Scars Are Soulless - Vendetta
Electro-Industrial Scars are Soulless is a relatively unknown act that I've stumbled upon, with the sole operator of the project being a good chap by the name of Chip Calise. However, this is not his only performance, as he also has gone under the names of Machinery Gods, Fleshtorn Razorblade, and Withdrawn. All of these acts have been release underneath the same label, Industrial Revolution Records, but the guy does have some credibility to his name; he's gone on to support acts such as Psyclon Nine (a personal favorite of mine) and Nachtmahr .

So, with a good lineage of various supporting acts around the globe, I hopped into this album with eagerness. I can automatically state that the sound of the album is very atmospheric, and a lot of the synth work just seems to be a call back to a lot of eighties industrial. Then again, I wasn't alive during the era, but if what I have heard is coherent to the time period, then I should stand with some precision rather than not.

The vocals in the album are very scratchy and distorted. I like them, but they aren't the best and I don't really find myself wanting to listen to the album for the vocals at all. In fact, what really draws me into the album is the synth work; it's awesome. But, a lot of the other elements, from the bass to the drums just don't really sit too well with me.

Oh, but don't get me wrong, please don't; the synths are what mainly drives a lot of the songs. And, with that in mind, the album is fairly enjoyable, and that's what I got out of it. This is one of those albums where I can't say it's too great, but there's just that one element that sticks out so I can sit down and say, "This is definitely worth listening to again."
3
Brutal Resonance

Scars Are Soulless - Vendetta

Scars are Soulless is a relatively unknown act that I've stumbled upon, with the sole operator of the project being a good chap by the name of Chip Calise. However, this is not his only performance, as he also has gone under the names of Machinery Gods, Fleshtorn Razorblade, and Withdrawn. All of these acts have been release underneath the same label, Industrial Revolution Records, but the guy does have some credibility to his name; he's gone on to support acts such as Psyclon Nine (a personal favorite of mine) and Nachtmahr .

So, with a good lineage of various supporting acts around the globe, I hopped into this album with eagerness. I can automatically state that the sound of the album is very atmospheric, and a lot of the synth work just seems to be a call back to a lot of eighties industrial. Then again, I wasn't alive during the era, but if what I have heard is coherent to the time period, then I should stand with some precision rather than not.

The vocals in the album are very scratchy and distorted. I like them, but they aren't the best and I don't really find myself wanting to listen to the album for the vocals at all. In fact, what really draws me into the album is the synth work; it's awesome. But, a lot of the other elements, from the bass to the drums just don't really sit too well with me.

Oh, but don't get me wrong, please don't; the synths are what mainly drives a lot of the songs. And, with that in mind, the album is fairly enjoyable, and that's what I got out of it. This is one of those albums where I can't say it's too great, but there's just that one element that sticks out so I can sit down and say, "This is definitely worth listening to again." Jul 21 2013

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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Started in spring 2009, Brutal Resonance quickly grew from a Swedish based netzine into an established International zine of the highest standard.

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