Review: In Death It Ends – 'Resonate 528'

IN DEATH IT ENDS
'Resonate 528'
SELF-RELEASED

In Death It Ends has been an interesting project to follow over the past few years. Ranging from with house, to experimental to proto-goth and industrial elements, every release is a guessing game. Alongside a range of high-quality physical release Porl King has made time to release plenty of free singles and EPs as well.

The latest free offering is the single 'Resonate 528' from the new physical album wish machine. Reminiscent of the 'Forgotten Knowledge' album from 2012 with a blend of minimal darkwave and experimental electronics, this time inspired by radionics/psionics and incorporating a radionic device. It's an infectiously groovy track that harks back to some of the best work from IDIE. Long-time fans will undoubtedly find this a familiar direction, while newcomers will get a taste for a nice cross-section of the IDIE style.

Production-wise the song is minimal and experimental. But it is also quite accessible with it's central groove and beat tempering the eclectic electronic experiments underneath. King has long ditched the low-fi sound and has continued to give his releases a crisp and modern sound, and this is no exception.

'Resonate 528' is another nice free taste of a very interesting and prolific project. It may only be a small taste of the wider 'Wish Machine' work, but it is nonetheless a good and satisfying one.  

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Review: In Death It Ends – 'Servitors'

IN DEATH IT ENDS
'Servitors'
SELF-RELEASED

In Death It Ends is an incredibly prolific project. Wrapped in secrecy and with a minimum of information ever released about any releases the project from former Rosetta Stone and Misery:Lab man Porl King has created a unique monster from parts of classic post-punk and proto-gothic/industrial and melded them with modern witch house elements. The project has kept a steady visual aesthetic through artwork and limited merchandise as well that has reinforced the intrigue amongst fans.

'Servitors' is the latest in a long-line of free releases from IDIE that recently have become a get it while you can offer through the band's website. These releases vary greatly in style with some more experimental, and some more raw and punk in construction. But each one feels valid and complete and not just something release for the sake of it.

The new EP delves into experimental electronics with the five tracks – 'Kritanta', 'Sephtis', 'Morana', 'Valdis', and 'Lefu' – built around a similar formula of a core of steady rhythms and bass lines with retro analogue synthesizers breaking up the the entrancing rhythms. The result is a nice retro flavoured new wave feel that feels dark yet futuristic but characteristically haunting atmospherically.

The production is great as usual. King maintains a wonderfully low-fi feel to the recording but simultaneously gives the album a nice sharp and modern edge with a nice sense of space expressed by every track.

Again this is another solid if short release from King that will appeal to long-time fans as well as anyone into retro-flavoured post-punk with a minimalistic experimental slant. It may be free but it is still a high-quality addition to an already burgeoning back catalogue.  

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Review: In Death It Ends – 'VVDV'

IN DEATH IT ENDS
'VVDV'
SELF-RELEASED

Porl King's In Death It Ends project has become a prolific beast. Tapping into witch house, proto-industrial, new wave, post-punk, and early goth he has released albums, EPs and free downloads at a rate that would make most other artists struggle to sustain for a year, let alone over the course of three consecutive ones. Best of all, the former Rosetta Stone and Miserylab founder shows no signs of letting up any time soon, nor is his particular brand of progressive, dark and mainly instrumental style of music.

The latest release from IDIE is another free self-released download in the form of 'VVDV'. Harking back to the more experimental releases in the projects already substantial back catalogue, such as 'Forgotten Knowledge', 'Analog Witch', 'Restorative Art', 'Analog Witch Trials', and 'Shrines'. The nine-track download sees a more minimalistic and experimental blend of darkwave and subtle industrial taking the centre stage.

Kicking off with the simple rhythms and bass line that accompanies so many IDIE releases the first track explores strained ambient strings and pads to weave a slightly discordant but utterly beguiling web of sound. The second track lets the bass take the lead for a more gothic rock flavour that builds with the introduction of the synth elements for a nice and cold groove. The third track has a more frantic rhythm and a tenser synth line that ups the tempo slightly and injects a little more energy into the track list. The fourth track keeps the tension that it's predecessor built and brings the bass groove back to the fore for a more minimal and atmospheric approach. Track number five then goes into a more twisted and psychedelic path with its melting bass and steady rhythm slightly permeated by hanging synths every so often.

Track number six is the most up-tempo bass groove yet and with it's blend of simple synth leads and steady dance pace it is by far the album's most approachable and dance-friendly cut. Track seven follows on nicely with it's Soft Moon style groove and rhythmic interplay before introducing more experimental synth elements to the mix as the song progresses. The penultimate track on the album strips things back to the core with a very simple bass, rhythm and subtle use of electronics to create a delicate mix. The final track on the album by and large covers the same ground as the previous few songs, however like the other tracks it is entirely unique and its steadily droning synths, simple lead and light distorted beats add an extra dynamic to the song which makes for a fitting closer.

As with all previous IDIE releases the production creates the illusion of low-fi without actually being so. The minimal nature of the songs allows King to craft a great sense of space in the mix, while the retro sounds hark back to he experimental beginnings of genres. Yet the quality of the recording is as high as you could want in a modern release and it continues to show off Kings skills as a producer.

This is another great and very individual release that will appeal to fans of IDIE's more minimalistic sounding releases, but still keeps that appeal that makes it approachable for those just dipping their toes in the water. It goes to show King can still keep things fresh and interesting despite the heavy release schedule.

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Review: In Death It Ends – 'Gematria'

IN DEATH IT ENDS
'Gematria'
SELF-RELEASED

Keeping up with the now prolific rate of output Porl King's post Miseylab project In Death It Ends returns with a brand new free download single hot on the heels of another strong album release. The new single 'Gematria' is a two song release that harks back to the rougher experimental roots of the project. Simple, minimalistic, haunting and entrancing, the tracks blend witch house electronics with post-punk and darkwave in a way that recalls earlier tracks such as those on the 'Restorative Art' EP, as well as 'Futureblack', and 'Die Together'.

The first track 'Gematria I' is comprised of a simple central looping beat and echoing synth bass recalling the simple witch house leanings of the early releases. The percussive elements continue to build up over the core of the song with a simple osculating synth line adding depth. The second track on the album 'Gematria II' brings out a spikier post-punk quality with its faster tempo, grooving bass and 80s evoking beat powering the track forward as stuttering beats and synths vie with a subtle melody to swell the track into a punchy beast.

The songs keep that minimal low-fi edge to that King has employed on every IDIE release to date. But once again the tracks are perfectly mix and don’t sound poor or rushed. They have underground appeal with enough polish to make them accessible to anyone willing to dive into them.

By King's standards its been a while since the slew of releases in 2014 and the new album 'Reaching Meon'. But he doesn't show any signs of letting up. The full-length album is another slice of great progressive witch-tinged-post-punk while these indulge his experimental leanings a little more. He has struck a balance that works well for him and the quality of the material as a result remains consistent and frequent.

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Review: In Death It Ends – 'Protogrammaton'

IN DEATH IT ENDS
'Protogrammaton'
SELF-RELEASED

In Death It Ends has maintained an intensive release schedule over the past few years with multiple album, single, EP and free download releases each year. This has already built up into an impressive and enviable back catalogue that synthesizes elements of witch house, post punk, gothic rock, industrial and darkwave into something genuinely unique. 'Protogrammaton' marks the start of the 2015 release cycle in anticipation of the next full length LP 'Beneath Eden'. Even though it is a free to download mini-album, that doesn't take away from the quality of the music it contains.

The album begins in a familiar way with the opening track 'Phlegmatic' utilising a simple and prominent bass line over some distinctly witchy electronics for an up tempo spooky dance track. 'Opportunistic' on the other hand explores an take on the early electro-industrial sound of the 80s with its mechanical rhythms and ambient synth layers. 'Thematic' brings things back into witch house territory with its emphasis on modern, lo-fi dance synths taking the lead backed up by a sinister groove. 'Individuating' pulls things back to a more shoegaze tinged dark post punk vibe with its psychedelic bass and distorted synths cutting through.

'Awakening' then progresses into a proto-gothic cum darkwave creeping track that is perhaps the most atmospheric and cinematic on the album. The penultimate track 'Neophyte' brings the album back full circle once agin returning to the prominent simple bass, and witchy electronics, this time however adding a bit more the dar psychedelic atmosphere of the previous songs. The album is then wrapped up by the slow and atmospheric 'Adept' which displays the subtler side of the In Death It Ends style.

Once again the production walks that fine line between the lo-fi underground sounds it draws its inspirations from, and the polished modern standard it deserves. There is always that wonderfully underground feel to these albums but there is no denying that they are even more enjoyable due to the fact they are mixed and mastered with great attention to detail.

If this is your first introduction to IDIE then 'Protogrammaton' is a good place to start. It provides a good cross section of the band's styles and influences in one accessible package. It isn't the most defining of the back catalogue to date, but it still holds its own.

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Review: In Death It Ends – 'After The Last Frame'

IN DEATH IT ENDS
'After the Last Frame'
AUFNAHME + WIEDERGABE

It isn't often that Porl King lets loose his ambient side, but with the latest release under the In Death It Ends Moniker, he does just that. 'After The Last Frame' is a departure even by IDIE standards with each of the six tracks the result of manipulations & interpolations of the soundtrack to "suicidemouse.avi", a creepypasta story based on a “lost” Micky Mouse cartoon.

The EP harks back to the more experimental beginnings of the project, with more of a fluid form that sees the tracks gently guided as they slowly evolve and reform themselves. Opening with 'Those Thirty Seconds', the emphasis is immediately on dark ambient textures and a cavernous bleak atmosphere as the prominent hanging drones fill the speakers. 'The 7^th Minute' on the hand makes good use of a simple repetitive rhythm that continually loops as the synths hum and whir low in the mix. 'After The Last Frame' continues with the simple rhythms but brings the synths higher up the mix to counteract the primitive industrial noises that punctuate the track.

'Lost Episode' is a more recognisable IDIE style of track with a more uniform structure that blends down-beat witch house with cold wave for a deceptively accessible song. 'Upon Leaving the Room' again makes use of a simple repetitive rhythm, however this time the looping melodies add a lighter tone but still in a way that preserves the surreal nature of the EP. The EP is then rounded off by 'Cut Black', which again goes back into more familiar IDIE territory with it's more proto-industrial vibe and grooving bass line underneath a simple rhythm.

In terms of production this is another example from Porl of how to keep the low-fi, underground edge without actually loosing any of the quality. And despite the prolific rate at which King writes, records, and releases work for IDIE, he never falls into the traps of being released half baked, or lacking spit and polish.

The "suicidemouse.avi" is a nice link to internet meme culture and faux-urban legend storytelling that fits the In Death It Ends mystique quite nicely. But when all is said and done, this is another interesting and yet accessible experimental release that will appeal to current fans, as well as those with a passing fancy for dark ambient and more avant garde flavours.  

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Review: In Death It Ends – 'Revenant'

IN DEATH IT ENDS
'Revenant'
AUFNAHME + WIEDERGABE

Porl King's output over the winter and into spring was impressive with a number of releases including an album in the form of 'Analogue Witch', as well as two EPs 'Ghosts' and 'Shrines', and a 7” single 'Monoccvlt'. Many bands and artists would have taken a break at that point but only a few months later King released another album in 'Spells' and has now followed that with a two-track free download single. The new single, 'Revenant', features two tracks – the title track and b-side 'Unnatural' – which offer up two different sides of the In Death It Ends sound.

The first song, 'Revenant' follows the familiar pattern of grooving bass line, low-fi electronics and dark psychedelic production held together with a post-punk framework. Again recalling the likes of The Soft Moon and early Killing Joke it feels minimalistic on the surface, but if you listen closely there is a lot going on which you can't help but be drawn in by.

The second song, 'Unnatural', delves into more ambient and drone influenced territory. Its nice to hear King get very experimental and yet still come up with something identifiably IDIE. There's no bass groove propelling the song, and the electronics aren't as gritty, but the steady trip-hop style beat, swirling drones and dark pre-industrial sounds rising and falling through the layers and a new dynamic to what we have come to expect from the project.

'Revenant' maintains that balance between the dark, psychedelic experimentalism and the approachable post-punk and new wave sensibility that keeps In Death It Ends interesting and accessible. In terms of production, despite the use of low-fi electronic elements the mix and overall sound of the tracks are quite slick and polished. Which again plays into this balance maintained in the song writing.

'Revenant' is a good starting point for those new to In Death It Ends, as well as a rewarding listen for long-time fans. Both songs show off what King can keep bringing to the table for what is a very high yield project for him. And it is probably safe to say that at this point he hasn't isn't showing any signs of running out of ideas yet.  

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Review: In Death It Ends - 'Shrines'

IN DEATH IT ENDS
'Shrines'
AUFNAHME + WIEDERGABE

In Death It Ends' scale of output is impressive. It seems as though every couple of months Porl King has something new up his sleeve to unleash. You'd be forgiven that with his latest offering 'Shrines' coming so soon after long-player 'Analog Witch' and the recent EP 'Ghosts', King would be scraping the barrel in terms of ideas. But once again he come up with the goods.

King's sense groove has really defined the In Death It Ends sound. The infectious new wave style bass lines provide a sturdy back bone to each song and allow the more experimental melodies and drones to take shape around them. The result is always something interesting but accessible.

'Shrines', opened up with the delightfully mechanical sounding 'Wrathful And Sullen'. With the bass high in the mix it adds Nitzer Ebb-esque rhythms and minimal-industrial synths for a dark and danceable track. 'It Came From Sorrow' is a more overt new wave inspired track that reflects previous cuts such as 'Centre Of A Circle' and 'We All Die', but the stuttering beats and jarring synths add a definite identity of its own.

'Veil Of Clouded Verse' is a darker grittier track that plays on the electronic elements a lot more. It is richly layered and gritty in style, with that pronounced industrial leaning surfacing again. The EP concludes with 'Against The Fates', which is the most overtly industrial sounding track with a stuttering central beat, mechanical sounding synths and more overtly noisy flirtations. It's a nice change of pace and a bit more experimental than usual, but still retains that seed of melody that keeps it appealing to the casual listener.

'Shrines', once again, is a finely crafted release from King. It balances the experimental witch-house elements of the IDIE sound with that fundamental grounding in good new wave / post-punk sound. All the while keeping a nice late 80s industrial style sheen to the overall atmosphere.

Its another solid release from King, but with releasing so many single/EP length items it is going to be interesting to see what he is going to pull out of the bag when it comes time for another full-length album.

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Review: In Death It Ends – 'Ghosts'

IN DEATH IT ENDS 

'Ghosts' 

AUFNAHME + WIEDERGABE 

Porl King's post Miserylab project, the witch house flirting In Death It Ends has maintained a pretty impressive release schedule since its inception. In addition to physical formats releases on CD, vinyl and audio cassette releases there have also been plenty of free downloads, the latest of which is 'Ghosts'.

A two-track single, 'Ghosts', picks up where the last album 'Analog Witch' left off. The first track, 'Ghosts I' is driven with an incredibly catchy bass groove that recalls the likes of Killing Joke's mid-80's sound dragged through minimalistic droning, and grating synths underpinned by a steady beat. It's new-wave meats a minimalistic take on early 90s industrial.

The second track, 'Ghosts II' goes in a more cold wave direction with a more melodic synth sound and distant, repeating vocals. It harks back to a dark but dance friendly post-punk sound reminiscent of the proto-gothic scene.

In Death It Ends may be by nature a lo-fi project, but it doesn't sound cheap or rushed. The songs are well constructed and mixed down with great attention to detail, so as to retain a melodic hook, while maintaining an eerie pervasive atmosphere.

In Death It Ends continues to be an interesting and unexpectedly fruitful project for King, and it will be interesting to see what he has in store for the rest of 2014.

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Review: In Death It Ends – 'Analog Witch'

IN DEATH IT ENDS 

'Analog Witch' 

AUFNAHME + WIEDERGABE 

Porl King, formerly of 90's goth rockers Rosetta Stone and post-millennial solo project Miserylab has been crafting more witch-house influenced sounds over the past few years with his latest incarnation In Death It Ends. Musically the predominantly instrumental project blends the gritty bass groove of early post-punk / prototype gothic bands with the avant-garde edge of more recent acts such as The Soft Moon and Mater Suspiria Vision with their nods to krautrock and psychedelia.

The new album, 'Analog Witch' continues the unrelenting pace of King's output under the In Death It Ends moniker, and shows an increasing tightness and definition of the projects identity. It is still, first and foremost, atmospheric in it's intention. Tracks such as 'Acheron Drift', 'Conducting The Shades', 'With Tears And Pain', and the sumptuous finale of 'Reach The Beginning' provide an essence of cinematic gravitas that most bands aim for but often fall short of.

The album retains a post-punk charm in the up-tempo and rather danceable numbers like 'Time Underground', 'The Nature Of All Things', 'Taken Across' and 'House Of the Wild Gates' which give the album and easily accessible entrance point for those new to the band. It's a nice mix that in one part entices the audience to move before inviting them to simply sit and listen.

There's a lo-fi sensibility to the approach, but none of the misplaced sense of underground credibility of bad production that often hampers artists. Instead the production continues to sharpen with every release and the mix nicely balances the multiple layers of dark ambient atmospheres, psychedelic electronics and driving grooves. The sparse use of vocals is particularly effective as they slither through the rest of the instrumentation when deployed.

In Death It Ends has come a long way in only a few short years. The song-writing is fresh and interesting, and it's execution is hard to fault. With albums like 'Analog Witch' as well as previous offerings like 'Occvlt Machine' and 'Forgotten Knowledge', In Death It Ends may very well eclipse King's previous projects.

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