EOL-Audio Review Archive – T

EOL-Audio Archive December 9th, 2011

This is Part ‘T’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – P

EOL-Audio Archive December 6th, 2011

This is Part ‘P’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – N

EOL-Audio Archive December 4th, 2011

This is Part ‘N’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – M

EOL-Audio Archive November 30th, 2011

This is Part ‘M’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – H

EOL-Audio Archive November 30th, 2011

This is Part ‘H’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – G

EOL-Audio Archive November 30th, 2011

This is Part ‘G’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

EOL-Audio Review Archive – C

EOL-Audio Archive November 25th, 2011

This is Part ‘C’ of an archive of CD and digital download reviews from EOL-Audio (1998-2007) and the early versions of Terminates Here (2008-2011).

Please note that this writing is varied in quality and is not intended to be representative of the new content I’m creating for this site.  It has simply been uploaded in order to preserve the many hours of work devoted to previous websites.

Read The Rest… »

Aggrotech

Genre Definition March 18th, 2010

The electro-industrial genre gets very bloated with all these angry men (yes, they usually are men) with their synthesiser and vocal effects.  So a number of spin-off genres are necessary.  This one dates back to the mid-to-late 90s when two acts from different sides of the Atlantic independently arrived at the same combination.  Mexico’s Hocico and Belgium’s Suicide Commando both combined EBM rhythms with cold, ominous melodics and vocal distorted to the brink of intelligibility (trust me, you don’t want to hear what they’re singing about most of the time), and duly showed a succession of EBM/electro-industrial hybrids the way forward.

The style began to get traction in scene clubs, and with more and more bands adopting the style, it soon began to displace futurepop from many DJ playlists sometime in the mid 00s.  The arrival of the second Combichrist album (‘Everybody Hates You’) won aggrotech the playlist battle for good.  This album did see a move from extreme vocal distortion to a more ‘shouted’ style, which seemed to help it’s acceptance to a wider audience.  Some projects didn’t bother with vocals at all – the martially-influenced Feindflug is probably the best-known and longest-established example, whilst bands such as Soman, Xotox and KiEw produced vocally-sparse variants on the style that bordered on power noise at times (the oft-forgotten first Combichrist album also fits in here somewhere). Read The Rest… »