Helgritt - Helle-666
Aggrotech I am none too sure as to what exactly happened to Helgritt in any sense, as where once they were they are no longer. And what do I mean by that? Their internet presence has pretty much disappeared in every sense of the word. There was a Facebook page for the aggrotech act, and now it's gone; the reverbnation page? Gone. Sure, you can still buy the music on Amazon and listen to this release on Spotify, see a page for them on VampireFreaks, but there is little to no fan connectivity. Perhaps I didn't get the memo that the project was being shut down or something else might've happened, but, either way, if there's music to review, I'm on it.

Now, the way she described herself was as such:

Mangled electronics in a zombie hybrid of vampyric sounds and obscure demonic vocals,Helgritt becomes possessed by Demons,and this is how the music is created,a sonic hell,an infernal embrace,as you step into the darkness,the vortex to an evil tone is opened,in true Cyber dementia,music becomes a door? a gate for those who dare to enter into the realm of the undead.

While certainly trying not to break any ground that has already been dug up way in the past, the real talking begins not with her image or anything of the sort, but with her music. And her debut release, Helle-666, is a decent effort, though sounding like something of a demo.

Beat-wise, you get your usual club friendly tracks that don't differ from the norm all too often. Abomination actually started off pretty cool for the album, incorporating some delicious piano music followed by a decent set of chords that were beautiful. Mixed in here and there were some distorted vocals and bass, until the whole song turned it's head to reveal the evil within; the aggrotech came storming out with an okay beat and some more vocals that were digitally toyed with.

Arisen followed the same trend as the previous song, and even had another piano solo late in the song. It was interesting to see how it played out; it made the song appear more gothic; I guess that's where the Vampyric sounds come from. And, not only that, but the artist displays some appreciation to noise with the outro of the song.

More dancey beats flooded the walls with Azazel, Blood, Body Parts, Helle-666, Rotted, Shadows, and DeathReich. However, the sad part is that while these songs may be catchy and can make one move, there's not much more to them to add on a bit of fat and make them jolly fellows; they all kinda get dull after hearing one after the other.

However, that's not to say there wasn't more to appreciate on the album. For example, Cinders was paced slower than most of the other songs. While I didn't appreciate the vocals all too much on this song as they were just so fucked with I couldn't really stand them, the beat itself was pleasurable. Demon Machine sort of fell in the same boat, although I did appreciate the bass drops in the song very much.

Dominate comes off with some nice choral effects and a decent drum roll before going into more heavy synth based beats. The choral effects come back in later, and I think that's where the song really amazes. I-Am-The-Evil does great with the intro, coming off with some heavy church-like chords, but then goes back into the same old.

And, In-Sin-Erator is the last song I have to touch upon. While, it does have a pretty good lead into the bulk of the song, as I've stated and bitched about in the previous paragraphs, it comes off as a repetitive title.

Now, I can see Helgritt becoming an awesome Gothic sounding band. The piano work was awesome, and the aggrotech was decent. I mean, if the two styles were fused together, I'm sure something wonderful would come of it. However, until there's a full fusion or change in sound, I can't say I absolutely adore the works of Helgritt as of just yet.
3
Brutal Resonance

Helgritt - Helle-666

6.0
"Alright"
N/A
Electroracle
Spotify
Released off label 2013
I am none too sure as to what exactly happened to Helgritt in any sense, as where once they were they are no longer. And what do I mean by that? Their internet presence has pretty much disappeared in every sense of the word. There was a Facebook page for the aggrotech act, and now it's gone; the reverbnation page? Gone. Sure, you can still buy the music on Amazon and listen to this release on Spotify, see a page for them on VampireFreaks, but there is little to no fan connectivity. Perhaps I didn't get the memo that the project was being shut down or something else might've happened, but, either way, if there's music to review, I'm on it.

Now, the way she described herself was as such:

Mangled electronics in a zombie hybrid of vampyric sounds and obscure demonic vocals,Helgritt becomes possessed by Demons,and this is how the music is created,a sonic hell,an infernal embrace,as you step into the darkness,the vortex to an evil tone is opened,in true Cyber dementia,music becomes a door? a gate for those who dare to enter into the realm of the undead.

While certainly trying not to break any ground that has already been dug up way in the past, the real talking begins not with her image or anything of the sort, but with her music. And her debut release, Helle-666, is a decent effort, though sounding like something of a demo.

Beat-wise, you get your usual club friendly tracks that don't differ from the norm all too often. Abomination actually started off pretty cool for the album, incorporating some delicious piano music followed by a decent set of chords that were beautiful. Mixed in here and there were some distorted vocals and bass, until the whole song turned it's head to reveal the evil within; the aggrotech came storming out with an okay beat and some more vocals that were digitally toyed with.

Arisen followed the same trend as the previous song, and even had another piano solo late in the song. It was interesting to see how it played out; it made the song appear more gothic; I guess that's where the Vampyric sounds come from. And, not only that, but the artist displays some appreciation to noise with the outro of the song.

More dancey beats flooded the walls with Azazel, Blood, Body Parts, Helle-666, Rotted, Shadows, and DeathReich. However, the sad part is that while these songs may be catchy and can make one move, there's not much more to them to add on a bit of fat and make them jolly fellows; they all kinda get dull after hearing one after the other.

However, that's not to say there wasn't more to appreciate on the album. For example, Cinders was paced slower than most of the other songs. While I didn't appreciate the vocals all too much on this song as they were just so fucked with I couldn't really stand them, the beat itself was pleasurable. Demon Machine sort of fell in the same boat, although I did appreciate the bass drops in the song very much.

Dominate comes off with some nice choral effects and a decent drum roll before going into more heavy synth based beats. The choral effects come back in later, and I think that's where the song really amazes. I-Am-The-Evil does great with the intro, coming off with some heavy church-like chords, but then goes back into the same old.

And, In-Sin-Erator is the last song I have to touch upon. While, it does have a pretty good lead into the bulk of the song, as I've stated and bitched about in the previous paragraphs, it comes off as a repetitive title.

Now, I can see Helgritt becoming an awesome Gothic sounding band. The piano work was awesome, and the aggrotech was decent. I mean, if the two styles were fused together, I'm sure something wonderful would come of it. However, until there's a full fusion or change in sound, I can't say I absolutely adore the works of Helgritt as of just yet. Apr 30 2014

Off label

Official release released by the artist themselves without the backing of a label.

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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