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Professional detailed & mini music reviews - metal, rock, progmetal, industrial metal, dark ambient.
Professional detailed & mini music reviews - metal, rock, progmetal, industrial metal, dark ambient.


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Mr. Kaplan - Rage Thrills Wow (song review) | self-released, single, 2017| 4/5 industrial rock/metal

Mr. Kaplan (the artistic moniker of Jason McClary) has been trained as a classical pianist but turned to electronic (house, techno) music thanks to his early interests. After 20 years spent on studying and practicing, not only does he mix and produce his own songs but also provides services to other musicians (as “Mr. Kaplan Productions”, situated in Nashville, TN). He has also released two EPs, several singles and remixes so far.

The gentle, synthetic intro does not let listeners guess what kind of sound could follow it. As it turns out a bit later, 'Rage Thrills Wow' has high dynamics and is kept in the vibe of 90's 'old school' industrial metal. Most probably, Mr. Kaplan had been inspired by the most representative attributes of songs written by such staples as Ministry, KMFDM, and Circle of Dust. His song is splattered with repetitive drum beats, tiny electronic additions, and drilling metal guitar riffs as well as sampled political (John F. Kennedy's) and radio (George Orwell's) speeches. Predatory guitar riffs obviously carry a nice physical thrill. The selection of samples is perfect to keep the composition entertaining. They create an atmosphere of impatience and tension which has been prevailing in many countries as the world rises up against tyranny and political, childish games. The composition doesn't offer release for these emotions however, since the repetitive arrangement continues until the song's end. 'Rage Thrills Wow' is supported by a music video which you can find on the Mr. Kaplan’s YouTube channel.

The audio, mixing, and production qualities draw attention at once, even if the metal-sounding song needed less-than-perfect audio purity (compared to the requirements of any electronic track, for example). Jason McClary has learned a lot from Grammy Award Mix Engineer Dave Pensado whose lessons certainly paid off, as listeners can judge by listening to Mr. Kaplan's songs and remixes (check out New Order's 'Blue Monday' remix at his official website). On the downside, the percussion part in 'Rage Thrills Wow' sounds a bit too repetitive and comes over the guitar cues almost as if it tried to push the riffs away too hard.

Regardless the final, dystopian quote borrowed from Orwell's famous 1984 novel (“If you want a picture of the future, imagine a boot stamping on a human face - forever”), you will get the point – Mr. Kaplan brings the joy of life and the rhythm to the music he makes, and thus his tunes offer quick motivation to let you rebel against the lies and manipulations streamed everywhere. Moreover, it looks like he could easily raise the dead with the “phat”, deep, reverberated bass being his favourite resurrection tool.
Whether Jason continues releasing his own songs or focuses on producing/mixing other artists' music, he has a ton of potential to write obvious hits. Get in touch with him soon if your track lacks power!

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 19th, 2018,

#industrialrock #industrialmetal #1984 #orwell #JFK #DavePensado #songreview #musicreview #newmusic #audioproduction #musicproduction

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Gene Gorski - Nowhere To Hide (song review) |self-released, single, 2016| 4/5, spoken word

Gene Gorski has been writing songs for the last thirty years, recording music at his home studio. He has released three albums so far, donating all his income to various charities. Gene follows his heart – the main reason why he has been more interested in providing original pieces of music instead of trying to fit in mainstream trends.

This time, he re-interpreted a classic theme - passing to the other side of the mirror - as found in the Alice’s Adventures in Wonderland. In Gene's version of the story, Alice lands in a dystopian, twisted world. It is not full of wonders but rather includes many aspects found in our reality. Suffice it to say that the protagonist of the story becomes a stripper involved in sado-masochistic activities.

The tempo of this rather short (3:15) song is very lethargic, comparable to a slowly rocking boat stuck on a still ocean with a sole survivor on board. The composition consists of several verses and a chorus, repeating a few times. The lyrics are poetic and they rhyme well. They are short and lack in meaningful details, since they are written for those already familiar with Carroll's original tale.

Acoustically, the song has a story-telling motif with random guitar play which adds tones to the vocal line and supports the overall vibe. One could relate this to Johnny Cash's spoken word songs. Gene also focused on building an atmosphere of minimalism and isolation, equipped only with a microphone, an open body Gretch guitar and a Swart Atomic Space Tone amp. His voice is definitely memorable for its masculine strength, tremble, vibration, pride, nasal tone, and a touch of decadence. It is clear he perfectly knows how to control these elements to build up tension when necessary, but also bring the song down again.

It's pleasing to listen to the entirety of 'Nowhere To Hide' for both the distinctive vocals and the random, accompanying guitar arrangements. Those of you who search for rather intellectual than simply rhythmic music will surely enjoy it.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 30th, 2018. Proofreading: Mike 'Vesper' Dziewoński)

#musicreview #songreview #detailedmusicreview

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Kevon Carter - Hey Alice (song review) |self-released, single, 2018| 4/5, pop

So far, many artists have paid their tribute to the imaginary Alice of Lewis Carroll's famous story and her dream-like trip into the unknown followed by discoveries have been interpreted differently each time.
'Hey Alice' by Kevon Carter is an easy-listening, rhythmic song where the accent is put on building a memorable melody. The composition follows classic rules. The arrangements repeat and sound flexible so that the song could easily exist in its original (pop) space, but could also have a more guitar or drums driven version (which matters in case of using the song in other media).

The song speaks of a romantic relationship – the titular Alice is being encouraged to come into physical contact with the one who wishes to please her: (…) I'll show you magic, working wonders with the palm of my hands / Won't you please come and play with me (…) This invites a comparison between Alice's icy innocence (expressed by the piano/electronics) and the man's experience - he's trying to build trust by gently knocking on her personal igloo door (represented by a non-invasive beat in the composition). The details of their encounter are what listeners may want to work out on their own.

The mood here feels fragile, almost on the verge on breaking like a layer of thin ice at times, yet it's solidly grasped by the composition. The softness results from instrumental arrangements (written mostly for the piano and synths), led by Kevon's vocals for the most part.
Speaking of which, Kevon’s voice is high, melodious, and youthful - in some tones may resemble that of Michael Jackson's and Mick Hucknall's (Simply Red). Kevon grew up in the Caribbean Island of Trinidad & Tobago and later moved to NYC. Inspired by a variety of famous voices (Prince, Bob Marley, and John Lennon to name a few), he gained musical experience in both singing (lead vocals) and performing live with several tribute/cover bands. Lately however, Kevon has been focussing on making solo music - recording an album, mastering his voice, and song writing in general.

The target audience for 'Hey Alice' may vary, as it could seem to be a track meant for teenagers, but due to its accessibility it can be easily picked up by others. It's a memorable song that any modern radio station should appreciate, but it lacks any ground-breaking, unique attributes - that's why it may become a seasonal hit only. It fits the current trend of modern pop songs to be performed live, supported by a team of dancers and flashing stage lights. It’s easy to imagine ‘Hey Alice’ played for a large crowd singing along with the artist. Movie, advertisement, and TV entertainment execs are always on the lookout for songs based on light notes and romantic themes, so Kevon would be right to submit his single for their consideration.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 22nd, 2018. Proofreading: Mike 'Vesper' Dziewoński)

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AutomatoN – Sub Coma (album review) |Machine Man Records, 2017| 5/5 - progressive metal/djent/electronic

1. Sub Coma, 2. Automata, 3. Deus Machine, 4. Corperate Oxide, 5. Get Out, 6. Bionic Rain, 7. Run, 8. State of Creation, 9. Thought Process, 10. Light Bending, 11. Demise, 12. As the Ship Burns, 13. Silence

This is a concept album to tell the story of a violent space battle between humans and Synths which started in August, 2717 and lasted four days. Sub Coma is the first of the trilogy (together with Human Purge and III: A New Life).
The album begins on a heavy note with the title track. Arrangements roll out slowly. Listener are introduced to the story behind the album's concept which speaks of an isolated spaceship where Synths took over and were not controlled by the human crew anymore. The human astronauts feel threatened and hopeless, so they record memos while awaiting death. Their reports and observations are cleverly mixed with low tuned guitars, often played in unison. Occasional lyrics are sung with a contrasting, higher voice.
Next, dynamic electro lines open 'Automata', followed by grounding, vibrating guitar riffs. Moods vary between conflicted - frustrated and sad, expressing the readiness to rebel, then submission. Progressive metal meets djent here - a common theme throughout the whole of the album.

'Deus Ex Machine' won't show mercy for your ears. Here, the fight between humans and Synths gets real. Guitar riffs simulate rapidly shot bullets and squirting blood. The vocals are angry and growled, supported by higher backing vocals. The bass plays in unison with guitars, with complex drum lines providing a perfect fit.
The following track, 'Corporate Oxide' continues the hateful release. Drum beats and riffs accelerate immensely here. The verses include growled vocals and complex structures, but the choruses seem to have been written in compliance with Fear Factory's most famous sound (high vocals sung in quasi-childish manner), supported by a heavy metal background. The short ending part is completely different, kept in an electro vibe.

If you love 90s industrial metal in the vein of N17, Bile or Ministry, the next track is dedicated to you. 'Get Out' steals the show for all the good reasons. It is based on a simple composition but driven by powerful, repetitive arrangements (for guitars, bass, drums, and vocals), which resonate within the listener's body, giving it a desired chill. 'Get Out' brings an atmosphere of doom, threat, and domination - indestructible demonic energy spills out in every direction here.
In contrast to that, and perhaps to let you catch a breath, the follow-up entitled 'Bionic Rain' sounds quite positive, despite of the angry vocals utilized in verses. The song uses a classic rock and metal composition and could easily be a radio hit. After that, 'Run' again falls into the tune of Fear Factory and Mnemic - expressed by solid, repetitive, heavier tunes and distorted vocals mixed with lighter electronic music at times.

Fast, dynamic tempo and djent-like arrangements are the driving forces behind 'State of Creation'. The contrast between high and low tunes sounds very pleasing and makes the brain easily switch between such amplitudes. Drumming is the most underlined instrumentation in this track but at times surrenders enough space to let guitars lead the way till the end of the song. Next, 'Thought Process' mixes electronica with low tuned guitars. The vocals here are expressive in their anger, then replaced with memorable innocence. All this is spiced up by soul-tearing solo riffs.

'Light Bending' bring melodies of sheer beauty for all ears. The wall of sound increases and decreases, enhanced with both kinds of vocals, as heard before. It's characterized by sudden changes in tempo, where arrangements are cut rapidly then replaced - and by memorable choruses. All the song writing techniques should keep your ears full and interested enough to follow on.
Afterwards, 'Demise' lets you experience catharsis through powerful and complex arrangements. The composition is built upon contrasts, where hellish doom meets divine beauty. In the beginning, a sensitive ear may find the electronic background not very much in sync with guitars and drums, yet there is no trace of an unacceptable discord here. During the choruses, the whole song shines victoriously like the rays of a new dawn. In the ending part of the track, the arrangements and general mood touch one’s heart so deeply that the more sensitive among you may shed a tear or two. The verses drag you forcefully back into the darker side of music. It totally makes sense to press 'stop' after hearing 'Demise' to let your heart cope with emotions a bit better, until you're able to continue listening to the last two tracks of the album.

The battle for the ship is over 'As the Ship Burns'. Whether humans have won or not, it's time for evacuation before mass destruction erases all of its current crew. The song's atmosphere brings tension, yet the music can become quite peaceful at times. It's the longest track on this release and is definitely memorable thanks to the ending choruses. The whole fight will never be forgotten.
The final scene: the sky is filled with smoke. The only survivor looks on as the burning parts of the exploded spaceship fade in the outer space. Emotions of sadness, realization of loss mixed with relief are expressed through electronic sounds, piano tones, and a dead-tired automaton's report. Love energy and beauty radiate from 'Silence' strongly, thus sensitive, imaginative listeners may burst into tears again.

AutomatoN's Sub Coma album is a purifier of a record. There are melodies, smart passages between arrangements, the vibe of both doomsday and victory, and a heart-opening catharsis experience. The band has been founded by Nate Exx Gradowski. Judging by the complexity of arrangements, compositions, and the overall amazing performance, nobody could have guessed it's the work of a single person. Nate's not a newbie, however - he's been a member of Isolated Antagonist since 2014.
Fans of Fear Factory, Mnemic, Dagoba, Sybreed or Strapping Young Lad, as well as hard sci-fi stories will be greatly pleased with this release and should definitely hunt down the remaining two parts of the trilogy.
If you're however into different genres, you should give Sub Coma a try simply because it may drastically influence your musical interests and broaden your horizons.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, January 14th, 2018)


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#progressivemetal #djent #musicreview #newmusic #progmetal #newalbums2018

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Dizzolve - The Hookwirm EP |Machine Man Rec., 2017| 4/5 Harsh electro/cold wave/industrial rock

1. Porno Dump, 2. Hookwirm, 3. Trident, 4. sPill Ur bLood, 5. WEAPONZ (Take What's Mine)

Dizzolve merges a few non-contrasting genres such as harsh electro, EBM and cold wave. Since its date of inception (6/6/2006, in Philadelphia), Dizzolve’s musicians have released 8 albums, also successfully overcoming a hiatus during the 2012 Mayan 'end of the world' event. Their newest EP will be available to purchase since mid-December 2017 - let's take a closer look at it.

There are five brand new tracks clocking around 4 minutes each on average. The duo (Josh – vocals, AleK - guitar) prefer minimalistic compositions based on repetitive arrangements, supported by angry, hating, and slightly digitally distorted vocals. The beat is all-present but is also mixed with vocals and divided by synths, offering nice breaks from the notorious 'move your body' rhythm. All this is delivered within the first (and shortest) track entitled 'Porno Dump'.
Later, the guitar plays a more important role in the title track. The noisy guitar additions make the underlying amalgam of vocals and synths sound like 90's industrial rock. The arrangements are based on a 1-2-3 rhythm, imprinting themselves upon your memory. There's a bit of guitar soloing too but it's purposely distorted to match the overall industrial vibe of the song.

'Trident' is a word tribute to the band 3Teeth, since the Dizzolve guys are fans of their music. It may make some of the original industrial fans feel old, considering that 3Teeth have been influenced by the 90's cold wave and industrial genres. Thus, we're facing the 3rd generation of musicians who dig the mechanical yet beat-driven vibe with fresh interest. Technically, 'Trident' brings evenly distributed parts of guitars, beats and synths/samplers. Again, the hateful vocals dominate on top of the cues but the overall expression feels as if the core fire of vengeance hadn't been released fully, waiting to be sprayed onto the listeners further down the line.

'Weaponz (Take What's Mine)' initially brings a less tense atmosphere supported by 8-bit tunes, very popular these days and hailing back from the Atari/Commodore gaming scene of the 80s. However, the song continues the beat-driven theme later. The danceable rhythm makes the chorus memorable, but the old school, robot-esque effects as already known from the 70's electronic music can put off some ‘old school’ listeners.

The lyrics are obviously judgmental, though it's difficult to understand their meaning without having the right context. According to the songwriter Josh, the lyrics were written while dealing with feelings of betrayal and vengeance but also retrieving his own power after being emotionally abused. It makes sense as it's been a common theme in many genres though industrial music somewhat incorporated it the strongest – musicians cool down both their soul's and their ego's suffering with mechanistic tunes in an attempt to either express, or on the contrary, dehumanize the pain of disappointment.

Time for a few final thoughts. First of all, do use a pair of good headphones for the best sonic experience since there are so many individual sounds on the EP to attract your ears, that regular speakers may not reproduce them too well due to environmental noise (unless you already have an audiophile setup in place).
Secondly, 'sPill Ur bLood' is a hit song on this EP and could be easily used for broader promotion or submitted for use in a video game. The track truly moves energy in the body, as much as it brings a desired thrill in the skull. This happens through contrasting, low sounding synths and a multitude of other higher sounds, matched with the vocal parts and the danceable beat very well.
Thirdly, if you've been a fan of electro/industrial music, you'll find the EP pleasing to digest. However, purists who are used to listening to more mainstream genres like pop or rock may find the songs here too harsh and variable.
Finally, the EP encourages to check out other parts of Dizzolve's discography to find out if they've developed much since 2006, either thanks to the technological boom, or their own songwriting ideas.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, November 27th, 2017. Proofreading: Mike 'Vesper' Dziewoński)
Buy on: (since December 15th, 2017)


#coldwave #harshelectro #industrialmusic #electro #EBM

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Interview with Malice Machine (industrial rock/metal, NYC) - 2017

NINa: Your excellent Digital Scars album released this year features 13 songs - over 60 minutes of material. Have you addressed and expressed everything what was on your mind at the time of writing it, or are you already getting into new song ideas and working on the follow-up?

Ammo & Sepsis: Digital Scars was not formulaic, some of the songs were written over a couple of years so it's attitude doesn't express a consistent vibe. It was different feelings and experiences at different times. It's also taken us time to acquire the knowledge and ability to record, mix, and produce our own music. Of course there's things that we could vastly improve on but overall we're pretty happy with our first album.

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Commit Samantha - The Fallen (song review) |self-released, 2016| 4/5 alternative rock

Mixing alternative rock with exotic sounds always gives a song an intriguing atmosphere. This is exactly the sonic idea behind 'The Fallen', written by the Bostonian quintet working together as Commit Samantha. 'The Fallen' is a multi-layered track with many instrumental parts placed in sync, which are wisely distributed within a less complex composition. Fans of Godsmack, Tool, Alice in Chains or Stone Temple Pilots (but not only) should get in gear with this vibe right away.

Initially however, listeners will be gently guided into the song with said exotic vibe, where the only dominant element is a beat played on a hand drum. The voice of Kon, which comes next is characterized by a nice & light, masculine timbre. The vocals are nicely balanced, distanced and a bit detached in a non-emotional way, except for a few tense moments where the musicians scream all together.
The deep drums (Mike Stanislovitis), bass (Grant Harris), and guitars build an advanced structure for the song, exposing the listeners to its entirety within the next four minutes. The band has two lead guitar players in the current line-up: Jeff Peck and Mark Gorman; this allows for a wide variety of guitar riffs performed simultaneously. All musicians play their respective parts very well. It should be also mentioned that Commit Samantha invited Casey Young (who programmed & toured with YES) to layer an additional texture into their song.

The lyrical idea behind the track is an unattached analysis of Biblical Judas – the possible reasons behind his decisions, emphasizing destiny's path, default directions, and similar philosophical & spiritual issues. To quote a part of the lyrics: “We the chosen few / What more can we do / The future has begun / A truth we can't outrun” (…) "No choice in the matter / It's perfectly clear / The pathway is chosen / No innocence here.” Despite the subject matter, it's not Christian music at all.

'The Fallen' brings an intellectual (rather than rebellious) mood, which definitely helps with focusing on individual instrumental parts. The whole track was mixed by Pete Doell at Universal Music, based on the band's own studio recordings. The song however still feels like a cleaner version of a live recording due to the additional ambiance - the sound 'leaks' slightly, thus possibly causing some purists to sniff disapprovingly. It's not a biggie though, since the arrangements clearly speak in favour of the band's creative potential.
Make sure you give Commit Samantha constructive feedback via their social profiles, see them live during the incoming shows, and buy their music. This should encourage the band to continue on their enlightened path of creative & philosophical escapism.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 23rd, 2017. Proofreading: Mike 'Vesper' Dziewoński)

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#musicreview #songreview #alternativerock #godsmack #tool +Commit Samantha

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Malice Machine – Digital Scars |self-released, 2017| 5/5 industrial rock, industrial metal

1. Welcome to the Machine, 2. My Virus, 3. We Breed Insects, 4. Venom Me, 5. Digital Christ, 6. Defect, 7. Only the Void, 8. Slave Nation, 9. Infest, 10. End of Everything, 11. My Virus (Alternate Version), 12. Stripped, 13. N.W.O

Industrial rock and metal music (called 'old-school' these days) fell out of the mainstream after Y2K. Due to this, die hard fans of these genres have had a difficulty finding many releases which could satisfy their picky tastes. Luckily however, the NYC duo behind Malice Machine (Ammo - drums, drum programing, artwork; Sepsis - guitar, vocals, bass, programming, songwriting, production, mastering) got inspired by both the 1990s guitar-driven industrial sounds and modern electro/darkwave vibes. A great quality blend of these appears on their Digital Scars album released in 2017.

'Welcome to the Machine' is the first of three cover songs here, originally released by Pink Floyd. As the album intro, it perfectly suits the purpose since it's the shortest yet the most seductive track. Its slowly pulsating tempo allows listeners to calm down, before they enter the heart of the Machine. Factory-like beats and emotional guitars bring a variety of emotions such as love, longing and sadness – all expressed towards the device.

Most industrial musicians frequently pick up topics for their songs related to contamination, radiation, global epidemics, and a zombie-like apocalypse - probably inspired by the slew of 1980 & 90's horror s/f movies with these themes. Two versions of 'My Virus' appear on the album, but they don't differ much. The song is characterized by catchy choruses and melodious arrangements with the addition of edgy guitar riffs. It also sounds like Ammo & Sepsis were inspired here by KMFDM and Sasha Konietzko's voice. To put it bluntly, 'My Virus' is the first potential breakaway hit on the tracklist.

'We Breed Insects' is a truly mighty industrial metal piece, moving listeners deeply. The slow tempo amps up the heaviness of the sound here. The song's atmosphere brings to mind the image of a hidden predator tracking its prey from a hideout, then jumping out to hunt it down. The vocals are distorted, even screamed at times, and they often open up space for instrumental parts to shine. Amazing guitar riffs in the second part of the track are followed by and contrasted with an intriguing synth arrangement which gives the sensation of relief or success (in reference to the predator suggested above).

'Venom Me' is the second hit song on Digital Scars and will surely please industrial metal fans, specifically those in love with bands such as Ministry, Bile, or N17 amongst others. The song's mood feels very aggressive, and the rhythm is fast. The arrangements sit tightly within the composition, while the sound of guitars is angry, with riffs entwined with more accented bass lines. Finally, Sepsis' vocals are almost growled, matching the instruments really well.

There's something sexual going on at the beginning of 'Digital Christ', as you may judge by female moans ending in a climax. The vibrant, goa-trance-like drum beats programmed by Ammo dictate the rhythm and support Sepsis' vile vocals. The underlined beats, danceable dynamics, easily memorable lyrics, cold synths, and edgy guitar riffs make the track another instant hit.

The dark and droning intro for 'Defect' is followed by predatory guitar riffs which additionally spin up the already tense dynamics. Invasive drums are entangled with harsh, slightly distorted vocals. A single, high pitched guitar line over rhythm guitars found at the end of the track creates an attractive contrast. Careful listeners may associate this song's specific vibe with early works of Marilyn Manson and Nine Inch Nails.

'Only The Void' is another industrial metal track with strong electro & goa-trance influences that utilizes both heavier guitar riffs and synths. The song's chorus is memorable, but the vocals fade away a bit behind the synth & drums. 'Slave Nation' is a potential hit as well, and certainly a must-have if you like spinning around inside a spiral of sounds. The track is full of looped heavy guitar riffs, darkwave synths, and industrial noises, all wrapped up into melodic arrangements and a danceable rhythm.

'Infest' in its entirety can help purging personal demons very well. As many NIN fans may recognize, the opening drum part is a straight-forward tribute to the band that brought industrial rock into the mainstream in the 90s. The song deals an aggressive, aroused vibe from the very beginning, which is then supported with a lovely wall of sounds in the third part of the composition, and followed by a neat tempo slow-down. The arrangements are spiced up with guitar riffs that the majority of industrial metal fans should admire at once.

On a different note, 'End of Everything' may be a real teaser/pleaser for lovers of electro-industrial and darkwave. Bouncy beats encourage listeners to dance without hesitation, but if you dislike dancing, this track is great for an intense fitness workout too. Skillfully written arrangements are equally distributed within the entire composition, leaving enough space for both lyrics and instrumental parts.

The original synth-driven song 'Stripped' was written by Depeche Mode. Once it became a global hit, many other bands challenged themselves to make cover versions. Malice Machine turned the track into an angry industrial rock piece through metal riffs, strongly accented drums, and twisted vocals, but obviously keeping the original song's notable attributes.

The album ends with the last cover song - Ministry's 'N.W.O.' Malice Machine's version doesn't alter the track too much, probably to keep its famous, genuine vibe alive. Honestly, we should be thankful for such very few sound manipulations here - every industrial music fan who sees the 'N.W.O' title will actually hear in their head a replaying memory of the iconic looped chorus: 'a new world order'. It would probably be risky to 'desecrate' it ;)

Some people worship gods, but these two musicians faithfully praise the Machine. Thirteen compositions which make for a 1 hour long album are filled with a variety of angry, dehumanized, industrialized, and 'math-mechanical' arrangements. Therefore, Digital Scars may help younger listeners discover primary industrial rock/metal characteristics, but also easily identify with some emotions brought by the classic sounds present on this release. Older fans, tired of spinning the same industrial albums over and over again, may find a few new sonic gems here. In any case, make sure you buy this release, since it is definitely worth the price of admission. Only with your help can the duo break through the corroded walls of a forgotten and largely unsupported scene and continue expressing their passion for 'the Machine' by releasing another set of songs sometime soon.

(Reviewer: Katarzyna 'NINa' Górnisiewicz, Fabryka Industrial Rock & Metal Encyclopedia, February 21st, 2017. Proofreading: Mike 'Vesper' Dziewoński)

#musicreview #albumreview #newindustrialmusic

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