Broken Fabiola is another brilliant example from the modern school industrial-electronica coming from the genius mind of Karloz. M, the creator of the highly praised rhythmic noise-IDM monster Manufactura, a band that quickly stands as one of the greatest in the genre due its incredible versatility and originality displayed in their various works. Broken Fabiola was cleverly chosen as part of the great industrial crew from Tympanik Audio and could be considered as the alter ego from Manufactura in many ways, especially as it represents a different side on the conception of the music, the thematic implied and the divergent generic sonority employed in structural terms. It is incredible to know that both projects with such outstanding quality works were released during the past year, a fact that clearly confirms the brightness from this master in all what he does. The band originates in 2003 and has released three albums, two on Auricle Media and the one we have here on Tympanik. “Slave” took three years in the making Hesitation is futile; this work is a must from start.

“Slave” plays in three main areas that are equally complicated to deal with, not only by the overly difficult task to create something new among them but to use their resources in a skilled and intelligent way without boring the listener. Nevertheless IDM as usual opens a vast camp of possibilities for the author to experiment and aid its conception. Basically what we have here is a trinity constituted by Broken beat focalization on the rhythm section accompanied by cuts/beats dirtied in rhythmic noise without becoming too harsh to repel the atmosphere for the thematic development, a heavy dosage taken from Ambient in order to fabricate feeling/mood and an atmospheric part leave to a re-uptake dark wave that will add a portion of somber necessary to conform the definitive thematic. The tracks obey a logic that connects them into a whole theme that develops and impulse a divergence, the dark nature from things and our acts. This theme is presented as slightly romantic script full of dark connotations from the very beginning; even the cover art makes this something specific.

Dynamically moved and erotically evocative at moments the work digresses on the double nature from love explicitly somehow with its organic textures displayed, sexually charged rhythms full of variety and a dark paintbrushes made of shade to finish off. As in Manufactura, Karloz demonstrates its geniality not only in terms of rhythmic virtuosism, as he is clearly a monster fabricating diverse beat formations full subtle and precise rhythm changes where everything fits and not a thing is put at random, but his ability to blend and contorts these in his will to adapt them to the most varied and unpredictable atmospheres. If Manufactura is a project at the service of noise and rhythm disfigured for good in the nasty face from the dark side, a blatant declaration, this project is rather more subtle and suggestive, showing darkness as something that still preserves beauty and candour, a pace of apparent calm that remains amongst the burning ashes, a smooth tension oscillating beyond the beats and way deep into the imprecise figure shaped by the atmosphere created, ultimately it shows a hint of uncertainty that the listener will capture from the very beginning. Other aspect that demarks a departure from the other project is the inclusion from vocalization, especially the two female singing apparitions on “Departure” and “Rewind” attributed to Nissa & Sharon Blackstone respectively.

The work maintains a cadence that results attractive and distant for the listener, a sense of belonging and spleen create a mood of melancholy that allows camp for the incursion of a magical variety of rhythm conformations and simple but touching melodies. The darkwave modulations serve as background from black curtains that veils the mystery that happens behind the looks of the lovers. “Slave” is one of the songs that come as a friendly advice from the coming of the beast that lies inside. It steps roughly into rhythmic noise collision but still is able to avoid totally brutal manifestation and form but its highly danceable and equally intelligent for easy listening.

Broken Fabiola stands out as another of the greatest creations from the author and exemplar childe from the vast legion of industrial-electronica grandeur that now epitomize Tympanik Audio. Agile rhythm sections, versatile soundscapes that thrill and attracts and a sense for simple but catchy melodic lines gives this work a rather solid presentation that paragon this band and the author as one of the best industrial acts from the US. Highly recommended!