The following tour was cut short due to a problem with the company supplying the tour bus. The band acknowledged that they were returning home to Vancouver earlier than planned after playing roughly half of their scheduled tour in the United States dates in New York and Canada were canceled.
The band toured in Europe in August covering 18 cities. The album was released in a 4-panel digipak and featured three previously unreleased tracks "Electric Dreams," "Unconscious," and "Armageddon" and nine remixes by several other Industrial acts and names. As described on Dependent Records ' website, the album is described as "stronger and more danceable" when compared to immediately previous releases.
Having integrated guitars into their sound since the late s, either sampled or as live guitars, FLA set the stage in for the return to an exclusively electronic soundscape. This change could be heard when the band released the soundtrack album AirMech for the video game of the same name at the end of Entering the official German charts was a first in the band's history.
Shortly after the release of Echogenetic the band started promoting the album with an extensive tour schedule in Europe and North America. VNV Nation , previously booked for the slot, had opted out which allowed Front Line Assembly to take their place at short notice. Resuming tour activities, the band gave a number of concerts in September and November They started off with a show in Vancouver  and went on to headline the second day of the fourth run of the Cold Waves industrial festival in Chicago.
The spelling of the band name has varied over the years. Various albums e. The abbreviation "FLA", also used on various albums, suggests that the correct spelling, to the extent that there is one, is indeed three separate words. The music press has consequently not used any consistent spelling. During touring for Hard Wired , Rhys Fulber explained the band's stance on the matter, referring to "Front Line": "Two words — I guess that ultimately it doesn't matter, but we prefer two words.
The current official line-up  of Front Line Assembly consists of:. In the course of Front Line Assembly' s history, current and former band members have engaged in a multitude of musical activities besides Front Line Assembly.
From Infogalactic: the planetary knowledge core. Jump to: navigation , search. Main article: Front Line Assembly discography. Music of Canada portal. Lively Arts. Eklectique Magazine. Retrieved July 13, Retrieved August 7, Phoenix New Times. Retrieved March 31, Chaos Control Magazine. Retrieved July 21, Archived from the original on May 10, Front Line Assembly - Reclamation booklet.
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Monday, October 13, The Orb - Orblivion. Labels: , album , ambient , breaks , dub , Island Records , psychedelia , techno , The Orb. Sunday, October 12, Carl Craig - Onsumotahasheeat. Labels: Ace Tracks Playlists , ambient , downtempo , euro dance , glitch , hard trance , hip-hop , progressive house , progressive trance. Enough of supernatural coverage. That's the real shame. Very much a raucous version of the Bad Religion sound. That's not a bad thing at all.
My main complaint about these guys' last album was that is was dull. Not very interesting. The changes are subtle, but here's the scoop: The guitars are just a little looser, the vocals a bit more ragged and the hooks just a little tighter. I'm not talking about quantum changes. Just small nudges that make all the difference. Now, I'm not calling this one of the great punk albums of all time.
It's merely pretty good. For a major-label punk release, it's damned good. Face to Face found its roots, and my ears are much happier for it. Like I said, we're not talking about a punk revolution or anything. Just a fine effort by some seasoned vets. Nothing to sneeze at, my friends. This is nothing terribly original, though they do mix their influences in a way I can't remember hearing.
Kinda like if Soundgarden who never was a grunge band-get it straight did a side project with the Supersuckers. And they borrowed an old P. The guys tend to be a little excited about the metal riff conventions, but apart from that this is absolutely enjoyable. Sometimes the sonic assault is damned near inspiring.
A pretty cool package overall. These songs are subtly unsettling and earworm-worthy as the same time. The electronic elements of the production are omnipresent, but they never dominate. Instead, each song develops its own sonic palette within Fiore's mellow dreadful guidelines. I suppose that last might sound unappetizing, but what I mean to say is that Fiore keeps an air of loose melancholy about his at all times.
Without sounding even slightly like the Smiths, these songs manage to evoke a similar response. Like the blues, listening to this much introspective heartbreak and disappointment can only make one feel better. And it sure doesn't hurt that the music is some of the best-crafted stuff I've heard in a long time. Indeed, it was the music that first pricked up my ears. Fiore's deliberate melodies and slowly-shifting rhythmic bases sound simple at first. But even a moment's listening reveals the exceptional craft behind that ostensible ease.
It's really, really hard to sound completely at ease, and yet Fiore accomplishes this again and again as his songs shuffle through a truckload of influences. That chameleonic quality makes it hard to identify a Faces on Film "sound.
It's wonderful. This is easily one of the best albums of the year. Whoa, it is, too. Twenty-eight tracks and extensive liners that even include the dates and locations of Faction gig during the time specified. Pretty impressive. Of course, the real test is the music. And while the Faction had a decent knack for writing cool punk songs at a time when it wasn't necessarily cool to be punk certainly by , I can't say this band has been anonymous for no reason.
The stuff is well-worth listening to, but the songs sound like a lot of other ones coming out from about the same time. Punk can be a maddeningly generic genre, and without unique characteristics Bad Religion's use of harmony, Jello Biafra's voice, Greg Ginn's riffs a band can get left by the wayside.
I'm not saying the Faction sucked this disc has ample proof to the contrary , but sometimes writing good songs is not enough. If you are a serious student or collector of punk music, this disc is pretty damned near essential. Otherwise, it is an interesting anachronistic curiosity.
Faded Paper Figures Dynamo Shorthand reviewed in issue , December The requisite straight-up laptop pop album for this set of reviews. Faded Paper Figures is a trio that specializes in trippy beats, kinetic guitar and softly sung songs.
It's an exercise in constant counterpoint, and I like that. The key to all of this is the constant motion. It would be impossible to classify any of these pieces as particularly aggressive, but they never stop moving. Between the bass, guitar, keyboards and programming, there's always something moving. Usually, it's two or three things moving in opposite directions. Very cool. Indeed, I can't think of an album that deserves that appellation more than this one.
These songs are involved and often intellectual, but they simply sound cool. Not so much hipster as simply self-confident. Being cool means that you don't worry about being cool. Or that's what my mom always told me. Maybe she was just trying to make me feel good. Doesn't matter.
I know that these songs make me feel good. This album produced almost a month's worth of smiles. A rollicking success. You should be on your knees. In chains, preferably. This is music of utter bondage. Once you enter the album, you will be defenseless against its charms. Charms, of course, is a relative term. The distorted riffage and generally deconstructed lines of the songs a loose term, to be sure are aggressive and mean. The sound is abrasive and harsh.
The effect is impossibly liberating. So you get it or you don't. These are songs, not just tone poems, and they do say something. They probably aren't the future of rock and roll though I wouldn't rule it out , but they're goddamned thrilling. Chaos abounds and life flows.
And not inconsiderable brilliance. Absolutely lovely fare, if you construe lovely the way I do. Fadensonnen is mean, rude and avaricious. Totally lovely. But what really impresses is the impassioned vocal work.
I suppose there is a lead singer slot three women somewhat share those duties , but as the songs build in intensity, the other singers come in for added emphasis. The result is a wild set of off-kilter harmonies that's not what they are, but I think that reference conveys the idea best. The vocal work is just stunning. And that's on top of rather inventive music. It's safe to say that Fair Verona owns its sound. Which is not to say that there are no points of reference.
Fair Verona is somewhere in the same land as punk-pop acts like Jawbox and Treepeople. The lines are a bit trippier, though, and the vocals are much more involved. This is some wonderful wailing. Fairburn Royals The Sunshine Slowdown self-released reviewed in issue , May Seems to me that more and more bands these days are finding cool ways to update roots music.
Fairburn Royals can play the stuff straight, but generally the folks find one or more ways to dress up the basics. Lots of experimentation with distortion and studio editing, particularly in the intros to the songs.
I'm guessing the genesis of many of these pieces was often a long ways removed from the way they ended up. What I really like is that the tricks and experimentation serve to complete the songs rather than simply hang as ornaments. Everything on this album was done for a purpose: To make good music.
And that's what we have here. Fairburn Royals have constructed an album with a solid foundation and a ceiling that just keeps rising and rising. Boy, do I like the way these folks think. This catchall category seems to include anyone with even the slightest hint of folk melodies or slide guitar slinkiness.
These boys do have a vague roots feel to their music, but I'm hesitant to constrain the sound here by giving it a label. As I noted in my review of the band's self-released album which appeared last May , the songs generally find two or three ways to deviate from a traditional sound of any type. The inventiveness is shown in many ways, from subtleties in the writing to studio sleight of hand.
What is apparent is that Fairburn Royals has refined its approach even while increasing its search for cool music. All that stuff about nonconformist views? It's true. But it's also quite possible to listen to this album and bask in the simple pleasures of pretty melodies and satisfying hooks. It's all in how you approach it. Me, I like to think about my music. And Fairburn Royals gives me plenty to ponder. A little looser than that description implies, I think.
There is an inherent off-hand feel to these songs, and it is precisely that almost-indescribably feel which makes this disc so cool.
Fairmount Girls don't stick to pure pop sounds, either. See, it's not the style that makes this sound so good. Yes, these "girls" they are female, and it is the name of the band, but I'm still a bit uncomfortable using that term; sorry play pop as well as I've heard in a while with some ace production , but it is the undercurrent that marks this disc as a winner. They make this sound easy. That's the trick.
And maybe it is for the Fairmount Girls, but I doubt it. This is highly-crafted, well-performed pop. Almost impossible to set down. Just gorgeous. Fairweather Lusitania Equal Vision reviewed in issue , August Some very clever Brit-pop types who happen to hail from somewhere in the DC area.
Robbins produces, and he's barely able to contain the exuberance. The first track, a dead-ringer for something off Loveless, is called "Derivative Opening.
But why the fake British accent? And why only sometimes? Is that part of the joke? I don't know. These boys can be awfully earnest when they want to be, though when one of the featured links on your website is to the Manowar web home, well, that is a sign of a certain deranged sense of humor.
Thing is, I don't have to analyze the music to know it's good. This stuff is amazing. My reaction is both intellectual and visceral. Very few bands can attract on so many levels.
Fairweather is probably a bit too much of lots of things to make the big time, but great music is always its best reward. Awe-inspiring, to say the least. Not because of any real excess influence on the part of the moneymen. No, it's more that a band has to be pretty unspectacular to get picked up by a biggie. Faithless does some nice things on the mellow side of the electronic movement, but it's all kinda, well, there.
Not here. Not affecting me. My main complaint is that the songs aren't really songs. They're bits and pieces of rather disparate musical ideas. Incoherent, really. Is that revolutionary or just lazy? Have to think on that one a while. The pieces, many of them anyway, are good enough. The mellow dancehall vocals by Maxi Jazz are reasonably good, but it's all the other parts which don't always match up.
Again, I know it's intentional. Is it some sort of innovation? I don't know, really. The fractured music is not particularly innovative, though it does some nice things with found sound. I'd probably dig this if I was drunk or tripping or not having to pay close attention to it. Ah, so I guess I answered my question, after all. Fake Brain usually sticks close to pop conventions, except for one or two small parts in each song, which creates this othrworldly feel to many of the pieces.
And the fuzz You know, it seems like an easy thing, just add a little disortion to the guitar and everything sounds more intimate. It's not, though. A lot of band don't quite have the right touch. Fake Brain does. My only real suggestion if the band is really interested in big success rather than kudos from idiots like me would be to shave the idiosyncratic moments down and tighten up a nothc. Of course, if Fake Brain did that, then I wouldn't like the band any more. It's a risk many have taken without looking back.
Anyway, adventurous popsters really ought to give this a scoping. There's a lot to love. That is, lots of keyboards and electronic beats in addition to the usual paeans to maudlin bliss. Falcon sounds like it is simply tossing off these downbeat little gems, but the behind-the-scenes craft isn't entirely invisible. Truthfully, there's so much laid over the basic band sound that it's not that hard to hear how the production tightened and expanded the original concept.
A good job, in any case. These songs rumble by at a mid-tempo clip or occasionally slower , and leave me feeling lighter despite their general downward cast. That is the wondrous thing about indie pop. When it works, the more bummed out the songs are, the more uplifting the music.
Achingly beautiful. Times have changed, tastes have changed, and yet here is Fall from Grace resurrecting images of Non-Fiction and that whole sound. And while a good number of years have passed, I can't hear anything exceptional in Fall from Grace's sound. Nothing to indicate the passage of time. Almost like a time capsule.
Nothing terrible, just somewhat dull. I still like this guitar sound it's a version of that "clean grunge" thing, kinda like what Downstroke was trying , but I've heard all these songs before, even if they have new lyrics. You can't go home again. For better or worse, that's what Fall from Grace is attempting to do. There is no success without growth. Okay, so I 'm sure the boys didn't name their label.
It sure is appropriate, anyway. These songs aren't all jokes, but there are a few that venture into Nerf Herder territory. The music itself is tight punk pop with just a hint of an aggressive edge on the guitar. The pieces do come together nicely. And much of the reason for that is the production, which doesn't overdo anything. Rather, the band's natural exuberance is preserved without allowing the proceedings to get out of hand.
There's a nice live-to-tape feel here--though I don't think that's how this was recorded. No matter. The final product is quite nice. Solid songwriting and plenty of energy to pull off these well-crafted pieces. Fall Out Boy isn't the most distinctive band around, but these songs are more than worth a listen or few. Give the boys some time and they just might come up with something better than very good. Fall Silent pushes the extreme hardcore which is, I guess, today's term for "grindcore" sound to the edge of the metal envelope.
To the point where I'm not sure how or even why you'd make a distinction. Good is good, and bad is bad. Doesn't matter what else you call it. Fall Silent can rage with the best of 'em pun intended. Seventeen songs of unmitigated fury. Not short songs, either.Track from Front Line Assembly, Bill Leeb, Friends And Company* - Cryogenic Studios. Made in USA. Barcode and Other Identifiers Barcode (Text): 0 9; Matrix / Runout (CD1): 06 D1 MASTERED BY EMI MFG. Mastering SID Code (CD1): IFPI L; Mould SID Code (CD1): IFPI D; Matrix / Runout (CD2): 06 D2 MASTERED.