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Sonik Foundry Reviews

REVIEWS

Explosive - CD 2012

The Ephiphany - EP 2010

Mechanized - CD 2009

INTERVIEWS

Brutal Resonance        ^top^
Sonik Foundry's second album 'Parish of Redemption' impressed me a lot last year and I was happy they are already back with their third album 'Explosive', yet another time on Nilaihah Records.

Many of the track names have Explosion related song titles, like "Primer", "Fuse", "Obliterate", "Detonate" and "Desolate", something which ties on to the album name in a nice way. They have continued their journey on the straight forward modern EBM with hints and teases of modern Old School. The beat is steady and pounding, like it should be, but don't expect the BPM to change a whole lot. I made an experiment when I put this album on in my nerd room (if you have a TV, a PS3, a Xbox360, one laptop, one gaming PC, one iPad all in the same 9 square meters, it's a god damn nerd room), and then went outside the room, so I only could hear the bass. I must admit it was hard to hear when the tracks changed, it was a never ending beat over a couple of tracks. One interesting thing is that the starting beat of "Primer" is very similar to the beat of Marilyn Manson's "This is the new shit" from his 'The Golden Age of Grotesque" album. Compare the two and see if you see the same similarites as I do.

Sonik Foundry really delivers 'Explosive', continuing their awesome streak from their previous album. "Intolerance", "Slipping Away", "Fuse", "Obliterate", "Detonate" and "Desolate" will give you a great mixture of more harsh and direct tracks as well some with more melody. You'll both taste the whip and the carrot on this one. I think they get way to less attention than they deserve, and I hope Nilaihah are able to ramp it up, because this is one hell of EBM album that you should not wave to as it pass by.

Reviewed by: Patrik Lindström
Rating: 8/10
30 May 2012

Chain D.L.K.        ^top^
Formerly NJ now Maine based EBM band Sonik Foundry (not to be confused with Sonic Foundry, the media software company; remember Sound Forge and ACID?) came about in 2008, and 'Parish of Redemption' is their second full album release after 'Mechanized' in 2009. 'Parish of Redemption'? Sounds like a gospel album, eh? '¦NOT! No 'Hallelujahs,' 'Amens' or 'Amazing Grace' on this. What you get is fairly standard but solid EBM; competent dark dance music. The band is led by Nikademus, the male half of the band Bow Ever Down. His synth, rhythm and programming cohorts are Malic Acid and Tim Mizerak. Nik's (can I call you Nik? We're all buds in this dark music world to some degree, eh?) vocals are of the intelligible variety, as opposed to the harsh, distorted-to-death kind which is a plus in my book. They're melodic enough but with an edge of menace, so it doesn't spill into the synth-pop/future-pop realm. Somewhere I saw a reviewer saying Nik had a flat-sounding voice. I disagree. Actually, if you took Ozzie Osborn's pipes and mixed it with say, Gary Numan, it wouldn't be far off from what you get here. On the other hand, it's not a terribly powerful voice. Stronger vocals seem to be coming from Malic's occasional shouted/screamed vocal interjections on some tracks. It's an effective and useful contrast though.
As for the music, it is quite serviceable, though not particularly innovative, with above average synth programming. It's hard to be innovative in a genre with the stricture of parameters that EBM has, considering how long it's been around and how many bands have mined the field. You need a fair amount of doom & gloom lyrics, a strong 4-on-the-floor beat, apocalyptic sounding sequenced synth electronics, and heavy bass. As for sticking to this tried 'n true formula, Sonik Foundry do that very well. I can't pick a standout track on 'Parish of Redemption' because there is a great degree of homogeny running throughout most of the album. There ain't no huge hits, and there ain't no dreadful misses, and there wasn't anything that I didn't particularly care for. There is only one track that could be considered balladesque, and that's 'Destiny' where things are slowed down a bit. Reminds me of The Birthday Massacre (sans guitars and Chibi's femme vocals) melodically and in the synth arrangements. This is possibly the nicest change-up on the album. I bet if it was remixed in a duet with Chibi, it would perk up a few ears. If I had to come up with a direct comparison for the band as a whole on this album, I'd say it was the more aggressive aspects of a band like Assemblage 23, and the more thoughtful aspects of a band like Combichrist. (Now there's an analogy for you!)
Two big plusses for this band: No guitars and they do live shows. In fact, they've supported bands on tour such as Ego Likeness, Interface, Uberbyte, Terrorfakt, Unter Null, and of course, Bow Ever Down, and it looks like they'll be touring this summer in the East and Midwest. If you get a chance you should go see them. The album is worth checking out too, especially if you've had a lack of decent new EBM in your life.
id#6444
Review by: Steve Mecca

Grave Concern E-zine        ^top^
Sonik Foundry is the brain child of Nikademus Deflaminis and 'Parish Of Redemption' is Sonik Foundry's 2nd full length release, and their first on Nilaihah Records. It follows the EP 'The Epiphany' which was released in 2010, which helped reinforce Sonik Foundry's position as a rising force in Industrial music. In terms of influence, they describe their sounds as : "In the vein of CombiChrist, Assemblage23, Das Ich, and System Syn" www.sonikfoundry.com. It is safe to say that fans of these acts will definitely find something to enjoy in Sonik Foundry. Combining the dark, malevolent aggression of Combichrist with the catchier hooks of Assemblage 23 and Rotersand, 'Parish Of Redemption' has a lot to offer EBM and Industrial fans that are looking for some music which has some listen-ability beyond the dance-floor. The album is full of big beats and dark and dirty bass grooves, with all the elements that a dance orientated industrial act would need, but they also manage to create tracks that are just as enjoyable to actually listen to outside of the clubs, and this is Sonik Foundry's real strength.Reminiscent of Rotersand in particular, Sonik Foundry are able to refrain from over distorting everything, and yet still maintain an intensity and drive that is a necessity for the club scene. The vocal performance by Nikademus is very strong, relying on a powerful melodic performance instead of the usual heavily distorted vocals that are more typical of the scene, and this adds a refreshing bit of color to the current Industrial Scene. Overall, the production is crisp, and clear, aided by the clarity of the vocals in particular, and the songs are catchy and hook-laden, meaning that this is an album you can leave in the car, or by the stereo, as it has more appeal than just a stomping soundtrack. A very enjoyable listen, and well worth checking out.

Atlantic Industrial Music Examiner        ^top^
Parish of Redemption is the sophomore release of rising act Sonik Foundry and their first album since being signed to famed nilaihah records. The album initially feels like Sonik Foundry wasn’t sure if they wanted to stick with their EBM roots or break into a more aggressive industrial, almost, aggrotech sound. What is delivered is something in between that comes very close to the mark but isn’t quite there. Between Mechanized and this release, the vocals have come to blend better with the beat of the music driving them harder than before. In addition, Sonik Foundry’s distorted but clean and understandable vocals are uniquely refreshing in a musical scene where it’s hard to understand the lyrics sometimes. The music itself has increased in both aggression and tempo, showing solid growth from their first release to this one. Set to release March 28th of 2011 this album will no doubt be well received on the dance floor. The opening track Severance Pay sets an ominous tone which is carried through the song and the rest of the album. There are thirteen tracks in total on the album with Pulse of the Deranged, Vaporize, Darkness Falls, Voices, and Defiance clawing their way to the top demanding to be heard at eardrum shattering volumes. Destiny, track twelve, is an uplifting song about the strength ones significant other provides to carry on. Heart Crusher, track five, felt more like it wanted to be in instrumental. All in all this is a very solid second full length album that will leave you wanting more and wondering what’s next from Sonik Foundry.

Side-line Magazine        ^top^
“Mechanized” marks the first full-length effort by Nikademus, a one-time DJ and producer who founded Hitman Records in 2008. As label owner and someone with years of scene experience, “Mechanized” strikes this reviewer as a well-polished demo that reeks of promise. From the onset of “My Experiment” one is struck by his fluid futurepop vocals as well as its rigid beats and electric arpeggio-work, and one cannot help but think back on Assemblage 23 during their formative years when hearing it and its brethren. Though the similarities are rife, occasionally Sonik Foundry does find their own voice; for example, despite its grim lyrics “Lethal” displays a rather plucky beat atop is burbling synths, while Nikademus’ sing-song cadence veers into delightfully poppy terrain for its chorus. Though Assemblage 23 and others do come to mind, Sonik Foundry’s greatest faults are mostly in its production and a want for a bit more variety instrumentation.
Still, even though the futurepop train long left the station, this project shows quite a bit of potential for breathing new life into that arena!
(VM:7)VM.

ReGen Magazine        ^top^
Musically, the songs on Mechanized, the first album released from Sonik Foundry, the current project of Hitman Records president Nick Deflaminis (aka Nikademus), are pretty typical of the genre: completely inorganic with an abundance of squeaky synths and processed beats designed only to punctuate the exact moment your fist should assault the air. However, once the vocals kick in, you end up with something addictive. Even with a bit of auto-tuning, Nikademus' voice is expressive and captures the listener's attention. The track list is dubious, as it is different from one digital download site to another, but this review is based on the listing provided by Hitman Records. The album starts out very strong with the über-catchy "My Experiment," a song that any mad scientist hated by his evil robot could relate to. "Se7en Sins," with its shouted out list of mortal offenses, is a track that could be ridiculous if it weren't for its crazy sing-a-long-ability and the angry lyrics are actually pretty powerful. Another favorite, "Human Nature" is lyrically simple, but dark and catchy with a screamed chorus of "Genocide! Homicide! Suicide! Cannot hide!"

Mechanized is one of those albums that grows on you pretty quickly. On first listen, it is a typical EBM or futurepop album, but when you allow the vocals and lyrics to sink in, you'll find yourself really getting into it. Fun and full of very danceable songs, this is an album worth owning. One question you may find yourself asking, though, is how a guy from the East Coast began singing with a European accent.

By: Charity VanDeberg
Concert Editor

Grave Concerns Magazine        ^top^
Sonik Foundry is the solo project of Bangor, Maine composer, programmer and singer Nick "Nikademus" Deflaminis, who also plays in Bow Ever Down as well as running the Hitman Records label. A seven-song digital preview of the forthcoming full-length of the same name, this release highlights both his melancholy approach to EBM and his distinctive vocals. Inspired by the more melodic EBM of contemporary acts like Assemblage 23 and VNV Nation, the programming on this album is comparatively simple but clean, with tense bass sequences driving "Alone" and both mechanical and orchestral elements coming together on the bleak "5e7en 51nz." It's Nikademus' voice that really characterizes Sonik Foundry, however; it's romantic but just a little gravelly, calling to mind a harder version of The Psychedelic Furs' Richard Butler or even Peter Gabriel on songs like "My Experiment." That's also why "My Evil" is the one big let-down on this release; while the Auto-Tune and other vocal effects on the song are understated, their mere presence alone is enough to wash out the personality in Nikademus' singing voice. Other than that, however, this is promising stuff, and the official full-length is sure to be even better.

By: Matthew J.

Eclectomatic Ezine        ^top^
I was quite excited on first listening to this album but unfortunately, Mechanized has a short half-life that eventually leaves you with the bitter realisation that, “this could have been so much better!” Most tracks hint at great potential and songs like My Experiment, Mechanized and Deep Inside almost make it, as long as you aren‘t overly intent on listening (analyse and you will despair). Well-programmed sound and decent lyrics are let down by a heavy reliance on vocals that just don’t stretch far enough.

I’m sure Nikademus is a good vocalist but flat and monotonous delivery isn’t enough to carry the album forward when the rest of the arrangement is backed down in deference. There is nothing wrong with a vocally driven album, and in fact; it would be great to hear such concepts brought into the EBM and industrial genres more often, it requires edge and attitude, neither of which Nikademus offers.

While many aspects of Mechanized are solid and occasionally raise the album to high points, for much of the time, weak vocals and suspect arrangement make for a disappointing experience. Is Mechanized worth buying? Is there something magical saving element? Unfortunately, I would say no. There is too much music of similar or better quality offered free under Creative Commons licence. That said all our promising artists (that’s right, if nothing else, Sonik Foundry is promising) are worthy of our support.

Tempelores Magazine        ^top^
Nicademus, the man behind Sonik Foundry, has had a past as a DJ and a project called Cybersonic. Nowadays its via Sonik Foundry that gets his artistic touches out to the world. The album “Mechanized” holds highly danceable and accessible tunes. Expect to a certain catchiness, that captures people easily, bringing the atmosphere of the sound on a good vibe. The brutality is not really upfront nevertheless, there is plenty of depth to hear when focusing more to the story that Sonik Foundry wants to tell. Nicademus seems to speak straight from himself in the most direct way. Album opener “My Experiment” and the fifth song “Alone” seem to be the witnesses to that. Most impressive is the song “Human Nature” that takes grip on you by the lyrics as well as the booming bass that comes through your body when listening with a decent volume. It surely represents the darkest side of Sonik Foundry shown on this album.

Overall, the album is promising and hopeful for the future releases. We suspect a world act out of this here to rise and take the battle with the long established names in the genre. People who enjoy the sounds of Combichrist are recommended to check out Sonik Foundry, for example. Sonik Foundry has the potential to second them in just a few years when continue working like this. 

By: Sabine van Gameren

Lux Atenea        ^top^
Sonik Foundry is the musical project created by Nikademus (Nick Deflaminis) in the style electro-industrial and harsh EBM. After a great experience as a DJ, Nicademus has released its first album entitled "Mechanized" through his label Hitman Records as personal cultural influence in the world of industrial music. Without leaving aside the club vision of his songs, "Mechanized" rough and impressive displays in a distinctly American style of writing where the weight of music technology is much greater and more forceful in the final finish. Of course, "Mechanized" is an album that does not leave you indifferent because their noise impact is brutal and merciless with your senses. But with his club essentially causes a complete surrender to its rhythms and sequences, so the songs on this album should be indispensable in a dark-electro session that prides itself on its quality.

The song "My experiment", shows a sound dimension that expands your senses from the beginning. "Mechanized" title track on this album is more industrial, playing more with the purpose to give a cyberpunk atmosphere, futuristic and dark. Following the same line futuristic enter "My evil", with an aplomb and musical appeal that inevitably traps us with its sinister charm. "Se7en sins" is much more commercial and predictable, but with the song "Alone", will return to the dark-electro essence ruling that came with a projection above and mixed in the right club with industrial action.

"Combine soldiers" will be presented more cyclical and ongoing, "Deep inside" is a musical composition clearly aimed at a dance music, but it is the song "Lethal" that this vision back to their underground and electronic music night, with a vocal presence dominates all the background noise. Before closing this album we find the song "Human Nature" in a technological and futuristic atmosphere absolute while we were involved in a successful new musical dimension harsh-EBM touches. Meanwhile, the depth of his voice will take over our minds in this world virtualized and decadent that will put an end to this album. "Mechanized", an album of songs perfect for a DJ becomes a track in an unforgettable experience. Enjoy!

Lux_Atman

INTERVIEWS:

Cyber-Angels        ^top^

Hi Nikademus, how are you doing?

I'm doing great, The Sonik Foundry project is looking to have a bright future with more and more shows being lined up for this summer and next year.


Can you give us a brief introduction to Sonik Foundry? 

Sonik Foundry is Nikademus Deflaminis, Tim Mizerak, Dan Miller, and Linda Deflaminis.  In the beginning, SF was a solo act, however I have incorporated drummer Daniel Miller, and keyboardist Tim Mizerak, who augment the music and make it all come together.  Officially, in the studio Sonik Foundry is just me, and I write and produce all the music, lyrics, instrumentation, recording and mastering, in my home recording studio at "Hitman Records USA".  My wife Linda Deflaminis is our manager, A&R, booking agent and promoter.  Linda makes it all work and gets us the gigs!


Sonik Foundry is a one person act, why is that?

The project is a one-man managed project, managed by me, however Live, SF is not a one person act.  On stage, SF is assisted by other members -- a drummer and a keyboardist/guitarist.  Up in Maine it is difficult to find local musicians that are into the scene, not to mention the population is very sparse and most musicians that are available up here are seasoned in southern rock or country music, so it is hard to find anyone that is really into it.  Luckily, I met up with college friend and former Californian, Dan Miller, and asked him if he would like to play drums for me.  Dan plays a very unique rig that I have designed for him. It is a stand-up array of electronic trigger pads that are mounted on BOTH sides of a tubular "A" frame stand.  It’s is what I like to call, "The Tandrum" set, where two drummers (Me and Dan) play the drums head to head, facing each other complementing each others rhythms.  It is -- as far as I know – unseen anywhere else, and it has been dubbed sort of a trademark for the Sonik Foundry project.  This rig debuted at the Electronic Saviors Benefit Concert and CD release party at Jaxx Nightclub in Springfield, Virginia February 28th 2010.  About 5 months ago, Tim Mizerak joined the band as keyboardist, guitarist and track management.  Tim is from Albany, and found me from an ad posted in Craig’s List.  He travels 6 hours to the studio at least once a month for weekend rehearsals.  Now that's dedication! 


Do you prefer to work alone or are you hard to get along with?

No, I don’t prefer to work alone.  I like to have great friends around me, and a great team.  Although on occasion,  I do drive them a little crazy sometimes being the micromanaging anal-retentive perfectionist… lol.  But by the end of the day were all good.

Sonik Foundry

Music already played a big role in your life at a very young age, can you tell us more about childhood and what music meant for you?

Music was always in my life, it was my first true passion, driven by a musical-orientated family.  My father was a booking agent in NJ from around 1970 to 1992,  and owned and operated a booking agency named “Johnny Flame Productions”.  Between the years 1980 and 1992, I was a mobile DJ (Funny how everyone’s a DJ these days), and a resident DJ at a few small clubs in NJ and in NY where I spun mostly Techno, Trance, Freestyle, House, and bands like “Information Society” -- Mostly music from “Mic Mac” and “Cutting Records” labels.

During this same time, I was going to Devry Technical Institute to learn a computer trade to provide myself and my new family, a decent lifestyle, and took a job as a network administrator with Federal Express Corporation.


Between 1992 and 1994 you worked on an electronic project called Cybersonic, can we see that as the early form of Sonik Foundry or was it entirely different?

Cybersonic was quite different and was a mash-up of many popular genres of the time.  It had so many cultural elements.  Growing up in the middle of NJ and moving 16 times during my upbringing, exposed me to different lifestyles -- from rural, to suburbs, to urban, to farmland, you name it, I lived it.  I have influences in almost all music genres from house, freestyle, and club music -- to rock, techno, metal, punk rock, speed metal, classical, trance, Synth-pop, Goa, Hip Hop, Rap, and Pop.  I play 5 instruments fluently from percussion, to stringed, to electronic. I grew up in both wealthy and poor communities with Hispanic, Caucasian, and Afro-American people living most of my childhood in the South Amboy / Perth Amboy NJ area in the US.  I had really good friendships with people that were wealthy, as well as poor.  I was good friends with people from all walks of life, and from different ethnic groups.  I've been up and down and side to side.  My growing up was very complicated.

Also being a DJ in the Club/Freestyle period,  I listened to Bass music as well, you know those days when Bass was hot, and every kid on the block had a boomin' system?  During the production of Cybersonic, I was into Bass, D&B, and bands like Prodigy and the like.  So, I mashed up these genres with an 80s feel and singing style.  I had the tenancy to outgrow cultures and change and have made so many drastic lifestyle changes with culture and music,  I went through about 5 different cultures and stereotypes in my youth from Head-banger to Skin-Head (NOT the supremest type -- I treat everyone and respect everyone equally) to Punk, to Guido(I can say that because I'm Italian), to Geek, to Freak, to average, and back around again having wore really off-the-wall cloths at some points in my life, to having more hair styles then Ru-Paul.


Between 1994 and 2008 you took a long break from music, did you really quit with music and what did you do in that period?

When my father passed, and when I had my second child, I switched gears again in my life and took a break from music to concentrate fully on my family and to be more of a father and husband.  I had no real time for music at that time and gained interest in a normal wholesome Americana lifestyle.  I continued to work as a network Administrator at Fedex.  I grew my career as a network administrator for 15 years and have acquired several certifications in different computer networking fields.  Later when I reopened my studio I started back up again and with the advent of My-space and Facebook, I was able to reach thousands.  Also, with a real strong computer background, and with trouble-free music production using Apple hardware and software,  A dream became a reality for me!


What made you pick up music again in 2008, was it hard to start all over again?

In 1999, I left everything behind and moved to Maine and landed a job with Husson College and the New England School of Communications.  Having met a few friends at work that run a recording studio over at NESCOM, I got started with the idea of having a studio again, so i rekindled the fires, started planning, built the studio in my basement, and things progressed from there.  When I was complete, I reopened the Studio and started advertising.  I got many new customers and recorded some nice stuff for the local scene.  At some point after, I was inclined to create some new stuff of my own with all the new fancy gear.  So it all started back up again and Sonik Foundry was born.

Eventually I got tuned in with the studio clique from friends of mine that had studios, and by spending many sessions in them -- with friends like John Mulrennen at Acorn Digital in Farmington NJ, and with Randy Spencer at His studio in Holden, Maine, and with all the recommended books, and learning the ins and outs of record labels working with Kristy Venrick of The Azoic and Nilaihah Records, combined with some very good advice from the bands that frequented my studio, I was destined.

It was not hard, it was actually easier due to today's technology with networking sites like Myspace, and now Facebook.  All was great,  making music, meeting new people, distribution and web marketing, everything was so much easier!  Meanwhile Linda was studying Music Business and becoming more educated on how the business worked, from negotiating, to contracts and riders, to booking and the do's and don'ts.  She is my adviser, my headlight.  Shes my leader, my guide, my coach, and i would not be as far as i am today if it weren't for her communication skills and advise. She is to me what Sharon is to Ozzy.

Sonik Foundry

In the meantime a lot had changed in making music, new hardware, new music styles, what changes were important for you?

The sequencer and arraignment software, the "DAW" and its ease of use compared to what i had to work with back then is way better by 10-fold.  The technology certainly has gotten to the point where anyone with an artistic ability could make music quickly -- and so inexpensively!  What used to cost hundreds of thousands of dollars, could now be done with a few grand!  Man!, back then when producing Cybersonic, it cost me $1200 for a friggin 4X CD burner!!!, and was using Orchestrator Plus, hardly a professional program.  I'm sorry that i missed the peak of the industrial era though as people say that this is now a dying scene and culture.  No regrets though, I love my wife and kids, and had many great times with them with many to come.  I don't know what I would do without them.


You just released your album Mechanized, how are the comments on it so far?

We have had great reception with the release.  ReGen magazine, Grave Concerns Ezine, and a few others wrote rave reviews on the CD, and many DJs have reported great success at the clubs and radio shows!


Most people plan things before recording an album, sometimes all goes smoothly but sometimes things happen, lost files, viruses on software, lost data and such things. Did any of such things occur to you when making the album or did it all run smoothly?

I don't plan the music or write entire songs before setting foot in the studio.  Most of my music gets created on the fly, on a whim, a thought that comes to me as fast as it goes. Like an artist, I gather and recall my thoughts and sit in front of my canvas with my paint and ponder on different things to paint right there on the fly, or as a musician add sounds to my arrangement that had come to me.  For me, music comes in a thought process that is short lived.  I get a thought of a melody in my head, get whole songs in my head while driving mostly and at that very moment, take out my blackberry and make an audio recording of my idea and hum the melody or sing what is on my mind as the epiphanies come.  I go through the audio notes to recall my memory of the songs or sounds that appealed to me that popped into thought.  I then start "painting my canvas".  Once a bass line and a beat is down, I build on that and add instruments of complementing melodies, effects, and other elements that complete the song.  Nothing serious has ever occurred like losing the song or anything, I keep good backups having a computer background -- things have been smooth thus far -- knock on wood, after all I use an Apple lol.  I used to use a PC and had issues constantly, which is probably one of the reasons why I never went back to making music till now being able to afford a mac computer and all the software.


I hear an Assemblage 23 influence, you also did a remix of “spark” of Assemblage 23, is it one of your inspiration sources? What are others?

Yes, Tom Shear is a good friend of mine and I'm also a fan.  His music, as well as many other groups and individuals such as Depeche Mode, VNV Nation, Colony5, Combichist, Das Ich, Trent Reznor, Nine Inch Nails, Devo, and Information Society(I used to be friends with Kurt Harland of Insoc way back, and he had given me many of my first tips on audio software back in the early 90's) among others, have played an influential part in helping create of some of my musical styles.

You just sent us a new track, called "The Wakening", which shows a lot of progress. Do you agree on this and what progress are you planning to make yourself?

The Wakening is a sample of whats next with Sonik Foundry, it will be on the new EP releasing this summer. As the project matures, and as i learn more and more with the software and gear, different elements and sounds will become more sophisticated as will the quality and style of the programing.  It has been many moons since i programmed and now im starting to get comfortable with a signature sound that i think will set Sonik Foundry into the higher ranks.  As I become more educated with the capabilities of my gear and software and come to the point where I can produce the same exact sounds and melodies that are in my brain verbatim, then i think that will be the peak of my artistic ability and this project.  It is going to take time for my programing chops with the new software to catch up with my warped mind. lol, but when it does, watch out, it will be scary, it will make you laugh, it will make you cry, it will take you on an emotional roller coaster ride and sonic journey!


The album is released on Hitman Records which is your own label, why did you decide to release the album on your own label? What is the hardest thing to do in representing your own band as a label president as well?

The main reason I released my music under my own label is the same reason why other's do such as The Azoic to Nilaihah.  You cut out a lot of middle ground, cost, royalty issues, contract issues and such. you have better control.  Another reason is I did not have to wait for a label or focus energy on trying to get on another label enabling me to concentrate on the music, which is my deal,  the label and all the business "Stuff" is Linda.   Having my own recording studio, why pay for another studio and label when I can create, market and distribute myself.  Also it is a home based business so I don't have the overhead of other labels and studios and can choose to make it grow or pull the plug at any given time if needed.  I have full control over what happens with the project weather I put in a little time or a lot, is up to me, if it fails, then the label fails but I don't think I have it in me to fire myself. haha!.   There is good and bad in self-signing your own band.  First off, it is kinda biased, why would I not sign my own band, right?... lol.  However if I did not think SF was good enough for another label, I would not produce under my own because if the project sucked, so would my label and the other bands that the label represented or planed to represent would suffer from that reputation and the label as well as the bands would falter.

Sonik Foundry

You did some live shows already, how did they go?

Every time I do a show they seem to get significantly better then the last by a significant amount.  Thus far -- so far, so good! With unprecedented turnouts every time.  My last show at Darq in Salem Massachusetts on April 24th 2010 was amazing.  The crowd was very receptive and extremely satisfied with the show. The place was packed to capacity and the dance floor was completely full!  Many VIPs were present such as DJ Annabel Evil, DJ and representative of Vampire Freaks, Amy Black from Plague, Anderson Mar of Dark Sky Productions, Linda Deflaminis from Hitman Records, as well as Ibeus LaCroix from Carpe Nocturne Magazine were all there amongst the audience to see the show and Linda and I have received many thanks and mentions of being very impressed from some very important people! That was a very exciting thing to hear! DJ Anabel Evil, approached me and said she was very Impressed, and others said that for someone that has started not too long ago, performs like a seasoned performer!  That is because I do it for fun, and not for work, work, work!  As soon as music becomes work, for me, it is no longer enjoyable and that shows in the performance.  Music is in my soul, and even though i still consider it my hobby, its a labor of love that pays in more ways then money.   and having the support I get from my wife, makes it all more worth while.  Linda networked like nobody's business that night... hahah!  Thank you babes!


What is the secret to keep live shows interesting for people to watch?

Well if I tell you, it wouldn't be a secret anymore would it... lol, or shall I say that "Foghedaboutdit... I could tell ya, but id have to kill ya, capise?"... lol, J/K.  Having a new thing and a new experience every time you perform.  Never let your routine get stale and played out.  Do something out of the norm, surprise your audience with something never done before, something new!


I know you want to introduce fire breathing into your live shows, why haven’t you done it so far?

HAHAHA!  Did Linda put you up to that one... lol.  When I was younger and in my jackass years, I had an old "Parlor Trick" I used to amaze my friends with around the campfire.  I used to spit like these 10-foot fire plumes from my face -- not something I would ever do indoors or in close proximity of others now.  Too many liabilities, its dangerous, someone could get seriously burned,  besides it has been done before.  I cant see it unless someone takes a picture as i am doing it, but once someone told me I spit out such a long flame, it crossed the entire street. lol  I do have some pictures somewhere of smaller ones, if I ever find them, I will post them up on my FB or whatever we would be using for social networking at that time.


What will be next for Sonik Foundry?

You will just have to find out, as far as performance surprises go -- however we have a new EP due for release this summer. I'm going to try to have it out by June 18th if possible for my next show at Plague (the Asylum) in Portlland Maine.  It will include a few new tunes and a few remixes.


Any last words for our readers?

Yes.  Stand your ground. Don't give up fighting for your cause and what you believe in, you will prevail in the end. Be good to your spouse and your mom, your mother gives you life and your spouse sustains it.

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Regen Magazine ^top^

Another collection of gyrating electro/EBM from the top DJ in the scene, making for a thoroughly enjoyable and danceable mix. In the electro/industrial scene, DJs seem to be as revered as the artists they spin, and while some may see this as dubious at best when considering that a large number of them demonstrate virtually no musical ability beyond mixing and beat-matching, there are several that incorporate a degree of craftsmanship in their sets. End: The DJ is one such individual having in the last several years released the highly acclaimed The Chrome Elemental, becoming DJList.com's Top Industrial DJ, and now a partner of Sebastian R. Komor's Xenomorph Productions, performing live with his Komor Kommando project.


With Endtrovert, End: The DJ continues his reign as the premier spinmeister in the electro/industrial music scene. From beginning to end, this album is a hard-hitting onslaught of EBM and modern industrial dance that is sure to keep your feet stomping and your fists waving, maintaining a constant four-on-the-floor thump that is guaranteed to please club-goers, although some tracks like Erektor's "Fear Generator" do off a bit of a break or shuffle to break the monotony.


Where Endtrovert really shines is in the selection of music, running the gamut from the caustic textures of such tracks as Uberbyte's "Almighty & Relentless," Stahlnebel & Black Selket's "Angels & Demons," and Centhron's "WK III" to the more melodic and almost trancelike ambience of Souless Affection's "Soul Collector" and "Subconscious Overdrive" by Ground to Dust, featuring a soaring female vocal lead that gives the track an almost rave feel.


The more melodic aspects of the set culminate in "Possession" by Angels on Acid as the band presents an infectious mix of psy-trance and terror EBM, making for perhaps the catchiest track on the album. Of course, with this club-oriented style so prevalent in the scene, Endtrovert hardly presents the listener with anything that will stand out as particularly groundbreaking, but that's obviously not the intention here; rather that End: The DJ would present us with an energetic and well produced DJ set that stands as proof of his excellence with his craft and deliver us to the dance floor. In that, it succeeds admirably. --Ilker Yücel, Regen Magazine

Reflections of Darkness ^top^

Breaking down boundaries in the Electronic music fields on dance floors while promoting the best independent artists is what motivates END to tour each year since 2006. END has opened for such artists as PANZER AG, ASSEMBLAGE 23, FGFC820, and THE CRÜXSHADOWS. He is a resident DJ at clubs in Ohio, North Carolina & Tennessee and he featured DJ at 2010's Kinetic Festival, which would most of the German readers. END: the DJ is known for his DJ sets in the harsh EBM, Rhythmic Noise, Hardstyle & Industrial Dance Genres. And this is in fact what this sampler sounds like. The nice combination of various artists and some well-done remixes offers compatible sounds for everyone who likes pushing beats and melodic synths. --Janine Szakacs, Reflection of Darkness

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