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Here are some reviews about Destination : Oblivion www.side-line.com Destination: Oblivion - Shock Therapy (CD Dead Awake) Posted by: Cedric on Feb 09, 05 | 8:00 am | Profile"Destination: Oblivion produces the hardest hitting Industrial Music ever heard by those who get off on the esoteric sense of self absorbed hatred and discontent." That is what they promise us at least. The band emerged on the underground scene in 2002 with the release of their first full length CD "Thirteen Beginnings To The End" on Dead Awake. "Shock Therapy" was released in early 2004 and features cuts from "Thirteen Beginnings" remixed by Modern Neglect, Not Economically Viable, Misanthropy, and some new material. Don't expect slick production or compromises, instead is sound very nasty and it looks like the band has been fiddling with all kind of equipment in order to achieve a sound that is extremely disturbed. I don't know if you have to take all of this serious or if the band is just spitting in your face. For info, contact www.destinationoblivion.net . (BVI:6) BVI http://www.side-line.com/reviews_comments.php?id=P5194_0_17_0_C Ambientrance www.ambientrance.org Destination Oblivion : awakening (dennis navratil - 2002) Many industrialist upstarts sound the same, but some do it better, and take it further, than others... destination oblivion definitely do; dennis navratil and rob freeman's sonic cauldron is a melting-pot of wicked cross-pollination. Blasting off with our god greed guitartronic tsunamis ripple and churn along, carrying growling vocals and spoken samples in their wake while eerie organs stream above. Angrily railing lies (slap the ol' parental warning on this one!) subdues briefly to allow some cool Pixie-esque guitar interludes to override the punkier vocalities; toss in liberal amounts of percussion, glaring noise and snotty attitude and then mix well! Unexpectedly gentle strings and a blurred stream of media voices fall into the ominously whorling void of (more or less) instrumental descent (2:51) as do melancholy piano phrases; all violently erupts and residually fades. Slowburn gothrock meshes the macabre with the metallic, then distorts boundaries even more with shouted rap and computer-keys... throughout, the unusual balancing act of disparate styles is nicely-managed as are the effective levels of fury to mood to skill. Not very ambient, but very electronic and cracklingly raw; I appreciate the 15-minute opportunity to rage into catharsis... grrrrrrr!! B+ Http://www.ambientrance.org/0203/0203ov.html Delusions of Adequacy www.adequacy.net I'll be the first to admit that I'm not generally a fan of industrial music because it's not a style that usually draws me in. However, Destination: Oblivion have managed to not only draw me into their music but keep me intrigued throughout all four tracks on their EP Awakening. I don't necessarily understand all that's going on here, but each time I listen to this CD I find new points of interest - and that's something many bands fail to accomplish. If you are into industrial music, then Destination: Oblivion is definitely right up your alley. Their sound is a heavy mix of guitar and bass backed up by a variety of keyboard sequences, samples, and other electronic bits and pieces. The result is deeply textured industrial that leans more toward the metal end of the spectrum. Of the four tracks on this EP, I find myself most drawn to "Descent" because of the hauntingly beautiful piano and echoing vocals and audio clips. Like the other songs, this one is incredibly atmospheric and moody, but I'm ultimately attracted to the simplicity of "Descent." At time Awakening was recorded, the group consisted of Dennis Navratil providing the vocals, guitar, and keyboards and Rob Freeman on bass and backup vocals. I understand that after completing a full-length album in 2002, they've recently added two more members to round out their sound by adding real drums and a separate keyboardist. I'd be interested to hear how this affects their sound; though I can only imagine it would further what is already a good thing. As a semi reintroduction into the world of industrial music, I rather enjoyed what Destination: Oblivion has to offer. I think it's safe to say that those who are rabid about this genre will eat up Awakening and come back for more. With such a promising show on their debut, I'm certain subsequent albums will prove even more enticing. - Jennifer 2/24/03 Destination: Oblivion piqued my generally nonexistent interest in industrial music with their EP Awakening a few months back. Their full length album Thirteen Beginnings to the End has served as a basis of reaffirmation that there's still some interesting things out there for me to experience as far as this style goes. I think this group will likely appeal to anyone who likes industrial music, because if they can intrigue those who generally don't listen to anything in this genre then I imagine fans will find themselves ecstatic after listening to Destination: Oblivion for the first time. Thirteen Beginnings to the End contains - you guessed it - 13 tracks that clock in at well over an hour of music. There is obviously a lot to soak up here, and it easily takes at least a few listens to come to fully appreciate all that is going on. The texture created by the guitar, bass, and drums layered with a variety of electronic samples and keyboards is so rich that I find myself listening to each song more than once just to catch the nuances I missed the first time. While a few of the tracks are a little too droning and drawn out for my tastes, when Destination: Oblivion rocks they do it right. The lyrics and vocals provide a great range of emotion as well, from near whispers to outright bitterness, which only adds to the depth of the album. While relying mainly on cultivating a heavy industrial sound, the guys in Destination: Oblivion have a flair for melody and know how to give their music the best impact possible. They dabble in outright metal, a little bit of ambient, and lots of general aggressiveness. Some tracks like "Claiming Victim," which utilizes piano and lightly pulsing electronic beats, very much remind me of some of Trent Reznor's work. This seems to be a good comparison for Destination: Oblivion, as the artists' styles are each quite similar while still being unique. Thirteen Beginnings to the End will definitely not appeal to everyone, but it is an interesting look into industrial music especially if you aren't generally drawn to it. I'd like to see Destination: Oblivion find a happy medium between releasing a four-song EP and a 13-song album, but that is such a minor thing compared to all the worthwhile things found here. Industrial fans should make haste to check out this release. - Jennifer 5/12/03 Http://www.adequacy.net/reviews/d/destinationoblivion.shtml I recall feeling a bit overwhelmed by Destination: Oblivion's last release, Thirteen Beginnings to and End, because it was so long that I felt I had to listen to it in bits and pieces. The band's latest effort, Shock Therapy, is only eight tracks of industrial mayhem, which is a lot easier to digest for those of us who merely standing on the edge of the scene. This time I think the Portland, Oregon-based group has a real winner on its hands that shows off how much the members have grown since their debut EP a few years ago. Shock Therapy starts off with the surprisingly upbeat "Our God Greed: Questionable Abyss Remix." This is one of a few tracks here that made their first appearance on Destination: Oblivion's last album and are remixed for your listening pleasure. "Our God Creed" is much more upbeat and sounds ready to hit the speakers at a dance club near you. "Desensitize" is remixed by Not Economically Viable, while "Wormhole" is given new treatment by the Misanthropy Project. In all cases, it's interesting to see what others do with Destination: Oblivion's original pieces. The other tracks on Shock Therapy are more in line with the band's other releases. As far as the style goes, this is straight up industrial metal created with each member's multiple instruments (a combination of vocals, guitar, bass, and drums) as well as synthesizers and a variety of samples. The resulting songs are a great blend of more upbeat, pulsating numbers and darker, more droning pieces, all of which are quite aggressive. Destination: Oblivion still has a great talent for testing the limits of rhythm and all of the songs on this album do a wonderful job of creating intentional atmospheres. Shock Therapy proves to me that Destination: Oblivion has come a long way in just a few short years, and if this release is any indication of where the group is heading, I can't wait for the next full-length. Although the industrial genre as a whole isn't normally my thing, this band is has really hit the mark as far as keeping their music intriguing and far from monotonous. Anyone who listens to this type music regularly would be remiss not to check out what this band is doing. - Jennifer Patton, 3/15/2005 http://www.adequacy.net/review.php?reviewid=5275 Enigma www.enigmaonline.com Destination Oblivion Thirteen Beginnings To The End Dead Awake All right. It look like I can see the light at the end of the tunnel. Only one more CD to go. So, let's take a trip out to Portland, Oregon to see what that coast is cooking up. Without further delay, I give you Destination Oblivion. The disc opens up with the track "Destination" that, in my humble opinion, sets the whole tone for the rest of the CD. In a Trent Reznor/Nine Inch Nails way, Destination Oblivion creates a wall of electronic noises, ripping guitar riffs, and heavy back beats that make you feel like your going to explode at any minute. The sound of the music if you can't already guess is heavily industrial and noisy in an industrial kind of way. However, in parts, they play with a little more punk and gothic leanings that resembled something like Marilyn Manson. One thing that was a little draining about the CD was not the grinding guitars or growling vocal, but was the fact that this 13 track CD lasted almost 73 minutes...it's a little too long for my liking. They could have made their point with a few less songs. Overall, I thought it was pretty good but not that great. If you like the heavy industrial, Ministry-esque sound, then this will be a good buy for you. Until Next Week. - Bill Schlitz Http://64.225.86.153/cgi-bin/ubbcgi/ultimatebb.cgi?ubb=get_topic;f=49;t=000019 Heavy Times Magazine Issue 5.4 Destination : Oblivion Leave it to Portland Or. Destination Oblivion will take you to the (Godflesh, NIN, Manson) style of industrial metal. This band formed in 99, launched a 4 song EP called Awakening which was continued to a full length called "Thirteen beginnings to the End" sitting right before us. The way to describe this offering (12 songs, if you can't tell by the name of the CD) is a buffet of instruments. Its like, How do you want the Bass? Clean, klunky, fuzzy, slow, fast? It's all there. Guitars, fuzzy power chords, choppy, clean, complex, simple, how do you want it? Drum machine, Acoustic, loops, layered, up its there too. Vocals, let's see, Clean, fuzzy, both, layered, screaming, torture, pain? Yup, found that too. You must listen a couple of times to take it all in but it will sink in. Now take all the above with effects of keys, synths, sound clips of screaming women, people talking and more crazy shit and you have the structure to build the band Destination Oblivion. Now all we need is a tooth pick. The lyrics are very emotional, emotionally fucked up, very intense taking you through a dark path of meanings. You must lit it up, pop this in and listen. Industrial metal from the underground. A very different offering from Destination Oblivion. Eat up and enjoy. Check out www.destinationoblivion.net. Gothic Beauty Magazine www.gothicbeauty.com Issue 9 Destination : Oblivion mix well with Portland local artists such as Zone Wire, Written in Ashes, Sumerland and Julian Tulip's Licorice in the art of distressing keyboards, carving out industrial noise and pumping up the hard bass, mixed with sometimes heavy, slow and thunderously speeding guitar work. Contemplative quietude, transitioning next into an almost Suicidal Tendencies lyrical diversion, provides for intensely melodic interludes between more aggro-industrial aspiration. Vocal wrenching of lyrical storylines expresses the searing pain with which most of the lyrics might have been written. Debuting with Thirteen Beginnings to the End, Destination : Oblivion spins lyrical influences from NIN (such as the lovely piano-backed ballad "Claiming Victim") twisted between original lyrical content that speaks of crushing skulls, maggots, decay, climbing mountains of bodies, climbing the distance to the sun, and the contemporary adolescent angst as exhibited within phrases such as "recklessly we will only burn ourselves". -Jett Black Industrial Nation Magazine www.industrialnation.com issue 19 January - July 2004 page 61 under Industrial Coldwave Demo Reviews by Ryan Speck Destination : Oblivion (www.destinationoblivion.net) produce atmospheric goth-metal-industrial with gloomy textures, plenty of quiet pianos, effected almost Manson-esque vocals, and toned-down guitars that surely make their album, Thirteen Beginnings To The End, a cleaner, more interesting listening experience than they could ever recreate live. This, unfortunately doesn't save the album from being nothing more than an unmanageable ball of cliches, tuneless noise, bad vocals, and electronics that occasionally fade out to leave nothing more than a metal band. In Music We Trust www.inmusicwetrust.com Destination:Oblivion Thirteen Beginnings to the End (Dead Awake Productions By: Jett Black New music comes crawling out of the PDX woodwork on a daily basis, now. Every day that passes brings news of new music from previously unannounced local musicians, and then also new music from celebrated musicians re-locating to Portland, Oregon from any and all points of the USA. Thirteen Beginnings to the End... emanating from inside Dead Awake studios in Portland Oregon, where Dennis Navratil and Rob Freeman of Destination: Oblivion distress keyboards, industrial noise, hard bass and heavy guitar influence to create a greatly promising, melodic, and rocking energy for this album, their debut release. Let's delve more deeply into Thirteen Beginnings to the End... Track One, "Destination", begins with the solid bass line, then distorted sound overtakes the listener and drives heavy with percussion-induced noise into the next track, "The Flow". "Waiting for the Storm" begins softly, then turns ominous as the storm arrives. Alternating dark piano and off-beat noise mark the arrival of a stormy atmospheric conditions. Listen closely. You can hear the winds stirring sanity into madness. Now, I'm not certain about the title to track 4. On the cd cover it is listed as "Desensitize", however the insert lists the track as "Descent". Perhaps a play on the words at work here. NIN lyrical influences on this one into a heavy, burning frenzy of alarming auditory distortions churning like a mosh pit following in time with the music. "Lies" features more prominent guitar work leading the listener through the intro like a slow trip down a lonely stretch of midnight highway covered in cascading rain. The mood clears up a bit with a brief, contemplative quietude, transitioning next into an almost Suicidal Tendencies lyrical diversion with vaguely familiar guitar riffs rocking the moment forward and then, suddenly, the movement pulls over to the side of the road and stops. Speeding guitars rapidly move the pace of "Shell" into a split second change over which brings us into "Buried" now featuring samples, piano, distorted guitar noise - and angry "shut the fuck up" vocals which strongly remind me of vocal stylings presented by Sean D. in "Sleep" off the latest album by Die My Darling entitled Virulent. Track 8, "Tendencies", reflects gurgling noises beneath resonating guitar sounds reminding me here of the "Charm" track by Sewn off the Towards the Sky compilation put out years ago by Neue Asthetik Multimedia (New York). "Tendencies" lyrical content speaks of crushing skulls, maggots, decay, climbing mountains of bodies, trying to reach the sun, and "recklessly we will only burn ourselves". A little something for the new metal fans here! Track 9, "Claiming victim" brings back more piano support in a Reznor style. Track 10: "Our God Greed": Industrial dance club beats and synth. We hear footsteps, then a gunshot. Reverberating female samples which ask, "will we wake up changed?" Track 11: "Hope" puts forth an trance inducing instrumental track. Subtle nuances glide in and up slowly to become more dominant forces supporting mantras of punctuated bitterness. Track 12: "Last Stop" transitions into being like a watery reflection growing still and clear and mesmerizing, which to some extent reminds me a bit of an independent band from Atlanta knowns as NOTHING INSIDE. Track 13: "Wormhole" the final track, highlights Thirteen Beginnings to the End in a 3-part breakdown: "Reverberation", "The Feast of the Worm", and "The One Second Eternity". Nice transitions, with screams and freaky sounds, drawing attention to "the feast". The One Second Eternity" exits gently with lovely piano keys. Overall, this Navratil-Freeman mix of Thirteen Beginnings to the End presents electronic noise, aggro-industrial, and goth-punk flavours to unleash a passionate collection from the angst, ire, and turmoil of poetry within romantic relationships and the pursuit of personal self. Destination: Oblivion might mix well with Portland local artists Zone Wire, Written in Ashes, Ghost Parade, and AntiWorld. Gazing further south along the west coast, I'd recommend pairing Destination: Oblivion with Die My Darling on a tour into the Northwest. Http://www.inmusicwetrust.com/articles/56e02.html Legends www.legendsmagazine.net REVIEW: Destination Oblivion "Thirteen Beginnings to the End" By JHR This is... Odd. It must have taken ages and a reasonable amount of care and money to make the recording sound quite as cheap and nasty and post-punk scratchy as it does. (The first track, Destination, borrows oddly from the Kursaal Flyers.) Another odd thing is the ambience, which is... Disturbing. I get the distinct impression that most bands consider that the listener is most likely to be disturbed by sheer volume or amount of creative swearing committed to disc. Destination Oblivion seem to have worked out that making it sound like the guitars are being played through a knackered amplifier turned up to 15 that's at the far end of a deserted turbine hall from the microphone, and playing the keyboard at 90 degrees to reality or the rest of the tune, is a Good Thing. It's sort of a bit like very early Pink Floyd being played by a revolutionary socialist faction of Daleks who don't like Pink Floyd very much, but have set out grimly determined to prove a point. And then it's not. Right this very second, there's some odd Mark Stewart and Underworld noises going on underneath the turbine-hall guitar. I'm assuming a live audience standing there, slack-jawed with amazement. Or going, 'Hey! I ordered a cheeseburger!' (There's a sad lack of entertaining heckling these days. It's a bit poor when the band on stage hogs all the good lines.) I note from the publicity bumph (yes, I bothered to dig it out and read it, just for a change) that the band consider themselves 'industrial metal.' I beg leave to point out that they're a lot better than that. If I were going to draw comparisons with other 'scene' bands, I'd be inclined to think that the sort of people who dig Arkham Asylum would consider this lot a splendid racket too. In point of fact, that would be a damn fine gig to go along to... (Bloody hell! They've just turned into The Janitors! Rock! The track's called Shell and seems to mark the debut of a style akin to industropunkabilly. Studded quiffs a-go-go!) If there's anything to be mildly concerned about, it's that there's a paucity of singing. Ok, so we're all used to being harangued from the stage clearly at some stage a law was passed that there's a quota system for the employment of angry bus-station nutters and a lot of them ended up fronting industrial bands and writing songs like, 'Are you looking at my crisps?' 'Ah fookin see you yer Wolverhampton fucker you' and 'Bananas are the instruments of satan!' But there's a limit to the amount of that sort of thing that a fellow can stand before he wanders off and listens to handbag-techno for respite. [Pause.] Sorry I had to listen to Buried properly again. It sounds slightly like...I'm not sure what. The lyrics appear to have been dictated by the bloke who's convinced that MI5 are paying newsreaders to take the piss out of him and destroy his life. Tendencies seems to have lyrics by a chap who's convinced that the uneasy spirit of William Burroughs is paying newsreaders to look at him in a funny way and destroy his life. What is it about industrial bands that makes me obsess about bus-station loonies and cider-drinking tramps? I'm probably supposed to be thinking about having sex with machinery or being crushed by the wheels of industry... No, that was Heaven 17. Oh, anyway. Consider buying this if you like the idea of a post-punkish noise made by bipolar people. Contact Information: Post: Destination Oblivion, PO Box 33747, Portland, OR, 97292-3747, USA Phone: (503) 777-5320 E-Mail: dennis@destinationoblivion.net Web: www.destinationoblivion.net http://www.legendsmagazine.net/135/destob.htm Pit Magazine "Underground Connection" listing Roctober Magazine www.roctober.com Issue 36 Destination : Oblivion "thirteen beginnings to an end" (dead awake) Creepy Industrial music that reminds me of the "Puppet master" horror movies. Starvox www.starvox.net Destination: Oblivion Thirteen Beginnings to the End ~reviewed by Kristina Rogers Okay so I have to admit when I first started listening to this CD I was a little worried. I mean when a band starts off its album singing its own band name over and over... sure, it's bold... it beats the name recognition into you. It also makes you go "so what's this? Eminem? Kriss-Kross? Wham!?" And weren't we treated to quite a bit of that by the artist formerly known as "My name is Prince and I am funky?" "Maybe...," I thought, "this is a KMFDM side project" (yes, it's true, some darker bands too are known for singing about themselves). So yeah, I was worried. But not for long. All joking aside, a minute or two into the first track it became pretty clear that Destination: Oblivion is a talent. And not just your run-of-the-mill, one-sided repetitive synthpop talent. They are diverse. They incorporate the heavy, crunching guitars that the electro-industrial scene has been lacking (and screaming for!) these past few years. They pull back with some subtle, more reflective melodic tracks, and then delve head-first into dirty, grungy guitar-driven mayhem once again. They incorporate simple, yet insightful (and somewhat humorous) lyrics. They aren't afraid to pay tribute to their influences - and when I say influences, I'm guessing Navratil & Co. listened to a bit of NIN in their day? And they aren't afraid to rock. The lengths of the tracks as well as the moods they convey are extremely varied on this disc, which provides the listener some refreshing variety. The second track, "The Flow," for example, is a brief, 2-minute romp of unadulterated guitar-driven industrial beats, that flow somehow seamlessly into the atmospheric, down-tempo melancholy of "Waiting for the Storm," punctuated by eerily lull of piano keys. Track 4, "Desensitize," more than adequately showcases the band's Metal edge, while songs such as "Last Stop" hint at Destination: Oblivion's more melodic capabilities. There are quite a few tracks on this disc and it's honestly difficult to keep them all straight the way they all spill over into the next (whether that's a drawback or not depends on the listener). Tracks 6-8 are welded together in such a way that they play out as sort of a 3-part epic - whether or not this was the band's intent. Track 6, "Shell," comes on strong and doesn't pull its guitar-heavy feedback-laden punch for a minute before fading effortlessly into the slower-paced, swampy angst of the 11-minute, "Buried", which is an epic in itself that toward its end features my favorite lyrics clip of the CD: "A society of hate... breeds... a society of hate... breeds... a society of hate..." You get the picture. Not reinventing the lyrical wheel of course, but a cool quip nonetheless. The end of "Buried" soon becomes obscured by the beginning of "Tendencies," a pleasant and appetizing composition of hatching maggots, decaying corpses and shit-circling flies, which you probably wouldn't want to play for your mom. "Claiming Victim" is probably the most obviously Nine Inch Nails influenced track here (and I'm talking early NIN). Understated in its simplicity, "Claiming Victim," at its core, is not much more than a simple piano tune over a deep droning bass, accented by the breathy vocals of a singer who's obviously got a bone to pick with someone. The simplicity may have something to do with why I like it, but I'm quite sure the lyrics did. I couldn't help cracking a smile or two at "They'll all die in their ignorance. They'll all die in their stupid fucking ignorance..." I mean shit how many times a day do you look around at the world and can't help but think THAT... someone should've put it to music sooner. Or maybe it's just me... Probably my favorite song on the CD is "Our God Greed." It's catchy as hell and probably the most likely club hit this CD's gonna have if it has one at all. I was a little disappointed by the total loss of momentum around the 4th minute, after which the song abruptly switches gears and becomes 4 minutes of some experimental/noise endeavor - but who cares, that's what editing's for. I loved the incorporation of "We can't close our eyes all night. We may wake up changed." from Invasion of the Body Snatchers. Nice touch. All in all, I think this is an incredibly strong debut effort, which doesn't sound amateur in the least. I think Destination: Oblivion has some room for improvement, but then what band doesn't? The vocals at times come off a bit dispassionate and "recited," but it certainly doesn't detract from the overall triumph of this album. I'm hoping that "Thirteen Beginnings to the End" doesn't suggest that Track 13 is the end for this up and coming Portland-based act, because I'm looking forward to hearing what they come up with next. And in the meantime, I'd highly recommend that industrial-metal fans get out there and buy this one for their collection. I'd even suggest paying full-price. Tracks: 1. destination 2. the flow 3. waiting for the storm 4. desensitize 5. lies 6. shell 7. buried 8. tendencies 9. claiming victim 10. our god greed 11. hope 12. last stop 13. wormhole Artist Website: 12/16/03 http://www.starvox.net/cdr/destination.htm Voxpopzine www.voxpopzine.com DESTINATION OBLIVION 2003-01-01 Awakening Industro-metal of the mid 90's variety. With only 4 tracks on this disc it's hard to really say what this band actually sounds like, but these 4 tracks seem to point in that vein. Big synthetic beats, with screechy guitars and shouted angry vocals. The lyrics reminded me a lot of Cop Shot Cop, with it's anti-establishment message fully in your face. The music is violent with out being obtrusive, and much like bands such as RevCo, Evil Mothers and the like. I expect more good things from this Portland, OR group. (Destination Oblivion),Hahn By Coreen Wolanski December 01, 2003 Could anything ever come close to the dark majesty that was Vancouver's industrial heroes Skinny Puppy? No. But D:O tries and they make it far enough to be worthy of a few praises. It's not like they are trying consciously to be the industrial performance art band that SP was, but Dennis Navratil's vox can't help but resemble Ogre's guttural styling and the sombre piano and programming can only remind one of SP's finer moments. For this reason, Portland's D:O gets a smiley face from me. They have a bleakness about them as minor chord melodies make up the meat of this disc. Cold, sterile percussion creates that industrial sense of foreboding that we all know and love and crunching guitars add the post-punk finish. Not heavy enough to be metal, they do have their moments of crossing that line. Thankfully, gentler, piano-driven moments like "Waiting for the Storm" and "Desentsitize" keep the atmosphere more moody than metal. http://www.exclaim.ca/index.asp?offset=340&layid=220&navid=1&csid=778&csid1=0&csid2=0&fid1=D&fid2=&fid3=&hiss= By Mike Adair December 03, 2004 Although released earlier this year, D:O's third album probably went unnoticed by industrial fans. Too bad really, because rough spots aside, this disc is filled with aggressive beats and highlights the group's sense of the darkly disturbed. Recorded in Portland, Oregon the catchy and experimental effort they put forth is a credit to their dark music scene. Shock Therapy features remixes from their first release, Thirteen Beginnings to the End, as well as new material. The latest tracks are respectable efforts, however, it is the remixes that make this disc satisfying. DJs should have no trouble fitting D:O into their regular rotation. In particular, "Our God Greed: Questionable Abyss Remix" seizes attention as a great club track. Touching on both the danceable and the experimental sides of industrial music, these guys show great promise. I look forward to hearing their future work. http://www.exclaim.ca/index.asp?offset=340&layid=220&navid=1&csid=778&csid1=0&csid2=0&fid1=D&fid2=&fid3=&hiss= Check out the artist's website: http://www.destinationoblivion.net Track List: 1. Destination 2. The Flow 3. Waiting For The Storm 4. Desensitize 5. Lies 6. Shell 7. Buried 8. Tendencies 9. Claiming Victim 10. Our God Greed 11. Hope 12. Last Stop 13. Wormhole Suggested CDs:Other Genres:
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