WUMPSCUT
Bone Peeler
Metropolis Records:
I have been a huge “Wumpy” fan for about eight or so years. The
harsh electro songs of Wumpscut have become universal club
staples across the globe and the name itself is about as
household has Nine Inch Nails.
Bone Peeler is absolutely the worst piece of garbage Wumpscut
has ever put out. The sounds and sequences used are hollow and
weak. The lyrics are something like what a 15 years goth kid
would write before killing himself. The only redeeming cut on
the entire album is the opener “Crown of Thorns”, which sound
all too much like the last hit single “Wreath of Barbs” from
2003.
Sorry to bash and old favorite, but this album is no good. As a
bonus you can by a double edition of the album that features bad
remixes, a vinyl version that is way over priced or the box set
which has a single on vinyl plus a shirt and a bunch of other
crap you don’t want.
VNV NATION
Past Perfect DVD
Metropolis Records:
I like VNV Nation. I was thrilled seeing them in concert. Twice
even. Saddly,watching this DVD has made me question my ability
to review live shows. When I was there at both VNV shows it felt
exciting, where as Past Perfect seems ridiculously dull.
The production quality of Past Perfect is not the greatest, but
it is pieced together well enough for the lazy eye not to notice
the flaws. Ronan has a great singing voice and Mark can beat a
decent drum, but when that’s all you get for what seems to take
forever, well, it gets old really quick. There was a major
amount of energy missing when I viewed this DVD. Sure the songs
sounded great, but visually it was quite boring.
If you are big VNV fan I would recommend turning the screen off
and just listening to the show. I did it on my second attempt,
and I enjoyed it much, much more.
ICON OF COIL
Machines Are US
Metropolis Records:
The new Icon of Coil was one of the more promising new releases
of 2004. Earlier in the year they unleashed a monster of a
single “Android” that revealed a much need turning point in the
bands career. The single featured the club stomping title track,
plus an excellent cover of front 242’s headhunter. This was very
misleading.
Machines are us turned out to be “future-pop” at it worst.
Normally I would be all for an album with dance appeal, but this
time I think they took it a bit too far. The unfortunate reality
is the single is the best part of the entire opus. I don’t think
any of their fading fans base would appreciate the direction
they have embarked on. “Machines Are Us” does have a few good
elements to it, such as deep and technical synth sounds and a
greater sense of groove, but as a whole it is lyrically
challenged and nothing more than electro breaks with a bad
singer. Let just say I wasn’t impressed.
Buy the “Android: single. It is worth your dollar. I do however
recommend avoiding the full length. It’s just not up to par.
MONOFADER
FROST
Metropolis Records:
The write up on the back of this Icon of Coil side project said”
What if Depeche Mode and Erasure got together and created and
EMB act?). I would hope that a collaboration of that magnitude
would sound a lot better than Monofader.
What we really have here is a combination of Icon of Coils
sequencing genius Sebastian Komer and Richard Bjorklund from
Apoptygma Berzerk’s label mates Spektralized. A pretty fine
package of talent that actually managed to put out a half way
decent album.
The vocal content consists of a tried and true melodramatic dark
monotone lyre, but the synthesized programming on frost make up
for the blatant lack of originality. “Frost” is a crossover
album of sorts, with passionate gothic lyrics matched with
strong E.B.M. grooves. However the previously mention comparison
to the giants of synth-pop Depeche Mode and Erasure is neither
true nor realistic.
CESIUM 137
Elemental
Metropolis Records
I don’t know if I would prefer to shake these guys’ hands or
kick the shit out of them.
Cesium 137 was a powerhouse of an industrial act on the verge of
making a serious name for themselves in the genre. For their
second full length album the band has totally shifted gears and
taken it down a notch. Make that 20 notches. They went soft on
me.
Element marks the most dramatic change in an industrial group
that I have ever witnessed. I have never seen a hardcore band go
soft with so much ease. It seem that’s this is the style they
where meant for. I was so shock by this album that at first I
resented it for not being what I had hoped for. Now that the
initial shock has passed I can sit back and listen to this
release and enjoy it.
Element is a epic master piece of classically fused electronic
music and precision in song production. Flawless timing in
sequencing and original sounds creates the life force on which
this album thrives. Those of you who are musically inclined
should really get into this one.
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AND ONE
Aggressor
Metropolis Records:
God I wish I could speak German. An album like this one gives me
the desire to take a night course just so I can fully appreciate
what is being said.
And One has been a successful electro-pop act for 15 years now.
Their latest release has taken the band back to their
industrialized roots. Aggressor’s title speaks wholly of the
music and lyrical style. It seems that far too many industrial
icons are taking a softer approach to writing music. And One,
being known as one of the predominate synth –pop groups around
decided to go in a slightly harsher direction. Bare in mind this
is a synth–pop band, so it’s not like they turned into a power
noise act. The result is a fine industrial album with harmonic
(although German) vocals matched with heavy hitting beats and a
wonderful synthetic sound. Aggressor is a must for old fans and
a great start for new.
SEABOUND
Beyond Flatline:
I shamefully admit that when I first heard the new Seabound I
was totally disappointed. Now, a few months later I have changed
my ever changing mind. What I thought was a pale comparison to
its former; the new Seabound is every bit as fabulous as the
first.
Beyond Flatline really picks up where Seabound epic “No Sleep
Demon” left off. Very technical and atmospheric synth work with
equally matched vocals brings an uncanny melody to their
sophomore release. New electronics and fresh sounds flood your
ears as the seasoned E.B.M. artists take you on a journey from
the brash to the beautiful. Full of dynamite club hits and
melancholy ballads Beyond Flatline is truly an album of
inspiration. It may take a month or two to grow on you, but once
it does is stays. Also released is a single for one of the
lesser tracks “Poisonous Friend”. While the song it’s self is
not the greatest, there are incredible remix of a few better
songs by industrial giants Haujobb and Stromkern.
FRONTLINE ASSEMBLY
Civilization
Metropolis Records:
O.K. What the hell? A couple of months before this the full
length F.L.A. put out an amazing single for “Maniacal”. Talk
about a heavy hitter. That track got me so ready for the actual
album to come out. I was excited for the first time in a long
time about a new Frontline Assembly.
The Civilization album is nothing like the single. Don’t get me
wrong. It is a really great album, fantastic even. I just feel
like this has been a year of misleading singles (see Icon of
Coil review).
The whole of Civilization is a combination of all of the
existing projects Bill Leeb and Rhys Fulber have ever done.
There are very melodic elements reminiscent of Delerium, as well
stronger songs much more like traditional F.L.A. fair. A lot of
the song structures remind me of their earlier works such as
Intermix and Noise Unit. The only real complaint I have about
Civilization is they cut a lot of the finer parts of Maniacal
out of the song. I mean, the song was fine the way it was. It
didn’t need to be changed or cut in ant way. Other than that
Civilization is great.
IN STRICT CONFIDENCE
Holy
Metropolis Records:
I can’t say enough good things about the New I.S.C. Talk about a
crossover album. Dark gothic undertones and superior sound
production combined with modern technology and new school
industrial rhythms makes Holy a one of a kind experience.
The masculine vocals of Dennis Osterman are matched by the
angelic voices of multiple guest female vocalists. There are
many possible themes for this album, but I just like to call it
good listening music. Holy can be appreciated by friends of the
electronic age, but is totally acceptable for fans of a slower,
darker kind of sound. Not only is Holy an all out club friendly
release, but it also one of the few in my collection that I can
listen to all the way through.
SKINNY PUPPY
The Greater Wrong of the Right
SPV Records U.S.A
Ah, the best for last. Best band ever. Best industrial release
this year. After almost ten years, the originator of our
familiar industrial sound have returned.
Picking up right where they left off with The Process, creators’
cEvin Key and Nivek Ogre continue to be pioneers in the
industrial movement. The Greater Wrong of the Right is one of
those albums that gets me right where it should. In the goose
bump department. Thankfully (at least to me) there are few
elements of nostalgia, so what we have is a fresh approach to
industrial song writing.
In true Skinny Puppy fashion The Greater Right of the Wrong is a
politically charged rampage of thoughtful lyrics and stunning
sequences created by the masters of industrial sound. The next
chapter in industrial history has been written. It seems only
suiting that the ones to turn the tide were the very people that
started the whole thing.
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SPECIAL SECTION
05.04
