Angels In Disguise Press 2002-2003

January 2003 – Long Island Press
The instruments used on the latest recording from Interface is like a what’s what of electronic accessories. Vocalist/producer Eric Eldredge operates (and this is just a sampling) a Roland JP-8000, XV-5080, Juno 106, Yamaha AN1X and Korg MS2000R. As a result, there are quite a lot of sounds jumping around on Angels in Disguise, a self-release that follows up 1999’s equally intricate The Artemis Complex. Begun in 1993, Interface embraces its influences from EBM artists such as VNV Nation, Covenant and Wumpscut (who Eldredge has remixed), and crafts techno-bedded electro with echoes of old-school industrial. “Wasted Time” starts the album with a speedy pace and snarling vocal, which is carried on in a similar mode by “Ability” and “Temperature.” Three instrumental interludes, along with the ambient “Katja” (with a thunderstorm in the background), bring a tactful balance to the delirium, adding several subtle textures. Though these synthesized arrangements run a total of 71 minutes, most of these tracks are best suited as single mixes for the darker dance clubs.

The Equation: any electro-industrial artist on Metropolis records – assembly line noise

by Kenyon Hopkin

Interface’s latest disc, Angels In Disguise, contains 15 widely varied electro tracks that range from upbeat to atmospheric. The melodic and occasionally rough male vocals of Eric Eldredge, who is also responsible for for almost all of the music, dominate the album. However, the surprising gem, “Labyrinth”, features sublime female vocals by Jaki Neko. Other noteworthy tracks include the dark industrial “You Will Learn”, the upbeat synthpop “Ability”, the experimental “Sublimated”, and the dancefloor EBM of “Wasted Time”. With so much to offer, Angels In Disguise makes for an exceptional electro album.

by Octavia

Hailing from Long Island, Interface has been lurking under the radar for about a decade. Their sixth release, Angels In Disguise, has finally landed them a full-time deal with Tinman Records, and for good reason. Interface manages to walk the tightrope in between a more eclectic approach and schizophrenia. Transcending several electronic genres, they manage to maintain a cohesive sound through their uncanny ability to write catchy melodies.

Angels In Disguise provides an excellent cross section of the electro/synthpop sound today. Although it does not forge much new ground, the 15-track album stands out on its own with more than a handful of standout tracks. “Temperature” and “Ability” represent a few songs that have potential club play while the hard-hitting single “Wasted Time” will definitely rock the dance floor in the future. Keep and eye out for this release and the resurgent Tinman Records. You will be pleasantly surprised.

By Phil Fox

Artemis Complex Press 1999-2000

January 2000 – Inside Connection
THE ARTEMIS COMPLEX by Interface is a mostly instrumental CD, but it is still interesting industrial with techno leanings. Not extremely aggressive, Interface is very club and DJ friendly.

THE ARTEMIS COMPLEX contains 13 tracks in the realm of Front 242, Cubanate, Front Line Assembly, and LeatherStrip. And, of course, there is the obligatory Aliens sample. While not every track is incredibly original, the CD does vary enough from almost techno beats to quieter songs with female backing vocals, like “The Softest Blade”. Interface is worth checking out and has two other releases besides this one.

By Ed Johnson

October 2000 – Newsday
Electro, post-industrial or techno with vocals. Whatever you want to call it, artists like Interface (essentially programer-vocalist Eric Eldredge) are ushering in the latest (dark) wave of electronic music. Long Island’s answer to prosperous European acts such as Apoptygma Berzerk and Covenant, “The Artemis Complex” (recently picked up for distribution by industrial mainstay Metropolis Records) is a relentless surge of synth lines, sputtering beats and manipulated vocals. “Frantic” lives up to its title with aggravated shouts and sneers. “Autostation” benefits from resonating synth loops and a spattering of hip-hop. But the album also reveals a sensitive side with “The Softest Blade,” a down- tempo heartbreaker with female vocals and gliding strings. When Interface decides to add accessories to the procedures, the expertise of its recording is fully realized. An occasional use of guitar riffs is subtle but effective, as is the sci-fi sampling of a line from “Aliens”: “Not bad for a human.” Not bad indeed.

By Kenyon Hopkin