Monthly Archives: March 2003

Gary Numan “Hybrid”

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Filed under Reviews - Music

Gary Numan
“Hybrid”
(5/5)

 

 

 

 

 

 

 

Blasphemy!

Back in the days, I loathed Gary Numan. In the early 80′s, New Wave was not at all my style of predilection. To tell the truth, I was miles away from his music and kept at all costs my distance with that sound. Devo and Sigue Sigue Sputnik were also verboten. Access was denied: I needed darker and more brutal stuff. Time passed and I totally forgot about this underestimated genius of electronic music.

In 2000, Gary Numan was to force his way into my musical universe through a compilation. An extract from Pure made me fall in love with the “new & improved” Gary Numan. I might not be quite ready for his early albums just yet, but sure thing is I couldn’t get enough of that guitar / electro dark hybrid. Since then, every new releases is awaited with excitement and anticipation.

And Hybrid came out. This double-set is a collection of remixes covering Gary Numan’s 25-year career. Late 70s classics like “Cars”, “Are ‘Friends’ Electric?” and “Down In The Park” are sharing the same room as the newest hits of the 90s in complete harmony with the 3 brand new songs exclusive to this album! Don’t get it wrong, Hybrid is not a vulgar thrown-together hits collection re-repackaged with some goodies for a quick buck. This is a magistral tour-de-force, an authentic celebration of a synth hero, and one of the most insanely awesome remix collection I’ve ever heard of Gary Numan’s music! Even someone like me who turned a cold shoulder on his new wave years can only be in awe with the re-worked versions that now sound so modern, so “updated”, that being impressed and not becoming a fan is frankly inconceivable. If someone remains indifferent to Gary Numan after listening to this gem, then maybe that person should stick to elevator music and MTV crap. Better believe it, it’s THAT good!

The album opens up with “Hybrid,” a new song recorded and produced by Sulphur, which is made out of vocal samples taken form the latest Numan’s studio effort, Pure. Very electro-industrial, an excellent song that set the mood straight from the very start. The listener is immediately aware that Hybrid has high standards and will deliver the goods with vengeance.

“Dark” (originally on Exile) pursue the aggression started in the opening track. The presence of the additional distorted guitars (played by Rob Holliday) only reenforced the moodiness of that track. Another success.

“Crazier” is a brand new Gary Numan song. Hard, guitar-driven, and always melodic. The man still got it and shows us that he’s still able to rock our socks off.

“Bleed” (from Sacrifice) could have been remixed my KMFDM / Ministry in their most powerful moments and it wouldn’t have been better! Another impressive moody work by Sulphur.

“Torn” will remind to some Nine Inch Nails with its mix of dancey electronic armature and crunchy rhythm guitar lines. But only better! Powerful track reworked by Sulphur. The original version can be found on Pure.

“Down In The Park” is undescridible. Curve have pushed the emotions of that Replicas classic to a new height. The sadness and the despair have never been so palpable!

“Everyday I Die” might be the weakest remix of the lot, but still is a great one. The quality of the previous songs being set quite high, that track can only seems a bit low in comparaison. Maybe is it attribuable to its somehow lack of craziness and real innovation from Andy Gray (of 140dB)?

“Absolution” from Exile is without a doubt the song that will made your skin crawls with goosebumps. The angelic treatment of Gary Numan’s voice is absolutely breathtaking. That blend of melancholy / aggression is efficient to the maximum. Choirs, bell chimes, dark strings, crunchy guitars… a masterpiece! Andy Gray’s vengeance for his previous remix?

A neo-classical version of “Cars” closes down the first CD. Never that most well-known classic (from The Pleasure Principle) sounded this divinely great. If you don’t fall under the spell of Flood of 140db after hearing that masterstroke version, then you really need to have your medication checked!

The second CD offers us right away an unreleased track, “Ancients”, which is an absolute killer. Picture a crossover between The Cure and Fields Of The Nephilim. Atmospheric guitars, smooth vocals, synthesized strings… Darkwavers and Goths take notes!

“Dominion Days” (originally on Exile) pursue the feeling of the previous song. Sulphur has done another outstanding job with this one.

“A Prayer For The Unborn” (Pure) shares some affinities with Diary Of Dreams with its synth works. This Andy Gray’s version is quite good and admirable.

Alan Moulder’s re-work on “Me! I Disconnect From You” is fairly close to the original version that can be found on Replicas.

“Listen To My Voice” by Rico is a good one. This Pure song sounds just like a Chemical Brothers meets C-Tec! I personally liked it because it standed out.

“Rip” is rendered in a dark techno not too dissimilar to Nerve Filter (anyone remember that old Tom Shear pre-A23′s project?), Black Lung and such. Another Pure track reworked by Andy Gray with success, as long as you are open to this electronic genre.

“This Wreckage” (from Telekon) has somehow preserved his original new wave touch… Kind of reminds some recent Depeche Mode material though. This version comes from Mark Gemini Thwaite. Not bad at all.

“Are ‘Friends’ Electric?” is another Replicas one that has been touched by Andy Gray. Grainy, analog bass in the pure FLA tradition, could have been remixed by Rhys Fulber and we wouldn’t have seen the difference! A great one.

“M.E.” is reworked by Gary Numan himself. This classic song from The Pleasure Principle has been reactualized to fit his “new sound” and nobody will complain. Just perfect.

The CD leaves us with an additional version of “Down In The Park”. This one by Monti (from Sulphur) is a “noisier” version than the previous one done by Curve. The accent is more focused on the distorted guitars… which are excellent and close the album on a good note, leaving us gasping for more.

If this celebration of the genius of Gary Numan has some complains to receive is about his lack of a wider selection. I would have not disliked to hear some tracks like “Dead Heaven”, “Metal” or “We Take Mystery”, etc. A reworked / remix album covering a bit more his career would be absolutely fantastic. But I guess it would have called for a boxset instead of a 2-CD!

The major force of Hybrid is that it will surely attract a new fanbase to Gary Numan, and hopefully to Industrial, Gothic, EBM and Darkwave music.

The tracks on Hybrid are:
- CD 1 -
1. Hybrid
2. Dark
3. Crazier
4. Bleed
5. Torn
6. Down In The Park
7. Everyday I Die
8. Absolution
9. Cars

- CD 2 -
1. Ancients
2. Dominion Day
3. A Prayer For The Unborn
4. Me! I Disconnect From You
5. Listen To My Voice
6. Rip
7. This Wreckage
8. Are Friends Electric?
9. M.E.
10. Down In The Park

Review by;
theGrey

Mystral Tide “Whirlpool Of Souls”

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Filed under Reviews - Music

Mystral Tide
“Whirlpool Of Souls”
Release Year: 2001
(4/5)

 

 

Mystral Tide release their Whirlpool Of Souls, which is a brilliant mix of soundtrack elements, trancey beats and synths, pianos, and orchestral sounds that perfectly combine to create one of the finest Darkwave albums released in ages.

A piano intro kicks off the album. “Sinner” combines lush melodies, dark synth basslines and a slow driving beat that are reminescent of a fantasty film soundtrack.

“Isolation” kicks off with the EBM; evil sounding synths and basslines emerge with whispered samples and strings that create an atmosphere not unlike what dismantled do.

“Regression I” is an interesting, yet sorrowful piano melody over an intricate set of beats and synths that let the human soul release.

“Persevant” enters with samples of horses and some light vocal tracks until a hard rock beat comes in and it goes all EBM again.

Next up is “Distant,” which sounds more synth based in its sounds except for the spooky chanting and pianos that give way to a dark trance style sound, which builds up using textures and heavy sounding pads which create its mystic mood of uplifting darkness.

The next track, “Regression II,” completely changes the mood and goes for a more ambient chilled type sound with fuzzy guitars, which contrasts nicely with the darker type stuff.

“Force” goes back to the heavier, more soundtracky feel of the earlier songs but adds a more dark and apocalyptic element to it which eventually explodes to nothing.

“Regression III” is another piano piece, but a lot less dark and more uplifting and content with itself.

“Creation” has a very upbeat new-breed/trance sound to it which shows how intense Mystral Tide can be if they want to be.

The album ends with a return of dark ebm/coldwave crossover with guitars in the background–rather uplifting but still cold and dark at the same time. The B-side remixes are quite cool too; they change the atmosphere of the tracks to something different, like showing them in a different aspect or emotion.

This CD contains excellent composition all the way through. This is exactly the kind of thing there should be more of. The choirs and orchestral sounds remind me of that of Will or Yelworc, but more modernised. There are hardly any vocals and I’m rarely a fan of instrumental music, but the whole album works perfectly without them.

A very good and impressive underground release. Long live Mystral Tide and Zeitgeist Records.

Mystral Tide consists of : Michael Ivan.

The tracks on Whirlpool Of Souls are :
1. Abandoned
2. Lucid
3. Sinner
4. Isolation
5. Removed
6. Regression
7. Perservant
8. Distant
9. Regression II
10. Force
11. Regression III
12. Creation
13. Return
14. Stake (threat mix)
15. Distance (p.n. mix)

Review by;
Cyrax

Ice Ages “This Killing Emptiness”

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Filed under Reviews - Music

Ice Ages
“This Killing Emptiness”
(4/5)
(2000)

 

 

 

In contrast to the classical atmosphere of DVKE (DIE VERBANNTEN KINDER EVAS) or the medieval fantasy world of Summoning, the austrian Richard Lederer has deployed the heavy artillery with his second Ice Ages album, This Killing Emptiness. This side-project created in 1994 is what I would consider a quite successful cross-over between Gothic and Industrial music. Dark, moody, gloomy, threatening … This album was and still is a revelation to me. This Killing Emptiness, without any exageration, opens the path to a more aggressive genre of Cyber-Goth. Welcome to a new icy age of darkness!

The album starts like almost every Goth albums you’ve heard: mid-paced panned minor melody with a slow dark background chord progression. And then the heavily rhythmic percussions kicks your teeth in! Loud, noisy, factory-like. “Far Gone Light” has begun. The strong reverb applied to Richard Lederer’s deep voice wins you right away to This Killing Emptiness. You’ve gotta love those from-beyond-the-grave vocals.

“Lifeless Sentiment” synth works is reminding Diary Of Dreams’ One Of 18 Angels / Assemblage 23′s Failure with its melancholy… and its unique touch of aggressiveness present in the thunder-like booming drum beat and distorted synth melody.

“The Fiend” is a auto-pan synth fiesta. Once again, the drums are hammering hard. This time, Richard’s signing is far more aggressive. Another excellent song.

“I Come For You” shifts the mood a bit with its intro of organic pads… until the hellish drumming starts! And then suddenly dies down to reveal a momentaly slow song.

Ah, the title track! “This Killing Emptiness” presents itself like a classic Goth track. The church organ phrases and the minor key arrangements put an incredible emphasis on Lederer’s desperate and anguished vocals! An outstanding song on all levels.

“Heartbeat”‘s poor production and mixing annihilate this track. The vocals are way to low for proper intelligibility and the instrumentation’s volume level is excessively too high for being any pleasant. Too bad, this song had some potential, though not breathtaking.

“The Last Time” is the fastest and the noisiest song on the album. And it’s not necessarly a compliment. Still, the production on this one is saddeningly bad. One can wonder is any compression has been applied at all. The vocals distort in an unpleasant way while the singer screams some of his lyrics.

“Shades Of Former Light” hopefully brings things back on the right track. The production is now acceptable on this classic aggro Goth song, as well as on the subsequent tracks. Nothing much to complaint or to rave about up to this point. The remaining songs are rather good but nothing to justify further comments.

Ice Ages, nonstanding its production flaws, remains an rather promising project that leaves you gasping for more. I wouldn’t hesitate to recommend This Killing Emptiness to the fans of dark music, being as it is an interesting hybrid product of Gothic and Industrial sonorities. One question arise though, is Ice Ages the instigator of a new breed of Cyber-Goth? I do sincerly hope that Richard Lederer’s efforts with This Killing Emptiness will be an incitative to push the eveloppe even further.

Now if you excuse me, I’ve got some dancing in the graveyard to do!

Ice Ages consists of : Richard Lederer (vocals, synthesizers and sound programming. Lyrics by Grigorii Petrenko & Richard Lederer).

The tracks on This Killing Emptiness are:
1. A Far Gone Light
2. Lifeless Sentiments
3. The Fiend
4. I Come For You
5. This Killing Emptiness
6. Heartbeat
7. The Last Time
8. Shades Of Former Light
9. The Denial
10. Lost In Daze

Review by;
theGrey