Biomechanimal - Biomechanimal
Aggrotech, Hardstyle You know, I recently found myself listening to "Renegade 2.0" these past couple of days since Biomechanimal's latest, self-titled album is going to be released within two days. And my fondness for this band's music shot up once more; I will admit that there was a lot wrong with "Renegade 2.0", most notably that the production quality was, well, rather terrible. Nonetheless, when I first heard it back in 2013, I was greatly impressed by the band's work, and that impression still holds firmly. 

Two years after the fact, after much hard work, reinvention in sound, and an altogether boost in motivation and design, the threesome that is Biomechanimal are back. This time around they're sporting a full length album consisting of eleven tracks featuring new collaborations with AnimusTrax, Ruinizer, and Laurie Black. 

As any good album should begin, a fairly classical/orchestral inspired anthem rings during the introduction of 'Ov Glory'. After about a minute of that, we're hit with a hard electronic song that makes good use of the sampled classical touches. I felt as if some of the beat was a bit mingled and sounded as if it was playing out of a shit speaker, but the song was good nonetheless. 

'Elder Gods' features the talented Tom Resnick, who is a bit of a master of mixing epic orchestral scores with electronic music. Considering where 'Ov Glory' took us, this collaboration was well suited, fun, and riveting. Oh, also, the vocals have been revamped as well. They still kind of stay in the same area as they were on 'Renegade 2.0', but the new, lovely production values just makes it sound so much better. 

Getting off the track of orchestral inspired pieces, 'Abyssal Zone' included trance segments, but those were mainly used to break up the song. More hard dance beats come in a monster of a song. 'Wasteland' featured more of those trance elements as background synth work, and the vocals were sometimes clean. It sounded really, really good, and was shocking at the same time.

Thankfully 'Granfalloon' kept up those clean vocals mixed with the harsher, distorted chords. I think that the clean vocals fit so much better in their songs, and I found myself loving them more and more. 'Desekreator' came along next and featured Ruinizer. And, if by now you don't know, whenever you see the name Ruinizer you should expect a heavily destructed digital song that'll put you in a coma. Combined with the talents of Biomechanimal, this track was one of the best on the album. 

The next track was 'Commonwealth', which featured Cryogenic Echelon and Studio-X. which was originally featured on Juggernaut Music Group's "Foundations". I already gave my opinions on this song once, and I don't feel the need to do so again, but I'll just be frank: It is awesome. A 2015 mix of 'Broken Wings' came along next. While I appreciated the new version, I can't help but say that I enjoyed the original mix more than this one. 

'Monster' came along as a very glitchy dance track, but I really couldn't get all too into it. There were moments when I completely enjoyed the song, such as at the one minute and twenty second mark. A trance build up leads into a pretty straightforward beat until about the two minute mark, 1:20 2:00, and again returns at the two and a half minute mark till the end of the song. It was the in between moments, where it sounded as if a beat was attempting to be made, but just didn't really follow through. It sort of annoyed my ears. 

However, 'Skullz' made the album come back around, taking shifts in between various beats and multi-layered songs. I've seen this attempted many times around, where dozens of different sounds all play a different roles, and most artists fuck it all up. Biomechanimal was able to handle it very, very well. 

To end off the album,  keys player for Strobe and cabaret performer Laurie Black, came in on 'Catching Sparks'. With the addition of her talent and the occasional duel sung lyrics, this final song let me off with a strong resonance left in my ears. 

With better sound, better vocals, and new territory explored and a host of great collaborations, Biomechanimal has never sounded so good. I have few complaints about this album, and almost all of it was a joy for me to listen to. This album is available via their Bandcamp page, and you should really go check it out. 
4
Brutal Resonance

Biomechanimal - Biomechanimal

8.5
"Great"
N/A
Electroracle
Spotify
Released 2015 by CRL Studios
You know, I recently found myself listening to "Renegade 2.0" these past couple of days since Biomechanimal's latest, self-titled album is going to be released within two days. And my fondness for this band's music shot up once more; I will admit that there was a lot wrong with "Renegade 2.0", most notably that the production quality was, well, rather terrible. Nonetheless, when I first heard it back in 2013, I was greatly impressed by the band's work, and that impression still holds firmly. 

Two years after the fact, after much hard work, reinvention in sound, and an altogether boost in motivation and design, the threesome that is Biomechanimal are back. This time around they're sporting a full length album consisting of eleven tracks featuring new collaborations with AnimusTrax, Ruinizer, and Laurie Black. 

As any good album should begin, a fairly classical/orchestral inspired anthem rings during the introduction of 'Ov Glory'. After about a minute of that, we're hit with a hard electronic song that makes good use of the sampled classical touches. I felt as if some of the beat was a bit mingled and sounded as if it was playing out of a shit speaker, but the song was good nonetheless. 

'Elder Gods' features the talented Tom Resnick, who is a bit of a master of mixing epic orchestral scores with electronic music. Considering where 'Ov Glory' took us, this collaboration was well suited, fun, and riveting. Oh, also, the vocals have been revamped as well. They still kind of stay in the same area as they were on 'Renegade 2.0', but the new, lovely production values just makes it sound so much better. 

Getting off the track of orchestral inspired pieces, 'Abyssal Zone' included trance segments, but those were mainly used to break up the song. More hard dance beats come in a monster of a song. 'Wasteland' featured more of those trance elements as background synth work, and the vocals were sometimes clean. It sounded really, really good, and was shocking at the same time.

Thankfully 'Granfalloon' kept up those clean vocals mixed with the harsher, distorted chords. I think that the clean vocals fit so much better in their songs, and I found myself loving them more and more. 'Desekreator' came along next and featured Ruinizer. And, if by now you don't know, whenever you see the name Ruinizer you should expect a heavily destructed digital song that'll put you in a coma. Combined with the talents of Biomechanimal, this track was one of the best on the album. 

The next track was 'Commonwealth', which featured Cryogenic Echelon and Studio-X. which was originally featured on Juggernaut Music Group's "Foundations". I already gave my opinions on this song once, and I don't feel the need to do so again, but I'll just be frank: It is awesome. A 2015 mix of 'Broken Wings' came along next. While I appreciated the new version, I can't help but say that I enjoyed the original mix more than this one. 

'Monster' came along as a very glitchy dance track, but I really couldn't get all too into it. There were moments when I completely enjoyed the song, such as at the one minute and twenty second mark. A trance build up leads into a pretty straightforward beat until about the two minute mark, 1:20 2:00, and again returns at the two and a half minute mark till the end of the song. It was the in between moments, where it sounded as if a beat was attempting to be made, but just didn't really follow through. It sort of annoyed my ears. 

However, 'Skullz' made the album come back around, taking shifts in between various beats and multi-layered songs. I've seen this attempted many times around, where dozens of different sounds all play a different roles, and most artists fuck it all up. Biomechanimal was able to handle it very, very well. 

To end off the album,  keys player for Strobe and cabaret performer Laurie Black, came in on 'Catching Sparks'. With the addition of her talent and the occasional duel sung lyrics, this final song let me off with a strong resonance left in my ears. 

With better sound, better vocals, and new territory explored and a host of great collaborations, Biomechanimal has never sounded so good. I have few complaints about this album, and almost all of it was a joy for me to listen to. This album is available via their Bandcamp page, and you should really go check it out. 
May 13 2015

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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