Artist: Rabia Sorda
Title: Hotel Suicide
Genre: Electro-Industrial/ Electronic/Rock
Release Date: 29th November 2013
Label: Out Of Line
When Erk Aicrag is not busy with HOCICO concentrating on the negative and evil side of human existence he’s busy pouring the remaining focus of his creativity into RABIA SORDA where he can exercise out wider scope of feelings/ thoughts about life. ‘Hotel Suicide’ is aggressive and catchy so it still races tracks on the serious side. This release contains not only the album but also remixes and live performances. It’s said to be a fusion of Electro, Industrial, Punk and Wave and what remains to be said that it comes off really smooth, natural and with a clear and intelligent focus, mature also.
Did I say catchy? Yes, I did. The hooks and beats and the energy of the album will sweep you decisively with it. Force you to dance even if just in your mind and if you actually could in reality I would say it’d make for a fantastic de-stressor, a sonic shower – and that can be said for all the songs here, though of course everyone will find their favourites. For me it the stand-out was ‘Deaf’. It’s an upbeat, fast and yet menacing song – this feeling in particular is given by Aicrag’s vocal that has something of urgency and immediacy under its deceptively calm demeanour. ‘Killing Words’ is another, less dancy though still catchy, somehow melancholy song, making a good use of distortion within guitar and vocal sections. With CD2 after first two songs that are more subdued and quiet and thus different from material on CD1 (so their placing is rather well-thought out) follow the aforementioned treats of remixes and lives.
The first two remixes don’t do enough for me, they don’t seem to get down creatively much with the original versions – in terms of diversity regarding the approach and in fact I feel that the remixes takes the wind out of them. This impression changes with Formalin’s remix of ‘Somewhere along the road’ where the song turns into a more punkish position and the lyrics are pushed more centre-stage. The remix of ‘Turbulence’ of Forgotten Sunrise doesn’t bring anything much to write home about again and Terrolokaust’s remix of ‘Deaf’ is interesting but not enough to excite as the original did. The inclusions of live recordings bring other songs into the album and that’s its greatest plus. This then brings me to wrap this up into a tidy ending: I’m placing my bets that within this genre it’ll be one of the best releases even if the year is still young to judge that but judge it as excellent I will nonetheless.