Sonik Foundry Reviews and Interviews
- Jeremy Davey - COMA Music Magazine
- Side-Line Music Magazine
- Ilker Yücel - ReGen Magazine
- Patrik Lindström - Brutal Resonance
- Christopher Todd Moak - Wicked Spins Radio
The Ephiphany - EP 2010
Not released for review
Mechanized - CD 2009
- Side Line Magazine
- ReGen Magazine
- Grave Concerns Magazine
- Eclectomatic Ezine
- Tempelores Magazine
- Lux Atenea Webzine (English)
- Lux Atenea Webzine(Español)
INTERVIEWS
Jeremy Davey - COMA Music Magazine <Website> ^top^
Where should I begin? Do I start by telling you that Explosive is probably the best release I’ve heard as of late? How about the fact that I’m ashamed of myself because Sonik Foundry has been around since 2007 and this is the first time I’ve heard them? Maybe I should start by heaping adulation upon Sonik Foundry’s main man, Nikademus, for the sheer amount of variety he’s managed to pound (literally) into this album without ever losing the overall cohesiveness? Fuck it. I’ll just ramble semi-coherently about how stellar this album is.
From the dubstep-like bass drops (which, let’s face it, are the coolest parts of any dubstep song), razor sharp synth lines, and pounding, danceable beats to the darkly toned orchestrations, overall sinister post-apocalyptic atmospherics, and excellent vocal performances, Nikademus has used his Sonik Foundry to combine the ingredients for an obliterating amalgam of electro/EBM aural assault that refuses to show the listener any semblance of mercy. The best part is that he does all of this without resorting to the hyper-distorted vocal shtick that is still way more popular than it should be. He also keeps, at the very least, a modicum of melody, even in the most aggressive songs on this album. Oh yeah, and there are also the catchy choruses that stick in your head like someone shot them at you with a nailgun.
When it comes to individual songs that really stand out, it is almost impossible to choose any. It isn’t because they all sound the same; that statement couldn’t be farther from the truth. It’s because every song on Explosive could easily be a single. Not once did I feel the urge to skip to the next track. I will say, however, that I borderline obsessed over the change-up in vocal style at the 2:50 mark of “Pleasure And Pain.” Yeah, it’s pretty killer, which says a lot when it’s on an album that is majorly kickass already. If this album doesn’t show up on an abundance of “top 10” lists at the end of the year, I may just lose faith in humanity’s musical tastes. Do yourself a HUGE favor and pick up Sonik Foundry’s Explosive. If it disappoints you, then just punch yourself in the face and see if that helps.
Track Listing:
1. Beat it Down
2. Intolerance
3. Slipping Away
4. Primer
5. Fuse
6. Obliterate
7. Fusion
8. Detonate
9. Pleasure And Pain
10. Desolate
11. Fallen
12. Perception Of Hate
13. Terra
14. Fuse (Assemblage 23 Remix)
15. Slipping Away (00tz 00tz Remix)
16. Severance Pay (SINthetik Messiah Remix)
Download Explosive from Amazon MP3
Side-Line Music Magazine - EXPLOSIVE <Website> ^top^
I was already convinced and conquered by the previous album “Parish Of Redemption” by Sonik Foundry, but this new CD surpasses my expectations.
“Explosive” seems like announcing the re-birth of this band. While I really enjoyed the previous work, I think Sonic Foundry still was in the imaginary grip of their influences. “Explosive” sounds more personal, like the accomplishment in the quest of finding their own sound. The style of music remains pretty EBM. The album is dominated by impressive leads. Sonik Foundry are masters in the writing of heavy, carrying leads. The only little regret I have is that most of these leads are quite similar in sound making the songs sounding a bit too similar. But it doesn’t really hurt when it’s kicking don’t you think?
“Explosive” totally stands for its content. We’re getting a non-stop number of cool songs. From start to finish, Sonik Foundry moves into pure and powerful body music. No time for an intro, but the impact of a sonic bomb that directly comes to explode in your ears. It’s impossible to give you all the songs, but there’s especially one that caught my attention as the absolute hit. I’m referring to “Fuse”. This is pure power and pure joy!
This song also brings me to speak about the unavoidable last part of the album featuring 3 remixes. Assemblage 23 did a noticeable and more future-pop/VNV Nation remix of “Fuse”. I especially enjoyed seeing an artist like Tom Shear remixing this band.
“Explosive” stands for the total accomplishment of Sonik Foundry’s work. This is the kind of album a band might be proud of!
(DP:8/9)DP.
Band: www.sonikfoundry.com /www.myspace.com/sonikfoundry /http://www.facebook.com/SonikFoundryOfficial
Label: www.nilaihah.com / www.myspace.com/nilaihahrecords /www.facebook.com/Nilaihah
Ilker Yücel - ReGen Magazine <Website> ^top^
The scratchy sound of vinyl or radio static enters with a distorted synth bass line, eventually clearing up to a pulsating beat and darkened, forceful vocals, and so “Beat It Down” begins the fourth release from New England’s Sonik Foundry. Explosive does well to live up to its title as Sonik Foundry presents a refined sense of musical polish and tight production that places the band on par with the genre’s greats. Along with Nikademus’s healthy balance of grit and melody, and it makes for an appealing mix that will surely send many running for the dance floor and a few listening beyond the simplicity of the beats.
While Sonik Foundry’s sound may not offer much that hasn’t been heard of before in EBM/electro, Nikademus and company present a strong set of songs full of searing synth leads and catchy bass lines that could rival the heaviest hitters in the scene. The acidic textures along with the assertive and distorted vocals of “Slipping Away” giving way to a pleasantly melodic chorus, as well as the pumping beats and infectious arpeggios of “Fuse” could both easily stand up to Combichrist, while the caustic and rubbery bass lines and minor breakbeats of “Primer” bear a semblance to dubstep if given an EBM makeover. Some songs like “Fusion” and “Desolate” are slightly more monotonic with very little variation in chord structure or melody; perfect for lovers of acerbic electro along the lines of Suicide Commando, but aside from the occasional chorus progression stay locked in a continuous mode unbefitting for deeper listening. Even on the more tuneful tracks like “Obliterate” with its slithering dive bomb synth bass and “Fallen” with Nikademus’ fusing of dark melody and distorted screams, or even the throbbing bass and beats topped off by raspy vocals that beckon listeners to wave their fists and shout along, there is a rather formulaic approach to the music. However, this is part of Sonik Foundry’s appeal – the band’s ability to present a simple but powerful brand of electro that is uncompromisingly catchy and enjoyable.
Closing Explosive out is three remixes, with Assemblage 23′s Tom Shear putting his unmistakable signature sense of pop hooks and synthesized melody on “Fuse,” making for a wonderful complement that may surpass the original version. In a similar fashion, 00tz 00tz infuse “Slipping Away” with some entrancing arpeggios and a subtle dash of harmonic manipulation on Nikademus’ voice to make for an interesting remix, while SINthetik Messiah offer up a remix of “Severance Pay,” a track originally featured on the previous album, Parish of Redemption. Once again, a dubstep influence is heard in this track as wobbly synths and frantic arrangements that are sure to confound and excite the listener abound to bring the album to an appropriately Explosive conclusion. Overall, Sonik Foundry clearly loves what they do, and they do it rather well. With a select palette of tones and patches at play, hearing much of the same sounds throughout Explosive can become just a little trying on the listener, but again, the strength of the songs and the sheen of the production make it a powerful and satisfying listen.
Track list:
1. Beat It Down
2. Intolerance
3. Slipping Away
4. Primer
5. Fuse
6. Obliterate
7. Fusion
8. Detonate
9. Pleasure and Pain
10. Desolate
11. Fallen
12. Perception of Hate
13. Terra
14. Fuse (Assemblage 23 Remix)
15. Slipping Away (00tz 00tz Remix)
16. Severance Pay (SINthetik Messiah RMX)
Sonik Foundry Website http://www.sonikfoundry.com
Sonik Foundry MySpace http://www.myspace.com/sonikfoundry
Sonik Foundry Facebook https://www.facebook.com/SonikFoundryOfficial
Sonik Foundry Twitter https://twitter.com/SonikFoundry
Nilaihah Records Website http://www.nilaihah.com
Nilaihah Records MySpace http://www.myspace.com/nilaihahrecords
Nilaihah Records Facebook https://www.facebook.com/Nilaihah
Nilaihah Records Twitter http://twitter.com/nilaihahrecords
Purchase at:
Amazon CD
Amazon MP3
CDBaby
2012-05-25
Ilker Yücel (Ilker81x)
Patrik Lindstrom - Brutal Resonance - EXPLOSIVE <Website> ^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 similarities 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.
Christopher Todd Moak - Wicked Spins Radio <Website> ^top^
The opening track, Beat It Down, was born for the dance floor. It’s stomping’ beats and aggressive vocals dare you to get up and bust a move. All DJ’s must make this part of their arsenal. This track will grab you by the ears and make you shake that arse of yours. I can’t say enough about this track to give it justice. You just have to experience it for yourself.
The whole album is cohesive. Every track is “Explosive.” The highlights for me are Slipping Away & Detonate. I think these 2 tracks stand out from the rest and are hits in their own right.
Now for the remixes, A23 is of course a good one but my favorites is the OOtz OOtz remix. SINthetik Messiah does a great job as well with a little taste of dubstep.
The only criticisms I have are the vocals. While the style and sound are great, I would keep evolving the vocals. Keep being innovative & always keep looking forward is my advice.
The overall experience I got was a good one. I can’t wait to see what the future holds for this band!
Review by Christopher Todd Moak
Side-Line Music Magazine - Parish Of Redemption <Website> ^top^
After the debut-CD “Mechanized” and the EP “Epiphany” both released on Hitman Records this American band set up by Nikademus (previously involved in Bow Ever Down) signed to Nilaihah Records. “Parish Of Redemption” sounds definitely harder that the previous album and is a cool piece of EBM.
The songs are all powerful EBM tracks where influences ofLeather Strip, And One and the more sophisticated Komor Kommando are merging together. Sonik Foundry has seriously improved their global production gaining a unique sound identity. This is not the kind of cheap and cliché EBM composition, but well-crafted songs. Several songs reveal a more complex writing while some technoid elements were added on top. I’m referring to “Pulse Of The Deranged” and “Recluse”. I’m also recommending “Severance Pray”, which is a powerful opener, “Poison” for the little And One touch, “Corrode” moving back into muscled EBM, “Vaporize” for the typical Leather Strip bass lineand “Voices” for being a great dance floor piece. Nikademus was assisted by live members, but he seems to keep total control for the writing and vocals as well. The vocals are quite alluring and perfectly fit to the sound.
“Parish Of Redemption” is an accomplished EBM release that will possibly put Sonik Foundry on the EBM map.
(DP:8)DP.
Band: www.sonikfoundry.com / www.facebook.com/sonikfoundryofficial
Label: www.nilaihah.com / www.myspace.com/nilaihahrecords
Steve Fearon - Grave Concerns Ezine <Website> ^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.
Check here for some previews of the tracks: http://www.reverbnation.com/sonikfoundry
Recommended Listens - "Poison" & "Pulse Of The Deranged"
8/10
Patrik Lindström - Brutal Resonance ^top^
Sonik Foundry is a pretty new act in the EBM scene. They released their debut album ‘Mechanized’ on their own label Hitman Records back in 2009 before they got picked up by Nilaihah Records and released their second album, ‘Parish of Redemption’, just a few weeks ago.
I really approve of Sonik Foundry’s song structure where they mix real singing with just a tiny bit of screaming. What they do right is that they don’t overuse the screaming like many bands do these days. That only makes the entire song sound like a rabid teenager with anger problems. Instead, these guys depend on true, quite aggressive, singing vocals until the chorus where the aggressiveness really blooms out. Making the entire verse build up to a chorus climax.
To accompany the singing is some hard pounding EBM. I would not say that it is Aggrotech, I would more say that bands like [:SITD:] would be a preferred comparison. Straight forward modern EBM.
There are a lot of things Sonik Foundry does right. The vocals are clean and solid, but sometimes I get the feeling that some effects have been added to help the singer keep hitting the right notes. I would not say that the music or melodies are extraordinary, but every now and then some great melodies shine through. To really reach the top, I only think that some polish is needed to be done. It’s not even an unpolished diamond, it just needs some waxing. Nilaihah Records did the right thing.
But don’t take my word for it, check out tracks like “Poison”, “Corrode”, “Heart Crusher”, “Darkness Falls” and top it all off with the two best tracks of the album, “Waiting” and “Voices”. If they don’t give you a great feeling, there’s something wrong with you, yeah, seriously.
Patrik Lindström
26 Apr 2011
Direct link: http://www.brutalresonance.com/viewreview.php?id=979
Kane McVickar - Atlanta 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.
Direct Link: http://www.examiner.com/industrial-music-in-atlanta/will-sonik-foundry-s-parish-provide-redemption-review
Parish of Redemption can be ordered Here
Follow Sonik Foundry on their Facebook page: http://www.facebook.com/SonikFoundryofficial
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 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 "Nikademus", 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^
Nikademus, 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 Webzine(English) ^top^
Sonik Foundry is the musical project created by Nikademus 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
Lux Atenea Webzine(en español) ^arriba^
Sonik Foundry es el proyecto musical creado por Nicademus dentro del estilo electro industrial y harsh-EBM. Tras una gran experiencia como DJ, Nicademus ha publicado su primer álbum, titulado “Mechanized”, a través de su sello Hitman Records como proyección cultural personal dentro del mundo de la música industrial. Sin haber dejado a un lado la visión club de sus canciones, “Mechanized” se muestra áspera e impactante dentro de un estilo claramente norteamericano de componer donde el peso de la tecnología musical es mucho mayor y más contundente en el acabado final. Desde luego, “Mechanized” es un disco que no te deja indiferente porque su impacto sonoro es brutal e inmisericorde con tus sentidos. Pero con su esencia club provoca una entrega absoluta a sus cadencias y secuencias, por lo que las canciones de este álbum deberían ser imprescindibles en una sesión dark-electro que se precie por su calidad.
“My experiment”, mostrándose con una dimensión sonora que expande tus sentidos desde el principio. “Mechanized”, canción que da título a este disco, es más industrial, jugando mucho más con los efectos para dar una atmósfera cyberpunk, futurista y oscura. Siguiendo esa misma línea futurista entramos en “My evil”, con una contundencia y un atractivo musical que irremediablemente nos atrapa con su siniestro embrujo. “Se7en sins” es mucho más comercial y previsible, pero con la canción “Alone”, retornaremos a esa esencia dark-electro que venía reinando anteriormente y con una proyección club mezclada en su justa medida con lo industrial.
“Combine soldiers” se presentará más cíclica y constante, “Deep inside” tiene una composición musical claramente destinada a una pista de baile comercial, pero será la canción “Lethal” la que devuelva esa visión underground y nocturna a su música electrónica, con una presencia vocal dominando todo el trasfondo sonoro. Dando cierre a este álbum nos encontraremos con la canción “Human nature”, en una atmósfera tecnológica y futurista absoluta mientras quedamos envueltos en una nueva dimensión musical con acertados toques harsh-EBM. Mientras tanto, la profundidad de su voz se apoderará de nuestra mente en este mundo virtualizado y decadente que pondrá el punto y final a este disco. “Mechanized”, un álbum con canciones perfectas para que un DJ convierta una pista en una experiencia inolvidable. ¡¡¡Disfrútenlo!!!
Lux_Atman
INTERVIEWS:
P. James - Vampire Freaks <Website> ^top^
Sonik Foundry is a project that both exemplifies and carries the torch of futurepop to new heights and conclusions. With the release of Parish of Redemption on Nilaihah Records, Sonik Foundry has begun to solidify their position as an up and coming artist both to be believed in and listened to with rapt attention. From the humble beginnings as a side project of Bow Ever Down, the sound of Sonik Foundry has come into a life of its own earning both respect and numerous fans. The album Mechanized clued many fans of acts such as Assemblage 23 and VNV Nation in to a new progressive sound. Now, with Parish of Redemption gone to print and mass release on March 28th, we caught up with Nikademus to discuss the noise, his personal take on the history of the genre, and his process of creation.
Greetings. Thanks for taking time out to talk with us today. I understand we’re reaching you at a very busy time on the eve of the release of your sophomore album, Parish of Redemption.
I first want to start out with discussing CD release parties. Of course, with the release of Parish of Redemption, I imagine there’s going to be a lot of clubbing going on. Do you get down and boogie or do you prefer to mingle at these sorts of events?
Nik: For the most part, I prefer to mingle. However I do get down on the floor depending on the band or song, or if I’m coerced enough (lol) -- but sure -- I do occasionally hit the dance-floor, as for me, it’s all about fun and good times, meeting new friends and fans, and enjoying life!
The album is fabulous by the way. I’ve been taking a listen to the album and it’s incredibly danceable. As a club-goer myself, this album has an insane amount of promise to get my boots stomping. In general, can you share with us your feelings on the club scene and what inspires you to create this range of club rhythms?
Nik: Thank you, Patrick. I’m glad you like the new album.
Some say that the Industrial-EBM scene is a dying scene. I feel that the scene is simply in a state of flux at the moment, and is at a state of transition; influenced by a need for change -- to bring new life to the scene -- to ensure its existence. Times “are” changing. That is a fact, not because I say this, but because trends change as time goes on -- it’s human nature. To me, the music scene is like an ever-rotating water wheel that accumulates new styles and influences from its aqueduct as era’s repeat over and over. History does repeat itself, but becomes slightly different each time around. This is why I think an 80’s type of music is on its way back into the scene. Almost out of nowhere, we see that many “80’s” artists like Duran Duran are breathing new life into the club scene. Another big influence in the scene and the type of music being produced stems from the rapid growth of technology and recent economical pitfalls. In general, I don't think the scene is dying at all. I just think the club scene needs some change -- a new flavor of EBM -- and I thought that I could help usher in a new era with the type of music I’m producing.
Being born into a life of music, as my father owned and operated his own booking agency, I was heavily into music and 90’s Techno and club music, and had been an adult contemporary DJ since 1980, spinning the likes of MicMac and Cutting Records artists in NJ and NY -- so I’m sure that much of my range of club rhythms stem from my experience as a DJ – I’ve always had a true passion for music that promotes body movement, and what better way to move a body than with EBM with a heavy dance influence, serrated-edged techno synth-lines, with both clean and distorted vocals. 
You’ve shown a true talent for aggressive EBM, many have likened your last album Mechanized to the likes of Assemblage 23 and numerous other futurepop acts. As one who has definitely found themselves in the ranking, can you talk with us for a moment about futurepop and the evolution of EBM? As both a label manager for Hitman and as a contributor to Nilaihah and Alfa Matrix (both as Sonik Foundry and Bow Ever Down), what do you see regarding the future of the genre?
Nik: Thank you for your recognition, Patrick. In a nutshell, it is my understanding that future-pop and EBM originated from the late 1970’s and 1980’s, as many underground 80’s “NewWave” bands surfaced and shined with a hit song or two in the mainstream scene for short period of time, then rapidly fell back to earth into the underground scene once again with nothing. These are known as the “One Hit Wonders”, and there was a lot of this going on during the 80’s. This caused much resentment from these bands towards the mainstream, spinning off the birth of EBM. This is where I think the term “Fuck The Mainstream” comes from. Take, for instance, Blondie, who I believe was one of the bands that had introduced the underground scene to mainstream. However, one band has seemed to have an immunity to this trend: Depeche Mode. Depeche Mode, standing the test of time, has been a huge influence in much of the EBM we have today. You can hear influences of DM in almost every flavor of Synthpop EBM. On the other hand, the forefather of Industrial, Trent Reznor of Nine Inch Nails, has also been a huge influence in much of the harsh industrial we have today. On the rebellious side of underground, -- known as Punk Rock -- perhaps bands like The Ramones, The Dead Kennedys, and the Sex Pistols, may had played a significant role in Influencing the scene as well. One band we all know, KMFDM, has created a unique sound that was different altogether, having several influences across the spectrum, like many of the bands I mentioned above, and with Sascha, simply being tired of the same music he was forced to listen to.
What I think about the future of the genre; time, technology, and the need for new types of sounds will evolve the genre, as it happening right now. There may be spinoff sub-genres, or EBM may be called something different altogether. As I previously stated, I think the scene needs a new flavor of sound to breathe new life into the scene, and I think Sonik Foundry and Bow Ever Down are prepared to deliver these two types of EBM.
Going back to the new album, I find it to be well crafted, with vocals uncompromised by distortion and obtrusive ‘harshness’. In a way, I’ve tried to describe the vocals in the same manner I’ve talked about the vocals of Ronan Harris, Tom Shear, or Andylab of Syrian: like water – flowing and full. I hear this distinct quality in numerous futurepop/EBM artists. Forgiving my zen haiku moment, can you talk about your choice in vocal range and style? What made you choose this particular style?
Nik: Many of my influences are bands that sing with clean vocals. Clean vocals are easier to understand, thus making it easier to convey my message. I wanted to put as much effort into the melody of my lyrics as I did the music, which I feel is a quality like no other. To me, clean melodic vocals sound more heart-felt, and I believe I can convey powerful emotion with clean vocals, just as much, if not more than with distorted vocals; that is why I decided to employ both. With Malic Acid and his distorted screams coupled with my clean vocals, I think we have created a diverse sound that will be enjoyed by both Synthpop fans, as well as the rivet-head and Industrial fans; widening our fanbase.
I’m drawn to the lyrics of “Darkness Falls”. There is a lot to digest in these lyrics, but I’m especially looking at their personal nature. You seem to be addressing someone specifically in the track. With this album, where do you find the inspiration for lyrical themes? To whom do you find yourself speaking to?
Nik: Many of my lyrics that tell a story about a person are about fictitious characters that I have created for the song. Some influences come from current events, past events, dreams, others’ dreams, and simply creating lyrics on the fly.
As this is your second album with Nilaihah Records, and also as the founder and manager of Hitman records, can you discuss what goes into publishing acts for those unfamiliar? Given your unique view of the industry on the inside, can you talk about what goes into publishing?
Nik: Lots of promotion and target marketing, the utilization of trusted street team members, and a building of a loyal fanbase that will want your music. Target marketing, and the use of demographics and statistical information is imperative for successfully marketing your published works to the right audience.
The business of conducting a record label must be exhausting work. What is the major difference between releasing on your own under the Hitman label versus publishing under Nilaihah?
Nik: Well that’s just it, it is exhausting, both physically and mentally, and having started a label from nothing posed a major undertaking in getting it known, respected, and accepted. Not anyone can just open a label, slap a few bands they worked with on it, and call themselves a label. Operating a label takes business sense, money, connections, years of experience in the scene, street smarts, and an entrepreneurial drive. Operating a label also takes marketing skill, and the ability to offer turn-key solutions from master to the customers’ hand -- from taking the master recording of an artist, to reproduction and distribution, to promotion and marketing, the operation of a label is hard work -- there’s also the legal aspect of it too, like recording and distribution contracts, as well as exclusive and non-exclusive contracts. Other legal issues are: having to worry about copyright infringement, file sharing, and theft of music. There is much risk-taking in label management, like is the band going to sell enough albums to generate ROI for the label, and is the band going to fulfill their contract to the termination date? But, just with any business, there is no success without the will to accept risk.
Being a father of three, and having a full time Network Administrator gig, plus a computer repair and website development company, releasing under the Hitman label became too taxing with so many other things going on -- having released this with Hitman would have added so much more stress and work to our already overflowing plates -- so having Nilaihah Records to back our releases has alleviated much of the duplication and distribution finances and groundwork. Also, signing with Nilaihah has proven to be much more productive in getting our projects going, given that the label is already well established in the scene.
Looking at the musical process, what goes into writing a Sonik Foundry track? Is composition a slow process or is that flash of inspiration a quick and spontaneous process?
Nik: Generally speaking, when I compose a track, I always start with a bassline and a simple beat. I then add complimentary pads, leads, sound effects, and an occasional sound sample from foley engineering, or sounds from various content archives. At this point, more synth lines are added and the song evolves from trial and error, and if it sounds good to me, it stays; if it doesn't, it goes. I audition numerous synth sounds from both hardware like Access Virus TI and software synths like Rob Papen and ReFX software plugins. After adding dynamics, EQing, and effects, I mix down the song. At this point I add lyrics, add dynamics, EQing and effects. I then tweak, try different things, then do a final mix and bounce. After bouncing, I master the track, burn it to a CD and play it on several different players... iPod, Car, home stereo, clock radio, other peoples’ stereos and cars; and if it does not sound good or if it needs adjustment, I go back to the mix and make adjustments. I do this process until I’m satisfied with the sound quality.
With any art form, it's Art, it could take as long, or as short as you feel is necessary to get the result you want. A song is really never finished; it is only complete when the writer is satisfied with the end result. Track composition sometimes can be spontaneous, or it can be well planned out first on paper. However, I don't write an entire song before entering the studio, I’m not “The Beatles” (lol); I like trial and error, and hearing different things, this is also great for the preparation of remixes. Most often than not, remixes are made during the process of making the original song.
Composing a song can take hours, or it can take months, depending on the complexity, the amount of time you have to dedicate to it, and how much you want to put into it. Also, a song idea could come from a dream, or a melody that I think of, or it could come from simply auditioning sounds on the DAW.
When out of the studio and you have a flash of inspiration for a track, how do you remember it for later? Do you carry around a journal or anything?
Nik: Yes, I carry a handheld voice recorder and I have a voice recording app for my Droid X. If I have a melody that comes to me, I sing or hum it into my recorder for later when I hit the studio.
Maine is usually not the first thing I think of when it comes to industrial music (until you came along!). Can you describe for us the local scene and the vibe? What’s it like there?
Nik: In Bangor, Maine; where I currently reside, there is not much of an EBM-Industrial scene. However, recent talk on Facebook may change that, who knows. There is a small scene in Portland, and there is a weekly dance event held at “Plague” at the Asylum which runs every Friday night. Last year we performed there and had a release party for the Mechanized album. We have a release party for the new album there on April 8th, 2011, and possible plans to perform there again.
Sonik Foundry has also taken on a new member recently in the guise of T.S. Moth as part of the live act. Can you tell us what he will bring to the show and how he will be featured in Sonik Foundry performances?
Nik: T.S. Moth is a multi-talented individual that has much to offer the project, having a vast skill set, including guitar, percussion, and keys; he is a valuable asset to the project. His primary role is guitar.
Looking at T.S. Moth’s biographical elements, I’m excited by the idea of hearing possible rock elements. I understand that Sonik Foundry is founded on percussion and synthesizer. What sort of transition and evolution of sound will we hear with the inclusion of the guitar?
Nik: When I first discovered T.S., I was interested in a keyboardist, but after speaking with him, he seemed to be more comfortable with playing guitar so I figured ‘why not?’ and give him a try. When T.S. first came to audition, I was skeptical about how guitar was going to sound against the music. By the first two songs, Linda and I were awestruck at the sound, how it added such a dynamic and fullness to the SF sound. We were amazed! So by the end of the audition, we hired him on the spot and welcomed him aboard.
Speaking of the live shows, I understand you’re assisted by Malic Acid and Indigo, as well. For those who haven’t seen a Sonik Foundry show, what do we hear on stage versus listening to a Sonik Foundry album?
Nik: Live, elements are removed from the tracks to create the backing tracks. I remove all the Verse and Bridge lyrics, but leave in the Chorus lyrics to add fullness, as I often will sing in harmony with the backing chorus with an octave up or down, or a seventh or a fifth vocal, but more often than not, I will sing in unison with it which adds fullness and a chorusing effect. I also remove some percussion elements so Malic can perform them, as well as some pads and leads for Indigo. At this time, there is no Guitar in any of the tracks, so having T.S on stage is going to something of an enigma, but surely exciting!
I am also multitalented and play many instruments such as percussion, keys, guitar, and bass. Last year, I played percussion with Malic during vocal breaks on a “face to face” tandem drum kit, a one-of-a-kind drum-kit configuration we had as a trademark. The next time around, I may do some of that same percussion, as well as any of the instruments listed above, so there is no telling what I will do.
If feasible, I will often jump off stage in the middle of a song and sing while walking through the crowd, greeting the audience, giving high-fives, and hugs to my wife 
.
Our live performances are always different than our albums because live, we actually play all of our instruments, and only rely on a partial backing track, so some notes may change here or there, and have slightly different nuances. Personally, our live shows sound more full and unpredictable, giving a real performance you will never forget.
What does the live act for Sonik Foundry bring to the studio process of composition? I understand that the two sides are sometimes the same beast of a different color, so now that you’ve had the experience of playing live, what does that do for the version we hear on disc?
Nik: For Parish of Redemption, I wanted to incorporate the vocal talents of Malic into the album, so he joined me in the studio to write lyrics for him to record and laid them down. By the time T.S. was discovered, the album had already been in production, so he does not appear on the album, sadly. However he definitely will on the next. Having been more aggressive with my vocals as well as Malic’s screaming backup vocals on stage -- and from having Jim Semonik join me live at some performances, I had so much fun with that -- I decided to incorporate that into PoR, making it a more vocally aggressive album. I’ve also used my new Access Virus TI, adding a more aggressive synth sound.
Finally, looking forward to after the dust clears from the CD release parties, what can we expect in the near future from Sonik Foundry? What’s in store?
Nik: Well, we have an east coast tour in the works for the summer in July to support the new album, possibly ranging from Maine to New Orleans, and back hitting different venues on the way. Then it’s break time! Before the tour, we have rehearsals, and it’s in the studio for my other project with my wife, Linda, for the Bow Ever Down project.
I want to say thank you so very much for sitting down with us Nikademus. I’m a huge fan, and this is a big honor. Thank you. Finally, do you have any words of wisdom that we can write on our arms when we’re out dancing to Parish of Redemption?
Nik: Stay True! Be yourself! Have Fun! Know your priorities! Stay healthy and chem-free and love your family!
Check out Sonik Foundry on VampireFreaks!
Be sure to also check out the official Sonik Foundry website!
posted by -krasnaya_
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, Tim Mizerak, and Dan Miller. 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 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.
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.
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.
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 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.
