SEARCH
Login
NEWSLETTER
WHO'S ONLINE
There are 134 unlogged users and 2 registered users online.
You can log-in or register for a user account here.
You can log-in or register for a user account here.
REVIEWS
Things I See
Father (Less Edit)
Raven (Angel)
Failure
Kardion (Remains)
Decomposed
Disposable Contact
The Revelation
Serenade
Control (Queen Bill)
Retaliation
RELATED REGEN LINKS
REVIEWS
LiP (Lost in Place)
Failsafe Corroded
Ballistic Test Productions
Posted: Friday, March 24, 2006
By: Ilker Yucel
Editor
By: Ilker Yucel
Editor
Goth and industrial collide on this rather impressive debut full of clever production and blissfully dark melodies.
Some would argue that the distinction between goth and industrial as separate genres has dwindled down to simply production techniques; goth music tends to employ more classical and traditional instrumentation while industrial combines the atmosphere produced by those instruments with the modern edge of technology. Of course, when Throbbing Gristle first came onto the scene, nobody was sure what to call it, so the argument can be made that the two are not very different genres at all. Be that as it may, the two are very closely related, and never was the case made clearer than on Failsafe Corroded, the debut album by LiP (Lost in Place). The musical outlet of R.M. Ramlow, LiP's music is chockfull of all the good elements of modern goth and darkwave; catchy hooks and melodies combined with danceable rhythms and eerie atmospheres that run the gamut from horrific and nightmarish classical. There is a great deal of electronic production at work, making it easy to label this an industrial album.
From the outset of the first song, "Things I See," which begins with an eerie electronic ticking (reminiscent of a clock) complemented by a classical backdrop that can best be described as gloomy, it seems clear that there is more going on with LiP's music than simple industrial chaos. On the contrary, there are moments of absolute melodic bliss, songs and lyrics that stay in your head and beckon the listener to sing along, especially in songs like "Failure" and "Kardion (Remains)." The latter track features some interesting female accompaniment (a la Ramlow's pitchshifter, a testament to his talents as a producer), as well as a throbbing beat that would make it a killer track for the clubs. Even in the midst of the electronic noise are elements of classical and old-fashioned darkwave; "Decomposed" is a good example. Amid the distorted sequences and clanging beats is a melancholy in Ramlow's voice reserved for those bands that make their living as soundalikes of The Cure. The goth piano melody that intros "Disposable Contact" quickly gives way to some fat industrial synth arpeggios that would have listeners wondering whether to drift in daydream mode or bang their heads in rivethead mode.
LiP shows promise as one of the more talented, if not the most original, artists to come around. Ramlow's combination of top-of-the-line production with excellent musical ability makes for a combination that could potentially breathe some new life into the modern goth and industrial scene. It retains enough of the dark and dreary characteristics of darkwave to appeal to all the black-clad nightcrawlers while also stomping with enough electronic clank and clamor to make the rivetheads happy. While the blending of these two genres may be confusing for those with an innate need to categorize it, that confusion lends to the album's appeal to transcend the conventions of those categories, a quality lacking in much of today's music which tends to stick to one sound or another. LiP's music showcases everything good about goth, darkwave and industrial. Listen and despair.
From the outset of the first song, "Things I See," which begins with an eerie electronic ticking (reminiscent of a clock) complemented by a classical backdrop that can best be described as gloomy, it seems clear that there is more going on with LiP's music than simple industrial chaos. On the contrary, there are moments of absolute melodic bliss, songs and lyrics that stay in your head and beckon the listener to sing along, especially in songs like "Failure" and "Kardion (Remains)." The latter track features some interesting female accompaniment (a la Ramlow's pitchshifter, a testament to his talents as a producer), as well as a throbbing beat that would make it a killer track for the clubs. Even in the midst of the electronic noise are elements of classical and old-fashioned darkwave; "Decomposed" is a good example. Amid the distorted sequences and clanging beats is a melancholy in Ramlow's voice reserved for those bands that make their living as soundalikes of The Cure. The goth piano melody that intros "Disposable Contact" quickly gives way to some fat industrial synth arpeggios that would have listeners wondering whether to drift in daydream mode or bang their heads in rivethead mode.
LiP shows promise as one of the more talented, if not the most original, artists to come around. Ramlow's combination of top-of-the-line production with excellent musical ability makes for a combination that could potentially breathe some new life into the modern goth and industrial scene. It retains enough of the dark and dreary characteristics of darkwave to appeal to all the black-clad nightcrawlers while also stomping with enough electronic clank and clamor to make the rivetheads happy. While the blending of these two genres may be confusing for those with an innate need to categorize it, that confusion lends to the album's appeal to transcend the conventions of those categories, a quality lacking in much of today's music which tends to stick to one sound or another. LiP's music showcases everything good about goth, darkwave and industrial. Listen and despair.
