands are equal for me and I don’t see a problem or a battle amongst them. If there comes a time when I have to choose *I would probably merge both bands into one instead.
How do you create your music generally?
I boot up cubase and start a VST and just write and move around and try different things. I never know what to do until I do it.
How many times have you thought of something that you think will work in a track but not been near anything to record it and then for it ultimately to disappear from memory by the time you are haha?
Oh shit, well that is a hard question. I would probably say one too many ;). Worst part is when you are at work and you think of something and when you get home it’s just gone.
With Cynical Existence the band bio states the goal for the band was to create a form of ‘old school’ harsh EBM and industrial “ with a more personal touch and emotions infused into it.” Could you expand on the personal and emotional elements and how these differs from what you have brought through with Project Rotten?
Like I stated before, Project Rotten was mostly about fiction and horror and the new songs are more sarcastic and with a lot of dark humour. Cynical Existence is more personal because I write things that are close to me and the music probably reflects that also. I hate the terms Cyber and Hellectro. I call it harsh ebm or dark electro cause that is what it is. It has nothing to do with cyberspace or dystopia or hell, this is what makes it special to me.
A Familiar Kind Of Pain is the debut Cynical Existence album and one we loved. How long was it in the making and has the sounds and idea behind it been around longer than the project?
Should I really spill my beans about this ;)? The EP is actually a mini CD. But it took me about 3 months to make, maybe even less. When I have my creative drive I can write A LOT. Mind you a lot has been thrown away.
Did A Familiar Kind Of Pain change and evolve by the finished album much from your original ideas and vision?
I didn’t really have an idea. I just wanted to try and create music. As I stated before I did two songs back in 2009 but they were just arpeggios and sequencers so they don’t count. This time around I just wanted to create and see what I could do. I want to create varied tracks with different feelings for the EP and I think I managed to do it.
Is there a theme or continuing essence behind the EP, or is this the personal part of you that we feel linking the songs?
Hmm not really, I just wanted every track to sound a bit different to see what I could make; I wanted variation and see how far I could go without going too far.
Is Cynical Existence something you see becoming an active live band like Project Rotten or remain a recording vehicle for your dark electro and harsh EBM ideas?
Hell yes! I already played live once and will be standing on stage again in about 2 months. So I will be playing live for sure.
In a genre where it seems that fans and some artists are almost intolerant of certain sounds, and sub styles within the vast industrial world, what were you expecting response wise from your fans to something openly different to Project Rotten?
I wasn’t expecting anything to be honest. I mean I didn’t even think I could make a album and release it but I did. I create music for myself and if people like it that is awesome but in the end as long as I like it it’s ok. This is for me in the end. It might sound egoistic but if not for me, then who else?
How do you view industrial right now, it almost seems a volatile environment to be making music within?
A lot of people are whiny bitches to be honest, both artists and people alike. I don’t really listen to industrial music myself and don’t keep up with the scene. But I still love the scene who likes and appreciates what you do, why waste energy on the others?
What inspires your music and ideas, and does it differ from the different bands you have been and are involved in?
Everyday life and my personal feelings. I think it does because this is on a very personal level and I am there from start to finish.
What are the biggest influences that have crossed into all your work?
I have no idea, there are some bands I really got influenced by in my early electro years, but before that it was metal. Now I don’t really know. It’s a very hard question.
Apart from the bands we have mentioned what else are you involved with? We know you also collaborate with other artists like one of our favourites Scream Machine.
Well as of right now I am working on the vocals for the Mexican dark electro band Anamadim, besides that it’s kind of quiet. I don’t really have time or energy to waste on other things at the moment because of PR and CE. Got two album in the works to finish this year.
With the internet collaborations are much easier to engineer and do, but do you think it also from the fact that people do not even need to be in the same country to create music together that it can lose the naturally instinctive essences one finds from all being together side by side working?
I don’t think it’s matter if you are there or not. As long as you have a connection with the other part and you both have the same drive and passion I don’t see a reason why it should differ from working next to each other in real life. Internet creates huge possibilities that we couldn’t even dream about 15 years ago.
What is next for you?
To get my albums ready and prepare to release them onto the world so stay tuned!
A big thank you for taking time to talk with us, it is very much appreciated.
Would you like to end with any last thoughts about anything?
Even if it seems that I don’t have much love for the industrial scene I actually do. The fans and people who support us bands those are the people I give my love to. The others can fuck off and die! Thank you!
It is hard to think of any other adjective that fits the debut album from Russian band Rosa Infra than mighty. Before Change of Scenery does anything else it just takes one into a sound and heart that impresses the senses before thrilling, lighting them up, and crooning them into deep pleasure. The gothic metal/electronic /darkwave blend without being demanding seizes attention through its wonderful craft and expressive delivery and sound. Bringing an edge and depth to it, there is also an industrial inspired vein that stands in contrast to the excellent deep and smooth vocals and swarming electronic sounds but also makes the perfect muscular companion.
Rosa Infra began in 2006, formed by vocalist/bassist/composer Nikolay Karpushin. Since then the band has shared stages with the likes of Paradise Lost, To/Die/For, Embraze, and For Selena & Sin, impressing each and every time as they built a formidable fan base in their homeland and beyond. Now with guitarist Evgeniy Belyaev, drummer Vsevolod Akimov and Zinaida Azarova on keyboards alongside Karpushin the band has created a majestic album that thrills and fills the heart to its very core. Thoughtfully composed and defined Change of Scenery released via Russian label Sound Age, is an epic release that deserves and needs to be heard.
Immediately the opening track Lozh Vo Spaseniye emerges on a fully focus grabbing ambient brew of sound it has the ear, once the guitars light up the synth soaked skies with sharp melodies and the riffs gallop eagerly through the ear the song captures the imagination and heart. The growling bass that stalks the song ensures total submission such its power and irresistible prowl whilst the vocals of Karpushin are immense; his blackened tone and rounded delivery a velvet siren. At times the song and vocals remind very strongly of Stam1na, never a bad thing and it sets the album off to a strong and very satisfying start.
Often albums that begin so impressively slip down a gear or two along its way but with Change of Scenery the varied and potent collection of songs hold the highest and tightest consistency. The likes of the dramatic Proschenniy with its heavy arms of gothic passion and heartfelt piano touch, the masterful and haunting Snova Odin, and the stunning instrumental Sonata Di Dolorum, a piece which brings a drama and overwhelming atmosphere to consume and evoke feelings, all in different ways take the senses on a journey of emotion, passion, and classically tinged gothic metal imagination.
If that was not enough diversity the band offer further electro/industrial grace with Snezhniy Angel and beauty through the piano led Pis’ma Niotkuda (Romans). The first is light but expressive, its heart a pulsating beckoning that is impossible to deny especially with the enthused sharp guitars and rumbling bass. It has to be said as well as being a great vocalist Karpushin is one notable bassist, his dark intimidating riffs and lines an infectious element of each song no matter its flow or emotion. The second of the two is an impactful track that from an already effective and compelling level raises the appeal with the inclusion of a guest string trio which touches the remaining parts the song had not already breached with its emotive power.
As mentioned the album is impressive throughout, other songs like the industrial fuelled Krilya and second instrumental Rassvet equal joys but two songs take top honours on the album. Nadezhda Na Utro opens with a Sisters Of Mercy like intro before rumbling through the ear with more great bass work and warm inventive synths whilst the guitars turning every note into an event. Again Stam1na comes to mine plus a gothic rock mix of Sisters and The Mission. It wraps itself around the ear with ease and mesmeric invention spoiling us with extra stirring rock solos and melodic treats. Edinstvo V Grehe coaxes the ear with a darker and slower predatory yet welcoming flow. Deeply resonating from again bass and vocals, the song has a rounded quality brought to it by the keys and the stirring passion it possesses.
Change of Scenery is a total joy, and a pleasure that deepens the more one lets its creative might immerse the senses. If Rosa Infra are not in the very least a well known name from this album there will be no justice, such quality deserves an equal reward.
RingMaster 14/04/2012
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Even in the individual character of their sound, Hallows reflect inspirations from modern peers like Soft Kill and Ritual Howls but equally there are certain aspects which bear essences of eighties bred bands. EP opener Out Of Sync is a lure of dark shadows and electronic suggestion, its web portentous in a way yet melodic radiant before the following title track consumed attention. Around the temptation of Vanee’s warm tones, its rhythmic touch carries intimation of early March Violets, almost concussive small explosions on the senses drawing that echo which is only enhanced by the dark throes of bass and Dom’s equally inky tones. This is turn brings thoughts to the likes of Skeletal Family and Children on Stun yet firmly Hallows set their own identity down, the track a striking persuasion.
The following irresistible Multiplicity instantly invades the senses and psyche with its kinetic pulses, resonance shaken off every synth cast palpitation before it expands into another virulently infectious escapade this time seeing guitarist Rob Ackerman adding his prowess. Brock joins Zmora vocally as the track invades with its inimitable contagion before Celestial brings a progressive rock breeze to bear on its electronic exploration. This time Brock is joined vocally by Sara Dee, their union a perfect fit with the Celtic folk hue which also arises in the outstanding encounter which soon had the title of best track on our lips, reinforcing its grip as its electro pop tenacity infested body and spirit.
have a bold statement to their presence, before flowing into an electronic glaze and synth rock infectiousness. Finding a presence which is somewhere between Depeche Mode, Nine Inch Nails, and Poets Of The Fall, the song soars over the senses with a sultry caress and fiery temperament. It is a bewitching song which seduces more than grips but to the same successful end before the Numan-esque start of For all of us takes over. Raw abrasing riffs stand perfectly against the electronic sizzle of the synths whilst vocals once more gently but powerfully spark thoughts with their theme. There is rich drama to the song which comes in waves without ever departing, the strikes of guitar and inventive bass designs alongside them creating much of that gripping lure.
