IIOIOIOII – Rising Sky

IIOIOIOII

With more than a passing nod to eighties synth pop, the Rising Sky EP from US industrial/electro project IIOIOIOII is a delicious major introduction to an artist which combines evocative atmospherics with seductive melodic embraces and teasing testing invention. Consisting of four magnetic tracks which without stretching boundaries explore fresher pastures than most within a well-worn genre over the years, the Juggernaut Media released Rising Sky is an engaging and captivating proposition from a potently emerging talent in Christopher Gurney.

Hailing from Charlotte, North Carolina, Gurney with his solo project creates an absorbing web of sound and textures around strong vocals and open emotive narratives. IIOIOIOII (pronounced I.O.) takes thoughts at times back to early Mute Records days with its minimalistic breath within a feisty enterprise. The EP also occasionally triggers comparisons to the John Foxx, Modern English, and once or twice the new wave/synth pop beginnings of Ministry, yet despite that it has an individuality and character which brings those flavours into something refreshing and invigorating as well as different to most current bands. It is a mesmeric treat and the instigator to great anticipation to Gurney’s forthcoming debut album.

The AA side of Rising Sky consists of the title track and Stardust , the opener immediately laying down a seduction which breeds IIOIOIOII - Rising Sky - coverattention and hunger for its persuasion. The first track ambles in with electro splinters of encouragement and a more sinew cast industrial predation which though equally inviting is wrapped in shadows and intrigue. The vocals of Gurney make a clean and open provocateur though you sense a snarl on the edge of every syllable waiting for its moment but the song’s restraint holds court throughout. The track has a reflective pace to its narrative and gait which holds both the magnetic elegance of the melodies and preying darker edge of the shadows in an easy union whilst the infection laced chorus has the virulent lure which marked the aforementioned songs of Modern English.

Next up Stardust like the first song, appears on the upcoming album Sun, and equally makes a compelling teaser for the full length. The slower evocative stroll of the track instantly weaves the pop charms of Paul Haig in with the thick ambiences of Nine Inch Nails, though the song ultimately steps mainly through the synth pop scenery of the potent landscape. It is an absorbing flight which bewitches imagination and passions within a celestial mesmerism veined by the melancholic breath of vocals and lyrical expression.

The B-side brings Could Have Been, an exclusive track to the EP, and Good Night a re-mastered version of a track first found on the projects first demo. Both continue the compelling call of the release, the first with a darker shade to its emotional hues and aural colour. It again offers essences of Trent Reznor as well as Gary Numan whilst within its vibrant stroll over the senses its suggesting blacker shadows carry a Frank Tovey touch. May be less impacting than the previous pair of songs it is still an encounter which leaves ears and thought absorbed and appetite greedier for what the release and IIOIOIOII has to offer. The closing track is a starker, darker industrial prowl; its fizzing, corrosive surface accentuated by the acrid lilt to the vocals. It is only half of the story though because like all songs it allows extremes and opposites to embrace and here Gurney weaves an OMD like melodic exploration with excellent vocal suasion to the cloud, menacing evocative heart of the track. It is a sinister thrilling conclusion to a masterful release.

If Rising Sky is any indication of the album it is going to be one of the most highly anticipated and striking synth pop/ electro industrial releases of recent times. Roll on its arrival as it is very easy to be confident that IIOIOIOII has something special in wait for us.

https://www.facebook.com/IioIndustrial

http://juggernautservices.bandcamp.com/album/rising-sky

8.5/10

RingMaster 11/10/2013

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Tactical Module – Into Exile

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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

 

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