This is a busy year for the delivish industrial fellows of Eggvn. They performed this year at Wave Gotik Treffen, plus more auspiciously, have a new album out.

We here at Onyx, have been given a taste of 7 sinful tracks to whett your appetite from the band that comes from Hell with their album, Solve et Coagula.

“Fear” is the second track to start us off. We have the driving industrial beats with the tortured vocals, screaming at us to fear. The keyboard in this almost delicately writhes through the stabbing rhythm.

And then like the demonically possessed beings they are, we are served “The Seven Words”. Darkness and the creation within this world of that which lures you towards the fate of all sinners and Eggvn want to take you there. What are the seven words? You might just have to listen….

Just as darkness likes to consume the light and evil tries to usurp goodness, those with perverted desires seek to own the souls of the innocent, therein destroying their “Purity”. This is also track number seven.

“Dead Inside Me” is a heavier number and the anger is almost palpable. The hate, the fear and the loathing that lurks within the human psyche.

Listening to strains of “Let The Sun Shine In” are terrifying before Eggvn let loose. Have a feeling they want us to let the devil in… just a feeling as it is punctuated/shouted in track number 10, “Let The Devil Shine”

Eggvn

The translation of the twelfth and title track from Latin literally is “Loose and Curdle”. The satanic is strong in this one as possession continues in “Solve At Coagula”. No amount of holy water will clean away the dirty vocals and the building urgency.

“Mantis” starts with a rather famous sample, then flies into that high energy beat. This track really benefits from the vocals which push the song into another category of “Oh yeah!”. Something rather catchy about “Mantis” as the unlucky track 13 and dead last in the album.

For my money, “Mantis” is the killer track from what I have heard and contains many of the great qualities of a anthem industrial number.

All in all an interesting selection of tracks….. 7 being the number of deadly sins. If you like fast tempo, heavy industrial that you can bounce around to, then this could be just what you are looking for.

Facebook: https://www.facebook.com/eggvnofficial

Youtube: https://www.youtube.com/c/eggvnofficial

Instagram: https://www.instagram.com/eggvnofficial

Sci-Fi Society is the latest release from German act Dedalos, whose home town is Saarlouis.

Rev up the synth as we start with the title track,“Sci-Fi Society”. This transcendental piece is techno inspired with piano interludes and electronic graduations. it really does have an ultra modern feel to it and could be set to a futuristic utopia.

“Eyes” is quiet frankly very creepy. A dead beat with a deep voice droning over the top about ‘beautiful eyes’ as you listen to the lament of this disturbing fellow. An expression of love or a regret of what never was?

Grim electronic tones bring in “Darkness”. This is a sombre synth piece with generous swells in tone and texture as it builds a soundscape. Then best I can describe it is like being in a car at night. It is dark and yet you see the flashes of light from the street lights and other vehicles illuminating you unexpectedly.

Dedalos is more of a spoken word artist, over the music like a modern-day beat poet. “We Are Ice” is about holding onto your humanity, that we need to feel and not becoming frozen inside.

dedalos2
Dedalos

“Parted” sounds grandiose and yes, a little sad and retrospective. The feeling something has been lost and the search goes on to find whatever it is, emotions or people. This guides you on your journey.

“Dedalos x ElektroTerapi” isn’t the name of the song but I am not familiar with the Russian cyrillic. ElektroTerapi is a singer and she lends her vocals to this number in Russian. Woohoo, I understood the word Vodka! This song goes through burst of energy and quiet moments with the building emotions. She has a sweet voice.

This is another synth piece called “Desire” with again no vocal intervention, as it builds your anticipation and you feel the joy the musician does for the music itself, Next the keyboard leads you to “Water” where you feel the music pulling you under, as it ebbs and flows

“Dance At Midnight” is a return to the techno beat and I almost think I am listening to Swedish electronic aficionados, Covenant. A nice constant wubbing beat with a good amount of programming.

The final number is “Lifetime” and this is the longest track on the album, coming in at 8 minutes flat. It is reflective and soft and yet shimmers in it’s own way. There is a play with discordant tones which in no way detracts from the sound of the piece.

This is very much really an instrumental album with a few vocals added to bring balance and interest. Dedalos obviously enjoys music that not only moves him but makes him move. Dance beats are never far away from many of these but they are far more ambient than hard-core techno. If I had to say anything at all about this album, it would be that this is like a journey, where you are being taken through the emotions that connect us as living beings.

https://www.facebook.com/dedalosofficial/

https://dedalosmusic.bandcamp.com/album/sci-fi-society?fbclid=IwAR2jAryFgeUOadovRVFkNzSwgpjYTIM9cl5S5S2brWT0zt3o1jRh1orTDfw

https://www.instagram.com/dedalos_music/

The Odyssey is a grandiose tale by the Greek writer Homer but it is also an album devised by far more modern Greeks, whom are no lest dedicated to the art of story telling in the form of Dark Awake, while Regard Extreme is the French connection in this collaboration.

So we are onwards “Towards A Long Journey” and it is slow and steady with each classical instrument getting it’s fair turn. This flows like deep water and oozes ancient charm of the mediterranean as our hero Odysseus leaves the Trojan Wars to head home to his kingdom.

“Polyphemus (A Trick Against The Cyclops)” has a gorgeous string ensemble which breaks in and out with horned instruments. You even get to hear the cyclops as the music goes from light and laid back to more intimidating, building. His enraged yells as he has been blinded in his one eye, calling on his father, Poseidon.

And so we enter the “The Land Of Laistrygones”, the seriousness is expressed which the deep menacing tones of this dirge as Odysseus and his fleet land on an island, only to find man-eating giants who hurl boulders at the unsuspecting fleet, sinking all ships bar one.

Odysseus must make the trip to see the dead and blind Theban, “Teiresias (Prophet In The Underworld)”, seeking advice. The music reflects the other worldliness and the unnatural, as the living invade the realm of the dead. This is far more electronic but suits well.

Whilst on the way back Odysseus and his men, land on an island belonging to “Circe (Metamorphosis)” who is a goddess of magic and a nymph as well as a daughter of Helios the Sun God. She turns all the crew into swine and Odysseus promises to live there for a years if she reverts the spell, which she does. The strings are hesitant and the heaviness is palpable and a single female soprano can be heard. Circe has gotten what she desired.

ody 2

The most famous part of The Odyssey is of course “The Sirens (Fascinating Song)”. Their song lures the unwary sailor onto the rocks so that all hands may drown, consumed by the sea. A lilting female vocal rises and falls like the sea swells, enchanting and mesmerizing with such clarity backed by a piano played discordantly, a foreshadowing that not is all as it seems.

A single violin and chatter herald in what sounds like giant horns announcing battle. Travelling within a confine with enemies on both sides, waiting for something to happen. “Scylla and Charybdis” literally means to have to choose between two evils. A strait of water they must travel has Scylla on one side and Charybdis on the other. Two monstrous females that consume all that come past them. Scylla with her giant toothy jaws in 6 heads or Charybdis whom acts like a whirlpool sucking all within.

Soon our adventurers make their way to “The Island Of The Sun God (Helios)” where everything is fairly nice, the beautiful Helios has a chariot to draw the sun across the sky and he has a herd of immortal cows. The music is light with female singers giving pleasant intonations. This seems a sweet reprieve from the ominous pieces previously. One dead, blind Theban seer had warned them not to eat the cattle of Helios but no, the daft crew just had to eat them, enraging Helios into asking Zeus to take vengeance.

The sounds of water dripping within a cave. “Ogygia (Calypso’s Island)” is Odysseus’ next landing alone. Here he is met by the nymph, Calypso who has fallen in love with Odysseus and wishes to marry him. He refuses and holds him there for 7 years until Zeus intervenes, then she gives him a boat supplied with food and wine. The music wends its way, wary and building and reprising like an argument but constantly writhing seeking resolve. Then it becomes stark and grey with the voice of a goddess. Is this Calypso asking to be loved? Synths make this slightly deranged feeling that lingers.

Telemachus was Odysseus’ son and his education had been left to the wise old Mentor. “Mentor (A Message From A Goddess)” is about Athena taking the guise of Mentor to instruct Telemachus to go find his father before his mother remarried. It is etherial, light and unearthly as the visitation of Athena should be. Whispers and vocal exclamations heighten this sensation of light.

Ody 1

“Ithaca (Return Of The King)” is fair self-explanatory. An unrecognizable Odysseus participates in a show of strength and then kills all the suitors. After convincing his wife it really is the King, all is set to right. Dark and brooding with almost industrial banging, maybe the impending death knell. Though it doesn’t sound like the happiest of returns but then slaughtering all your enemies is like that.

This is indeed a music interpretation of the Odyssey. Musical visualizations of important pieces of this two and a half thousand-year old poem. It is evocative and poignant. If you love neo-classical music or have a great love of the Homeric poem, then I highly suggest you check this out. They say beware of Greeks bearing gifts but in this case it’s a good one!

 

https://darkawake.bandcamp.com/album/the-odyssey?fbclid=IwAR1TCMTiY9MWU5UCD7GJ6Bkv46JDjPZDRbgktSrhz5gRiT4t4A5i7NnnuQM

https://www.facebook.com/pages/DARK-AWAKE/189786207738223

https://www.facebook.com/regardextreme/

Sometimes gothic bands try to sound far too much like previous bands because that is considered “goth”, however originally it was born out of the counter-culture of the punks and therefore extremely experimental. In some ways we have lost this genuine expression to be different and sound different.

From Chile hails the duo Humanfobia with their highly experimental style on the album Bailo con mis Pesadillas with 15 tracks in all. Mist Spectra is the female vocal while Sábila Orbe is the programmer and male vocals.

“Fantasma en la Carretera (Dance Version)” starts this off….it’s not so much dance as a hypnotic beat with Mist Spectra cooing to you. No idea what she is saying as my Spanish is non-existent and yet language has never been a barrier with music.

As is much of this album, “Adios Mundo Cruel (Cancion para Suicidarse)” is off kilter and uneasy. Haunting could be the word as they say goodbye cruel world.

Sequenced drums and bleeps gives us the feeling we aren’t quite in a chanting raising of the dead, not yet anyways on the title track “Bailo con mis Pesadillas”.

The beginning of “Vacio Hermetico” makes you think you are about to get a dance track but no and that beat recurs and grows becoming less friendly. A nightmare revisiting and maybe a portent.

Ever have a song make you think of whales? “Arboles Deshojados” sounds like the song of humpback whales, that beautiful calling out while a tape runs backwards, or so it seems.

humanfobia2
Sábila Orbe and Mist Spectra

The unnatural creaks like Diamanda Galas are reminisent in “Calles Lobregas” while “Colapso Dimensional II” is a little more etheral but still with that air of uneasiness as the tempo is always in flux.

“Mareo Lugubre” is atmospheric with its computer enhanced vocals. Orbe lends his growling vocals to “Sombre Nigromante” until we land in the “Mausoleum of Ruins” with the eerie female vocals of Spectra and electronica that warbles in and out and a pervasive fuzzy tone.

One of the longer numbers is “Chant from the Grave (with Wertredgreen)” which makes me think of Twin Peaks, with that feel that things are going backwards rather than forwards.

“Buried By Mistake” at just over a minute long is an interlude to the next song “Catalepsy”. Does this mean catatonic death like state after an epileptic fit? In fact this really was a thing and some poor suffers were put into the ground alive. This fits in to the whole buried by mistake.

We revisit “Arboles Deshojados (Atmospheric Version)” and just when you ask how could it get much more atmospheric, it sounds like we are in a pea soup fog with extra shadows thank you.

Aaaaaand lastly for all you that absolutely love the whole death and spectral show, there is a 30 second EVP done at San Fernando cemetary. If you dare, what will you hear???

Those who remember Diamanda Galas, will see much in common with Humanfobia. Theatrical and highly avant-garde though more spooky and haunted than Galas who was far more like a full on demonic ritual gone very wrong (or very right depending on your stance). Mist Spectra is far more mellow and laid back.

This is most definitely mood music and won’t be something you hear on the dance floor. It is quirky and atmospheric and will more than likely scare your normal friends but then that’s half the fun. Ghostly haunting, buried alive, the unmentionable things that inhabit the graveyard and then there is Humanfobia with Bailo con mis Pesadillas which literally means I Dance With My Nightmares.

This album is for free download on their Bandcamp site.

bandcamp: humanfobia-official.bandcamp.com
hearthis: hearthis.at/humanfobia/
facebook: www.facebook.com/humanfobia/

From the Ukraine, hails the band Mirratal. Since 2013, these guys have been honing their skills by releasing singles and E.P’s but now have unleased their debut album, “Castaway”. These natives of Kyiv describe their style as progressive symphonic metal.

“Abyss Of Lunacy” begins with an actual real cello playing which is really nice to hear instead of the normal computer generated classical instruments which can be very prevalent in this genre of music. The frentic cello is the intro of a band about to give us a really big sound and then the blast beats of the drum kick in. This is a powerful first song with nice harmonizing and a good use of creepy whispering as well as play off solo’s of guitar and synth. They even managed to fit in a choir behind. This has started well.

Then next song has a hail of guitar before the synths break through. The lead, Igor Roshenets doesn’t sound like Vile Valo but something is the way he sings makes me think of him. Maybe it is the passion he sings “Poison” and other songs. I really like the slightly middle eastern sound they incorporate into this and yet there is much wailing guitar.

With the title “Timeless Sea”, you expect a more sedate piece, an oboe wistfully plays and some fellow is talking about psychology…… and then…. it goes full bore. No taking it easy for these guys. This is pretty deep talking about multiverses and time beyond us all that is the endless journey to this timeless sea.

Duelling synths and guitar of Andrii Pavlenko and Sergii Stygar respectively, mark the beginning of “Distinguished Phrases”. Then Roshenets wastes no time launching himself right into the middle of the maelstrom. A song about depression brought on by the cruel words of others. This goes though lulls and then frenetic neck breaking speeds.

No fooling me this time with a nice sedate piano and violin. You know that isn’t going to last and true to form “Mystery” takes off but it is very pretty in some ways. The harmonies and the poetic lyrics though no less metal. The charged piano playing is quite delightful.

MIRRATAL

Number six has a lovely intro of classical proportions and joins with a nice clear guitar. “Find Your Name” is a duet with female singer, Kateryna Kapshuk (Scarlet) . It is one of those pieces that builds and builds apon itself, with layers of music, instruments and vocals.

Next is “Run” which evokes all sorts of ideals. Monastic choral singing with bells tolling with a provincial French over tone… getting a ‘In The Name Of The Rose’ vibe. This is a slower power number with doomsday is nigh connotations.

And so we come to the title track. They have blown me away already with the electronic beginning changing it all up. Clearly these guys like to be constantly giving themselves a challenge but by using different techniques even within the one song. This goes from power and questioning to ambient and peaceful. Of course this doesn’t last, so bring on the metal choir!

Ever feel like you are going insane but unable to tell anyone? Then you will understand “Sounds” perfectly. Was it the loss of something or someone? Love, love, love the sound of a harpsicord and it is used to blinding effect to help create that disquiet, uneasy tension. I somewhat wonder if this song is what it would be like inside the head of one Captain Jack Sparrow.

BONUS TIME!!! and last number on this album is called “The Wind”. Fabulous percussion with again that wonderful use of orchestration. This shows a great appreciation for the art of music and an ability to incorporate real symphonic instruments with metal and bring a purely instrumental piece to life.

For fans of good drumming which Sergii Ivanov delivers in spades (that guy must be so tired after shows because I felt exhausted just listening to the blast beats he was putting out} or those that really like great guitar solos or thoughtfully crafted music with a very classical grounding, then this is for you. The vocals are strong and soaring for those that want that revelling high.

This album has obviously had a lot of thought put into it by Mirratal as well as passion. This is one of the better symphonic releases in a while and I urge you to check out “Castaway”.

iTunes: https://apple.co/2RxD4aj

Spotify: https://spoti.fi/2Be6kgQ

Google Music: http://bit.ly/2WD4ejv

Youtube Music: http://bit.ly/2DQDWDd

Deezer: http://bit.ly/2UEGYA9

CDbaby: http://bit.ly/2SkZxvt

Soundcloud: http://bit.ly/2BjnLN3

 

Xentrifuge are an aggro-tech/industrial band from the US, a duo in the form of Chris X and Lisa Hellen, who might we say are on the up and up.

Their debut album is out on Cleopatra Records called Desensitized Parallels which many of their fans have been waiting for with eager anticipation after the release last year of the single, “Circles of Dust”.

xentrifuge 2

Chris X and Lisa Hellen – XENTRIFUGE

“Irra” kicks this off with an almost slow ambient beat, for an industrial group, as it serpentines it way along with the electronic whispers. This is just to whet the appetite so to speak.

Now the pulsating “A Summoning” takes the stage and it has that dark guilty pleasure of beats and synthesisers duelling with each other. This definitely will be summoning the industrial/goths.

Industrial music is known for being cold and dominating and there is “Winter Machine”. Hellen’s keyboard winds through this piece as the sequencers keep up their eternal beat.

The hopelessness of the cyber age, of lies and deception seem to be a theme and this is most definitely felt in “Encrypted in Visions”. Chris X snarls, ‘We sift through debris born of lies, in this place of deceit’.

“Fated” just rolls like the surf, crashing in then pulling back before crashing in again with sound. That use of sound control is very appealing and builds you up before dropping you in those waves.

Have a funny feeling “Unknown Divine” is about religion. Is this belief real or something contrived and self-delusion? Not unusual to question this especially in the electronic age, an age where even people put themselves up to be worshipped on social media. It’s a good steady number.

The 8th track seems to be a play on words. “N.M.E” or enemy, they will take on those whose existence offends the dark and be the avenging cyber angel of dark doom as they vanquish their doubting foe.

The single, “Circles of Dust” is apocalyptic and nihilistic and most certainly a number fans would be moshing to with great abandon. This is raw industrial cool and yet the band has not relied on a booming back beat, as it is almost inferred which is really amazing.

Last song is the title track, with its intricate beats and strained synth sounds creating a vision of discord and ultimate futility as it wraps up the album.

Xentrifuge really seem to like playing not only with the variation the rhythms but also whilst doing so, creating spaces within. Lulls that then suddenly project you forward. You can hear the echo’s of influences such as Front 242 and Nitzer Ebb but in a modern vision of the post apocalyptic cyber age.

These guys are on Bandcamp so check them out and if this is your thing, then please support them.

https://xentrifuge.bandcamp.com/album/desensitized-parallels?fbclid=IwAR1NxShTwFUIMXuqZL4W8B0FxftO1nEN09bfDzorZ48tl3T-91NsvVZkGss