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When Gary Zon started experimenting with a synthesized approximation of Front Line Assembly's sound, what he ended up with was something surprisingly individual (if not exactly unique) and crowd-pleasing, a sort of twisted fusion of industrial, trance, and EBM elements. He called it Dismantled, and several compilation tracks, a handful of remix gigs, and two full-length albums later, Zon is being given the honor of his own remix EP, with contributions from such electro eminences as Haujobb, :wumpscut:, and Daedal. The disc's two central tracks are "Swarm" and "Breed to Death"; the former is presented in four mixes, and the latter in three. Most of the remixes are drastic and distinct enough that you might not recognize the common basis they share unless you listen very carefully -- the exception being Xlan Antkow's remix of "Breed to Death," which does little beyond tightening and cleaning up the original mix. The disc's joke track is a straight-faced industrial setting of Paula Abdul's "Straight Up," and its two highlights are the unremixed version of "Swarm," a brilliant slab of melodic aggro, and Daedal's program-ending jungle mix of the same number. Not bad. ~ Rick Anderson
Personnel: Daniel Myer, Gary Zon (programming).
Audio Mixer: Gary Zon.
Dismantled Breed To Death Songs Breed To Death Review
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Purchase Breed To Death CD To buy, Click on price to add to cart | Dismantled CD (2002)
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Greece-born composer Vangelis has made an acclaimed career out of his mystical, inspired New Age pieces. In 2001, the Oscar-winning artist ...
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| | Midnight Syndicate Gates Of Delirium CD (2001)
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They have taken you deep into the crypts of a forbidden castle and to the edge of the sea among the ruins of a cursed village . . .Now the masters of gothic/horror soundscape invite you to take a musical journey into the macabre world of Haverghast Asylum. Your horse and carriage awaits you . . . Gates of Delirium marks the band's fourth album in as many years. During that time, Midnight Syndicate has pushed the boundaries of the gothic and classical crossover music genres. Their unique blending of dark, classical orchestration and sound effects has allowed Midnight Syndicate to establish a devoted following of gothic, horror film/music, and Halloween aficionados worldwide.Since it's inception, Midnight Syndicate's goal has been to create music that stimulates listeners' imaginations, transporting them to worlds and movies of their own creation. Set in a nightmarish, turn-of-the-century asylum, and featuring some of the band's most advanced production to date, Gates of Delirium promises to do just that.REVIEW - LEGENDS MAGAZINE - by : Mike VentarolaA lone scream pierces the night...Dark shadows envelope unwilling guests of a wretched stronghold that harbors an unspeakable terror.... Welcome to Haverghast Asylum;" so echoes the dire back cover warning as we foray through the latest offering of sonic enticement of diabolical and abject terror. Midnight Syndicate continues to offer soundscapes best described as cinema of the mind. Haverghast Asylum is the imaginary setting for this latest outing, which comprises macabre music intertwined with the unrestful haunting of the criminally insane from another era. We are mute witnesses to an auditory excursion through the foulest depths of a man-made purgatory. Far worse than the unsettled dead patients, who endured unspeakable horrors and torture, are the eternally damned souls of their tormentors who have accompanied our phantom residents into this hellish abyss. The disc opens very dramatically, not unlike some of today's tension building music often included in contemporary horror films. We are taken back in time as gentle chimes and urgently tense violins accompany a horse drawn carriage. An anonymous passenger is heard departing from the carriage and entering Haverghast Asylum. He is unnerved as he passes the crammed, vile cells overflowing with filthy inhabitants. Flailing arms protrude from their imprisonment, begging for liberation from this life, each voice screaming louder over the din than the next. The doors slam tightly behind him, bolting him within, leaving him with no means of escape. Futile attempts to exit causes our visitor to comprehend that he has been thrust into the depths of depravity. This eventual realization has our protagonist frantic and running through the hallways and tunnels seeking a means of escape, however, he is unaware that his soul is doomed to wander and witness the wretched and unspeakable acts perpetrated throughout ...
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| | Land Shark CD (2006)
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Lance De Sardi, aka Land Shark, has a slew of singles and a double mix CD to his name, but this eponymous set is the first album dedicated to his own music. Within he introduces himself on the opening "Le Shark," a tongue-in-cheek adaptation of the signature shark sound from Jaws. It's pretty obvious that listeners are not meant to take everything that follows too seriously -- which is just as well, because otherwise the first half of the set might leave those with fainter hearts gasping for breath. "Dangerous," for example, is precisely that, as De Sardi takes on the disembodied, breathy voice of a stalker or a vaguely threatening obscene phone caller. It's enough to give one the shivers. With its martial beats, funky sonic assaults, and militant aura, the intriguingly titled "Indecent" might suggest an antiwar political stance or it could be the sadism accompanying "Shake Me"'s corresponding masochism. So the latter number's lyrics suggest, this time delivered over an almost industrial backing. "Forces," in contrast, seems to be delivered by Satan himself, or at least a drill sergeant from hell, its commandments growled out over a doom-laden gothic background. It's at this point that Land Shark draws back from the abyss, twisting back toward a more comforting house groove, although not many dance fans will succumb to De Sardi's sick seduction on "Tie Me Up." The music, on the other hand, all down and dirty house, will send the dancefloor into spasms of delight.
"Riot" adds even more funk to the mix and a touch of industrial to further dirty up the sound, and by the time one gets to the uncomfortably catchy "Fear (& Loathing)," it all begins to feel like an adulterous dirty weekend...so good, at least before the guilt kicks in. Which is where De Sardi pulls it back from the brink again, with the reggae-goes-house of "Can You Relate," tossing in a bit of creaky guitar à la the Pop Group to give the track an even more authentic, dubbed-out feel. "Slippage" takes the album out on a high, with a rhythm-driven number that twists and turns through styles, house-based but with synths that slide back toward early Depeche ...
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