Telegrammetry and Hypervoxx Recordings-REVIEWS

Telegrammetry ~ Hypervoxx ~ Buzzenbark Recordings

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THE REVIEWS

Wie gut, dass es noch Bands wie die Spanier Gradual Hate gibt, die sich mit ihrem düsteren Endzeit-Electro ganz in der Tradition der frühen In Strict Confidence, Yelworcs oder Hocicos sehen, anstatt mit bis zum Aufschlag aufgedrehtem Verzerrer die nächste Hellectro-Sensation zu mimen. Die dreizehn Stücke von „Asphyxiated World", in lyrischer Hinsicht eine erschütternde Bestandsaufnahme unserer Gesellschaft, sind musikalisch die reinste Offenbarung, denn die vermeintliche Leichtigkeit, mit der Gradual Hate sich hier einen potentiellen Clubhit nach dem nächsten aus dem Ärmel schütteln, ist beinahe schon beängstigend. Und dies, ohne dass Gradual Hate sich kommerziell anbiedern würden oder in stumpfen Songwriting-Schemata verlieren würden. Tracks wie „Weakness Man" oder „Dancing On Ruins" gehen gut ins Ohr, vor allem aber auch ins Bein und wissen mit unbändiger Spielfreude zu beeindrucken. Die düstere Atmosphäre des Albums spiegelt dann auch das Image einer strangulierten Welt wieder, die sich in ihren letzten Zuckungen windet, so dass „Asphyxiated World" in seiner Gesamtheit ein wirklich hervorragendes und vor allem zeitloses Album darstellt

The Spanish duo Gradual Hate makes dark electro EBM and Asphyxiated World is their debut album. They perfectly fit in the current club centred generic dark electro trend with tracks like ‘Suicide’ and ‘Wind’. Furthermore Gradual Hate takes the familiar approach, with mostly, distorted vocals (although the clean vocals are quite good at moments), 4.4 beats and phat sequences. This is combined with military samples, which as such is not very non-typical for an EBM band. Yet Gradual Hate does show some originality with their processed guitar sound in some tracks. A certain old-school flair can’t be denied with this band. Regularly it reminds of Evil’s Toy, Leaether Strip, Funker Vogt, or other 90’s names in the realms of dark electro. This recording sounds apocalyptic, dark, and often particularly atmospheric, despite the heavy club centred approach of electro. The packaging may look a bit cheap, musically this is quite decent though.

Covering the gamut from heavy instrumental power noise to straightforward growling EBM, Weatherhead 3 is compromised mostly of unsigned acts from all over the world. Citing contributions from locales like the UK, France, Japan, the USA, Sweden, and Germany, it provides what will probably be the first samplings of many of these acts for all but the most devout industrial connoisseur.
Though the production is at times slightly slipshod, some EBM talent surfaces despite such homegrown label limitations. Already a Hypervoxx Records discovery, Mordacious' "Death in Denial" proves that they may be this stealthy label's act to watch; juxtaposing damp vocoder growls with humming synth stabs and clear hi-hat rhythms, it's a catchy blend of terror EBM and staccato trance. Although fusing orchestration and EBM is not a new trend, Akron's "X-Revenge" does a commendable job of stitching pointy Wagnerian strings, horns, and snares into a militant formation. A similar usage of strings later appears in Ferrum Dei's "Ascendency of the False Prophet;" like Psyclon Nine minus the black metal influence, Dei pairs sawing violin with acerbic static-laced chatter, wailing specters, and vitriolic demonic gurgles. Helmed by Tommy T. (owner of DSBP Records), Diverje kicks off the second disc with flare via a remix of "Stitched" by Mordacious. Through the bristled fog of Tommy's tortured snarls, Mordacious' humming synths and handclap snares give his Frankenstein horror-tech some stomping urgency.
However, where low production values tend to mar EBM, it's far less evident during Weatherhead's noise-oriented fare. Clanging to a sheet metal drumbeat, Stahlschlag's "Acute Netzzerstörung" rattles like an air duct shaken loose by a warehouse rave. Powered by a steady bass thump, it rattles through aluminum tunnels while blasts of static stutter and staple their way in to this turgid soundscape. Less techno in its temperament, ESA's "Tand" surreptitiously enters under the guise of a miasma of buzzing, organ-like vibrations, and aloof harpsichord stutters. However, this surreptitious void is shredded halfway through by a ravenous machine; grinding its teeth like a steel rat, it leaves only tatters of its early atmosphere to waver and sigh between chomps. Lastly, Organic_Cage's "Programm Interrupt" is a grinding juggernaut in the vein of early Terrorfakt. Outside of occasional outbursts from vintage movie snippets, it's an unrelenting throbbing of clockwork rhythms and pressurized blasts of white noise.
Despite occasional moments of tinny production and creative lulls, there are some diamonds in this rough that display a bit of creativity outside the well-trodden terror EBM and futurepop mindsets. Still, perhaps its biggest fault is that Weatherhead 3 marks the first volume to include a second disc; with 50% of the material excised, one might miss out on a couple of decent pieces, but it would far more solid as a whole.

La discográfica norteamericana Hypervoxx lanza al mercado el debut de este proyecto alemán iniciado durante 2003 cuya primera obra se encuadra en la clásica onda alemana de bandas como Blutengel o Black Heaven, es decir, una electrónica oscura que bebe de elementos como el future pop en el manejo de estructuras y secuencias melódicas, alternando voces masculinas y femeninas según se van sucediendo los cortes, unos más acelerados (en donde se nota más ese toque futurepop) y otros más pausados, de corte más oscuro.
Durante la escucha de “Statement” da la impresión de que el Cd recoge diferentes etapas de la banda, ya que los temas denotan falta de cohesión y homogeneidad si los oyes de un tirón, con lo cual es posible que hayan sido grabados en diferentes momentos a lo largo de la trayectoria del grupo. Además, algunos de los doce cortes son remixes que, imagino, habrán servido para actualizar dichos cortes, cosa que en cierta manera hace que el resultado final quede un poco deslabazado, aunque no es excusa para disfrutar de buenos cortes, como el que abre el disco, “Hard to die”, cuyos arreglos recuerdan a los VNV Nation del “Advance and Follow”, con una voz más oscura y áspera. En otros cortes como “Mein Hass” introduce riffs de guitarra que le suman mayor contundencia al tema en cuestión. Voces femeninas son protagonistas en cortes como “Queen of Beauty”, recordando muchísimo a Blutengel, tanto en la forma de cantar como en la cadencia del corte en sí. Esa deficiencia en la producción de deja entrever en temas como “Shadowland”, “Locked in silence”, cuya producción, si estuviese un pelín más cuidada, afectaría al resultado final del trabajo. Otros buenos cortes son “Nackte Angst” , “Break the silence” y “Schwarze Seele”, que muestran una producción más lograda y diferentes tratamientos vocales, mostrándonos la cara más elaborada y de la que espero que les sirva como punto de partida.
Un debut con su cara y con su cruz, por algo lo es, pero que nos muestra una banda con cierto potencial. Habrá que ver qué nos ofrecen en el futuro. De momento, animarles, pues ya han dado el primer paso, y también felicitar a Hypervoxx por darles la oportunidad de hacerlo.

Gradual Hate is a Spanish dark electro industrial project. The cover is striking for the colours are a bit dirty, this seems to be do-it-yourself. The main preoccupations of But, what about the music in a genre that has so many copycats and has got so popular on the dark dancefloors?

The most important elements of course are synths. Dark synth may sound a bit atmospheric (Suicide), melancholic (Wind, Weakness Man), complemented with an abrasive sound (Heaven and Hell) of very good effect! Globally, stereo effect (Gradual Hate, Broken) is not rare, but quite subtle.

The voice are quite diverse. We can find a distorted vocoded voice (Weakness Man, Back of Mirror) getting even harscher (Wind, Gradual Hate), hysterical (Broken), rarely a gothic « crooner » voice can be heard (Heaven and Hell), or a discrete soft male voice giving a really melancholic and melodious touch (Weakness Man).

Samples also are present on almost all tracks in the form of distant echoed samples (Wind), other usually linked to warlike events (Broken, New Highway & Isolation), one that sounds like a voice through a speaker (Dancing on Ruins), classical/religious chants integrated with an excellent result (Gradual Hate, Elektro Radio-Sex-Station) or Kenji Siratori (Reptilian Control), who really seems to be a reference in the postindustrial milieu... Overused? The atmospheres build by the whole are anguishing (Wind, Back of Mirror, The Sound of Desert, Suicide), fascinating ones (Back of Mirror, Heaven and Hell's intro, New Highway & Isolation), 'psycho' (Broken), deeply gothic (Heaven & Hell) and for the most, dark (f.i. The Sound of Desert, Broken, Suicide).

Rhythm is quite linear, usually not harsch but mild beats not distorted at all. We however can find on « Gradual Hate » and « Reptilian Control » heavier, stronger beats, yet not distorted. On « Broken » and « Dancing on Ruins », metallic noises enrich the rhythm and give a rawer industrial touch. High pitched electronic noises (Wind), metallic (Broken) or other kind of weird noises, high-pitched fineries (The Sound of Desert, Gradual Hate, Wind) add some variety to the whole, while electric guitars' sounds on « Gradual Hate » and on « Dancing on Ruins ». But, especially on the second they sound convincing enough to bring something amazing to the music!

For sure, it's really difficult to innovate in a genre that has been so widely followed. « Asphyxiated World » is not amazingly original. But it has good arrangements and efficient atmospheres in most of its tracks! There's a good amount of fineries and sound's layers so that experienced listeners open to classic EBM. But, catchy melodies are indisputably the advantage of this band: let's point for instance « New Highway & Isolation ». But, tracks such as « Suicide » or « Weakness Man » also are worthy! Comparisions with reference bands of electro industrial such as Hocico (f.i. Elektro Radio-Sex-Station) and Velvet Acid Christ, in terms of rhythms and synths sounds, are unavoidable. But, it seems the arrangement, the mix between elements doesn't sound like a copycat and you can't remain insensitive to some tracks... If « Asphyxiated World » won't create a revolution, it however truly makes one believe that not everything has been made in the genre! Make up your own mind on Gradual Hate's myspace.

Mordacious Mortem es el único componente de este proyecto americano afincado en California. Fue en 2004 cuando comienza su periplo musical con autoproducciones y la aparición en diferentes recopilatorios , con HYPERVOXX grabaría su primer larga duración denominado “This Emptiness” en el 2006.

En 2007 ficha por TELEGRAMMETRY y edita este “Torture Tactics” con el cual ha dado el salto definitivo hacia Europa. Musicalmente no aporta nada nuevo, quizás incluso peque un tanto de repetitivo en sus propios temas, con una misma estructura y tempo, claramente enfocado hacia las pistas de baile, aunque algunos temas gocen de muy buena calidad como es el caso de “Confesión” donde la buena conjugación de secuencias lo hace muy destacado. Los ritmos no están muy bien logrados si realmente quieres hacer Dark electro.

En definitiva en mi modesta opinión un disco bastante flojo y como suelo decir últimamente “más de lo mismo”, aunque habrá que estar atento a un siguiente trabajo porque estoy seguro que lo único que le falta es un poco de madurez.

Drinking from 90s electronic body music and early electrodark, the Spanish duo formed by Avencio and Miguel sprinkles their music with thick political and aggressive messages. Their attitude exudes disdain for alike sounding electro-dark projects of the last years and differs thematically form most of them yet still follows many of the same patterns, especially in the more thumping dancefloor players like “Suicide” or “Wind”. They remain interesting in the more primitive songs, with the introduction of guitar distortion, more melodic intrusions and the significant and intricate arrangement work. “Gradual Hate”-track is the perfect example, with an industrial rock feeling, early EBM attitude and noise inspired details. Remarkable and interesting debut for a promising band.

German act makes its debut on HYPERVOXX with this 14 track release! A good blending of electronic and synthpop, with some dancey tracks that have a harder edge to them...Industrial synthetics and some introspective work as well...This has a good old school influence to it as well, and will appeal to synthpop fans! Includes a remix by AKRON!

Well, I’m quite late on this and I hope that the guys of the Miami Vice don’t get me for this. The Hypervoxx label, a division of the FL-based Telegrammetry, returns with this long awaited release, a new part of the “Weatherhead” series. Since the last year has been a very difficult especially in the private life of label chief B. A. LaRed, a release like this DCD compilation offers hope, that things will be running smoother in 2K8. Yes, this time the “Weatherhead” compilation has grown to a DCD set and the staff around B. A. had to do some hard decisions, since more than 110 projects/bands have reacted on the call and have sent in stuff for consideration to take part. So at least you’ll get a quite quality oriented sort of a newcomer-compilation with only a few familiar acts but dozens of talented unknown names. Some of the Telegrammetry/Hypervoxx-recording artists of course are included and all of them are doing their very best to offer new and exclusive stuff. Greece-based AKRON continue with their cinematic instrumental music on their new track “X-Revenge”. STAHLSCHLAG, based very near in my home area, continue their drastically Rhythm/Noise installments with a new tune. “Acute Netzzerstörung” (is this title correct printed???) comes out quite in vein of the current acts out of the ProNoize roster and this seems to be intentional. E-THIK is another act worth to mention here, their “Machtuefall” (again the question: is this a typo?) is rather more dedicated to classic forms of EBM instead of productions out of the nowadays Hellectro rush, plus the male vocals offer decent distortion effects. Although a parade example out of the often criticized Hellectro camp, the best appearance available on CD1 got provided by MORDACIOUS. Somehow SO it has to be sound if you like to take a step into this genre – well worked out synth bass lines and textures, a constant good rhythm work – this new MORDACIOUS track entitled “Death In Denial” beats almost everything of Mr. Mordacious’ previous compositions. CYANIDE REGIME, out of Miami and sorted under a comparable musically roof, give with “Vanquisher” an unfortunately already discovered, but still a quite valuable appearance. BLC Productions own act STIGMATA NL gives out another hellish teaser of their up and coming debut album out in the coming months – musically relations with MORDACIOUS are recognizable. Another rough and noisy tune got provided by ESA (didn’t they release an album on Hive Records?) and accomplishes the first out of two CD’s.
CD 2 starts with another unreleased remix work on one of the latest DIVERJE smasher tracks, “Smell The Blood”, this time remixed by MORDACIOUS. The new HYPERVOXX-recording act GRADUAL HATE, a duo out of Spain, is also featured with their track “New Highway And Asolation”. This one is taken from their debut “Asphyxiated World” – so let’s agree to rate it like this: well-done and valuable to take part on this comp, yes, but nevertheless one of their weaker tracks compared to some of their tunes on their album – soon, very soon more about them! Sweden’s TWZ, recently signed to the Hungarian-based Advoxya-Records label, give out an alternative version of their new track “The Grid”, originally available on their up and coming new album “Evolution”. As a trademark of them, their synth textures used as manipulated bass lines still offers them a sort of special niche in the scene. But the best track of this whole compilation got provided by an also to me quite unknown act named SCHISM TRACE. Reminds strongly on a mixture of old X MARKS THE PEDWALK (“Abortion”) mixed with older FLA, excellent programmings, good sounding vocal manipulation and an addictive melodic content makes “The Failure” to nothing what the title may announces. BRAINCLAW are counting surely to be one of the better known acts available on this comp and their rich experience sound- and production-wise is recognizable in every second of their exclusive remix on “Feed The Machine”. Addictive hook lines as usual, just another great work of this BLC-recording male/female duo. Germany’s [ORGANIC_CAGE] are surely one of the big up and coming artists for the rhythmically Powernoise genre. “Program Interrupt” though isn’t a favorite of this act, but a great example how this solo project treats his machinery.
A stylistically wide-ranging collection of newbies and established acts are featured on here, and so this new “Weatherhead” compilation reminds a bit on some BLC compilations out of the “Interbreeding” series. Quite good comp if you’re on the hunt for some new talents and so worth to spend some bucks on!

This is a pretty cool sampler for all lovers of dark, harsh electronics and powernoise-endzeit music. Hypervoxx here released a very interesting sampler featuring mainly little names from the dark electro scene, but with some convincing music. The debut of the first disc is quite heavy and irresistible. Bands like Stahlschlag, E-Thik, Twinsine, Mordacious and especially Andromeda 5 deliver some hard-pumping dance assaults. Twinsine reminds me a bit to the electro-industrial dance style of Monolith while Andromeda 5 sounds quiet dark electro-cliché like, but do it an irresistible way. Some attention grabbers are Cyanide Regime and ESA. The 2nd disc is less interesting although features some recommended cuts. First there’s a real cool opener from Diverje (probably the most experienced band from the sampler) and next a few interesting tracks from Gradual Hate, the sweeter electronic form of Schism Trace and last, but not least the more into powernoise cuts from Stainless.4571 and Organic Cage. This is an essential sampler for all lovers of the genre who’re in search of new bands!

Spanish duo Gradual Hate's approach to EBM owes less to the trance and pop influences of recent acts than the heavy mechanized aggression that typified much of the '90s scene. While their quasi-military trappings are intimately familiar to industrial fans (the band has even been known to perform wearing gas masks), the liner notes include a quotation by Michel Foucault, suggesting that band members Avencio DM and Miguel LS have put a lot more thought into their aesthetic than most bands that employ similar effects. The music itself highlights that same thoughtfulness; the duo's style of programming and production doesn't use the latest technological bells and whistles, but DM and LS don't fall into the latest traps either. This is heavily industrialized dance music, full of classic clanking beats and creepy synth pads and devoid of the overly dramatic trance builds or gratuitously comedic samples often used to pander to the club crowd. Tracks like "Wind" and "Broken" are high-BPM stomps, full of reverberating snare hits, apocalyptic keyboard atmospheres, and coldly distorted vocals sure to appeal to fans of Armageddon Dildos or early Suicide Commando. Guitars make an occasional appearance, but never quite reach the spotlight; on the band's signature song, "Gradual Hate," the emphasis is on the bass synth and the darkly cinematic choir pads, not the looping power chords. Though there's not as much musical variety on Asphyxiated World as there could be, a variety of vocal approaches keeps the songs from sounding too much alike. "Suicide" is pure aggression, vocals distorted to a rasp, while "Heaven or Hell" is almost goth, its moody verses adorned with little more than cavernous reverb. "Elektro Radio-Sex-Station" lies somewhere in between, with gravelly, lightly distorted drawls and darkly sexual themes very much in the vein of Leæther Strip's early work. Japanese spoken word artist and avant-garde cyberpunk writer Kenji Siratori, who's been making guest appearances on all kinds of albums lately, shows up on closing track "Reptilian Control," which starts with clipped, robotic vocals and industrial background ambiance before launching into a high-tempo club track. While Gradual Hate's firm stance within the boundaries of the EBM scene makes a massive crossover success unlikely, Asphyxiated World is sure to appeal to purist fans, placing the group alongside fellow contemporary artists like Severe Illusion and Noise Process who are keeping the classic electro/industrial sound alive.

El complejo mundo de la electrónica más contundente, avanzada y sobre todo underground une sus fuerzas en un recopilatorio que recoge las formaciones más innovadoras y creativas de géneros afines como el Electrodark, EBM, Electro, Industrial…
Se trata del tercer lanzamiento del recopilatorio “Weatherhead III” que ha conseguido abrirse camino en el difícil mundo del mercado musical aportando sangre nueva y un amplio abanico de perspectivas de la electrónica oscura y radical.
Formaciones reconocidas y otras no tanto aportan sus criaturas, un total de veinticuatro temas, en donde como suele ser habitual en estos formatos muchos de sus cortes son de carácter exclusivo o aún no se han editado.
Grupos como Organic Cage, Twinsine, Andromeda 5 o Stainless.4571, nos deleitan con el lado más Industrial del álbum, en donde los ritmos maquinistas y los ruidos son en esencia sus grandes virtudes. Asociado a este género pero con ciertas connotaciones más dinámicas se encuentra la formación Stahlschlag, la cual en su corte ‘Acute Netzzerstorung’ muestra su carácter Industrial-Power Noise cercano al sonido de los reconocidos Feindflug.
Otro amplio espectro que se recoge en “Weatherhead III” es el género donde se engloba el Electrodark y la EBM. Formaciones como Synaptic Defect, Mordacious, Cyanide Regime, TWZ se apegan al estilo en su lado más salvaje y Electrodark, mientras otros grupos como E-Thik mantienen el estilo con unas connotaciones más bailables, o Schism Trace, en donde basa en ritmos de la antigua y nueva escuela EBM. Una de las formaciones a destacar en este campo es Stigmata_NL, la cual con su ‘Satanus Malificarum’ consigue destacar entre el maremagnun del álbum. Esta circunstancia no ha pasado desapercibida para la industria discográfica, siendo el sello BLC Productions el encargado de editar su debut a lo largo del 2008.
La mezcolanza de estilos y tratamientos musicales es una de las principales bazas de este recopilatorio. El poder observar las diferencias y los variados espectros musicales dentro de un género hacen que este doble álbum sea una reliquia. Así se puede observar como formaciones como Ferrum Dei consiguen fundir a la perfección en un solo sonido elementos tan dispares como la EBM, Electrodark y el Metal.
Como era de esperar, algunos remixes han sido incluidos en el cd. De estos destacar el del corte ‘Stitched’, editado originalmente en su último álbum Diverje, pero esta vez reelaborado magistralmente por Mordacious.
Como cierre del comentario hay que hacer una mención especial a la que es sin duda el tema bandera de todo el recopilatorio. Me refiero concretamente a ‘New Highway And Asolation’ de los españoles Gradual Hate. Un tema en donde se conjugan todos los elementos necesarios de un corte de éxito. Estilo, calidad, fuerza y oscuridad en una sola canción que engancha desde su primera escucha y que nos permite comprobar la consolidación de Gradual Hate tras su extraordinario debut con “Asphyxiated World”.
En definitiva, un total de veinticuatro temas recogidos en un doble álbum indispensable para conocer la esencia actual del género más avanzado y oscuro de la electrónica.

Brand new Double CD from the hard working Hypervoxx label! Dark electro, Harsh Industrial, Terror EBM, Power Noise bands are included here and totally new and fresh sounds, exclusive tracks are within...Also, these are LIMITED EDITION which means once they're gone...they're REALLY gone!Bands include MORDACIOUS, DIVERJE, STIGMATA NL, BRAINCLAW, AKRON,ESA, TPK, SPIT STATIC, FERRUM DEI, STAHLSCHLAG, ANDROMEDA 5, SYNAPTIC DEFECT, ORGANIC CAGE, GRADUAL HATE, SINO REBUILD PROJECTS, CYANIDE REGIME, TWINSINE, TWZ, ACC:XESS, STAINLESS.4571, SCHISM TRACE, SUBURBAN PROTOTYPE, E-THIK,EVLENT CHAPTER!

La publicación del primer álbum de la banda Gradual Hate ha supuesto una de las mejores sorpresas que nos trajo el ñoño 2007. Con un carácter y una personalidad indudables, el dúo español hace gala de un estilo basado en el sonido Electrodark de ayer y hoy. Un género que en tiempos pasados era alabado por una legión de seguidores y que ahora se ha desvirtuado en parte por la potenciación de los ritmos y su innegable orientación hacia la pista de baile.
Miguel y Avencio, dirigentes de la formación, han tomado un camino diferente apartado de las tendencias actuales más facilonas,dejandose llevar por la original esencia del Electrodark de primera época, eso sí, todo ello sin olvidar que nos encontramos en el siglo XXI y que la tecnología y los medios han cambiado. Por todo ello, al escuchar su primera criatura “Asphysxiated World”, se puede percibir los gustos por la electrónica oscura más manufacturada, radical, repleta de mensaje y de indomable espíritu. En resumen, han sabido reorientar el estilo hacia su original y verdadero camino sin olvidar los nuevos instintos.
Un total de trece temas componen la estructura básica de su primer álbum. En donde podrás encontrar todo lo necesario que busca el buen amante de la electrónica oscura. Ritmo, pasión, rabia, samplers, estribillos de delirio, algunas guitarras y una voz desgarrada componen, en esencia, la particular forma de ver la música de estos valencianos. Cortes instrumentales, como ‘Dancing of Ruins’, cargados de atmósferas, ritmos contundentes y guitarras como séquito. Canciones con gancho desde su primera escucha, como ‘Elektro Radio-Sex-Station’. Temas de bandera, de los que no se dejan de escuchar, cargados de la oscuridad y el carisma necesarios para convertirse en un éxito indudable; ‘Suicide’ o ‘Gradual Hate’. Composiciones que rompen una extraordinaria atmósfera para transformarse en un nuevo tema cargado de energía y fuerza, como en ‘Wind’, o simplemente acordes donde se denotan sus gustos por la Darkwave, como ‘Heaven or Hell’, son en síntesis un escueto extracto de la extraordinaria mezcolanza musical que encontrarás en “Asphysxiated World”.
El proyecto Gradual Hate no busca un sonido cerrado y previsible sino todo lo contrario. Continuamente se intenta invadir nuevos campos introduciendo diferentes argumentos sonoros para crear un sonido que es fiel al estilo, pero que en definitiva deja una puerta entreabierta a otras ideas y a la intrusión en su música de otros artistas. Esta última idea se ve reflejada en la colaboración junto al prolífico artista Kenji Siratori, quien incorpora al temazo ‘Reptilian Control’ su saber en la voz y los textos.
La temática de las canciones se fusiona continuamente con un ideario político en donde la denuncia social, la injusticia y la muerte se observan en casi todos sus planos. Como complemento, en su web puedes encontrar un manifiesto político que no tiene desperdicio alguno. Échale un vistazo y convéncete de que el mundo no es como la 'sociedad' lo plantea.
Otro de los caracteres más significativos de la formación es, sin duda, su cuidada estética militarista. Cargada de simbología, en donde las máscaras de gas, los uniformes y la guerra juegan un papel preponderante que lógicamente se refleja en su música.
Las dificultades que encuentran las bandas noveles en la actualidad para publicar sus discos se hace evidente cada vez más, a pesar de ello, la formación Gradual Hate a conseguido abrirse un hueco y ha editado su álbum bajo el sello Hypervoxx Recordings. Un sello no muy conocido pero que tiene la capacidad de arriesgar en sus productos, carácter que muchos sellos ya establecidos no tienen o perdieron en el camino.
El primer disco ya está editado, su calidad es más que evidente y es esto precisamente lo que al final queda. En definitiva, un disco de obligada compra por los seguidores del estilo Electrodark y amantes de la vertiente más oscura, novedosa y radical de la electrónica. ¡Te lo vas a perder!