Review: Neurotech – 'Symphonies'

NEUROTECH
'Symphonies'
SELF-RELEASED

For the past three years Wulf's (AKA Neurotech) Symphonies have provided an unexpected end of year highlight. The Slovenian producer and composer has weaved his own particular cinematic musical style from a number genres including futurepop, metal, industrial, and classical, but it is with these that he has produced some of his most stunning work.

The four symphonies draw from all of the above genres in some way. Moving seamlessly between metal guitars, futurepop melodies and haunting strings for what can only be described as a very 21^st century take on classical composition. The different symphonies all last for between thirteen to eighteen minutes and each one in that time takes the listener on a journey through different movements and emotions, all framed by a cinematic sense of scope.

Add the four different parts together with 'The Elysian Symphony', 'The Halcyon Symphony', 'The Ophidian Symphony', and the newest composition 'The Veneration Symphony' and you can't help but feel as though you're listening to the soundtrack to and epic film or computer game.

The production, as we have now come to expect from Wulf, is first class all the way. His style and pallet is constantly evolving and refining itself and it is easy to hear that progression on this album. But despite these originally being four separate releases he ties them together with ease.

'Symphonies' is an exquisite album for fans of soundtracks and symphonic metal. Wulf's skills are at this point beyond reproach and with a release like this under his belt it is mind-boggling that he isn't writing scores for films yet.  

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Review: Neurotech – 'In Remission'

NEUROTECH
'In Remission'
SELF-RELEASED

Slovenian multi-instrumentalist and composer Wulf is just one of those people you can't second guess. His musical vehicle Neurotech has, over the course of ten releases encompassed a diverse range of styles of genre from heavy metal influences to cinematic electronics. There is only one thing you can count on and that is the next album will be completely different to everything that has gone before. Last year Wulf released the metal influenced 'Stigma', the cinematic 'Evasive' and the symphonic 'The Ophidian Symphony'. His eleventh release, 'In Remission' is a progressive blend of all of these and more.

Industrial metal meets cinematic compositions, progressive electronics, and evocative vocal performances that sends Wulf's work ever onward toward the stars. Songs such as 'As Will Descends', 'Divided Bliss', 'The Lost Hope' ,'Evolving Equations' , and 'Alleviate' combine the room-filling power of an epic science-fiction soundtrack with the hard and heavy grit of cutting-edge industrial metal and instill subtle dance elements to create an undeniably appealing formula. Light and dark, hard and soft are perfectly balanced withing cavernous sounding songs that invite you to listen and move at the same time.

As usual the production continues to grow in quality alongside the compositions. Wulf is a great producer with a keen ability to get the best mix possible and deliver a product that could rival any major label release.

'In Remission' shows Wulf as a man very much on top of his game. The songs continue to show a definite progression from last year's albums and another step up in quality, if that were possible. This may be a short album at only seven tracks long. But it is nonetheless a substantial offering. There is plenty of deep and exciting music to get lost in, and when listed to last year's album's back-to-back it becomes a real feast for the ears. Wulf is an incredible talent and one that should be able to deliver great music for a long time to come.

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Interview: Neurotech

Built to last...

“Well I am schizophrenic when it comes to music and I get bored really easily when it comes to doing and repeating only one thing. When I've spent a lot of time on particular style of music it's natural for me to move on and explore new territories.“

Slovenia's Neurotech, AKA multi-instrumentalist and composer Wulf, is a music connoisseurs dream. Since the release of 2008's 'Transhuman' EP, Neurotech's brand of cybermetal has grown to a dizzyingly high standard. A standard that puts a fair few major label industrial metal bands quite frankly for shame. In addition to this, Neurotech has expanded into cinematinc intrumentals that can only be described as soundtracks to sci-fi epics that haven't been filed yet. Perhaps the best summing up of these two sides to the project can be summed up in last years releases 'Stigma' and 'Evasive – both of which Wulf has released for free (as he has done with all of his material).
Intravenous Magazine caught up with Wulf to discuss the evolution of Neurotech's sound, why he opts for the free music model, and his process as a songwriter.


Intravenous Magazine: First of all, for those unfamiliar with Neurotech can you explain the origins of the band and how you got started as a musician? 

Wulf: I started with Neurotech in 2007 with an intention to write music by myself. I was a drummer in metal bands for many years prior to Neurotech and wanted to do more electronicly driven music. So having bands and after years of experimenting of making mainly trance music in a cracked version of Fl Studio, I said to myself in 2007 to focus on only one thing and do it solely by myself.


IVM: You've recently released two very strong albums – the industrial metal 'Stigma' and the cinematic ambient 'Evasive'. How has the reaction been to the albums so far? 

Wulf: Mainly positive. Both albums are not for everyone, but for those who like this kind of mix loved it.


IVM: Why did you choose to release two very different albums in such quick succession?

Wulf: Well I didn't consciously choose that, it all sort of happened. Stigma was written fairly quickly, I'm getting better at keeping my conscious mind away from writing and let my inner auto-pilot steer the boat. So I knew what it was supposed to be and I finished it without too much second-guessing. 'Evasive' was a whole other deal. I was writting down-tempo instrumentals pretty much from the start of Neurotech's career. By the start of 2015 I had over 30 songs which I thought I will use for my instrumental album. But after Stigma, I didn't use any of those songs. I opened up a blank canvas and was inspired and I had a vision for an album for more many years of what I wanted to hear. And because it is quite different from Stigma, it was fresh and new so the momentum kept rolling.

IVM: What were your motivations and inspirations when approaching both albums?

Wulf: The same with all my previous albums - a desire to create, experiment, trying something new. Essentialy doing an album that I personally would want to hear in that particular moment in time.


IVM: You also released the epic 'The Ophidian Symphony' at Christmas. Again what inspired this piece and how has it been received so far?

Wulf: As much as I love doing standard pop structure type songs, I also like doing long instrumental pieces which incorporates lots of different styles. The concept behind symphonies is that they are a mash up of orchestral, electronic & metal music and are quite long journeys which start at one place and end in another. Reception was also positive, it has become some sort of a Neurotech's Christmas tradition to end the year with something more challenging to listen to.


IVM: Considering the fact that Neurotech has so many distinctive elements to it, how would you define it as a project?

Wulf: Well I am schizophrenic when it comes to music and I get bored really easily when it comes to doing and repeating only one thing. When I've spent a lot of time on particular style of music it's natural for me to move on and explore new territories. Neurotech is a vocation of my musical personality which is broad and I like to keep it diverse and interesting.


IVM: As a solo artist/composer how do you typically approach creating a song?

Wulf: I do lots of demos and lots of sketches which are written fairly quickly. Mainly with synths & drums & then I add a vocal melody mumbling some gibberish into the mic to get an idea of the whole song. For an album I write around 20 - 25 songs and then narrow the selection down to around 10 songs and then spend a lifetime on them and refine & polish them until they are done. Basically what my process is like is that I write lots of material and when I've an idea of what is the main red line between some songs, I choose those who represent that era the best and I threw away the rest. It's like a sonic diary which represents the best bits of what I create at a certain time.


IVM: You've made all of your releases so far free to download through your Bandcamp. Why have you chosen this model and how has this worked for you in the the current music market?

Wulf: Well it all started with the notion that I am only one guy, from the middle of nowhere, which is Slovenia, with no backing from any label or agency, the only way was to put my music out there for free and that made it easier for people to discover it and give it a shot at hearing it. And year by year, album after album, financing everything from my own pocket, a certain following started to emerge. The whole idea of name-your-price method is based on my personal experience - yes I also sometimes ilegally download albums if I don't know an artist or whatever, but if I like what I hear, I'll buy it. So I brought this whole mindset in my musical career as well. It has been doing okay for the last couple of years, now when everything is also on Spotify and Youtube and so on, the decline shows. I'm giving it another year to see if this is still a viable option, otherwise I'll change it to something else.


IVM: Would you consider signing to a label in the future?

Wulf: Never say never, but in the internet era, where everything is digital - it's pointless in my opinion. Small labels can't do much more than I can do by myself at the moment, and big labels are now more or less just an extension of booking & publishing agencies and PR firms which are still much needed for the big artists who do lots of touring & press have a considerable amount of radio airplay. For small artists, we have our own distribution platforms which are rock solid and we can manage them ourselves.

IVM: As a solo artist in the studio how easy is it for you to transpose Neurotech onto the stage?

Wulf: I've done the whole band thing with hired musicians and it does not work. Sonically it doesn't sound good to me. My albums are not played by people, they're constructed in the computer, bit by bit, where everything is layered and polished and heavily electronic, so I guess I'll have to find a way how to translate that into a electronic one-man show someday. But I'm still putting the whole live thing on hold for now.


IVM: Can we expect to see any live dates in the future?

Wulf: No plans at the moment.


IVM: Your first album is eight years old now. Looking back at 'Transhuman' is there anything that you would have done differently?

Wulf: I would leave it exactly as it is. The production is not good, but the songs are still okay to me. In a way its a statement that you have to start somewhere and keep evolving and improving yourself. When I listen to Transhuman now I cringe at certain moments but in a way I am still proud of it. I gave it my best shot in that particular time, with the limited knowledge of production / songwriting and general lack of experiences.


IVM: With two full length albums and a symphony under your belt last year, what does 2016 hold for Neurotech?

Wulf: I am currently writing a new album which will be released in parts, the way I did with 'The Decipher Volumes'. Other than that, I like to keep my options open to any cool projects that may come along.


IVM: Is there anything else that you'd like to add?
Wulf: Thanks for the interview & a big shout to all my fans!




Neurotech's latest albums 'Stigma' and 'Evasive' as well as 'The Ophidian Symphony' are available to download for free from the Neurotech Bandcamp page. For more information on the band including new release information, please visit the Neurotech Facebook page.

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Review: Neurotech – 'The Ophidian Symphony'

NEUROTECH
'The Ophidian Symphony'
SELF-RELEASED

If the two stunning albums, 'Stigma' and 'Evasive', released last year by Neurotech (AKA, Ljubljana based multi-instrumentalist Wulf) weren’t enough for you, the Slovenian genre-defying composer and producer returns with a final parting shot to 2015 in the form of 'The Ophidian Symphony'.

The free single returns to the more metal influenced sphere of 'Stigma' but retains the expansive blend of ambient and classical influences that made 'Evasive' a joyous listening experience. Add in the ebm and industrial influenced electronics and you have a solid representation of the Neurotech sound.

At eighteen-minutes in length the song goes through several movements truly living up to the symphony part of it's title. The song is entirely instrumental, which on one hand is a shames as Wulf's vocals are great and he could pull off something quite interesting over the top of this music. However, on the other hand it is an impressive testament to the composition that it manages to hold your attention so strongly that it is about several minutes before you realise that no vocals have come in.

In terms of production it sounds brilliant. Wulf's studio prowess is reflected well once again as he manages to balance fast metal guitars and drums, groovy synths, and ambient elements in a way that preserves the accessible end of the band's song while keeping it's cinematic scope intact.

This may be an instrumental single but it is nonetheless a big statement. If Wulf can keep up the momentum he has built with stunning releases such as this and the last two albums then 2016 could be the year of Neurotech. 

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Review: Neurotech – 'Evasive'

NEUROTECH
'Evasive'
SELF-RELEASED

Defying classification and resisting convention is all part and parcel of the Neurotech experience. Since 2007 composer and multi-instrumentalist Wulf takes his Slovenian based project on a ride that encompasses cyber metal, industrial, ebm, ambient, experimental, new age, trance, futurepop, and symphonic that confounds expectation at every turn. Neurotech's latest album 'Evasive' sees Wulf drop the metal edge of the band's sound to fully indulge the electronic elements without restraint. And the result is simply breathtaking in its complexity and scope.

'Evasive' is cinematic in scale with a huge atmosphere surrounding each song on the album. The construction is somewhere between dance-friendly electro and ambient new age. But it's much more than that. Tracks such as 'The Tide Is Rising', 'Compass', 'I Desensitize', 'Enter The Endless', and 'Maelstrom' give the album a dance-orientated back bone with their hard beats, memorable melodies and grooving bass. While the likes of 'From Liquid To Solid', 'Between Wake And Sleep', 'Through The Divine', and 'Evasive' delve into more complicated and almost soundtrack-like pieces that emphasise the atmosphere and soul of the compositions.

The whole album is a relentless exploration of progressive electronics, cinematic sci-fi atmospheres and straight-up great dance music. It sounds like Peter Tagtgren, Vangelis, Enigma, Juno Reactor, Trent Reznor and Atticus Ross brainstorming ideas for the perfect film soundtrack.

The production is lush and deep. Each song has a huge presence that equates to a dynamic whole. The synths, bass, beats each sound colossal in the mix and yet never swamp each other. The production is top quality and makes each song, no matter what its approach sound like a hit.

'Evasive' may have dropped the more familiar metal elements of the Neurotech sound, but it certainly doesn't suffer for it. With this album Wulf has indulged himself and allowed the creativity to flow unencumbered. The result is nothing less the excellent. The fact that once again this is being given away for free with no label support is just mind boggling. 'Evasive' shows the true depth of Wulf's skills and if there was any justice Neurotech would be a household name.

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Review: Neurotech - 'I Desensitize'

NEUROTECH
'I Desensitize'
SELF-RELEASED

Only a few months after his last stunning outing on 'Stigma', Slovenia Neurotech, AKA solo artist Wulf, returns with a new single and album to see out the year. The album 'Evasive' will be dropping in a couple of weeks, but prior to that the first single 'I Desensitize' has landed.

The single blends epic sci-fi atmospheres with industrial, trance, futurepop, and ebm to create a stunning instrumental track that would be just as at home on a film soundtrack as it would in a club. The song may have removed the metal guitars that characteristic a lot of his work, but it is no less brilliant for it. It's almost reminiscent of what a collaboration between Peter Tagtgren and Vangelis would perhaps sound like.

The production is perfect. It has a grand sense of space that adds to it's heady cinematic scope. But with it's solid beat, memorable melodies and clean hooks it feels grounded and dance-friendly.

This is an addictive first taste of the forthcoming album that once again shows off Wulf's seemingly effortless prowess as a songwriter and performer. Based purely on this it seems as though 'Evasive' is shaping up to be a seriously promising album.  

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Review: Neurotech – 'Stigma'

NEUROTECH
'Stigma'
SELF-RELEASED

Neurotech are unfortunately one of those bands that seem to slip under a lot of peoples radar. The Ljubljana based multi-instrumentalist Wulf, has been crafting strong albums that utilise elements of future pop, new age music, symphonic electronics and metal. The latest release, 'Stigma', marks the first full-length studio album since 2011's raucous 'The Antagonist' and it aims to make people sit up and take notice. Recalling in particular the work of Peter Tagtgren with his projects Pain, and to a certain extent Lindemann, Wulf presents a highly polished individualistic project.

The album opens bravely with the sumptuous futuristic instrumental title track before diving straight into more metal waters with 'Fear The Fear' that kicks the adrenalin up with hard guitars and blast beats over the lush electronic compositions. Tracks such as 'Of Adversity', 'Built To Last', 'Brighten', and 'Through Hardships' follow on giving the album a strong core of dance-friendly metal that will appeal to ndh fans in particular. The album's best offering though is the eleven-minute long future pop instrumental 'To Theta State' which closes the album. Once again it is a brave move but one that shows Wulf is someone who will do things his way.

The production is pretty good with a nice fresh and modern sound to the whole of the album. With each track getting a solid mix down, if save for one or two points where the vocals feel like they need to come through with a little more power behind them. But this isn't anything that greatly effects the listening experience.

Neurotech have created another strong album that is dance friendly enough for club play, but has the right amount of heaviness to give it a broader appeal amongst metal fans. It would be great to see this band with some promotional power behind it on their next release, but hopefully 'Stigma' will attract some much deserved attention.  

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