BOG MOROK "Stadiae II"

It takes talent and a big set of Jacobs to pull of danceable Metal. Seriously, its like trying to combine oil and water together for most bands, but occasionally there is one that is able to do it and do it well. STATIC-X comes to mind when I think of this, but there are very few that can do it with style. BOG-MOROK does it. And on can tell from Stadiae II that they are not just trying to make it work. They make it sound easy. Considering that the band started off as a Doom/Death Metal act, this album is somewhat out of left field. Theres nothing wrong with out of left field, mind you, but just listening to the opening synthesizers on No Fate is enough to throw off most Metalheads. Just wait though and pretty soon one will find that BOG-MOROK is more than just Industrialized Metal. They are an atmospheric and efficient force to be reckoned with musically. If I had to give a more proper comparison for Stadiae II and its relative sound then I would have to throw it up against Peter T?gtgrens little side project PAIN. This in itself is a big compliment and BOG-MOROK is more then able to give PAIN a run for their money. Stadiae II is full to the brim of down-tuned riffs, synthesized and straight up harsh vocals, mechanical drumming, and danceable samples and synths. Some songs tend to really pull on that Discotheque feeling like the RAMMSTEIN sounding Exile while other songs tend to move towards the atmospheric and rather gloomy approach like that of the title track Stadiae II that boasts some nice melancholic guitar leads to balance the dance beats. Either way, Stadiae II moves more like a Modern dance album with an odd dark and violent side then its does as a straight up Metal record.

Warning: this album is not for everyone. I can already sense that most Metal fans would write this off as not Metal enough for their tastes. Its too bad really, because whether you define the music as Metal or not its still a damn good album. Makes me want to Mosh/Dance. Songs check out: Exile, Five Degrees, New Gloom.(8,5/10)

BOG MOROK "Industrialypse"

Definitely not a new band by any means, these guys have a lot of albums to their credit. Morok has done everything from black/death to doom/death to nu metal, cyber metal, goth metal and everything in between. This new album is more based on industrial metal, hence the album title. To be perfectly honest, this album is so fucking diverse that I'm going to have to walk you through it. The first track is "Industrialypse 4:37" which is quite fast and heavy, reminding me a bit of Fear Factory obviously; but there are some heavy scowls in areas that break the clean vocal choruses. The lyrics on the album are for the most part in English, but it's kind of tough to discern it when in the clean tongue. "Gilese 581d 4:06" comes next, kicking up the grooves in the beginning; but welcomes a nu-metal approach to industrial that is a bit different from the opener. A nice solo is featured on the track, however. "Stadiae III" which is apparently a song to follow up "Stadiae II" sees the band reaching into many different hats, pulling out whatever the hell they like and using it. Nu metal riffs with death growls and light electronic parts with clean vocals? Though the track is in Russian, it's still quite catchy and features a slew of good riff melodies. These guys definitely have talent, I'm curious about their early work now. "Neizbezhnost 3:18" definitely dials down on the industrial metal part, these samples are great. The song is definitely decent, with a few scowls to spice things up. "Hellstarter 6:02" is next, showcasing several different elements from thick riffing backed by harsh vocals to piano to clean vocals. Nice. "Shapeshifter 5:12" brings in that goth metal element that I was waiting to hear. It's got a good clean tone, and I like the fact that there's a harsh vocal backing there. Samples are good, guitar solo is magnificent, wish it was a bit longer though. They're doing some great experimentation here, I can't fault it. By the way, they throw in another guitar solo at the end of the track, which makes me feel better. "Bloodsucker 3:33" begins with a large Gregorian chant and some odd twangs as the drums come in bringing forth one of the heavier songs on the album. These guys very much remind me of a Russian version of Fear Factory on this particular disc. The first of two Russian tracks come next, "Svet V Konze Tunelya 5:09" in which djent and harsh vocals are the forefront. This one's a slaughterfest, folks. Even when nu-metal riffs come into place, the vocals are fucking ferocious. That drummer really knows when to bring the thunder, and I appreciate that. But one thing I'll mention about this album, is that not everything stays the same way throughout a song. Things change and revert at will, so you really never know what these guys are going to do; which is intriguing. "Zvezdopad 4:05" comes next, the other song completely in Russian. It's much lighter, and proves my theory that the clean vocals sound better in Russian than they do in English. I actually wish they'd go back and do the whole disc in Russian, because I just think it sounds better. As for the song, it's a hard rock styled track with a worthwhile solo and great clean effort, as I've mentioned. I'm keeping my eye on these guys. The next song is "IDDQD" which is the "God Mode" code for Doom. The vocals have returned to English, producing a sample laden industrial metal song with a clean vocal approach the sounds better than on some of the other songs. These guys definitely have it, this is a band that I would definitely recommend just on personal taste. "Undream 5:37" is the last original track on the disc, an unexpected ballad with slight harsh vocal influence and use of samples. A nice solo creeps up into the track however, as the clean vocals take over the track as best they can. But after that, there's a Fantomas cover of "Der Golem 2:33" where Morok uses his trademark "whisper-growl" and then goes into a wall splattering scream. This is a great cover, I'll have to hear the original though to compare. Bog Morok is certainly an interesting act that is full of promise. They've put out many records already, discs that I'll have to check out for sure. They prove that they can do industrial metal justice with this one, so I'd like to hear their take on other genres and I recommend that you do the same. Check out this new album, and their old work as well.

BOG MOROK "Industrialypse"

Industrialypse is a confrontation which grips the passions from its opening moments and proceeds to enslave their greedy hunger through twelve inventive and explosive slabs of industrial/nu metal. The album is more than that though, a wealth of styles and essences laying seeds within its insatiable sound conjured and sculpted with craft and enterprise by Russian band Bog[~]Morok. It is a refreshing and thrilling release, a sort of merger of the essences of Fear Factory, Korn, Sybreed, and Dir En Grey, a blend which ignites the imagination and sets the emotions ablaze. The band started as a solo project for Rybinsk musician Morok in 1997, his intent to create a death/black metal exploration. Debut album Azoic in 2003 drew good attention as at the same time the project expanded to a full band. A death/doom presence emerged but one honed by the influence of modern and industrial metal, a sound which has continued to evolve across the bands five albums, Stadiae II of 2005 and Syn.thesis two years later the stand out highlights before Industrialypse, though Decadence of 2010 potently continued the expansion of sound and stature of the quintet. The new album is another plateau cast, a riveting exploit which shows Bog[~]Morok as one of the very best industrial metal cored bands still to be discovered by the masses, something which Industrialypse with luck can amend. The title track opens the encounter, cyber sounds and industry the entrance for thumping rhythms and voracious riffing to corrupt ear and air. Soon into full stride the track expels a rigorous rapacious charge ridden by the excellent expressive vocals of Morok. Swinging between aggressive and respectful, carnivorous and seductive, the song is an intensive industrialised slab of extreme metal with electro temptations and melodic persuasion. A mix of demanding rhythms and scything cuts of guitar wrapped in a warm melodic synth lure, the song easily persuades especially with its unpredictable and ever shifting attack as it grows into the first towering hook of the album. The following Gliese 581d and ?? ???? ??? (Stadiae III) continue the powerful start, the first a rampant stretch of melodic ambience and senses staggering metallic brute force created with skill and imagination as is the synth spawned warm textures and enticements aligned to the stringent intensity. Its successor opens with compelling almost sinister electro bait, its person cinematic soaked in atmospheric intrigue. That lure leads the imagination into an inciting dramatically melodic narrative with an additional teasing within its sinewy embrace, which plays like a mix of Biting Elbows and Limp Bizkit. It is an absorbing provocation building an industrial soaked landscape that is simply irresistible and transfixing. After the bruising challenge of the pleasing Neizbezhnost, the album provides another major pinnacle to match the starter in the toxic shape of Hellstarter. An initial reasonably gentle coaxing only hints at the imminent hellacious ravaging of the senses to come, a rabidity increasing the urgency and aggression of the guitars and rhythms whilst there is an insidious temptation to the keys. As ever with Bog[~]Morok there is no resting on singular assaults and the song soon twists and launches blackened violations and industrial causticity around a melodic and nu metal taunting. It is an ingenious torrent of inventiveness and addiction causing enterprise, a triumph only matched, after the contagious Fear Factory like Shapeshifter, by the sadistically tantalising Bloodsucker. It is another track to chew and seduce the senses whilst bringing an ethnic curiosity to its sonic acidity and adrenaline fired predation; simply a masterful ferocity of corrosive and magnetic craft. The mix of English and Russian sung songs adds to the frenetic allure of the album, especially with when the likes of ???? ? ????? ???????, another track which brings thoughts of Korn to mind this time in collusion with The Browning, and the melodically enticing ????????? sound so good and convince a greater appetite to come play with their individual and unique gifts. IDDQD unleashes another intensive metallic fury of rampaging riffing and equally pungent violent rhythms whilst Undream brings the album a melodic slowly burning treat, its smouldering and emotive beauty a delicious wrap for the imagination and heart. It is part of a great ending to Industrialypse , a finale completed by the blackened ruinous interpretation of the Fantomas song, Der Golem. Heavy, dark, and dirty, it is an extreme storm which maybe hints at the earlier days of Bog[~]Morok. Industrialypse is an outstanding release, one bringing metal and certainly industrial metal an invigorating excuse to get excited, and one all should take the time to search out and enjoy.

BOG MOROK "Industrialypse"

Industrialypse is the new album from the Russian industrial metal band Bog Morok. It is the follow-up to the self-released ???????? and the EP ????????????. Originally a doom/death metal solo project founded by Morok back in 1997, the band has gone through numerous changes in both line-up and their musical style. This album sees them move towards a more industrial sound and features a cover of Fantomas Der Golem. First up is the title track which comes complete with electronica; programming and synths galore. The near nu-metal-esque vocal style and guitar patterns make me think of Digimortal-era Fear Factory. Hell, even the drumming style is similar As the subsequent tracks show, these guys are not afraid to sing in their native tongue. A very bold move, though Im not entirely convinced that it works to their advantage. ?? ???? ??? (Stadiae III), is another Russian lyric track that stands out mostly due to the downright bizarre-sounding, eerie keyboard intro and some equally odd-sounding vocal samples. It makes you wonder what sort of drugs these guys took during the recording process. Oddly enough, the aforementioned track also features a handful of decent guitar melodies and solos sandwiched between the bizarre cacophony of vocals and space metal tunes. Theres even some techno elements on here such as the dance-friendly keyboard intro to Neizbezhnost. Other noteworthy tracks include the electronic ballad Shapeshifter ,which sounds like a bastard offspring of Fear Factory and The Kovenant, and IDDQD which features some pleasant sounding keyboard melodies towards the end of the track. Overall Im not sure whether or not the metal scene is ready for a Russian equivalent of Fear Factory. To say that this album is experimental would be an understatement. My advice would be to approach this with caution and prepare for the unexpected when the Bog Morok spaceship lands in your area.

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