IBYSS is two guys. Two guitars, riffs for days, melodic and harsh vocal tones, programmed drums that are on point, and distorted bass. The band was founded at the beginning of 2012 by guitarist Jens (Chord Of Souls) and guitarist Nihil (PaPerCuts). This duo is taking Industrial-Metal back to its underground roots, the German duo celebrates an assault on the progressive-sound-complex of today´s metal world. Rudimental and raw. The band includes echoes and reverb in their sound to make the listener feel as if they were stuck in a cold dark cave, instead of listening to the usual music in the cozy surroundings. IBYSS wants you to feel uncomfortable, they want their music to move you and it’s something that few bands put effort into. The bands first release ‘Obsidian’ was self produced and released in 2014. Since that album the band has released 2 remixed tracks and the single “Monolith” that included the original track and 2 remixed versions in 2015. IBYSS has now released their latest work of art on January 31, 2017. The release was again self recorded and produced by the band and mixed and mastered by Ben Blutzukker. The album’s title has caused sort of an uproar in the bands home country of Germany. The EP titled ‘Hate Speech’ has been refused coverage from most German webzines and even leading print magazines. Refusing to publish any news about the release or even review it because they think our title is too “problematic” or “provocative”. I can easily go back into the metal vaults and find 1000’s of iconic albums that have far more offensive titles. Honestly, the fact that these outlets aren’t covering this album gives it that taboo effect and makes fans want to check it out even more. The title of this EP isn’t the main point here, this band absolutely dominates in their own style, bare witness to all that is IBYSS.
“Bois Ton Sang” kick starts this album with a simple yet appealing song. The riffs here are humble, as well as the beats and other various sounds. When it comes to the vocals they are spread out through the song with some distance between each verse. The large majority of the vocals on this track are more baritone and punchy, but near the end you get a more gravely melodic tone. Other songs on the album are far more complex, but it shows that IBYSS can really master both simple and complex styles. “Home Is Where The Graves Are” features guest vocals by singer Rüdiger Schuster (Die Guten Deutschen, Unlucky Childz, U.L.A.A). This is by far one of my favorite songs on the EP. The beats throughout the song have this hypnotic rhythm. I’ve never been a fan of drum machines, but IBYSS actually make it a strong point in their work. The distorted riffs and bass in this track also add this junkyard rock n roll like rawness. The vocal prowess here has this overwhelming appeal. It’s gritty, unfiltered and raw but at the same time has this beautiful melody. “Frontlines” showcases varied vocal tones in comparison to the other tracks. You get a deeper growl along with a more clean singing style vocal pitch. The cleaner vocals have this slow haunting effect that seems to almost echo at times. They growls mutate into more of a softer scream at times as well. As the song comes towards the end the volume seems to decrease creating this fading like conclusion. German industrial rock is nothing new, but the elements and layers of sound that IBYSS include in their music really brings a newness to this style. Though the band uses technology rather than additional band members its still surprising that a two piece duo can create such a monumental and varied sound. The German media and press that declined to review this album are truly missing out. It’s an ultra politically correct world we live in today, metal and rock still cause rebellion and chaos amongst the mainstream media even though we classify nothing offensive in relation to the title or lyrical content in this EP. ‘Hate Speech’ is an artistic and moving album, and IBYSS shows they have the balls to release this title even though it means no press from certain outlets and because of that we applaud them.
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