Jun 2011 13

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Ego and the Ids
Category: Goth / Experimental
Album: Another Sad and Bizarre Chapter in Human History
Stars: 3
Blurb: The thematically connected second album from Ego and the Ids once again reveals a distinctive and haunting approach to music making.


Delonde Bell and Gerald del Camp return to the scene with the wonderfully obscure Another Sad and Bizarre Chapter in Human History. As the elongated and puzzling title alludes, the duo have taken a snapshot from sixth century history and refashioned the tale by setting it to music. Arthurian legend takes center-stage with Ego and the Ids’ latest offering and the musical arrangements on the disc extend from gothic (practically spoken) rock to experimental ambient. A multitude of acoustic and electronic components meld together to create a soundscape that warmly invites you into the band’s latest incarnation of sound. Simply put, Another Sad and Bizarre Chapter in Human History is a creative muddle of melodies that push forward the tale of King Arthur.

The medieval storyline aside, the collection begins with an introduction that engages with an array of synths and atmospheric non-melody. Here, the experimental component is immediately evident, begging a listen as to what might come next. “Do You Dream in Color” switches things up with a straightforward delve into brooding gothic rock. This contrast is as oddly unsettling as it is intriguing. The following two tracks incorporate more of the earlier electronica backbone, instrumentally weaving back and forth with an assortment of guitar-riffed harmonies and battered percussive moments. Returning to the vocally-driven gothic element, “Stumble, Trip & Fall” throws you into a sense of musical confusion. Not that this genre divergence is not welcome, but it just seems slightly offsetting when compared to the elegance of the preceding instrumental pieces. However, the striking and enigmatic electric guitar work on the gothic-laden track is more than enough to grant allowances for the change. “The Death of Arthur” and “Lady of the Lake” reinstates the haunting sounds of the earlier instrumental tracks, delivering a somber pseudo-finish to the album. Lastly, “Picture It” allows Ego and the Ids to take a bow with a sunset of a finale incorporating a slightly more positive gothic tonality.

Though much more connected this time around, Ego and the Ids remain modestly scattered when it comes down to genre connectivity. But who’s to say that this is a bad thing? Another Sad and Bizarre Chapter in Human History is an album that takes you in, holds your interest, and leaves you with a sense of wanting more. The inclusion of the many diverse genres and experimental styles in one eight-song collection is to be admired – especially when the finished product exudes such a great degree of raw creativity.


Track list:

  1. Merlin Conjures the Dragon
  2. Do You Dream in Color
  3. Round Tables
  4. Guinevere
  5. Stumble, Trip & Fall
  6. The Death of Arthur
  7. Lady of the Lake
  8. Picture It


Ego and the Ids Website http://egoandtheids.com
Ego and the Ids MySpace http://www.myspace.com/egoandtheids
Ego and the Ids Facebook http://www.facebook.com/pages/Ego-and-The-Ids/131250578553


Purchase at:
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Stephen Lussier (ioweyouacoke)

Jun 2011 13

Cover Image
Patenbrigade: Wolff
Category: Electronica / Industrial / Ambient
Album: Baustoff (Popmusik für Rohrleger)
Stars: 3.5
Blurb: With a muddle of poppy electronica, experimental synths, and ambient/dialoged gap-fillers, Patenbrigade: Wolff continues along the path of musical obscurity.


Patenbrigade: Wolff manages to come off as an off-beat, genre-breaking band that stretches itself well beyond the limitations of electronic creativity. This being said, they have consistently created well rounded soundscapes through concepts and a full-length album structure that they can call their own. Baustoff (Popmusik für Rohrleger) continues this tradition and is arguably more successful in doing so than any of their previous efforts. The German duo of Sven Wolff (previously of Dust in Basement fame) and Lance Murdock elaborate upon their passion for crafting up-tempo rhythmic electronica that matches curiously with atmospheric bleakness and industrial imagery.

Although the music on Baustoff (Popmusik für Rohrleger) is quite diverse from track to track, there maintains a connectivity that now is synonymous with that of any full-length Patenbrigade: Wolff album. Never allowing for dead air to surface, they seamlessly thread each of the songs together with varying styles. The lyrically-based tracks are sung in both English and German, as well as dialoged in German through the words of Dr. Mark Benecke. A strange yet wonderful addition to the album, Benecke’s detached voice highlights the obscure German industrial component on a great many points on the disc. His verbal appearance stitches most of the album together, creating a genuine flow to the music. Industrial-styled songs such as “Luftzerlegungsanlage LZA” best highlight this aspect of Benecke’s contributions. Vocalist André Hartung’s pop-like track “Never Neverland” is a song that embraces buoyant rhythms at a steady, danceable pace. The title track of the album possesses all of the synthetic clout of an early ‘80s synthpop track, driven as an upbeat number with simple dialoged lyrics that repeat over and over again. Patenbrigade-Wolff exhibit such diversity that they are more than able to bridge genre gaps and finalize their music with polished delivery.

Gracing some of the more elegant tracks and grounding the overall sound of the album’s ambient element are guest vocalists Antje Schulz, Nadine Stelzer, and Julia Beyer (all of whom hold a background history with In Strict Confidence as collaborating vocalists). Their contributions manage to soften the course of the bubbly electronica, giving the album a sense of depth and soulfulness. In particular, the haunting melody of “Sun after the Rain” brings the chorus to a beautiful yet dark level of ambient rhythmic sound. Beyer’s vocals take the electronic background and enrich it fully with lyrics that boast positivity yet remain foreboding in their arrangement. By countering the mainframe of German dialog and European electronica, this feminization offsets the encompassed masculinity of the band’s image and underlying sound perfectly.

Baustoff (Popmusik für Rohrleger) is essentially a perplexingly, addictive album to listen to. Patenbrigade: Wolff shines again with another sample platter of their electronic unpredictability and sophisticated grace.


Track list:

  1. Auf
  2. Das Kraftfeld (feat. André Hartung)
  3. IM: Benecke
  4. Fehler 404 (feat. Stefan Leukert)
  5. Unfall mit Folgen
  6. My Mountain (feat. Nadine Stelzer)
  7. Luftzerlegungsanlage LZA
  8. Never Neverland (feat. André Hartung)
  9. Arbeit an der Oberleitung
  10. Sun After the Rain (feat. Julia Beyer)
  11. Dreh mir die Zeit Zurück (feat. Antje Schulz)
  12. Anklage: Blitzschlag
  13. Voyage (feat. Antje Dieckmann)
  14. Erstickt im Freien
  15. Popmusik für Rohrleger
  16. Betondecke
  17. Abrissbude (feat. Alexander Pitzinger)
  18. Die Walze
  19. Abbau


Patenbrigade: Wolff Website http://www.patenbrigade.com
Patenbrigade: Wolff MySpace http://www.myspace.com/patenbrigadewolff
Patenbrigade: Wolff Facebook http://www.facebook.com/group.php?gid=243031360106
Patenbrigade: Wolff Twitter http://twitter.com/patenbrigade
Patenbrigade: Wolff SoundCloud http://soundcloud.com/user9774657
Zweieck Recordings


Purchase at:
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Stephen Lussier (ioweyouacoke)

Jun 2011 13

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To Avoid
Category: EBM / Industrial
Album: Passion and Pain
Stars: 3.5
Blurb: To Avoid join the ranks of many who’ve crafted a spirited homage to the EBM of the ’80s and ’90s.


Germany and EBM are so often associated that they’ve nearly become synonymous in the industrial music world. To Avoid is no exception, beginning their tenure of crafting high quality danceable tunes in Berlin in 1999. The core of To Avoid consists of grandT (instrumentation) and m.a.r.c. (lyrics and vocals), who initially began the project as a duo. A few years later they were soon joined by Cheffee (further instrumentation and production) and Jean, who focuses on the band’s visual presentation. Their latest offering, Passion and Pain, their fifth overall release is a full-length EP featuring several new tracks and includes new remixes of songs originally featured on their second album, Voyage into the Past! and their EP Aggressive Conglomerations. Many of the band’s prior recordings were self-released; Passion and Pain marks their first disc for Germany’s TAMB-Media GBR, and is that label’s inaugural release.

The sound and style of To Avoid’s music is very much in the old-school EBM vein, and the band appropriately cites bands like Front Line Assembly, Leæther Strip, Nitzer Ebb, Mentallo & the Fixer, and XMTP among their many influences. The band also declares that their music is more derivative than imitative, using the questionably and comically translated slogan of “100% Terror Banana Free!” to drive this point home. While not decidedly unfamiliar with terror fruit, Passion and Pain is one of the better EBM records this writer has heard in awhile, fusing hard beats and pumping bass lines in a very palatable and dynamic way. Following the sampling montage of “GET,” “Passion and Pain” is the disc’s first full-length song, and the track oozes with club affability. Quickly noticeable is To Avoid’s abandonment of their native tongue in favor of English, in spite of their poor grasp of the language. While the lyrics are simple, they are actually more thoughtful than most of the poetic garbage being spewed out today. “War Nurse” is another all-new track and likely the most splendid on the whole disc. Featuring ‘40s era sampling and some of the best beats to be found on Passion and Pain, this track has possibly the greatest chance of club play in the United States.

Remixes on the album consist of various versions of “Passion and Pain,” “Against the Current,” and “Instrument of the Death.” Each remix explores drastically different territory, from focusing on the more prevalent electronic style of today to experimental to almost entirely new interpretations. Amnistia’s version of “Passion and Pain” in particular shines above the rest. Passion and Pain is a solid recording throughout avoiding repetition among the tracks, and the film samples they’ve used are well chosen, utilized in appropriate segments and aren’t overused. While it would be nice to see more bands expand beyond the limiting scope of EBM, To Avoid does accomplish rather capably what they’ve set out to do. One can hope in the future that they will pursue more avenues in the creation of their music and not rely on the methods and style laid down decades ago by other more original acts.


Track list:

  1. GET (German Electronic Terrorists)
  2. Passion and Pain
  3. Lying Eyes
  4. Do You Know
  5. War Nurse
  6. Instrument of the Death (Re-Work 2009)
  7. Passion and Pain (CrucifiEd-It by Amnistia)
  8. Against the Current (Necroremix by Necro Facility)
  9. Passion and Pain (RMX by Cephalgy)
  10. Against the Current (RMX by Second Disease)
  11. Passion and Pain (Remake by Stin Scatzor)


To Avoid Website http://www.toavoid.de
To Avoid MySpace http://www.myspace.com/toavoid
To Avoid Facebook http://www.facebook.com/pages/To-Avoid/58645951852
To Avoid ReverbNation http://www.reverbnation.com/toavoid
TAMB – Media GBR Website http://tamb-media.com


Purchase at:
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Brian Backlash (BrianBacklash)

Jun 2011 13

Cover Image
Category: Electronica / Experimental
Album: Fire the Lazers!!!
Stars: 3.5
Blurb: Professional drummers take dub and experimental electronica into a curious new territory.


EOTO is certainly one of the stranger and more anomalous bands in the music world today. Formed in 2006 in Boulder, Colorado by Michael Travis and Jason Hann, they’ve dubbed EOTO’s unique mixture of music as “livetronica.” Both professional drummers for a number of acts for many years, Travis and Hann decided to pursue a style of music unlike anything they’d ever created before. Their initial effort, Elephants Only Talk Occasionally was recorded in just three days. Their third and latest recording is Fire the Lazers!!!, a science fiction inspired brew of aural decadence.

What makes the tunes on Fire the Lazers!!! so unusual is their method of creation. Travis and Hann record drums, bass, guitar, keyboards, and other instruments and then create loops of the recordings using the software program Ableton, all the while incorporating their live drumming into the mix. EOTO does this on the spot, and always uses the first take as the final take. As a result of this methodology, each album, song, and live show is wholly singular and unique, impossible to be repeated or recreated.

The results of this approach can be anywhere from humdrum to captivating. While not expressly dance music, each track does lend itself to a certain degree of uniformity and the lack of any verbal phonetics allows the listener to get quite lost in the varying rhythms and colorful environment that each track generates. Fire the Lazers!!! culminates into a great record for anyone who’s looking for something to put on while multitasking – anything from visual art to that report that needs to be turned in on time. Think Boards of Canada (if they let their hair down), and the sounds and tonalities of ‘50s science fiction cinema rolled into one.

Their instrumental style will prevent certain types from finding the music accessible, and the general lack of a specific direction in the music will likely cause others to simply consider Fire the Lazers!!! a momentary novelty. For these types, as well as speaking generally, I believe the live performance medium is where EOTO would really be at their best.


Track list:

  1. Flying Red
  2. Time Saw
  3. Are We Dead?
  4. Contact
  5. Comrade Down
  6. Make My Day!
  7. Spare Parts
  8. Autopsy
  9. Circuit Bent
  10. Valeria Victrix
  11. Externity (Reprise)


EOTO Website http://eotomusic.com
EOTO MySpace http://www.myspace.com/eotomusic
EOTO Facebook http://www.facebook.com/eotomusic
EOTO Twitter http://twitter.com/EOTOmusic
SCI Fidelity Records Website http://scifidelity.com
SCI Fidelity Records MySpace http://www.myspace.com/scifidelity
SCI Fidelity Records Facebook http://www.facebook.com/scifidelity
SCI Fidelity Records Twitter http://twitter.com/SCI_fidelity


Purchase at:
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Amazon MP3




Brian Backlash (BrianBacklash)

Jun 2011 14

I typically don’t write opinion pieces because I feel that it is often difficult to identify with a piece of writing when you know full well that it is based completely, or at least predominantly, on an intangible personal manifesto. People should be smart enough to come up with their own ideas and perceptions about things, right? So why do we need articles telling people how and what to think? Regardless, this is a topic that I feel quite strongly about, which has been brewing in my head for some time. I can’t promise that what I write is going to be completely accurate or universally true to all minds, but I feel that the subject matter is pertinent to bring up and discuss. Unfortunately, you will be reading “I” quite a lot in this piece; this is unavoidable because I have no idea whether anyone actually agrees with anything I will say, so I must express everything as “I feel”, “In my opinion.” Okay, enough preface.


In my observations in recent years, and maybe this is all simply something specific to my region (though I doubt it), I have noted that the general populous of the “industrial culture” is actually, in fact, ashamed of industrial. Now, you might be thinking that I am talking about the more discerning minds who are embarrassed because of a watering down of the culture, which is also true – and they absolutely should be ashamed of this. But in this article, I am speaking of nearly the opposite: those who seemingly end up in this culture by accident when, ironically, they in fact wish to be part of a more banal, popular scene. Because this seems to be frighteningly commonplace, these people band together and attempt to dismantle industrial until it is infinitesimally small and easy to understand, then paint it pink and cover it in Britney Spears posters. I can’t help but notice that many patrons of clubs and even those who have positions of – and I say this while chuckling – “power” within the scene really don’t have much interest in the philosophy at large. Sure, they wear black and have an affinity for some of the basic hallmarks that define industrial, musically-speaking, but beyond these trivialities, they have little to do with (and little interest in) the full breadth of “industrial.”


One of the main problems is the fashion show mentality that has completely engulfed the scene; however, delving into that monstrosity is beyond the scope of this article. I guess I can sort of sum up the problem I write of today in saying that the goth/industrial ethos (as much as I loathe to combine them) is no longer a chosen position. It seems to have devolved from being an outcast of society because a person chooses to be – because they hold anti-mainstream views, because they’re smarter, more perceptive, like weird, dark, and challenging things, etc. – to stumbling here because the person literally can’t fit in where they want to (a more popular scene or culture) and the term “goth” has, as a result of many popular misconceptions, become the catchall like the mat under the trapeze. Because of this phenomenon, I see so many people, bands, DJs, etc. constantly striving to be more pop; to appeal “to a wider audience,” to be less intelligent, complex, D.I.Y., or whatever, to do things quickly and haphazardly in hopes of achieving some kind of popularity, and so forth. They are no different from the average fan of reality television; they want to become important and popular (and quickly, with the least amount of effort) for no reason beyond personal ego-stroking. To them, the scene at large doesn’t matter (it’s funny how many people don’t seem to realize that the scene extends outside of one’s own city!), the music is of no consequence; all that is important is that some group of people somewhere think that they (the people in reference) are important. This has caused the mentality of appealing to the lowest common denominator to swell to such a scale that it is now dominating everything.


Now, let me stop for a moment to say that it is of course completely fine and acceptable for people to listen to a broad spectrum of music and enjoy different cultures and all of that. People should absolutely do that. As humans, we experience different thoughts, feelings, and moods; not to mention that we are interested in a variety of content and subject matter. Chances are that you will not be able to get adequate coverage of all of your interests from a single genre. I love cyberpunk and industrial, but I also love many other things that are delved into more profoundly in other genres, such as the beautiful, deep melancholic atmospheres of ambient, the mathematical precision and complexity of IDM, the driving psychedelic eastern-tinge of psy-trance, the traditional instrumentation of world music, etc. It can be helpful to take influence from one or more of these other styles and blend it into industrial; this increases the breadth of the parent genre and allows you to explore more territory, express more ideas, and capture different moods, feelings, etc. But the problem is that the positive aspects of other styles are not being blended into industrial. Instead, the most rudimentary and shallow aspects are being copied and forcibly overlaid to smother the principal aspects of the industrial style. The fundamental basis of the industrial philosophy is being destroyed and replaced by a poorly mirrored mainstream, to which effect perhaps I need to remind people that industrial was created as an alternative to this very thing. Too many people active in industrial culture seemingly don’t even like industrial culture; they don’t follow bands (industrial bands), they don’t seek out new bands, they speak negatively of integral characteristics of the music (“this music is too dark,” “I don’t like processed vocals,” “I don’t like non-4/4 dance music,” or conversely they condone things that industrial was created to combat: “I don’t care if every synth in this song is a preset and it was written in 15 minutes,” “as long as I can dance to it…,” etc.) nor do they enjoy (non-musical) industrial objects or concepts (if you don’t inherently know what I’m speaking about with that last part, then get out of the damn scene!). They simply wish that they were popular enough or socially competent enough or whatever enough to enjoy the spotlight of a more popular form of music or culture. I constantly hear people saying that industrial needs to merge with indie electro/rock, or mainstream rock, or pop or whatever, when these things are the complete antithesis of industrial! What’s wrong with simply playing industrial at an industrial club night? Not to mention that it’s never “hey let’s merge our club night with a genre that shares the same experimental, intelligent, and D.I.Y. aspects of industrial” (again, speaking from my region – which I think is fairly representative of the scene as a whole). What kind of horrible joke is that, trying to reorder industrial into the visage of Lady Gaga?! Where once industrial was about charting and exploring new, dark, mechanical, and/or futuristic frontiers, it is now resigned to repackaging the stale, played-out waste of other scenes and retagging it “industrial” under the illusion of creating a new, impressive, and of course popular genre.


This is getting longwinded, so I will wind it down. The bottom line that I am getting at is that if you want to write or listen to house music, than go be in the house scene, go to house events. If you want to write pop and get popular, go write or DJ some pop music and you might have a chance at getting that ounce of fame and money you so desperately desire. The point is that there are places and other scenes for these things! So get the hell out of a scene that you don’t even like and stop degrading that which I love! There are plenty of places to go to listen to actual house, actual pop, actual hardstyle, etc., and these places have actual “stars” who are popular and sell records and make money. Take your fucking delusions of grandeur to a place more befitting of them; leave the industrial scene for people who are genuinely interested in industrial culture and being apart from the mindless, soulless, mainstream pumping out bland-as-fuck, forgettable dance tracks! I want to hear industrial music at the industrial night. I don’t want a culture that worships celebrities. I don’t want a culture that appeals to the lowest common denominator. I want to be part of a culture that caters to intelligence; to rational, logical thinking; to dark, twisted thoughts; to the enjoyment of atmospheric music with integrity; to improvement of the human condition (through technology); to subverting the vapid trends of the insipid masses; a culture about observing these trends and shaking our heads in disgust, not wishing to live them. I know there are still some real heads out there and I hope that we can keep these ideals alive. I’ll do my best to keep promoting good artists & quality industrial things, and I hope you will do the same.



Jun 2011 15

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Kush Arora
Category: Experimental / IDM
Album: Boiling Over
Stars: 3
Blurb: Kush Arora’s latest is an EP of exotic dance music.


Kush Arora is a daring dub and bhangra music producer from San Francisco who’s latest release, Boiling Over, is a seven song EP of instrumental experimental dance music. Arora initially began his musical exploits in the mid ‘90s, first using the moniker Involution and later presenting his work as Clairaudience. These early releases could be described vaguely as industrial, influenced heavily by cEvin Key’s projects, most notably Doubting Thomas.

By 2004, Kush Arora began using his own name for his releases, and his musical style took a more refined and expansive approach, while continuing to build upon the more progessive aspects he’d initiated years earlier. Boiling Over is a culmination of that effort and offers an assorted mix of beats, rhythms, flutes, horns, programming, and traditional Punjabi instruments. Like many of Arora’s releases, Boiling Over also features a number of guest musicians including Sub Swara and The Spit Brothers.

Typical of Arora’s blending of various styles, the disc’s title track begins with hypnotic tribal elements and seemlessly melds into colorful electronic drumbeats and synth lines. “Dealbreaker” is one of the most enjoyable tracks on the EP, beginning with staggered, clumsy drumbeats and various synth elements until it all magically comes together to craft the finest dance song on Boiling Over. Throughout the EP, the abstract yet energetic nature of the music can really absorb the listener, and overall would make an excellent film soundtrack. The crisp production and packaging of this disc is also top notch.

While each individual song is a reasonable length, Boiling Over might have benefitted from the inclusion of more material, provided the quality of the music was consistent with what’s already available on the disc. As it is, Boiling Over just feels too short. Also, as is often the case with instrumental music, it’s hard to find any common thread or theme on the EP. You feel you’re just listening to great tunes, but not a fully realized collection. Ultimately, the disc sounds great, but it is also just a jumbled compilation of tracks that don’t particularly transcend the total of it’s base ingredients.


Track list:

  1. Boiling Over
  2. Alabaster Dub Remix (Industrial Espionage Mix)
  3. The Staircase
  4. Dealbreaker
  5. Constructing the Absence
  6. We’re Upstairs
  7. SF Shuffle Riddim


Kush Arora Website http://kusharora.com
Kush Arora Myspace http://www.myspace.com/kusharoramusic
Kush Arora Facebook http://www.facebook.com/kusharoramusic
Kush Arora SoundCloud http://soundcloud.com/kusharora
Record Label Records Website http://www.recordlabelrecords.org


Purchase at:
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Brian Backlash (BrianBacklash)

Jun 2011 15

Cover Image
Mitch Burger
Category: Electro-Pop / Post-Punk
Album: Reactive
Stars: 1
Blurb: Mitch Burger’s Reactive is a painful aural experience.


As we push further into the 21st century and our technology continues to advance, we’ve begun to explore ever greater forms of expression and autonomy. One of the mixed bags of this new wave is the ease and affordability that has allowed many different people from all over the world a chance to create and record their own music and films. However, for every great unknown artist out there who finally has a chance to put forth his or her vision to the world, you have an endless parade of mediocrity that simply serves to congest an already overwhelmed multimedia environment.

Mitch Burger and his debut record, Reactive, fall squarely into the last category. There are a number of elements that are askew on this record, but the terrible lyrics and tone-deaf singing probably take the cake. In “Lies, Fear, Hypocrisy,” Burger bellows and howls about all of the injustices of life in this age, and he does it with all of the finesse of an elephant in a house made of glass. His range consists of three dimensions of bad – quivering, pseudo-punk yammering, scratchy, high-pitched squealing, and simple talking. His lack of vocal control and intonation is so pronounced and so loud above the rest of the mix that it essentially drowns out nearly everything else. The chorus to “Utter Hopelessness” could have been taken right from the scene in Boogie Nights where Dirk Diggler tries desperately to make rock and roll magic in a recording studio.

The lyrics that Burger employs are generally sophomoric, sometimes even grating, but also occasionally show promise. Varying from political to deeply personal, it’s clear that Burger is making a spirited attempt at writing songs with depth and dimension, but he needs practice. Musically, Reactive is largely under produced and could have used a cleaner mix. While some of the samples Burger uses are quite nice, many of the actual instruments sound like ‘90s Casio keyboard presets. The worst example of this is “Black Ice,” a pointless instrumental filler track slapped onto the end of the disc. On the other hand, at times certain songs show some considerable promise in terms of composition and arrangement. “Blank Stare,” for example, would actually be a really great song if not for the aforementioned vocal issues. As it is, it’s the strongest and most realized track on the album.

While keeping in mind that this is a self-issued debut, this writer could not recommend this record to anyone. Burger does seem to have a clear idea what he’s working towards and what he wants his music to be like, but he should have archived these recordings as early demos and worked these tracks over considerably before pressing them for release.


Track list:

  1. Lies, Fear, Hypocrisy
  2. Utter Hopelessness
  3. Slit My Wrist
  4. Road to Ruin (Part I)
  5. Blank Stare (Part I)
  6. Road to Ruin (Part II)
  7. Blank Stare (Part II)
  8. Road to Ruin (Part II)
  9. Black Ice


Mitch Burger Website http://www.mitchburger.com
Mitch Burger MySpace http://www.myspace.com/mitchburgermusic
High Rip Music


Purchase at:
Amazon CD
Amazon MP3




Brian Backlash (BrianBacklash)