Visions Of Modern Life Press 2009-2010

Side-Line Spring 2009
It would seem the prediction in the EP review was dead balls on! This release is twice as good as the last and this act has definitely found THEIR voice . Where as in the predecessor full length each song sounded like a different influence, here they have all been smashed apart and reconstructed into something that sounds like what I should sound like. Each track has the potential to crush any dancefloor there is a slight drop in the middle of the release for some experimenting with more than playing with a straight 4/4 on the floor beat all the way through. Each track is a pleasant suprise – this release is destined to become an instant classic and is a great solid release to kick off the new year. Within all this fun there are two remixes at the end of the disk for the two tracks that should be spun immediately by any DJ. Dare one say that I is the next band to wear the monacre of “futurepop” with the varied moods and sounds expressed in this release, as well as the deep meaningful lyrics that will touch anyone because somebody out there has felt the same way at one time or another.

by John Hogan Spring 2009
Interface could not really deliver with their previous Destination Focus EP so i hoped that the new and recently released studio album Visions of Modern Life would be better. Interface immediately kicks off with the uptempo tracks ‘Voices (Mono)’, the already known ‘Destination’ and the title track ‘Modern Life’ where Interface connects modern EBM with gripping songs. Especially ‘Voices’ is a real blast for the club environment. At the end of the album the song returns in a remix with singer Dawn Mitchell. Again it gets clear in the first few songs on this new album that a strong voice often is everything for an electroband. Interface has that luck and Interface is also a band that successfully has further developed the futurepop sound. Halfway down the tracklist of the album the pace is slowed down in a couple of tracks and next to songs with a focus on electropop like ‘Transit’ and the splendid ‘Pavillion’ more atmospheric and experimental sounds get the chance like in ‘City Limits’ and ‘Antarctica’. ‘Bodyflow’ is next and this is again a track which is meant for the dance floor, followed by the atmospheric ‘Paranoia’s Lullaby’ that ends the album. This album also contains a new version of the older ‘Corridor’ track. Interface definitely silences all criticism with Visions of Modern Life. Visions of Modern Life is a very good, consistent and fully up-to-date sounding electro album.

by TekNoir

2009 Review from ZONA INDUSTRIAL (Spanish Translation)
This is the fourth production of Interface, a New York based project formed by Eric Eldredge. The first time i’ve heard this band was with a remix for Dubok a couple of years ago, then on their second production “Angels In Disguise” an album that navigates between classic EBM, Dark Wave and Future Pop, this last genere apparently was the line that the band chose to continue, a fortune, since it is believed that the Future Pop died with Apoptygma Berzerk’s Harmonizer or VNV Nation’s Futrure Perfect, Interface “Beyond Humanity” in 2006 followed as mentioned in the same vein, but though it was a better album, this was too repetitive, at least for my own point of view, the album became too predictable for me they abused to recycle clichés of what we thought the late Pop Future, Trance structures quite so trite.

But this new CD, “Visions of Modern Life” the truth that I was very pleasantly surprised, not only verify that the band continues not to abandon Future Pop, but because they has finally found the formula for this more balanced gender in an era rife with Power electronics, Harsh and Dark-Electro grateful that the truth can be cool with a proposal like this and, at times we can recall the best of some VNV Nation or Assemblage 23, but with its own personality, the masterly handling of arpeggios, the vocals clear and we must add that the vocals on each track were created to stick and not leave your head for several hours, another band that comes to remind me at times is also in its early days GLIS , Call it nostalgia if you wish, but this new disc will inevitably make you back to those good times when the future of Pop was in full swing, but not necessarily all that without sounding retro or a particular copy of …

The album already has two singles currently for “Transit” and “Destination”, but actually any track on this album could be a potential single, never thought I would get the day that put Interface on a list of my favorite albums of the year, the time has come and invite you to witness the birth of a new interface.

My favorite tracks besides the singles and brought just to mention some “City Limits”, “Body Flow”, “V.2 Corridor” and “Voices (Mono)” reminiscent from Nitzer Ebb to Icon Of Coil.

PhillyGothIndustrial 2009
Don’t push “shuffle,” and don’t push “pause.” This album is best when listened from start to finish.

The new album from the New York based band Interface is a terrific example of good industrial music coming out of the US. When you can listen to an album in its entirety and not feel the urge to skip a track, you know you’ve got a clear winner. I could imagine “Visions of Modern Life,” as a soundtrack for a movie. Unlike a lot of albums that seem to have no thought given to the order of the tracks, this album has a definite beginning, middle and end.

It begins with an atmospheric intro track called “Entry” to set the mood, and then takes you on an action-filled excursion for the next several tracks. I could close my eyes and almost see the characters, the scenes and the intense action-thriller style plot forming as I immersed my ears into the depths of each track. A certain theme develops, as the album title indicates, I felt I was “seeing life” from different perspectives.

Halfway through the album, there is what appears to be an intermission; a short, soundscape track called “Antarctica,” followed by a slower, moody track called “Pavilion,” which interestingly contains a small sample from “Voyager” by the Alan Parsons Project. Thereafter we’re thrown back into the fast-paced action. I take note of the lyrics in, “Indecision,” which further enforces my inclination to imagine a story, as if the character is in some kind of turmoil, “To take the next step or to weather the storm, to doubt if your choices are truly informed..” Also worth mentioning is the track I predict will be a club hit, “Body Flow,” with its perfect dance rhythm and shout-able chorus.

Not unlike a movie, we end our story in calm… with one of the more beautiful ballads I’ve heard lately, “Paranoia’s Lullaby,” with its deep and interesting lyrics, tender symphonic keyboards and melodic vocals. While each track takes on a personality and “plot” of its own, you’re left with the feeling of unity and continuity, a finished piece.

by Candy Durant

Beyond Humanity Press 2006-2007

Remixwars – November 2005
The third album from Interface arrives finally after a long 3 year wait since Angels In Disguise in July 2002. The album begins with a moody sample taken from the film Equilibrium, setting the futuristic and somewhat dystopian theme of the album as seen from the full opening track The Age of Computers, its a strong dancey number that should be popular on the dancefloors. The next track is the first display of the harder Funker Vogt-ish feeling of some of the tracks here. Wonderland is a slower paced tune that really displays the bands song writing skills, it would work well in acoustic form with just guitar and vocal. Track 5 – Despair, is an instrumental ending in a nice uplifting almost euphoric trance style. The album’s title track Beyond Human continues the futuristic theme with heavily vocoded Kraftwerkian voice accompanyied by electro beeps and moving again into a straighforward almost euphoric trance for the second half. It can appear to be an odd mix if you arent famililar with the genre, with some loving the first half but not the final half because of the change into openly trance influenced coming into effect so sharply. More science fiction theming in Stranger In A Strange Land, another slower paced track about change, the fear of it and its necessity. Track 8 – Insomniac is the albums weakest track for me with just not alot happening in it. Nobody”s Hero could be a long lost Funker Vogt track as it follows that bands style and construction pretty much perfectly but here thankfully the band didn’t remake this track 10 times for the album. The similarity is apparently accidental including the name having no relation to FV”s Tragic Hero or Fallen Hero. Faith In nothing, the penultimate track should again have the dancefloors filled everywhere without too much trouble. Finally, Darkness Prevails closes things with more Kraftwerkian electronica and serious vocoding. Despite the pessimistic name this mostly instrumental seems to speak with some hope to me for a bright future if we want it.

By Shrike. Note: Shrike reviewed a pre-release version known as the “Standard Edition” without the bonus tracks.

Review at Chain DLK May 2006
Beyond Humanity, the third album from New York-based Interface, offers a refreshing earful of forward-thinking, futuristic electro-pop. This highly-charged melodic escapade expands outward from its understated opening track, “Gravity,” accelerating from zero to sixty in the blink of an eye. Staccato beats and fluid arpeggios sizzle around the vocoded articulations of singer Eric Eldredge as “Age of Computers” kicks into high gear. “Mind Killer” shows off the programming and arrangement skills of Eldredge and bandmate Jon Billian, as this highly infectious dance track palpitates like a heart on the verge of infarction! The place slows a bit on “Wonderland,” but cranks back up again on “Despair,” a repetitious but energetic instrumental. “Stranger in a Strange Land” incorporates samples and some nicely executed vocal melodies in a very palatable fashion. The vocoder returns on the title track, “Beyond Human,” along with some very familiar, euphonic retro beats and effects – musically and thematically, one must believe there’s a nod to techno godfathers Kraftwerk in here somewhere! “Insomniac” slams on the breaks, its slow, flowing beat giving it a much darker sheen than the rest of the album. “Nobody’s Hero” is definitely a cut above, and should emerge as a dancefloor favorite for clubgoers this summer. “Faith in Nothing” closes out the album nicely, though I had to laugh while listening to the chorus, as I was reminded of the nihilists from “The Big Lebowski” – we believe in nothing! As this is an Expanded Edition, six additional remix tracks (some from deleted releases on the now-dormant Tinman record label) have been included on the disc. Contributors to this effort include Assemblage 23, Stromkern, Combichrist, Imperative Reaction, and DJ Sean Tyas. “Clear Night,” remixed here by Sean Tyas, originally appeared on 2002’s “Angels in Disguise.” “Doubts and Fears,” an 80’s new-wave influenced track originally available via the internet, was previously only available in CD format on the “State of Synthpop 2005” 5-disc set. The other remixes feature songs from this album that sound significantly different from the originals, making for a really nice mixture of styles. Jump on this!

By Author Unknown

Virus Magazine April 2006
I found “Beyond Humanity“ to be a pretty good release, overall. The lyrics are above average, if a bit sci-fi cliche on some numbers. The more emotional songs are excellent in their lyrical content, though. “Beyond Humanity“ also has some fantastic synth work, and the beats are fairly diverse; although, I feel the bass could have used a little more punch and the tempos could have varied a bit more.

Regardless, this CD will definitely find favor with club patrons and those who like to move their booty. The music runs the gamut between borderline synthpop and colder EBM. I like this kind of diversity, but I did have one issue with it here. The vocals just don’t seem to fit in right on the harder songs. Of course, this is just my personal opinion. Personally, my favorite song on this CD is the “Wasted Time” remix by Stromkern. The bass in this song is phenomenal! That being said, “Beyond Humanity“ is an above average electro release. I give it my seal of approval.

By Jeremy

Gothtronic Magazine Summer 2006
“Beyond Humanity” is Interface’s third full-length album. The long-awaited follow-up to their 2002 breakthrough “Angels in Disguise” was recorded entirely in the computer environment, and reflects a more focused and aggressive sound than its predecessor while retaining founder Eric Eldredge’s melody and songwriting touch. “Beyond Humanity” is a well balanced album with a good equilibrium between uptempo tracks and listening songs. Easy listening Electropop with a dance & trance mood. “Age of Computers” and “Mindkiller” are immediatly bulls eye. Another top track is “Beyond Human” which has a “krafty” vintage touch due to the vocoder use. If you fancy VNV Nation and adepts you will probably like this release, but also trance lovers who go for a sound of Blank&Jones or Cosmic Gate will dig this one too.

By Davitch Summer 2006
This is Interface’s third full-length album, here released in a expanded edition that includes 6 bonus tracks taken from previous limited EP’s and singles. The album was released in 2006 on Nilaihah Records, more than ten years after the inception of the band in 1993. Interface is made up of Eric Eldredge (everything) and Jon Billian, keyboardist, and is based in New York. The musical style presented on this album is dark EBM and Industrial, with enough pop elements blended in to make the music accessible.

The opening track, “Gravity”, begins with a eerily desolate musical landscape, which is then joined by a disturbing sample from the movie Equilibrium. “Age Of Computers” follows, and this track seems tailor made to be a anthem for those involved in the technical profession. Not only that, it’s a excellent dance track as well, and the remixes by Assemblage23 and Imperative Reaction only serve to emphasize that fact.

Thankfully, that’s not the sole highlight of the disc. The hard-edged EBM of “Mindkiller” immediately follows “Age Of Computers”, and shortly thereafter is the excellent club track “Despair”. “Stranger In A Strange Land” is probably the most synthpop-oriented track on the disc, but that isn’t a negative comment at all – more of a reflection of how many styles this disc successfully incorporates along the way. “Beyond Human” has very Kraftwerkian vocal effect used throughout, but the modern EBM music style keeps the track feeling very fresh. The non-remix portion of the disc closes with “Nobody’s Hero” and “Faith In Nothing”, both excellent EBM tracks.

Just about all the remixes are also outstanding. The “Faith In Nothing” remix seemed to tip the scales just a bit too far in regard to the original song versus new elements. Other than that one issue, this is a great crop of remixes, and add a lot of value to the album. I think that if you enjoy bands such as Endanger or Namnambulu, but prefer a more EBM slanted approach, you’ll love this disc. I know I do.

By Jason Baker

NeuroZine Summer 2006
US-based band Interface is back with their third studio album and with new material in over three years. A lot has happened with Interface since the last album “Angels In Disguise” arrived in late 2002 and you notice right away that Eric Eldredge and Jon Billian have put a lot of work during this time to create “Beyond Humanity”. You can’t complain on the sound, it is futurepop and this is the world we live in, it is danceable and really great and the production is allot better then before. Every minute have been used and this record is loaded to the max.

“Beyond Humanity” contains several really great tracks of danceable dark electronic like Age Of Computers, Mind Killer, Beyond Human, Despair among many others. The offer the listeners something extra, this album includes six bonus tracks with remixes from Assemblage 23, Stromkern, Combichrist, Imperative Reaction and Sean Tyas. For you out there who like those and looking for something new with same great sound, then Interface is something I can strongly recommend. They combine dark electro with elements from trance and industrial to get that right feeling that will make you dance.

by Bjorn Andersson

Gothic Paradise Summer 2006
Even though this is the first time many of us have heard of the band Interface, this is actually their third full-length album. On Nilaihah Records, it comes presented as the “Expanded Edition” which contains ten solid original tracks and six bonus tracks that would have probably been released as a separate single in other circumstances. I always think this is a nice approach to have them bundled onto one disc since the days of buying a “single” in the store is a thing of the past with the digital music revolution and being able to buy single tracks at a music download site. However I still think the best albums and bands are those that can package an entire disc in such a way that it’s good enough that it’s best to listen to in it’s entirety. And with this album they manage to pull it together well in that sense.

The album starts with a short, spatial ambient intro with some sci-fi post-apocalyptic spoken word samples and then jumps right into the pounding beats and futuristic theme with “Age of Computers”. The vocoded vocals are a nice touch on this track giving it that mechanical and over-the-top digital feeling (or lack of feeling). However, the melodic vocals interspersed between the mechanical gives the track a human touch and should really please synthpop fans. This theme of Beyond Humanity remains strong throughout the album providing a cohesive theme and smooth transition between tracks making the entire album nice to listen to. A few tracks have various samples included which add some nice accents to each piece. “Mind Killer” builds on this feature and some harsher vocals and heavy bass and beats for another excellent dance track that has quickly become a favorite on this disc. This heavier, more aggressive tone and harsh vocals is actually more of the exception, which is nice in today’s onslaught of vocals that sound like the vocalist has gargled gasoline.

Adding some nice variety to the album are the mid-tempo pieces “Wonderland” and “Insomniac” with a heavy, but smooth trip-hop beat and non-distorted vocals. “Stranger in a Strange Land” also moves away from the industrial edge with some smooth, melodic synth loops and clear vocals. We’re also treated with a moving instrumental piece “Despair” which builds on some solid synth loops and dance-friendly beats. And really moving into another realm is “Beyond Human” which takes the name to a new level with all computerized vocals while the music creates a moving, dance-friendly atmosphere. And to wrap up the original tracks on the album is the track “Faith in Nothing” which jumps back into the harder edged industrial rhythms and slight distortion. This powerful piece provides a nice ending to the regular album tracks ending on a strong note.

The bonus material presented include two mixes of “Age of Computers” by Assemblage 23 and Imperative Reaction. Stromkern lends their unique flavor to “Wasted Time” and Combichrist pumps up the intensity with a remix of “Faith in Nothing”. “Clear Night” appears as a bonus piece, this version a remix by Sean Tyas. The original versions of both “Clear Night” and “Wasted Time” originally appear on the band’s 2002 album Angels in Disguise. The 2004 internet-only track appears here as the finale to the album presenting the heavy 80’s new wave influence that is so catchy and makes a great way to wrap up the album. All of these bonus pieces are really great. I’m not always a huge fan of remixes, or singles with tons of remixed tracks, but each of these are done really well, so I have to say that this album comes highly recommended for electronic music fans.

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