Tag: Electronic Rock

MANIPULANT – Single Review: “What Good Are the Stars?”

On By EclecticMusicLoverIn Reviews6 Comments

Manipulant WGATS art

Lancaster, Pennsylvania-based artist Manipulant (aka David Speakman) is an imaginative and intensely creative multi-instrumentalist/composer of electronic music that he refers to as “scientific sound spaces.” He’s also prolific. In 2016, he released his debut album Méthode de Narration, and followed up a year later with the superb Eclectro, which I reviewed and you can read here.  He released a five-track EP Perspective earlier this year, and on July 4th, he dropped his latest work, an EP of sorts with the single “What Good Are the Stars?” as the main track, plus three remixes.

“What Good Are the Stars?” is mysterious and sublime, with a glittery soundscape of swirling synths that seem to float above the subtle bassline. A gentle hypnotic drumbeat  keeps the languid pace, and a delicate but haunting repeating piano riff adds a sense of unease to the mesmerizing track. Manipulant’s smooth, echoed vocals have an otherworldly feel as he sings the lyrics that question his inability to be with a loved one:

What good are the stars?
What good is the sky?
What good is the moon?
What use are these eyes if they can’t see you?

What good are the clouds?
What good is the rain?
If it’s not allowed to wash away pain
What good are the stars?
When they don’t know where you are?

What good are the clouds?
What good is the rain?
If it’s not allowed to wash away pain
What good are the stars?

Next up is the “Beltism Burnt Umber Mix,” which opens with an echoed and grainy background beat overlying the same hypnotic drumbeat and piano riff as in the main track. The synths are not as pronounced on this mix, though they’re a bit more psychedelic, and the bass is somewhat deeper. Nevertheless, this remix is still haunting and mesmerizing.

Each track seamlessly transitions into the next, and the third one is “Alternative Vocal Mix featuring Jennifer Doll.” It’s essentially the synth-heavy main track with added vocals by guest artist Jennifer Doll. Her soft, ethereal vocals take a starring role, harmonizing beautifully with Manipulant’s faintly audible background vocals. The final track is “Anisotropic Mix,” a trippier, bass-heavy remix with eerie-sounding synths that impart an almost sci-fi vibe. All four tracks are pretty terrific.

https://submarinebroadcastingco.bandcamp.com/album/what-good-are-the-stars

To learn more about Manipulant, check out his Website
Connect with him on: Facebook / Twitter / Instagram
Stream:  Spotify / Soundcloud
Purchase on: iTunes / Bandcamp

Interview with UK Musician David Oakes

On By EclecticMusicLoverIn Artist Spotlight3 Comments

David Oakes

David Oakes is a fine (he hates when I say ‘talented’) musician and composer of electronic alternative rock music based in Wales, UK. In the early 2000’s, he was drummer with the British rock band Kotow, and since 2012 he’s produced a tremendous output of instrumental music as a solo artist, ranging from gentle synth-driven compositions to aggressive guitar-driven hard rock, and everything in between. In early May, he released his latest album TheMENACE, which I reviewed and you can read here. It’s a brilliant work that’s actually a double album, with the first containing 11 tracks, most with vocals, and the second being an instrumental-only version, plus two bonus tracks not found on the first.

I recently had a chat with David about his music background, influences and creative process.

1. Hello David. Thank you for wanting to talk with me about your music. You and I have spoken a bit in the past about your background, but for the sake of our readers, let’s touch on that again. You now live in Wales, but were born in England, then spent part of your childhood and early teen years in the Middle East. Living in Dubai must have been interesting, or at least an unusual experience I would think. What positive or negative things did you come away with?

Yes! I moved there when I was two so obviously I don’t remember relocating there. I remember a couple of the houses we lived in – mostly the 3rd one which is very strong in my memory. I can recall it in detail. We lived very near the sea and would go camping in the desert at the weekend. I had a little 50cc PW50 motorcycle that I drove everywhere :). It took me a very very long time to get over moving to the UK.

2.  Why is that?

Hot 365 and living by the beach, etc. to … Wales… Camping in the desert at the weekend, dune bashing to … oh, nothing.

3. At what age did you start playing guitar, or other instruments? I remember you saying you attended a music institute in England after you moved back there with your family. What did you study there?

We had an electric piano in the house from around 1988 and I taught myself stuff on that. Eventually I got my own keyboard and I was off. I played it every day and wrote my own albums onto cassettes. I don’t have any of them anymore. They wouldn’t have sounded very professional. I even bought card from the newsagent and printed out artwork onto them and chopped them into cassette sleeve size. You can see the lineage all the way back . The only difference to what I do now is I don’t print out my own artwork. Everything else is the same – the tech has just improved. I went to ACM (Academy of Contemporary Music) in Guildford in 2009 for 3 years to study guitar and music theory. I passed all my exams but I never attempted my dissertation so I never got the qualification.

4. You formed a rock band called Kotow with your brother and another friend, and released a pretty decent album “Demise of the Monsters.” How or why did you guys choose that band name, and how long was Kotow an active band? 

Rich wanted a Japanese name and so looked in a Japanese dictionary and found “Kotow” meaning to bow or acquiesce… We all liked the name. We formed around February 2002, whilst I was going back and forth to the city (Cardiff) to study music production on a “New Deal” course under the Labour Gov which lasted from 1997 until around 2004. Anyway – since Dad had re-married – they moved out of the house and the whole band lived in our big farmhouse so we could write and rehearse all day every day. After moving to the London area in 2004 or so, we realised that nobody really cared and got fed up with it and we split in 2006. 

5. I believe you played drums for Kotow. Tell me about your experiences playing in a band – both good and bad if you care to go there. Why did the band eventually split up?

You know me, I have no ego but I did believe we were the best band in south Wales. When we moved to London, nobody gave us the time of day and we all got tired of it. Plus I wasn’t happy with the direction our music was taking. My main thing was to write catchy riffs in odd time signatures and do my best to come up with complimentary drum parts. I’d get annoyed if I couldn’t play for the song and could only think of something ordinary. We liked being unconventional. We lost two guitarists for one reason or another and we got a new guy who was great, but he and Rich wanted us to sound more like the tech bands at the time and I really wanted to stick to our original ethos of being unlike anyone else. Oh well.

6. You obviously wanted to continue making music after Kotow ended. I know some of your favourite bands are Dream Theater, Mastodon, Green Day and Metallica, so am guessing your sound is greatly influenced by their music? 

I expect so. Not directly or deliberately. I just write music and what comes out, comes out. Exactly the same process as Kotow. I like making albums of different genres and styles since I listen to a lot of different genres and styles. I couldn’t imagine being in one of those metal bands who sound exactly like everyone else and only listen to that music. Boring.

7. When did you record your first solo album?

“The Juggernaut” in 2012. It was originally supposed to be the follow up to “Demise Of The Monsters” and Rich would play bass and sing and I’d produce since he’d done almost all the work on DOTM. I merely played guitar on that album. Since I’d never attempted a “proper” professional sounding album before and had only limited experience with Logic – I worked on it every day for about 6 – 8 months. I still enjoy it to this day but I think I’ve done better and I learn something new with each album I do.

8. You’ve been fairly prolific, recording and releasing quite a few albums and compilations over the past few years, several of which I’ve purchased. What inspires you to create a new album with a specific theme and sound?

I don’t like to create the same album twice in a row…So if I do a hard rock album I definitely won’t do one again as it kinda wears me out when working on an album. “Transmissions” was songs I wrote when I was learning guitar and some of those songs had been fully formed in my head for many many years until I could finally record them properly. “Transmission Part 1 & 2” was completely written and I had it all worked out in my head and even recorded a version of it way back in 1997 or so on my Dad’s 2-track reel-to-reel machine.

Every time I start an album I have to come up with something great first. That’s the springboard. If I like an idea – that’ll be the blueprint for the album. I could never just write 8 -10 random songs and that’ll do. None of my albums are fully fledged concept albums but I try to imagine they are. . . As I’ve said in the past – I like albums to sound/feel like *albums* and not just Here’s 10 tracks I wrote in any order…

Even if the idea doesn’t end up lasting the whole album – the initial idea is usually enough impetus. With “Strum Und Drang” I’d been listening to the 21st Anniversary of Leftfield’s “Leftism” pretty much on repeat and wanted to do something inspired by that. I pretty much listened to nothing but Leftfield’s three albums for the summer of 2017 and wrote at the same time. “The Menace” seemed to be the next logical step.

9. Your latest effort “The Menace” is one of your finest. Some of your previous works contained a few dark tracks, but most of the songs were more melodic, almost orchestral rock like that of Dream Theater. Also, for the first time you added lyrics and vocals. You told me it’s a loose concept album, and that you kept the lyrics intentionally vague, but what was your inspiration behind “The Menace” and it’s dark theme? Also, what made you decide to add a vocal component?

Thank You. I had so much fun making “Sturm Und Drang” that I wanted to do another in that style but – as I said at the time – I wanted it “tougher and harder sounding.“ One of the few times that the album has pretty much turned out exactly how I envisioned from the beginning. Once I had “ The Slammer “ – I knew I was onto something. Loose concept album in that…I didn’t intentionally write lyrics to mean anything – I just had my microphone there – played the track and improvised some stuff until I found something I liked.

After a while I realised all the improvs could be about a few things. Notably the “MeToo” movement, #45… all of these things that were going on in the news at the time. Completely subconsciously. Only the final two tracks “Finale Part I and II” I wrote to tie up this theme. All other lyrics are improvised. And yeah I kept it intentionally vague as I’ve never wanted to align myself with any party or politics or anything and I was not a fan of Kotow’s Anti-President Bush EP. I never wanted to be a political band – one of the other factors that led to our break up. As for vocals – people kept pestering me to include them and I thought if I do it, I’m gonna distort the crap out of them… Which I did on “The Slammer”. But as the album went on, I got more confident and I turned the distortion further and further down. I think I’ll do vocals again should I do another album at some point… Probably same style too.

10.  Besides my glowing review, what has been the response to The Menace?

Thank you! Well – same as ever. A few RTs from music accounts and a few more people saying they like it but nothing amazing really. About the same as it was for “Sturm Und Drang” or “The Dawn And The Dusk.” *shrug*

11. That leads me to the next question. You and I have shared our own frustrations over the lack of support from a majority of our so-called ‘followers’ on social media, who rarely if ever engage with our tweets, postings, etc. But in today’s music industry, an artist or band (or just about any other creative person) is all but forced to use social media to get people to learn about their music, unless they’re willing or able to hire an expensive publicist. Any thoughts about this?

Interesting subject since my degree course dissertation was basically gonna be all about this. “Do we need big recording studios now that people are making pro albums in their bedrooms“ etc etc… I THINK that the Internet has ruined a lot of music. Shops are closing because people are buying everything online, and it’s so hard to stand out when everyone and their dog has a band and a Bandcamp and a Soundcloud. It’s like whispering in a hurricane… And I’m not smart enough to think of some cool promo gimmick. And whenever I think I have something, it never works so…

12. Do you have any plans for a future album, or will you take a long break?

Ya know it speaks for itself – when I was putting out albums every month that I’d recorded in a week – the quality was dipping. You know how I feel about “Imaginary film soundtrack .“ I was so disappointed with it, I actually paid to have it taken down. I know I rushed it and it shows. I still cannot listen to it. Starting with “Juggernaut III” and then continuing with “Sturm Und Drang” and now “The Menace,” I’ve taken my time to craft an album over many months. Take a break..come back…listen to it….fix/adjust anything…etc. And as a result, those three albums I mentioned have a little extra going for them. I’m actually a huge fan of “The Dawn & The Dusk”. Its one of my favourite things I’ve done. And I seem to remember taking my time with that one too so… “The Menace” is still very fresh to me. It was released on May 4 – eight months after “Sturm Und Drang.” I’m not even thinking about another album and probably won’t until winter. I mentioned to someone once that i’d like to take a year to release an album at some point. Maybe I will for the next one. It won’t be a double though. I’d like to get down to doing only one album a year.

13. Anything else you’d like to share that I’ve neglected to ask?

I think that the “Sturm Und Drang” and “The Menace” “style” will be my default setting from now on. They were both really fun to create and I actually plan on buying a midi keyboard to make composing a lot easier.

I know James Lauters (a very supportive mutual friend of David’s and mine) likes the what I call the X&Y series. And I may do another one eventually but it would have to be really chilled out. Like “Dawn And The Dusk” but even more chilled. Lots more acoustic. Basically the exact opposite of “The Menace.”

Cheers !

Stream his music on Spotify / Apple Music / Soundcloud
Purchase on  iTunes

HEIST AT FIVE – EP Review: “The Blacklist”

On By EclecticMusicLoverIn Uncategorized5 Comments

Heist at Five is an electro/hard rock band based in London, UK, but in a sense they’re also an international band, with roots in several countries. Band front man and lead vocalist Oskar Abrahamsson and production guru Kim Björnram are from Sweden, but moved to London to study music. Bassist Marco “Fuzz” Paone hails from Turin, Italy, and guitarist Jozef Veselsky is from Slovakia, leaving drummer Josh Needham as the only British-born band member. (Paone and Needham are also bassist and drummer for Oli Barton & the Movement, who I’ve featured on this blog a number of times.) Their aggressive, innovative sound borders on experimental rock, with complex melodies, intricate chord progressions and wicked electronic and guitar-heavy instrumentation.

Heist at Five

Heist at Five released their debut EP The Blacklist in February, and I’m here to tell my readers why they should listen to it. Kicking things off with a blast of fuzzy throbbing synths and a pounding drumbeat, “Intelligence” immediately whets our appetite for what’s to come. And what is that, you ask? It’s a fucking eargasm of furious riffs, psychedelic synths and thunderous percussion, that’s what. The instrumentation is amazing, with unexpected change-ups and all sorts of interesting sounds that make for an unsettling yet exciting listen. Oskar’s powerful vocals are marvelous as he goes from a menacing seductiveness one moment to savage screams the next. (I also love his Swedish accent that shines through.) It’s all a perfect match for the provocative lyrics about authoritarian thought-control: “So just close your eyes so you can see. And realize that I’m controlling from within. I guide you through love and pain. I’ll lead you through your life without leaving your brain. I’m defying the concept of what’s false and true. Especially made for you. / Who am I? I’m the intelligence.”

Here’s a great live performance of “Intelligence” that really showcases the band’s energy and charisma:

The guys keep that energy flowing with the hard-driving “One Moment.” Opening with a rapid, hip hop synth beat, the track bursts open with roiling gritty guitars played by Huw Roberts (the previous lead guitarist who is no longer with the band), and Josh’s tumultuous drums, while Marco keeps it all grounded with a solid bass line. Once again, the band skillfully employs sharp melodic shifts and elaborate instrumentation, including flourishes of distorted guitar, quirky synths and Kim’s hauntingly beautiful keyboard riff, to create an outstanding track. And it goes without saying that Oskar kills it with his passionate vocals.

“Three Steps Behind” is perhaps the catchiest track on the EP, with its arresting melody and galloping riffs. To my ears, the song has a bit of an Incubus vibe, and even Oskar’s vocal style on this track reminds me of Brandon Boyd. The band continues to amaze with “The Island,” serving up gorgeous keyboards and intricate, jaw-dropping guitar work. Oskar’s soaring emotionally-charged vocals bring goosebumps once again.

The guys save the best for last, with the magnificent tour-de-force “When Eternity is Here.” The track opens with a captivating bass-driven Tango-like melody, accompanied by an achingly beautiful synth riff and snare drum. Oskar fervently sings “All of us watch a never-ending road. We are pushed by the wind. No one allowed to stop. And the holes in the ground grows bigger every day.” His vocal passion rises along with the instrumentals in the chorus, where sounds of sirens lend an ominous sense of unease as he wails:  “Where are you my friend? I can see our world’s in danger. / Come to me, my dear, my darling. Our world’s disappearing. Everything will change for us when eternity is here.” The guitars and keyboards in the bridge are spine-tingling, and so is this phenomenal track.

Heist At Five have set the bar quite high with their impressive debut EP, but given their collective talents, I’m confident they’ll daze our ears with their next musical efforts.

Connect with Heist at Five:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase:  iTunes / Bandcamp

Band photos by Shotison Media

DAVID OAKES – Album Review: “TheMENACE”

On By EclecticMusicLoverIn Reviews4 Comments

David Oakes is a talented musician and composer of electronic alternative rock music based in Wales, UK. In the early 2000’s, he was a guitarist with the British rock band Kotow, for who he also played drums when they performed live shows. Over the past five years or so, he’s produced a tremendous output of instrumental music as a solo artist, ranging from gentle synth-driven compositions to aggressive guitar-driven hard rock, and everything in between. His latest effort, which officially drops today, is TheMENACE, a brilliant album that’s easily his best work yet.

David Oakes

I’ve gotten to know David over the past couple of years, and featured him on this blog in 2016. He’s a huge fan of Dream Theater, Mastodon, Metallica and Green Day, all of whom have been major influences on his music. He’s also a perfectionist and his own biggest critic, and reworks his tracks until he feels they’re just right. It’s been fun watching his creative process unfold and albums take shape as he shared his demos with me and a small group of friends who follow him on Twitter, asking us for feedback as they were being recorded. We’ve all enjoyed the songs he’s created the past few years, but were collectively blown away by the tracks that are included on TheMENACE. He really poured everything he had into this album, and it shows.

David explained his intention in creating this album: “The Menace is a very loose concept. I kept it intentionally vague and a lot of the guitar parts are very similar on purpose. As you know I like an album to feel like an ALBUM and not ‘Here’s 10 random songs in no particular order.‘” The tracks are darker and more aggressive than many of his previous compositions, which is appropriate given the album’s title, and for the first time he’s added distorted vocals, giving the songs even greater impact and depth. Regarding the lyrics, David stated: “Weirdly – none of the lyrics were planned out. But, as time went on I realised that nearly all of the lyrics could be about #45 (our awful President Trump – my words). Purely by accident. I guess it got in there subconsciously. But the lyrics are so vague that they could be about a lot of things.”

“The Slammer (Intro)” kicks off TheMENACE with ominous synths that immediately set the album’s dark tone. A lone guitar riff ensues, then a powerful hypnotic drumbeat takes over as the synths and guitars gradually build to a crescendo before calming back down. Then it’s a quick segue to “The Slammer“, a hard-driving track that lives up to its title. The frenetic drumbeat, raw synths and barrage of fuzzy guitars are fantastic, and I love David’s heavily distorted gravelly vocals as he drones “Hey what do you see? Is this how it’s going to be? Is this what you want?”

The awesome title track “The Menace” has everything I love in electronic rock – layers of multi-textured synths, scorching guitar riffs, and a colossal driving beat that aims straight for the hips. I seriously defy anyone to sit still for this track! David’s heavily distorted vocals have a…well…menacing otherworldly vibe as he chants “You’ve got to go. You’re a menace to society. You’re a menace to everyone.” Though five minutes long, it’s so good that it seems over in an instant

“The Monster” has a thumping EDM beat, with loads of gritty synths and intricate gnarly riffs. David employs some pretty impressive vocal gymnastics on this track as he sings “You’ve got a monster in your sights. You gotta make it through the night.” “The Distant Horizon” is one of the darker tracks on the album, with ominous drawn-out synths, very gritty guitars and dirty bass. His distorted vocals have an almost treacherous, seductive quality as he urges self-gratification” “If there’s anywhere you wanna go, just go. If there’s anything you wanna do, just do.” The track would be perfect for a sci-fi movie soundtrack.

David dials it up to full speed on “The Event Horizon.” The song is like a shot of adrenaline, with a frantic, head-bobbing EDM beat, The mysterious synths give the track a bit of an 80’s new wave/techno Depeche Mode vibe, and the guitar work is outstanding. Things get a little funky on the aptly named “Funkotron.” The melody and arrangement on this track are phenomenal, as are the synths and intricate guitar work. And it goes without saying that David’s vocals are terrific. It’s an awesome song, and one of my favorites on the album.

“The Resistance” is a hard-driving track with a fast-paced EDM beat that had me doing a lap dance in my chair. The guitars and instrumentals are amazing, as always. With echoed vocals, David defiantly sings “We won’t go down without a fight. / We will keep fighting for our lives.” “The Revolution” opens with industrial-sounding synths, then expands into a breathtaking soundscape of brooding, soaring synths and gorgeous chiming and wailing guitars. This instrumental track is a little slice of auditory heaven, and gives me chills every time.

As we near the end of the album, each new track is a new revelation. “The Finale Part 1” opens with gorgeous sweeping synths and jangly guitar that remind me of early Coldplay, then explodes into a rousing fusillade of layered guitars, synths and percussion. David proclaims the end of any emotional commitment: “I don’t need, I don’t need you anymore. I don’t want you, want you anymore. Everything you thought you had is gone. Everything you thought you knew is wrong.”  “The Finale Part 2” is a different interpretation of the song, with more of a new wave/punk vibe, sort of how it might sound if played by A Flock of Seagulls or The Cure.

TheMENACE is a genuine masterpiece from start to finish, and as I stated at the beginning of this review, David’s finest work yet in my opinion. He’s an amazing guitarist, and his skill for using synthesizers to create such incredible melodies and arrangements is impressive. This album is a must-have for anyone who’s a fan of guitar-driven electronic rock music.

TheMENACE is actually a double album, with the second being an instrumental-only version, plus two bonus tracks not found on the first. It’s also available on the streaming and purchase sites listed below. The Kotow album Demise of the Monsters is also available on Spotify.

Stream his music on Spotify / Apple Music / Soundcloud
Purchase on  iTunes 

MANIPULANT – Album Review: “Eclectro”

On By EclecticMusicLoverIn Reviews9 Comments

Electro

As someone who cannot sing, play an instrument of any kind, nor read or compose music, I never fail to be impressed by people who can do those things, especially when they do them well. Even more impressive is when people create music that’s completely original and innovative, leaving me wondering how their minds ever came up with those sounds and melodies in the first place.

Such is the music of Manipulant, an imaginative and, dare I say brilliant, multi-instrumentalist/composer based in Lancaster, Pennsylvania. Born David Speakman, Manipulant creates “scientific sound spaces” – as so perfectly described on a few of the tracks on his superb second album Eclectro, which dropped in June. Following up on his 2016 debut album Méthode de Narration,  Manipulant once again utilizes hypnotic rhythms, dark synths and unconventional instrumentation on Eclectro to tell his stories. And this time around, he’s joined by British chilled trip-hop artist Stoneygate and Italian Astrophysicist Dr. Fiorella Terenzi, who provide unusual and mesmerizing backing vocals for some of the songs.

Manipulant

The mysterious-sounding “Run” kicks things off with strummed electric guitar and spacey synths, then a powerful throbbing bass line and strong drum beat take over,   accompanied by bursts of crashing cymbals and a retro 60’s surf guitar riff – the kind Dick Dale or The Ventures played back in the day.  In her sultry, almost whispry vocals, Stoneygate sings the bleak lyrics: “World is changing. Ominous sky. The rats are hiding. The birds are silent. Seems we’ve lost our way. Sides are bickering. / Jump back, turnaround, run.”

As Manipulant explained in an excellent interview with the blog Keepsmealive, he wanted the song to be “Something dark and driving. It needed to try to capture the mood I was seeing around me in the aftermath of the U.S. elections and some of the chaos that was happening elsewhere in the world.” I think he succeeded quite well; take a listen:

“Methodical” has the kind of thumping dance beat that immediately goes for the hips, and I love it! The far-off echoed vocals, many of which are not understandable, lend an otherworldly vibe to this infectious track. Things turn ominous again with “Doctor, I Need Your Expertise,” in which the beautiful Dr. Terenzi – ‘Goddess of Acoustic Astronomy’ – speaks in her own tribute song. Opening with a menacing buzzsaw sound, Manipulant asks “Dr. Terenzi, where are you?” Her echoed, sci-fi sounding vocals add to the track’s eerie vibe as she says “You are listening to real sounds, scientific sound spaces,” while a pounding beat continues throughout the track.

Regarding the Kraftwerk-inspired EDM track “Marshmallow Fabrik,” Manipulant explained to Keepsmealive “I think many of us carry on as if we are living in a marshmallow factory. Everything is in order and it’s all fluffy and delicious. We don’t focus on things outside of our own space. We continue on with blinders as long as our personal factories keep producing things that make us happy.” Here, echoed voices spoken in German are accompanied by unusual synths that almost sound like a huge snorting alien animal.

“Faulty Tap” is a 30-second instrumental interlude that begins with a loud drip, followed by pounding industrial-sounding synths to create a mood that Manipulant explained  “was an extension of the frustration of “Run” put into something as simple and maddening as a leaky faucet.” The organ takes a starring role on “jusq’à la mort nous sépare (The Organist).” It’s a reworking of “The Organist” from his first album, and the French title translated is “until death separates us.” The track is uptempo, with playful synths and a rapid but delicate drum beat that belies the rather somber lyrics, spoken in his echoed vocals: “Oh I’m worried, I have a bad feeling about this. You must understand, as a fellow organist, when I’m thwarted I become agitated. You’re not in control here. I’m in control here.”

Next up is the one-minute long dirge-like interlude “Requiem for the 11th Earl of Sandwich,” which Manipulant explained represents the death of civility – Earl being ‘nobility’ which symbolized ‘civility.’ The mood abruptly shifts on the hauntingly beautiful instrumental “N / A / B / C / F“, which is a reworking of another track “Not All Birds Can Fly,” from his first album. (By now it’s clear that he loves strange and unusual song titles, but I digress…) The key instrument on this track is the sublime piano, accentuated by soaring synths.

Powerful throbbing bass and modulated buzzing synths make a return appearance on “The Doctor Meets 808.” And once again, Dr. Terenzi’s echoed vocals add to the eerie vibe, as she repeats the line “So you are listening to real sounds, scientific sound spaces,” as well as other lyrics. The track is essentially a reworking of “Doctor, I Need Your Expertise,” only with much heavier extended bass, as suggested by the ‘808’ in the song title.

Fiorella Terenzi
Dr. Fiorella Terenzi

Eclectro is one of the most unusual and sonically amazing albums I’ve heard in a long while. At times disturbing, and other times gorgeous, it’s a brilliant, meticulously crafted album that Manipulant should be proud of. Another thing he – and we fans – are proud of is his winning a third place WIGWAM Online Radio Award for Best Indie/Alternative Act of 2017.

To learn more about Manipulant, check out his Website

Connect on: Facebook / Twitter / Instagram

Stream:  Spotify / Soundcloud

Purchase Eclectro on: iTunes / Bandcamp

THEY CALLED HIM ZONE – Single Review: “Death Drive/I Like Noise”

On By EclecticMusicLoverIn Reviews2 Comments

Death Drive Art

I’ve been revisiting a number of artists that I previously featured on this blog, and my latest is the Bradford, UK dark wave/psychedelic/electro-pop band They Called Him Zone. Formed in early 2016, they quickly released their debut EP Miami, then followed up with a stellar mini-album Crow Swan Wolf in February 2017, which I reviewed. Now they return with a double single “Death Drive / I Like Noise,” released today, the 25th of August, through their label Ambicon Records.

They Called Him Zone consists of Mik Davis (lead vocals, drones and production),  Steve Maloney (guitar, backing vocals and production), and John Bradford (keyboards and percussion). For these songs, they were joined by Cat McLaughlan who provided backing vocals. In describing their sound, sometimes the band’s own words offer the best explanation: [Our music] “combines sultry electronica with chewed-up, modulated guitars, evoking rain-drenched, neon-daubed streets, proscribed chemicals, and black-clad malcontents wearing mirror shades after dark. And it’s always dark where they come from…“

They Called Him Zone 2

Both songs seem to address our darker sides. Lead track “Death Drive” evokes a shadowy netherworld of lust and danger with its hypnotic beat and harsh industrial synths. Maloney’s gritty and sometimes wailing guitars amplify the sense of foreboding, while in a rather menacing monotone, Davis sings the lyrics that seem to speak to an addiction – whether it be drugs, sex or some other obsession:

We’ve become so cold, playing out in the rain,
Waiting out for June, you make me cold sweat…
My body shakes when I’m with you, I feel no pain…
The death drive.

The equally dark video for the song was produced by Bradford-based Twenty Twenty Films, and features alternative models Zombie Cat Girl and Miss Gerrish, and method actor Mark Morris.

The B-side “I Like Noise” is a short track with a fast, repetitive beat and pulsating synths that deliver a post-punk psychedelic feel. Like the music, the lyrics are minimalist, and my guess is that they’re about numbing one’s pain by engaging in pleasurable but dangerous or taboo activities:

I like pills, I like noise, I like thrills, I like toys…
I like girls, I like boys, I like machines that make noise…
I like noise, I like, noise, I like machines, that make noise…
I tried love, I tried hate, I tried pain…

Both songs are brilliant, further demonstrating that They Called Him Zone is a cutting-edge band who pushes boundaries to create music that’s distinctive, mesmerizing and always provocative.

Connect with They Called Him Zone: Facebook / Twitter

Stream their music on  Soundcloud and purchase on Bandcamp

Song Review: VINITSKY – “Hola”

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Vinitsky is a Ukrainian electro pop/rock singer, songwriter, producer, DJ and social activist. Now based in Rotterdam, The Netherlands, her dynamic music is a raw mix of electronic sound, heavy guitars and powerful vocals. Her style fuses pop, rock and electronic influences, and draws inspiration from Ukrainian vocal melodies and 80’s sounds of bands like Depeche Mode and Kraftwerk. And she’s a busy woman. Besides recording and producing her own music, for the past several years she’s been performing as an artist or DJ throughout Central and Eastern Europe. She also sings and writes songs for several nu-metal bands in Ukraine – including OnesteP, whose EP I recently reviewed.

Vinitsky released her first electronic album Stereo Radio under the name ‘Kate Orange.’ The similarly-named single from the album garnered more than 52 000 views on YouTube, and was supported by David Guetta on the Spanish TV show El Hermigueiro. In 2016, wanting a fresh approach to her music, she released an excellent self-titled album under the new name ‘Vinitsky.’ The Spanish single “Hola” is taken from that album. A fun feature of Vinitsky is that every track is illustrated, with each picture telling a story about the song and it’s mood. Vinitsky states that the pictures are also meant to relieve stress: “You can color them by yourselves, so sharpen your pencils and create your own work of art!”

Vinitsky

The song “Hola” has a somewhat raw sound, infectious Latin dance beat and simple, understandable Spanish lyrics, even for those who don’t speak the language. Vinitsky explains that her inspiration for the song comes from the Dutch obsession with Spanish traditions, holidays and recreation.

The track starts off with her singing a capella, with a crackling noise in the background, as if the song was being played on an old Victrola. It then bursts open with an irresistible Latin dance beat, as buzzing electronic synths, exuberant horns and heavy bass all conspire to get your hips moving. Even sitting at the computer, my head was bobbing and hips were swaying like I was giving my chair a lap dance! She handles the Spanish lyrics quite nicely, her commanding vocals soaring with the intensity of the music, making for quite an exciting track. Take a listen:

To learn more about Vinitsky, check out her website.
Connect with her:  Facebook /  Instagram
Stream her music:  Soundcloud /  Spotify /  YouTube
Purchase:  Bandcamp

Album Review: THE DIOMEDES – “Traps”

On By EclecticMusicLoverIn Reviews1 Comment

When I was approached a month ago by UK two-piece indie band The Diomedes about reviewing their debut album Traps, I gave a few songs a listen and thought ‘these are pretty good.’  But when I fully immersed myself into the album in preparation to write my review, I was bowled over by its intense power, complexity and raw beauty.  An incredibly well-crafted album, Traps is an ambitious effort with 12 synth-driven tracks, and quite simply a brilliant work of musical art.

The Diomedes began as an alternative electro-rock studio project by friends David Myers, who plays drums and synths, and Mark Champion, who covers guitars and vocals.  In their own words, they wanted to “create an album of soaring indie melodies with punk energy, soundscapes, riffs and howling synths.” This reviewer can attest that they succeeded and then some!  They finished recording Traps in mid 2016, then decided they needed to become a live act and tour in order to promote their album. As with a lot of music that relies heavily on synthesizers, the challenge was recreating the level of detail found in the complex sounds of their recordings into their live performances. So, the guys employed a sampler, a custom built synth rig and a laptop, and started playing gigs in and around London in the Fall of 2016. Traps was formally released on March 17, and the duo are continuing to play live as often as they can.

The Diomedes

The influences for their vastly textured sound, listed in the bios on their website and Facebook page, read like an extensive who’s who of alternative, classic and hard rock over the past 50 years. A sampling of names include such greats as Joy Division, Arcade Fire, Flaming Lips, Queens of the Stone Age, R.E.M., Chemical Brothers, Radiohead, Phillip Glass, Muse, New Order, Nine Inch Nails, David Bowie, Gorillaz, Blur, DJ Shadow, Bloc Party, White Stripes, Yeah Yeah Yeahs, Hans Zimmer, Deftones and INXS, along with old classics like The Beatles, Simon & Garfunkel and The Beach Boys. Whew! And when you listen to their music, many of those myriad influences can be clearly identified. I would add Peter Gabriel to the list as well, especially since Champion’s vocals at times sound eerily similar to Gabriel’s.

There is much to describe about Traps, but one of the things that most stands out for me is the exceptional flow of the album. Each track seamlessly transitions into the next, so that the momentum and power of the music is never lost nor even diminished in the slightest. The album plays almost like an alternative electronic rock symphony, as if Phillip Glass and Nine Inch Nails joined forces to re-imagine one of the great symphonies of Prokokiev or Rachmaninoff. This is not to say the music sounds “classical,” but rather that it employs nuanced melodies, intricate chords and complex instrumentation, all working in tandem to create a rich tapestry of sound that’s consistent, yet never feels repetitious.

Speaking of repetitious, I’m aware that a track-by-track review of an album can sometimes be a pretty dull affair. But this album is so remarkable that I feel compelled to touch on each and every track. So let’s dig into Traps to see what all the fuss is about.  The instrumental-only “Open Arms” kicks things off with delicate but ominous-sounding synths that build until distorted, scratchy guitars and percussion take over. At around the two-minute mark, a pleasant synth chord is introduced, lending a more hopeful feel to the track before instantly transitioning into the exuberant “No Sleepwalking.” Sleepwalking is clearly not an option with the aggressive rapid-fire drumbeats and guitar riffs that are all but guaranteed to wake even the comatose. In his insistent gravelly vocals, Champion sings “So what we fighting for? An idea, that somewhere there is something more. So what we fighting for? For our lies, only this and nothing more.”

The guys inject a frenetic punk groove into the proceedings on the outrageously energetic “Masquerade.” This catchy dance track will have you bobbing your head and moving your hips within seconds. The lyrics speak to getting in touch with your true self rather than hiding behind a trap of your own making, which seems to be the overarching theme of the album: “Masquerade into a perfect storm. Shed existence to prove you were born. Hold together all the madness come. Find your feet and then find out where they are. Endings never hurt much at the start.” The upbeat vibe continues uninterrupted on “Gasp.” Shredded guitars, heavy percussion and some glorious synths – all set to a driving beat, make this an especially good track.

All hell breaks loose on “Tension Head,” one of the standouts on the album. This cacophonous tour-de-force starts off with the sound of a very big clock being tightly wound, and a loud distorted guitar making the sound of a motor that’s suddenly overwhelmed by an explosion of hammering drums and frantic guitar riffs. Champion screams some lyrics, then the tempo quickly shifts to a relatively calm and steady beat until the frantic riffs make an abrupt return, before shifting back to the previous steady tempo. Champion sings “I don’t know where I am, where I am. And I can’t tell you that I’m only looking for something.” His closing chorus is rather intimidating: “Don’t get along with me.” All this chaos and negative energy creates a strong sense of tension of course, living up to the song title.

The rather tense vibe continues on the instrumental composition “Part 2,” courtesy of Myers’ skillful mix of discordant and sweeping synths, including what sounds like rotating helicopter blades. Not missing a beat, we’re swept headlong into “Our Dying Glow” – two minutes and 49 seconds of punk rock goodness filled with gravelly guitars, tumultuous percussion and heavy buzzing bass.

Next up is the seven and a half minute long rock opera-esque “Tower.” This epic song has it all: a mosaic of dramatically soaring synth chords, strange sound effects, graceful tinkling piano (including toy piano), loads of crashing cymbals, and robust, multi-textured guitars, all set to an elaborate, ever-changing  melody. Champion’s gritty, impassioned vocals rise and fall with the intensity of the instrumentation as he wails: “Higher and higher, climbing the walls. Higher and higher, harder we fall. / We’ll know what’s true, when they come back for you.” The song is so good that it’s over sooner than its seven and a half minute length would suggest and, with scarcely a break, quickly segues into the vitriolic hard rock “Spoiling.”

The ghostly instrumental track “Howl” would make a fantastic soundtrack opener to a horror film, but it also provides the perfect intro to “This Place is Electric.” The song is aptly titled, as it’s a feverish EDM romp that goes straight to the hips. This amazing song seems to represent one last fling before cold, hard reality comes rushing back. Boisterous, grainy synths, shredded guitars and pummeling drums rain down like thunderbolts until the gorgeous but rather melancholy six and a half minute closing track “Wishing Games” arrives – quite appropriately I think – upon sounds of distant thunder and falling rain. Champion channels Peter Gabriel more than ever as he emotionally sings “You are only ever right. You’re the one thing I cant leave behind.  So no saving anticipation. I’m always boring,  No pulling sense out from a truth or lie.  So it’s good bye i’m ready./ Be careful with your wishing games. You’ll only have yourself to blame.” The bittersweet lyrics tie the album up quite nicely, yet seem to leave some things unanswered.

To learn more about The Diomedes, check out their website.  Connect with them on  Facebook / Twitter / Instagram.

Subscribe to their YouTube channel, and stream their music on  Soundcloud and  Spotify.

Trap may be purchased on Bandcamp, iTunes or other sites offering music for download or purchase.

 

Album Review: The magnificent “What Comes Around” by Matto Rules

On By EclecticMusicLoverIn Reviews6 Comments

I’m head over heels in love with the astonishingly beautiful album What Comes Around by alternative electronic pop/rock band Matto Rules.  The album, which dropped in May 2016, is a sonic masterpiece of lush electro-synth chords, sleek guitars and gorgeous vocals.  I think it’s one of the best albums of 2016, with 11 superb tracks – any one of which could be a hit single!

Hailing from Bern, Switzerland, the band’s name was inspired by Matto, the insane ghost and fictional ruler of a psychiatric clinic portrayed in Swiss author Friedrich Glauser’s pulp crime novel In Matto’s Realm.  But there’s certainly nothing insane about Matto Rules, except to say their music is insanely awesome!  The band told me they thought Matto was a good metaphor for the atmospheric and psychedelic touch of their music.

Matto Rules consists of frontman and lead vocalist Lorenzo Bonati, bassist Fabian Baer, drummer Thomas Blanchat and lead guitarist Pascal Glauser (no relation to the author). The band recorded their first single “All Over” in 2012, then released a follow up double-sided single “Syd” in 2013, followed by a four-song EP “Lonely Cat” later that same year. Through that early music, the band gained a fan base and rave reviews as they toured around Switzerland and Europe.

Matto Rules 2

Wanting a more polished sound for their new album, the band enlisted Chicago producer and sound engineer Ben Treimer (who’s worked with MUTEMATH and Emmylou Harris, among others), and the result is the stunning What Comes Around.

The first single, released prior to the album in November 2015, is the mesmerizing, psychedelic-tinged “Crystal Bay.” This gorgeous song seemingly floats on water. Shimmering guitars and smooth electronic synths, along with Bonati’s captivating vocals and airy backing vocals by Monica Gibbs, all serve to create an ethereal, atmospheric mood. The heartfelt lyrics address the wish to overcome a painful, addictive relationship:

“My flesh is strong, my will is weak. Insanity rushing in, swelling over me. I need to get away, clear my mind and let my world sink in to Crystal Bay, just want to fade away. I’m off to detox, off to detox for a day. I’m off to detox, off to detox once again.”

The rather dark video – which contains footage of images of various objects artistically tied together symbolizing trash, a man driving a motorboat that’s towing pool floats, Bonati dressed in a colorful patterned suit paddling a raft, and the trash burning on the shore – was filmed at beautiful Lake Lucerne.

The first track on the album and second to be released as a single, “Tonight” is a sweeping, joyously upbeat synth-pop tune that’s as exhilarating as it is beautiful.

“Let’s outrun all of our troubles, like we did when we were young.  808’s until the sun’s up, tomorrow it will be the same. But we’re here tonight.”

We’re introduced to the song by Bonati’s sublime vocals accompanied by gentle synth chords, then hammering drums and swirling guitars rain down in a cascade of rich synthesizers, all held together by a thumping bassline. It’s so gorgeous I don’t want it to end.

The fascinating, clever video shows the band playing the song in a series of traffic circles at night, with the camera panning around them.  A woman driver circles them in her car, taking photographs she later uses to create artistic geometric images on her computer that are then superimposed on the traffic circles.

“Somewhere Else” keeps the energy flowing with a driving, synth-fueled beat and chiming guitars that shred at just the right moments. The song has a decidedly 80’s feel, which is why I love it. The pace slows a bit with the melodic, synth and bass-heavy “Alive,” with its beautiful harmonizing vocals.  Synthesizers rule and guitars sing in the Depeche Mode-esque tracks “Let it Rain,” “In the Agency” and “Sleeper.”  Bonati’s vocals in these tracks are so damn good!  Well, truth be told, they’re damn good in every single song.

The lovely, melodic ballad “Caveman” is one of my favorite tracks on the album. Gentle percussion, beautiful piano and captivating guitar riffs make this song soar to the heavens. Another awesome track, “Monster,” has a bit of a Tears For Fears vibe, and really showcases Bonati’s impassioned vocals:  “I feed a monster, in my unconscious. From time to time, it gets the best of me. Growing stronger everyday. I feel it’s time to let you hunt. I’ll drive you out, my little monster.”

The parade of gorgeous songs continues with the lush, synth-rock “Evil Eyes.”

“Let’s seal the contract. Engrave it with a promise. Denial will be useless. I’m always close behind. Show me your pain, and I will give you an escape. There is another path that you can take.”

The album closer “New Beginning” is a hopeful, psychedelic-infused anthem that’s the perfect ending to a perfect album.

Show Matto Rules the love by following them on Twitter and Facebook, and subscribe to their YouTube channel. Stream their music on Spotify or Soundcloud, or purchase on Bandcamp or itunes.

Song Review: (IAM) WARFACE – “Say My Name”

On By EclecticMusicLoverIn Reviews1 Comment

When I first heard the epic new single “Say My Name” from the UK alternative/electronic rock band (IAM)WARFACE, I was hit by an atomic blast of music greatness. The kind that instantly blows you away, leaving you speechless and covered with goosebumps. I LOVE THIS SONG!

The exhilarating track begins with a snarling guitar riff, then explodes into an inferno of speaker-blowing drums, big synth chords, bombastic bass and thunderous shredded guitars.  Band front man Matt Warneford practically shrieks the opening lyrics, backing himself up with distorted, soaring choruses. He then alternates those high-pitched vocals with smoother but urgent, impassioned phrasing.

The song is four and a half minutes long, yet seems over in an instant – always a sign of an incredible song.  Take a listen, and turn the volume all the way up!

(IAM)WARFACE started out as a solo act by Matt Warface, who wrote and performed all the music, but he realized he needed a back-up band to perform live.  Those band members are Louis Matthews (who plays a guitar/bass hybrid), Matt Whitehead (backing track coordinator and keyboards) and Alex Whibley (drums and percussion). The band name is a metaphor for their style of bombastic high-energy music, and their influences include Muse, Big Black Delta, Nero, Queens of the Stone Age, Tears For Fears, Yeah Yeah Yeahs, Black Keys and MGMT.

Follow (IAM)WARFACE on Twitter, like them on Facebook, and subscribe to their YouTube channel. Their awesome music is available for purchase on itunes or streaming on Soundcloud or Spotify.