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Production company, studio, label and home of Norway's pioneer electronic act, Apoptygma Berzerk and head man Stephan L. Contact Pitch Black Drive Productions.
Streaming and Download help. Report this album or account. If you like Welcome To Earth, you may also like:. Mechanical Soul by Front Line Assembly.
That's about the most concise way I can describe how this album feels to me. My one criticism constructive of course is that sometimes the lyrics feel underinspired, but it's not a big issue in the grander context of this otherwise excellent album.
This one definitely grows on you, too. Good stuff, and solidly recommended. Long live FLA! Benjamin Crockett. The soundtrack of the future I design. WarMech by Front Line Assembly. This album has a really deep, textured and opressive bass.
Exactly how i like it DomekRomek. Work Up the Blood by Confines. Brooklyn's Confines makes hard-edged industrial techno that could easily set any foggy goth club floor alight. A stellar cast of artists put their own shadowy spins on recent Bestial Mouths material—toward the goth club floor or into pure noise.
Although I know little about electronic or industrial music, a few bands have been with me since I was a wee little lad. With a family friend driving me to and from elementary school everyday with Covenant, Mind. Later we moved away from Derek, and I had no one to give me music that I enjoyed, and just listed to whatever mother listened to. Years past and occasionally one or two songs that I remembered came on from mom, though I yearned for more. This magnificent achievement features the band at a pinnacle turning point: away from Electro-Body-Music and more to experimentation, while embracing a somewhat more poppy sound.
Call that statement contradictory or a paradox, but truth lies in it. Weird sonicscapes, offhand beats and mystic atmospheres intertwine with stuck-in-your-head melodies and great, loveable vocals, found in many songs on the album. And Soultaker, a track that emphasizes harsh, pounding beats and dry sounds at the front, then explodes into the songs full, absolutely danceable melody and hook near halfway through it, then quickly dissolves to the next track, LND3 Love Never Dies Part 3.
Accordingly, and probably intentional by Groth, it leaves the listener like most of the tracks awed at the amount of progression, and actual music , that a synth-ridden, keyboard layered genre has to offer. Many, many tones are set on the album here, from sad and bleak, broken and resentful, to inspirational and happy, yuppie and giddy. A lot of that comes from Mr. But rather than using a falsetto, Stephen either harmonizes or tags along his vocals to his music. While not exclusive or repetitive, he hardly needs any operatic tinges; his lines are amazing with the tunes he has.
It is also very soothing, a fresh voice, but can fit in with the various moods the album has to offer angry, Soultaker, uplifting, Moment Of Tranquillity, etc. The last point I want to make about Stephens voice is that it's not 'fixed', or not his own. Sure, there are some takes with effects to his voice, but at the core his voice is real, making a very welcome part of a synth album. The first two mentioned are complete nonsense; hardly any actual music lies therein, just spoken samples of people over some score Untitled 3 , or is simply not up to par to the rest of the album 64k.
Time To Move On also falters because of a ten-minute silence followed by a two minute happening of crazy, directionless techno. Waiting awhile for a few minutes of absurdity that has no connection or similarity to the album is not something many will appreciate for.
However, the rest of the album, being ten tracks, does take command hundreds of times over. Containing structured, catchy melodies, dark, melancholic takes, an incredible voice, lots of well-executed progressions, and an overall accessible, yet not sacrificing musical integrity or values, Apoptygma Berzerk creates an opus on Welcome To Earth, a worthy look-into and a rewarding listen even if you might have a passing interest.
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