T3chn0ph0b1a – Electronic from outer space

•August 31, 2011 • Leave a Comment



Industrial Metal/ Cyber Metal/ Electronic







From the first time I discovered T3chn0ph0b1a, I was fascinated by them! I was really impressed with the perfect symbiosis between smashing electronic elements and aggressive metal. The unique sound of T3chn0ph0b1a is a surprise for many listeners who have tried, but failed to find bands fit for comparison. I wanted to find out more about these guys, so when I got the opportunity to interview their frontman, H. J. Mazend, I was more than thrilled. Fans of industrial metal all over the world, get ready to meet T3chn0ph0b1a!

1. Hello! First of all, me and many other fans are wondering: why T3chn0ph0b1a instead of simply Technophobia? What inspired you to chose this name for the band?

Hello humans!
We chose the name with ‘leet language’ ‘cause, if you take a look at the numbers
(3-0-0-1), they compose the future year, 3001 a.d., from where we come, traveling through time, according to our alien concept, from our homeland, planet Sidera.
I know it’s difficult to write down and to spell, and it may appear kinda cryptic, but we gave to this name some hidden cabalistic-like meanings I’ll explain, maybe, in some new songs.
The word, meaning the dislike and the fear of technology in modern era, sounded cool, ’cause we make a large-scale use of modern devices to play our music; it’s like asking to the listener: are you afraid of us? Are you afraid of our alien race from outer space in our ongoing mission to destroy humankind? Or wanna join our side?

2. The band dates back to 2003. How did you and all the guys meet? Were there any line-up changes during the years?

I’m the founding member, together with 5k0tt, we have known each other since our childhood and, in 2003, we recruited some musicians to form the band. During the last years we had some line-up changes, we changed two bass players, we had until 2009 an additional keyboard player, and we switched, a couple of years ago, from a drum machine to a real drummer. The actual line-up consists of me, Snuff 238 Mazend, on vocals, 5k0tt Mazend (guitars, synths programming and production), RadikAl 9k (keyboards & live synths), Dorian Redrum (drums) and Von Cyberskin (bass guitar).

3. How would you describe your musical style in a few words?

“Dancefl-Horror Music”, of course! This term explains how we aim at the Rock or Electro dancefloor but with some raw, evil, decadent and shocking attitude. You can describe it as Industrial Metal, Industrial Rock, Electro-Metal, but, it’s a musical hybrid, for sure…we wanted to produce something powerful and out of every standard and ordinary genre. We prefer to stay out of every musical definition or label, we want to sound different, that’s the point.

4. What are your favorite bands? Did any of these bands influence you in deciding to make music?

I can’t tell if something influenced my music, I listen to tons of different genres, my favorite bands are The Meteors, Type O Negative, Ramones, Misfits, Motorhead and many good old country singers, Hank Williams, Johnny Cash and George Jones, for example…I listen mainly to punk ‘77, oi and hardcore bands, in metal music I prefer the old thrash bands or Venom-like bands but I love also the traditional doom and some stoner. Then, it depends on the moment and the mood…lately on my ipod you can exclusively find Ozzy-era Black Sabbath, a couple of AC/DC albums, Electric Wizard discography, the latest Murderdolls album, some legendary anarcho-punk bands (like Zounds) and also Roky Erickson and other similar psychedelic rock artists.
Talking about Industrial Metal, in my opinion the best bands of the genre are The Kovenant, KMFDM and Deathstars.

5. Tell me a little about T3chn0ph0b1a’s beginnings. How was “Albedo Level: 0%” born? And since it was a self-produced material, how long did it take for you to complete it?

It happened really fast, we formed the band and we recorded the four songs, in just three days. Two songs were composed the night before starting the recordings (I can’t remember which one, but I guess “Wrapped In Eternit” and “Aliena Ferox”) and the last song lyrics, “H.T.M.L. (Heavenly Territories Might Lie)”, were composed just some minutes before I entered the studio to record it. Then we mixed it and published on internet for free, on our old website, and everything started…

6. How did you promote this album? Were there any concerts involved?

Yes, at the time, we played some gigs to promote it, and spread the word through the internet, thanks to a great fan base, quickly growing up.

7. With the release of the full-length album “The Dancefl-Horror: N.A.S.A. Vs I.N.R.I.”, your fan base got bigger. What was the public’s reaction to this material?

The public reacted well to that release, we recorded two songs, “N.A.S.A. (Not Antropomorph Space Assassin)” and “I.N.R.I. (In Necro Reality Interactive)” and we included six remixes, provided by great bands, the italian Ebm acts Syrian and XP8, the well known Mortiis and other industrial bands, and a bonus track: a strange acoustic psych version of our song “H.T.M.L.” we recorded late at night, in an intimistic atmosphere.
Many magazines and webzines reviewed the EP as top newcomer album and this was a great result.

8. Let’s talk a bit about “Grave New World”, my personal favorite T3chn0ph0b1a album. How did you come up with the name? Does it have any connection to Iron Maiden’s “Brave New World”? Also, what differs this album from the previous ones?

The only connection to Maiden’s album is that they took inspiration from the same book, Aldous Huxley’s “Brave New World”, a sci-fi novel written in 1931.
I was inspired by the heavily cynical attitude of his work, showing future times where humans sacrifice arts, feelings and individuality, through eugenics, to achieve the perfect, utopic, harmony. I used those themes, slightly changing the title in a funereal and gloomy way, as a starting-point for writing lyrics contained in this album. I was, obviously, not just talking about the human condition, I took inspirations from movies (for example Tobe Hooper’s “Texas Chainsaw Massacre”, Lucio Fulci’s “Zombi 2”, David Cronenberg’s “Videodrome”, Jorg Buttgereit’s “Nekromantik”), and I included personal reflections, experiences and cyberpunk atmospheres. And, of course, a lethal dose of hatred against planet Earth.
“Grave New World” sounded more balanced, half metal half industrial, than our previous releases, in which the electronic side prevailed.

9. “Hold Me, Thrill Me, Kiss Me, Kill Me” was a huge surprise for your fans. I must ask: how does an industrial metal band decide to do a cover after a U2 song and include it as a bonus track on an album?

We prefer to record original songs rather than covers, but we decided to include “Hold Me, Thrill Me, Kiss Me, Kill Me” simply ‘cause this song is kickass and it fits perfectly with our music. Even if I’m not a big fan of U2, I loved this song so much when I was younger and I saw the videoclip.
We recorded this song in our style and it was funny to destroy Bono (a truly great singer) vocal lines and transform their hit into a dark blasting alien hymn…but I assure you that in our next album we’ll include an even more surprising cover song!

10. Regarding live shows, where have you performed so far? Do you have one concert or place you specifically loved? What are the songs T3chn0ph0b1a usually plays live?

We performed in many Italian cities, every concert has a particular charm, I can’t pick one I particularly loved…a great gig is where the crowd is loud, noisy and has fun.
We love to raise hell on stage, as long as the audience is cool, then we are fine!
Usually the setlist changes every time we play, except for the opener song, “Jaws, Claws & Exo-Skulls” and the last one, “Abduction Starfleet”. We also play songs from our old demo, arranged into our new sound.

11. You are working on a new material, right? What can you tell me about that? have you set a release date already? Also, is a record label taking care of the production of this album?

Right, we are working on a new album, provisionally titled “We Are of Peace. Never.”. No release date, yet, since we are actually working on the pre-production and demo versions of some songs and we are still writing stuff; the album will include 12 or 13 original songs, a couple of bonus tracks and, at the moment, we want to self-produce it and record the entire album in our personal recording studio, supervised by 5k0tt…he’s also a great sound engineer.
I can’t anticipate you many details but the sound will be different from our previous releases, the synthesizers are less orchestral and more ‘groovy’ , the atmospheres and lyrics are epic but forged in anger, ‘cause I’m pissed off and tired of what I see every day around me and it’s time to spit it out, in the face of mankind. So, expect something violent and apocalyptic but melodic and catchy at the same time.

12. The industrial scene is a relatively new one in Europe. Is it difficult to be a band with such a unique style in a musical area that is only starting to develop?

More than difficult, considering the fact that we come from Italy, a country where, mainly, playing pop music or soft rock is the only way to get some attention. But talking about Italy, I honestly don’t give a fuck about it…you like us? Thank you very much. You don’t like us? Keep on listening to your sweet crap you call ‘music’.
In Europe, differently, the industrial scene is healthy, firmly based, and many bands are successful…yeah, metalheads don’t like the electronic contamination, but, for example, in Germany, Eastern Europe and UK, the listeners are open minded and they enjoy the new styles.

13. What are your plans for the near future? Other than the new album, what should your fans expect?

We’re working on a couple of projects for our first official videoclip and our song “Gene.sys” was just included in the soundtrack of a great independent science fiction movie, titled “R.O.A.C.H.” (http://www.roachthemovie.com/).
We also planned to release a web single after this long hot nuclear summer: a song taken from the new album, probably the song “Screaming In Streaming”, the first one we totally completed, at the moment. Probably we’ll include in the single the re-recordings of two songs taken from our first demo “Albedo Level: 0%”.

14. Thank you very much for your time! Any last words for your fans and for the readers of Synthetic Revolution?

Thank you for supporting our music and don’t forget to join our official profiles to stay updated:
Be part of the alien conspiracy!


Razed In Black – Damaged ( 2003 )

•August 26, 2011 • Leave a Comment



Industrial/ Electronic/ EBM/ Trance






Romell Regulacion, one of the most experienced musicians when it comes to the techo area, is the founding member and creative force behind Razed In Black, the increasingly popular Hawaiian electronic project. Born in the summer or 1994, Razed In Black represents a more aggressive approach of the previously synthpop oriented music designed by Regulacion. Skillfully combining elements of trance, industrial, goth and electro, the band fits perfectly in the description of new millennium synthetic music.  Labeling this kind of complexity and including it in only one genre category is impossible, given the vast influences that made their way intro the creative process, giving birth to the unique sound of Razed In Black.

Released in 2003, “Damaged” is, most definitely, the band’s most impressive material so far, an album that takes electronic music to a whole new level. Although pretty much lacking in diversity from one song to another, it makes up by incorporating many aspects that intertwine divinely into every single track. Razed In Black’s hypnotic sound is defined by pulsating beats, spiced with alluring and catchy synth lines, aggressive guitar riffs and lyrics of great intensity. All track feature fresh an exhilarating dance/trance basic melodic line, which makes them suitable for any club that has the decency to play good quality music.

“Damaged” consists of 2 discs, the first one being a full-length album of 11 tracks and the second one featuring 8 remixes of the original songs. As a bonus, “Damaged” the live performance “Master” and “Overflow”, composed by a bunch of video track created by fans all over the US.  This surprise from the record label offers fans the opportunity to see Razed In Black in action… and it is amazing!

The majority of the songs found on “Damaged” are fast-tempo and densely layered, mixing the clean sounds of synthesizers with the rawness of metal guitar and keyboards that make your brain scream of pleasure. Romell Regulacion’s experience in this field can not be denied. The tracks that average 5 minutes in play time are intelligent hybrids of electronic music that you rarely come across with other bands. The strongest pieces on the album are “Visions”, “There Goes My Head”, “Leave It All Behind” or “Am I 2 Blame?”, but every track deserves undivided attention.

While the artistry of the first disc is close to perfection, being extremely seductive, dark, but at the same time, invigorating, some of the original feeling of the songs is lost in the remixing process. Coated with a bass line that is a bit too heavy, the remixes found on the second disc lack the greatness expressed through the distinctive sound of the original Razed In Black compositions. Don’t get me wrong, artists like Assemblage 23, Sonic State, Neikka RPM, Eve of Destiny, Inertia and DJ Misguided succeeded in doing a very good job, but it’s hard to take something that is already marvelous and try to make it better. This goes to show, once again, that Razed In Black is a band that displays exquisite talent, skill and power of expression.

Razed In Black’s fifth studio album, “Damaged”, takes defining bits from both industrial and trance music, sowing them together with expertise and finesse to create one of the most brilliant album the electronic scene has seen in a long time.


Rob Zombie – Hellbilly Deluxe ( 1998 )

•August 21, 2011 • Leave a Comment


Industrial Metal









Rob Zombie, the former lead singer of the band White Zombie and director of horror movies such as “Halloween”, is best described by the word “character”, which inevitably comes to the mind of people who are familiar with his activity. Released in 1998,  “Hellbilly Deluxe” is the album which marks the beginning of his solo career and a perfect description of his unique and wacky style.

“Call of the Zombie”, the opening track of this album, sets a dark atmosphere in which the listener is transported one song at a time. It features the voice of a little girl reciting a creepy poem that reminds of old horror movies. Angry-sounding guitar riffs and drums follow on the song “Superbeast”, making this album a true industrial metal piece of music. Rob Zombie explores themes like monsters, death, phantoms and, of course, zombies. However, this dark aesthetic style has a fun twist to it, like most of the artist’s projects.

Perhaps the most popular track from this album is “Dragula”, a song that holds power in the instrumental part, as well as in the lyrics. From a subjective point of view, I can say that the beats are pretty addictive, making this song one that can be found on repeat in many playlists.

On some songs, Rob’s amazing voice is also accompanied by female screams, like in a typical horror film.

The album also contains ambiental tracks such as “Perversion 99”, meant to take the listener deeper into the spooky-fun atmosphere created by the lyrics.

“Return of the Phantom Stranger” is also a great proof of Rob Zombie’s musical talent, combining industrial metal beats and instrumentals with the sound of bells and backing vocals that complete the song, leaving the fans with a feeling of curiosity, making them wonder what hides beyond the music.

The album ends with “The Beginning of the End”, a loud and powerful track, with sounds that seem to describe the epilogue of a terrifying experience.

“Hellbilly Deluxe” is a must-have item for die-hard industrial fans and people who are just beginning to experiment industrial music alike. An epic material which stands out mostly because of the moods it generates track by track, Rob Zombie’s “Hellbilly Deluxe” truly is an irresistible experience!



Wolfsheim – Spectators ( 1999 )

•August 18, 2011 • 1 Comment










Hamburg, Germany is the birthplace of Wolfsheim, a musical project that goes way beyond the mainstream pop featured in European and American clubs. In the beginning, the band consisted of Markus Reinhardt and Popmejo Ricciardi,  and soon afterward Oliver Reinhardt joined. However, the band only started getting noticed after Peter Heppner came into the picture. Wolfsheim’s current line-up features Peter Heppner as lyrics and vocals and founding member Markus Reinhardt, responsible for music and electronics.

Wolfsheim’s music is rich in New Romantic, New Wave and Synthpop influences, presenting the audience with clean, but interesting synth lines and a general melancholic, but modern approach when it comes to the lyrics.

The band’s fourth studio album, “Spectators”, was released in 1999 by Strange Ways Records, the label that had taken care of their previous materials as well. This material was the first to reach the top-10 in Germany, at number two, making it a stunning success for the band. The large number of side-projects both members got involved into started increasing the popularity of Wolfsheim and attracted more fans. The most notable projects are Peter Heppner’s collaborations with the dance musician and producer Schiller and the trance/techno Dj Paul van Dyk. Also, the song “Die Flut” produced with Joachim Witt reached second place in the German Single Charts and garnered them a platinum record.

“Spectators” debuts with the song “It’s Hurting For the First Time”, an amazing start to an amazing album. Along with the very well put together electronic sequences, the listener gets to meet Heppner’s deep, haunting voice. The fact that “Spectators” only includes one German song, “Künstliche Welten”, is great news for the English speaking public, because Wolfsheim’s music had already started to spread to the US as well as Europe.

Throughout the album, Wolfsheim displays a vast music tapestry with an emotional impact induced by the lyrics. Most of the songs on this album are mid-tempo and complex from the point of view of the trained ear of an electronic enthusiast. However, tracks like “Blind” or “For You” feature a slower beat, allowing the listener to focus more on the sentimentally charged lyrics. On the opposite side, there are “Sleep Somehow”, “Heroin, She Said” and the hit “Once in a Lifetime”, musically upbeat, but still holding a dark undertone in the lyric department.

Most of the songs on “Spectators” are musical paradoxes, skillfully blending club-like dance rythms with verses that speak of pain, loss and regret. This mixture creates a very real and sometimes confusing experience for the listener who is torn between two very different ways of perceiving the album. Whether you decide to see it as a collection of dancefloor anthems or you chose to focus more on the substance and story behind each song, Wolfsheim’s “Spectators” is definitely an excellent album for electronic lovers, who will surely appreciate the high quality of the synthetic symphony put together by Reinhardt and Heppner.


Diary of Dreams

•August 14, 2011 • Leave a Comment


Darkwave/ Electronic







Calling Adrian Hates, the mastermind behind  Diary of Dreams, anything other than a God would be utter blasphemy! The lead singer and founding member of the darkwave band is one of the most complex musicians of the electronic field, but the main thing that makes him stand out and truly shine is the poetic sensibility he expresses through his lyrics, with an otherwordly voice that is nothing less than a heartbreaking cry coming from deep inside. Adrian Hates was, at first, a classically trained guitarist and later on a pianist, drawing his musical inspiration from the true masters: Beethoven, Mozart, Vivaldi and other unsurpassed composers. After playing as a bassist for Garden of Delight, Adrian Hates initiated the project Diary of Dreams, the band that would soon become a legend. Born in the late 1980s, the band takes its name after one of Adrian’s early compositions, “Tagebuch der Träume”, initially written for classical guitar only.

Describing Diary of Dreams is a difficult job, since their music consists of many layers which combine perfectly in order to build a masterpiece. An exceptionally important part of the Diary of Dreams phenomenon is the lyrics, in both English and German, full of double meaning, symbolism and emotion. As for the music, it varies from melancholical, atmospheric pieces, infused with the sounds of the piano and acoustic guitar to more electronic tracks, pulsating with the rythms of guitars, bass-guitars, drums and, obviously, synthesizers. Every song has a fluid, melodic sound, meant to provide the perfect soundtrack to Adrian’s poetry.

“Cholymelan”, the band’s debut album, was released in 1994, being remarcably different from Adrian’s previous work with Garden of Delight. The album captivates listeners with melancholic synth-melodies, in which the guitars still play an important role. “End of Flowers” continues the electronic based music of Diary of Dreams, creating a dark atmosphere, especially defined by the passionate and unique vocal part. The band continues to grow and gain even more essence and diversity, as “Bird Without Wings”, one of the most representative pieces show. The music played by Diary of Dreams is deep and meaningful, the atmosphere it creates is mystical and almost surreal, the dark aesthetics of it being more and more obvious throughout their evolution. From this point of view, “Psychorama” is a masterfully written album.

In 1999, Diary of Dreams releases “Moments of Bloom”, an album whose purpose is to familiarize new listeners with the extraordinary sound of the band. “Moments of Bloom” combines 4 new tracks with 2 from each of the previous materials. However, the old songs are remastered and the vocal parts are re-recorded, so fans can be, once again, mesmerized by Adrian’s precious voice and power of expression.

If with “One of 18 Angels”, the band takes a more electronic approach, drifting to more danceable tunes, still charged with the same lyrical sensibility, “Freak Perfume” reveals the energy of the first albums, blended with the maturity that the band has gained from the 8 years of experience.

Although they combine dance-oriented tracks with emotional ballades, Diary of Dreams never loses the element that makes the band like no other: penchant for the cloudy and mysterious. While “Nigredo” doesn’t show too much diversity and is considered a weaker album compared to the previous ones, “Nekrolog 43”, released in 2007, is completely flawless! More ambiental and darkwave, it focuses more specifically on the wildly changeable nature of human emotion. Supported by fitting instrumental parts consisting of flowing guitars, fast beat, synth texture and intoxicating piano sequences, the poetically biting lyrics that have defined this act from the beginning are more accusative and edgy on this album.

Diary of Dreams released “(If)” in 2009, once again proving to the world the extraordinary talent that got them to this point. Contrasting with the other materials, that are mostly conceptual, “(If)” is straight forward, intense, each song telling a story of its own. This album appears to be a new chapter for the German band who keeps its original stylistic spectrum, but also embraces a range of fresh influences and sonorities that fans all over the world have embraced as well, making a huge success out of this musical gem.

Having in mind this new approach of an already consecrated brand, the announcement of the release date for “Ego:X”, the newest Diary of Dreams album, has left everyone breathless. Although it is programmed for August/September, the band offers a sneak preview to the feel of the new material, posting the song “Echo in Me” on their official website and making it available for download.

With a discography consisting of studio albums, one live album, singles, EPs and a stunning DVD released in 2006, called “Nine in Numbers”, Diary of Dreams is what real music should sound like. Creative, intensive instrumental parts entwine with introspective and deeply emotional lyrics presented by the voice of a divine musician to create a concept, a mood, a feeling. They all come together to create Diary of Dreams, a band for which any word of appreciation from the mouth or pen of man is less than the glory they proved to deserve time after time, album after album!

Black Comedy – Instigator ( 2008 )

•August 10, 2011 • Leave a Comment


Industrial Metal/ Cyber Metal






The Norwegian band Black Comedy is situated at the thin line between industrial metal and melodic death metal, drawing its influences from both genres and creating a musical style many like to call cyber-metal. Born in 1996, the band is still pretty underground and opinions regarding their music are very diverse. Although more metal than industrial, the creative use of synths brings Black Comedy to the attention of Synthetic Revolution, earning them a well deserved spot here.

Black Comedy is an interesting symphony of sounds. Loud, aggressive guitars and rhythmic drums mix with the melodic sounds of the keyboards. The synthesizers are the elements that give the band the right to call itself a futuristic metal band, taking them in the area of electronic music. This mixture of classic and modern is what makes Black Comedy a band worth listening to.

In my opinion, their second full-length album called “Instigator” is the most representative for the band. The 12 track album released in 2008 illustrates themes such as personal and psychological struggles, ills of society and political references. Even the name of the band is a preview of the sarcasm and irony found in the lyrics that depict the image of a broken world, seen from a personal point of view as well as an objective one.

Through the songs featured on this album, Black Comedy presents to the fans something you might call the two sides of the band. Tracks such as “Lord of Locust”, “Favorite Hateobject” or “Civil Paranoia” tend to show the dark, aggressive part of the band, circling around a sum of bitter emotions. Listening to these songs, you might feel a hint of influences from bands such as Soilwork, In Flames or Children of Bodom, since they represent the more metal part of Black Comedy. Jon E. Bergen’s voice is a powerful and angry one which completes the sound of the whole cyber-metal instrumental style perfectly.

The other face of the band is the industrial one, easily observed in songs like “At one with Decadence”, a track with a slower beat and more electronics.

Nevertheless, there are some negative aspects regarding Black Comedy which can’t be ignored. Bergen’s voice has a tendency of being a bit too flat, with not enough variations from one song to another. Indeed, the typical metal growls fit perfectly on some of the tracks, but I would have liked to see more variety. A second aspect is the fact that some of the lyrics can be described as cheesy and not quite original. It is not uncommon for a band to speak about a sick, twisted society or individual psychological issues, so a little originality would have been appreciated by fans.

I rarely find pleasure in listening to metal, not unlike other die-hard industrial fans. But, in all objectivity, Black Comedy’s “Instigator” is a good, balanced album, that will be enjoyed by both fan categories. It is interesting to see, or better yet hear synthesizers at work in something other than your typical electronic music. It’s brutal, it’s modern and it truly is worth a shot!

Third Realm – Love Is The Devil ( 2009 )

•August 8, 2011 • Leave a Comment


Dark Electro/ Darkwave







There are some bands that are great at creating dazzling industrial sounds and electronic sequences and bands that can inflict genuine emotion through beautiful  darkwave ballades. Including Third Realm in just one of these categories would be an insult to the band that does both with great skill and is characterized by a wild range of variety. The band is the brainchild of Nathan Reiner, a musician that shows great talent in the synthetic area. Although pretty underground, Third Realm songs have been remixed by some of the more well known artists of the industrial scene (Razed in Black, System Syn, Mindless Faith, Val Cain), giving them more notoriety.

“Love Is The Devil” was released in 2009, being a followup to “Under The Black Light”, the band’s first full-length material. While keeping the classical Third Realm sound scheme, this second album is infused with darker, harsher industrial arrangements. Composed of 13 amazing and diverse songs, “Love Is The Devil” will take electronic lovers on a musical journey filled with emotion and synthetic beats. People who are familiar with the many subgenres of the industrial scene will definitely recognize darkwave, ebm and synthpop elements scattered through the dark electro basic sound.

The album’s opening track is a powerful and dark one: “Invitation To Hell”. The title is self explanatory, since it induces the atmosphere in which the listener will be taken song by song. Nathan’s deeply synthesized voice, a key element for Third Realm, is noticeable from the start and it’s a constant presence in the more electronic songs, as well as in the slower, darkwave ones. “Pseudo Death Wish” continues the initial mood, before the album transits to a more danceable, ebm style. “Manic Panic” begins this transition, and “Sleeping Beauty” defines it.

Nathan Reiner really brings the wow factor to the album with the song that gives it its title, “Love Is The Devil”. If in other musical areas, covers are often seen as lack of originality, remixes lay at the foundation of electronic music. Any well-trained electrohead will agree with the fact that the “Cut Me Deeper Remix” of this song is better than the first version, having more beat and more heart to it. “Bleeding In Her Nightmare” brings and interesting change from the vocal point of view, Nathan’s singing reminding of Marylin Manson’s sound on some fragments of the song. Using a female voice at the beginning of “The Horror Within You” was a smart move, since it contrasts with the synthetic main voice and the harsh rythms. The same intoxicating dark electro mood defines “Reap What You Sow”.

Track number 12 makes the album take a wild turn to the emotional path, since “Colder Than Your Heart” is lower on electronics, but exposes the twisted presence of painful emotions. Radically different that the opening track, “Suicide Note”, the song that ends the album, is a powerful display of feeling, through music and lyrics alike. The voice is clean, but still synthetic, the beat is slow and the sorrow is genuine. It destroys all stereotypical barriers, proving that diversity can make or break an album. In this case, it is a stunning success!

Third Realm pays great attention to detail when it comes to “Love Is The Devil”, combining masterful songwriting with great skill in producing the album. For fans who can’t limit themselves to one genre or mood, Third Realm’s “Love Is The Devil” is a piece of musical jewelry that deserves to be listened to with the most open of all hearts!