Press releases, reviews and comments from electronic dance music websites, blogs and magazines
The Dallas, Texas born artist’s admiration for 80s and 90s electronic pop is present within all of his music. There’s an overtly techy and sci-fi inspired angle to his sound and style that should make fans of keyboardist duo The Crystal Method, circa Legion of Boom era, and Gary Numan especially interested in what he has to offer. Sonic Radiation also has a technical astuteness to his productions which reflects throughout the absorbing story-like electronic melodies he creates for the listener.
Dyon is a special track to us in that it touches upon the widest possible swath of different EDM / electronic music styles. This means that one can hear hints of house, techno, ambient, and even hints of industrial before the effort concludes. The stellar production of Dyon makes it that no one style dominates; Sonic Radiation’s own unique style is what fans will be impressed by by the time that the effort concludes. I think the decision to continue to build off the same composition adds considerably to the ultimate gravity enjoyed by the track. Where one could easily make a repetitious track, Sonic Radiation is able to make an Underworld-styled classic that twists and turns just enough to keep fans firmly planted on the edges of their seats until the concluding seconds of the composition.
This is a quite interesting newcomer from the USA. SR composes a mix of EBM and techno. The opening cut entitled “Ready Set BOOM” is quite close to the “Pulse”-cd of Front 242. There’s a similar power of sounds and collage of intelligent electronics. After this promising debut, the instrumental compositions evolve into more explicit techno vibes. This band has a good sound while the style is totally devoted to the dance floors. This is another and cool approach in mixing different styles together. I think that a few vocal lines or some more spoken samplings would have meant a bonus for this production, but there’s no reason to complain for so far.
This release from 2005 offers 42 minutes of steadfast tuneage. Lush electronics spill forth laced with surging bass-tones, establishing a moody foundation. Effects are scattered throughout, lending diversions and punctuating the flow with novel instances. Squealing diodes surface and recede, further embellishing the mix. Cyclic loops are established, then auxiliary cycles are added as each tune progresses. Variations are subtle, relying more on the introduction of new loops that evolving existing threads. The result is dependable and somewhat pleasant. Snappy e-perc invigorates the sonic mesh with steadfast rhythms that utilize a variety of impact timbres. The tempos provide durable locomotion for the chugging electronics. Again, variation plays a parse role here, relying on hypnotic accretion. Voice samples from sci-fi movies are infrequent, appearing briefly to set the stage for certain tunes. While the compositions are generally unilateral, the songs exhibit strong roots in early techno wherein beats and bass-tones are established and allowed to run rampant while electronic trappings are tweaked on the fly and phased in and out by a mixmaster. The overall appeal of this music is very similar to early rave tuneage in which things set a stable trance milieu and rarely stray from that central mood.
BEATS! You want ‘em, Sonic Radiation’s got ‘em. Sonic Radiation is actually Todd Last plus a bunch of keyboards, and the eleven tracks here are a romp through old-school techno / ebm along the lines of Front 242 and Front Line Assembly minus the agitprop messages. There’s no deep thinking here to distract you from the booty-shakin’ groove, which is not a bad thing at all. The sound is basic and uncluttered, incorporating elements of techno, ebm, house, trance, and other dance styles into a nonstop groove machine that burps and percolates to layers of insanely catchy beats. Where most techno / ebm bands run into trouble is when they either can’t come up with the goods beatwise (a crime akin to a metal band playing lame, nancy-boy riffs) or they go totally overboard and shovel on so much stuff that it turns into a sonic omlette; Sonic Radiation avoids both of these traps with ease. The relentless beat fury does get a tad repetitive after a while — I truly believe techno / ebm works best in short bursts, via either 12’’ singles or EPs — but this is all good stuff, and best of all, there are no vocals (outside of the occasional nifty sample) to obscure the beats jumping out of the speakers. Bonus points for being a Texan (Sonic Radiation is based in Dallas). Get down, get down, shake your can-can around and around....
If you are into techno and trance music like myself you have to check ‘The 121 Project’ out! I give it a seven out of ten. (Ten being the highest) The album is filled with fun gripping beats. This is defiantly an album that makes you want to move your booty. It would be a great album to play at house parties and dance clubs. Good work! I can’t wait to hear more.
It is common these days to find industrial acts diverting their creative juices towards rock or techno approaches. Sonic Radiation adopt an opposing attitude, as this two-years-in-the-making techno release also embraces the cold side of electronic music. Not surprising really, given the fact that creator Todd Last boasts the likes of Front 242 and Frontline Assembly along with Crystal Method and Astral Projection as his major influences. The 121 Project embodies a light dose of samples, synth beats and effects that merge together for 11 catchy songs. Of the most notable tracks, “Shock Wave” stands out as blending an undertow of traditional industrial with dance rhythms, while the most attention grabbing beats lie in the spacey “Pyre of Fire.” This is an album already making its way to internet radio play and top ten lists. Perhaps industrial music is indeed a dying form. At least the influences remain in projects such as these.
Sonic Radiation = old/non-industrial Wax Trax + early 90s rave_There was a time when the industrial umbrella covered acts like The KLF and 808 State and showed more balance between the many faces of industrial music. Sonic Radiation is reminiscent of those times where you could bring your rivet-head friends to a rave and Confetti’s appealed to more than a goth crowd. There are eleven tracks of early 90s techno-industrial that plays like a Frontline Assembly vs. Front 242 side-project, setting the mood for candy-raver flashbacks. Groovy melodies and plenty of consistent beats are rampant, almost blending each track into the other. When listening to The 121 Project, it will be a challenge to not whip out the glow-things and those fancy moves and break it out on your cardboard.
Sonic Radiation’s electro-industrial sound blends a shred of goa trance, a gob of EBM and some techno-breaks a la Crystal Method et al, minus some of the acidy texture. ‘The 121 Project’ is undoubtedly a strong, well-composed slice of semidark but perky-veneered industrial dance. I only wish the energy factor, in terms of speed, punch and acid tinge, could have been higher. I’m sure this will have no problem gaining fandom on the dance and, as I said, the dark, sleek sound is accomplished and an enjoyable listen. It’s just that I felt that, like not-quite-done stew, it needed a bit of salt. But let’s chalk a bit of that up to my personal tastes. The last sentence you need to read in this review is something positive: Sonic Radiation’s ‘The 121 Project’ is a solid piece of electro-industrial composition sure to find a niche in the music world.
Inspired by industrial groups like Front Line Assembly and Front 242, Todd Last formed Sonic Radiation in the Dallas club scene in 2003. “The Project 121” is a merging of techno, industrial, and house. The synths are punchy with waves of effects bending them into EBM-esque soundscapes. Once the beats hit with funky breaks intertwining the four-on-the-floor slams you’ll feel your body start to sway back and forth as it pumps fresh adrenaline into your veins. Overall the songs are cerebral mashups that will have clubbers dancing till the early morning hours.
This album radiates a hypnotic music—one that is an electronic groove that is dance-able. The underlying beat is constant and fits into the broad techno approach as well as fitting the requirements of good house music. The sense for me was that it felt somewhat European. Good electronic from UK and Germany have had similar approaches. Here the eleven tracks deliver a wall of relentless beats along with lots of electronic effects, voices, sounds, and much more. Some may call it robotic as it has that sense. The DJ will certainly find a track that fits the mood or style for many occasions. For me the 11 cuts were almost an overdose of electronica and dance beat. But I certainly did like many of the songs. ‘Red Rain’ was one of my favorites but there’s plenty of material to choose from. Electronic dance and techno fans will have a field day.
Sonic Radiation plays with live wires; one hand tweaks a conductor coursing with industrial beats, while the other grasps an electrically-sizzling wire of trance and classic techno…the two arc together, and The 121 Project is born. This synth-heavy robotic juggernaut comes to life as a less dire Prodigy, a more patient Crystal Method, with the gleaming outer shell styled something akin to Juan Maclean’s own.
I don’t usually like electronic music anymore, that is, unless it’s by Electronic, but what I found myself liking about Sonic Radiation was that it’s good “get up and go” music. The type of music you play when you’re pretending to walk down a cat-walk or just need something playing in the background while you work. You know, good zone-out music. Not Goth, a little dark, and best of all, free.
Out of torrid Dallas, Texas, Sonic Radiation is an outfit that brings a much needed chill-out experience in the form of refreshing electronica that, as they put, keeps ‘an eye on the past and one eye towards the future’. As much common place this might sound, Infinity EP goes a long way in showing that Mr Todd Last has courage to spare and fortunately, his creations back him up fully on spot. The work in question offers three tracks for a modest running time of under twelve minutes, three tracks of upbeat electronica sitting somewhere in between modern Kraftwerk and the likes of Male or Female (of Front 242 fame). Titillating synth phrases and rhythms, diminutive yet assertive beats, industrial hints, a sense of running dynamics, atmospheres were needed, are all ingredients that make this comparatively short work rise well above the average of a full length of similar connotations. A welcome sense of freshness, one for the dancefloor or the lounge chill-out equally. More please.
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