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REVIEWS
RE:ILLUMINATION [the mixes]
Side-Line
Time runs fast and The Azoic didn’t give us a sign of life since quite
a long time. Their “Illuminate”-album being released in 2004 this “Re:Illumination”-piece
delivers 15 remixes from that album. I guess it’s a good way to recover
the band from dust although I would have prefer some new songs. Well,
I’m not starting to complain because the remixes are high quality! 5
songs from “Illuminate” has been exposed to the remix creativity from
bands like DJ Delobbo, Caustic, Liquid Divine, Conetik, Null Device,
Hungry Lucy, XP8, Cesium 137, Interface and a few more names. The list
of bands is quite diversified in style and that’s a real good point
resulting in a diversified sound. Rich Ratvasky (member of bands like
Team Smile and Nod) is a rather unknown American musician, but his remix
of “Ever” is simply terrific! The style is a bit psy-trance like, but
the song remains easily recognizable. It has been just boosted a bit
more while creating some irresistible dance vibes. Another great remix
is delivered by the great DJ Delobbo who remains a real genius in the
remix realm. He did a remix of “Ever” as well. Interface is one more
essential remix here. They transposed “Let Me Tell you Something” in
a poppier style with a well-crafted version. The tech-EBM combo of x*8
are more and more excelling in great remixes and their “Deep Mix” of
“Let Me Tell You Something” is one more on the list. Conetik opening
the album with a remix of “Going Under” is another attention grabber
although not the best one on the list. I here like the vague d’n’b approach
and especially in the rhythmic. In a different and sweeter style we
get the delicate touch of Hungry Lucy with a remix of “Ever”. The remixes
of the songs “Going Under” and “Illuminate” are less convincing, but
that’s maybe due to the bands that have made the remixes. Cesium 137
did a remix of “Going Under” in somewhat of an EBM approach, but it’s
definitely not what I would call a highlight. About the remix of Caustic
I would say it must be not that easy to make a good remix of The Azoic
and the song “Let Me Tell You Something”. The styles of both bands are
too different. The Caustic version is definitely harder and merciless,
but the point here is that in comparison to the music, the vocals of
Kristy Venrick are too clear and soft. A new album of The Azoic hasn’t
been announced at the moment and it seems that since Steve Laskarides
has left the band, the band is creative-wise on standby. Kristy Venrick
has set up a side-project called Zoica (you for sure noticed the anagram
of Azoic) and has an album in the pipeline! ---DP - Side-Line
They Fell
Recommended
Usually remix albums are released with or directly after the release of a full length album. For some reason The Azoic waited 4 years (!) before releasing “Re:Illumate” which contains remixes of stuff from their Illuminate album. To be honest this massive gap is a bit annoying...I really want to know “why now? Why not an album of new material?” Since 2001 The Azoic has released 1 full length album, and 3-4 remix albums (‘forward’, ‘conflict’, then ‘forward+conflict’ being the others)…uh come on guys enough remixes already.
Like all remix albums, this one is hit or miss, but mostly on the hit side. All the mixes are pretty good, albeit standard, ebm/techno tracks. All of the original Azoic tracks were upbeat futuristic mixes of trance & EBM, and just about every remix follows suit. One thing that pleased me greatly is that many remixes venture into techno/house territory, and one that can be described as goth-electro, however they are all ceter around a four to the floor dance beat. It is only when you get to the very end of the album that the listener is given a break from EBM in the form of an IDM-type remix from Invisible Ballet. However I am pleased to say that most of the remixes sound quite different from the originals, yet integrate enough elements from those originals as to qualify as a remix and not simply an entirely new track with the original vocals laid overtop. It would be tedious to go through each, but suffice to say they are all quite listenable, unless I mention otherwise, which I will in a second.
The only problem for many of these remixes is that it seems the remixers were given the fully processed vocal track. Why is this bad? Unfortunately, since every band has their own way of processing and mixing, the fully processed original vocals sound a bit…off…in most of the tracks. Only a few tracks took the liberty to add additional processing to the vocals (there’s not much you can really do if given fully processed vocals either), with the winner going to XP8 for the most well-integrated vocals; on the other hand, some tracks like the DJ Delobbo remix choose to scarcely use the vocals at all. However this is a pretty small ‘problem’ as most of the tracks are quite well crafted and use some excellent synth sounds…there are very few generic trance arps and cheap sounding softsynths which makes me quite happy. Very solid and clean production for the most part as well. I would go through the ‘best’ songs, but honestly all the good ones are equally great and worth listening to.
There are only a couple of remixes to be wary of, and it seems like The Azoic was wise to put these all towards the end of the disc. Rich Ratvasky’s nintendo-house track is almost good at first but quickly becomes tedious and annoying; the (e) a+d remix has absolutely abysmal production and there is ridiculously loud omnipresent fuzz that constantly keeps my attention away from the actual music (well, there is not much in the way of music in this mix anyway); the Distorted Reality mix isn’t terrible, but by the time you get to it everything in the track will sound like a weak version of what you’ve just been listening to for 30 minutes; and finally the worst remix goes to caustic who provides us with nothing more than a kick drum, some cheap & sloppy distortion and a couple clank-y noise. That juxtaposed with The Azoic’s almost angelic vocals…yeah it doesn’t work at all.
Regardless of a few negligible mixes, fans of the original album will
surely enjoy the majority of these tracks and would do well to pick
this up. Hope the wait won’t be too much longer for some new original
material from the band. And please…no more remix albums for a while!
--- Dan Barrett - They Fell
Regen Magazine
After several delays, this companion piece to the American futurepop act's landmark 2004 release, Illuminate, finally sees the light of day.
For a remix disc, Re:Illumination was fraught with more problems than most; intended as a companion to 2004's Illuminate, the first mentions of its release date back at least a couple of years. However, with the departure of founding member Steve Laskarides in the interim, this disc feels less a delayed appendix and more a final footnote between The Azoic of old and Kristy Venrick's new line-up (which, incidentally, promises a new EP and full-length this year).
Considering the disc could very well contain commissions finalized anywhere from two to three years ago, the material here holds up surprisingly well. Though the source material consists of only four tracks from Illuminate, Re:Illumination runs the gamut from EBM-influenced futurepop to ethereal trip-hop landscapes. A perennial favorite remix artist for this reviewer, DJ Delobbo perfectly deconstructs "Ever" to fit into his trance sensibilities. Here, Kirsty's plaintive croon is stripped down to shimmering refrains and gleaming sound bubbles, allowing Delobbo to carve its soundtrack into a pulsating hi-hat clicking techno ride rife with buzzing staccato synths and fluttering house riffs. Though several mixes take The Azoic on an IDM tangent, Conetik's version of "Going Under" is certainly the best. Outside a few moist twitters, Kristy's soulful presence remains intact, yet in lieu of driving synthpop ennui, it houses a meaty bass thrum and a stuttering off-kilter beat surrounded by slick falsetto synths. Its halfway erratic lounge motif is quite engaging, though XP8's take on "Let Me Tell You Something" gives this disc a much-needed injection of thumping, buzzing EBM. It may be rather Neanderthal in execution, but its sharp lead synth riffs and heavy bass stomp make certain that it's the track DJs will pick up on and spin with zeal.
Oddly, to this reviewer's ears, the two best examples of Re:Illumination's ethereal content are both culled from the track "Ever." Entwining Kristy's voice with the dreamy lilt of their own chanteuse, Christabel, Hungry Lucy' version infuses their mix with an Enya-like new age shimmer, while intermittent cymbal crashes and gentle drum machine hiccups help it retain its electronic core. The other version of "Ever," conjured by Liquid Divine, bisects Kirsty's presence between a breezy lilt and a deep murmur, while surrounding it with flecks of piano, loose wooden breaks, and moist synthetic ripples.
However, not everything has aged like a fine musical wine; for one,
Distorted Reality's Recognized mix of "Illuminate" drills a refrain
highlighting its title into one's subconscious until the repetition
is all that one may remember of their contribution. Also, the unusual
emphasis on down-tempo ambience is interesting, though it might have
helped if the source material covered more than a scant four songs.
Still, Re:Illumination is a nice conclusion to the band's previous incarnation
and an interesting companion to one of 2004's better futurepop albums.
--Vlad McNealy, Regen Magazine
A Different Drum
The Azoic is one of America's
top female-lead synthpop / industrial dance bands. This new release
takes songs from their last, popular album and mixes them into a variety
of moods with remixes from several other contributing bands. You'll
hear mixes by Conetik, GASR, Null Device, Hungry Lucy, Cesium 137, and
more!
________________________________________________________________________
ILLUMINATE
Kaleidoscope
Kristy Venrick & Steve Laskarides have producing their brand of dark,
reflective EBM as The Azoic for a good few years now & now look set
to make their long-overdue mark on the European scene with their first
European tour. Furthermore, they're doing it on the back of their best
album to date (their third, as it happens) as they've really got on top
of their game here with a succession of utterly infectious tracks with
a wide club appeal. From start to finish the music is punchier &
more infectious than ever while Kristy's vocals show a greater range
& depth, an asset that proves especially important in adding a strong
emotional touch to the excellent title track, the ambient chorus of which
has all the 'hands in the air' euphoria that any Ibiza anthem could wish
to attain while maintaining a strong melodic base. The preceeding single
"Conflict" is just as infectious, if slightly harder & Kristy again
adds a very human feel to the slower "Ever" before they turn in a totally
superb cover of Animotion's "Obsession" where Seabound's Frank Spinath
shares the vocal duties with Kristy. After getting into this in such a
big way I'm looking forward to their Infest gig more than ever so make
sure you don't miss 'em!
Carl Jenkinson - Kaleidoscope
Wrapped In Wire
Kristy Venrick and Steve Laskarides are back with what I feel is their best
work yet. The songs here are extremely infectious with fast paced futuristic
sci-fi electronic programming, manic beats, orchestrated melodies and Kristy's
excellent singing.
Some tracks are pure energetic EBM, while others are more upbeat electro-pop.
Each song has its own edge, and offer great structure, variety and choruses.
The complaints that I had with The Azoic's previous recording, such as the
songs sounding a little too similar to each other and too many remixes, are
not concerns on this CD. All of the songs on this album stand apart from each
other, and there's only one remix.
If you like modern club EBM with female vocals, this album is a must.
Darklight - Wrapped In Wire
DJ Genesis / Texas Goth Productions
This band grabbed my ear as soon as I put the CD in. The
synths on this album are just amazing. I haven't heard group use the
channels with their synths like The Azoic do in a long time. The beats will
grab you and make you want to get up and move. Some of the tracks are
massively ethereal and when I close my eyes I get a sense of being in
another realm. That's some damn good mastering there.
Let's look at the vocals now. Kristy's voice comes at you like an electronic
siren singing a song to lure you into the mists. The layering in the voice
projects her vocals across the music to come right out at you as well.
The first track, "Let Me Tell You Something" is a personal favorite. It's a
perfect way to start a killer album. It just grabs your ear and say exactly
what the title says, Let Me Tell You Something.
The title track to the album, "Illuminate" comes up from the depths in the
beginning to create an ethereal dreamscape until the drums kick in and then
it grabs you with a very pop-ethereal sound. The synths on it are very nice
and easy to stick in your head.
An instant club hit, track 8, "Obsession", a cover of the classic by
Animotion, is probably one of the best covers I've heard in awhile. As a DJ
I've been playing this in place of the original and I don't think I ever
want to hear it any other way now. As the track moves you can easily hear
the original style mixed with The Azoic's style and what comes out is a
track that screams get up and dance.
Track 11, "Passage", is one of the greatest ethereal sounding tracks I've
heard in awhile. I can easily hear this in a major movie productions
soundtrack. When closing my eyes, I can envision myself floating through a
passage rising upward from the earth to some unknown plane. The effects on
the synths and the whisps throughout the track help to add to that feel.
Right at halfway, the track dies away for a second and rises slowly up and
then explodes with a wave of sound that feels like you've just broken through
some unforeseen barrier and are gliding among the clouds looking down on the
world. Then the way it ends it almost feels as though you've floated gently
down and landed back upon the ground. I had to listen to this track a few
times when I got to it just because of the mood it set. It reminded me of
some of the music in the soundtrack for "The Neverending Story." In 5.1 this
track will just blow you away, I kid you not. I honestly have to say that
this track is addicting as is the entire album.
I'd have to say that this is one of the best albums I've gotten in a long
time and I look forward to future releases from The Azoic. If you've not
gotten this album, go and get it. If you're not satisfied, I'll pay for it
and then call you a fool.
DJ Genesis - Texas Goth Productions
Yet Another Electro Webzine
WOW was exactly the reaction we all had here at YAEW when we recently got the album CD
ILLUMINATE by american THE AZOIC in.
THE AZOIC makes explosive electropop! And it's a real illumination.
After their successful FORWARD + CONFLICT release (a maximum of 8 weeks at the
german alternative charts, peak position 3 (!)), THE AZOIC returns with
ILLUMINATE - a further cultivation of "The Azoic's" sound and style that will leave
you wanting more! A solid blend of electronic dance (encompassing
everything from trance to futurepop, industrial, techno, and synthpop).
11 passionate dance tracks, including a cover of Animotion's 80's hit "Obsession"
featuring a guest appearance from Frank Spinath of the german newcomerband
SEABOUND! Check out massive club hits such as "Let me tell you something",
"Illuminate", "Truth" or "Conflict". This album boasts 12 tracks, including a bonus
mix of "Conflict" as well as a cover of Animotion's Obsession. Going Under is a
beautiful song in which Kristy's vocals are very emotionally charged,
"Carve into You" has fascinating lyrics.
This album ILLUMINATE is certainly the best in it's class.
Yet Another Electro Webzine
Infest UK
The Azoic combine enticing beat heavy dramatic sounds and strong passionate
vocals, with an intense edge for the futurepop/dark synthpop market that
will definitely electrify.
Infest UK
Chain DLK
This U.S. duo's third and latest CD, Illuminate, is a very strong EBM/darkwave
release that is also firmly rooted in Euro-dance. Most of the tracks are
hard-hitting anthems with female vocals attractively and subtly woven in. The
title track, "Illuminate," stands out the most. The last number is an interesting
"medley" remix by cyberDJ of "Conflict," from Azoic's eponymous 2003 release on
Nilaihah Records (the original mix is included on this disc as well, for some reason).
"Ever" makes for a timely change-up midway through the CD. Its sinuous, sexy drum
pattern is a welcome respite from the relentless club tempo of the first five tracks.
It's my favorite moment on the disc--you can imagine stepping into a strip club for
one song, before returning to the dance club.... For you '80s throwbacks, track number
8 is a nicely done cover of "Obsession" by Animotion, and as far as the overall flow
is concerned it is an excellent choice.
Singer Kristy Venrick never strays beyond the bounds of good sense in her delivery,
and at times makes tasteful use of the vocorder. Her lyrics display many personal
themes--desire, obsession, devotion, loss of love and many emotions in between.
Musically, Steve Laskarides's programming is fiercely competent, and the production
is appropriately tight and professional.
Illuminate is full of good, solid, no-nonsense dance grooves that would mix well in
any club setting (and no doubt already has, by this time). I'd say that if The Azoic
can one day transcend the genres that this new CD pays homage to, they could be
unstoppable. The otherwise excellent CD insert design could have used a little
proofreading in the liner notes and lyric sheet.... Nonetheless, it amounts to a
terrific dancefloor wallop to the ears, and is a must-have if you are already a fan.
And your iTunes will love it, too.
Perry Bathous @ Chain DLK
Smother.net
[Editor's Pick]
"For those not suffering from attention deficit disorder, you'll
remember the heap of praise I dumped on their "Conflict"
single previously. Well the applause line continues on their follow-up
"Illuminate". Their passion is certainly darkwave in nature
but their knack for assembling a veneer of floor-filling club beats
is without peer. Kristy's vocals soar throughout each mix and
could easily be stand-alone a cappella and deliver the goods. But
with the almost mesmerizing blitz of keys and synth stabs peppering
the spicy grooves and thunderous beats, you've got yourself
a dark collection of insta-club favorites. 'Going Under's
bassline will instantly course through your veins and the programming
will usher forth a rush of adrenaline. Their cover of the huge '80's
hit 'Obsession' by the groovy synth-pop Animotion also
features a guest appearance by Seabound's Frank Spinath. Wow,
it doesn't get much better than this." -- J-Sin of Smother.net
Collected Sounds
"The Azoic is back, and they once again are illuminating our
worlds with addictive, nonstop beats that stick with us for hours
after we leave the party.
Following the release of the Conflict single/remix disc, Illuminate
will certainly light up any dance floor or environment in which
it is heard. The songs and the soundscapes are only getting better!
This album boasts 12 tracks, including a bonus mix of Conflict,
as well as a cover of Animotion's Obsession. My favorites include
Going Under, a song in which Kristy's vocals are very emotionally
charged, and Illuminate is another whirlwind song, containing elements
of ethereal trance. Kristy and Frank Spinath (of the German band,
Seabound) did an amazing job on Obsession with their "back
and forth" vocal arrangement, and it will surely be an "obsession"
among fans." --Sarah Bernardi of Collected
Sounds
DJ Kantrip
WOW! Amazing. I've been waiting about a year for this release and
I am not disappointed in the least. Kristy and Steve again deliver
hard pounding dance beats with powerful vocals that seem to ignite
in the air.
'Illuminate' opens with "Let Me Tell You Something,"
which they let everyone get a sneak listen to this past winter.'
Illuminate' then drops into a hardcore stompy industrial beat with
"Going Under" and "The One", and brings the
flowing dance rhythm back with "Illuminate". Tracks like
"Eternal" and "Ever" add a somber and atmospheric
element to the album and are well placed so the energy that's built
just doesn't suddenly drop off. Of course a major floor filler will
be the cover of Animotion's "Obsession" with Frank Spinath
of Seabound
Lyrically, the album is a lot more direct than 'Forward...' was.
Songs like "Not Justified" and "Lost" had a
very etheric or cryptic meaning to them, while "Going Under",
and "Truth" are very upfront about who they are talking
to (in theory) and what they are saying. This is what made "Conflict"
stand out so much from the other Azoic tracks that were getting
steady play around its release.
One thing about Nilaihah Records I've begun to expect is the inclusion
of remixes on the back end of almost everything they release. Right
after "Eternal", the Cyber DJ Medley remix of "Conflict"
which flows in and out of cuts from 'Forward...'
I knew from the start this would be one of my favorite albums of
the year when I heard the samples off of it, and I was not disappointed
in the least. I honestly can't wait to hear some of the remixes
that come out for the album. --DJ Kantrip
A Different Drum Weekly Update
This is the new, impressive album by one of the leading female-vocal
bands in the synthpop / futurepop world. Kristy's singular voice
fits right in with the pulsing electronics and clubby beats. The
band builds on their previous albums, but seems to add some force,
intensity, and slick production to bump it up a notch on "Illuminate".
This is a solid futurepop album that adds something new to the growing
genre.
WetWorks ezine
The Azoic are back! The brand new album entitled "Illuminate" (the first
full-length release since 2001's "Forward...") will soon be invading your local
club scene. I suggest you get it now! All the trademark electronic rhythms,
building Trance synth lines and pulsing dance floor beats are back on this
latest release. Kristy Venrick's vocals are as strong as ever, too. Just listen
to tracks like the infectious "Going Under" or the amazing "Illuminate." The
band even tossed on a fun, pop filled cover of the Animotion's 80's hit "Obsession"
which contains the vocals of Frank Spinath of Seabound. Frank and Kristy's vocals
play really well off each other and make "Obsession" one of the highlights of the disc.
If you enjoy the music of Assemblage 23 or VNV Nation but always wondered what these
acts would sound like with a strong female presence, then look no further than the
music of The Azoic. "Illuminate" might just very well be their best album to date.
You can decide for yourself though. Out now on Nilaihah Records.
(GunHed) --- WetWorks ezine
MotorCity Goths
The Azoic, which is Kristy Venrick from Columbus, Ohio, USA, and Steve Laskarides from
Phoenix, Arizona, USA, have been around for many years. They were making dark
experimental music for their first two albums, The Divine Suffering (1996) and Where
Broken Angels Lie (1998), but made a sudden change to the elektro/synthpop style in 2001
with their third album Forward. Forward itself was kind of static in its delivery --
every one of the seven original songs sounded quite similar, and all but one had Kristy
singing in almost exactly the same way (the one exception had Steve snarling over the
music). There were also too many remixes. However, The Azoic are not ones to stand
around and wait for things to happen, so they took three years to work on their newest
offering. So, did they succeed in making a good follow-up for their fourth full-album
effort?
I must resoundingly say, "YES, THEY DID!" From the hard-hitting opening track
"Let Me Tell You Something", until the closing track "Passage" (if you don't count
the DJ-medley of several remixes of "Conflict" and a few other pieces of earlier
Azoic works, at the end of the CD), the listener just stays hooked. Kristy and
Steve work together as a well-oiled machine no matter how many miles separate them,
it seems. The crème de la crème of this album happens in the form of its title track,
"Illuminate", with soaring epic trance leads and a very future-pop styled drum beat
and bassline -- and very good lyrics, too. That's one thing The Azoic has been doing
right for a while, their lyrics. I am just happy to see them putting those lyrics
with some very cool music.
Other tracks of note here are (and you would not believe how hard it is to pick
favourites beyond "Illuminate"!) "Conflict", the aforementioned "Let Me Tell You
Something", "Eternal" (replete with an interestingly vocoded Kristy), and "Obsession"
(cover of the 80's hit from Animotion, with Frank Spinath of Seabound helping out with
the vocals). "Ever" and "Passage" serve as the downtempo tracks, to show the audience
that yes, The Azoic can do slower songs, too. The tempo generally stays in the high
range for the rest of the album, but every track sounds different from one another,
so this isn't quite anything to worry about at all. Kristy puts on an exceptional
vocal performance throughout the entire CD as well!
The Azoic have finally pulled out all the stops and released the best album of
their career, and definitely one of the best of 2004. If this album is excellent
by my standards, then I honestly think that the next album they do will, again by
my standards, be nothing short of amazing. Hats off to Mr. Laskarides and Ms. Venrick!
Posted By: Pulse State @ Oct 21, 2004 -- MotorCity Goths
Side-Line Magazine (Checkline)
After a successful "Conflict" ep, the Azoic strikes back at full speed with an album that
mainly focuses on danceable and fresh ebm nicely punctuated by their characteristic
female vocals. If you liked the ep, you'll appreciate Illuminate although no other cut
manages to reach the same level of magic and intensity. The whole album tends thus to
be a bit boring and repetitive in the long run...
Benoit Blanchart
For some reason I have a soft spot for The Azoic, and especially Kristy's vocals.
Her voice is exceptionally sexy but yet extremely strong so that you get this
whole effect of dark melodic electro mixed with stark yet subtle female voices.
Although not every track succeeds in surprising me all along the way. I must say
that she has stolen my heart! Very entertaining release.
Bernard Van Isacker
This is finally the 4th full album of the band that counts some addicts in our
editorial office since the publishing of their last ep, "Forward+Conflict".
By the way, this last release was indicative of the musical direction of this
new record: impressive and wide rhythmics with some trance and electro accents,
a clear sound and alluring female vocals. All the ingredients to make an opus
to discover in emergency!
Cedric Wattergniaux
The strength of The Azoic is their capacity to manage with efficiency a full of
different influences like, trance, techno, ebm, and darkwave to create their own
style and sound. If their previous albums contained some club hits, "Illuminate" goes
one step further; each track is a potential club hit. Essential!
Patrick Falque
This American duo simply belongs to my favorites in the progressive electronic
underground style. Their new full-length simply confirms their knowledge and
ability to create fresh and hypnotic electronic structures driven by good danceable
beats and the enigmatic, into sensuality female vocals of Kristy Venrick. The "Conflict"-song
remains their absolute hit, but there's a lot to taste and enjoy here! An excellent
production!
Stephane Froidcoeur
all for Side-Line Magazine
Side-Line Magazine (October/November/December 2004 Top 10 - #2)
After 2 albums and the "Conflict"-maxi on Nilaihah Records, the American duo of The
Azoic signed to Infacted Recordings. The "Forward+Conflict" debut release has been
an amazing debut on the European market and here already comes the next chapter,
which is a new full length. Kristy Venrich and Steve Laskarides go on to explore the
wide fields of progressive EBM. The Azoic definitely belongs to the new generation
of body music, assembling fresh, techno-body hybrid bleeps driven by beating beating
bass drums, carrying choruses and talented vocal parts by K. Venrick. The debut cut
entitled "Let Me Tell You Something" perfectly holds on the style of their previous
work. It's an elaborated and achieved opening song! The next 2 pieces (cf. "Going Under"
and "The one") are holding onto the same ingredients of modern body vibes. The last
song is a bit more powerful and accentuated by the harsher male backing vocals. I
didn't really expect to find their absolute success song "Conflict" on this album
again. As "Conflict" didn't appear on any full-length so far, it's probably quite
logic so you don't hear me complain! This song remains an absolute topper, getting all
essential substances for a club killer! It's powerful, danceable, catchy and easy
reminding while the lyrics are just intriguing. The "Carve into you [edit 2003]" is
another familar track, you maybe know the song from the "Forward" album and the
"Forward+Conflict" release on Infacted as well. It's one more song towards progression,
featuring irresistible refresing bleeps and build up with a sad sounding melody.
If you're more into hypnotic acid vibes, "Truth" is another worth to listen.
K. Venrick here also explores the capacities of her voice and the less I can say is,
she's a real talented singer with a sensual timbre of voice. Another attention grabber
is the "Eternal"-song, which sounds a bit more into the style of Apoptygma Berzerk.
There's a typical body bass line running through the song, while I still like the kind of
vocoder effect on the male vocals. Last, but not least, there's the familiar "Obsession",
which has been already covered by Dive and Kirlian Camera. Well, the adaptation of The
Azoic sounds definitely cool. It remains a slow cut, but written by giant electronic
tones and clear male and female vocals. The Azoic just evolved towards maturity,
dealing with the future sound of EBM. They're definitely one of my absolute favorite
bands of the moment!
Stephane Froidcoeur
for Side-Line Magazine
ReGen Magazine
The Azoic have been steadily making a name for themselves in the electro scene since
1996. With their enticing blend of genres ranging from darkwave to synthpop to
industrial and EBM, combined with the passionate vocals of Kristy Venrick and the
pulsating electronics of Steve Laskarides, The Azoic is poising itself to be one of
the best bands in the electronic underground. As mainstays on America’s Nilaihah
Records, the group recently signed with European label Infacted Recordings, which
led to the release of Forward + Conflict, a collection of old and new tracks for
the European market. Now, they give listeners their latest album, Illuminate.
Like Forward + Conflict, this album is a collection of old and new, with new songs
interspersed with favorites like "Conflict" and an edit of "Carve into You", the
latter of which features Steve’s vocals in modern synthpop fashion. While the band
is known for blending differing styles of electronic music, they seem to have taken
a turn toward the synthpop EBM style that has pervaded much of the electro scene
(primarily in the form of futurepop imitators). All the elements of past material
are present, but honed and refined to create a sound that is both appealing to
first-time listeners, yet still identifiable as The Azoic. There are still the gothic
melodies and melancholy atmospheres, effectively offset by a heavier presence of
dance beats and distorted synth lines. Heavy layers of synthesizers wash beneath
Kristy’s vocals, which show some interesting computerized flourishes on the album
opener "Let Me Tell You Something" and the title track. They even follow a common
trend in electronic music to cover a song from the ‘80s; in this case, the Animotion
song "Obsession", on which Seabound’s Frank Spinath lends some supporting vocals.
The soft instrumental "Passage" closes things off with a nice array of dance beats
and synthesizer melodies.
All in all, it is the same formula that has gained The Azoic their place in the scene.
This proves to be both a strength and a weakness; a strength in its consistency and
its ability to hold up to past material as well as to the other electro heavyweights,
but a weakness in its lack of freshness. The music is familiar territory, even for
The Azoic. The focus has shifted, but the elements are the same, which ultimately
leads to a sense of "been there, done that". There is no shortage of entertainment
value, for this is a very competent and enjoyable album. However, with much of the
electronic scene in danger of falling into stagnation, The Azoic does not seem to
be pushing any barriers to give their music the edge to rise above the drivel.
However, if that does not bother listeners, then this album is sure to please.
ReGen Magazine
Dark Realms Magazine
The Azoic have released an impressive array of EBM songs guaranteed to propel them
to the top of underground dance clubs for quite some time. While this is a beat heavy
release to dance the night away, the lyrics delve into heartbreak and angst to really
flesh out and purge the emotions with pinpoint precision. As the album title suggests,
these are songs to open the eyes of the listener to uncover the truth, regardless of
the outcome.
Vocalist Kristy Venrick has a bit of an electronic effect on the vocals that works
marvelously. Composer Steve Laskarides also lends his vocals more prominently than
fans have heard in the past. Jointly, Venrick and Laskarides take EBM to the next
level of sonic development.
Let Me Tell You Something makes you want to dance all over the room, however, the
lyrical content is that of one who has simply had enough with the fool in their life.
Going Under is destined to slam across dance floors worldwide while lyrically we are
exposed to the sentiment of feeling internally torn at a new found realization that
makes us numb.
The One is an anthem for everyone who ever had a relationship go wrong due to lies,
deceit and betrayal. The title track Illuminate continues in a similar vein with
the bittersweet moment when our eyes are fully opened and we are not living in denial.
A special treat here is a cover of the 80's hit Obsession, which The Azoic deliver
for the modern underground dance age. Impressive and HIGHLY recommended!
Mike Ventarola -- Dark Realms Magazine
Morbid Outlook
Heavy, synth driven, drum ‘n’ bass loops with sexy female vocals for the most part.
There are some male vocals as well, generally malformed by electronic manipulation.
Overall it made me feel sweaty and horny, but not in a bad way (is that good?).
The vocals, especially the female, have a certain emotional viability that is, for
me, often utterly lacking in this sort of music.
There is one instrumental offering of prettiness swathed in huge string pads that
put me in mind of Frank Zappa’s 'ointment with little bells' assessment of new-age
music, there in case you feel the need to relax in the hot tub in between dancing
your ass off at the party I suppose. I found myself enjoying some tracks, while being
more or less indifferent to others. In all fairness though, I don’t favor the
club/dance genre much to begin with, except for the kinds of things someone like
St Eve will do with (or to) it...so take this review with a grain of salt. If
this genre is your cup of tea, then this group is probably better than many.
Andrew Fenner -- Morbid Outlook
The Other Paper (Columbus)
Purists may scoff that the biggest band from a town forged on high-revving
indie rock doesn't even play guitar, but the Azoic is a leader in the international
EBM music scene. What's more, vocalist Kristy Venrick runs Nilaihah Records,
possibly the leading local label. The duo, rounded out by Steve Laskarides, in
celebrating the release of 'Illuminate,' a disc brimming with processed vocals,
synthetic beats and organic melodies. You'll never miss the guitars!
The Other Paper
A Different Drum
This is a totally solid album from a band that's probably the best in it's class--
female vocals with an intense edge for the futurepop / dark synthpop market. Danceable
and dramatic.
Todd Durrant @ A Different Drum
Gothtronic
The Azoic makes explosive electropop with influences from EBM, trance
and industrial. The music is quite bombastic, with heavy beats, warm
synthsounds and accessible hooks. The tracks are catchy. They are also
good. Sometimes it all is overwhelmingly slick and polished. Which is not
bad at all, only after listening to a cd full of these kind of tracks you want to
listen to something else again. This doesn’t mean this is a bad release, on the
contrary. ‘Going Under’ has nice industrial sounds. ‘The One’ and
‘Illuminate’ show perfectly well which qualities vocalist Kristy is blessed
with. She has a very good voice without any doubt. ‘Conflict’ we already
knew of the EP and this is a song suitable for a single. The secret hitsong of
this album however is the cover version of this Animotion track ‘Obsession’
that Kristy sung together with Frank Spinath of Seabound. This is a lovely
coversong that also invites to go and dance. 'Carve into You' has fascinating
lyrics. ‘Eternal’ is also a good song that need to be mentioned. The Azoic is
a must have for fans of for instance VNV Nation, Assemblage 23 or XP8.
TekNoir @ Gothtronic
The Azoic is very strong in combining great female voices and danceable,
well-written, electropop songs. Songs like 'Let Me Tell You Something', the
single 'Conflict' (there is also a CyberDJ medley present on this record),
‘Going Under’, ‘The One’ and 'Illuminate’ are piece by piece great dance
floor fillers. 'Illuminate' however also has a more intimate character and is
therefore also nice to listen to at home when your sitting on your couch or -
even better - are driving in your car. 'Ever' proves that they can write songs
with a more quieter pace and 'Obsession’ shows that they have the ability to
cover a song as well. The best songs are however the ones with the most
beats per minute and pitiful enough the CD leaves over all a somewhat
one-sided impression. Every electropop fan should however buy this album,
because there is enough to listen on ‘Illuminate'.
Beautevil @ Gothtronic
Gothic Paradise
It's been three long years since the release of Forward... and a year since
the teaser single Conflict came out. Fans of this group will no doubt be extremely
excited about this release after such a long wait. This long-hoped-for follow-up to
the more EBM/Techno friendly sound of Forward... is a great continuation of the long
and promising career of this duo.
The overall tempo and mood of this album is one of pounding, fun music that really
keeps you moving. Each time I listen to this album it's hard to stop if I can't listen
to it all in one sitting. The music never ceases to keep my body moving too as the
pounding beats and catchy rhythms pulsate and penetrate. Listeners that are familiar
with this group should hear a lot of similar styles present, yet expanding into a
little more techno-friendly music with a heavy edge, definitely plenty of bass and
that solid beat. "Let Me Tell You Something" kicks this album off and is the first
to really jump into this atmosphere of wonderful experimental trancey elements.
Throughout the song, vocals and instruments crossfade across stereo chanels back and
forth filling the room with great effects and sound.
This is just the tip of the iceburg as you delve into the other tracks you of course
hit the slightly harsher and more industrial track "Conflict" which has proved to a
be a fan and club favorite since the release of the single. Along with the album
ersion there is also a special bonus track mixing several of the remixed versions
into a special mix called the "cyberDJ Medley". This is fun to hear how it all mixes
together and is well done, especially if it took place in a live setting.
There are a couple of tracks that slow the tempo down a bit and definitely bring down
the overall mood and feeling in the form of "Ever" and the lush instrumental "Passage".
Each maintain a solid electronic sound, but slow down the pace and bring out raw
emotional power. Steve contributes his vocals on the incredibly melodic piece "Eternal".
All of these variable elements and piece provide for great variety and a great overall
album.
There are so many more things to relate about this album. It has to be one of the
funner discs I've picked up lately that is just plain and simple, fun to listen to.
The layered textures of the title-track with Kristy's vocals taking on a beauty that
isn't very typical in the electronic dance genres bring out another nice element in
the album. Of course I can't leave out the cover of the popular 80's cover "Obsession"
orginally written and performed by Animotion. Frank Spinath of Seabound contributes
his vocals for a nice duet between he and Kristy. They add a nice modern EBM sound
while remaining true to the overall style of the original for a nice cover.
Once again The Azoic has proved the great results that come of hard work and talent.
This album is highly commended to those that can really enjoy music and have fun.
Rating: 4.5/5
Gothic Paradise
Gothic Paradise
It's been three long years since the release of Forward... and a year since
the teaser single Conflict came out. Fans of this group will no doubt be extremely
excited about this release after such a long wait. This long-hoped-for follow-up to
the more EBM/Techno friendly sound of Forward... is a great continuation of the long
and promising career of this duo.
The overall tempo and mood of this album is one of pounding, fun music that really
keeps you moving. Each time I listen to this album it's hard to stop if I can't listen
to it all in one sitting. The music never ceases to keep my body moving too as the
pounding beats and catchy rhythms pulsate and penetrate. Listeners that are familiar
with this group should hear a lot of similar styles present, yet expanding into a
little more techno-friendly music with a heavy edge, definitely plenty of bass and
that solid beat. "Let Me Tell You Something" kicks this album off and is the first
to really jump into this atmosphere of wonderful experimental trancey elements.
Throughout the song, vocals and instruments crossfade across stereo chanels back and
forth filling the room with great effects and sound.
This is just the tip of the iceburg as you delve into the other tracks you of course
hit the slightly harsher and more industrial track "Conflict" which has proved to a
be a fan and club favorite since the release of the single. Along with the album
ersion there is also a special bonus track mixing several of the remixed versions
into a special mix called the "cyberDJ Medley". This is fun to hear how it all mixes
together and is well done, especially if it took place in a live setting.
There are a couple of tracks that slow the tempo down a bit and definitely bring down
the overall mood and feeling in the form of "Ever" and the lush instrumental "Passage".
Each maintain a solid electronic sound, but slow down the pace and bring out raw
emotional power. Steve contributes his vocals on the incredibly melodic piece "Eternal".
All of these variable elements and piece provide for great variety and a great overall
album.
There are so many more things to relate about this album. It has to be one of the
funner discs I've picked up lately that is just plain and simple, fun to listen to.
The layered textures of the title-track with Kristy's vocals taking on a beauty that
isn't very typical in the electronic dance genres bring out another nice element in
the album. Of course I can't leave out the cover of the popular 80's cover "Obsession"
orginally written and performed by Animotion. Frank Spinath of Seabound contributes
his vocals for a nice duet between he and Kristy. They add a nice modern EBM sound
while remaining true to the overall style of the original for a nice cover.
Once again The Azoic has proved the great results that come of hard work and talent.
This album is highly commended to those that can really enjoy music and have fun.
Rating: 4.5/5
Gothic Paradise
GothicInfo.net
September 2004 saw the release of Illuminate, The Azoic's fourth full length
album and their sixth official release. With this record, The Azoic says they
'have taken their sound even further.' Not even questioning whether they have
done so, they in fact managed to create an album with over an hour of really
danceable music. Even before you have listened to it, the danceability of the
music on this album is made clear by stating not only the length of the tracks,
but also the beats per minute of each separate track. We are promised a cd
with mostly 140 beats per minute.
With this album, Kristy, Steve and Yana do not appear to be challenging the
listeners, musically speaking. Instead, their main focus seems to be to create
music that is easy to listen to and that people want to hear. But, since that's
what people want, it can hardly be called a bad thing. Although some may claim
surprising changes in melody give music just that little extra, consistency is
what it takes to become a hit in the club scene. And once it did become a hit,
there's always the possibility of remixing the whole lot to add some surprising
twists, as the cyber DJ medley of Conflict proves on this track, where for
instance some slower parts are inserted into the generally fast track.
So, although the album may seem a little dull for those people who have been
into the genre for quite a while already, it's certainly a nice record on the
dance floor. And especially when listening to the record at home, the American
trio built in some resting points with slower tracks in the form of Ever and
Passage, where you can catch your breath after being unable to stop moving
those feet, head and possibly other body parts whilst sitting in front of
your computer screen.
Jurjen @ GothicInfo.net
Synthpop.net
This new 2004 album follows the release of the 2003 single "Conflict", which was a
absolutely stunning and magnificent EBM-pop song. At the time of that single's
release it was a real wake-up call to the new sound and style of The Azoic, and
left me and most anyone else who enjoyed it wanting more. Well, it took a little
while, but the accompanying album is finally here, and Illuminate doesn't disappoint.
From the first track "Let Me Tell You Something", it is immediately plain that
"Conflict" was not a aberration, but a indication of a new, incredibly high standard
that The Azoic have set for themselves. It's insanely catchy, has enough punch to it
to easily please the club crowd, and some really neat synth work to boot. The
following tracks only serve to reinforce that idea: this album is a extremely
impressive dance epic. While not every track is quite the dancefloor packing material
of "Conflict" and "Going Under" (case in point with "Ever"), even the slower tracks
are highly engaging. Particularly interesting were the tracks "The One" and "Eternal",
where Steve, the other member of The Azoic, steps forward to take the lead vocal role.
While usually distorted or processed in some way, it's still a neat alternate approach
to the vocals.
It's difficult to describe just how impressive this album is. The Azoic have created
a album here that will have you dancing, singing along, and wanting to play it again
over and over. It's definitely in the top 5 best releases of 2004 in my book, and I
heartily recommend you give it a listen!
Jason Baker @ Synthpop.net
Starvox.net
The Azoic are kicking ass and taking names! Here is a collection of songs lyrically
delving into the nonsense of relational game playing and overcoming the mind screw and
torment left behind. Now take these same lyrics, run them through heavy duty electronic
vocal processing and fuse them with the trademark Steve Laskarides beat driven
pulsations and one has a sure fire winner in their midst.
Vocalist Kristy Venrick put her heart on her sleeve when composing these tracks in
the anticipation that her learning process would help to "illuminate" others. When one
thinks of illumination, often we misleading assume that it should inspire us to
something that is positive. Sometimes, illumination takes the form of waking up to
one's own denial and excuses within the framework of a relationship. Sometimes it
means waking up and realizing that something we have been striving for is a wasted
effort.
Nevertheless, whatever form illumination may take with listeners, be assured that
these tracks will leave dancers breathless on the club floors and home-party people
in awe with the sonic potency delivered through their home stereo speakers. In spite of
the intensity of the heartbreak of some of these lyrics, the percussive fulmination
simply makes you want to move and move a LOT.
Along with these tracks, we are also given a remake of the classic New Wave song,
Obsession, done expertly for the modern era. We are also given a bit of a tease with
Laskarides' hand at vocals on The One, which is hopefully something that shall continue
in the future as both Venrick and Laskarides make the song come fully alive with their
harmony. If you are seeking out potent dance music with beats per minute that
are pretty much off the charts, do seek out Illuminate.
Mike Ventarola @ Starvox.net
Gothic Beauty Magazine
It is hard to be a critic when you are dancing non-stop. Illuminate grabs up
the pounding beats, the glitchy switches, pitch shifts and floor-filling formulas,
and clicks them together in a perfect mosaic like an interactive game. It's not all
addictive beats and adrenaline, either, for which the critic is grateful; even the
heaviest dance trance is a more sublime experience when the lyrics connect with
feelings and insight. Kristy Venrick pulls off digitally treated vocals without
mechanizing the emotion out of them; she sounds even better without the robotics
in the title track. Most of the lyrics, as in "Conflict", fit perfectly like puzzle
pieces amid the saturation of programming; "Truth" was irresistible, a straightforward
futurepop track delivered with excellent aim.
Carolee @ Gothic Beauty Magazine
Sick Among The Pure
The duo of Kristy Venrick and Steve Laskarides shines in their latest 2004 release,
Illuminate. The opening track, "Let Me Tell You Something," sets the powerful mood
with Kristy’s seductive, resonating vocals, strong Electronic Dance rhythms and
forceful lyrics. As the chorus illustrates: "Let me tell you something / I won’t
be pushed around / It’s my life I will not give up that easy / You cannot break me down,"
she - and the band - stand firm in principle. In honor, in pride: a stoic presence to
be reckoned with.
"Going Under" is one of their darker tracks, in my opinion. It sounds edgy,
futuristic, with a crunchy, frantic undercurrent that drags you down into the song.
I love the intrusive male "It is done," for it carries a tone of danger. "The One"
also employs a union of male and female vocals, but in this song, it feels more Dark
Rave-influenced.
In the title track, "Illuminate," a smoother style emerges, with her ethereal vocals
rising higher and higher in the sky, with the rich bubbly essence of Future Pop.
"Conflict" - both the single and CyberDJMedley version - weaves together a complexity
of rhythms. Altogether EBM, Future Pop, Synth pop, and Electro Trance. As you dance,
you’ll feel as dizzy as the lyrics suggest, and I mean this in the most positive
way. "Conflict" sweeps you away.
The tempo slows in "Ever," a beautiful echoic ballad. "Truth" continues the heavenly
breadth of their talents, in the range of her voice, the emotive songwriting and the
pleasing synthetic beats. For 80’s Animotion fans, Frank Spinath of Seabound makes
a guest appearance for the fun cover of "Obsession."
"Carve Into You" is the light-side of Electro-Industrial. If only the song explored
the harder drumming a bit more to match the harsher lyrics ("You rape to annihilate"),
but the wailing siren, faster synth-riffs and a huskier warbling work well.
"Eternal" does embrace the Industrial beats, but I don’t care as much for the
computerized male vocals that transcend the song into Future Pop.
"Passage" reigns as the sole instrumental on Illuminate. It evokes melancholy and hope.
All in all, fans of The Azoic will love Illuminate; the sound has evolved, matured;
yet Kristy and Steve still approach music-making with a fresh light touch.
Teri A. Jacobs @ Sick Among The Pure
back to The Azoic - Illuminate ________________________________________________________________________
FORWARD + CONFLICT
Pendul
This is the first European release of US female fronted Electro club-friendly
band The Azoic. The product reunites their full album Forward… and the maxi-single
Conflict collection of some psyche remixes done by other artists from the same
musical area. Fifteen tracks that include also previously unreleased material
that fit with the rest of the record are to be heard on this CD. What we have
here is a mixture of modern sounds and club-flavour tunes, the styles ranging
from EBM, Powernoise to dancing Synthy-Pop and Trance vibrations. Their Electro
Poppy melodic side is in many moments quite catchy and turns out to have a
breaking Subpop interludes or even Industrial Heavy hybrids of electronic
basslines. The remixes are signed by Iris, Negative Format, Imperative Reaction,
Massiv In Mensch, System Syn, Assemblage 23, Flesh Field, Oneiroid Psychosis
and CombiChrist (side project of internationally acclaimed Icon Of Coil), all o
f them being reorchestrated and redone in mesmerizing symbiosis. With fiery
voice and mature dark influences on filtered male vocals the album is switching
between attractive and etherised beat-driven rhythms, pounding phase loops,
punchy synthetic assaults and seductive passages of cold repetitive Industrial
sequences. In this regards, Not Justified and Lost are two Future Pop electros
that will chill out some Techno-freaks out there!
Julius von Sammaël - Pendul
Industrial Nation
The remix album is the sonic equivalent to riding a barrel over Niagara Falls;
the odds of success are slim, but if you do succeed, the rewards can be great.
A good remix on its own is hard to come by. An album full of them?
Near impossible. Darkwave/electro darlings The Azoic decided to test the
waters by putting together an album full of remixes by the likes of Assemblage 23,
Iris, Flesh Field, and others. The result is an album packed with wall-to-wall
club beats. Darkwave is completely off the menu, while the thumping beats of
techno and EBM take over. The turmoil mix of "Conflict," constructed by The
Azoic’s own Steve Laskarides, sets the bar high as the album’s leadoff, and
provides a solid dance mix that easily overpowers the offers that follow.
This is notable because the tracks "Carve Into You (2003 Edit)," "Not Justified,"
and "Redemption," weren’t touched by anyone outside the band. Points go to Iris
and CombiChrist for their commendable remixes of "Conflict." Negative points
go to Assemblage 23 for electronically manipulating Kristy Venrick’s voice in
the exact same way Cher’s was in her dreadful pop chart-topper "Believe."
Automatic disqualification. For the most part, the remixes on Forward + Conflict
would make a welcome addition to any club set. However, the overuse of the same
type of beats quickly becomes repetitive when listening to the album in one
sitting. For a remix album it’s a solid effort, although it’s best kept on
the dancefloor.
Ryan Hill - Industrial Nation
Side-Line
This is the first European release of the American The Azoic. I’m
sure lots of Europeans have already discovered this band on different
sampler contributions and maybe put their finger on their American
albums “Forward” and “Where broken angels lie”
or the amazing Mcd “Conflict.” While I personally remember
to have even gotten their demo entitled “The divine suffering”,
which was into poorly inspired electro-gothic stuff, this band literally
metamorphosed to reinvent their own sound and style! The Azoic became
for sure one of the coolest electronic combo’s I’ve heard
in years, striving for modernism, combining an EBM basis together
with techno-like and future-pop ingredients. There’s an amazing
power emerging of their work while the female vocals of Kristy Venrick
are adding a particular sensual and charismatic touch! Most of the
tracks have been remixed by famous and other promising formations
like CombiChrist, Assemblage 23, Massiv In Mensch, Negative Format,
Flesh Field, God Module etc… like they say in France, ‘du
beau monde’! It’s a long time ago I get that excited by
listening to an entire album, but track after track, the power and
danceable aspect of the music emerges out of the speakers. Well,
it’s also due to the good job of the remixers, but when the
original version is already great, the job of any other band working
on a remix will become easier! The “Conflict”-song remains
probably my favorite and especially the remixes of Massiv In Mensch
and Negative Format. Both bands are adding their own progressive
and trance sound, resulting in mind-blowing mixes! There’s
no doubt about it, this is the EBM sound of tomorrow, but tomorrow
starts now with The Azoic! Notice by the way that the other remixes
of “Conflict” by The Azoic [Turmoil mix], Combichrist
and Iris are more than simply great! Other remarkable contributions
are coming from Assemblage 23, making a robotic-dance version of
“Progression” and hard-hitting “Dillusional mix”
of “Evolution” by Flesh Field. The previously unreleased
edition of “Carve into you” is a bit darker, but holding
on the same EBM progressive aspect! And once again, I’m falling
in love with the cold and sensual vocals of Kristy. Her voice sounds
a bit like Patrice of Regenerator, but with much more power and
volume. While a new full length is announced during the year, this
will be an opportunity to discover a very talented duo that will
soon increase the popularity of Infacted Recordings and establish
the name of The Azoic on the European card! Thanks for these moments
of EBM-reverie! --(DP:9/10 CMF:8)DP, Side-Line
Gothtronic
The Azoic is a electropop / EBM project from Columbus, Ohio and
this is her European debut cd on the German Infacted Recordings.
The Azoic released records before in the US. 'Forward' and in 2003
the EP 'Conflict'. Tracks of that release with additional remixes
are now compiled on 'Forward+Conflict' in order to conquer the European
Market. The first track 'Conflict' is a nearly perfect futurepop
track that's also energetic and therefore will be perfect for the
dancefloor. 'Conflict' is a neat song with heavy punding beats and
strong vocals by singer Kristy. Kristy proves to be a gifted vocalist
in passages in songs like 'Carve into You', 'Redemption', 'Lost'
and especially the splendid 'Progression', on this cd represented
by the briljant remix of Assemblage 23. Title track 'Conflict' is
represented on this cd in various remixes made by acts like Combichrist,
Massive in Mensch, Negative Format and US synth talent Iris. The
remixes of Combichrist and Iris are most well done. God Module made
a nice remix of 'Progression', but this is still nothing that special
compared to the mix done by Assemblage 23. Flesh Field finally,
could remix 'Evolution' which turned out to be a dark electro track
very much in the vein of their well known style. This is a excellent
European debut cd of a band that's able to write really good songs
and to enhance them with the perfect dance beats to add some more
spice without sounding like just another futurepop band. The Azoic
should be very happy with a vocalist like Kristy, one of the best
female vocalists in the electro / ebm scene. This cd is a absolute
recommendation and makes me very curious for the full length album
'Illuminate' , to be released in 2004. (8/10) -- TekNoir, Gothtronic
When the boxes vibrate, when you open your ears and when the couch
isn't comfortably anymore than you have to deal with a good song.
The first notes of 'Conflict' put you in a forward direction and
when Kristy Venrick prove to have a good fitting (female) voice
than there's no holding back. The music is a combination of driven
EBM with some synthpop influences (especially in the way the songs
are written). The second time you hear 'Conflict' it's taken through
a blender by Combichrist. The end result is heavier, but due to
the voice of Kristy still recognisable. 'Carve Into You' and 'Progression'
got the same elements as 'Conflict'. Well thought of theme's, danceable
and with the familiar voice of Kristy. With 'Not Justified' the
trick gets a bit too familiar and the remixes of songs like 'Conflict',
'Progression' and 'Evolution' (with the voice of the man behind
the machines, Steve Laskarides) don't seem to promise too much as
well. Thankfully The Azoic knows to surprise with every other song
and every remix seem to add something new to the original and the
earlier remixes. "Forward - Conflict" is therefore a successful
attempt to get the attention from the European market. (7.5/10)
-- Beautevil, Gothtronic
Synthpop.net
I was introduced to The Azoic through the Venusa XX compilation
series, and then after hearing them again on the State Of Synthpop
2003 compilation. So, I was finally convinced to give their album
a try. "Forward..." is a transitional album for the band, as they
state in the liner notes, it's a shift in musical focus for the
band. The band previously had a more darkwave oriented sound on
the previous two albums, but has taken a more EBM / Industrial Dance
slant to their music starting with this release. This album has
been re-released in Europe by Infacted Records, with added tracks
from the "Conflict" single. Listening to this CD over several times,
I found myself thinking that it would really appeal to fans of Assemblage
23's heavier material. This band certainly incorporates the harder,
harsher sounds of Industrial Music into their material, with "Redemption"
at times sounding like it's morphed into a Noise track. It's a very
enjoyable CD, but best suited I think for those days when you feel
rotten and want some music to commiserate with. The remixes presented
here pretty much are what you'd expect from each remixer. The only
one that I knew nothing about was Oneiroid Psychosis, and their
mix is a more mid-tempo, slow but still forceful take on the track
in question ("Progression") that I quite enjoyed. Basically, if
you have heard and enjoyed any of The Azoic's tracks on a compilation
before, you're probably going to really like this album as well.
If you haven't heard the band's material before, and the idea of
a female-fronted Industrial/Electro band sounds appealing, you'll
probably enjoy this too. -- Jason Baker for Synthpop.net
ElectroGothic.com
After a two successful albums, "Forward" and "Conflict", finally
the new album, "Forward + Conflict" arrives thanks to
Infacted-Recordings. This album includes both previous releases
merged into one with a couple of unreleased tracks to spice the
album up. The album includes mixes by CombiChrist(Icon of Coil side
project), Assemblage 23, GOD MODULE, IRIS, Massiv in Mensch and
so many others. After poping this one into my CD-player, I had high
hopes...after 75 minutes of hard electro/industrial beats, I was
absoultely satisfied. Hard beats accompanied by sweet female vox,
what a mix! All the remixes are really good and its rather difficult
to pick out any favorites, which is a good achievement for all the
bands involved! Overall a fine release and a must for fans of Electro/Industrial/EBM.
Plenty of club material on this release to satisfy many a dance
floor! It should also be noted that Kristy (vocalist) has finished
recording vocals for Epsilon Minus, Dekoy(Who was featured on Gothica),
Parallel Project(Negative Format S/P) and Neuroactive. All CD release
dates are slated for early 2004. With such demand for Kristy's talent,
I believe that this release will further stamp The Azoic's Authorotaa!
on the underground scene! -- ElectroGothic.com
Music Non Stop
First European release from US electropop act THE AZOIC combines their full length
album ( ''Forward'' ) and maxi single ( ''Conflict'' ) with previously unreleased
exclusive material at a special price. THE AZOIC offer powerful, club-friendly
electropop, multi-facetted, danceable with melodic and catchy choruses. This release
is not just a combination of their last two American releases but contains also a
number of previously unreleased EXCLUSIVE tracks and remixes ! In total 15 track
including collaborations and remixes from COMBICHRIST ( Icon of Coil ), ASSEMBLAGE 2
3, NEGATIVE FORMAT, FLESH FIELD and GOD MODULE.
Music Non Stop
Legends Magazine
Since the band’s inception in Columbus, Ohio 1996, The Azoic
continue to produce these crisp club sounds that gel inside the
Sunday morning mind and truly appear to be an unstoppable band that
looks forward to future projects so they can develop their sound
even more. With eight released albums to date, we can firmly admit
that this band has evolved into a band that other Gothic industrial
dance bands can and should look up to for direction in developing
their own sound, or at least try out new techniques for layering
virgin tracks.
Conflict
is a rather short EP compiled of the song Conflict in all
eight various measures including one multi media video. This is The
Azoic’s version of how to change up one lonely song. You have your
album version of course from what the others are spawned from and
then you have your other seven-tagged mixes describing how the album
version was changed.
For instance, with the Combi Christ mix, your going to hear
chanting about vocalist Kristy Venrick’s belief in Christ with
lyrics like, “Keep my perspective straight, keep me away from hate,
keep my eyes uncovered” while a distorted repetition of Conflict
is the pervasive music setting. The Massiv In Mensch mix is
light with sweet vocal tracks laid out where most of the dynamics
occur in the song. Though the other mixes are short renditions to
appreciate, you’ll find the original album mix to be the better one
since the song is played in its entirety and leaves the body of
sound in tact.
Steve Laskarides is credited for the track mixing and vocal track
layout, which is done in a polished manner, found most importantly
while mixing Venrick’s vocals. All the vocal tracks in each mix are
smooth with an eerie essence to provide the Gothic nature. I think
the layered electronics mixed with the distorted noise and Venrick’s
voice, is beautiful and really an oddity when considering the most
new indie techno seems to just lay around with an absence of texture
for dancing. The multi media video contains a music video for
Conflict (album version) and a hearty selection of live photos,
press photos, lyrics and other entertaining fodder to dig while
you’re listening to the album.
Review
by May Wiseman for Legends Magazine
back to The Azoic - Forward + Conflict
________________________________________________________________________
CONFLICT
Smother.net
[Editor's Pick]
"Precisely what I`ve been looking for! A dancy darkwave band
that is passionate yet heavy on the dancefloors. This single features
eight different mixes and showcases the talent of The Azoic. Just
listen to how melodic the female voices are! I want to hear more!
Now! And so will you. No dancefloor will be complete without this
elite EBM/industrial dance single." -- J-Sin of Smother.net
Synthpop.net
This single for "Conflict" followed the
release of the "Forward.." album in the US, and was later
to have several tracks from it incorporated into the European release
of "Forward..". On the MCD, there are 8 total versions
of the title track, as well as a CD-Rom video for the track that
is very, very slick.. I could easily see this video on MTV2 (since
MTV hardly plays videos anymore).
"Conflict" in it's original form was a hard-hitting Industrial
Dance-pop track, and the remixes only emphasize that aspect of the
song on this MCD. It was a very powerful and passionate song to
begin with, but several of these remixes up the ante on even the
level of emotion in the song. I really love the turmoil mix by the
band, but so many of the remixes are great in their own right. Iris'
mix gives a very cool electropop feel to the song, and Massiv In
Mensch is a awesome club track. About the only remix I had issues
with was the Negative Format remix, and my only note there was that
the mix, at 7 &1/2 minutes, was a little overly long. Otherwise,
this is a excellent single. The Azoic made great choices in assembling
the remixers for this single, and it shows in the quality of the
mixes. I can recommend this single without hesitation.. do yourself
a favor and snag a copy! -- Jason Baker for Synthpop.net
Industrial Nation
"The Azoic's latest single, 'Conflict,' offers seven remixes
of the infectiously catchy title track. Although the idea of 44
minutes of the same song is usually a recipe for utter boredom,
that isn't the case here. Kristy's vocals provided the seven remixers
a variety of directions to explore while the nature of the songwriting
itself had more than enough melody to play with. The Azoic also
did a fantastic job in selecting their remixers. They purposely
opted out of getting a huge name on the bill in favor of some of
the best programmers in the scene. Andy LaPlegua, Andrew Sega and
Alex Mathau all live up to their repulations as Icon of Coil, Iris
and Negative Format respectively, providing solid mixes.
The disc is also loaded with little extras. The multimedia track
comes with a music video and a host of pictures and lyrics. The
Azoic even installed a little thank you note to their fans in the
CD text. Overall, they did a fantastic job in the execution of the
single, which should hold us over until the release of their anticipated
full length, 'Illuminate.'" -- pHil.PTI of Industrial
Nation
Side-Line
"The Azoic are back with an addictive little sample of what's
to come on their new album, "Illuminate." Released in July the new
single, "Conflict" is a song about the pain of understanding and
dealing with one's inner strife. They advance their sound using
the usual juxtaposition of hard beats along with the strong synth
melodies and Kristy's beautiful vocals. Plus, not only do they add
their own remix but six other artists add their take on this track;
Negative Format, Iris, CombiChrist (the new solo project of Andy
LaPlegua from Icon of Coil), Imperative Reaction, Massiv in Mensch
and System Syn. Though few of them stray very far from the original
song, you do get a few variations that include heavier synth-pop,
power-noise, and trance influences which should fit most any dance
floor mood. While this release will surely be a hit with DJs, it
would not be out of place in anyone else's collection either, especially
considering it also contains the "Conflict" multimedia video. The
single is available worldwide via the Nilaihah Records website,
plus keep an eye out for the full length "Illuminate" due out at
the end of this year or early in 2004." - DJ Evol Eno of Side-Line
Collected Sounds
As The Azoic's new album has yet to be released, we are given the
single for "Conflict", which features 8 stellar remixes,
as well as a video track for "Conflict", anyone would
agree that this is definitely enough to tie any fan over.
The various remixes are all interesting takes on the original, with
the CombiChrist mix being the one that struck me the most.
All of them vary in their arrangements, vocalist Kristy Vernick
has a very versatile voice, her emotion definitely comes through
on al the mixes.
I encourage you all to check out this single as there are mixes
for everyone, ranging from synthpop, dreamy ethereal, to hard techno
beats, The Azoic are definitely a group to watch. - Sarah Bernardi
of Collected
Sounds
Starvox
"It’s not a common practice for me to review a CD single, which
consists of eight different versions of one song. Not to mention
the fact that the style of the song in question is part of a genre
that has basically overshadowed everything I love about dark organic
music. As most know, ‘the thud’ drives the bats right
out of the belfry. However, what follows will indeed be a favourable
review of a highly catchy synth pop single! Simply because an honest
music critic can recognize what is good, and when something possesses
genuine quality, regardless of their own subjective musical preferences,
you gotta give it props. I like to think that I am one of those
critics that possess that ability.
The Azoic were once one of the scariest bands in existence. And
at that time, it seemed like only a select group of scary individuals
relished their first two discs of unsettling doom and gloom. But
over the past few years, the band has morphed into a futuristic
synth pop project that has received overwhelmingly positive interest
in the dark club scene across the globe. And rightfully so. The
Azoic is without question following the conventional dance club
formulas of heavyweights like VNV Nation, Assemblage 23 and the
like, and I don’t think they are at all attempting to disguise
that fact. But their music stands out because of its memorable hooks,
its consistently hard hitting and upbeat programming, and its melodic
sensibility. Not to mention the confident alto vocals of Kristy
Venrick. But perhaps the key to the band’s success is that
they never entirely abandoned the darker atmospherics of their formative
years. However often these bobbing rhythms lure the feet of black
clad youths on to their local club’s dance floors, the chilling
choir or string samples and vocal melodies still retain the ability
to send shivers down the listener’s spine. And that is what
sets them apart from most electronic dance acts. The Azoic is just
simply good at what they do, and seem to be getting better at their
craft as they settle into the current phase of their seven-year
existence and prepare for their forthcoming album, Illuminate, due
later this year.
"Conflict" serves as a teaser of what is to come with
the aforementioned full-length, and also to prevent the momentum
initiated by last year’s "Forward" release from slowing
down. I can’t honestly pinpoint a single thing that the average
fan of this genre would not enjoy about this new single. It’s
got all the right ingredients to be a contemporary club smash and
the song is already well on its way to anthem status it seems. It’s
immediately catchy, moody as well as energetic, with an enveloping
pristine production and glossy rhythmic punch. And if the album
version isn’t enough to strike your fancy or (for DJs) doesn’t
quite fit your style of spinning, there are seven alternatives.
I personally enjoyed the first three mixes the most. The Turmoil
version is rougher around the edges when compared to the original,
and has a slightly more trance-inducing vibe. The wonderfully dark
CombiChrist mix is a more gristled deconstruction and hits much
harder both physically and atmospherically. Kristy’s melodic
vocals are scrapped and replaced with stark spoken bits and creates
a much more sinister and hypnotic effect. The Iris remix left me
cold. Though this mix employs a slower more intricate and lite trip
hop vibe to the song, it meanders along lazily and totally forsakes
the energy of the original track. The raw and relatively dynamic
Massiv In Mench mix is a good return to form. The notoriously angst-ridden
Germans looped one of Kristy’s breathier vocal lines and slightly
pitch shifted the rest a bit higher. Musically, it volleys between
a steady thud and more rhythmic break beats for a few of the verses.
The Negative Format mix is basically an extended version of the
song with additional techno flair. Didn’t quite grab me as
much as the other tracks did, but it’s still cool and I am
sure DJs will find a use for it. By this point, I think you get
the idea. Each of the tracks provides a noticeable reinterpretation
of the song, while never straying too far from the original ideas.
In addition to the remixes, a multimedia video clip of the track
is included. I am a sucker for videos. I am addicted to MTV2 and
VH1 Classic, and I have always felt that music video was an enthralling
art form. So I always love it when bands include video tracks on
their releases, because where the hell else will we see this stuff?
At any rate, the “Conflict” video features live clips
of the band performing the track interspersed with footage of speeding
trains and dizzying shots of steel beams and the like, and the band
miming the song in a concrete tunnel. There is some nice clashing
of full-colour shots with blue and sepia tinted passages, which
balance cold and warm tones. Not to mention a curvaceous gothy gal
(probably a close friend of the band that said “I wanna be
in your video, dammit!”) that wanders about seemingly lost
and stood up by a foolish boy. At any rate, it’s not a work
of sublime cinematic art, but its still quite fly and for those
of you that dig the band and haven’t had the privilege to have
seen them live, you can see the band in action and see who is behind
some of these songs you have been groovin’ to.
At any rate, all I can really say here is I can’t write a
short review no matter how hard I try. I mean, this is a single
for chrissakes. If you dig electro, EBM, synth pop, or whatever
the hell they are calling this stuff nowadays, this is not only
one of the next anthems, but it is one of the few with any atmospheric
substance. So check it out and be on the lookout for “Illuminate”
later this year." --Matthew Heilman of Starvox
Re>gen Magazine
"This latest single from The Azoic should build nicely on the positive
feedback created by their well-received Forward album from last
year as it continues on the band's light trance/dance song style.
It also provices further evidence of just how important Kristy Venrick's
vocals have become to the band's style as they suit this track perfectly,
allied with a superb hook that makes it's presence felt the more
you listen to it, something that the remixes add to. As ever, listening
to 8 versions of one track (not including the multi-media video
at the end) in one go can be a bit much but, as a rule, the remixers,
ranging from the harder hitting styles of Turmoil, Massiv In Mensch
& System Syn, the synthpop of Iris or Imperative Reaction's
trancey/electronica all add something new & fresh to the material,
thus avoiding the 'remixing for remixing sake' that some releases
seem to suffer from. Negative Format do the most to take the material
into unexpected new realms while one intriguing inclusion is that
of CombiChrist, the new act featuring Icon Of Coil's Andy LaPlegua.
Don't go expecting some dancey 'future pop' number here as this
is quite a different beast, doing away with the vocals (aside from
a few repeated spoken riffs) & introducing heavy EBM beats &
scorching guitars, just right to get you slamming away with great
enthusiasm!!
Just about all of the remixes work well in what thet set out to
do & this adds up to a worthwhile release that should see this
track becoming a club regular over the forthcoming months." --Carl
Jenkinson of Re>gen
Magazine
Fiend
Many years ago, The Azoic were a small band on mp3.com and an early
version of their now classic 'Not Justified' remains one of my favourite
songs even now. Some official releases later, however, and I'd felt
The Azoic of yore was long, long gone; the spark of genuine originality
had vanished, replaced by material that while solid and professionally
executed, lacked that initial zang that made The Azoic such a stand
out act. So it was with great hesitancy I approach the Conflict
EP, and once I could set my initial cynicism aside I was thrilled
to be filled with a sense Ye Olde Azoic, albeit through remix treatments
by Negative Imperative, CombiChrist, Iris and Massiv In Mensch.
From EBM to what can only be described as electroclash, the variations
of "Conflict" all share what can be only called The Azoic
sound, and one can only hope this is an indication of future releases.
- Alexandra Nicholas, Fiend
Grave Concerns + In Music We Trust +
Club Illuminati
"Conflict" is the 2003 EP from the female-fronted EBM/SynthPop
band the Azoic, consisting of Kristy Venrick (lyrics, vocals), and
Steve Laskarides (programming, engineering). This EP is a multimedia
CD consisting of a music video provided in two formats, and eight
versions of the club hit "Conflict". Remixes by Iris, Negative Format,
Imperative Reaction, Massive in Mensch, System Syn, and CombiChrist
(an Icon of Coil side project). "Conflict" is a instant club hit
with infectious dance beats, well-layered programming and explosive,
mesmerizing vocals from the talented and passionate Kristy Venrick.
This EP is superbly polished and well produced, covering a wide
variety of styles and sounds from neo-industrial, electro-trip-pop,
technotronic, progressive electronic, and to synthpop making this
a well-rounded EP with an array of tempos and rhythms in which should
provide something for everyone. Recommended for fans of female synth
acts like Collide. For also enthusiast of synth pop bands such as
Syrian, or the progressive electronic elements of AsciiDisko. 4
out of 5 --DJ Kreepy Krawly of Club
Illuminati
A Different Drum
"It's time for some new music by America's top female-vocal futurepop
act! There are eight versions of this new, energetic song, plus
a bonus CD-Rom video track that's really cool. This song is a really
nice dance track for the synthpop and industrial clubs, and the
extra versions take the song into all kinds of edgy dance directions.
It's a taste of great things to come if the album lives up to 'Conflict'."
--Todd of A Different Drum
Gothic Paraidse
As we await the highly anticipated new album to be titled "Illuminate",
we are presented with the great single "Conflict". This CD Single
is great in that it has 8 great mixes of the single as well as multimedia
goodies including a video of "Conflict".
The multimedia contact is a definite plus for this single with a
very catchy video that's fun to watch. The video is nice in that
it's not a full "performance" video where the group just catches
a performance on stage and releases it as their video. But this
has some nice simple effects and thematic scenes that really mix
well with the song. There are also pictures, links to their website
and other little goodies.
This single is regular club-hit just waiting to happen. Like many
other The Azoic tracks, this one is very moving and catchy with
Kristy's emotional vocals carrying the mood with excellent backing
music. The original album version is my favorite version on this
single as it builds and fades, pulsates and moves you wherever you
are.
Add to this nice album version 7 other remixes and it's an interesting
single that shouldn't disappoint. I'm usually not a huge fan of
singles because of the "single dilemna" I like to call it where
there's a bunch of remixes of the same song, most of which I usually
end up not liking anyways as different artists' interpretations
detract so much from the original feel of the song. However, I think
that the remixers on this disc managed to pull them off in such
a way as to maintain much of the original feeling, emotions and
energy. The "Turmoil Mix" was remixed by The Azoic so it sticks
to the original the most. However, you pull out the driving "CombiChrist
Mix" and "Massive In Mensch" mix with the hard-hitting, driving
beats and you have energetic club tracks. Iris presents their mix
in more of a classic synthpop sound that isn't quite as driving,
but still a nice track to listen to.
The remaining remixes are also very good by Negative Format and
System Syn adding their own unique styles. The final track is another
remix that I think stays more with the original style. This remix
by Imperative Reaction really adds a lot more volume and intensity
to the original creating a really great song.
As a single, this one is a "must have" to go along with the new
album that will soon be out.
Rating: 4.5/5" --Jacob Bogedahl of Gothic
Paradise
eye.lyft
"Very well produced and quite catchy besides the obviously
danceable! This teaser single has a nice universal quality to it
that should appeal to a variety of listeners. Nice vocals dynamics
and vocal effects along with some very addictive rhythmic programming."
-- Alan McClelland of eye.lyft
Freon Promotions
Absolutely excellent!! --Nicollette of Freon Promotions UK
DJ Copper Top
"Is one of the best produced and rockin' EP singles released this
year! Definitely gonna be in my top ten. Every remix is right on
track and should be something for everyone here. It's a 'gotta have'!"
--DJ Copper Top
Melektro.com
"After making the decision three years ago to revolutionise
their identity to the point of definitively entering the land of
the electronic dance sound, The Azoic have been following EBM directions
with a good touch of originality that carries on relevant potentialities
for further progression. The new 'Conflict' single, that anticipates
the soon to come second full length, is the proof of what the duo
from Columbus, OH and Phoenix, AZ can do if deeply inspired. "Conflict"
goes along that Funkerish style that has been chosen by the Azoic
as the source for its up dated electronic approach and it's an incredibly
catchy song clearly directed to the most intelligent dance floors
of the underground. "Conflict" is for sure a decisive
development for this American band and it reveals their capacity
to manipulate and create electronic beats and interesting female
vocals well amalgamated within layers of sound giving credit to
the premises for a next full length that will be worth impatiently
waiting." -- M www.melektro.com
Chain D.L.K.
After their "Forward..." release, the female fronted the Azoic duo
is back with more danceable techno electronica. This eight track
CD features eight different remix versions of the title track by
Iris, Negative Format, Imperative Reaction, Massiv in Mensch, System,
Syn, CombiChrist (Icon Coil side project). Altough you can definitely
hear the EBM influence and there is a lot of synth-pop activity
going on, this album is really more on the dancefloor side of things
so if you are looking for a mixture of dance-techno and electro-pop
to revive your alternative bootie-shakin' weekends you should try
this out. I personally am not too big of a fan of the more commercial-friendly
dance-club sounds (and this album is filled with those) but other
people like them and might find the right balance with this album.
By the way, the album also features a video clip in Quick Time and
Windows Media formats of the same track with some live footage.
-- Marc "the MEMORY Man" Urselli-Schärer of Chain
D.L.K
Music Non Stop
Outstanding US electro act The Azoic return with the ( super long ) "Conflict EP"
featuring 8 remixes of the title track ( with contributions from COMBICHRIST,
IRIS, IMPERATIVE REACTION, NEGATIVE FORMAT, MASSIV IN MENSCH and SYSTEM SYN )
plus an amazing multimedia video of this dance-floor hit and bonus photo-material
! The "Conflict EP" features styles ranging from dance to EBM to trance,
power-noise and synth-pop.
Music Non Stop
back to The Azoic - Conflict
_____________________________________________________________________________
FORWARD...
Wrapped In Wire
This once darkwave band has decided to change their sound to more energetic
club floor EBM, and I couldn’t be happier with their decision. There is still
a dark edge offered here, but it’s blended with much more futuristic sci-fi
electronic programming and hard driving beats.
All but one song here feature the vocal talents of Kristy Venrick. She’s an
excellent singer with a lot of range to her voice. She delivers emotion and
passion along with memorable choruses that really drive these songs. One song,
"Evolution", features the angry growling vocals of Steve Laskarides. He does
a good job of delivering raw angst, and it would have been nice if his vocals
were used more than only once on this album. It just seems a little odd to only
have one song here featuring male vocals while all the rest are female only.
Also, I would have liked to have seen the band go more in the direction of
other similar acts such as Flesh Field and L'ame Immortelle where they combine
both male and female vocals into some of the songs. But I can’t deny the fact
that these songs work perfectly fine with just the vocals of Kristy Venrick.
Every song here sticks to a similar formula of energy paced electro rhythms and
beats playing over dark and dramatic synth melodies while Kristy sings
passionately with the music. While each of the songs offer their own little
unique elements, they all do tend to blend together without allowing anything
to really stand out. Basically, this entire album sounds pretty much the same
from beginning to end. This isn’t necessarily a bad thing, but a little more
variety wouldn’t have hurt.
One of the biggest problems with this CD is that it only offers seven original
songs. The four remaining songs are remixes. Three of the remixes are for the
song "Progression", while only one is for the song "Evolution". It would have
been nice if each remix was for a different song.
This CD definitely shows The Azoic going in the right direction with their sound,
and it’s a solid recording overall. But there is still room for improvement.
I would like to see a greater contrast between male and female vocals on their
next release along with more original songs and less remixes. But for now,
this 'Forward...' CD should not be missed by fans of modern club floor EBM
featuring female vocals.
Darklight - Wrapped In Wire
Alternative Zine
As I pressed open in my cd-player I had no idea that 30 seconds
later I’ll be in a state of complete shock. The Azoic don’t
believe in such thing as high points in their album. Each and every
track is a dance-floor hit including 4 remixes by artists such as
Assemblage 23 and Oneiroid Psychosis.
The Azoic’s third album is a high BPM, completely electronic
darkwave project with a high quality production level. “Forward...”
has that flowing dance feeling to it that bands like VNV Nation
and Apoptygma Berzerk got in their latest albums only without the
scooter like kitch. The Azoic are also much more in the spirit of
true Goth.
The first and second song begins with A Gregorian chorus-like voices
and Kristy Venrick voice is just something one cannot ignore. Venrick
has amazing range…anything from aggressive-sluttish to angelic
divine. Steve Laskarides is a master programmer and composer and
his vocals on “Evolution” can certainly meet the standards
of artists like Wumpscut and Suicide Commando.
Although I enjoyed each and every track on the album I really admired
Kristy Venricks solo part on “Not Justified.” One of the
best I’ve heard since “Great Gig in the Sky.” Also
“Lost” with its trance atmosphere is a master-peace of
modern EBM and pure Goth. “forward...” is definitely the
direction this band is going. This duo are gonna be superstars!
-- Tal Galfsky Alternative
Zine's website
The Columbus Alive
The Cowtown club scene seems to be reaching a pinnacle, as new venues
are opening at the astounding rate and old standbys like Mekka are
reborn into new rooms. While yours truly could care less about dancing,
the fact is Columbus-as-suddenly-hot-spot is attracting deejays
and other dance music purveyors in unprecedented droves.
The Azoic didn't have far to travel, actually forming here in the
late 90s. Even though half of the duo, Steve Laskarides, relocated
to Phoenix, Kristy Venrick remains; aside from playing in the Azoic,
she also runs the Nilaihah Records label that's released many burgeoning
electronica, industrial and dance artists, including the last Azoic
release, Forward..., in 2001. The disc is wholly refreshing in genre
in which ad-nauseam repetition is an accepted personality flaw.
The seven original tracks merge gothic soundscapes with highly melodic
industrial (think Reznor, not Ogre) and soul of EBM. The instrumentation
and overall effect retrospective of the 80s at times, but the vibe
is turn-of-the-millennia and way. --Brian O'Neill (The Columbus
Alive)
DJ Duracell/Copper Top
The Azoic's 'forward...' was a huge surprise. It's a dancefloor's
cocaine designed with a DJ in mind. It pounds, yet in a sweet melancholy
feminine way maintain(ing) the emotion with melody. A+ for 'forward...'
and extra credit for the remixes. -- (DJ Duracell/Copper
Top) Indianapolis
Darkcell Digital Media
After three years of re-organizing idealism and shifting their previous
darkwave sound, Venrick and Laskarides come back with a re-born
dark EBM sound that ascends from idealism of such artist as VNV
Nation, Funker Vogt, and God Module just to name a few. Pushing
heavy, attractive beat-driven rhythms, shadowy phase loops, punchy
synthetic assaults and cold seductive vocals that were not present
nor polished in previous releases.
DJ MindCage - Bound DC/Exile
After listening to the new CD from Nilaihah Records' The Azoic,
properly titled 'forward...', I was completely shocked! Forward
is definitely the direction the band took, leaving behind their
previous efforts to a more darker, dancefloor grooving sound, very
EBM and very dark! Female vocalist, Kristy Venrick, provides an
array of vocal styles from angelic to aggressive to sultry. The
opening track, "Not Justified" blends similar synth sounds to VNV
Nation, yet not as processed, brining a more raw sound into the
mix. "Evolution" is a more hard hitting song with Steve Laskartides
providing the vocals. "Harsh Reality" has a sort of trance/atmospheric
feel to it with vocal processing and effect hooks for the transitions
from the chorus. As a bonus, the CD includes four remixes. There
is not a song on here that would not be a dancefloor hit! The Azoic
will become a familiar name, ... yet again providing Nilaihah Records
with another great album... -- (DJ MindCage) Bound DC/Exile
Electroage webzine
Not too long ago, The Azoic were amongst a handful of promising
bands mixing industrial and goth into a convincing whole, and their
second album, 1998’s 'Where Broken Angels Lie,' was met with widely
positive response. Now, three years later Kristy Venrick and Steve
Laskardies have released the technofied EBM 'Forward...'
Still present are the edgy electronics and determined vocals, though
now supported by a strong dance beat and fast-paced synthesizers
rather than gloomy, suffocating electronics.
Nilaihah Records, owned by The Azoic’s Kristy, has quietly been
gaining more and more recognition in electro circles, so 'Forward...'
is a logical release for that supportive market. Not that anything
here is derivative. The programming and sound sculptures are extremely
well done, and Kristy’s voice has improved greatly in the past three
years, and the band are so much more adept at putting their music
together.
"Not Justified" and "Progression" are the real standouts here, as
Kristy’s voice is ideally complimented by Laskardies solid programming.
The latter track is likely familiar to some from Nilaihah’s 'Resistor'
Compilation and from the A23 Dirge Mix from Accession Records recent
Volume One (that mix is also included here for the domestic audience).
"Progression" also has an incredibly catchy vocal performance and
hugely energetic electronics framed by smooth choral synthwork.
Vocals on 'Forward...' are predominantly handled by Kristy, though
Steve contributes vocals to "Evolution," a song which seems to paraphrase
the film The Matrix, and his rough delivery is more suited to the
electro sound than the earlier gothic material. Redemption is a
great track as well, having a hard throw-down beat and crunchy synths,
punctuated by familiar edgy sequences and some excellent distortion
effects. Much noisier than usual Azoic material, it shows what 'Where
Broken Angels Lie' did, that Laskardies has a great grasp of noisy
and harsh constructions, it’s a shame he doesn’t use them more often.
Four remixes round out the album. In addition to A23’s epic hard
trance mix, Flesh Field put their signature orchestrated heavy stomp
on "Evolution" and label mates Fiction 8 put an electro-pop spin
on "Progression", which really doesn’t work, as it only seems to
lighten the song. Former Nilaihah band Oneiroid Psychosis provide
their take on the same song, filling it with shadowy sequences,
haunted atmospherics and slow reverberating beats. Not the best
choice of song for this mix, and doesn’t do the either The Azoic
or Oneiroid Psychosis much justice.
'Forward...' is The Azoic’s best work so far, and should they choose
to maintain the EBM sound, the next full stage of their musical
life should be impressive to say the least. --(Noah Patterson) Electroage
Webzine
Gothic Beauty Magazine
Catchy electro dance beats keep 'forward...' moving forward. Kristy
always does a remarkable job belting the vocals against the dramatic
electro rhythms behind her. The first song "Not Justified" explodes
from the get go with "Lost" keeping the high energy felt basically
throughout the entire album. It's no wonder The Azoic are constantly
on DJ playlists and request lists. For all those Azoic fans out
there, 'forward...' will not disappoint. It;s eleven tracks which
include remixes by Fiction 8 and Assemblage 23. For all the fans
of electro looking for well produced and danceable music, check
out The Azoic. --Constantine - Gothic
Beauty Magazine - Issue #4
Gothic Paradise
Formed in early 1996 by the trio Kristy Venrick, Steve Laskarides
and Shawn Lower, The Azoic was born. They combined their talents
to form a type of Electro-goth sound. They were originally signed
to Worm Records for the re-release of their demo tape titled The
Divine Suffering, which was released in 1997. Their second album
showed more of a mature sound with eerie elements that combine male
and female vocals into what was released as Where Broken Angels
Lie. Shortly after the release of this album, Shawn left the band
leaving Steve and Kristy to carry on. And now we have their latest
album Forward... which was released in 2001 on Nilaihah records,
a label run by these same talented individuals. Their sound is often
described as Industrial/Gothic/Darkwave, although with the latest
album they lean a lot more towards the EBM genre with very danceable
tracks. My all time favorite from this group is probably "Intimate
Incisions" from their second album and I really enjoy that eerie
tone that is present on so many of their older tracks.
We look forward to more releases of the combination of these sounds
that has become a signature for The Azoic. You can hear old and
new tracks on the various Gothic Paradise radio shows, so be sure
to check them out. The album name seems to describe the progression
of the style and music from this electro band. Adding more of an
EBM beat to their sometimes eerie, always fantastic music, lyrics
and vocals, the music progresses more to a dancefloor level. From
the minute I heard "Progression" and soon after the Assemblage 23
remix of the same song, I was surprised but still knew I had to
have this album and hear what the rest of it was like. So when I
put it on and started listening to it over and over, I wasn't really
disappointed, but did have mixed feelings about the direction they
had taken to an over-all EBM sound. I love their older sound as
much as this new direction, so for me it doesn't matter either way,
although I feel they've lost a bit of their originality. Don't take
my introduction the wrong way, I really enjoy this album and the
following is why... From the very beginning their new hard-driving
sound is evident in "Not Justified". The powerful synths and driving
beat are accentuated by Kristy's vocals and the futurepop sound.
"Lost", "Harsh Reality" and "Progression" it seems almost take a
step toward their more familiar sound, but then quickly build up
to that driving beat and dynamic mix of synths and catchy vocals.
"Evolution" is the track that stands out the most with the harsh
male vocals taking over. This is a great track that leans more towards
the industrial sound. The entire album really stays pretty much
in this same vein with their edgy sound punctuated by the driving
beats and tainted with Kristy's wonderful vocals throughout. This
great album also contains some really great remixes. My favorite
track on the album is also the remix of "Progression" by Assemblage
23 with a much more driving sound, more layered synths and various
other elements mixed in. Of course we can't leave out the Oneiroid
Psychosis remix of "Progression" with their very unique approach
with analogue sounding synths and that overall very eerie and edgy
sound they portray so well.
Overall I give this album a 4 1/2 out of 5 rating, even though the
style changes from what I've been used to with their older stuff,
I still love it and as they move "forward" with their sound I realize
that styles change and progress. Definitely an album worth checking
out if you don't already have it! 4.5/5 Gothic
Paradise
Hard Wired Magazine
Genre:electro/synthpop/darkwave
Rating:3/4
review by Carl Jenkinson
While recognisable as electro, only occasionally does this second
album from Kristy Venrick (who also runs the Nilaihah label) & Steve
Laskarides show any signs of aggression or the infectiousness of
future-pop, the duo finding the middle ground between the two. Venrick's
laidback vocals compliment the Darkwave-flavoured music while her
lyrics to tracks such as the lively "Lost", "Not Justified" & the
popular "Progression" deal very directly with feelings, emotions
& memories, all signs of the feminine touch that she brings to the
band. The one exception to this is Laskarides' solo track "Evolution",
which is far harsher with a mood akin to acts such as Funker Vogt
& although musical assumptions based on gender are not exactly desirable,
they're hard to avoid here! "Evolution" also dips it's toes into
such waters & along with "Harsh Reality" & "Carve Into You" should
prove themselves dancefloor regulars.
No album is complete without the ubiquitous remixes & this album
is no exception. Assemblage 23 does what Assemblage 23 does best
with a dancefloor-friendly mix of "Progression" while Flesh Field
add some oomph to the already lively "Evolution". The usually dependable
Fiction 8's remix of "Progression" only rates as so-so although
the Oneroid Psychosis mix of the same track is much better, slowing
it right down which suits Kristy's vocals well & giving rise to
the thought that is a style The Azoic might do well to explore further
in future.
Although not a goth album I can imagine many goths finding the emotional
& introspective lyrics appealing (especially females) while the
music should appeal to electro & synthpop fans everywhere.
In Music We Trust
Darkwave dance floor queen Kristy Venrick confidently infuses mind-altering
vox influences into this 11 track army of riveting dance floor hits.
Tune in now: http://www.mp3.com/theazoic
You'll also find 3 remixes of "Progression" and one more focused
on "Evolution". Fiction 8 lends a hand on the mixing board with
the "pinchita" mix of "Progression". Catch Fiction 8 LIVE at GothCon
2002 this March. www.gothcon.com
"Progression", the latest dance floor sensation by The Azoic, ranks
at the top of my personal favourites list. Move Forward... into
your playlist now! -- Jett Black - In
Music We Trust
Legends Magazine
Times are changing, and while Nilaihah is still one of the greatest
darkwave labels out there, they are certainly growing strong as
they begin to provide some great EBM as well. Take the latest release
from Kristy Venrick, head of Nilaihah Records, of her own outfit
The Azoic. The last time we've seen The Azoic in full force was
three years ago in 1998 with their release of 'Where Broken Angels
Lie.' Then they were compared to such greats as Mentallo and the
Fixer, Wumpscut and others like them, but with a sinister edge.
The Resistor compilation held a treat for those waiting to hear
from them again in the form of "Progression," a track from the new
Azoic. I say new because The Azoic have stepped into an EBM sound,
showing an amazing maturity in their music. The duo say that 'Forward...'
is the culmination of a "three year learning process and musical
growth." They admit the band has "changed focus," but promise they
"are still the unique and passionate band" that we knew from before.
Indeed, I concur. 'Forward...' is modernization of their previous
work, but still you can here the deeper, sinister nature of their
music that I loved and remember from 'Where Broken Angels Lie;'
it winds beneath the rhythmic pulses, melodic overtones and wiggles
between the danceable tracks creating a brighter, more danceable,
foot stomping sweep of genius that leaves the bright melodies to
our senses, but the darkness to our imagination. The rhythms are
flawless and truly mastered, with overlaying keyboards, sudden breakdowns
and complicated arrangements that keep you moving. The death of
some electronic music similar is repetition - or I should say the
lack of finesse that makes it seem like there isn't any repetition
even though loops may continue through the track. You don't have
this with The Azoic because of the constant manipulations provided
to the music on all levels, from rhythm to melody to vocals.
A highlight to this release, besides "Progression" of course, is
"Evolution." On this track the smooth voice of Kristy is replaced
by the sinister rasp of Steve. One of the darker tracks on the album
as far as mood goes, contributed to by the thumpier bassline and
alto rhythm melodies. "Progression" meanwhile appears on the fourth
track here, but we are treated at the end on tracks 8, 10 and 11
to remixes of this piece. Of particular note is the dirge remix,
created by Assemblage 23. Assemblage 23 takes the modern track and
moves it back a few centuries, opening with brilliantly scored piano.
The rhythm is minimal but fascinating. It's excellently crafted.
To sum it up, the long three year wait for another release by The
Azoic was well worth it. The duo of Kristy Venrick and Steve Laskarides
have improved remarkably. I thought Nilaihah's 'Resistor' was one
of the top releases of 2000. They've not disappointed yet again,
and I find The Azoic's 'Forward...' to be one of the top releases
of 2001. --Marcus Pan - Legends
Magazine
Morbid Outlook
A fantastic dance album combining heavy beats with soaring vocals.
Really fabulous and rip-roaring ready for the dancefloor! --Mistress
McCutcheon - Morbid Oulook
Music Non Stop (MSN)
"after three years of re-organizing idealism and shifting
their previous darkwave sound, venrick & laskardies come back
with a re-born dark ebm sound that ascends from idealism of such
artist as vnv nation, funker vogt, and god module just to name a
few. pushing heavy, attractive beat-driven rhythms, shadowy phase
loops, punchy synthetic assaults and cold seductive vocals that
were not present nor polished in previous releases." - Music
Non Stop
Negative Pop
The First album by the Azoic, The Divine Suffering, is considered
by many to be a darkwave classic. I found it interesting. Not interesting
like the Tear Garden (and the other bastard offspring of Skinny
Puppy --- can we play six-degrees of Cevin Key now?) is interesting,
in a "Hey!-That's-interesing-and-cool-and-I'll-listen-to-it-until-I-figure-this-experimental-shit-out"
kinda way. No, it was definitely more of a "Oh. That's ... interesting".
Note the difference in enthusiasm level. I listened to it about
three times tops, because it didn't do much for me personally. It
was sample-heavy, dissonant, and Kristy Venrick's voice was not
used to its full capacity. Five years later Forward seems like a
light-speed jump into hyperspace! This was my favorite album of
2001, no other challengers are even in the arena! They've come a
long way, baby. Forward is a delightful bit of irresistible electronic
ebm dance music. Not to mention being a relative rarity in the underground,
a female-fronted ebm band. I handed this to my favorite local DJ,
who was also delighted, and various tracks have been getting club
play and garnering a positive response from the club-going masses.
The dance-floor is always packed. Yay! Applause from me goes out
to Kristy Venrick and Steve Laskarides for a wonderful release,
and a wonderful label, Nilaihah records (www.nilaihah.com). The
theme of progression, development and evolution flows through this
album like water and it is clear the band is extremely aware of
their own progressive journey musically. In fact, the track getting
the most rotation across the country is entitled "Progression".
In many of the songs they deal with the difficulties associated
with general and personal evolution and the often painful process
of letting go and looking forward. For example, from "Progression":
"Facing fears, without a tear/ Its complicating, but you are facilitating/the
forward progression, of my soul". The Azoic has lightened up on
the samples --- using fewer to better effect to highly and complement
their melodic beat-laden electronics. Kristy Venrick has emerged
as a strong vocal talent, driving these songs nearly as much as
the beats do. I was listening to Forward with a friend, and we noted
that it's almost as though Kristy's strong, cold monotone vocals
acct as the bassline and the rest of the music winds around it.
This works well as their baseline sound, with Kristy at times letting
loose and emoting wildly in her singing. I love the song "Not Justified"
for its stompy dance goodness, but also for the transitions where
Kristy sings in a higher register, and the spiraling-up of her ethereal
background vocal tracks. The melodic chord progressions weaving
around the beat are flawless, catchy and hummable. There's enough
beat here even to please the rivet-heads, like my illustrious room-mate
Mistah G. (Mistah G likes this album --- "It got beat!" he says
--- but I won't tell you some of the other things he things "got
beat"). This album make me caper about like a kindergartner and
stomp my booted feet! My favorites on this release are the aforementioned
"Not Justified", the bittersweet "Lost", "Harsh Reality" and "Progression".
In fact, there are three different remixes included for a grand
total of FOUR versions of "Progression", Ladies and Gentlemen! They
all rock! Assemblage 23 provides "Progression [dirge]", which begins
with a lovely quiet piano sequence before thumping it up. Kristy's
vocals are remixed to be nearly spoken at the begininng and end.
There is a remix by Oneiroid Psychosis, who also have a release
on Nilaihah Records. This remix slows the song down and uses more
gentle, atmospheric electronics. It's just lovely. I"m being converted
into an Oneiroid Psychosis fan, just from hearing their remixes
and cover on compilations! Their mix of "Progression" has a ponderous
dark texture to it that sets off Kristy's voice nicely. The third
mix is by --- you guess it --- another Nilaihah band, Fiction 8.
The Pinchita mix just takes you there from beginning to end, it's
just that simple. It's quality driving dance music. Anyway, my whole
point is this: buy this album, buy it IMMEDIATELY, from the nice
folks at Nilaihah. You'll love this music and Kristy will send you
stickers. AND you can browse for works by Oneiroid Psychosis, Dissonance,
and Fiction 8.
Rating: Intelligent, boot-stompin' electronic music for the
masses that also wins Bloodlossgirl's "Evolution of the Year " Award
for 2001. --Stars: 5
Recommended if you Like: VNV Nation, L'ame Immortelle, Nine
Inch Nails, Apoptygma Berzerk --Bloodlossgirl Negative
Pop
The Other Paper
No one will ever accuse the Azoic of being a garage band.
Laden with the drum machines, frigid synths and pulsating beats
that characterize the nebulous eletro-goth-industrial genre, the
duo's sound is best visualized as spit-shined solid metal-you could
see your reflection in it, if your reflection didn't scare you to
death.
That's the template of Forward…, Azoic's 12-track new record that
struggles between remaining within industrial dance's strict parameters
and destroying them altogether. The former eventually wins out,
but it's an interesting battle.
Crudely speaking, the foundation of an Azoic tune-the insistent
4/4 beat and plodding bass-essentially sounds like a more menacing/less
poppy take on Dead or Alive's cheesy '80s hit You Spin Me Round
(Like a Record).
Cut out all the new wave bleeping, douse it with tinny-sounding
keyboard riffs, add various sound effect ephemera (excerpts of Bill
Clinton speeches, etc.) and finish it off with articulate (but very,
very chilly) lead vocals from singer Kristy Venrick.
Venrick isn't excessively morbid or melodramatic, which works tremendously
in the Azoic's favor. Sure, she occasionally lapses into Nine Inch
Nails cliché mayhem ("Going further down below/the spiral/twisting/inside
of me"). But tunes like Progression and Redemption work OK as antagonistic
relationship tirades. Even the weird anti-dictatorship tune (Carve
Into You) suffices as an industrial Amnesty International testimonial.
The tunes themselves are a trickier matter. Cool stuff sneaks in
all over the place: disembodied choral samples, unearthly falsetto
backup vocals, "found sound" production tricks galore. But too often
the results sound unpleasantly alike-only Harsh Reality buries a
skittish hook deep enough to differentiate it from the rest of the
pack.
Primary musician Steve Laskardies doesn't help matters by stepping
to the microphone for Evolution, a mook-rock sounding screed that
borrows its "machines control our reality" concept directly from
The Matrix.
Keanu Reeves is in town soon, Steve. Watch your back.
Thing is, the Azoic caters to a pretty specific audience-the people
who can pull the warmth and humanity out of a pulsating techno soundtrack
that unnerves and alienates everyone else. Seen in these terms,
Forward… is a daft, accomplished work with stylistic diversions
discernible only to the electro-goth connoisseur.
If you fall into this category, that's great, and so is this record.
If you can't relate though, you'll have to work pretty hard to relate
to those who do.
Intrigued? Sneak over to Nilaihah.com. ---Rob Harvilla, The
Other Paper's website
OUTBURN
Edgy synth dance with strong female vocals: The Azoic's third full-length
album, aptly titled Forward . . ., takes the duo's sound
and moves it into a more dance oriented direction. Instead of sticking
with the darkwave elements of earlier works, The Azoic sheds some
of their gothic skin, as they turn the concentration to a more upbeat,
EBM friendly sound. The result is a great collection of catchy electro
with powerful female vocals creating a sound very reminiscent of
Battery. Throughout the album, Kristy Venrick's silky voice smothers
the corrosive synths set forth by programmer Steve Laskarides. Songs
such as "Lost" and the pulsating "Carve Into You" perfectly capture
The Azoic's unique blend of dancefloor friendly electronics and
biting female vocals giving their music a feeling that is edgy,
while at the same time melodic. On "Evolution," Steve Laskarides
actually steps out from behind the programming and supplies some
gritty vocals to this irresistible, hard electro number. However,
it is Kristy's vocals that shine on Forward . . . as heard
in her seamless emotional transitions from her sensual yet detached
tone ("Harsh Reality") to an almost commanding expression ("Progression").
The album's best offering, however, is the hard edged "Redemption"
as jagged electronics and pounding rhythms mesh together beautifully
with Kristy's fluttering vocals making the song riveting and addictive.
Also included are remixes of "Progression" and "Evolution" which
give the album a more well rounded quality, especially evident in
Oneiroid Psychosis' darkwave makeover of "Progression." Forward
. . . is The Azoic's best work to date, as they masterfully
progress into a more electronic dance style while retaining enough
of their trademark sound to still come across as fresh and unique.
--- Brian Lumauig, OUTBURN's
website
Seventh Circle Webzine
Now admittedly I’ve ranted and raved over the past few months to
anyone that will, and sometimes entirely unwillingly, lend an ear
to my opinion on how nearly everything I hear nowadays is far too
techno. Acts like VNV Nation have created too many carbon copy dance-hall
electronic groups for my liking. However, acts like The Azoic, Fiction
8, and Assemblage 23 have proven that there is still vibrancy and
individuality within it. Good thing, since all 3 bands are in someway
involved with The Azoic’s 3rd CD "Forward".
By far the most amazing quality of this CD, much to the chagrin
of my well-known fetish, is Kristy Vendrick’s superb vocals. There
is a flow to them between each track that makes "Forward" sound
like it has an actual concept, rather than the usual thrown together
tracks that many groups put forth. Of course Steve Laskardies ditches
his own music creation tools for a moment to lend his dark and gritty
vocals to the track "Evolution" which just enhances the feeling
that the CD puts forth even further.
The Azoic are seeing some incredible progression since their earlier
material, leaving much of the darkwave material behind them, while
adapting their sound to a new EBM generation. Usually I would criticize
a group for trying to be part of the "in crowd" but Kristy and Steve
show that they aim to lead their respective genre, while most others
are content to follow. My only complaint is I wish there was more
of then 8 original tracks included, not including remixes.
Rating: 6.5/7 Favourite Songs: Lost, Evolution, Progression
P.S. There are 4 remixes on "Forward" performed by Assemblage 23,
Flesh Field, Fiction8, and Oneiroid Psychosis. I see these as nice
little bonus features, as I tended to skip the tracks back to hear
The Azoic’s untouched work more. But each group has performed killer
remixes of their material. --Casey "Sparrow" Blakeney Seventh
Circle's website
Sordid Magazine
Be warned, if you were a fan of the Azoic in the past and are not
a fan of the current wave of techno influenced stuff, then keep
well away. The Azoic are not the same as before and for the rest
of us, who don't expect EBM bands to sound the same forever (and
are just as happy when they go dance) this is a joy. Kristy and
Steve have jumped wholeheartedly and completely onto the futurepop
bandwagon and in the process have set a new standard as to how it
can sound. If you thought 'Progression (dirge)' on the Accession
comp was all down to Assemblage 23, then you were very wrong. This
is hard-edged dance music of the highest order, with Kristy's vocals
providing a melodic lift to six of the seven tracks. The one track
featuring Steve's vaguely Skinny Puppy-esque industrial growling,
'Evolution' is less successful, the vocals clashing with the more
uplifting electronics. We're also treated to four remixes, including
the afore-mentioned A23 mix, a more effective tribal reworking of
'Evolution' by Flesh Field, a rather strange mix of 'Progression'
by Fiction8 featuring something that sounds like a spring, well,
springing! Oneiroid Psychosis wrap things up with a step backwards
- a fairly boring electro mix of 'Progression' that's not a patch
on the original or the A23 version. But, that aside, this is high
quality stuff and the female vocals, in particular, make it stand
out in the scene. Sordid
website
Starvox
With two full-length albums, their own record label (pronounced
nil-EYE-ah), and over five years experience to their credit, The
Azoic rapidly excelled to reign as one of the United States' most
treasured darkwave bands. Their debut "The Divine Suffering" is
perhaps one of the most disturbing and self-depreciating albums
in existence, and the polished follow-up "Where Broken Angels Lie"
solidified the band as a force to be reckoned with due to the stark
club hits "Intimate Incisions" and "Drown."
And as the title of their third album would hint, this Columbus
OH duo seek to move 'forward' and further solidify and expand their
sound to be more in league with current EBM and electronic bands
rattling the rafters of clubs across the globe. It is extremely
impressive to hear how far the band has come, especially being a
fan since day one. Though the miserable Gothic tones of their debut
release is what originally drew me to the band, they have moved
further away from that style over the years much to my dismay, but
have won the respect of a much broader fan base and they are obviously
creating the kind of music they are more comfortable with. And above
all, I cannot stress this enough, they are doing what they do extremely
well.
The direction of the new Azoic release is very similar to the young
and highly successful act Flesh Field (who provide their own unique
remix of The Azoic on this release), due to the hard-hitting electro
'thuds,' whirlwinds of wire synths, and strong female vocals. I
hear a lot of VNV Nation and Assemblage 23's influence in the synth
arrangements, and the atmospheric elements of the Azoic's past are
not completely depleted for there are a great many ghostly choir
samples that appear throughout the disc.
The opening track, "Not Justified," features one of those gorgeous
choir samples and kicks off the CD wonderfully, providing a perfect
balance of atmosphere and unmistakable club potential. I love this
track to pieces, it is just completely awesome. The track "Progression"
appears on this release as well, a song which has already received
extensive club play over the past year due to its prior appearance
in a slightly different form on the successful Resistor compilation
from last year. Those two tracks are definitely an absolute must
for DJs, this I cannot stress enough either. "Progression" has consistently
filled the floor in Pittsburgh since its initial release, and in
many other cities as well.
"Evolution" stands out, as it is the only track which features Steve
Laskarides' lead vocals. Steve has decreased the amount of effects
on his vocals, yielding to a more organic yet still raw feel to
his voice, somewhat similar to a more sedate Funker Vogt. This track
will also probably do well on the dance floor. "Redemption" has
some interesting and abrasive electronics, quite noisy in parts,
yet consistent nonetheless.
"Carve Into You" has a beautiful, pensive build up, with cinematic,
symphonic synths with bits of dialogue strung together and a sample
of an eerie military march. Kristy's vocals are more reserved in
this song, but the interplay between her voice and the melodies
provided by the electronics make for a very moving effect. The more
I listen to this song the more I enjoy it.
That leaves us with seven 'new' tracks, the remaining four songs
being remixes. In terms of those remixes, the Assemblage 23 was
quite nice, starting with a very unexpected classical piano interlude
that builds to wonderfully melancholic yet beat heavy arrangement.
Very effective and well arranged, with a nice ethereal atmosphere.
The Flesh Field mix is pretty cool as well, pumping the aggression
of the original song a few degrees higher for a more stomp friendly
effect. Nice, and quite mind-altering. Fiction 8's take on "Progression"
keeps the feel of the original song, with lengthier build-ups and
some neat reverberated effects on the vocals. Basically, the song
is a bit more stretched out, which is cool, but it's probably my
least favourite of the remixes. The Oneiroid Psychosis interpretation
takes the song down a significant amount of BPM's for a more sinister
darkwave feel, but the vocals are still the same pace, which kind
of throws it off. The first listen, the song sounded a bit awkward
, but with each successive listen, it will grow on you. It's definitely
quite creative, and way spooky, as you can expect from these guys.
What more can you say about remixes? I was a bit disappointed that
there were only seven new tracks on here, giving the album the feel
of an extended EP. Nonetheless, the album is just under an hour,
so that does indeed qualify as a full length so I can't complain.
I just wished for more, and when you hear this CD, you will definitely
feel the same. The only shortcoming I can really find with the new
direction of the band is that they could stand for a bit more variation.
A lot of the songs seem to have the same pace, feel, and synth sounds,
etc. I think the next release the band produce (and hopefully it
won't be as long of a wait this time!) will be their masterpiece.
Overall, an impressive CD on several levels, which will definitely
catapult the band even further upward into 'stardom.' If you are
on the East Coast, be sure to check out The Azoic who will be performing
with label mates Fiction 8 throughout late June/early July.
(Matthew) --- Starvox
website
Sun Machine
The Azoic are a boy – girl combination of an industrial gothic sound
and catchy (very catchy) EBM beats. They have managed to combine
the sometimes unapproachable darkness that defines a gothic song
and fused it together with popular trance dance beats. So this is
actually a sound that would be acceptable to all who like to stick
to a certain genre to which end means that The Azoic have created
something that could potentially have a broad appeal. As always
I like to make comparisons and I can’t help thinking of a dancey
version of Sister of Mercy (but without Andrew Eldritch’s croaky
voice). (Aynz) --- Sun Machine's
website
Toronto industrial Kollective
The Azoic have redesigned themselves, discarding their gothic past
and jumping right into the great EBM pool, releasing an album of
straight forward dance floor appealing tracks. They further this
metamorphosis by getting some dance club ruling bands to remix them:
Assemblage 23, Flesh Field and Fiction 8, and toss in a wonderful
Oneiroid Psychosis track for good measure.
The purpose of Forward, as I see it, is to establish The Azoic as
a dance club band. Pushing them beyond their previous concepts.
(You will notice how often I use the phrase 'dance club' in this
review. I kind of wanted to avoid the repetition, but when this
is the core idea behind the album, its kind of hard) Its got everything
here to do just that, attaining some difference from the rest of
the pack through the use of the only remaining element from the
old Azoic, the great female vocals. The Funker-esque track (Evolution
(track 3) and the Flesh Field remix of it (track 9) also tosses
in a twist, with harsh male vocals.
Of course, this EBM approach produces as a side effect, the only
real fault of the album. A full album of club material is not really
necessary in my opinion, some tracks to listen to at home, more
complex and less dance floor friendly would have been nice, and
will be essential in any future releases from The Azoic, if they
wish to keep my interest. However, I may be in a minority here,
so I understand their reasoning here. (Squid : July 16th, 2001)
--- T. i. K. website
WetWorks ezine
The Azoic takes Electro/EBM to a place I wish a lot of bands were
capable of. The vocals of Kristy Venrick (head of Nilaihah Records)
mesh perfectly with the dancefloor programming of the band's latest
release Forward... I read somewhere once that The Azoic are the
female version of Assemblage 23 and I think it's a pretty fair description,
although not all the vocals on Forward... are female. With heavy
influences from Flesh Field and Assemblage 23, one can see why those
two bands were picked to do remixes for the end of the album. The
easy dancefloor picks here are the beautiful "Lost," the
stomping percussive drive of "Redemption" and the very
mesmerizing mix of "Progression" from Assemblage 23. Other
tracks like "Carve Into You" build slowly with media samples,
deep keystrokes and a militant-type percussion (think VNV Nation)
before exploding into a dancey EBM assault. The music of The Azoic
wouldn't be half as inviting if it wasn't for the beautiful and
melodic vocals of Kristy, which in my eyes put the band over the
top when it comes to this type of music. If you enjoy music from
Assemblage 23, Flesh Field and VNV Nation and don't mind female
vocals, The Azoic's Forward... will be one album you'll want to
run out and pick up right away. (GunHed) --- WetWorks ezine
DJ Aceldama
-"I had picked up the Conflict single when it came out, but
not this full length. There is a Forward+Conflict Euro release,
but it is short several mixes provided when you buy these separately."
-"The Azoic breaks out of a more traditional female vocal and
synth sound with this release. While the most notable of prior Azoic
releases has been the strong female vocals and very enchanting rhythms,
Forward is decidedly meant for the dancefloor as well as reflection.
There are four mixes on the disc, but even without the remixes this
album should go into every DJ's collection. First and foremost because
it adds to the genre, providing an excellent counterpoint to the
VNV-A23-Covenant-APB sound. And it does that while you can still
beat match these tracks into your main tracklist."
-"Individual songs still retain a great deal of their human
alignment. The Azoic stands as a group that still spends a lot of
time exploring human nature, relationships, and growth - even with
the dancefloor titles like Progression and Evolution. Frankly, that
also provides some depth compared to your average German lyrics
(which tend to be very shallow if you know German) and other FuturePop/EBM/SynthPop
bands who spend a bit too much time on ideals or just catching one
shot phrases (No I wasn't just listening to the Dead Stars' C is
for Covenant mix - honest.)"
-"A strong buy - although I recommend
you pick up the Conflict disc first for the video and the good remixes.
If you like that then you must have this."-- DJ Aceldama
back to The Azoic - Forward
_____________________________________________________________________________
Friday, January 17, 2003
The Factory, Columbus
from The Dayton Daily News - Impact Weekly
What better way to spend a wintry Friday night in January than in
Ohio's capital city? There wasn't anything notable happening in
the Gem City that evening, so I braved the sub-freezing temperatures
and made the trek to Columbus to check out a rare performance by
The Azoic at The Factory. Unlike the Interpol concert I saw at The
Factory a week before, the large dance club/concert hall was relatively
empty upon our arrival. However, as the evening chugged along, the
joint became filled with the requisite black-clad, eyeliner-wearing
industrial/Gothic fans, as well as Columbus professionals, students
and various stragglers looking for something to do.
The DJ spinning a good mix of EBM and darkwave had the crowd warmed
up by the time The Azoic took the stage around midnight. The Azoic
is actually Kristy Venrick (vocals) and Steve Laskarides (keyboards
and programming), who have been plugging away at their musical endeavors
for well over five years. Venrick and Laskarides have garnered quite
a bit of attention via several releases on their own Nilaihah Records
and numerous compilation appearances. The Azoic has evolved considerably
since the band's inception, going from a strictly atmospheric, electro-Goth
sound to a style that's hard to pin down in one genre. The group's
newer material is intelligent, upbeat, synth-driven techno with
a dark undercurrent that remains a common denominator from the members'
Goth background. The middle ground that The Azoic achieves plants
them in a good position to gain an audience from both their established
fans in the darkwave scene, as well as listeners attuned to more
conventional electronica or dance club techno.
The Azoic's live performances are always somewhat of an event since
Laskarides lives in Arizona and Venrick continues to operate out
of Columbus, and this night the duo had the crowd right in the palm
of their hands. From the word go, The Azoic had most of the spectators
in the room grooving to a succession of sonic wonders, and the floor
became a friendly stomping ground for enthusiastic dancers. Venrick's
beautiful mid-range voice has a conviction and soul that is blatantly
absent from most EBM or darkwave acts, and her vocals highlighted
Laskarides' often-complex melodies and insistent drum machine dance
beats.
The crowd continued to shout for more, even after the group signed
off with a one-song encore. Afterwards the lobby was filled with
new fans storming the merch table to buy copies of 'forward ...',
The Azoic's most recent CD. Hopefully the word will continue to
get out about The Azoic and take this talented duo to new levels
of success. (Gary Spencer) --- Impact Weekly (Dayton Daily News)
_____________________________________________________________________________
Sordid Magazine
V/A Accession Records ~ Volume One
This CD marks the fifth anniversary of the label started by Diary
of Dreams' Adrian Hates. Largely based in the EBM scene, it has
recently come to prominence with the growth of the techno-EBM scene.
This is part label sampler, part genre compilation. The first 12
are drawn from Accession's roster while the five bonus tracks add
something extra. Then things get really cool. Cut.Rate.Box kick
off the bonus tracks with the upbeat electro-dance 'In Your Eyes'
with Beborn Beton's Stefan on vocal duties relating a rather humorous
tale of sexual frustration boiling over. That's followed by Assemblage
23's bangin' mix of The Azoic's 'Progression (Dirge)' - a dancefloor
winner. Diary of Dreams return to more familiar territory with the
chugging electro of 'Forestown' followed by an emotive slice of
electro-pop from Diorama feat. Katrin. This kicks ass, tune into
Accession before the majors start picking off the bands. ---. Sordid
website
Starvox
V/A Accession Records ~ Volume One
The Azoic was featured on Accession Records' 5 year anniversary
compilation, with an Assemblage 23 remix, as bonus track #14.
14. The Azoic ~ Progression (Dirge) Remixed my by Assemblage 23
What can I say other than WOW?!! This is one of the best remixes
I have heard in awhile. Assemblage 23, really reached down to the
heart of this band's sound, fine tuned it, put the mixer on high
and wallah, you have this remix. I am fond of both bands so it is
no surprise that I would like this remix. This song has a strong,
yet still melodic dance beat and really draws out the essence of
this artist and their talent. (Catherinna : July 10th 2001) ---
Starvox's website
_____________________________________________________________________________
Corridor of Cells
After the incredibly dark, intense and suffocating debut album "The
Divine Suffering" (undoubtedly one of the best goth/industrial releases
ever and album #2 on my 1997 Top 20 list), I had incredibly high
expectations for this new release from this rising Columbus, OH
band. The news from The Azoic camp indicated this new CD is going
to be a bit more dance-oriented and true to those words most of
the songs have a more upbeat tempo. The trademark interaction of
dark, sinister female vocals and apocalyptically processed male
vocals is still present here, as is The Azoic's obsession with heavy
rhythms and threatening synths (the horror movie samples seem to
have been downplayed a bit though). All of this is done very well
to say the least, as they are undoubtedly one of the more talented
bands in the U.S. goth/industrial scene. However, the more upbeat
atmosphere of this release makes me realize even more how much I
liked "Divine Suffering", with it suicidal, murderous mood and totally
overpowering evil. "Where Broken Angels Lie" still has traces of
those kinds of emotions, but most of the changes in The Azoic's
style have been more in line with what we usually expect from this
sort of genre. Needless to say, this is still quite a high-quality
release and there are more than a few fine songs here (including
a remix by the likes of Oneiroid Psychosis), but that brilliant
edge that made "The Divine Suffering" such a crucial release is
slightly missing here. (Jacek) ---Corridor of Cells'
website
Da'Core - rating 4/5
The second release from single handedly the most disturbing and
frightening Goth/Darkwave act in existence. This band blew me away
with their debut CD The Divine Suffering and their incredibly
stark live performances. Hailing from Columbus, this trio weaves
the darkest elements of music together to create a web of intensely
morose and bone chilling hymns scarred by suffering and emotional
torture. As compared to the first release, Where Broken Angels
Lie has a more professional and crisp production; thus enabling
every hidden whisper and strange moan to be heard. The keyboards
create bleak atmospheres of tormented choirs, twinkling chimes,
eerie synths and absolutely awesome drum patterns and looping effects.
The CD is full of the most heinous and frightening samples from
The X-Files and various horror films which most certainly adds to
the unease and claustrophobia encompassing this CD. Fronting the
musical chaos is the dual vocals of Kristy Venrick with the voice
of a bruised angel and Steve Laskarides, serving as the vengeful
devil, his voice tinged with distortion effects a la Skinny Puppy.
All in all a theatrical, intense, abysmally dark achievement from
one of the best Darkwave bands in the scene today. (Heilman)
Dark Emporium
The Azoic (Where Broken Angels Lie)
The second release from single handedly the most disturbing and
frightening Goth/Darkwave act in existence. This band blew me away
with their debut CD The Divine Suffering and their incredibly stark
live performances. Hailing from Columbus, this trio weaves the darkest
elements of music together to create a web of intensely morose and
bone chilling hymns scarred by suffering and emotional torture.
As compared to the first release, Where Broken Angels Lie has a
more professional and crisp production; thus enabling every hidden
whisper and strange moan to be heard. The keyboards create bleak
atmospheres of tormented choirs, twinkling chimes, eerie synths
and absolutely awesome drum patterns and looping effects. The CD
is full of the most heinous and frightening samples from The X-Files
and various horror films which most certainly adds to the unease
and claustrophobia encompassing this CD. Fronting the musical chaos
is the dual vocals of Kristy Venrick with the voice of a bruised
angel and Steve Laskarides, serving as the vengeful devil, his voice
tinged with distortion effects a la Skinny Puppy. All in all a theatrical,
intense, abysmally dark achievement from one of the best Darkwave
bands in the scene today
DeadWyre
The sophomore release by Ohio darkwave act The Azoic proves to be
a vast improvement on their first album, "The Divine Suffering".
The sound has matured and evolved drastically. The sound is more
upbeat, and more dancable. The sounds used on this album are more
diverse than on the first album. This album is still full of movie
samples, even underneath vocal tracks at times, which I find to
be overkill, but that is the only complaint I have. This album reminds
me a bit of Evil's Toy, with female vocals. There are also two remixes
by other bands included on this album, including a remix by Oneiroid
Psychosis of the track "Terrible Space". The other remix was done
by Flesh Field, and Decay Theory of the track "I Tried to Warn You",
originally from The Azoic's first album. Favorite tracks from "Where
Broken Angel's Lie" include "Drown", "The Sad Word", and "Nilaihah".
(Ross) --- DeadWyre's
website
DJ Squid
The Azoic is a heavily goth industrial band. I've found them hard
to describe. There is something in them that reminds me of Xorcist,
but at the same time, their sound is quite different. There is also
something to them that sound more goth rock than industrial, although,
again, they aren't.
Combining both male and female vocals, long list of great samples,
gothic sounding chants, electro synth work, and more, there is a
lot to this album. It should appeal, or rather, be a must buy album
for anyone who is deeply entrenched in the gothic scene. This album
contains all the feel and twisted emotional sense of goth, but with
a musical feel of industrial. Pure Darkwave.
This album took me a bit to get into. It was only after I heard
it several times did I realize what the reason was. There is an
uneasiness, or dare I say it, evil spirit, feel to the music, that
worked so well that, until I realized what it was, it made me feel
somewhat uncomfortable.
-Squid (28/07/99)
The Azoic fuse the harshness of industrial to the haunted echoes
of ethereal goth. What makes some of their work a bit unsettling
is how that harshness plays against the gothic textures; often,
the urge is felt to just skip tracks to escape the contrast. Of
course, this is the very sort of feeling The Azoic seem to be after.
A prime example of this is "Drown - pulsating mix", where chiming
synthesizers are backed by a distorted drum machine, and just when
Kristy's rather declamatory vocals get going, a typically industrially-distorted
male voice comes in, and throws everything out of place. The normal
version of the song fairs much better in the vocal department, with
her voice echoed by a higher-pitched echo and the chorus is hers
alone. Unfortunately, the music is not quite as strong as the Pulsating
Mix. There are also dialogue samples running rampant over the entire
disc, which is very nice to hear in a goth-oriented band. They are
all lifted from various horror movies, which fits The Azoic's music
so very well. "Nilaihah" is an instrumental drenched with samples,
and proves to be one of the strongest tracks on the disc; most likely
that is due to having to compensate for no vocals, so there seems
to be more push in the track. "I Tried To Warn You" as remixed by
Flesh Field and Decay Theory is also very good; hard percussion
clearly the work of Flesh Field and hammering synths drive through
chilling atmospheres and more high-end chime sounds. Vocally, the
male voice is slightly processed, and recorded a bit too loudly
to really become part of the song, instead sitting above it and
making the dynamic falter. What really plagues The Azoic's work
here is a lack of melody and harmony; the songs just fall flat in
the face of power.
Oneiroid Psychosis contribute a very good remix of "Terrible Space",
all dark, symphonic and brooding, yet for some reason kept in a
very hollow and clumsy percussion track. The atmospheres of the
mix are much more intense than other tracks, for which it is noteworthy.
Unfortunately, the vocal track prevents it from being a strong piece
instead of a good one.
The latter part of the cd is comprised of dispersed instrumental
tracks that really highlight what The Azoic are capable of. "Suffocation"
is an ideal alone-in-the-dark-with-headphones piece; moving across
great spans of mysterious sound and frightening tension, insidiously
placed samples hint at a terror that is not seen, and uncomfortably
heard. Are you in space? At the bottom of the ocean? In purgatory?
In Hell? Where?! After a lull of a few seconds, the short, yet baneful
"God Help Us" rises from the abyss to enhance that sense of being
lost in Hell. "Only Flesh" finishes things off with a simple beat
reminiscent of a dying pulse and is drenched in ominous textures
and aural imagery. It is with these pieces that The Azoic thrive.
Either they must learn to integrate these sounds with a club-oriented
structure, as earlier tracks attempt, or focus on soundscape work
and really bring to threatening life the terrors of the dreaded
unknown; for it is here that the broken angels truly lie.
-Phosphor (08/04/99) --- DJ
Squid's website
Grinding into Emptiness
If I were asked to provide a definitive band for the darkwave scene,
The Azoic would be my first choice. Through the intertwining of
elements of both electro and gothic music, the combination of both
male and female vocals, and the creative sample selection and placement,
The Azoic provide a sound all their own.
"Nilaihah" is an impressive first track. A majestic introduction
to the song that lasts nearly two minutes features an incredible
array of electronic effects, ghost-like female vocals, and samples
that are masterpieces by themselves. The song quickly breaks away
from this building-up segment and soft, high-pitched female vocals
dominate above the music for several seconds. The song regains a
musical focus shortly after the vocals, and more incredible samples
bring it to a close. This song lacks what one would call a pop song
structure, which isn't a bad thing. This just displays The Azoic's
creativity, which also shines through on many noise/experimental
bands in the exact same way.
The Oneiroid Psychosis remix of "Terrible Space" adds a little more
feeling to the already good song. The track picks up an eerie feeling,
with flowing, dreamy electronics in the background. This track features
extremely distorted male vocals, which inaudibly echo into the beat
heavy music. Oneiroid Psychosis definitely ripped this song apart
and started all over with it. There were a few elements that I missed
from the original, however, such as the sampling and the metallic
electronics that melded with the beat. Both versions have their
strong points.
"Drown" picks up a more electro-style beat. Kristy's monotone vocals
in each verse contrast a great deal with her powerful, emotion-filled
vocals in the chorus. As in all the other tracks, a great deal of
well-placed samples are present in this one.
The CD is brought to an end with track 22, a mostly insturmental
track that lasts nearly ten minutes. This epic is slower paced,
and features more electro-symphonics than the rest of the CD. I
just can't go on enough about how much I like this band's sampling
techniques, but they are very evident here as well.
This, the Azoic's second release, should please most anyone out
there. If you are into electro, ethereal, gothic, experimental,
etc., then there is a good chance that you will find "Where Broken
Angels Lie" to be an incredible piece. (Scott Mallonee) ---Grinding into Emptiness website
Electrozine
The Azoic are not at all what I expected and surprises are always
good! I expected the typical ethereal goth girl fronted band, what
I got though was more along the lines of that mixed with Android
Lust. At times stark and sweet, soft and ethereal, but at others
its Jeckel vs. Hyde as The Azoic get downright dark, sinister, harsh
and agressive. Using well thought out samples, and instrumentation
the Azoic bring something new to the female fronted band genre of
goth and industrial following somewhat the line blazed by Shikee
of Android Lust but diverging into their own realm and being original
about it. If you are a fan of both the gothic and industrial genre's
(and aren't we all?) check out this up and coming band and you wont
be disappointed! (Scott Boyle) ---Electrozine's website
Elektrik Transfusion
The Azoic is currently comprised of Kristy Venrick (vocals, keys)
and Steve Laskarides (keys, samples, drums, vocals). Shawn Lower
also appeared on this disc, but has since decided not to work with
The Azoic. Their music is a hybrid of dance industrial and very
dark gothic soundtrack music. Voice samples from various movies
are also used. Kristy's voice ranges from experimental talking to
high drawn out notes and is usually processed with some spacey dark
effect, as is Steve's voice, which stays down low in a gothic register.
Besides regular songs, there are also several remixes by certain
folks such as Oneiroid Psychosis, FleshField, and Decay Theory.
It's a very well rounded disc and has a lot to offer. If you like
dark dance electro with the image to match, give The Azoic a try.
(Greg Frisenda) ---ELEKTRIK
TRANSFUSION website
The Industrial Bible
After a phenomenal debut release ('The Divine Suffering')
and an appearance on the 'Circuit Noir' compilation, The
Azoic have reappeared with their second full length, 'Where Broken
Angels Lie'. Carrying on with their combo electro / darkwave
/ goth sound, The Azoic have once again proven that the underground
'industrial' scene is still alive and well. Hailing from Ohio, The
Azoic show that they have been keeping an eye (and ear) on what
is going on musically in the rest of the world and they have implemented
many new and diverse sounds into their compositions. 'Where Broken
Angels Lie' begins with Nilaihah, a gloomy and disturbing
electronic piece with apocalyptic samples, light sequences, and
vocals that sounds as if they were patterned after Attrition.
Drown is presented in two forms, the first being the Pulsating
Mix. On this version, Kristy's vocals take on the lead as they
guide the listener through a mixture of dark keys, docile beats,
nightmarish samples, and Steve's ominous vocals. Terrible Space
features echoing / distant vocals, ethereal sequences, and calm
beats. Oneiroid Psychosis rework this piece, adding more substance
to the percussion and allowing the synths to seem even more waft-like.
On The Sad Word, The Azoic place the majority of the emphasis
on the twisted, dark vocals and the beats, making this sample-ridden
piece a bit more dance oriented. Suffocation is a 7 minute
experimental track which boasts low drones, distant resonating beats,
and an array of drifting sounds that weave themselves into the musical
fabric of the entire piece. The final track, Only Flesh,
is similar to Suffocation in that it too is an experimental
instrumental piece with a near non-existent percussion line and
lugubrious synth patterns. I applaud The Azoic for expanding their
sound even further to include an even wider variation of musical
styles and I think that 'Where Broken Angels Lie' is a fantastic
album that holds nearly something for everyone. (Dachar) ---The Industrial Bible's website
Isolation Tank
Eerie electronic dance rhythms infused with captivating male/female
vocals and pulsating drum beats. Includes remixes by Oneiroid
Psychosis. ---Isolation Tank
j.sin
where broken angels lie continues to induce the audience into a
ritualistic trance with strong drumbeats and a dark atmospheric
veil. songs continue sampling movie clips, which is great, but we
find them layered over lyrics demonstrating the mixing and mastering
abilities of steve. kristy's varied vocal styles and effects are
capivating and keep the album dynamic.
Last Sigh
Dubbed an "electo-cross" between " Skinny Puppy and Lycia"
by some, The Azoic is a worthwhile combination of haunting
dark electronics, forboding yet audibly clear vocals by all three
members (short of a bit of treatments here and there), blended with
samples, harmony, synths, and effects to bring the listener into
a realm of post-neo electro-industrial (sans guitars) that pretty
much tops most of what has been produced in many years! Where
Broken Angels Lie thanks a myriad of some of my favourite
bands/artists and labels on their CD sleeve, many of whom seem to
have some influence in their music and perhaps their lives in general:
Oneiroid Psychosis, UEF (United Endangered Front), Black Dahlia
Records, Third Nail, Sonic Boom, Die Forum, DSBP and many more.
It's no wonder then why this release is so good.
The CD is filled with textural synth work as in 'Intimate Incisions',
which can be found on the United Endangered Front Compilation:
Circuit Noir of which is reviewed on Last Sigh. Other
great sampling shows up on many tracks, but one I enjoy most is:
"Man against man, they kill each other. I have No faith." in 'Nilaihah'
a melodic and enticingly rich dark track. 'Terrible Space'
is remixed by Oneiroid Psychosis, lyrics by Tondalaya, an
errie whirling synth approach to a quietly evil electronic track.
'I Tried To Warn You' is remixed by Flesh Field and Decay
Theory... "She bled a great deal." sample begins this slowly
evolving piece into power drumming and keyboards -- vocals are excellent
(Steve or Shawn or both?) and paints an aural picture the listener
doesn't all too soon forget. It is obvious by the quality and content
of this CD that the trio and friends took great care in mixing and
producing the release, as the overall sound is quite rich, intense
with programming and very well executed. I recommend this dark work
to everyone involved in listening to newer fresh work in the genres
of atmospheric and warm yet steril and brisk electro-industrial
darkwave. (Kim Alexander) ---Last Sigh's website
Legends - Michael Ventarola review
As a consumer who has in fact purchased this music, I find the utilization
of sampling to be quite subliminal in regards that it is the first
thing that stands out after the first listen. These little snippets
often replay in the mind so that you have to return for another
listen to grasp what is taking place within the context of the song.
As for the vocals, the compressed sinister ambience is what makes
this disc stand out from a lot of others. Although the female vocals
are not something that would be deemed as technically impressive,
again the charm and strength lies in the fact of her delivery of
the spoken lyric as it stands against the backdrop of the somber
tones and dark weaving. Other groups of the genre who are labeled
as darkwave usually have a consistent formula which is to put the
listener to sleep from my experience thus far. The Azoic doesn't
do this. They make one sit up and really listen. There are fleeting
sounds that actually creep up your spine to provide a delightful
fright that some other groups have not achieved. Of all the darkwave
I have purchased and sampled, I could truly imagine The Azoic being
carefully placed in a horror movie soundtrack providing the audience
with just the right timbre of chills. Also, Halloween would not
be complete without this music playing in the background. (Mike
Ventarola) ---Legend's website
Legends - Rat Bastard review
The term 'darkwave' has often come under attack as being far too
ambiguous. Often when one uses it, one has to also explain whether
one is referring to ethereal music (such as the sort that is often
pushed by such labels as Projekt), electronic goth, German gothic/industrial,
or whatever the hell else has managed to find itself absorbed into
the mass of oft-used descriptions for 'darkwave' music. Nilaihah
Records openly presents itself as a 'darkwave' label, but the question
that immediately comes to my mind is, "Does the music from the label
best suit the term, or, for that matter, does the term best suit
the music?" (After all, I would more be inclined to call much of
what Projekt calls 'darkwave' ambient/ethereal and leave it at that;
Black Tape for a Blue Girl just doesn't embody the term very well
as far as I'm concerned). After listening to Where Broken Angels
Lie, the debut album from The Azoic, one of the first two offerings
from Nilaihah (the other of which is Oneiroid Psychosis' Garden
of Remembrance) I would have to say that, labels aside, this is
certainly music with a dark and sinister edge. I, for one, can refer
to it as being 'darkwave' without reservation (not that this truly
matters, of course, but this two-syllable description is a hell
of a lot more convenient than 'dark ethereal industrial' or 'neoclassical
horror electro'). The Azoic and Oneiroid Psychosis, however, are
two sides of the same coin. Even though both bands employ the use
of layered electronics as their modus operandi for the provision
of sufficiently creepy and dark music, The Azoic is a bit more upbeat,
drawing more from industrial influences with driving beats and copious
use of sampling. Sure, this is still music to brood around and stalk
to, just like other exemplars of the genre, but The Azoic's music
is meant to facilitate a bit more active movement during said brooding
and stalking. Songs like Drown (of which there are two different
mixes on the album) and the opener Nilaihah are very dancefloor
friendly, while still maintaining a dark and sinister ambience.
The vocals come in two flavors: distorted male and not-so-distorted
female. The male vocals are spoken/shouted, with the amount and
form of distortion varying from song to song which provides a certain
amount of range so the male vocals are executed well, even if they
aren't particularly unique or original. The female vocalist, while
not having the most technically impressive voice (she is certainly
no Lisa Gerrard or Monica Richards), still gets the job done. She
ranges from spoken word to a light airy timbre (which is showcased
in Summoning) and even belts out a nice strong and forceful chorus
line or two in the original mix of Drown. So, The Azoic does present
a great deal of vocal versatility. Those who listen long enough
will also be gifted with three bonus tracks: two ambient soundscapes
and an ethereal instrumental piece. Basically, if you like dark
electronic music with a beat, then check out The Azoic (particularly
if you're a fan of bands like Wumpscut or Mentallo and the Fixer).
Where Broken Angels Lie is a solid release just as The Azoic is
a solid representation of the darkwave genre. As I have implied
there is room for improvement, but it is also obvious to me that
the room is actually there and waiting to be occupied. Getting back
to my initial darkwave ponderings, I must conclude that Nilaihah,
with The Azoic and Oneiroid Psychosis are off to a great start in
cornering the market on quality darkwave music. Thus, I am definitely
looking forward to the future releases from these bands and whoever
else Nilaihah chooses to sign. I would advise any interested parties
to do the same. (Rat Bastard)---Legend's
website
M.K. Ultra
Broken angels must lie in a place precariously balanced between
agony and ecstasy if these eerie soundscapes are any indication.
Celestial vocals by Kristy Venrick combine with cold synthesized
sound to create a jagged mosaic of spiritual struggle and chaos
in this follow-up to "The Divine Suffering." Relying heavily on
samples, and ranging from mystical ambient atmosphere to a more
driving industrial pulse, "Where Broken Angels Lie" feels vaguely
evil yet it fascinates, even corrupts, with a sort of subtle seduction.
An intriguing mixture of the decadent and sublime, this CD lies
somewhere between a curse and a prayer. (Elaine Thomas) ---M.K. Ultra's website
Middle Pillar
A mix of the dark electronics, gothic / industrial beats and samples
galore lead to an ominous album, that stalks you like an erotic
horror fest. Comparable in precision to Athamay at points,
the album shines when it leaves that stylized ritualism behind and
pulls you deeper into a more dense form of twisted melody and rhythm.
---Middle Pillar's website
Music Non Stop (MSN)
The second release from single handedly the most disturbing and
frightening Goth/Darkwave act in existence. This band blew me away
with their debut CD The Divine Suffering and their incredibly stark
live performances. Hailing from Columbus, this trio weaves the darkest
elements of music together to create a web of intensely morose and
bone chilling hymns scarred by suffering and emotional torture.
As compared to the first release, Where Broken Angels Lie has a
more professional and crisp production; thus enabling every hidden
whisper and strange moan to be heard. The keyboards create bleak
atmospheres of tormented choirs, twinkling chimes, eerie synths
and absolutely awesome drum patterns and looping effects. The CD
is full of the most heinous and frightening samples from The X-Files
and various horror films which most certainly adds to the unease
and claustrophobia encompassing this CD. Fronting the musical chaos
is the dual vocals of Kristy Venrick with the voice of a bruised
angel and Steve Laskarides, serving as the vengeful devil, his voice
tinged with distortion effects a la Skinny Puppy. All in all a theatrical,
intense, abysmally dark achievement from one of the best Darkwave
bands in the scene today. - Music
Non Stop
Neon Madness
Where Broken Angels Lie (1998) Rating of 8 1/2
Worm Records
If SKINNY PUPPY were fronted by ENYA you might get close to the
imaginative and sexual sound of this Columbus, Ohio band. Part Goth
part edgy aggressive industrial grind and all seductive allusions
this band's sound seduces the listener in and grabs hold of them,
refusing to let go. Lead singer KRISTY VENRICK's beautiful floating
voice (She is an equally lovely woman that matches her voice perfectly)
is the big hook to bring in every type of listener. Yet when STEVE
LASKARIDES takes the mike his aggressive and pain-ridden delivery
pounds you into submission, giving something for those in search
of more threatening vocals. These guys are far too esoteric to find
overnight success. But instead will find an ever-growing fanbase.
The unique sound will win over those into agressive music and those
who prefer to chill to something more melodic. This kind of range
is always impressive, but to find it within any particular song
is astonishing. All the tracks are solid but DROWN leaps out (at
least to me) as a favorite. The themes of self-debasement for release
from mental pain resonate strongly with a creative aesthetic I've
explored as well. In fact, this dynamic duo (once a trio but a SHAWN
LOWER left to pursue solo aspirations) were awesome enough to give
'em a song from their previous album for my film THE MUTILATION
MAN (that track is called PURE PLEASURE, from teh also incredible
album THE DIVINE SUFFERING). Expect great things from these guys.
(AC)--- Neon Madness' website
New Empire
In listening to music on this cd over and over and over again...
I feel like an FBI Profiler. Serial Killer and Slasher-horror vid
flick saturate musical themes found here. "Nilaihah" opens this
69 minute 48 second collection of 13 tracks which have already become
popular adds both to radio program and hyper-dance club formats
all across northern America and abroad. Kristy Venrick steps into
the pulsating mix, "Drown", with decisive pace and formality. Kristy
also makes guest vocalist appearances on several Oneiroid Psychosis
song recordings found on Garden of Remembrance. Kristy's vocals
find their wings in "the Summoning". Oneiroid Psychosis slip inside
"Terrible Space" with an influx of eerie sophistication and haunting
disintegration, tradmarks of their style. Throughout this collection,
samples from dramatic horror films infuse the original lyrics and
programming. hallowed and twisted vocals haunt every track with
great variety, and horrific grace and beauty. Try this one. I am
certain you will agree that no Dark Dj playlist will ever be complete
without featuring at least one track from this album. Avid fans
of The Azoic, and club goers everywhere should insist upon it. All
13 tracks work their way into playlists everywhere. I recommend
"The Sad Word", "Drown", "Nilaihah", and "Suffocation". (Jett Black)
---New Empire's website
OUTBURN
Issue #7 - September '98
This CD, following up last year's 'the divine suffering', is all
its predecessor was and more. The artwork is a cut above the last
album and the sound quality is astronomically better. The songs
are much tighter and better structured with more of a focus on the
female vocals of Kristy Venrick. The samples are still in place
on most of the songs, and there are some great remixes on here from
the likes of Oneiroid Psychosis (with whom they share a similar
sound, and on whose new album you can find a cameo from Kristy!),
and a mix by Flesh Field and Decay Theory. The whole CD is miles
beyond the previous one, and if you are a fan of dark electro in
the vein of Skinny Puppy and Oneiroid, this is a CD for you! (Gary
Thrasher) --- OUTBURN's website
The Plague
This is the second CD from this Ohio trio and it follows in the
same vein as the first with a slightly works. The first CD was like
a grainy low budget horror movie, while this new CD is more like
the soundtrack to a creepy horror film with a budget. The programming
on this CD is quite well done, except for one small detail. I still
think The Azoic uses a few two many spoken samples in their songs
and this is truly a shame because they are very capable with their
songwriting skills. That being said, this is a really nice CD. It
is engaging at the very start and begins to enter more of a realm
of general creepy atmosphere by the time the CD reaches "Suffocation"
and "Only Flesh." I think both Kristy Venrick's and Shawn Lower's
vocals work well, but the alternation between the two of them in
"Intimate Incisions" seemed to interrupt the flow of the song. My
favorite of the non-ambient tracks was the more gothic "Summoning"
and the second version of "Drown" on the CD, which I think displays
the true potential of the band. (Victor Mejia) --- The Plague's website
Sonic-Boom
The Azoic have must have read my review of their last album "The
Divine Suffering" like a textbook because they corrected all of
their problem areas. My first complaint was that the male vocal
were too heavily modified, so that a duet with Kristy's natural
vocals sounds wrong. On "Where Broken Angels Lie", there are fewer
moments where two people sing and Shawn and Steve's vocals are less
altered. You can almost hear harmony in their voices at times. My
second complaint was that they used far too many vocal samples from
various Horror and Science Fiction films. This was corrected when
they cut down on the use of these samples and arranged them to better
fit the mood of the music. In essence, their placement of these
samples is much more efficient. These two changes along with some
quality remix work by Oneiroid Psychosis and Flesh Field, make "Where
Broken Angels Lie" one of the better written, produced, and executed
Darkwave albums of 1998. (Jester) ---Sonic-Boom's website
Storming the Base of the Alien Foe - radio
show of Antithesis Online
Beginning with a very atmospheric 'Nilaihah', The Azoic seems to
have really refined their sound. Samples weave through the music,
fitting the song extremely well, and following with the female vocals
lingering about. This is where their strength lies. 'Drown' moves
more towards a danceable edge, with brooding synthlines and a driving
beat. The lack of melodies to hold to is what's keeping any of The
Azoic songs back. The use of contrasting warped male and female
vocals is, of course, really neat, but neither ever really become
what you want of them. Some haunting melodies in the twisting male
vocals, and nice soaring calls from the female vocals would make
everything. As it is, the songs are too monotonous, following virtually
the same structure for every song, relying on the mood, which remains
strong throughout, to keep the songs going. The (Desert) mix of
'The Sad Word' completes what 'Nilaihah' started, followed by 'Suffocation',
'God Help Us' and 'Only Flesh', all powerful soundscapes with myriads
of samples throughout. The latter has some vocals, but they are
used more as samples, and while not overly effective, they stay
sedated and alongside the samples. Their best pieces are by far
the instrumentals, embodying the full extent of The Azoic's dim
atmospheres. (Jeremy Pfohl) ---Antithesis'
website
Wrapped in Wire
This is a dark, cold and haunting gothic band that blend ambient
sounds, samples, orchestrated synth melodies, electronic sequencing
and drum programming with beautiful female singing and rough distorted
growling male snarling. There is a good mix of variety to be found
on this album. Some tracks are more instrumental in style, while
others are a bit faster paced and could work in clubs. I like this
aspect, and it does give the band an edge. The music here is very
well composed with a lot happening in it. It's quite emotional and
chilling, but at the same time has good rhythms and beats to draw
you in. My main complaint here is that the male vocals just aren't
that good. They are extremely distorted and basically sound the
same on every track. Instead of being sung with harmony, they are
spitted out in more of an angry talking fashion. Kristy Venrick,
the female singer, has an amazing voice. She sings beautiful with
harmony. She mixes it up on different tracks and sings in a spoken
word style, chants and carries a tune wonderfully. This is why I
don't understand why she isn't used a lot more here. With her quality
singing talents I would think that her voice would be the main focus
delivered. But instead, most of the tracks have the standard male
vocals. I like it when the female vocals are mixed with the male
vocals as a combination, but this doesn't happen too often. Another
thing that I don't like too much here is some of the more experimental
tracks where everything goes off in different directions and have
no structure to them. While this adds variety, these tracks just
aren't that interesting. The band shows off its musical talents
the most on the tracks "Drown" and "Summoning". These two tracks
feature well composed structured tight and varied music with the
incredible vocal delivery of Kristy Venrick. I have no idea why
there aren't more songs like these here. Another disappointing factor
here is that there are three remixes that don't sound too much different
from the originals. The bottom line is that this band has obvious
talent. However, they could be so much better if they stopped with
the weird experimental filler and made more structured songs featuring
Kristy Venrick's vocals. (Dan "Egoist" MacArthur) ---Wrapped
in Wire's website
Zoo TV - Beyond The Mainstream
The Azoic do it again. For the second time in as many CD's THE Columbus
band, The Azoic, put together a "horrificly" (and I mean that in
a GOOD way) great disc. This CD has A LOT to offer to those that
listen to basically any type of "dark" and/or "beautiful" music.
From ambient waves, to pulsating dance beats, "growling" male vocals,
enchanting female vocals, and wonderful discrete samples, and even
some remixes. 4 remixes to be exact. The darkwave bands Oneiroid
Psychosis extend their hand to "Terrible Space" giving it what some
have called a "trademark" sound by OP. This is a very excellent
song, very well done, produced, etc. Two other Columbus bands, FleshField
and Decay Theory, tackle "I Tried To Warn You" (taken from the first
CD "The Divine Suffering"). This mix gives this song more of an
"electro" edge than it previously had makes me wonder what the future
holds not just for The Azoic, but for any band coming out of Columbus.
Now we are down to the final two remix songs: the (so far what appears
to be local club hit) "Drown" and "The Sad Word". Both of these
are done by the band themselves. Now some people may not be to into
the "remixing of the bands own song" thing-but stop and listen for
a moment. It shows even more promise than THIS CD did to The Divine
Suffering. The Azoic continue to leap hurdles, knock down musical
categories, and demolish any other boundaries with not only every
new song done, but every energetic live performance that I have
been give the extreme privilage of recording for my show.
This band will continue to grow and become stronger-not stagnant
like most bands-with age. Who said the future was going to be boring?
(Scott Cambell)
back to The Azoic - Where Broken Angels Lie
_____________________________________________________________________________
Corridor of Cells
ALBUM OF THE MONTH: 9/10
I've been severely impressed with this band's music ever since the
"Divine Suffering" demo fell into my hands. This CD is a re-release
of the same material (plus one new song), albeit some of it is remixed.
Overall, this is gothic industrial the way it was meant to be: slow,
dark, threatening, ominous, apocalyptic, and claustrophobic. Based
upon predominantly slow rhythms, with cascading waves of keyboards,
screaming processed vocals and occasional clean female vocals, this
is the sort of release that has no weak points, no weak songs. Everything
here is a winner, both stylistically and songwriting-wise. Undoubtedly,
the best gothic industrial band in the US besides Oneiroid Psychosis,
The Azoic delivers their message of impending doom with a conviction
and determination that are missing in most of the goth-industrial
scene. Listening to The Azoic leaves the listener with a haunting
feeling that the end is near, the end of everything we love is about
to arrive and we are helpless in the face of this wave of death
that is at our doorsteps. No commercial elements on this CD: just
pure death, sorrow, depression and decay. (Jacek) --- Corrdidor of Cells website
Christian Says...
(Xian) --- Christian Says... website
DeadWyre
This album defines the term "darkwave" to me. I don't think I've
ever heard a darker album. The Divine Suffering is a combination
of Skinny Puppy-esque programming mixed with emotional melodies
and very danceable beats. Most of the songs tend to have a slower
BPM, and an extremely ominous feel. Dark and brooding male vocals
growl through intense distortion, and are backed up by hauntingly
beautiful female vocals. The sound quality for their debut album
is quite impressive. There are several tracks that stand out, the
foremost being "I Tried to Warn You". I have no doubt that you will
be hearing quite a bit more about this young band. (Ian Ross) ---
DeadWyre's
website
Ephemeral
This is a really solid CD from a new band that isn't afraid to try
something original. For many new "Goth" bands, their first efforts
sound like Bauhaus or the Sisters, or both. Well, thankfully The
Azoic do neither. What they accomplish is one of the most successful
blends of "Goth" and Industrial I have heard in some time. Mixing
haunting female vocals as well as solid male tones, this album bristles
with the urgency of 80's Death-Rock and the electro-industrial sound
of Front Line Assembly. The Divine Suffering will knock your gothic
socks off! (Andi Lochhead)
Genocide
A quite unknown band creating something astonishing, which makes
it a pleasure to get acquainted with them and their music. This
is the case with The Azoic and I have never come across a band,
like these Americans, which creates such magnificent soundscapes,
a blend of gothic, ambient, ritualistic, atmospheric synths and
industrial, a mix that gives you a hard time reviewing their debut
album "The Divine Suffering". It took me weeks to even get started
with this one as I simply didn`t have a clue where to start. This
is haunting, sombre, dark and sullen, even enchanting, which makes
the music rather obscure. The perfect soundtrack to your horrors,
the perfect album to accompany you on dark autumn nights with the
only light source being a candle burning in a distant corner. To
create these atmospheres or emotions if you like The Azoic has been
using dark and gloomy keyboards, obscure samples, machine beats,
distorted sounds and voices along with chanting female vocals. There
are no direct resemblance to any band, and I haven`t heard such
an intense album since I first filled my ears with Laibach`s "Slovenska
Akropola" and Akron/Epilepsy`s "Baphomet". Some parts on this album
gives some of the same feelings I got when listening to the before
mentioned albums. "The Divine Suffering" reflects the beauty of
pain, suffering and despair in a very own, yet dark way. I highly
recommend this album to everyone into dark and obscure music, be
it darkwave, gothic, industrial or ritualistic, this album has it
all. (Karsten Harme) --- Genocide's
website
Graven Space
Rating: (4 out of 5) The Azoic is one of several dark gothic bands
that have arisen from the cross-fertilization of the gothic and
industrial genre's. On The Divine Suffering, The Azoic often base
their music on a dark ambient background. Keyboard/bell sounds,
distorted male and female vocals, and drum machine percussion are
then layered all on top. The ambient backbone of the compositions
are my favorite aspect of this group. In fact the ten-minute instrumental
track "Transitions" is probably my favorite track on the disc. Another
aspect that makes The Azoic interesting is that the vocals are performed
by all three band members. The band also risks experimenting with
the vocals quite a bit, usually in a more evil bent than most gothic
bands. Sometimes they work quite well, as in "I Tried to Warn You,"
and "Inside" but at other times they just seemed to be a little
off. Still, the variation in the vocals adds an interesting addition
to the whole affair. The only real drawback to The Divine Suffering
is the overuse of bell/ringing sounds in the music, as it makes
some of the music sound to much alike. Still, there are several
good tracks on this CD, making up for the redundancy of the others.
Overall, an enjoyable disc that's recommended to anyone into the
more electronic, brooding side of goth music. (Roy Miller) --- Graven Space website
The Industrial Bible
In the same nature as some of the European darkwave bands, Ohio's
The Azoic present an album with both gothic and industrial dance
elements. The Divine Suffering begins with Beginning, a short intro
instrumental that would lead you to believe that Azoic are a straight
ahead goth outfit. Composed mainly of darker sounds, such as church
bell samples, ethereal chords, and somber vocal snippets, Beginning
serves as an introductory to what lies ahead. Kristy's sublime vocals
overlay the slow, raw sounding percussion and minimal electronic
elements on Pure Pleasure. I Tried To Warn You is a dark dance piece
in which the distorted male vocals are blended into a web of cabalistic
electronics. Samples are used quite frequently on The Divine Suffering
to start songs off. I was more than suprised to hear an X-Files
sample (which I believe was taken from the Dwayne Barry episode)
kick off Violation. This track, again, feature male fronted vocals
while the music is a mixture of hard goth and laid back industrial.
Thorns is an interesting piece in which Kristy's vocals are mixed
in with a deeper, partially distorted male vocal. The music behind
this piece is minimal, thus making the vocals the driving force.
Leaning more towards electro than gothic, Godaphile is a piece with
harsh electronics and equally harsh vocals. This piece is a bit
chaotic at times, but at certain places, most of the electronics
drop out, leaving the beat and evilly manipulated vocals to carry
it on. The final pair of tracks, Alone and Transitions blend into
one another, with the later being an atmospheric, 10 minute instrumental.
Due to the diversity on The Divine Suffering, The Azoic are an exceptional
trio and I'm more than curious to see what they do next. (Dachar)
--- The
Industrial Bible website
In Thy Name
The Azoic is a experimental project of ambient/goth/industrial/techno.
If there was music to describe David Cronenburg's "Naked Lunch",
The Azoic would be the defining force. The music is basically composed
around the keyboards, and occasionally the female vocals. The first
side of this demo begins off strong, with diversity and atmosphere
(as shown in songs such as "No Strength To Feel" and "Pure Pleasure"
), but soon falls into a case of repetition. The second side, however,
recovers itself and is presented in a much more ambient form. The
music is also charged with emotion, and if this is a preview of
what we can expect from them in the future, you can be sure that
they will make a big splash in the ambient/goth scene. Cold Meat
take notice! KEYBOARDS: Simplistic, yet emotional. Sometimes domineering,
sometimes soft and trance-inducing. DRUMMING: Mostly techno-influenced
drums, computerized, with industrial overtones. It is mid-paced,
and is reminiscent of Dead World or The Prodigy. SAMPLES: Now this
is a gem! Complete horror-movie madness! It reminds me of White
Zombie's La Sexorcisto album, where you could sit there for hours
and try to figure out which movies all the samples are from! The
soundpics used here are more musical-orientated, as opposed to intros/outros.
VOCALS: The male vocals are distorted through a pedal and after
a song or two, begin to get boring. Experimentation with different
vocal settings would prove to be more captivating. But the operatic
vocals of Kristy are amazing! Her style sticks out as the best aspect
of this entire project. Very somber and eerie... VERY eerie. OVERALL:
7 (Thammuz Abaddon)
M.K. Ultra
Pick of the Litter
I cannot easily put into words how moved I've become by this band,
The Azoic. I've never heard such an intense combination of Darkwave/Gothic/Industrial
music. Take the scariest sounds of Skinny Puppy, add in the despair
that is buried deep beneath the core of Lycia, and you may only
scrape the surface of what lies inside this trio.
A friend of mine in Columbus, Ohio (home to The Azoic) has told
me about this band numerous times. He persisted, "You'll love them."
He has described them as sounding like the music you'd hear in a
cemetary at midnight on Halloween. Finally, he pushed this tape
into my palm at a concert in Cincinnati.
The Azoic is made up by Kristy Venrick (vox, keys), Steve Laskarides
(keys, vox, programming) and Shawn Lower (vox, keys, guitars). They
credit songwriting to the band and the songwriting reflects pain,
suffering, and despair beautifully.
There are thirteen tracks on ~the divine suffering~
with titles like "No Strength to Feel," "Serenity Destroyed," "Thorns,"
and "Godaphile."
The vocals are buried within the music that whirls around my head
like nightmares. Kristy's vocals echo like the crying of a lost
soul caught in limbo from a dimension between Heaven and Hell.
The music is sometimes atmospheric, sometimes cold and bleak, and
sometimes synthetically surreal. Yet at the same time, it is so
industrial that it cannot be labeled ambient. The lyrics reflect
pain and cynicism. They defy labels, categories, or definition.
Call it ethereal, gothic, ambient, atmospheric, or industrial. Call
it what you like. I call it The Azoic. The most original and intense
band I've heard in a very long time. ~the divine suffering~
speaks to me lyrically and musically. It is my key to an out of
body experience that sweeps me into another world layered with samples
from horror films and sound buried deep in reverb.
Alas, The Azoic proves that there is still new ground to tread in
music. (Alex Zander) --- M.K. Ultra's website
Middle Pillar
Ominous, dark slow and threatening make this debut a perfect balance
of gothic style mixed with industrial textures. A mix of male and
female vocals, and very sample heavy. --- Middle Pillar's website
Outburn
Imagine waking in a sweat from a dreamworld in which you have been
ritualistically tortured... spiders hatched in your flesh... tied
in the middle of a long abandoned chapel, with only whispering winds
and twisted evocations of pain to break the silence; this is The
Divine Suffering--the stunningly twisted debut from The Azoic.
Featuring the stark instrumentalism of Steve Laskarides, the heavily
effected male vocals of Shawn Lower and Steve, and the floaty female
vocals of Kristy Venrick, they create atmosphere not unlike that
of Oneiroid Psychosis, but still undeniably their own. This
album will leave a violent impression upon all who hear it, and
will turn many heads. Expect good things from The Azoic.
(Gary Thrasher) --- OUTBURN's website
The Plague
The Azoic exemplify what I would have to classify as abysmal music
in the positive sense. The Ohio trio (Steve Laskarides, Shawn Lower,
and Kristy Venrick) combine industrial along with gothic elements
to pull you down into the dark recesses of your mind and your soul.
This is gothic music at its most gothic -- a soundtrack from an
eerie movie (the track "Beginning" comes to mind) that leaves you
shaking in the dark. I like what The Azoic do in the combining of
gothic and industrial elements. They don't go for the typical ethereal
combination, but keep in the deep recesses of the conscious. My
favorite tracks are the ones that place Kristy's vocal over doomsday
electronics creating a truly dark atmospheric sound. Songs like
"I Tried to Warn You" with Shawn taking over the vocal duties also
work, but they sound a lot more typical of enigmatic electronic
music. A song like "Inside" is fantastic in that it combines and
balances all of the elements, and, I feel, stands out as a signature
piece for the band. Later, songs such as "Thorns" and "Godaphile"
build more of an evil-sounding atmosphere. The album ends wonderfully
with the more serene "Alone" and "Transitions." Kristy's vocals
over the swirling atmosphere of sound really works and is a much
needed change at this point of the CD. "Transitions" just builds
on the atmosphere and is a nice slow trip back from all of the darkness.
My main problem I had with this album was the lack of any real tempo
changes or any real major change. It is all one long dirge and I
think the album could have been editing down to 10 or 11 songs (from
13). Upon really close listening to it for review, I was relieved
when it was over. It is really quite exhausting. My only other gripe
I have with the album, is that although I believe the band knows
how to use samples well, I believe they do it too often and the
power or the effect of the samples is diminished as the album goes
along. (Victor Mejia) --- The Plague's website
Sideline
After a first demo, released in 1996, this American trio got the
opportunity from Worm Records to record all their knowledge on cd
format. A well-deserved gift I think, because THE AZOIC compose
a surprising combination of gothic and wave influences on one side
and industrial atmospheres on the other side. An extreme cold mood
flies over this album and very soon you'll be captivated by feelings
of horror and fright! The more you walk through this Divine suffering,
the more you'll perceive the industrial elements invading the whole
structure of THE AZOIC's composition. It finally results in chilling
soundscapes. The vocal parts have been sung alternately by male
and female vocals. It sounds a bit like a union of the devil and
the angels. These Americans stand for quite simplistic structures,
covered with penetrating and icy esoteric atmospheres. This is an
auditive postcard from hell, delivered with conviction, intensity
and maturity! (DP:7/8) DP. --- Sideline's website
Third Nail
Dark and gloomy keyboards, spooky samples, machine beats, and distorted
(I mean really distorted) vocals evoke Skinny Puppy
mixed with Sleep Chamber, but wait, there's more!
For the same band also throws in tinkling-chime/bell like synthesizers,
mellow waves of sound, and chanted/sung female lyrics. The
Azoic has combined some really great sounds and emotions
into a sound all their own. "The Divine Suffering" is a great combination
of sorrow, loss, fear, and somehow through it all, redemption. Best
of all, in defiance of the apparently unwritten rule, they combine
both male and female vocals, distorted and "clean", archaic mediaeval
rhythms with modern goth compositions. These sounds (especially
"Pure Pleasure" and "Inside") could play as easily in a club as
in your most private moments. If you think that you've heard it
all before, pick this up and prepare to be impressed. (Jason Lambert)
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The Aether Sanctum
Based in Columbus, Ohio, The Azoic's demo tape consists of pleasantly
dark, ambient material which is gothic in some places, and a little
bit industrial in others. Their music is generally slow and atmospheric,
but without being boring. The highlights of their music are the
strong female and distorted male vocals, and superb timing with
samples taken from horror films, both of which are well supported
by the subtle tones of the backing instrumentation. They seem to
use their voices as extra instruments for creating sounds, rather
than simply as a medium for narrating a story. Overall The Azoic's
demo tape some well thought out, ethereal, darkwave landscapes.
(Stav) --- The
Aether Sanctum website
Black Moon
The Azoic is impressive! Their mix of gothic and industrial is fantastic.
Not only is their lyrics and music very dark, but they also give
a feeling of evil, despair, and hopelessness. Absolutely great!
My favorites were Pure Pleasure and Serenity Destroyed.
I can't wait for their upcoming CD. (Lou Sorrentino)
Corridor of Cells
Overall: 8/10
Every now and then I get a release from an unknown band I've never
heard of and it makes me fall to my knees in awe. That was the case
when I first put this demo into my tape-deck. The Azoic are a fresh
new gothic-industrial band from Ohio and this is their debut demo.
Unlike most other gothic-industrial bands, most of whom are just
clones of other better known artists (Skinny Puppy, most of the
time...), The Azoic's music is intensely original. It seems to reek
with the sort of darkness and evil that is rarely heard. Their style
is based around hypnotic, predominantly slow beats, doomy keyboards
and drones & screaming threatening mutated vocals. On top of
this an occasional dark female voice appears adding another dimension
of sorrow to an already dense feeling of despair and impending death
& decay. The only band I could vaguely compare them to is G.G.F.H.,
who seem to share the same infatuation with horror movie samples
and death as a topic in itself. The material from this demo has
been re-recorded and is about to be released as a CD under the same
name and I can't wait to hear it. The sound quality on this demo
is pretty good (despite the fact that it was done on a 4-track)
and overall this is a release that all fans of extremely dark gothic
industrial should not miss. (Jacek) ---Corridor of Cells' website
Da'Core rating 4/5
Both in the studio and on the stage, Columbus Ohio's The Azoic are
the most genuinely creepy Gothic band in the local scene today.
The Azoic are so deliciously evil that I can't say enough good things
about them! This debut demo is absolutely frightening and would
send Deicide into a corner to pray. Besides long strains of deep
synthesizers, bits of distorted Industrial tinged guitar, and driving
dance rhythms, The Azoic's sound is defined by the most disturbing
samples I have ever heard collected onto one cassette alone. Keyboardist
Steve Lakarides deserves his own throne alongside Hades for his
work on this tape. There are dialogues, chants, screams and growls
from The Exorcist Trilogy, The X-Files, Pet Semetery, and Prince
Of Darkness throughout the entire tape. Believe me when I say that
it does not come across as cheesy and it really succeeds in making
the skin crawl. Harsh and distorted vocals are very uncommon within
the Darkwave/Gothic scene, but The Azoic use flange, phasor, delay
and distortion effects on Shawn Lower's vocals, creating a seriously
tormented, anguished atmosphere. A contrast is then offered in the
form of Kristy Venrick's soaring and smooth voice, perhaps symbolizing
the purity and salvation that seems to be lost within the chaotic
musical maze The Azoic have created. Other than a rather poor mixing
job, (which I believe has been remedied on the CD version which
I haven't heard yet) fans of all dark music should appreciate this.
(Heilman)
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Corridor of Cells
A slightly uneven, but overall above average compilation, covering
a wide array of styles, ranging from harsh industrial to more gothy
sounds. The highlights are: The Azoic (goth/industrial at its darkest
and most disturbing), Numantre (surprisingly enjoyable band in the
vein of old Danielle Dax, especially the female vocals), Oneiroid
Psychosis (once again proving themselves to be the most original
and darkest goth/industrial band out there), Fockewolf (seductive,
melancholic goth/industrial with female vocals), Anti-Music Foundation
(harsh industrial akin to a noisier, dronish version of old Swans,
truly excellent stuff), Wage Class Slave (more harsh, high-pitched
industrial pounding that would make Swans proud). The rest of the
bands on this CD are not bad, although there are 2-3 stinkers. However,
at the end of the day the better tracks on "Circuit Noir" make it
a worthwhile addition to any industrial collection. I especially
recommend remembering the names of Anti-Music Foundation & Wage
Class Slave, as these two bands have something really interesting
and savage to offer: I will be awaiting a full-length release from
both of them eagerly. (Jacek) ---Corridor
of Cells' website
Fallout (Radio Scorpio)
CD OF MARCH : the Circuit Noir sampler. Excellent dark stuff on
this one : from industrial to dark ambient, name it, you'll find
it here.
Gaze Into A Gloom - Issue #6 (Latvia)
On the cover, in the same size as the title, you'll read the exact
definition of music represented on this CD (15 tracks) - it is Dark
Elektroniks (inspired by industrial). Gloom and somehow ritual music
spiced with mechanical voices and corresponding lyrics will fill
the remnants of your mind with horror. This is a general impression,
but there is an exception, too: Numantra and it's song "Les Coeurs
Danser" where, surrounded by Elektro, you'll clearly hear Eastern
tune and woman voice - alluring like Eastern candy. Almost all material
was recorded in 1997 and made in America; Two bands are from Australia.
Grinding into Emptiness
From the amazing United Endangered Front label comes another comp
packed with new bands and amazing tracks! The variance in styles
is incredible, so I can't give a single description for the CD as
a whole. Provided on this comp are samplings from genres ranging
from noise to goth and planty of other stuff in between. The first
track, by The Azoic, is similar to a more electronic Endraum musically,
with chantier (is that a word?) female vocals. As you can see, this
compilation offers a little something for everyone, and no tracks
featured on it disappoint. Visit the UEF Website and pick this one
up. (Scott)
The Industrial Bible
Circuit Noir begins strong with Intimate Incisions by The Azoic,
a band whose sound has become darker since the release of their
last full length. The vocals are male / female shared with the male
portions adding a certain evilness to the piece. The music is light,
yet creepy in nature due to the haunting sequences and distant,
trotting beats. Comprised of mostly unheard of (or rarely heard
of) bands, Circuit Noir does what many other US compilations do
& it delivers the music of the underground electronic scene
to the world. Considering it's only $10 and over 70 minutes long,
there's no reason why you shouldn't pick it up and see what bands
other than FLA and Wumpscut are doing. (Dachar) ---The Industrial
Bible website
Musik Magazine - Russia
And now on the example of the absolutely fresh sounding CD-collection
Circuit Noir we'll try to describe songs of some bands from UEF's
compilation. Beforehand we must tell you also, that percent of opening
of really bright names, which has appeared here, is marvellously
high. THE AZOIC ("Intimate Incisions") On the background of gloomy
cold electronics under sounds of large quantity of little bells
the frost-bitten dueing singing of some strange love pair is heard...
Outburn
This brand new comp of dark electronics brought to you by the UEF
features mostly newer, lesser known bands and a few familiar names
such as Oneiroid Psychosis with a great vocoled and trippy track
as usual. Society Burning have a very progressed electronic sound
and expressive vocals ranging from harsh to mellow. It's great to
have these underground compilations around because there are some
interesting new bands that really caught my ear. The Azoic start
out the comp with a dark elektro jingling piece with male and female
vocals combining for a scary tale. Overall this comp has something
for everyone interested in dark industrial electronic music! (Tommy
T)
The Plague
This compilation comes close to being a CD I'd actually listen to
rather than one I'd buy just to hear a few of the bands. There's
actually an overall mood here... and better yet, it's not spoiled
by industrial/metal crossover bands!!! My personal tastes aside,
Circuit Noir leaves growling vocals, big rigid beats, aggro basslines
and chunky guitars behind. The focus is mainly dark atmospheres...
there are more pianos and synth bells than rock guitars. THE AZOIC
kicks off the disc with an excellent track that reminds me of Die
Form. I am definitely looking forward to their forthcoming CD at
the end of May. (Laird Sheldahl) --- The Plague's website
Radio Free Underground
What a great name! I'm the music director at Radio Free Underground
and I wanted to thank you for sending us the promo for Circuit Noir,
it's the best CD I've gotten all month, I really like it.
Sonic-Boom
The United Endangered Front have learned quite a bit from the release
of their first compilation "CyberPuncture" a few years back. "Circuit
Noir" is their latest release and its quality is leaps and bounds
above its predecessor both in form and function. The artwork is
stunning despite its dark minimalism, and the production quality
is stellar. The artists selected are also of a higher caliber, with
artists from the Pacific Northwest, Midwest and Colorado, and a
lone vagrant from the land down under. Standout tracks include The
Azoic, who have finally found the perfect mixture between unaltered
female vocals and filtered male vocals unlike their debut album,
Nefarium, who feature a odd balance of Gothic vocals and upbeat
electronic rhythms that seem to work regardless of their oddity,
and Oneiroid Psychosis whose mastery of disturbing ambient is rivaled
only by Coil. The UEF have finally found the magic formula with
"Circuit Noir" and it can only get better from here. (Jester) ---
Sonic Boom website
The Velvet Realm with Stefani
CIRCUIT NOIR is the latest compilation put out by the Colorado-based
dark electro label, United Endangered Front. (This review will probably
be abbreviated and polished up in time for the next Culture Shock.)
Anyway, here are my first impressions of this very interesting compilation:
Strong points (overall) - This comp. exposed me to a number of U.S.
artists I hadn't heard of, even a couple of Australian artists...and
this is always a good thing, as many of the tracks piqued my interest
to hear more. Overall, this comp. has a truly underground feel to
it. Stand-out artists on this comp. for me: THE AZOIC, NUMANTRE,
FOCKEWOLF, NOXIOUS EMOTION. 'Intimate Incisions' by THE AZOIC
(Columbus, OH). Very nice mixture of dark electronics, and gothic
atmospheres. Like Puppy with female vocals. Actually, it's a mixture
of male and female vocals, but his vocals are processed in a garbled
way. I like the nightmarish creepiness that subtly shines over this
song. (Stefani)
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