FABRYKA INDUSTRIAL ROCK & METAL ENCYCLOPEDIA

Blue Rising - Versus (song review) |self-released, Fool The Devil, 2017| 4/5

The American Indiana-based Blue Rising quartet skillfully merges dualities. Their music, as much as expressed in 'Versus', fuses technical, ear drilling progressive metal with the explosive rock of the 70s and 80s. They made it happen through an intelligent composition consisting of complex arrangements and a memorable melody. Their collaborative musicianship (Luke Narey on drums, Barrett Abraham on bass, keys, and backing vocals, together with Austin Mudd on lead guitar) helps extremely too, topped off by the awesome sounding voice coming from the guitarist (Austin Frink). The chorus brightens the atmosphere, even though the vocalist's tone expresses blame very well. The production quality needs polishing however, to add more depth.

The theme speaks of separation caused by polarising qualities. Such divides (sex, skin color, body type, organized religions, political parties, money currencies, football teams, preferred customers, etc.) lead our civilization to lose inner balance and take sides, or even self-destruct. Yet it has been the very goal of negative entities who want to control the Earth, then leave the mess and escape to another planet or moon. One should remember though - we were free beings when we arrived on Earth - the masculine and feminine perfectly balanced within one 'body', motivated by heart energy, not the survivalist brain. Believing and following one's heart is the only mission here as the seat of your soul never lies, yet remembers your original greatness.

Thus, Blue Rising bring awareness (though the message and vibration) to what you should detach your head from, because it's all in your head after all. This is the first of many Ascension steps to retrieve one's primal freedom. Give them a shout out on their Facebook page and buy the entire new EP which 'Versus' comes from, as it's a powerful must-have.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, November 2nd, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Darragh J O'Hehir - Power & Corruption (song review) |self-released, Time Will Tell, 2017| 4/5

"Maybe it's about the power of illusion / Maybe it's about what you believe / Maybe it's about the money and corruption / How they justify their endless needs". This is the chorus of Darragh J O'Hehir's new song and its main lyrical theme as well. The song talks of the current state of affairs in the politics, people’s addiction to social media, pseudo-journalism (so called "fake news"), and the overall technocracy resulting in a loss of natural empathy and intuition. Obviously, it’s not the entirety of our civilization on Earth falling down that rabbit hole, since there are still rebels, watchers, and note takers (e.g. bloggers) heralding proper awareness. Still, it's high time to stop the rush, have a good look around, then fearlessly detach from supporting institutions and people your heart and spirit don't resonate with anymore.

"Power & Corruption" is a dynamic and melodious rock piece, bringing a broad vibe and uplifting feel. Darragh is a self-taught multi-instrumentalist who writes, performs, and records his tracks mostly alone. In the past however, he had played as a recording/live drummer with bands such as DARA (signed to Sony Records, supported U2, Brian Adams, and Macy Grey on tour), Knucklehead, and Paddy Usher Band. Darragh is a very good singer - his words are easily understandable even for non-English natives, while his voice keeps courageous, dominating tones, so desired in rock music. They match exceedingly well with guitars that sound here as dirty as those of 90's grunge and are performed by a lead guitar player Kevin Row, and a bass player Mark Dempsey who add their styles to the song's overall vibe.
The composition is a rock classic, with equally distributed jumpy arrangements, leaving enough space for both vocals and guitar soloing in the later parts of the track.

The audio quality needs some improvement, however, so that each element could shine individually as deserved, while avoiding domination by a single aspect (be it guitar or vocals). For now, the sound is a bit rough, as if recorded live on stage. It's totally understandable that Darragh, like most unsigned indie artists, produces music in his home studio due to high costs of hiring a professional space and sound engineer. But since the song is definitely a potential hit, it may need more polishing for increased exposure. An additional short intro could make for another improvement, otherwise the beginning may leave some listeners with the sensation that something's missing here.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, August 17th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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ALBUM SHORT REVIEW:

Malicious Wonderland - Wasteland (song review) |self-released, 2017| 4/5

1. One, 2, Two, 3. Three, 4. Four, 5. Five, 6. Six, 7. Seven, 8. Eight, 9. Nine, 10. Ten, 11. Eleven, 12. Twelve

Imagine, just like in a nightmare, that you find yourself alone on top of a highway bridge surrounded by abandoned and destroyed cars. The ordinary city noise is gone forever. There's however a torn road sign hanging above the road, hitting its metal pole when lifted by drifts of wind. You stand up and walk in a random direction, since any direction is good in this derelict city. Yet, this is a trip into the unknown as you're sensing something very bizarre is in the air. On your way, you see buildings, landscapes and devices familiar to the human eyes but also anomalies, distortions of time-space, teleportation wormholes, or even alien artifacts.

This is how the Wasteland album begins, considering we share similar ideas based on its soundscape. In addition, the sixth, seventh, and eighth compositions on the tracklist offer distinctive, tense atmospheres which bring themes of rush and escape, phantoms, ghosts, or illusions, a black hole as a passage into another dimension inhabited by demons, and so on. Specifically, 'Seven' is a true sonic gem thanks to its selection of sounds which make the mood of something inevitable to come. Since nobody enjoys an unhappy ending when things have been constantly tense, the last track sounds a bit different, yet it's not deprived of a murky vibe of feeling lost in a void.

Ross Dabrowski, the founder of Malicious Wonderland (also involved in Reflections From Nowhere), uses a library which includes a lot of cold, metallic, spacey sounds and SFX such as bells, buzzes, wobbles, dominating beats, and heavily distorted demon-like voices among others. Dark ambient music, the genre Ross' album sits snuggly in, focuses on building atmospheres by selecting sounds which instantly trigger listeners' imagination and lead them from scene to scene, through a landscape painted by the musician. The maker has a choice to either focus on perfecting arrangements and compositions, or purely on experimenting with the sound design and SFX. Wasteland consists of such an amalgam of sounds to intrigue your ears. Abstract, often looped yet unquestionably atmospheric arrangements lack highly anticipated peaks which could have been placed in the middle of compositions, considering the album may have an interesting s/f story to tell. Nevertheless, the sound quality, production, mastering, and the scare, are very well done, thus support the listening experience.
The twelve songs on this album are short, ranging between 2 and 5 minutes. The music of Wasteland could be easily utilized as an instrumental soundtrack for an RPG video game, a post-apocalyptic movie or a disaster documentary. Hopefully, they'll be matched with fitting artistic visuals sometime in the near future. In fact, Ross is open to collaboration with other like-minded artists, so if this piques your interest, you should reach out to him with a reliable opportunity and intriguing ideas.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, July 29th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

3hree Handed Magic! - Trash Talk (song review) |self-released, 2017| 4/5

Louis Schulte, the founder of Californian solo project 3hree Handed Magic!, seems to enjoy dedicating his music to his family or involving its members into making tunes together.
His newest track entitled 'Trash Talk' is an amalgam of electronic music and guitar riffs, fitting in the electronic rock genre. Louis wrote, arranged, produced, and performed the track, but he was also accompanied by his son Louie IV and his stepson Parker - both debuting on backing vocals.

A synth(etic) intro is followed by Louis' bold and characteristic vocals. This opening arrangement could be a teaser of the entire composition with its balanced rhythm and strong dynamics. Yet there are more instruments joining the initial motif, such as the bass (or a bass-like synth), drums, and a highly soloing guitar, so the vocals in fact do not dominate the entire song. The lyrics have solid rhymes and are in sync with the audio dynamics: "Trash Talk / Verbal abuse does not alarm / Trash Talk / Your hateful words do me no harm!". The arrangements are additionally enriched with various sound effects to avoid monotony, creating at times an atmosphere of mild unrest. The cherry on top is the mix between a swirling guitar solo, random drumming, and contrasting low synths in the third part of this song that should capture many ears and hearts.
'Trash Talk' is one more track from 3hree Handed Magic!'s collection that both avid music fans and visual media creators looking for good background music should check out.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, May 17th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

3hree Handed Magic – The Warrior! (song review) |self-released, 2017| 5/5

An entertaining, Caribbean music-like tune opens 'The Warrior!', a song by 3hree Handed Magic. For several years, the project has been operating as the outlet of the Californian solo multi-instrumentalist Louis Schulte who also writes, arranges, performs, plays and produces his music.

'The Warrior!' is a purely instrumental composition. It is based on a medium tempo and consists of a few entwined layers of victoriously sounding guitar arrangements. There are two guitar lines (the rhythm one and the solo one) acting like two elements - earth and air, respectively - where the earth-rhythm first anchors the sound, then the solo brings fresh air into the mix. Since human ears react to contrasts strongly, not only does such a balanced Interaction of low and high sounds create a specific atmosphere together, but it also lets each guitar line shine within its own arrangements. Melodious riffs are mixed with a slow, clapping-like drum beat and additionally enriched with other, faster beats bringing more dynamics.

The movie industry will definitely love 'The Warrior!'. It makes me think of 90's action movies with the protagonists - modern warriors (policemen, detectives, soldiers, doctors, sportsmen, firefighters, martial art practitioners, etc.) caught up in 'lose all, win all' situations. Whenever the heroes need to regroup for their next challenge, the perfect moment for Schulte's track to appear arises.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, April 28th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

3hree Handed Magic - Steal The Show! (song review) |self-released, 2017| 4/5

Louis Schulte is a solo multi-instrumentalist from California who has been running 3hree Handed Magic for several years now. He has worked with a circle of selected musicians, and producers in the past, but he speaks of himself as a 'recording artist' – writing, arranging, playing every instrument, and producing his songs on his own. 'Steal The Show!' is his new single, and has been inspired by Louis' granddaughter, Makayla.

A mix of a video game 8-bit-like synth and a groovy bass line begins the song. This is later enriched with matching drums and guitar riffs. 'Steal The Show!' features arrangements borrowing from 70s funk, 80s rock, and modern electronica, all layered below Louis' mature, self-confident, raspy, and characteristic vocals. The track sounds synthetic, but the guitar soloing along with the vocals creates an organic balance. The tempo is moderate and peaceful resonating nicely in the body. Yet because the solid rhythm remains the same until the song's end, some listeners might be expecting more 'highs and lows' to occur, despite the inclusion of an entertaining riff. A careful listener will spot a bit of a violin-like orchestration in the background of the third part, which then morphs into a single, prolonged riff leading to the track's end.
'Steal The Show!' is an instantly memorable song, and its hooks could be definitely utilized in an advertisement or any visually matching media.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, April 24th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Sonny Hunter – You Want Attention (song review) |1602Dreamz Publishing, Truth Teller, 2016| 5/5

Aging Internet users will tell you that social networks used to be fun. These days, anonymity seems to be considered a social crime, and popular platforms like Twitter or Facebook serve marketers, advertisers, homeland security & visa officers, insurance agents, employers, and tax collectors best. One thing hasn't changed though – social media sites have been a special hub for individuals who have a skewed self-esteem, ranging from narcissists to those emotionally wounded. This is where stalkers come in, responding to 'signals' of misunderstood needs.

Sonny Hunter, a Houstonian singer and songwriter, addresses the problem of craving instant attention and gratification in “You Want Attention”. He’s accompanied by some other experienced musicians; Ryan Holgerson (guitar), Frank Kriege (drums), Danny Smith (keyboards), and Taz Anthony on bass, all working together to make the track sound entertaining and full - and succeeding. Musically, the song borrows from the melodious naivety of pop and the warmth of jazz. A light leitmotif is based on a swinging guitar riff which gives the impression of letting go. The drums are gently distributed and played, and the bass also adds a line or two only whenever it's needed. The keyboard brings forth the jazz feel better in the second part of the track. Sonny's vocals are very characteristic – here they vary between high and melodious, but also get slightly edgy for the chorus. His vocals are perfectly mixed with instrumental parts to fill in every corner of the song. Moreover, Todd Osterhouse's production and Howie Weinberg's mastering make the song a very balanced and pleasing audio experience.

“You Want Attention” is an extremely memorable and soothing track, which may become a summer radio hit, if properly promoted. Other than that, its vibe is a daily reminder to detach from others' issues and enjoy your own life by going inside, offline.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, April 11th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Sonny Hunter - Anxious (song review) |1602Dreamz Publishing, Truth Teller, 2016| 5/5

Dwayne 'Sonny' Hunter (lead singer, songwriter) is a solo artist from Houston, TX who collaborates with a few other musicians. He was accompanied by Chrissy Bliss (additional vocals), Ryan Holgerson (guitar), Frank Kriege (drums), Taz Anthony on bass for the purpose of making "Anxious".

The arrangements here are very catchy and the vocals are characteristic, thus memorable. They perfectly stand on their own as another 'instrument' in this composition, nicely intersecting with bass, drums and guitar arrangements. In addition, they bring a few neat low-high tone contrasts. Many male vocalists don't sing melodiously. Not only does Dwayne produce a lot of melodies, but he also adds a theatrical flavor to the vibe of his vocal parts. The guitar has its soloing moments too, classically located during the bridge in the third part of this rock track.
Lyrically, "Anxious" speaks of a human's need to be loved. Moreover, it's not about one wanting love yet fearing to open his heart, but expressed by a man who is ready to give and receive.

According to the copyright notes, the song was originally written in 1983. Much has changed in the music industry since then yet a good composition always speaks for itself. Therefore, "Anxious" - a rock song with funk & prog elements may boost your body energy thanks to its groovy dynamics.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, March 27th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Sonny Hunter - Times In Life (song review) |1602Dreamz Publishing, Truth Teller, 2016| 5/5

"Times in Life" is a rock tribute to those who have been battling cancer. This song is supported by a music video (watch it on YouTube). Despite its rather heavy topic, the mood here is full of positive energy and brings a spark of rebellion, in tune with the motto: 'yes, you're ill but please stop grieving over yourself. Stay firm and positive, keep fighting to get better'.
Sonny Hunter is the brainchild of the Houstonian singer and songwriter Dwayne 'Sonny' Hunter who cooperates with a few other musicians. His memorable voice perfectly aligns with every single instrument within this composition - once in a duet with the drums, the other time with the bass or guitar, then with all of them in unison.
The lively arrangements and vocals seem to be inspired by 80s glam/hair rock, probably the most enthusiastic, positive rock sound ever created. The chorus sounds heartwarming and is extremely memorable, thus "Times In Life" is a strong contender to be a radio hit. Thanks to the theme and very good production, it's definitely a fitting track for many 'music against cancer' compilations. Yet it should also be enjoyed during live performances, especially if the audience is into singing along with the artist.

(Reviewer: Katarzyna 'Draconina' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, March 27th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Photona - Daisies (song review) |self-released, Alabaster Inlay Tiger Panels, 2017| 5/5

Photona is a trio from Portland, Oregon, consisting of musicians performing under their artistic monikers: Tone (vocals, lyrics), XavierX (drums, sounds), and Bentley (synth, programming, bass). One of Photona's new songs, 'Daisies' is clearly inspired by 1980s new wave, cold wave, punk, goth, and electronic music, and is offered as a free download for the next 3 years.

A groovy, pleasant bass line and mid-tempo drum beats open the song, in which this arrangement acts as a solid spine until the very end of the composition. It is then followed by spacey synths, reminiscent of 70s electronic music - though of a much cleaner, more modern quality. Tone's voice comes in a bit later, and dominates over the arrangements thanks to its warm, mature timbre. It doesn't matter whether you already are a fan of Nico or Siouxie Sioux (the closest voice references here), you will admire Tone's distinct, well trained, and fully utilised voice.

The song could be a story-telling canto by a tired warrioress who fought but hadn't received enough support, and is now singing from the top of a mountain about what she had acknowledged, and what should be done. She had understood the background of separation amongst people, and it's on your TV too – showing gruesome results of brainwashing methods employed by organized religions, specifically Catholicism and Islam, which turned human beings into heartless zombies. Murder taking place on many layers, not just the physical body, but also its original energy.
Fortunately, there are still heart-driven rebels out there who see through the veil, and who offer to restore the original peaceful vibration within us. Therefore, in this song, Tone wants to (metaphorically speaking) plant daisies - a symbolic representation of the heart (its simplicity and happiness) - as a cure against joy-blocking distortions anchored in human brains. These plants also propagate quickly through spreading more seeds around.

'Daisies' - a potential hit to be aired on many radio stations - offers catchy arrangements, which make the track memorable, yet relaxing. The song should give you a taste of Photona's music before Alabaster Inlay Tiger Panels (their new album) comes out in February 2017.

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(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 11th, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Hendrik Jan Vermeulen - Brüder (song review) |self-released, Krieg, 2016| 5/5

Dutch musician Hendrik Jan Vermeulen established Krieg 1916 project in memory of his great-uncle (Bernhard Kronauer) who fought and died as a soldier of the Imperial German Army during WWI. If you visit Krieg's website, you'll learn a lot more about the background story illustrated with authentic photos. Moreover, there are other European musicians, poets, technicians, and designers involved in this project, listed on the website as well.

Krieg's self-titled album (the vinyl & CD were released 100 years after Vermeulen's great-uncle's death), contains 17 songs, all performed in German. One of them is "Brüder" (German for "Brothers"), a dedication to all brothers-in-arms, with no diversification whether they are allies, or enemies. According to H.J. Vermeulen, this track wasn't written to praise mass-murder, but to remind people about the importance of living in peace, achieved through a self-balance and mutual tolerance.
It's a short, solid composition written for string instruments, drums and vocals. The melancholic mood comes from the guitar, though rhythmic bass and drums lines prevent listeners from extensive mourning. Lyrics (written by the German soldier and poet Heinrich Lersch) are performed by Heiko Schmidt. This male singer and actor from Cologne owns an extremely intriguing voice timbre which resembles a female alto.
Since the song is dedicated to soldiers, its ending part - which is suddenly cut may - suggest that the singer was (symbolically!) silenced through violence while performing. An absence of gun or explosion SFX is a real relief here. Instead, a soloing guitar (partially reminiscent of Brian May’s work for Queen) and drums skilfully mimic these in parts of the song.
"Brüder" is melodious and instantly memorable, but it could definitely benefit from being illustrated by a fitting video.

Official | CD Baby

(Reviewer: Katarzyna 'NINa' Górnisiewicz, December 7th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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EP SHORT-REVIEW:

Super Monaco - Super Monaco EP |self-released, 2016| 5/5

1. Overtime, 2. Sabine, 3. Killer, 4. Self Control, 5. Let’s Dream Tomorrow

Coming across the 80's pop-rock & melodic rock genres (defined by the sound of Def Leppard, Starship, RATT, LA Guns, Whitesnake or Van Halen, to name a few) is always an unforgettable experience, and many music fans have been captured by this specific, heart-warming, joyful vibe. These characteristics have been gradually replaced with technically advanced but emotionally artificial, shallow, and whiny themes of the 90s and 00s music. A listener may ask: 'Why don't they make such heart-driven melodies anymore?' Well, pay attention, as some still do!

Super Monaco is a musical project from Edinburgh, UK founded by Benjamin Moore and his brother, Rob. Ben was born more than a decade after his favourite bands' bestsellers were first played on MTV. Both the guitar player and the singer respectively 'hacked' the sound of groups mentioned earlier and using the same kinds of instruments, brought this enjoyable vibe back. Their debut, self-titled EP offers five equally entertaining songs letting their listeners go with the flow.

The opener, "Overtime" is a lively pulsing amalgam of both joy and melody expressed with guitars, drums and vocals put to the forefront. Groovy arrangements are perfectly placed within a composition, which is neither too short nor too long. Bands of the genre loved calling their songs with female names (like Starship's "Sara"), thus next comes "Sabine" with a fitting love theme. It's a great song for an 80s retro party thanks to its dancey rhythm. Rob's vocals are high enough to resemble voices of the 80s pop-rock singers and keep the mood emotional, yet far from... hysteria, as he sings a memorable chorus: "I’ll hang tough, see it through / I’ll keep on running if you want me to / I’m in touch, keep me Sabine on the edge".
"Killer" brings a bouncy rhythm and slightly rebellious lyrics helping listeners visualise a matching video for the song. Guitar riffs, clearly 80s synths, slightly dumb (yet so loveable) electronic drum beats, and elegant guitar soloing at the end of the track combine into a phoenix rising from the ashes. The follower - "Self Control" (not a cover of Laura Branigan's song) - offers a totally captive pre-chorus bit almost forcing a sing-along. The rhythm guitar adds its rhythm to the one dictated by the drums, thus the song feels doubly dynamic, yet is not overwhelming, thanks to its medium tempo. “Self Control” steals your attention through five minutes of music built upon your heart's energy and a bit of math for good measure.

Finally, "Let's Dream Tomorrow" carries a hot'n'cold, romantic'n'sexy, night-time vibe. It is the slowest of all the songs on the EP, the vocals are going into high places, and the bass is exposed more than in the previous tracks. Your imagination may bring forth many vivid images (or memories) - from driving along a wet, neon-glimmering street at night, to cuddling in a bedroom. The song lyrics however speak of something else – enslavement of the physical or mental kind. Undoubtedly, it's THE song to be used in a movie, thus Super Monaco should definitely explore available licensing opportunities.

Die hard fans of 80s music might argue that it's not a problem to copy somebody else's style and sound. My answer to this is: try borrowing from masterpieces while keeping the same quality, emotional charge; try writing matching lyrics and bringing your own life into them. The skill on display here is surely deserving a round of applause, so hopefully the circle of Super Monaco's fans shall at least triple by mid-2017, encouraging them to make another wonderful album. One would also wish that the duo perform their songs live, and… well, jump like Eddie Van Halen! ;)

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(Reviewer: Katarzyna 'NINa' Górnisiewicz, December 7th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Shadows & Mirrors - In The Dark (song review) |Nub Country Records, ARIA, 2016| 5/5

Here's an American one-man band established by Brian Diamond. He takes great care to ensure that anything authored under the name of Shadows & Mirrors is of professional quality, including catchy song writing, mastering, mixing, production, album artworks, music videos, and the official website's design.
'In The Dark' is the fifth track on debut album (titled ARIA), deeply embedded in the genres of electronic, dance, and industrial. These genres are well defined and usually contain dynamic beats, haunting synths, distorted vocals, a dancey rhythm, memorable lyrics, and occasionally guitar riffs - and this song ticks all these boxes. In addition, it is enriched by equally rhythmic and intelligent lyrics, with a small reference to the late David Bowie.

This track clocks over seven minutes - almost like an extended version of a single. The composition isn't complex, allowing all components to swiftly flow, with coiling arrangements hypnotizing listeners at first play. Unquestionably, such a groovy vibe, and the frequently repeating chorus create an instantly memorable hit song.

On the more technical side of things, the project’s sound has been additionally mastered by Barry Grint at Alchemy Studios in London (who previously worked with Madonna, Gary Numan, Radiohead, David Bowie, and many other artists), so if you are an electronic music fan, you’ll definitely welcome this song into your personal playlist. DJs looking for fresh dance music, whether for airplay or a party should get in touch with this artist ASAP.

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(Katarzyna 'NINa' Górnisiewicz, November 28th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

Artphixia - An Artificial Heaven (song review) |self-released, Cerebral, 2016| 4/5

UK-based Andy S. Crofts (under his Dark User moniker; synths, backing vocals and production) and an American musician Jacob Fry (known as Mordeous; vocals) teamed up to explore more complex, experimental/industrial music. Both artists want their listeners participating in their efforts by tuning into the atmosphere and getting hijacked into a world painted with their sound. Here we have something a bit scary however, as the track was influenced by John Carpenter's sci-fi horror movies and H.R. Giger's art. If you're ready for that explosive cocktail, let's peep inside.

The song presents three distinctive attributes here – tightly packed beats, distorted, or even tormented vocals (almost like an orc from a fantasy movie) and cold, highly pitched, vital synths. The dark but non-aggressive scenery continues until the 3rd minute of the track's length, when your ears are drilled by the first installment of industrial/metal guitars replacing the synths.

The arrangements, vocals, and the mood are accented well here, but the overall flow of the composition seems a bit static, perhaps due to the excess of beats. Approaching this track needs a proper understanding - the song's pressuring mood may be perceived as quite draining, so you probably won't enjoy listening to it during a beautiful, sunny day, but play 'An Artificial Heaven' again when it's cold, dark, windy, and snowy outdoors - then it should resonate with your soul much better.

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(Reviewer: Katarzyna 'NINa' Górnisiewicz, November 28th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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SONG SHORT REVIEW:

DMK - FITH (Fire In The Hole) (song review) |self-released, Condemned, 2015| 5/5

Darice M. Kannon, a writer and musician, had an interesting concept of merging both of her interests. She wrote a book titled Condemned and illustrated the emotions of the book's characters through songs, gathered on an album with the same title.
'FITH (Fire In The Hole)' is one of these songs, and if you are a picky listener who looks for more than just dynamic, clubbing tracks, but also crystal-clear yet edgy female vocals, then you won't be disappointed. Darice brings both focused energy and a true lioness' claw into the composition – there's a bit of guitars mixed with sweetness, so her song doesn't sound too aggressive.

When it comes to genres, we can hear a modern mix of electronic pop (with super hooky, beat-driven arrangements and an instantly memorable chorus), but also vocal techniques borrowed from jazz and soul music. The track sounds attractive and very well produced. In addition, 'FITH' is over 3 minutes long which makes it a perfect match for radio play, TV ads and movies, possibly targeted at young adults thanks to its emotional, tempting and rebellious tone.

Finally, as mentioned above, Darice’s memorable voice is the cherry on top here, comparable with other famous female singers popular amongst Generation Y. Whether you're "just" a music fan or you work in the music industry, here is a song to make your day!

Bandcamp
Related topics: DMK

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, August 15th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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EP SHORT REVIEW:

Heartlay - Remedy EP |self-released, 2015| 4/5

1. Bring You Down, 2. Consequence, 3. The Battle, 4. Through The Window, 5. Black Walls

Heartlay is a French industrial/alt-metal band formed by Aaron Sadrin (vocals/composing) in 2014. He was later joined by Johan Laë on guitar, Flo Lemonnier on bass, Loïs Arnaldi on drums. This collaboration resulted last year in the Remedy EP - their second release, mastered by Brett Caldas-Lima (Tower Studio; best known for his work with Septicflesh, Kalisia, Cynic and Devin Townsend among others).

The tracklist here is pleasant for an ear, especially if you like rhythmic, well balanced, heavy guitar driven music with hooky melodies. The opener titled 'Bring You Down' begins with chunky and vibrating guitar riffs followed by vocals marked with a quite high and cold timbre. Bass lines sound juicy and drum beats are deep enough. A keyboard arrangement that appears in the first song becomes an acoustic leitmotif for the next track, 'Consequence'. Here, changes of tempo are somewhat characteristic, alongside its noisy, rhythmic, guitar driven atmosphere and a very accented bass guitar.

'The Battle' is the most aggressive song on Remedy, underlined with a distinctive bass line, well matched drums, lazy-sounding vocals and tiny keyboard sounds. Leading vocals are additionally accompanied by a background growl sometime - these give the song claws. The following 'Through The Window' is also kept in vein of modern industrial and alt-metal music, but opens with a vibrating straight-forward cannonade written for bass, guitars, and drums. Arrangements remain heavy and dynamic but sweetness and melody appear at times as well.

All compositions are skilfully linked together on this EP, so the ending part of 'Through The Window' prepares listeners for the 'Black Walls'. It isn't entirely instrumental, as you would expect after hearing the songs' beginning, but is very atmospheric. Darkness and light mix here slowly - gloomy ambiance and industrial steam-like beats represent the former, while gentle piano chords (which had been already introduced in the previous track) become the leitmotif now, and speak for the 'light'. Equally soft vocals appear only at the end of the track.

All four guitar driven songs have a lot of hit potential. Fans of modern industrial rock and alt-metal will be definitely happy with this EP since it makes a good match with discographies of the likes of Lluther, Filter, Nine Inch Nails, In Virgo, The Dreaming, and even Rammstein at some point. Undoubtedly, the musicians perform as a collective here, but you'll soon realize that drums are emphasized the most. Therefore, while listening make sure you tune down the bass on your speakers to avoid having higher tones being overridden.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, January 5th, 2016. Proofreading: Mike 'Vesper' Dziewoński)

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Kamil Kowalczyk - New World (song review) |self-released, Nova, 2013| 4/5

Kamil Kowalczyk is an electronic musician who prefers dark, droning sounds over light-headed electronica. 'New World' is the last song on his Nova album for which the 'soundscape' term applies perfectly, as it allows listeners to 'escape' the physical body and become an astral traveler in a timeless void. It’s a useful composition to test yourself in this regard.

Imagine that you have been sent on a mission to collect sound field recordings for a Galactic Library. You're zipped into a spacesuit, equipped with a high fidelity recording device, and then teleported afar. The first location is in deep space - an incredibly vast yet seemingly quiet multi-dimensional mix between darkness and subtle light. When you listen closer though, you'll catch soothing frequencies of different amplitudes and full-blown waves, which act like arrangements within a galactic composition. The void opens up your senses, and you're able to receive telepathic messages now - voice fragments of other beings who were sent on a mission akin to yours.
Once you pass a slowly rotating asteroid, you are awestruck with the view of a majestic blue star that hypnotizes you by making unhurried pulsing sounds. The more you gaze, the more psychedelic patterns appear on its surface. Are you gazing at an alien-made hologram? The echoing voices re-appear with bits of messages for you. There's no turning back. Next, you wake up in the engine room on an alien spaceship, following a sudden blackout upon entering the star's core. Your head spins - everything looks so strange! You then recognize a 'welcome home' message expressed through an enchanting palette of silent whispers, echoing voices and layers of sounds. They make you ditch the recording task, lay down in one of the puffy pods and reconnect with your star-based ancestors through deep meditation.

Such an imaginative trip is possible thanks to Kamil's ability to paint a composition with esoteric sounds. Listeners could perhaps expect a bit more adrenaline, but we only get very transitory sounds here. Nevertheless, 'New World' is a perfect soundscape for an SF video game or a short movie, though it can also feed your imagination as a stand-alone audio track. Some spiritual theories state that the human origin lies in the stars, therefore it seems natural that we resonate with sounds of the Universe so well. Make sure to explore this piece of it on your own.

Buy it: Bandcamp

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, December 3rd, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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She Tastes The Sun - She Tastes The Sun EP |self-released, 2015| 5/5

1. Under, 2. Four Legger, 3. Bazilisk, 4. Amber Lights, 5. Saints, 6. Tarsus

She Tastes The Sun is a band from Los Angeles founded by Ryan Marcus Garcia (drums, has since left due to creative differences) and Aldo Vidal (guitars) during their education in the L.A. College of Music in 2013. STTS turned into a quartet with Allen Fuentes on bass and vocalist Jacob Stafford joining the original lineup.

On their eponymous EP, technique meets passion. This mix results with almost 30 minutes of highly dynamic cross-breeding of many genres and possibly defining STTS's own style in the process. In terms of arrangements, expect the unexpected. The band members come from different musical backgrounds but are united by a mutual interest in heavy metal sounds. Therefore, "Under" opens the EP on a proggy note, but then gets heavier thanks to alt-metal styled vocals. Edgy guitars are wrapped up with vital arrangements and aligned to a quite slow tempo.

"Four Legger" could potentially be a hit - it'll draw attention of fans who prefer listening to catchy melodies but are still keen on headbanging, especially if the heavy parts are supported by rapacious vocals. A bit of silence was utilized at the end of the track, playing a big part in writing a full-blown composition, aside of carrying out a massive instrumental assault.
It all gets more intense from here on with "Bazilisk". Dark and light vocals wrestle together to counterbalance each other but are skillfully kept symmetrical, as supported by heavy guitars and drums. The song is very technical but filled with emotion - another potential hit on this EP.
"Amber Lights" begins with the previous tracks' ending - this technique lets the brain slide between separate musical stories stress-free. A diversity of well-matched and synchronized doom/prog-metal arrangements intersect here and keeps every musician entirely involved. When it comes to "Saints", not only is the song fast and furious, but it also has a special place for a marriage of Gojira's and Rush's styles. The cherry on top is a little bit of traditional jazz for good measure.
The subtle opening tones of "Tarsus" start higher to turn into the grande finale track on the EP, proving the talent and creativity of the musicians playing under the banner of STTS. Utilizing jazz in metal is usually a bass player's task, meant to deliver some warmth - the bass solo here was written and performed by Peter Boskovitch, a special guest. Millennials should be satisfied with the song's final vibe thanks to alt-metal arrangements injected into this track.

Writing hooky arrangements is usually easy, but laying all of them out smoothly yet avoiding dull repetitions within a composition is quite the challenge. She Tastes The Sun have totally succeeded here. Fans of hybrid modern metal and elaborate compositions will certainly be pleased with this release.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 25th, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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The Abstract Flower - Further EP |self-released, 2015| 4/5

1. In The Hall Of The Mountain Queen, 2. Fred Cred, 3. Cotard Delusion, 4. The Slowest French Kiss

The Abstract Flower is an unusual project of Italian guitarist Adriano Gattabuia. Not only does his debut Further EP welcome metal fans but also other guitar lovers. Almost 15 minutes of passionate instrumental play performed on a Fender Telecaster offered together with guitar tabs and supported with on-line videos for educational purposes - a must-have for those learning how to jam better.

If watching a volcano eruption gets you excited, then you should be happy to use "In The Hall Of The Mountain Queen" as a matching soundtrack to such an event. The overall guitar & drums cannonade sounds like the accompanying earthquake, with fast and tense guitar play serving as the lava streams going down the slope. The prolonged riffs are the rocks blasting from the volcano's heart, while the soloing stands for bursts and shakes of various amplitudes.
"Fred Cred", on the other hand, is a massively heavy guitar-driven track with additional industrial elements similar to those on Ministry's and mid-era Nine Inch Nails' albums - non-distracting whizzes, samples of political speeches, and reworked guitar riffs. They all build up the tension, partially released later by allowing for more space with the addition of classical metal riffs.
"Cotard Delusion" reveals the guitarist's inspiration with Joy Division's music. The guitar is singing a sad, vibrating melody while weighty drums lay out a solid path underneath. Nostalgia is mixed with metal heaviness here.
Finally, a droning sound opens "The Slowest French Kiss". This slow-tempo composition sounds mature, and is enriched with memorable guitar riffs. These, along with extra density provided by drums and bass, give the track a strong hard rock feel.

The composition and arrangements are extremely well performed and touching, but the audio production needs a bit more work - sometimes your ears can register the noise and recording room ambiance. It's understandable that a self-financed DIY project cannot guarantee the mastering perfection of a major label band - and therefore, listeners should not expect it here.
According to the project founder, TAF's future albums will contain lyrical content but will remain guitar-driven. Bear in mind though that his following releases may not belong to only one musical genre, since Adriano prefers artistic expansion over tight specialization.

Official website

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 25th, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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Venus in Furs - Blue |self-released, 2015| 4/5

Venus In Furs is the brainchild of Michael T. Nolan who founded the band in the 1990s. His newest album called Blue is a direct follower of Red from 2013.
The band have their specific, eclectic tone. Therefore, any associations listed below by no means make VIF sound like a copy but may encourage listeners to reach for this album.
The bass guitar plays a most meaningful role on this release, giving the majority of the fifteen tracks a yummy vibe. Fans of Gravity Kills will definitely enjoy "All" and "Life" thanks to the low bass notes and emotionless, spoken vocals. Those who live by My Life With The Thrill Kill Kult & Machine of Loving Grace will most likely get hooked on "Bang" - with the dynamically slapped bass played by Aaron Hutzel and joined by spacey, edgy guitar riffs that make the most of funky, mixed with 90s industrial rock. If the above bands and Sister Machine Gun are in your list of faves, you should pay attention to "Classic", "Fix", "Tumble", and "Different". "Classic" is instantly memorable thanks to the well accented and shouted vocals, supported by melodic arrangements. "Different", on the other hand, brings a highly soothing vibe through the chorus.

There are also purely instrumental, electronic and less dynamic songs such as "Groovy" and "Something". "Hey You" and 'Please" bring a lot of vocal work to the fore. "Lydia" with its burlesque 40s/50s jazz music atmosphere would be great to watch, if enriched with a theatrical performance. Smooth jazz and 70/80s music references can be also found in "Tech". Finally, "Walk" is the sweet icing on the tracklist with its lullaby-esque mood and memorable vocals.
Blue is a must-have sonic recollection for fans of the original 90s industrial rock but also Generation Y-ers, who should add this old-new flavor to their audio libraries.

Buy this album: iTunes

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, September 3rd, 2015. Proofreading: Mike 'Vesper' Dziewoński)

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Thulnar - Wise Men of Hope |self-released, Nightfall in Theros, 2014| 4/5

Thulnar is an Italian duo featuring the multi-instrumentalist Darken (Diego Vacchiano; all music and lyrics, guitars, bass, drums, keyboards) and Elric Blackcrow as the vocalist - a graduate of The Music Conservatory in Bologna. The two began their collaboration in 2002.
When song lyrics begin with: "Look, Druids are here... Let hear their old peans!" supported by symphonic instrumentation followed then by cannonadesque drums, high pitched keyboards, guitars and screams, you're undoubtedly listening to a black metal track. 'Wise Men of Hope' comes from Thulnar's brand new album. The song composition is rich in a variety of fast paced arrangements which include symphonic metal choirs co-existing with black metal roars. The wall of sound however, is delivered through a combo of drums and a soloing guitar. Both the vocal and the instrumental parts are skillfully arranged and performed with power.
The mix and mastering sound good, which set them apart of grainy amateur productions, though vocals could have been amplified yet opened a bit more. Nevertheless, the song's overall tune with its dramatic ending will definitely earn metal listeners' respect.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, November 6th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

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bruzed - Animus Apparatus |self-released, 2014| 4/5

1. Retrograde, 2. Drift, 3. Broken, 4. Know, 5. Deserve, 6. So, 7. Even, 8. Broken (Speak Onion Remix)

There's often a thin line between what's labelled 'original' and 'experimental' in terms of music. bruzed (a solo project of Bruce Drummond) has mixed several of his ideas and shaped them into a collection of songs which fit into both categories very well.
Each of the eight compositions is heavily filled with dense beats and sound effects, as expected of noise-makers. This in turn has affected the overall mood, which feels heavy due to changing dynamics. The tracks listed on Animus Apparatus album are electronic but you'll hear vocals and a bit of guitars sampled in as well. "Drift" and "So" try to smuggle easier arrangements, yet are locked into bruzed's 'no compromise' leitmotif. "Deserve" is what industrial fans may like thanks to tangible tension and prickly frequencies but also slow guitars and distorted, shouted vocals. If you prefer Merzbow's cacophony however, make sure you don’t miss "Even" and 'Know".
The album production is outstanding, yet in terms of experimental music it is the artist who decides which pieces are to be put to the forefront.

Buy this album at: Bandcamp

(Katarzyna 'NINa' Górnisiewicz, Fabryka Music Magazine, October 6th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

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Ravenous - Nightclub "Stalker" (song review) |self-released, single, 2012| 4/5

This instrumental track may make you slightly anxious since the band operates with intriguing arrangements - less rhythmic parts come after very dynamic ones.
In the beginning, you will hear an intro straight out of gangster or spy movies (think Al Capone or James Bond), based on a swinging duo of synth and bass. The composition develops into a rock-orientated sound once the guitar and drums join in, but then it becomes even more progressive thanks to more synths and looped guitars. When it gets really soft, fans of David Lynch should instantly recall Mulholland Drive thanks to the only voice quote sampled in. The tension comes back with the bass and synths combined at the end, reminiscent of Vangelis' soundtrack for Blade Runner.

This Bulgarian band is comprised of Radoslav Petkov, Ognyan Georgiev and Rumen Yangyozov. Undoubtedly, Ravenous have had a visual concept on their minds when they were recording this track, as if certain parts were written for corresponding, quickly changing scenes and moods. This is a great piece for a movie, but also entertaining on its own. However, any listener expecting a classic composition structure within this track may be left with a feeling of lacking a compositional 'spine'.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 27th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

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Dulcet Jones - More Halloween, I'm Afraid |self-released, 2014| 4/5

1. Asylum Wedding, 2. Lobotomy Ward, 3. More Halloween, I'm Afraid, 4. Night Circus, 5. November First Coming Down, 6. Red Narasimha, 7. Release The Bats, 8. Steampunk Lullaby

Here's an instrumental album which brings atmospheric tracks with a horroresque feel. The song writing accents moods rather than techniques which is a great option when applied to a soundtrack. Jim Graham - the multi-instrumentalist behind Dulcet Jones, did it successfully as every track here tells a different story.

"Asylum Wedding" sounds slow and melancholic but you'd surely expect some scary voices to come in with such guitar & bass arrangements. "Lobotomy Ward" comes out perhaps a little too gentle compared to what the title could suggest, though the entire composition is well done with a haunting, spacey mood and delicate guitar tunes. On the contrary, in "More Halloween, I'm Afraid" there's a little dialogue between the bass and high-pitched guitar, all wrapped up in a ghostly 'boooo!' atmosphere. A beautiful Russian ballerina accompanied by red nosed clowns may come up in your mind with "Night Circus". Next, there's "November First Coming Down" - a nostalgic acoustic song which is not deprived of darker moments. The piano based "Red Narasimha" may sound as delicate as a feather, but the low tuned synth accompanied by a bit of echoing makes an intriguing contrast and attracts the listeners’ attention. "Release The Bats" has an old-school gothic feel thanks to a notoriously graded bass and noisy guitars but the composition becomes a bit shallow and experimental at times. Finally, what would you expect to hear in a song entitled "Steampunk Lullaby"? Steam SFX, of course. And a bit of an old music box vibe. They are all there but also a spacey, ambient arrangement which finishes the album and in addition, mixes with "Asylum Wedding" very well.

If you're tired of simple, rowdy music, make sure you'll get this album, which will surely fill your imagination with dozens of ideas.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 27th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

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Hitoast - Mermaids in Leather (song review) |Art Mayhem, 2013| 3/5

Hitoast are a rock band from Philladelphia, PA. They bring music together with abstract art, as their guitar player Rob is also a painter. "Mermaids in Leather" carries a murmuring vibe based on thick bass lines derived from blues and contrasting, altered guitar rock soloing. The buzzing guitars cut into the bass at several spots stealing your attention. The arrangements are quite memorable and flow nicely throughout the entire composition. Male vocals aren't sung but spoken with a low voice. The classic rhythm doesn't change much from start to finish.
The song sounds as if it was recorded during a live performance (due to some mic feedback in the end), and needs slight production improvements because the vocals sink a bit too much under the instrumental parts. However, if you get a beer and make yourself comfortable on a couch, you may not need to leave the house to check out what your mates are listening to in the nearest bar. "Mermaids in Leather" will provide you with the right mood in spades.

(Katarzyna 'NINa' Górnisiewicz, Fabryka Magazine, August 8th, 2014. Proofreading: Mike 'Vesper' Dziewoński)

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