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KRELL The Factory 5/10/1998

Whats all the whining in town about people not going out to support local music? 200 Misfits crammed this joint and Krell burned the dump down. It was survival of the fittest up front (the usual violent pit scenario) but the volume was plentiful enough to enjoy from three blocks away. Show openers Plunger were good too, Basic punk rock and yes, the crowd even liked them.

Krell
Big, Big, Big Records

Krell's self titled CD-5 is a fine sample of dark industrial sonance with undeniable power. It's modern Saxon battle music. The CD with five listed tracks actually contains eleven. The later six are a true dabble in dark experimental sounds and samples. The vocal style throughout most of the disc is reminicent of NIN. The music, however, is driving hard down the path of world-ending chaos and destruction. If you can envision a soundtrack for the Battle of Armageddon, with rotting flesh, burning structures, death, smoke, and the clash between Heaven and Hell in the air, then you'll be prepared for the sound Krell unleashes. It's devastation in the form of music, "Shinebox" and "Plague" are the strongest numbers on the disc. The more expermental tracks are very interesting in nature.

KRELL

5-song pre-ReleaseEP
Krells cassette is amazingThe music is impassioned--full of rage and angst. I was surprised that there was actually a band from Richmond VA doing something different. The songs are heavy on guitar, drums and distortion--dark and violent to the core.
This album would be perfect for a dominatrix to use in her sessions or for a bondage party. It is an anbitious undertaking, carried off by a talented band. I have five words: Devil Music, plain and simple.

The latest release by KRELL, a self-titled 5-song EP on Big, Big, Big Records, delivers on their epithet of southern gothic death metal in a big, big way.
The first three tracks, Shinebox, Wide and Plague are blockbusters. True bison powered songs steered by demented pilots. The techno ingredients (sampler, drum machine) are used tastefully and offensively.
Interesting moments happen between tracks. Gothic chanting, sordid talk over dipsomanic bad piano. Interesting. Weird.
Master comes next, a direct invitation to slam the doors of heaven shut forever. This is anugly, depressingsong. Are these guys in some sort of trouble?
Any cohesive song structure present on previous tracks is now thrown away. Radio frequencies, time codes (?), french psycho-babble, a seven-plus minute long super dirge, then one final offering to the underworld played out over a hypnotic beat. Good devil music.