FLAC/MP3, Crunch Pod, 2011
Blackcntr returns on this latest EP with a new vocalist, but still provides plenty of the same punchy industrial sounds that have been heard on the two previous releases. Each of the three remixers provides different interpretations of the title track, making for quite a varied range of electronic music styles.
The first thing you will notice while listening to “I Kill” is that the vocals are sometimes presented in an unprocessed and less distorted style. There are still times when distortion is used, but the untouched vocals show he isn’t using effects simply to hide a horrible singing style. In fact, he bears an uncanny resemblance to Jim Marcus of Die Warzau. This combination of untreated and distorted singing is a nice change of pace from many industrial releases, and actually works quite well in combination with the music. The vocalist’s method of delivery adds a certain sexiness to contrast the harshness of the music. “Temptation”, one of the original pieces on the release, is a definite highlight. It sounds heavy and edgy, and includes many different layers. This piece also slows down the rhythm just a bit, and is a little darker than the other tracks due to menacing atmospheres created by the synths, though it is still has plenty of ‘oontz’ to it.
The remix of “I Kill” by Aesthetic Perfection is what you would most likely expect coming from this band. It has a ton of stompy intensity and is a version where you could easily get plenty of people on the dance floor. It’s simple to envision Daniel Graves singing the lyrics on this mix, due in large part because most of the vocals are stripped out of it. The band Starmachines provides a remix that imparts a little rockier style to “I Kill”. This version is a little more chaotic, much more aggressive and definitely very fast-paced. While listening to this, I kept getting visions of riding horses across a barren plain, trying to get somewhere as fast as possible. The Polluted Axis version is the most interesting and definitely the most contrasting of the three remixes. The artist brings in a dub element to the song, quickens the tempo, and makes the whole thing sound bouncier. He also distorts and drops the vocals down in the mix, concentrating instead on the music within. Be warned, this mix has some serious bass; it would probably shatter windows at the right volume.
This is definitely a worthwhile pick for those tired of the deluge of terror EBM releases, but still looking for some crunchy industrial sounds, with a little splash of different electronic flavors thrown in for good measure.
— Kevin Congdon