White Chapel
~reviewed by Matthew

A disappointingly short 7” EP of dark experimental music based on the myth of Jack The Ripper, appropriately pressed on blood red vinyl.

The music is very minimalist, and from what I gather a slight departure from what one could traditionally expect from this Seraph Records artist.    A sincerely eerie and claustrophobic mood is set by low throbbing synths and samples of women crying, rain, footsteps, and just over all strange sound effects.  Yet, the release is way too short and I would have been more impressed if a full-length album centered around this ieda and perhaps worked in a greater variety of dark music styles.

There really isn’t much to say about this release unfortunately, however, it is definitely something worth picking up or checking into if you are a fan of experimental or soundtrack music.  Angelhood have a new release in the works, entitled “Fragments Of A Novel” which slated for a late autumn release on Seraph Records.

Angelhood is Mykel Boyd

BGR PO Box 24
Bradley, IL 60915

Angelhood Official Site:

Angelhood Mp3 Site:

~reviewed by Matthew

As the album title might hint, Ashes are a lush and wonderfully bleak shoegaze/alt rock project, also from the Seraph Records label.  The band formed in 1991, and a plethora of musical influences can be heard from 4AD postrock to early Pink Floyd and back to the likes of Slowdive and The Cure.

The CD is of epic length, and barring a few experimental type tracks that serve more as interludes or bridges from one section of the CD to the next, this release is chalk full of strong, memorable material that lingers in the subconscious like a surreal dream long afterward you’ve awakened.   From hypnotizing tracks like “The Speakeasy” to the indy pop charm of “Frost” and “Falling Down,” the psychedelic twists of “Julian” or “So Bad” and finally to the moody bliss of “Waterspace” a consistent fluid merging of genres and styles meld to create a dreamlike and grey realm of rich melancholic beauty. Watery guitars jangle behind cathedral-reverberated eboe effects, lulling bass lines and light drums provide a solid background, and atop it all the soft voice of Charles Moss drifts along, appearing like the breath of a ghost trying to speak in an ice cold room.

This is incredible music, and the eclectic aspects of the band are shown even further by such tracks as the sinister “Help Me, I Can’t Find My Way” which is reminiscent of the ambient scores of Aphex Twin and the bluesy, dark electronica of “Highway Song” to the quirkiness of “The Window.”  This all tallies up to make Ashes quite a versatile and diverse act, yet they manage somehow to create a consistent mood that is simply astonishing from track one all the way to track eighteen.   Unparalleled talent responsible for a refreshing and dignified form of dark music.

Track List
1.) March Of The Hare
2.) Waterspace
3.) Frost
4.) Julien
5.) The Speakeasy
6.) So Bad
7.) Help Me, I Can’t Find My Way
8.) Everest
9.) Highway Song
10.) Falling Down
11.) The Window
12.) Travelling Backwards
13.) The Pepper Piper Goes Undersea For Awhile
14.) Stella
15.) Drool Pool
16.) Towards The Light
17.) If This Was Heaven
18.) Spooned Honeytime In The Happy Hour Bar

Ashes are:
Charles Moss: guitar, vocals, other instruments
Glenn Moss: guitar
Vince Moss: drums
Joe Schuppe: keyboards, vocals, other instruments

Greg Martin: fuzz guitar
Trish McCoy: siren female vocals
Anne Moss: bass
Scott Pinneau: guitar
Noy Sparks: bass

Ashes Mp3 Site:

Seraph Records
P.O. Box 13310
Chicago, IL 60613-3110

Creepy Crawly: The Unauthorized Autobiography of Undead Rock and Roll Music
~reviewed by Blu

Direct from the underground scene in New York, the CD release from The Brickbats, lovingly subtitled "The Unauthorized Autobiography of Undead Rock and Roll Music," stands up to all my expectations. Having heard this band on other compilations - namely the Black Out A.D. CD from Neue Asthetik, I expected a dramatic witches brew of two-parts The Munsters, one part Billy Holiday rock and roll, with a dash of spooky goth thrown in for good measure. I got that and more.

Besides being extremely entertaining with their outrageous monster-themed music and costumes (see their web page at, they're actually wonderful musicians that are doing something quite unique. They have a rockabilly beat that's driven by catchy bass lines and sometimes drifts into an old punk sound. The enthusiasm they put into their performance translates so well on the CD you come away knowing they'd simply rock your socks off live.

The lyrics are angsty and twisted and full of Halloween fun at first listen but if you study a little more carefully, you'll find their souls seeping out between the lines. The playful sounding "Too Many Vampires" translates into a song about the worst kind of heartbreak. "Run For Your Life" echoes more sentiments about tragic relationships - "Tried so hard to sing a love song, this is as close as it can get. Still my guitar's complaining, slightly out of tune. So look at me and tell me the best..." "Undead Rock and Roll Music" has got to go down in history as one of the best Halloween party songs ever next to "The Monster Mash" featuring an addictive bass line by bassist Paul Morden. Corey Gorey's vocals go from angry punk to melodic seduction through out the CD and DW Friend drives them along with solid drumming. My favorite track is the last one, "Hysterical," which I haven't been able to get out of my head for over a week now.

There's something wickedly wonderful here - a mixture of childhood fantasy, true-life horror and tragedy, the cultism of The Rocky Horror Picture Show, and the decidedly intelligent creative genius of Poe. There's not much I wouldn't do to see these guys play live.

The Brickbats are:
Corey Gorey: Guitar/vocals
Mr. Paul Morden: Bass/backup vocals
D.W. Friend: Undead Drummer

Web Page: Planet Brickbats
Dismal Abysmal Recordings, PO Box 149, New York, NY 10002-9998

Current Status:
Visit Corey Gorey's solo project at:
D.W. Friend is lurking under a stairwell somewhere near you.
This just in on the bat phone:
Step up and take a listen to the new music of The Brickbats' own Corey Gorey and D.W. Friend
The Brides
Starring in: "Here Come The Brides" - an EP currently available through of 5 fun size songs and dances.
Also coming soon:

Butterfly Messiah
~reviewed by Matthew

About a month ago, I started up an Mp3 station called The Funeral Party.  My hope was to help promote my own personal music as well as artists I have reviewed in Starvox and new bands I discover on the net.  One of the bands to contact me was this Floridian darkwave act, Butterfly Messiah.

I was pleasantly surprised by the stark power of their music and I was instantly embarking upon a quest to expose them to as many people as possible.

The band is currently at work on a full-length CD, but for now, they have released this demo EP entitled “Synthesis,” which contains five tracks that hint of their potential to explode within the dark electronic gothic music circles around the country.

Butterfly Messiah’s music would comfortably stand proud among the likes of Die Form, Attrition, and The Azoic, as they too exhibit an uncanny talent for blending solemn driving electronics with chilling, ethereal atmospheres. Overall, the music is very minimalist, comprised of eerie washes of warm synths, simple yet effective dance beats, imposing male vocals, and ghostly operatic female vocals.  The production is crisp, yet there is not an overwhelming amount of tracks to make the music sound full and dense just for the sake of it.  Rather, the band opts for the exact opposite which makes the mood of their music highly claustrophobic and psychologically unnerving.   This is the kind of music that you hear in your wine-drenched nightmares or in the throes of surreal fever dreams.

Yet make no mistake; this is incredible club music. “Land Beneath The Waves” kicks the EP off with a mid-paced, synth driven yet upbeat track that defines the sound of the band. With its straight-forward rhythms and dueling vocal styles, it serves as a great introductory track that foreshadows the seductive darkness of the tracks to follow.

The track “Transmigration” stomps along with a faster, shuffling pseudo-break beat and random bursts of grating experimental feedback, punkish male chants and Shannon’s icy vocals.  A very unique combination of styles that makes for an awesome, standout club track.

“The  Strong And Silent Type” is another masterpiece, which starts off with throbbing looped electronics and frightening sopranos, only to gradually build with a thudding back beat into a nice old school Industrial rhythm, though not losing the bleak Gothic atmosphere in the least.

“Your Lasting Breath” is the only non-rhythmic track on the CD.  Acting as a brief hypnotic interlude, that despite its brevity, manages to invoke specific, vivid images.  It reminds me of drowning---floating at the bottom of some dark river, all action is delayed and happening slowly, and your deaf to everything save for the beating of your own heart.  And somewhere in the distance, far away in the blackness, a sea sprite calls to you, beckoning sweetly to masque her true intent. The CD closes with the harshest and most club-friendly track, “Machines,”  taking cues from vintage Nitzer Ebb/242 sensibilities and sound scapes similar to Love Is Colder Than Death, among others.

With Butterfly Messiah, less is certainly more.  They do not fall short on any level and unlike most synth pop/club directed bands, there is a solid balance of intense mood and energy.  This is a special band to watch, and a band that has succeeded on numerous levels of musical composition.   Their melodies, rhythms, and the overall esoteric vibe of their music echo in the most forbidden and unexplored chambers of the psyche.

Track List:
1.) Land Beneath The Waves
2.) The Strong & Silent Type
3.) Transmigration
4.) Your Lasting Breath
5.) Machines

Butterfly Messiah is:
Robert Nightshade
Shannon Garson

Butterfly Messiah
11691 Chapman Ave.
Bonita Springs, FL 34135 USA

Butterfly Messiah Official Site:

Butterfly Messiah Mp3 Site:

Blood Of Roses
~reviewed by Matthew

Here we have Blood Of Roses, a female fronted Goth duo from Orange County.   Musically, there is a lot going on and for the most part, the execution of  the instrumentation and mood created is flawless.  However, the female vocals, which are somewhat similar to Tina Root of Switchblade Symphony, leave much to be desired.  Its not that Roberta is a bad singer, as she has a lot of emotion in her voice, its just that her voice does very little to compliment the music.  The opening track “Always You” is the weakest track of the four appearing on this EP.  I regretfully admit that I found the song nearly impossible to even listen to, and I really hate saying that but its true.  This band has got to reapproach the vocal delivery.

The closing track “Deep Freeze” remains the best track, which builds to an explosive end with dense layers of psychedelic guitars, church organ, and exceptionally cool drum programs.  And here, Roberta’s voice is at its best. If her vocals could be consistently as well done as they were on this song, Blood Of Roses would be an infinitely better project.  A slight Gitane DeMone influence is apparent, who happens to be one of my favourite female singers in the Goth genre.  So its really puzzling how the same vocalist could be so strong and convincing on one track and mediocre on the other, but that is exactly how this came across to me.

“Projections” incorporates a slight ethnic, world music vibe, which was pulling from the Dead Can Dance and Enya school of dark music.   Again, the music is wonderfully done; hypnotic, trancey, and well orchestrated but the
vocals take away from the song.  I did, however, enjoy a bit of spoken word in the middle of the song that relayed the Greek myth of Psyche.  It is obvious that there is a lot of avant-garde creativity behind this band, however they are falling just out of reach of perfecting their art.

I hate when I don’t like a CD.  Its not that I didn’t like it, it’s just that it needs a lot of fine-tuning in the vocal department.  The
presentation of the band is very professional, and the lyric booklet is wonderfully packaged, so this band is almost there.  The copyright date on the CD is 1997(?), so I am unsure if the band has recorded anything since, but I certainly wouldn’t write them off as a bad band and if you come across this project give it a shot.

Track List:
1.) Always You
2.) Projections
3.) Code & Idea
4.) Deep Freeze

Blood Of Roses is:
James Henriques: instrumentalist/composer
Roberta ‘Bird’ Lengua: vocalist/lyricist

Blood Of Roses Homepage:
Blood Of Roses Mp3 Site:

Electronic Services, Unit 16
11245 183rd Street, Ste 223
Cerritos, CA 90703-5417

The Blessed Virgin Larry
CD Single: "The Girl You Fear"
~reviewed by Blu

Continuing our Monster Party and just in time for Halloween! Gamma sent me a treat -- their latest song "The Girl You Fear."  It starts with lovely chimed keys and then breaks into a monster-mashish grove propelled by a Frankenstein-ish bass line. Always the perveyers of an individual's right to be themseves, The Blessed Virgin Larry offers another song about being the freak in a world that wants us to conform -- "I'm the girl that you fear -- the cybernetic queer ... gotta take me as I am..."

My favorite part of the song -- besides those cool keyboards, is when Gamma breaks out into a spoken-word rant near the end of the song raising - pardon the pun - hell about his stance on religion (of any kind) and says, "When it really comes down to it, all you got is you. Instead of believing in some guy in the sky, try believing in yourself -- you might just make more of a difference that way."  Ah..that's my boy.

Visit Gamma and the folks of The Blessed Virgin Larry at their website and stay tuned for a whole new CD and a yummy video!
Website:  or
Vote for Gamma on the Best Frontmant of All Time webpage here:

Chew’s Eye Shop
~reviewed by Matthew

Hailing from Lakewood Ohio, Chew’s Eye Shop has captured my attention quite significantly.  Blending elements of old school Industrial, Electronic darkwave, and traditional Goth rock guitar styles, there is enough here to
cross-pollinate throughout several underground genres. The vocals are very strong and sort of a relief in a way.   The vocal
delivery could be compared to the defunct yet legendary band Lestat, who was also from around the same area, who’s vocal style on their more aggressive tracks was something like that of a whisper escaping through clenched teeth. There is a similar effect with the vocals here as well, and it works well with the atmosphere, as overly processed or distorted vocals would have definitely killed the mood.   Since they were strong enough to resist the tendency to succumb to tradition, I give them much credit.

What causes Chew’s Eye Shop to stand out in the crowd of other new Industrial/Electronic influenced bands is that there are some seriously catchy and rhythmic drum patterns that are more than just the typical 4/4 patterns and the redundant steady thud of most of today’s synth-pop.  This is especially apparent in the track “Midpoint,” where the drums swing about
behind static melodies, synths, snarling vocals, and an intense guitar driven chorus.  Again, not necessarily responsible for something ‘new,’ but this style of electronic music is growing increasingly rare these days.

Though still harsh, energetic, and danceable, Chew’s Eye Shop have integrated an appropriate amount of atmosphere by a moderate presence of clean guitars and eerie synths in the resultant electronic cacophony.  They exhibit an eclectic sense of melody, rhythm, and style. They close the EP with a dirge-like, hypnotic track where the atmosphere is at its peak,
similar in mood to early Azoic in some respects.   This band has a lot of promise, and I think they really hit the mark in wedding gothic atmosphere and industrial sensibilities together for a unique result that will
hopefully not go unnoticed for much longer.

Track Listing:
1.) New Limb
2.) Midpoint
3.) Wasted Earth

Official Site:
Chew’s Eye Shop Mp3 Site:

Concrete Nature
~reviewed by Wolf

IBM: Industrial Body Music. This term is the self-description of Gashed! newcomers Concrete Nature, a German duo determined to restructure the sound of today's industrial/ebm/electro genre. Michael H. Hartmann and Sonke Siemsen are joined in their efforts by Sunny Schramm (of Abscess fame), who helped them produce :eNCRUSTED. (Since Abscess is no more, Sunny will now be a full-time member of Concrete Nature.)

Let's face it, when you're looking for the kind of industrial-dance/electro music that is so insanely popular right now then you have a wealth of new releases to choose from every single month. Admittedly, most of it is worthless drivel, which brings up the question of what will set an act in this genre apart from the uninspired crap. There are only two options: either excell at the existing sound or come up with something truly unique and inventive. Concrete Nature appear to strive for the latter, but eventually do belong under the first catagory. The cd does have its innovative moments, but over all Concrete Nature delivers 12 great tracks building upon the foundation created by many before them.

After a short and atmospheric intro ("Prisoner 2675") we're instantly treated to the album's absolute floor-filler, "Inside Me". This track already appeared on the Gashed! compilation Virion Sequences (see my review in the archive for August's issue) and convinced me to purchase this cd without listening. This version of the song is musically slightly different and features vocals this time around, but still has the same kick-ass beats, orchestral strings and catchy sequences. Oh, and of course that hilarious "What's in-fucking-side me?" sample from Alien:Resurrection.

"Daydreamer" is a lot slower and has more of a Skinny Puppy/X Marks feel to it. This also applies to "Dungeon Keeper", which is equally dark and foreboding. It's a style Concrete Nature pulls off very well and especially their basslines and strings stand out as extremely catchy.

The pace is being picked up again with "Exclusive Audience", a bit too close to Abscess' "Raise Up" although the song has a great chorus with more epic strings. "Icy Hands" returns to the jumpy sound of "Inside Me" and I think   that's where Concrete Nature truly finds a sound of its own. I have to say that the chord progression during the chorus of "Icy Hands" is very "Frontline Assembly", but then again, no one owns the copyrights to chord progression.

A beat almost identical to "Inside Me" underlines the excellent "Thrillseeker", a danceable track with nice piano melodies, awesome panning sounds and great samples. "Persian Night" could've done with the so-called "orch hit" and the "..bad girls go to hell.." sample is certainly not new either, but all is forgiven when the alluring "Vampyres" kicks in. Pounding percussion, bubbling basslines, more great strings and crisp trancy sounds make this another guaranteed floorfiller.

And so this cd effortlessly bounces along, switching from slow and brooding compositions to mercilessly pounding club material. The final song, "Crystal Lattice", deserves mentioning, if only for its weird combination of almost Asian melodies combined with the speed and hectic sequences of a goa track. Gotta love those "Dark Crystal" samples as well.

Even after all the comparisons and influences Conrete Nature still makes quite an impact with this impressive debut. All tracks on :eNCRUSTED show great production and skill, but their true power lies in tracks like "Inside Me", "Thrillseeker" and "Crystal Lattice". This cd should easily be able to find its way onto the dancefloors and if future material will have even more of a typical "Concrete Nature" sound, then these guys will be up there with the best in no time. Another successful signing for Gashed! and hopefully the upcoming debut by the label's other newcomers, ncc, will be equally satisfying.

01. Prisoner 2675
02. Inside Me
03. Daydreamer
04. Dungeon Keeper
05. Exclusive Audience
06. Icy Hands
07. Thrillseeker
08. Persian Night
09. Vampyres
10. Smoking Skies
11. Assimilate to Hate
12. Crystal Lattice

Band members:
Michael H. Hartmann
Sönke Siemsen
Sunny Schramm

Additional info:
Official band site:
Official label site [Gashed]:
Official Abscess site:
new religion
~reviewed by Wolf

So you've all heard of what about a widely released full-length? The wait is over, because New Religion is now available in both Europe (on Accession) and the US (on Gashed), giving Clint Sand and G. Wygonik the opportunity to add to their cult status and reach an even wider audience. Longtime fans and electronic music enthusiasts might already own copies of the band's previous work, Distemper and Blueiceblack, which were both prime examples of the skills of, but with the added strength of many guest musicians and years of experience, New Religion shows a reinvented and matured The New Orleans based duo were assisted on New Religion by none other than Stefan Ackermann (Das Ich), Kurt Harland (Information Society), Adrian Hates (Diary of Dreams), Stefan Netschio (Beborn Beton) and Daniel Myer (haujobb/Cleaner). Throw in a remix by acclaimed producer Francis A. Preve and a great cover of Depeche Mode's "Behind The Wheel" and you have the key ingredients to New Religion.

The sound of has certainly evolved, with cleaner production and even more detail within the soundscape of each track. At times the band seems years ahead, displaying a heavily cyber-induced mix of beats and sequences, while at other times a longing backward glance at the 80's and early 90's can be detected in the vocals of songs like "New
Religion" and "Misery". This contributes a great deal to shaping the distinct sound of the band, which was somewhat of a missing factor in their previous releases. Now songs can be defined as having that " feel"; the true sign of mature and experienced musicians.'s own vocals are somewhat hit-and-miss throughout this album, sometimes working out great and at other times lacking a little in range and strength, but the guest vocals more than make up for this. On the dark and brooding "Heart Break Cinema V2", for example, the vocals of Stefan Ackermann (Das Ich) fit perfectly and on that song's German counterpart, "Lichtspiel Der Gebrochenen Herzen", gentlemen Hates (Diary of Dreams) and Netschio (Beborn Beton) give an equally dramatic performance. Interesting about these two tracks is that their lyrics are the same, be it in different languages, while the music is different for each song.

Other vocal contributions come in the form of Kurt Harland and Daniel Myer. Mr. Information Society sings a vocoded version of Depeche Mode's "Behind the Wheel" and Daniel Myer's vocals for the dark and danceable "Nothing" were interestingly enough recorded by phone from his hometown in Germany. Stefan Ackermann's vocals were also recorded in an unconventional way: through email. eagerly makes use of all the technological possibilities within their reach.

The most convincing track, however, does not feature any guest artists at all. "Traummaschine" is an explosive assault of modulation and percussion; aggressive, epic and, together with the "Behind The Wheel" cover, in heavy rotation on one of the college radio shows here in Miami as well as in our newest industrial club. "The End" is also an excellent floorfiller, my second favorite after "Traummaschine".

Closing off the cd is a remix of "Behind The Wheel" by Francis A. Preve (a remix of the cover, that is).
This mix is slightly more "euro" and has a few different changes and sequences compared to the version. Great production, but I prefer's own version.

New religion certainly impressed me, mainly because the production and songwriting are so mature. I do think there is more left unexplored and their sound definitely allows room for growth. This is not meant negatively, I simply think that New Religion is a great example of the talent these guys are tapping into and the album will serve as a firm foundation for further
explorations. I predict a constant rising trend in the quality of their music with every new production, which is a pleasantly scary thought. Damn, they're already excellent..what does that mean for the of 5 years from now?

1.  restless
2.  new religion
3.  heart break cinema feat. stefan ackermann (das ich)
4.  copper
5.  kosovo
6.  misery
7.  behind the wheel feat. kurt harland (information society)
8.  traummaschine
9.  lichtspiel der gebrochenen herzen feat. s. netschio (beborn beton) and  a. hates (diary of dreams)
10. nothing feat. daniel myer (haujobb, cleaner)
11. the_end
12. behind the wheel (f.a.preve mix)

Band members:
Clint Sand

Additional info:
Official site:
Official label site [US]:
Official label site {Europe]:

The Cruxshadows
Paradox Addendum
~reviewed by Kimberly

I know I've said it before, but I love the Cruxshadows. I've been in absolute adoration of them for three years, since they opened for Sunshine Blind at The Bank, and I had to rush off the balcony to see who could possibly be creating such magic.  I envision the Cruxshadows as a golden orb rising out of the sludge of most new music. That's why I'm slightly disappointed with Paradox Addendum, which is mostly remixes from their Mystery of the Whisper.

"Love/Tragedy" starts with a few seconds of monastic chants before opening with the familiar Crux- style synthpop. Rogue's voice on this track is electric. However, the lyrics-"Love laced with tragedy/Ah the agony" borders on the colloquial. The band has spoiled us with exceptional lyrics, and this song just falls short. The tune and texture of Rogue's voice, however, merge well. This song is weak as a first track- another "woe is me" anthem.
"Cruelty" (Cruel Night Version) is originally on "Mystery". The remix has the intro immediately start with hard dance beats, and extends the instrumentals to almost two minutes. This is the dance floor version of the song, since it cuts out the eerie, slow instrumentals that are on the original. It's still brilliant, however, and the band's new "Marilyn".
"Heaven's Gaze" was also on the "Mystery" album. On the original, the track opens with an almost 80s synthesized melody with an underlying industrial beat. Though the "Bitter Tears Mix 1" has a good, dance-y opening to lift your knees, the new track uses Rogue's vocals, and incorporates a superficial beat; before segueing into a heavier one. The vocals are more menacing on this rendition, and I'm drawn to it. Low and edgy, waiting to explode.
"Annabel Lee" is by far the jewel in this album. If you've ever seen the poem performed live, its a very intense experience. For once, no one's talking, and some people even forget to pose. Rogue sounds entirely more eerie and sad than he does live. The piece starts low but strong, with some sitar-inspired instrumentals. The entire effect is echo-y, and properly gives the effect of being alone in a castle; Rogue's voice is forcefully emotional. I believe that he went through this. As it goes on, the violins get more supernatural- fog rolls in as he's reading this, the water is crashing on worn rocks, his eyes gleaming. Spirits that will steal you away are everywhere.
So there it is. If you love the Cruxshadows, you don't need me to tell you to buy this album, since you have it already. For everyone else- unless you can shell out the extra dough, borrow it from a friend.

The tracks are:
1. Bonus Quicktime "Cruelty" Video
2. Love/Tragedy
3. Cruelty (Cruel Night Version)
4. Eurydice (Don't Follow)
5. Heaven's Gaze (Bitter Tears Mix I)
6. Ave Maria
7. Heaven's Gaze (OBI House Gazing)
8. Annabel Lee (Spoken)
The Cruxshadows are:
Rogue: vocals, lyrics, keyboard, sequences, drum machines, electric violin, bass programs, and backing vocals
Rachel McDonnell: keyboards, synthesizers, and violins
Kevin Page: guitars
Trevor Brown: all additional keyboards
The Cruxshadows

~reviewed by Matthew

Recently signed to Carpe Mortem Records, is this talented Michigan electronic act, Delien.  These guys have been stomping along the East Coast for many years now, and at last, it seems they are finally beginning to carve out a niche for themselves.  This epic release is a rivethead’s dream come true.  Fusing experimental noise, electronic, and the traditional abrasive Industrial of long ago, this project succeeds in making these elements memorable, listenable, and above all, enjoyable.  The lyrics are spewed forth with contemptuous processed vocals as well as spoken delivery, at times seeming like stream of conscious political or introspective poetry.  The apocalyptic wasteland of sound throbs, grates, and lurches along, razor sharp and like splintered glass.

The third track “Emotional Perception” overwhelmed me, sucking me into a world that was scored like Kubrick film, yet distorted by waves of feedback and crackling electronics.  “Disillusioned” is the CDs club hit, if you will, with an erratic hard hitting bass back beat, dense layers of synth, shrill metallic effects, and distorted vocals. After being exposed to this genre of music for years now, rarely do samples of film dialogue or what have you ever succeed in grabbing my attention.  But there are several thought-provoking samples, most notably from the upbeat ambiance of “Take II” where a voice asks “If you have ever awakened in the night with the knowledge that something has happened to someone you love, you might have wondered who or what was the messenger.”  Its simple, its kinda cliché, but its damn cool.

Delien are an incredibly intense band to see perform live.  It’s an event, more of a spectacle actually. Blasts of strobe lights, and monitors tuned to hypnotic white noise are scattered haphazardly about a scarcely lighted stage, housing dim silhouettes contorting and stomping about, pouring the hearts out with an energy rare to behold these days with live bands.  Delien are certainly not innovators, but they are not missing the point of the Industrial art form, and no how to enthrall an audience and still manage to remain as interesting on CD.  Definitely check them out, both on disc and if you have the chance to see them perform.

Track List:
1.) Absolved (Introduction)
2.) Quantum Foam
3.) Emotional Perception
4.) Disillusioned
5.) Irradiate
6.) Take II
7.) The Transition
8.) Chornay (Autolysis Mix)
9.) Power, Pleasure, Variety
10.) Red Pod (Crashed/Died/Resurrected)
11.) Another Moon
12.) Condemned (Disintegration)

Delien is:
Kirill Slavin : programming, vocals, lyrics, noise
Pete Greko : programming, noise, vocals
Donny Gransden : programming, engineering

Delien Official Site:

Carpe Mortem Records
400 Bagley Avenue
Suite 707
Detroit, MI 48226

The Hand & The Sword
~reviewed by Matthew

I adore surprises when it comes to music and CD reviews.  Dominion is one of those refreshing finds, as they deliver an engrossing and ensnaring breed of darkwave electronica. Rooted in metal, this project fuses (and sometime confuses) treated black metal rasps and superb female vocals with mid paced electronic and ambient Industrial.  There are similarities here comparable to Oneiroid Psychosis especially, which definitely puts them in a very posititive light, and the lead female vocals remind me somewhat of Battery/Ivoux siren Maria Azevedo.The overall release has its strong, substantial moments and other tracks do not seem as focussed as others, with a kind of fifty/fifty hit or miss.

However, the four or so tracks that standout are shimmering with a promise of sincere potential in the future. The album’s opening track has a moody atmosphere and hints of a powerful CD to unfold.  Galloping electronic drums, distorted male vocals, and murky wire synth blend together for a hypnotic and gloom-soaked intro.  However the CD is a rollercoaster ride of positive and negative.  The second track, though strong and well crafted, is more aggressive, with electric guitars, and a vibe that is exactly one half anthematic Industrial and one half Black Metal.  It makes for an interesting and unique combination, but the make vocals are too harsh and hinder any potential for club play.  Instrumental breaks of electronic drums patterned after double bass drumming with a spooky female vocal loop also adds a dense and memorable aspect to this song.

But the CD dips further for one of the first of many ‘filler’ tracks of simplistic ambience, but quickly is remedied with the masterpiece, “Immortal Reign.”  This track is an awesome song with a slow sensual reverberated drum beat, acoustic guitar/synthesized harps, and deep female vocals, with the occasional male vocal whispers.  The song is absolutely incredible and ranks high among other ethereal/darkwave masters as Lycia, Ivoux, Die Form, Black Tape, Attrition, etc.  This song will be making it into several of my DJ play lists for certain.

If Dominion allow vocalist Elizabeth to front the project and keep male vocalist Tharen under control for a whisper, spoken verse, or scream here and there, this band will be creeping into clubs in both the US and Europe.  They need to focus and keep on track such as with the aforementioned opening and fourth track, and also the nice finale of the CD “With The Strength Of Aeons,” a perfectly energetic, upbeat Industrial song accented by Elizabeth’s vocal harmonies, epic synths, and driving dance rhythms.  It falls short only for the male vocals again, but it’s not as abrasive and distracting as on other tracks.As a fan of dark club music and black metal, I adore this but I see the potential for it to cross over to a wider audience if some fine tuning is considered.  I would love to see this band refine the male vocals and delve deep into the realms of straight-forward electronic/darkwave.  The music is well on its way to success.  Dominion are a band to watch and this CD is definitely worth checking out and paying a lot of attention to.

An mp3 of  “Immortal Reign” is available on the Napalm Records homepage, and I think DJs would be very smart to pay a visit and download this track to get a fine sample of what Dominion is capable of.

Track List:
1.) Apocalyptic Views
2.) The Angel’s Delusion
3.) The Hand And The Sword
4.) Immortal Reign
5.) The Machine’s Dream
6.) Corona Of The Sun
7.) Transmitting
8.) With The Strength Of Aeons
9.) Tempus Fugit

Napalm Records:

Dark Tranquillity
~reviewed by Matthew

Catchy, melodic and well-designed atmospheric death metal from one of the hottest and promising acts out there.  This Swedish band has been responsible for moderate paced, heavy riffing metal for years now in the underground, bearing the infamous stamp of the ‘Gothenburg’ sound characteristic of bands such as Cemetery and Edge Of Sanity among others.  They have refined their sound, smoothing it out to boost the resonant melodies into the forefront, yet wisely never saw fit to eliminate the use of guttural death growls as many bands tend to as they progress.  Mind you, spoken word, whispered, and Carl McCoy-like grumblings work their way into the mixture, as do classical orchestrations, twinkling romantic piano, sparse electronic effects and flashes of club beats.

The key however to Dark Tranquillity’s success is without a doubt moderation, as these atmospheric accents are brief flashes that are gone almost as fast as they are noticed, therefore introducing variety yet not enough to distract metal fans who frown on the growing trend of atmospheric and death metal integration.   The traditional gothic rock themes are tossed in by way of upbeat post punk drums dashes and hollow mischievous bass lines.  Another Nephilim influence rings through murky clean chorused arpeggio guitar breaks and interludes, which here are prime examples such an effect can have upon the complexity of death or power metal.

The melancholy and desperation of the band is embodied first in the harsh, intense vocals and prevalent especially through the guitars, as emotion pours through the spidery and epic riffing. This makes for a penetrating and memorable album, indeed depressing yet far from tiresome or repetitive.

Dark Tranquillity provide an emotionally searing and stark power metal, that does in fact leave the listener with some form of bleak tranquil calm. The music is so uplifting and aspiring with its drive yet its content and mood tugs at the heart so viciously that you indeed find some hopeless peace in the comfort of looming everyday disappointment.   This bittersweet feeling is something that does not immediately catch the ear; it takes several listens to recognize the depth and spiritual power of this band’s music. Though whipping along with more punch than the grandiose draining Goth metal of My Dying Bride or Anathema, I find Dark Tranquillity to be one of the most emotionally assaulting and impressionistic forces in the underground.   From the striking energy of the opening track  “The Wonders At Your Feet” to the crestfallen masterful gloom of “Emptier Still,” Dark Tranquillity are a rare breed of talent with a pinnacle release exemplary of dark metal’s finest capabilities.

Track List:
1.) The Wonders At Your Feet
2.) Not Built To Last
3.) Indifferent Suns
4.) Feast Of Burden
5.) Haven
6.) The Same
7.) Fabric
8.) Ego Drama
9.) Rundown
10.) Emptier Still
11.) At Loss For Words

Dark Tranquility is:
Mikael Stanne: voice
Niklas Sundin: guitars
Martin Henriksson: guitars
Anders Jivarp: drums
Michael Nicklasson: bass
Martin Brandstrom: electronics

Dark Tranquility Official Site:

Century Media Records:

Ex Nihilo
Visions / Apres Le Chaos
~reviewed by Matthew

Formed relatively recently in 1998, this French solo project of Laine Gebel fuses notable characteristics of old school Industrial, dark synth pop, and ambient Goth rock.  One of the most memorable qualities of this band is Laine’s thickly accented vocals.  It is always important for a band to have a strong and unique vocalist, and maybe to the French this won’t seem so interesting a quality, but to those who do not hear such an accent every day, it definitely helps the band stand out among other acts.

The first full-length CD Visions opens with a somber church bell sprinkled intro, and segues into the beat driven, synth and guitar accented track “Chase.” The highlight of the CD is definitely the flirtatious “Meteores” where the accent is probably at it’s most prominent.  This song is just so damned catchy, with a sensual drum beat and layers of whispered and chanted vocals, volleying between quirky synths and foreboding Industrial breaks.

“Implosions” is more of an ambient track with distant, distorted vocals echoing atop swirling synths and electronics and a fast backbeat. A simple, yet a heart-felt and effective song.

The title track is a slower song with a traditional, Goth rock type drum beat and more whispered vocals.  The instrumental “Embryon” follows with a choppy drum beat bashing away behind dense, chaotic explosive sound effects. The song has an eerie Skinny Puppy “Last Rights” era feel to it, that flows into a deeply melancholic conclusion.  More bells chime and a sample of a plucked harp that reminds me of a Godflesh track from their Self-Less CD starts off the ultra spooky gothic ambience of “Phenicia.”  Some foreboding strings enter as the song slowly crescendos to another interpretation of “Embryon,” this time with moderate distorted guitars in the background.

Ex Nilho also released a short EP to follow up the debut, with remixes of “Vassago” and “Meteores” which are slightly more fine tuned and vocally subdued versions than those that appear on “Visions.”  Two new tracks appear, the spooky darkwave trance of “L’enfant du Vent de la Guerre” and the frantic intensity of the title track “Apres Le Chaos.”  This particular track is quite evil, with angst-ridden vocals atop a swirling cacophony of breathless rhythmic noise and frigid atmosphere.

Ex Nihilo have a lot going on, and with a new CD in the works, I am very interested to see where this artist directs is misanthropic creativity.  If you are a fan of abrasive, experimental darkwave or Industrial, this project is definitely for you.

Track List:
1.) La Survie De L’espirit
2.) Chase
3.) Vassago (The Mighty Prince)
4.) Meteores
5.) Implosions
6.) Visions
7.) Embryon
8.) Phenicia
9.) Embryon (Big Bang Remix)

1.) Vassago 2
2.) Meteores (Rechute)
3.) L’enfant Du Vent De La Guerre
4.) Apres Le Chaos

C/o Laine Gebel
Grand Rue 5

Ex Nihilo - Official Site

~reviewed by Rev. Alexavier S. Strangerz 23.3

Sometimes having no pre-conceived notions of an event or a piece of music, gives it room to go where it needs to.  A simple breathing room that allows it to flow with an appropriate manner for both the artist, and for it's intended audience.  With all that said, let it be known I really want to rant about all the good merits of this release.  I really want to point all of the great tracks on this disk.  Like the opening track "Inside". Or maybe the way that track three and four work off of each other, "A Story Of..." & "Integrity".  Even the track "In Silence" is a total surprise, and I didn't even have to wait to replay the CD to make sure it was really that good.  It has a fantastic remix version towards the end of the disk.  So if you do manage to acquire this release, maybe you should forget about all this ranting.  Forget about my 5 star review, I don't want to get your expectations up.

Maybe you should first look very closely at the cover.  I know, I know, don't judge a book, CD, or even a date, by the cover.  Yet this one is very odd.  It could be any electro-industrial release rolled off from Cleopatra, or maybe even fresh from some German import label.  The packaging would leave so much to be desired, if it wasn't for the fact that it gave me no clue how cool this disk would be.  It had no indicators of the level of experience or emotion that is placed within its cold contrived packaging.

OK so how did my pick of the month fare against the 3 part PASS/FAIL test...

Test One:  Random Mode.  PASS

Placing this disk in a random of 5 other CD's actually helped to put some of my other CD's on the shelf for a bit.  I actually cheated, and placed another CD I was reviewing in with the random.  Check out my review of Thou Shall Not's self titled disk, to see how it faired.  Basically,  whenever Endanger came up on the random, it did a great job of sneaking into the ambiance,and then hammered in the fact that they were actually in the room with you.  I normally try not to say what other acts this one may sound like.  I mean how many deep voiced, emotionally charge, gothic-industrial acts will get compared to the fore-fathers, (Sisters,Bowie, Depeche, etc. )  Endanger may have been influenced by all of the above, but the sound reminds me more of a Camouflage feel. I.E. They may have listened close to some off shoot bands, and not directly to the "masters" right before going into the studio to make there own music. Maybe to not directly steal any phrases or notions right off of those they admire. Maybe they didn't want to subliminally steal a riff or two. Some might disagree, but I think there is enough original material here, and the Random test is hard to pass.  So on to the next test.

'Integrity needs emotion, without emotion there is no integrity." -Integrity

Test Two:  Phones Test.  PASS

Putting this stuff in your headphones, really puts you in their environment.  I tried it first on a plane, and got in trouble for bopping along, after they announced to stop using approved electronic equipment.  OOPS.  The next time while I was wandering about Chicago with very little sleep, and waiting for my friends at a coffee shop.  Excelente...  It kept up with the stream of caffeine addicts, colored hair gutter/glitter goths, and emergency vehicles passing by the window near the front entrance.  This CD should have been playing over the sound system,  too bad for everyone else.

"I feel the devil walks through me....." -In Silence

Test Three:  Travel Test. PASS

What can you do when the feeling of synchronicity is expanded by a great C.D..  Turn up and be careful what you tune out. Especially while crossing the street. Look at the other saps on the bus, and imagine what they are listening too.  Nothing as good as you.  Seriously though, this is a good one for that next road trip to see some
gothvergence or industrial-con.  Or even to a small show in your own town.  Put it in, and play it LOUD.  It won't be as bad for you as the noise when you get to the show.  Unless the show is not as good as this CD!

"You start to doubt in your ideals, in the isolated fields." -Tempture Me

3/3 Not bad for a first run CD put through the Rev. Strangerz PASS/FAIL test.  I might have to make these tougher.

Endanger is:
Rouven Walterowicz - Vocals & Composition
Marc Pollmann - Arrangement & Programming
Kai Holburg  - Support & Organization

under license from Hyberium/Hypnobeat by Dancing Ferret Discs, Inc.

"...and no eternity can take the pain away from me." - In Silence

Ritual & Dogma
~reviewed by Matthew

I was first exposed to Ennui by DJ Scary Lady Sarah about a year ago, where she was guest DJing at the Labyrinth in Detroit.  She played the track “Misery” which is quite frankly, in my opinion, one of the greatest darkwave/gothic club tracks I have ever heard.  The song is melancholic, reminiscent of Depeche Mode with its vocals and drum rhythms and perhaps The Last Dance in its emotional aura.  It is an incredible track that this artist’s debut CD “Ritual & Dogma” is worth checking out all its own.

I was more than pleased to discover then, with my darkwave AND ethereal influences and admirations, that the rest of the CD was quite eclectic and express a variety of different styles, approaches, moods, and talent.  This is part of a trilogy according to the artist, and this release marks a closure of sorts of older material that was composed previously to 1998.  Hopefully the trilogy will be completed and Ennui will continue along the promising paths he has started.

There are a few more dark electronic driven songs, such as the first concise track “Malachai Constant” and the experimental ambiance of “Glass Forest” which would make for good club play.  However, the majority of the rest of the disc is reliant upon ethereal folk Goth sources, pulling from such acts as Swans, Legendary Pink Dots, and Death In June as influences.  There are a lot of moments such as on “Miscommunication” that remind me of the lush and beautifully melancholic atmospheres of Soul Whirling Somewhere, mainly for the soft spoken vocals and minimalist somber backdrops.   This is also apparent in the track “Favorite Day” which opens with an eloquent grand piano intro and builds to an acoustic dirge with psychedelic processed vocals.

Besides “Misery” I feel the absolute masterpiece of this release is the track “Leaving,” which is a stark depiction of love growing sour and the choice to end a serious and lengthy relationship.  The frustration and anxiety is so agonizingly expressed in the opening lyrics,

“There is a reason that I am leaving/ Its lying right next to me/This place is a trap and the longer I stay/The more I’ll become a part of it.”

The vocal melodies, the strumming acoustic guitars, and the despair drenched viola set a bleak gothic folk tone that has only previously been established by this well by leading acts such as Sol Invictus, Death In June, and Sopor Aeternus.  The clinching knife in the heart of this track is the final few moments of the song as the viola continues atop the guitars, and a sample of the couple’s final argument is interwoven.   This song had me in tears, hating myself and hating my life. It hit very close to home and I just could hardly bare it. When a song such as “Leaving” is this powerful, it should not be ignored.

I cannot recommend this CD without the utmost sincere honesty, it is truly one of the best emotion fueled releases I have heard and there is a little something on here for ethereal enthusiasts as well as club DJs and darkwave fans.

Track List:
1.) I Hate You
2.) Malachai Constant
3.) Misery (noise mix)
4.) Misery
5.) Leaving
6.) Favorite Day
7.) Miscommunication
8.) Melt
9.) Blooming Sweetly
10.) Glass Forest
11.) Blind
12.) Gratitude
13.) Faith
14.) Ritual & Dogma
15.) I Never Loved You

All songs written and performed by Andreux

Ennui -- Official Site:

Ennui -- Mp3 Site:

Seraph Records
P.O. Box 13110
Chicago, Illinois 60613-3110

Electronic Voice Phenomenon
~reviewed by Wolf

At times like these I feel particularly privileged to be part of Starvox, for without it I might never have discovered the sound of an extremely talented band by the name of Electronic Voice Phenomenon. The band started out in 1996 as the instrumental project of 3 musicians, and the addition of a vocalist eventually resulted in what is now known as EVP. Their self-titled debut was released in 1999 on Nevermore Records and deserves all the publicity it can get.

The sound of EVP is first of all highly distinguishable by its vocals, courtesy of Steve Mccullars. His dramatic voice puts a stamp on each song and is at times not far from Dave Gahan's. Mostly I would describe his voice as being very "80's", meant in a favorable way. I've heard a few people say that his vocals are a bit overdone, but I can only hear honest emotion in them. Then there's the music, which not only fits Steve's singing perfectly, it also presents excellent compositions and production. The instruments are handled by David Martin (guitar and synth), Adam Germek (bass) and Patrick Parrish (synth/samples), all obviously skilled and very professional. The music has goth elements, as well as synthpop ones, but at times also leans towards a more loungy trip-hop sound. It's an effective mix of styles, but the emotion within the compositions is what truly sets EVP apart from many other bands.

Each of the 8 songs has its own distinct feel, but within each track changes also occur frequently. This keeps the compositions fresh and at times the shift from one segment to another comes as quite a surprise. Take for instance "Star Crushed", the cd's opening track: dark and eerie at first, but halfway through morphing into a loungy breakdown with Steve's vocals lazily repeated.

EVP also does the "melancholy synthpop" bit with conviction, especially on the dreamy "Sugar Knife" and the infinitely sad "Sometime Tonight". Their sound possesses the ability to recall the best of eighties pop, while avoiding the trap of sounding outdated and unoriginal. "My Only Girl" does sound a lot like Depeche Mode (Songs of Faith..., Ultra era), but this is easily forgiven when it's done with such conviction. EVP's influences show, but do not hinder the development of their own style.

My favorite song by far is "Beneath the Sky", which I even heard on a local radio station a few times this summer. The song opens with melancholy Cure-style guitars, but is suddenly given a jumpy breakbeat and accompanying bassline. Again, this makes for a very distinct sound.

I really tried to look for some negative points as well, but couldn't find anything wrong with this cd. "Star Crushed" could've done without the cheesy sample of a connecting modem in the beginning, but maybe that has to do with my personal dislike for that sound. And yes, the vocals can be quite dramatic, but there's good and bad dramatic, and I would definitely file Steve's under good. EVP is simply an incredibly capable band, rich in its sound and professional in its production. If they can manage to shape even more of a sound of their own on future releases, then there will be no stopping them.

1.  Star Crushed
2.  Sugar Knife
3.  My Only Girl
4.  Sometime Tonight
5.  Entertain Me
6.  Beneath the Sky
7.  Into the Sea
8.  Tear Effect

Band members:
Steve McCullars - vocals
Patrick Parrish - synth/samples/beats
Adam Germek : bass
David Martin : guitars/Gr30 Synth

Additional info:
Official site:
EVP on

A Journey Into Night Chasms
~reviewed by Matthew

Exorcism is the solo studio project of one Doug Schrecengost, a young and extremely talented musician from the Pittsburgh area.   The music is a solid blend of progressive death metal, epic black metal, and elements of
symphonic gothic metal.  All instruments are played and performed by this one musician alone who also happens to be only a freshman in college at the moment!

With all that aside, and mentioning it only as a reference, this is beyond impressive.  The production quality is one of the clearest and most professional I have ever really heard on a demo release, and it is obvious that a lot of time and effort was put into the overall presentation.

The music itself is very well orchestrated and a sign of an artist that pieces the numerous parts of a song together in an artistic and thoroughly organized way.  A sincere sign of musicianship can be heard by the complex feel changes produced by several key and tempo shifts. A sense of suspense is created as the songs begin and whip through varying riffs and rhythms to reach the first appearance of the raspy, trollish vocals.  This is best emulated on the EP’s center-piece and strongest song  “All Paths Lead To Naught.”

A lot of new artists appearing within the black metal genre try desperately to emulate their influences and sound complex or on the opposite end of the spectrum, melodic.  Exorcism, on the other hand, exhibit no signs of strain and seem to balance both atmosphere and progressive aggression quite comfortably by varying blast beats and rhythmic, galloping marches—all behind beautifully melodic or mischievously eerie guitars.

And yet another weakness that other black metal acts, both new artists and established masters of the scene, that Exorcism surpass are the lyrics.  You will not find cartoonish Viking references or exhausted Satanic,
anti-religious messages here; instead, the lyrics are both emotionally introspective and in many ways, intellectually spiritual, as in the track, “As One We Walk”:

“I have traveled afar yet have not reached the confines of this sphere/For boundless are its plains and limitless its sovereignty/Its atmosphere smothers all fever/Gasping in veneration, I fell awe-struck with marvel/And hear I lie, the winds sing to me with reverence.”

You just don’t see such depth in lyrics within the metal genre as thought provoking as this prior example.   And for that, I offer an eternal salute to this young man.

The only shortcomings I see with Exorcism are the vocals.  They are excellent, sickly harsh rasps that are ideal within the black metal genre and they are indeed very well done.  However, I think that they could have been overdubbed and ‘thickened’ when produced as they come across as rather thin against the dense backdrop of the music.  Also, I think more vocal variation is necessary.  The black metal vocals should not disappear and should still dominate the music, however, moderately weaving in spoken word and chanted gothic vocals would definitely help accentuate the intellect of the lyrics and the breathtaking atmosphere of the music.

Barring two minor criticisms, Exorcism could very well be a leading force in the East Coast black metal underground.   Another full-length release and some exposure and this act could go beyond the ‘confines of this sphere.’

Track List:
1.) A Journey Through Dreamlike Chasms
2.) All Paths Lead To Naught
3.) As One We Walk

Exorcism is:
Doug Schrecengost: percussion, guitars, vocals, bass and keyboards

Exorcism – Official Site:
Exorcism – Mp3 Site:

Faith & Disease
beneath the trees
~reviewed by Michael Otley

The well respected major independent label Projekt has again expanded their musical spectrum of artists by including the ever strengthening band Faith & Disease into their family.  F&D have been releasing material on small labels since 1992, building their underground following as they fine-tune their sound.  What started out as a band with much more emphasis on keyboards has continued to move away from that towards a more organic feel with each release.

For those unfamiliar with Faith & Disease, they tend to be considered ethereal, with especially stripped down live shows often bringing to mind the band Low when on stage.  Live recordings tend to incorporate more controlled percussion and fairly rich musical structures.  The media tend to focus on Dara's beautiful vocals, which are strong within the context of the somber music.

beneath the trees is Faith & Disease's most refined album to date.  The album opens with the a cappella "beneath these trees"; Dara's voice harmonizing with itself is simply sweet, but even more sweet is her voice on the track immediately following, "rubina verde", with the slow and gentle drag of guitars and bass with soft percussion.  Somehow "if i drink from this cup" feels like a follow-up song for Insularia's "Marie don't sleep in your make-up".  I love the flute on "this part of fortune lies", the entire CD is calming, especially that track.  Perhaps the catchiest track of the album is "shallow: two doors down" with a quietly syncopated high-hat.  The recording of the traditional "banks of the ohio" with mandolin and scratchy record sound add to the overall effect of the release.

The subtleties of the music, the hidden moments within the atmosphere, are what make Faith & Disease so interesting while being so calm and quiet.  I would recommend the CD to those who enjoy Low, Ida, and Mazzy Star.  Interestingly I had a flash of Joy Division while listening to one song from this album, but it wasn't the music or sound, but the incredible soul.

1.beneath these trees
2.rubina verde
3.if i drink from this cup
4.mayim-water is flowing see her in this light
6.this part of fortune lies
7.eventually again
8.shallow: two doors down
9.banks of the ohio
10.born and died on the 23rd

On This Recording, Faith & Disease were:
Dara Rosenwasser
Eric Cooley
Charlotte Sather
Barry Semple
and other guests

f&d sites:

projekt records:

Famine Machine
~reviewed by Matthew

From the Chicago area, comes Famine Machine.  An interesting and promising project that is frighteningly capable of creating claustrophobic and unnerving atmospheres by way of electronic ambiance and abysmal dirge-like Industrial. The opener “Not A Sacrifice” begins with a discordant and abrasive guitar effect that melds into a softer mood to introduce a lulling bass line and misanthropic vocals, only to sludge through with more guitar effects and strange looping electronics.  The second track, “Victim,” is incredibly morose and anguished, with dense, phasor treated guitars panning from speaker to speaker, and deep, murky vocals.