Album Review – Rammstein / Rammstein (2019)

A magnificent lecture in Neue Deutsche Härte from the bottom of the flaming hearts of the pioneers of the genre.

Since the band’s inception in 1994 in the stunning German city of Berlin, Neue Deutsche Härte six-man institution Rammstein has been shaking the foundations of the earth with their unparalleled fusion of classic Industrial Metal and contemporary Heavy Metal, all spiced up of course by their controversial lyrics (most of the time in their mother tongue German), their industrial-inspired attire and their incendiary live performances. And it was just like that from their debut album Herzeleid, released in 1995, until their 2009 release Liebe Ist Für Alle Da, before the band went on an unprecedented hiatus that left their fans wondering if the band would ever get back in action to crush our senses with their wicked creations.

Fortunately for all of us, fans of the crazy and electrifying music blasted by lead vocalist Till Lindemann, lead guitarist Richard Z. Kruspe, rhythm guitarist Paul Landers, bassist Oliver Riedel, keyboardist Christian “Flake” Lorenz and drummer Christoph Schneider (a lineup that has remained unchanged throughout the band’s existence, by the way), Rammstein have just returned now in 2019 better than ever with their untitled seventh studio album, also known by many as Rammstein, their first studio album in a decade, bringing to our avid ears everything we’ve learned to love in their music through the years and more. Featuring a minimalist and captivating artwork by Rocket & Wink, the band’s brand new masterpiece offers an amalgamation of their past, present and future, with elements from all of their albums such as Sehnsucht and Mutter, without sounding repetitive or outdated; quite the contrary, the entire album simply rocks.

The album couldn’t have started in a more brilliant way than with their newborn anthem Deutschland (or “Germany” in their mother tongue), bringing forward the perfect fusion of electronic and metal music right from the very first second. Its backing vocals will definitely mesmerize you, while Mr. Lindemann leads his industrial horde in this passionate ode to their homeland. Moreover, Christian is also sensational with his keys and synths, and I’m not even going to talk about the song’s official video, which is in my opinion one of the best videos ever made in the history of music. Radio is another classic and powerful depiction of what Neue Deutsche Härte is all about, with Richard and Paul slashing their strings beautifully and putting us to dance together with the band, also featuring a chorus perfect for singing along with them even if your German is extremely rudimentary. Then it’s time for The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk to add a touch of epicness to the bold and violent Industrial Metal tune Zeig Dich (“show yourself”), where Richard, Paul and Oliver are on fire with their stringed weapons, while Christoph pounds his drums just the way we like it and Mr. Lindemann is once again flawless with his demented vocals.

Ausländer (“foreigner”) is by far the most disco-dancing song of the album, boosted by the band’s trademark riffs and beats and its acid and fun official video (which is another work-of-art). As a matter of fact, Rammstein are so good in what they do they’re capable of making metalheads enjoy dance music, and pay good attention to the song’s lyrics as they’re sung in several languages like French, Italian and English. It’s time to get heavier and more immoral than ever (something those German guys know how to do to perfection) with Sex, with Oliver and Christoph dictating the song’s violent rhythm. In the end, you’ll either crack your neck banging your head or have some wild sex while listening to it, both being highly recommended activities, of course. And the Belarusian orchestra returns for another round of majestic sounds in Puppe (“doll”), the most obscure and vile of all songs, with the vocals by Mr. Lindemann exhaling anger, fear and anguish while Christoph shows no mercy for his drums.

The romantic and enfolding Was Ich Liebe (“what I love”) is another great song showcasing rumbling bass lines, rhythmic beats and the always whimsical keys by Christian, and by far the one with the most melodic guitar lines of the entire album; whereas in the touching Diamant (“diamond”) the music remains utterly ominous while Mr. Lindemann darkly recites its lyrics, feeling as melancholic, beautiful and dense as it can be, or in other words, it’s absolutely awesome. Then Christian takes the lead in the modern Industrial Metal song Weit Weg (“far away”), where a delicate but at the same time potent background provides all Mr. Lindemann needs to thrive on vocals, with the riffs and solos by Richard and Paul bringing even more electricity to the overall result, followed by Tattoo, which kind of sounds taken from one of their previous albums. Put differently, it’s pure Neue Deutsche Härte tailored for the band’s diehard fans, with Christoph hammering our heads violently with his unstoppable, mechanized beats, while the song’s guitar riffs will cut your skin deep. Hence, I would simply love to listen to those Teutonic metallers playing this neck-breaking tune live. And lastly, Oliver makes the earth tremble with his bass punches in Hallomann (“Helloman” / “Announcer”), closing the album on a high note with the music flowing smoothly until its climatic and serene ending.

In a nutshell, anything I say about the brand new opus by the one and only Rammstein won’t be enough to describe its density, depth and energy. We’re facing the best rock and metal album of the year, my friends, there’s no doubt about that, and you can enjoy each and every song from such distinct release directly from the band’s official YouTube channel or on Spotify, and of course buy your copy of this multi-layered feast of top-of-the-line Neue Deutsche Härte from your favorite retailer by clicking HERE. As a matter of fact, I guess the best words that can be used to depict the music found in Rammstein are the ones already sung by Mr. Lindemann & Co. in the opening track of the album. “Deutschland / Mein Herz in Flammen / Will dich lieben und verdammen / Deutschland / Dein Atem kalt / So jung / Und doch so alt / Deutschland!”

Best moments of the album: Deutschland, Radio, Zeig Dich, Puppe and Tattoo.

Worst moments of the album: None.

Released in 2019 Universal Music

Track listing
1. Deutschland 5:23
2. Radio 4:37
3. Zeig Dich 4:15
4. Ausländer 3:51
5. Sex 3:56
6. Puppe 4:33
7. Was Ich Liebe 4:29
8. Diamant 2:34
9. Weit Weg 4:20
10. Tattoo 4:11
11. Hallomann 4:11

Band members
Till Lindemann – lead vocals
Richard Z. Kruspe – lead guitar, backing vocals
Paul Landers – rhythm guitar, backing vocals
Oliver Riedel – bass guitar
Christian “Flake” Lorenz – keyboards, samples, synthesizers
Christoph Schneider – drums, percussion

Guest musicians
The Academic Choir and the Symphony Orchestra of the National Television and Radio Company of Belarus, Minsk – strings, choir on “Zeig Dich” and “Puppe”
Meral Al-Mer – backing vocals on “Deutschland” and “Tattoo”
Carla Bruhn – backing vocals on “Hallomann”

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Album Review – Ritual Aesthetic / Wound Garden (2018)

One of Denver’s most promising metal outfits returns with a hard-hitting album of terrifying digital aggression, blending melodic dance rhythms, harsh metal guitars and dark experimental noise atmospheres.

Formed in 2013 in Denver, Colorado, in the United States by Sean Ragan (also known as Sean Von Helvete), who was drumming for Los Angeles-based Industrial/Melodic Black Metal band Dawn of Ashes at that time, Industrial Metal outfit Ritual Aesthetic returns in 2018 with their second full-length installment titled Wound Garden, not only a follow-up to their 2014 debut release Decollect, but more important than that, a highly recommended album of terrifying digital aggression for fans of the most demented form of industrial music, blending melodic dance rhythms, harsh metal guitars, aggressive EBM styled vocals and dark experimental noise atmospheres.

What was born as a solo project by Sean quickly evolved into a full-bodied mechanized beast, now featuring the aforementioned Sean on vocals, Grant Nachbur on the guitar, Daniel Combs on bass and Jeremy Portz on drums, delivering high-quality, berserk Industrial Metal through their sharp instruments. Written by Sean and Jeremy together with Alex Crescioni and Ron Hutchinson, engineered by Sean in Denver, and mixed and mastered by Alex Crescioni at Stygian Sound in Los Angeles, Wound Garden is a step forward in the career of Ritual Aesthetic, showcasing a focused and talented band that definitely knows how to effectively travel between the worlds of electronic and metal music, always sounding fresh, vibrant and insane for our total delectation.

An ominous and mechanized intro named Stasis kicks off the album by setting the stage for the sonic onrush entitled Life Amnesia, where the quartet gives a lesson in lunacy, blasting piercing, industrialized sounds spearheaded by Sean and his eccentric roars. Furthermore, the song’s background electronic effects help boost its impact even more, not to mention Jeremy’s assembly line-like pounding beats. And The Analog Flesh feels almost like an ode to the thunderous music by giants like Ministry, Nine Inch Nails and Fear Factory, blending the most powerful elements from Industrial Metal and Neue Deutsche Härte, with the guitar lines by Grant being at the same time very subtle but as venomous as hell.

And it looks like their wicked party has no time to end, as they blast another dense and disruptive Industrial Metal tune titled Divided, where the guitars and background keys create an interesting paradox of sounds while Sean continues his ode to madness through his raspy growls; followed by the slower, darker and more demonic Dread, showcasing creepy guitar lines and vocalizations, as well as a heavy as hell atmosphere, cutting our skin deep from the very first second just like what happens in Malefaktor, a modernized wall of industrial and robotic sounds and noises. Throughout this insane tune, Daniel and Jeremy beautifully generate a rumbling and Stygian base for Sean and his demented vocals.

If you think their regular music is not weird enough for your twisted mind, you’ll have a sonic orgasm with the rest of the album, where Ritual Aesthetic offer the best of the metal and electronic worlds combined. The first remixed tune of this wicked combo is called Mechanism Of Desire (Electronic Substance Abuse Remix), being highly recommended for lovers of pure industrial and electronic music, sounding as crazy and eccentric as it can be with the help of their friends from British Industrial Noise project Electronic Substance Abuse. Then it’s time for American Industrial Metal act Seraphim System to experiment with Ritual Aesthetic’s music in Chemical Weapons (Seraphim System Remix), also bringing forth a metallic, industrialized extravaganza of sounds, almost like the soundtrack to a horror movie. And last but not least, it’s American Dark Electro entity Xentrifuge who adds huge dosages of electricity to the song Amnesiac (Xentrifuge Remix), with Sean’s vocals matching perfectly the music proposed.

In a nutshell, if you’re searching for a crisp and heavy alternative in the world of Industrial Metal, Ritual Aesthetic are among us to offer you exactly what you’re craving in the form of Wound Garden, which by the way is available for a full listen on YouTube. Hence, don’t forget to show your support to such distinct entity from the always fruitful underground Industrial Metal scene by paying a visit to their official Facebook page, and grab your copy of the album from the band’s own BandCamp page, from the Cleopatra Records webstore, from iTunes or from Amazon. And then, as soon as you have Wound Garden on your hands, let your soul be embraced by its hard-hitting mechanized sounds. You won’t regret having that wicked experience at all.

Best moments of the album: The Analog Flesh and Divided.

Worst moments of the album: Dread.

Released in 2018 Cleopatra Records

Track listing 
1. Stasis 1:29
2. Life Amnesia 4:27
3. The Analog Flesh 3:32
4. Divided 4:33
5. Dread 3:12
6. Malefaktor 4:33
7. Mechanism Of Desire (Electronic Substance Abuse Remix) 6:58
8. Chemical Weapons (Seraphim System Remix) 3:23
9. Amnesiac (Xentrifuge Remix) 5:11

Band members
Sean Ragan – vocals
Grant Nachbur – guitar
Daniel Combs – bass
Jeremy Portz – drums

Album Review – Gottwut / Konglomerat (2018)

Delivering first-class music as a modern reinterpretation of sound canons declared in the mid-90’s, this Russian quartet is ready to stimulate your senses with their thrilling Industrial Metal.

If you’re a fan of the mechanized and eccentric music by renowned acts such as Megaherz, Oomph!, Rammstein, Nine Inch Nails and Ministry, I highly recommend you turn your attention to the Russian capital Moscow, where since 2015 an Industrial Metal squad known as Gottwut has been delivering first-class music as a modern reinterpretation of industrial sound canons declared in the mid-90’s. After the release of the maxi-single Oil, in 2016, Gottwut are ready to stimulate your senses with their debut full-length album, the thrilling and melodic Konglomerat. By the way, the name of the band is made up of two German words, “gott” (god) and “wut” (rage), symbolizing the creative and destructive forces embodied in human nature, an essential part of the music found throughout the entire album.

Taking as a basis energy and rage, the band comprised of Pavel Chaban on vocals, Fedor Artemenkov on guitars and samples, Vyacheslav Dmitriev on bass and Dmitry Kahatkin on drums aims at developing the genre in their own manner, paying strong attention to the visual component by designing special costumes, additional props and theatrical performances, all with the main objective of creating a unique atmosphere for the audience. Featuring a wicked, avantgarde cover art by Russian artist Denis Shoomov, Konglomerat is a feast of Neue Deutsche Härte with a more melodic Russian twist, and I’m sure each song in the album will put you to bang your head and dance like there’s no tomorrow.

Modernized sounds blended with the heavy beats and riffs from Heavy Metal are the main ingredients in the opening track My Duty, sounding even symphonic at times. Moreover, Fedor does a pretty good job with his guitar lines and samples, while Pavel delivers a poetic mix of Rammstein and Marilyn Manson through his vocals. Then we have Sin, a 90’s-inspired Industrial Metal and Rock tune where Dmitry pounds his drums in a precise manner, generating a mechanized ambience where background keyboards once again add a touch of delicacy and modernity to the music; followed by the title-track Konglomerat, sounding and feeling as industrialized as it can be and highly inspired by the golden years of Neue Deutsche Härte, something latent in the vocals by Pavel and the slashing guitars by Fedor.

Fuck Machine brings forward one of the funniest lyrics of the entire album, and Pavel makes sure he sings them in the weirdest possible way together with the song’s crushing instrumental parts, making the final result quite entertaining. Snowman reminds me of some classic songs by Rammstein, being the perfect soundtrack for a Gothic and eccentric rock party with Fedor and Vyacheslav generating an enfolding atmosphere with their strings (and you’ll definitely feel the urge to dance in the dark to this song), whereas Cycle showcases a well-balanced mix of the modernity of Industrial Metal with symphonic elements and the catchy beats of pop music, with all band members being in total sync and with highlights to the smashing performance by Dmitry on drums. And heavy riffs and whimsical keys walk hand-in-hand in the upbeat Bi-Sides, an assembly line of Industrial Metal led by the pounding drums by Dmitry, keeping the level of electricity in the album truly high.

The band’s first single Oil brings more of their crazy sounds and the wicked vocalizations by Pavel, being tailored for fans of Neue Deutsche Härte searching for alternative bands from the independent scene, and with Fedor adding tons of adrenaline to the music with both his riffs and keys. In Angerlove we’re treated to another overdose of Industrial Metal made in Russia where Dmitry is an unstoppable crushing machine behind his drums while Pavel keeps roaring manically in our faces, therefore turning it into a mandatory song for any good Industrial Metal playlist, and closing the album we face more cutting guitars and rumbling bass lines infused with mechanized background elements in Heretic, where the band will keep hammering your head with their industrialized music until you’re completely wasted on the ground.

In a nutshell, the metallic party called Konglomerat (available for a full listen on Spotify) is a beyond awesome start for the Russian quartet, leaving a fantastic first impression for all fans of modern Industrial Metal. Hence, in order to show your support for Gottwut, go check all news and other shenanigans at their official Facebook page, VKontakte page and YouTube channel, and buy the album directly from their BandCamp page as well as from iTunes or Amazon. And now will you please excuse me, because I have a Industrial Metal party to enjoy, courtesy of four Russian metallers with genuine, mechanized German hearts.

Best moments of the album: Konglomerat, Cycle and Angerlove.

Worst moments of the album: Sin.

Released in 2018 Independent

Track listing
1. My Duty 4:12
2. Sin 3:34
3. Konglomerat 3:52
4. Fuck Machine 3:40
5. Snowman 4:25
6. Cycle 3:43
7. Bi-Sides 3:14
8. Oil 3:24
9. Angerlove 3:19
10. Heretic 4:04

Band members
Pavel Chaban – vocals
Fedor Artemenkov – guitar, samples
Vyacheslav Dmitriev – bass
Dmitry Kahatkin – drums

Album Review – Geisterwald / Geisterwald EP (2018)

From the haunted woods of the Swiss city of Geneva, here comes an infernal masked duo armed with their mechanized and uproarious Industrial Metal.

Formed in 2017 in Geneva, a city in Switzerland that lies at the southern tip of Lac Léman, Industrial Metal masked duo Geisterwald is unleashing upon humanity this year their self-titled debut EP, channeling all their passion for heavy music and their musical backgrounds into their newborn spawn. Comprised of Harald Wolken on vocals, guitars and synths and Gaëlle Blumer on drums, and with all of the songs from the album being entirely sung in their mother tongue German, Geisterwald are ready to make an uproarious impact on the underground Industrial Metal scene, with the music found in their debut EP being a fantastic taste of what those two Swiss metallers are capable of when armed with their gas masks and their metallic instruments.

The EP kicks off with an ominous intro sounding as if a beast is rising from a dark and tenebrous pit in the mechanized Alte Körper (which should translate as “old body” if I’m not mistaken), where Gaëlle crushes her drums while Harald alternates between deep, primeval growls and eerie clean vocals, resulting in a heavier-than-hell display of Industrial Metal infused with Neue Deutsche Härte. Just as insane and piercing, Kreuz (or “cross”) presents the duo building an industrialized atmosphere with their menacing sounds, with Gaëlle delivering both traditional metal beats and more factory-like sounds while Harald brings a touch of delicacy and lunacy to the overall music with his synths.

Then get ready for a dark and demented Neue Deutsche Härte extravaganza titled Wolf, sounding and feeling intense, macabre and demented all at once, with its somber guitars and the howl of a wolf being the details that make it so compelling and vibrant. Furthermore, Harald’s vocals feel truly demonic amidst the thunderous sound of the drums by Gaëlle, showcasing the amazing synchronicity between them. And the last blast of modern metal music by this infernal duo of masked marauders comes in the form of old school Industrial Metal the likes of Ministry and Rammstein, titled Schlag Stärker (which means something like “hit harder”). Simply bang your head nonstop to such heavy tune, where we’re able to enjoy a merciless Gaëlle on drums while Harald does what he knows best, which is growling deeply and in the most enraged way possible.

Whatever comes next for this talented duo is probably going to be even more insane and destructive than their debut EP, and while we wait for more top-tier Industrial Metal made in Switzerland let’s all go check what Geisterwald (which by the way is a wordplay in German for “ghost forest” or “haunted woods”) are up to on Facebook, including the dates for their wicked live performances, listen to their music on SoundCloud, and purchase a copy of their debut EP from BandCamp, from Big Cartel or from Amazon. As a matter of fact, I guess you wouldn’t mind getting lost in the haunted woods of Geneva and face the industrialized roars by Geisterwald, would you?

Best moments of the album: Schlag Stärker.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Intro 1:01
2. Alte Körper 3:20
3. Kreuz 3:33
4. Wolf 3:21
5. Schlag Stärker 4:20

Band members
Harald Wolken – vocals, synths
Gaëlle Blumer – drums

Album Review – Graveyard Strippers / Crawling (2017)

This creepy Canadian quartet brings to you the perfect soundtrack to your next party, an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal with elements from rock, pop and electronic music.

A phoenix reborn from its ashes. That’s how Canadian Industrial Metal critters Graveyard Strippers call themselves, being born in Montreal, Quebec in 2013 with guitarist Riff (Projekt F), vocalist Holy Decay (Gotherfall, Magnum Stallion) and bassist Carl Puzzle (Sade Slavey). Since their creation, Graveyard Strippers recorded three excellent EP’s, those being Burn My Soul in 2013, Free The Monsters in 2015, which was by the way when the band recruited Dany Burton (Projekt F) as their new permanent drummer, and Burn The Monsters in 2016, culminating with the release of their first ever full-length spawn, the idiosyncratic and rousing Crawling, now in 2017.

The music by Graveyard Strippers might be considered an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal, spiced up by hints of Rock N’ Roll, Hard Rock and even electronic and pop music. And let me tell you that those four rockers do it almost to perfection, sounding at the same time sexy and gruesome, gentle and aggressive, straightforward and progressive. You’ll notice that each one of the twelve songs featured in Crawling, which by the way portrays a fantastic artwork by renowned Canadian illustrator Felix LaFlamme, are independent from each other, presenting a unique sonority, but that they need each other for the whole album to make sense to your ears. Well, as you can see it’s not an easy task to summarize the work by Graveyard Strippers in just a few lines, and that’s why I recommend you hit play and enjoy their industrialized and sensual sounds in your own way.

The eerie and dark intro Filth invites us to the demented world ruled by Graveyard Strippers, before an industrial and metallic feast begins in full force with Broken, a song highly recommended for fans of Rammstein and Ministry where Holy Decay bursts his lungs by screaming in an insane and rabid way. After that frantic hurricane of industrialized sounds the bands offers us a more melodic tune titled Pretty, blending Gothic and Industrial Rock with elements from Neue Deutsche Härte. Moreover, Riff lives up to his monicker by delivering truly catchy riffs, while Dany keeps the song’s pace and speed at a very pleasant level with his precise beats. And then we have the title-track Crawling, which begins in a dark 80’s Gothic Rock and Metal-inspired way, gradually evolving into an imposing musicality led by the deep and lunatic vocals by Holy Decay, remaining vibrant until its climatic ending.

Featuring the seductive Natasha Nebula as guest vocalist, Freak Show sounds a lot more mechanized and sexier than its predecessors, presenting the darkest and most depraved form of Industrial Metal you can think of. In addition to that, Riff and Dany do a great job with their samples and electronic sounds, turning it into the perfect soundtrack for a real-life freak show. And if you think that after such amazing song you’ll be free from Natasha’s devilish voice, you’re absolutely wrong, as she’s back with the band in Deadsex, an ominous blast of Neue Deutsche Härte with Gothic Rock where the deranged screams by Holy Decay create a gripping paradox with the smoother but still diabolical moans by Natasha, not to mention the song’s first-class official video which perfectly epitomizes what Graveyard Strippers are all about. The “piercing assembly line from hell” titled Apocalypse Now brings forward another eccentric intro that morphs into a fantastic Industrial Metal extravaganza, showcasing rabid growls mixed with heavy-as-hell riffs and tons of wicked elements in the background in what sounds as a hybrid of Marilyn Manson and Ministry; whereas their electronic vein arises stronger than ever in Walking Dead thanks to the excellent job done by Riff and Dany once again, while Carl Puzzle adds his share of heaviness to the song with his sick bass lines, keeping the album at a high level of eccentricity.

Savior is another modern Industrial Metal composition led by the somber vocals by Holy Decay, despite not feeling as crushing and vibrant as the rest of the album, sounding a bit repetitive at times. On the other hand, Krash This Up is one of the weirdest and most fun creations by this talented quartet that should work really well if played live. Dany is simply amazing with his beats, being flawlessly accompanied by the rest of the band during the song’s two minutes of insanity. Then in King Me the band gives a lesson in how to blend Industrial Metal with Punk Rock, offering the listener a neck-breaking, electrified tune where Riff steals the show with his sensational guitar lines. Needless to say, this is another serious candidate to be part of their live performances. And lastly, madness takes control of the band in the closing tune of the album, named Serial Killer, where symphonic elements from Gothic Metal are added to create an even crazier atmosphere. Furthermore, Holy Decay sounds like a demonic entity with his Stygian gnarls, while Riff and Carl keep bringing thunder to the musicality in this top-notch ending to such electrified album.

The somber and bewitching realm of Graveyard Strippers can be further explored through their Facebook page and YouTube channel, and you can listen to and buy Crawling on Spotify, at their own BandCamp page, on iTunes, on Amazon or at the Onkyo Music webstore. Let’s say that, if you were desperately looking for the best and darkest soundtrack to your next Halloween, Gothic, Dark Electro or any other type of party not recommended for the ordinary person, I believe your hunt is finally over, as Graveyard Strippers are more than ready to put you and your guests into a lustful and mechanized trance with the high-end music found in Crawling.

Best moments of the album: Broken, Freak Show, Apocalypse Now and Serial Killer.

Worst moments of the album: Savior.

Released in 2017 Independent

Track listing
1. Filth 1:04
2. Broken 3:09
3. Pretty 3:40
4. Crawling 4:08
5. Freak Show (feat. Natasha Nebula) 3:29
6. Deadsex (feat. Natasha Nebula) 3:51
7. Apocalypse Now 4:07
8. Walking Dead 3:50
9. Savior 4:02
10. Krash This Up 2:07
11. King Me 2:46
12. Serial Killer 4:48

Band members
Holy Decay – vocals
Riff – guitars, programming, backing vocals
Carl Puzzle – bass, backing vocals
Dany Burton – drums, programming, backing vocals

Guest musician
Natasha Nebula – female vocals on “Freak Show” and “Deadsex”

Album Review – Eli van Pike / Welcome to My Dark Side (2017)

Welcome to the dark and melodic world of Gothic Metal, Neue Deutsche Härte and Industrial Metal ruled by three outstanding musicians who will certainly fuel your inner passion for industrialized sounds.

Combining the best elements of Gothic Metal, Neue Deutsche Härte and Industrial Metal, creating their own identity and remaining true to a tougher musical line, German-American Industrial Metal entity Eli van Pike is releasing its debut album Welcome to My Dark Side, comprised of ten unique compositions with its lyrics being in both German and English, often representing a mirror of the abysses of the human psyche. Not only is this new project highly recommended for admirers of the music played by renowned acts such as Rammstein, Eisbrecher, Oomph! and Lindemann, but it’s also a very interesting option for newcomers who are always seeking for darker sounds with a strong melodic vein.

Formed in 2016 by German musician Thorsten Eligehausen (Schandpfahl, Cradle Of Haze) together with German multi-instrumentalist Marc Vanderberg (Devil May Care) and American singer Ken Pike (Firesphere), therefore the name Eli van Pike, composed of parts of the names of the band members, the project debuted in 2016 with the singles Even Heros Fall and Tears of War, getting in the focus of the Gothic and Industrial Metal scene. In 2017, after releasing an EP titled Herzschlag, it’s time for Thorsten and his crew to reach new heights with their debut full-length album, and I’m sure you’ll find yourself singing, dancing or simply banging your head to most of the songs of the album due to its high level of electricity and feeling.

And the eccentric Eli van Pike begin their industrialized attack on a high note with the Teutonic hymn Made in Germany, with the keys by Thorsten together with the brutal riffs by Marc forging a fierce and pleasant Industrial Metal sounding, also presenting a great balance between the clean vocals by Ken and the deeper growls by Thorsten. Herzschlag, or “heartbeat” in German, a powerful Neue Deutsche Härte hymn with the heaviness from guitars and drums being boosted by the song’s old school keyboards, transpires a Rammstein-inspired vibe, in special through the obscure vocals by Thorsten, but it’s in the next song that their metallic vein gets to a whole new level of insanity. Faster and crazier (but still very melodic), the thrilling 1-2-frei is pure Neue Deutsche Härte, with the addictive guitar lines by Marc being the icing on the cake of such industrialized hymn.

Although it’s hard to “accept” a ballad in an Industrial Metal album, World on Fire kind of works well: it might not the best ballad in the world, but its solid instrumental and decent lyrics make it a lot more enjoyable. Back to a much harder and more obscure sonority, Tears of War is exciting from start to finish, with the German words vocalized by Thorsten darkening the music even more while Marc keeps kicking ass with his riffs and Ken once again brings epicness to the overall result with his passionate vocals. Slowing down a bit, the band offers us One Last Rose, a fusion of Industrial Metal with 80’s Gothic Rock and Metal, hence presenting all the elements of a dark hit, with highlights to the song’s melodic vocals in sync with its piercing synths, followed by Peter, 41,  another industrialized composition that will rock the hell out of you. Moreover, Thorsten sounds simply amazing with his cryptic, deep voice, while Marc continues to add electricity and groove to the music with his strings.

The title-track Welcome to My Dark Side is a fantastic display of modern and fresh Neue Deutsche Härte, offering the listener heavy sounds mixed with gentle vocals and sharp keyboards, also showcasing a Dark Metal aura in the background the likes of Moonspell. After such amazing display of dark music, Eli van Pike’s blackened, mechanized attack goes on with a frantic creation entitled Amen, bringing forward three minutes of Stygian vocals by Thorsten supported by the slashing riffs by Marc. In other words, this is another one of their songs that will certainly put people to dance at an underground metal party. However, instead of closing the album with such magnificent tune, the trio ventures through the realms of acoustic ballads in Valentine’s Day, and let me be honest with you, in my humble opinion acoustic guitars should never be used in any Industrial Metal album under any circumstances. It’s not that the song is bad, but it’s completely disconnected from the rest of the album, sounding like filler in the end. Maybe with some electronic elements in the background this western-ish ballad could have been more enjoyable, or at least more in line with the concept behind Eli van Pike.

Anyway, despite this slight lapse of electricity, overall Welcome to My Dark Side is a damn good album taking into account the fact that the band has been together for just a short period of time. In case you want to know more about the project, go check their Facebook page and listen to their music on YouTube or Spotify, and buy Welcome to My Dark Side on BandCamp, at the darkSIGN-Records’ webstore, on iTunes, on Amazon or on Qobuz. And always remember, you’re welcome to join the dark side of Industrial Metal created by Eli van Pike any time, a project so compelling it will definitely fuel your inner passion for industrialized sounds.

Best moments of the album: 1-2-frei, Tears of War, Welcome to my Dark Side and Amen.

Worst moments of the album: World on Fire and Valentine’s Day.

Released in 2017 darkSIGN-Records

Track listing 
1. Made in Germany 4:10
2. Herzschlag 3:45
3. 1-2-frei 2:54
4. World on Fire 4:02
5. Tears of War 4:57
6. One Last Rose 3:40
7. Peter, 41 3:34
8. Welcome to My Dark Side 3:17
9. Amen 2:59
10. Valentine’s Day 2:28

Band members
Thorsten Eligehausen – vocals, keyboards
Marc Vanderberg – guitars, drum & bass programming
Ken Pike – vocals