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Tuesday, October 30, 2012

First Bent and Broken review from Glasswerk

"...The sound is expansive and full of beauty and resonates long after...It’s pure reveling in the material making it as loud and bombastic as it can get."

"Across the board it’s pretty much top notch production value. Bent and Broken will make Collide fans go back and excavate and re-evaluate previous works in their original incarnation to discover what seeds are there that caught the remixers’ ear in the first place. Very much recommended."

Check out the entire review here. Thanks so much to Steven Hurst for being the very first person to pen a review!!

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Wednesday, October 05, 2011

I Die You Die Counting to Zero review

Thanks to Bruce for a very cool new review on Counting to Zero.

“In the Autumn a paler rose blooms on the wood’d lee side; In the Autumn a young man’s fancy darkly turns to thoughts of Collide.”

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Thursday, January 01, 2009

More Monster reviews

Chain DLK

"TWO HEADED MONSTER could well be the breakout album for Collide, bringing them a much broader fan base than just the dressed in black set. One well-placed track on a TV series or a movie soundtrack could propel them into the spotlight. Unlike a lot of bands who achieve "overnight success", if TWO HEADED MONSTER is any indication, Collide are ready for it." Read the full review here.

and another one from the UK

Kerrang Magazine

"This is what Cristina Scabbia's side-project with Trent Reznor might sound like." Read the full review here.

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Wednesday, January 08, 1997

Ultrashiver reviews


The Secret Meeting is a recent music project involving kaRIN and Statik of Collide and Dean Garcia of Curve and the result is a hothouse flower of an album, a lush, sustained sonic whorl, rich in all sorts of studio-created sounds, that blends elements of electronic, goth, industrial, darkwave, guitar-noise, rock, and ethereal soundscapes with singer kaRIN’s thickly layered, warm, alluring vocals.

Some of the highlights on the album Ultrashiver include the seductive, aural-cocoon opener “Touch”, which goes by in the blink of an eye, a fine meld of Collide and Curve, as kaRIN weaves multiple lines of her sinuous, seductive, breathy, sometimes wordless, “dissipating-sigh” vocals around a dark sound of guitar, bass, and electronic noises that builds up in tempo on the choruses, creating a more dynamic atmosphere as the song progresses.

“Am I Here?” goes for a more goth-electronic feel, similar to Curve’s “Horrorhead”, but without the guitar-driven fullness and pace of that song (the noise level of the guitars and electronics is tempered by the swampy, seductive miasma of the choruses). KaRIN’s heavy-lidded, hypnotic vocals call to mind a mellow Siouxsie Sioux, especially on the inflection of some of the lyrics when kaRIN sings “…written in the wind…”. Her vocals are embellished with druggy sighs as the song moves to a slow groove of a steady beat and swirls of guitars that brighten and get more expansive on the choruses.

The ghost of Curve is definitely present on “Every Little Thing” (“Every little thing has a meaning...”), with kaRIN singing in a higher, breathy, mysterious tone, sounding very Toni Halliday-like lyrically and vocally, although not as icy and disdainful as Toni (kaRIN projects warmth with her voice and delivery, whereas Toni of Curve projected coolness and distance).

“Beautiful Noise Machine” is a musically shifting number (soft verses contrasted with louder choruses) with reverberating, “water-ripple” guitars and, depending on the chorus, noisy guitars to plangent areo-guitar. KaRIN sings in a tone laden with sweetness, her words hanging drowsily in the air for brief moments as she sighs “I’ve been contemplating...need a place to put my emotions...I’ve got to get back up..."

The engaging “Blacker Than Blue” incorporates complex, electronic blips, loops of metal-sounding guitar riffs, a quicker-paced, thumping beat, industrial noise and squiggly electro sounds, and karRIN’s manipulated vocals as she sing-talks on a break from the “verse, chorus, verse” structure. This song is a shape-shifter in tempo, captivating the listener by the constantly changing sonics.

On “SoulCreeper” kaRIN’s vocals float over the musical arrangements like a dark angel, similar to the hollowed-out sound of Toni on Curve’s “Coast Is Clear”. A faster tempo of low-end, vibrating bass, warped metal sounds, and the blending of kaRIN’s lower-register vocals on the choruses creates a dark, intoxicating vibe.-- thanks to Jen Stratosphere Fanzine


The beautiful collaboration between the 2 cult American bands of CURVE and COLLIDE is a fact and their debut album "Ultrashiver" shipped out. Expect the darkness and sensuality of COLLIDE with the dynamic and exciting touch of CURVE. A pearl for the ears... To discover in emergency.-Seba


"Search for the Hidden Gem"

Hypnotic, meandering, fluid, flowing through water. Push open the dark nondescript doors and enter the opium den. Your senses quickly take in the smell of fragrant smoke as you wonder over to a corner bed of pillows. Adjusting to the dimly lit room, your spirit comfortable and intrigued by the dancing flickers of the candle light kissing the walls, a dragon chasing pipe full is handed to you, and with the background hum from the music you become intoxicated. Your spirit and mind set loose to dance with the smoke that clouds the room. Your mind is tripped out, your body relaxed, your eyes in a comfortable yet confusing haze. You have become one with the “Ultrashiver”.--thanks Mike


…Try to rearrange things
I can see a strange place
Because a picture tells a thousand words..
Am I Here, The Secret Meeting

So, needless to say I’ve been hooked on the incredible fusion of styles that Collide weaves together on their past releases, otherwise I wouldn’t have pre-ordered Ultrashiver. kaRIN and Statik of Collide have teamed up with musician Dean Garcia of Curve to produce the line-up named ‘The Secret Meeting,’ and I’ve got the album right here. I fully expected to love it, and I am not disappointed. This is gothic music without the self-indulgence, a musical landscape populated by acts like Theater of Tragedy, Switchblade Symphony, Delirium, or Portishead, and fans of those line-ups would quickly find Collide takes up the slack where those acts leave off. Their massive release Vortex from 2005 cinched it for me, with remixes and new material taking up equal portions across a two disk compilation that still stays in heavy rotation on my hard drive. And I just love the overall aesthetic that Noiseplus Studios appears determined to inject into the music industry brings a much needed sense of soul to the gothic/elctro/industrial genre as a whole, so I fully expected this side project to be a complex and engaging composition.

I close my eyes and see shit like this when I’m listening to these tunes like some sort of a light show for a surrealist world filled with a timeless madness. Honestly, this album is a soundscape for daydreams. I find myself more and more zoned out in thought through to the last track, ‘Imaginate…’ It’s hard to review an album I like so much, that flows so smoothly from track to track. It’s a wash of sound, full and compelling yet never intrusive, never jarring. Psychedelicly transcendent, is how I’d sum up the overall tone of the album, the surrealist landscape conjured by the album artwork and the joyful shivers the musical depth brings forth in tracks like ‘Shiver X’ and ‘Every Little Thing.’

The Secret Meeting album Ultrashiver is by no means an album of throw-away tracks that didn’t make it into a Collide project. Instead there’s a complex and underlying statement within some strangely beautiful dream realm, some surrealist vision painted with the lyrics that warp and weave between the collage of artwork and the arrangement of the tracks.

The songs can all be sampled on thesecretmeeting.net, you can hear both ‘Am I Here?’ and ‘Every Little Thing’ on the myspace page, and I recommend getting the album now while the sales at the website are up. This shit will change your perspective and feed your head.

I did expect Dean Garcia to create dramatic dance riffs against kaRIN’s high and haunting vocals and Statik’s noise manipulation, something expressed most directly in the track ‘Beautiful Noise Machine,’ but what I didn’t expect was a paean to superhero powers (’Shooting Laser Beams’). I do dig the guitar work from Rogerio Silva and Scott Landes that’s woven into a couple of tracks, and with this all woven against the haunting artwork by Teodoru Badiu that makes up the album and the site flash come together to create a very potent little experience.-Wes Unruh


Debut album of The Secret Meeting project was released at the beginning of July 2007. The project is an effect of cooperation of Collide duet and Dean Garcia - ex-leader of British band Curve. I don't know how did it happen that the three of them found themselves in the studio but the album "Ultrashiver" should draw attention. On the CD there are 10 incredible compositions; electrified, melancholic, hypnotizing compositions that for a moment may seem psychodelic or even dizzling; the first track isn't enough, all of them must be heard ,if possible, at the same moment.

The first tacts introducing "Touch" give a shiver. Pleasant, even comforting our ears after a heavy day, composition with wonderful, delicate Karin's voice provides escape from surrounding reality. The second piece "Am I Here?" seems to be the right question because that album takes us on a long journey with our imagination. "Beautiful Noise Machine" is also remarkable song where title match the composition as it may seem calm but in fact is interwaved with energetic refrain. At the end "Shiver X" and "Imaginate" are also relaxating and consists of the same kind of magic. It is the perfect album for long and cold evenings.

The album, along with its cover, seem to be well-considered. Even though all the songs are in calm and tropical tune one can still find the same energy presented by Collide. For some people the compositions may seem monotonous at the beginning but I recommend to listen to it again and in whole. The one who knows the output of the mentioned band will never say a bad word about that album.-Marcin

Chain DLK

The Secret Meeting is a long-distance collaboration project between kaRIN & Statik of Collide and Dean Garcia of Curve and, as one would expect, the result is nothing short of outstanding: no surprise if you consider the skills and the sum of experiences of these three individuals (who collaborated with Skinny Puppy, Tool, Prince, Cohen, Eurythmics, Jagger, O'Connor etc).

If you love Collide and Curve you must of course check this out (we know you'll love it), but for those of you who don't know the two bands, imagine an alternative electronic band that would probably do fine on mainstream radio but has more to offer than most of what mainstream radio plays. The quality of The Secret Meeting's music is above the ordinary and you'll hear that in the production and the arrangements. Darkwave at heart but reaching upwards towards more solar and ethereal electronica heights, "Ultrashiver" features ten tracks of beautiful songwriting completed by gorgeous ethereal female vocals. Echoes of Conjure One/Delerium, Lycia, Massive Attack, Recoil, Balligomingo, darkwave bands such as Black Tape for a Blue Girl, female-fronted rock bands like Evanescence or Lacuna Coil (but not nearly as guitar-heavy), the most electronic of Madonna's records, Nine Inch Nails, Blue Man Group (I could swear I recognized a sample). The list could go on and is by no means meant to be definitive. The sound of this particular band draws from so many different areas and yet is so consolidated and original that it is able to create an all new character and is definitely worthy of your time and attention. Check it out. --Marc Urselli-Schaerer


It’s a safe bet that a lot of goth fans are excited about this supergroup of sorts. Statik and kaRIN of scene mainstays Collide have teamed up with Dean Garcia of ’90s electropop outfit Curve to bring you the Secret Meeting. The project was completed through the mail, each side adding their own ingredients before shipping it back. Despite this, the three musicians have a pretty potent chemistry. In a lot of ways Curve and Collide have a similar sound and the Secret Meeting is more variations on the theme of dark electronics, smoky atmospherics and ghostly female vocals straight from a seductive nightmare. It’s both ethereal and poppy and should cast a wide enough net to get the fans outside of the club kids dressed in black and waving glowsticks. Mature is not generally a word that gets used to describe goth music, but that’s exactly what this album is. That sexy, slightly older woman in the corner with the dark hair and cigarette holder between her teeth stained with a hint of lipstick? This is her soundtrack.--Brad

DJ Luiz Soncini

Just like the CD artwork suggests - this is a new world, full of fairy-tales, surrealism and obviously new soundscapes. The Secret Meeting represents the union between kaRIN and Statik from Collide and the legendary Dean Garcia from the extinct Curve. "Ultrashiver" fills the listener with its explorations through contemporary music. The tracks sound connected and count on cohesive melodies, enthusiastic rhythms, loud guitars and the harmonic, sensual vocals by kaRIN. There are 10 themes in this narcotic album, from which "Am I Here?", "Beautiful Noise Machine" and "Shiver X" stand out. Of course, touches of Collide' softness and Curve's fierceness come to mind, but here you will find perfect equilibrium and audio identity of its own. It is definitely worth tapping into this exotic world, raucous and emotive, so very well-crafted in the meeting which is a secret no more.

Bite Me

Listen up peeps there is a new project out there that you MUST check out. The Secret Meeting is a collaboration between the dynamic duo Statik & kaRIN (collectively known ad Collide) and Dean Garcia of Curve. This accomplished collaboration melds the best of both Collide and Curve; however, The Secret Meeting is its own animal – one that will please fans of both groups and entice countless others. An exotic hybrid of darkwave, trip-hop, and industrial Ultrashiver is a stunning release that will take the listener to new dimensions. The songs are lush with well crafted instrumental work, and the band’s flawless execution allows each composition to embody its own distinct physical entity. kaRIN’s sensual vocals are both intoxicating and soothing and they coat each track with warm ethereal tones. Her voice melds nicely with the warm Middle Eastern textures of “Am I Here?”. Raw and rough riffs slice through a tranquil electronic landscape on “Blacker than Blue,” and the harsh industrial components of “Forwards and Sideways” will light up any dance floor. It’s hard to listen to Ultrashiver and not find The Secret Meeting intriguing. Two of the album’s tracks have already been enlisted for CBS’ ‘NCIS’ so no doubt you’ll be hearing more from this great group, but why wait go to myspace.com/thesecretmeeting and get your copy of Ultrashiver today and while you are at it be sure to check out kaRIN’s cool designs at www.saintsandsinners.tv and sign up for newsletters at www.collide.net. -NIN

Evansville Sept. 2007

Combining the talents of California darkwave electronic duo Collide and former Curve programmer Dean Garcia seems like a pretty promising match, as both acts have specialized in swirly mixtures of moody yet sunsual grooves and aggressive electro-rock. Ultrashiver is quite possibly some of the finest and most developed work yet, from either camp. Ranging from the subtly-layered vocal melodies of the percussive"Touch" to the delicate and melodic closer, "Imaginate", which abursts into a swell of epic noise and drums grooves alongside the sweetly mysterious vocals of kaRIN, this tran-continental collaboration flows beautifully. Echoes of Curve lurk wintin the dubby electro-with-guitar-feedback of "Every Little Thing," wheras Collide's penchant for ghostly texture and bold grooves envelop "Beautiful Noise Machine." Fans of edgier dance-rock with heavenly voices will find immediate sustenance in The Secret Meeting.

Wonderful music, and if you doubt me, check out their website (www.thesecretmeeting.net) and hear it for yourself. --Rob Wickett


The Secret Meeting is an experiment that will make Darkwave fans literally scream in joyous union. And it is a Union that The Secret Meeting is all about. It’s basically the combination of three very talented muscicians and songwriters. Two of which (Statik and kaRIN) already have their own band formed in LA (Collide). The third member is the UK’s very own Dean Garcia (One half of the musical front for the now sadly split up Curve) who for the better part of the last decade has been toying in the electronic experimental arena.

The simple idea: The UK part works on some songs and then sends them to the US counterparts to fiddle with. They are then sent back for the final polish and hey presto! Without them ever meeting in person – they have produced the album ‘Ultrashiver’ – under the rather quaint band name of The Secret Meeting.

The album opens with a track that makes no game about what you are in for. And it is also made abundantly clear to those that have been fortunate enough to have discovered the artist’s previous work that the shoe fits. ‘Touch’ keeps things at a fairly low tempo, but is intimately seductive. Statik and Garcia keeping the distortion right there, but the noise level is kept on a par wth kaRIN’s whispery cooing. Match made in heaven? Sounds like it was sound engineered there too. But it’s hardly suprising. Although Collide have their differences from Garcia, they also have many similarities, and Collide are self-confessed fans of the Garcia/Toni Halliday collaboration.

This is followed by the very catching ‘Am I Here’ which the band have been using on their myspace to help promote the album. So in essence it’s kind of like the first single of the album. And is certainly one that sees kaRIN and Statik in particular do what they do best. It does indeed sound like the balance went far over into the Collide camp than any other track on the album. There is just no denying kaRIN’s vocal superiority. There is also a very seductive eastern influence in which Statik has incorporated so effectively in the past with Collide. Dean keeps the level; The gorgeous ‘Soul Creeper’ proving his past as a bassist, and present as a techinical experimentalist.

The remainder of the album is just a jaw dropping exercise of how they make this kind of work easy. You’d think they pulled clichés out of a hat and thought they’d have a pop turning them on their head. For Rock Anthem-esque – See ‘Beautiful Noise Machine,’ this track is full of so many riffs and beats you’d heard from 100 bands before, and they totally make it their own and even make it a tune that you know you’d get excited about hearing live (But let’s not get ahead of ourselves).

There is a tendancy to keep the electric noise flowing – but usually lead by a very alluring beat. kaRIN swoons about all over the place making this album seem like some kind of an erotic lullaby, of course with resplendant dark edges intact.

Fans of both parties will not be disapointed, and it certainly whets the appetite as Collide are curently working on their next album. For now, The Secret Meeting acts as more than just filler material.-Steven Hurst

Gothic Beauty

"The Secret Meeting is where you arrive when Curve meets Collide, in a state that flexes between sharp pangs of emotion and deliciously blurred oneness with all things. From the first inttrigueing vocals and vibrant effects in "Touch", this music coaxes walls to fal, relaxes your muscles and your mind, and encourages you to move and to breath deeply. Ultrashiver is going to be mindblowing on a big, floor-shaking sound system. Vocalist kaIN has never sounded silkier, stronger or more sensuous, playing with tempting and focused harmonies alongsideDean GArcia's overarching palette of pulsing, sliding, bounching guitars and bass. Galvanized by programming master Statik, songs such as "Beautiful Noise Machine" and "SoulCreeper wrap up a full range of textures and tricky mood changes into a lucious, seamless experience so carefully brought together that it feels effortless.-- thanks to Carolee

Gothic Paradise

The project known as The Secret Meeting is a new collaboration formed of member kaRIN and Statik of Collide and Dean Garcia from Curve. As this collaboration spans the globe with Garcia in the UK and the other two in Los Angeles, CA, it is quite a domentration of how great minds and talents can take music at any odds and put it together into something really great. The CD comes packaged in a jewel case with a large booklet with lyrics and full of what I would call some strange, but very intresting and cool psychadelic artwork (and for more, be sure to check out the website, very cool indeed).

I'm sure there was a lot of speculation from critics and fans of Curve and Collide about what the final result would be from this collaboration. Since both bands build on a similar background of a mix of grunge, shoegazer, goth, industrial, pop and psychadelic music, it's no surprise that we end up with something that one would really expect from this group. Over the course of the ten tracks on the album we are really presented with some great material, an unusual mix (as can be expected from the likes of Collide) of great music and vocals.

"Touch" slowly kicks off the album and sets the stage for the rest of the disc. As it slowly builds we're introduced to the airy electronics, somber bass and kaRIN's undulating, smooth vocals. We get a taste of some moving beats and the overall psychadelia that's created through the subtle mix of electronics and guitars. Leaving behind this somewhat somber and dreamy mood that permeates not only "Touch" but starts off "Am I Here?" as well, we're launched into the guitar crunching and industrial riffs about midway through "Every Little Thing" and then it all sort of comes out in full force again about halfway through the appropriately named "Beautiful Noise Machine". These crashing noisy riffs in the middle of these otherwise somber, dreamy tracks are what takes this music style and turns it all upside down and inside out and often leaves the listener feeling the same way. The side-effect is that you may have to be in a certain place or a certain mood to really let the music take over and do it's thing, otherwise these moments could be seen more as "interruptions" than the driving, grinding, fun pieces of music that they are.

As we make it to "Blacker Than Blue" we reach in my mind the apex of the album and what is the best "description" of what this collaboration have become. As you listen and take this piece apart you hear the main attributes of kaRIN's silky smooth vocals and the crushing guitars over the layers of electronics. The beat is nothing that you would find on a discoteque dance floor, but though it's somber it remains moving and interesting. All of the layers come together from the laid back, dreamy elements to the flip-side and the industrial noise. We continue to move on through these heavy textures on "SoulCreeper" though definitely more moving with a solid beat that forms a distinct backbone on this track. And how could you go wrong with a track named "Shooting Laser Beams"? If ever there were a psychadelic hint on this album, this is definitely it.

The final trio of tracks maintain that same hypnotic element with an even broader range of musical styles. From the goth/industrial genre perspective, the excellent bass and percussion on "Forwards and Sideways" are stellar as they move along with a solid groove, building, adding layers of guitar and more body. "Shiver X" dives into the shoegazer pattern of starting somber and gradually building with layer upon layer of crunching guitars to a climax then dropping off and starting all over again. This brings us to the final piece "Imaginate" which wraps up the album with style. What more can be said? kaRIN's vocals carry the piece along gracefully over the grinding music, which is amazing how it all fits together, though it's all so different.- Thanks Jacob


When i heard that Dean Garcia (ex-Curve mastermind) and the US darkwave band Collide were about to work together in a project, i got quite enthousiastic. Collide is seen by many people as the US counterpart to the sound that the British Curve, most notably in their most recent years, introduced in electronic darkwave music. Of course Toni Halliday has her own typical voice, but Karin of Collide most certainly has as well. She gives the songs a warm ethereal feeling in the dreamy, sometimes very trippy darkwave pop and triphop songs that Statik and Dean Garcia have made for The Secret Meeting. A very accomplished collaboration that results in excellent songs such as ‘Touch’, ‘Am I Here?’ and especially ‘Every Little Thing’, ‘The Beautiful Noise Machine’ and ‘Blacker Than Blue’. Intoxicating and otherworldly, with surrealistic artwork and mushrooms on the cover, with stories about superheroes and laserbeams in ‘Shooting Laser Beams’, rich in sound and with well performed and gripping arrangements. Although you’ll be perfectly able to trace the influences of Collide as well as Curve in The Secret Meeting, the recording as an original product surely has it’s significance since the best of both worlds merges here in accessible dreamy songs. Somewhat comparable to Curve and Collide, but also to Massive Attack, Recoil, Lush and Slowdive. A wonderfully and good album and recommended to those who love adventurous alternative music with a fair amount of electronics in which darkwave, dreampop, triphop and industrial meet each other.-TekNoir

Hard Wired

I don't suppose you've ever asked yourself the question: 'What would happen if Dean Garcia, from Curve, got together with kaRIN and Statik from Collide?' But if you have been pondering that question then The Silver Meeting's Ultrashiver will give you the answers you need. Collide's sound, all synths and female vocals, was never a million miles away from Curve.

"Am I Here?" features a spiralling guitar and a sensuous vocal. There's a nice line in quiet/loud dynamics. It's all very good, but I'm still undecided whether I need any more Curve or Collide in my life. What I need is something essential. Songs like "Touch" and "Every Little Thing" are expertly produced, but I find their perfection makes them harder to connect to. There is some discordant guitar near the end of song that threatens to break the surface, but it's too little too late. However there are better things to come. Take "Beautiful Noise Machine" which breaks the status quo. There are guitars that rock. There's a palpable tension in the air, that complements the song's more languid sections. "Blacker Than Blue" also features loud guitars. It could just be that I like synths and guitars working together. There's an excellent echo-laden guitar on this song, before a spoken word section, which builds tension before the chorus returns. This song nears the seven-minute mark and doesn't get boring despite its length.

"Soulcreeper" hammers the final nail in the coffin for this album being perceived as something to put on in the background while polite company make polite conversation. It's not exactly Motorhead, but there's a sense of danger and urgency that would put most off their vol-au-vents. "Shooting Laser Beams" wins points for originality, as it ponders the question: 'If you could be a superhero, what super powers would you choose?' The early 80s disco zapping noises seem unavoidable in the context. After the smoothness of this song the harsh textures of "Forwards and Sideways" are shocking. Luckily kaRIN's voice remains the human aspect to which we can associate. "Shiver X" has the sound and - perhaps more importantly – the magic of early Curve.

Ultimately it is unlikely that this album will change your life. It is technically talented artists making quality music. It would also be a mistake to label it as 'trip-hop' or background music, despite a couple of songs that suggest this. I'd like to see The Secret Meeting play live, as I suspect that is where these songs will really come alive – the human aspect will be in ascendancy over the machine.- Stuart Moses

Heathen Harvest

The Secret Meeting is the blend of two different artists-collectives. kaRIN & Statik of the image-wise and talented yet underrated electro-gothic Collide and half of the original formation of UK based project Curve . They actually met, -very 21st century- through the Internet and decided that they should collaborate in some way. Thus The Secret Meeting was born. The producing skills of both Statik and Dean Garcia are immediately found. The overall sound of the record is excellent, beautifully finished and carefully arranged. There is a large amount of details to any song, giving a twist to many taken-for-granted sounds and giving a special richness to an otherwise easily grasped record. Between both producers, they have covered work with Tool, Mick Jagger, Skinny Puppy, Eurythmics, Leonard Cohen or Sinead O’Connor, giving a special insight in a world of artists that are not limited by a scene and are capable of giving in to a good tune.

Another think that must be commented on is the imaginary that comes with The Secret Meeting and, in general, the work of Noiseplus. The combination of virtual and genuine constructions make a surrealist world were inanimate and live unite under a haunting sky. Evocative and alluring.

Collide and Curve unite, and due to the combination of both ‘ingredients’, all songs are marked by the voice line, and surrounded by arrangements and sounds. ‘Touch’ is a perfect opening: fleeting sounds open to a foggy, haunted voice. Then the song erupts, with a perfect combination of indie sounding guitar patches, percussion lines, heavenly voices ingenuousness, and a tinge of dismal and dark heaviness. The Secret Meeting, however, is hardly dark. It moves more into a sort of alternative sound that can be easily absorbed and is fairly catchy, sensual and easily followed in its complexity. It reminds me of a mix between Delirium’s ‘Karma’ and the indie sounding Medicine. Collide’s main singer emerges as a possible mainstream diva.

The catchiest song is ‘Am I here?’ with an oscillating sound, it moves around a simple percussion line with an absolute spotlight on the ever present voice and swinging guitar lines. The overexposure of the voice is what makes potentially different compositions sound more or less the same and gives The Secret Meeting a unifying identity. All songs follow a similar premise: a mix of melodic guitars, mid-paced drums, many extra arrangements, a high in the chorus and the overpowering voice. The main problem with this is that the record manages to sound very pulled together, yet after listening to it numerous times; there is still no song that splits open and surfaces out of the unity of the album. The use of some stronger riffs in various songs, crosses over in styles, but doesn’t shake off the neo-trip hop, alternative sounding pop-rock songs. ‘Ultrashiver’ is already starting to look like a hit.

Hidden Sanctuary

Touch opens with a nice haunting effect, Am I Here brings your vocals to an almost surrealistic electronic realm where sounds are turning into vaporous colors ...very out of body type of effect! Every Little Thing will probably get a huge nod from college radio because it is just that much closer to "alternative" without being predictable, Beautiful Noise, well now, i have heard that one countless times on the station and the shimmering electronic modulation with your ever present seductive vocals, heck, can you say winning track? Blacker Than Blue I would sum up an electronic Mid Eastern vibe without it being that consciously noticable. Then when the guitar licks kick in, it's as though you are the Goddess of the Night coming down from Mount Olympus...it is super charged with energy without being exhausting.... Soul Creeper, I wasn't sure what to expect considering the name of the track. The track percolates and punctuates in all the right places and the reverb on your vocals was a wonderful marriage of vocals meeting electronica.... Shooting Laser Beams I would have anticipated to have started the way Soul Creeper did. However, none of you played by the "rules" and instead gave an electronic track with a retro type of psychedelia nod.

The title Forwards and Sideways made me think of Charlie and the Chocolate Factory however this piece is a bit more pensive than that film could have handled. It plays heavily with being coy, yet bold, intense yet quietly shimmering. How you pull this off will always remain a mystery to me. Shiver X is a sort of nod to the goth rock underground with the minor guitar keys, however, it never fully falls over the line to be classified as goth per se. Imaginate just may become a new created word in the lexicon of the American vocabulary. It's a very fluid track that brings the listener on an electronic float down a dark river in the caverns of the mind.

Overall, the 3 D effects on your vocals are impeccable. (I do listen to everything on a BOSE so I do have the advantage to some degree than many other listeners.) The Cd is at once seductive, as is typical of the Collide body of work thus far, electronic enough for the club kids and alternative enough for college radio. In my estimation, this CD, like your previous recordings is a winner and should win you even more fans than before.

From the artwork to the actual song construction, you spared nothing in creating a work of quality. I can foresee a LOT of people doing the horizontal lambada to the CD though, so any kids from this should be called something related to the band! It simultaneously caresses the ears while drawing the body into a multitude of rhythmic responses. It's certainly a winner in my book!-Mike V

Import CDs

The Secret Meeting is kaRIN and Statik from Collide joining forces with Dean Garcia, formerly of the UK Britpop shoegazers Curve. Some would call their music ‘Gothic Electronica’ but there is so much more to The Secret Meeting than meets the ear on the first listen. The word ‘Gothic’ conjures up images of darkness, hopelessness and torment. The Secret Meeting, on the other hand, create atmospheric sounds that swirl around like Electro-Psychedelia, allowing enough light in to create shadows within the textures of their music. Their ethereal vibe and warm production breathes hope into Modern Rock and vocalist kaRIN, with her Kate Bush-like coo, creates a mood that casts away demons instead of drawing them in. So, in essence, Gothic they ain’t! Their songs are rhythmic without being classified as ‘Dance Music’ although you can actually move along with the infectious grooves that seem to gravitate within the context of each song. The first set of songs, produced by Garcia, are more guitar heavy than Statik’s productions on the second half of the album, but the mood that each set of songs creates an underlying tension that continues to build throughout the album, although the tension is never too much and there are moments of beauty around every corner that helps to relieve that tension. There are highpoints on the album including ‘Every Little Thing’, ‘Shooting Laser Beams’ and ‘Touch’ but this is a work that is best heard as a whole. (NOISEPLUS MUSIC)-reviewed by the Minister of Information - Stephen Schnee


Secret from whom one wonders – Ms Toni Halliday perchance! For this wonderous album is the product of kaRIN and Statik from Collide working with Dean Garcia from Curve. I am already a big Collide fan, and so inevitably I’ve got a sort of ‘Collide with Dean Garcia’ perspective on the album, but Garcia’s guitar work fits in perfectly with kaRIN’s gorgeous wistful and seductive voice and Statik’s incredible twisted and driven noise manipulations, to give the whole Collide sound a subtly different feel on this release. It’s certainly not a gimmicky concept of just having Garcia help out on a few tracks and then pretending it’s something different when it’s not – this is a CD wide concept that totally justifies the new moniker. It is also an album that will appeal greatly to Curve fans, as this is every bit as warm and velvety one minute, and spitefully seductive the next as Curve were at their best. A bit pointless choosing particular tracks as there are so many that I’d want to highlight, so I’ll just mention the superb posterist Bosch style artwork which is a fascinating piece! Nice to see an album as excellent and addictive as this comes nicely wrapped too! - Mike


The Secret Meeting is the new collaborative project between kaRIN & Statik of Collide and Dean Garcia of Curve. It's quite a fine release. If you are a fan of Collide, you will definitely like this new project. The dense layers of sound that are the trademark of Collide are certainly present in the tracks of The Secret Meeting, but the presence of Dean Garcia has seems to have had the effect of giving a bit of a nice, sharp edge to the music, and given it a more Rockin' sound overall. I like the effect of the churning guitars giving a sense of turmoil and menace to the thick sheets of "Elektro Noize" that envelops each track, courtesy of Statik and Mr. Garcia, all tied together with the "so-damn-sensual-it-makes-a-man-wanna-go-insane-in-the-membrane" vocals of kaRIN.- E.O.

Mick Mercer

This is a lovely record that reminds me of when Indie was good, just before Shoegazing made the mistake of going amateurish, and could have both charm and dark depths. It's Collide and Dean from Curve, to cut the story short. As I've compared Collide to Curve myself in previous reviews I'm not surprised by this union with Dean Garcia, or surprised everyone else finds it a natural link too, but they have always been gliding forwards in their own direction as well as showing similarities in approach, just as you can say they create music in the same way Garbage once did when seamlessly undulating. It's a style thing, not a copy thing, and kaRIN has no rival in terms of the breathily insistent vocal stakes, as though she's a steadily released gas. Are there great differences then? Not really, with the sound more late 90's than strictly now, because understatement is in, chunky streams are out, as this has hidden strengths. 'Touch' brings wispy tendrils together like a maypole in a stormcloud.

'Am I Here?' is a minxy twister, the bass compass sending them in tight circles. It's noticeable that even when going up through noisy levels this is still a flat pool of sound spreading confidently outwards, creating a glossy feel. 'Every Little Thing' is slicker, with a lustrous guitar glow around the slower but bumpety beat. 'Beautiful Noise Machine' is the catchiest so far, a glorious soft sensitivity and a surging chorus, then the initially shy 'Blacker Than Blue' stirs some hot guitar into a thickening rhythmical sauce, although the vocals could have risen with the power instead of remaining supine, and there is a bit where it sighs like Donna Summer's 'I Feel Love' which is funny.

'SoulCreeper' comes on like Kate Bush fronting cracked and distressed funk, the sound whisked and grizzled, the vocals lighter and clinging to the skeletal, agitated framework. 'Shooting Laser Beams' is a bit lightweight and lank, drooping while the words hint at emotive revenge, 'Forwards And Sideways' is far stronger with a wickedly taut atmosphere and quite trim, with a little head trauma. 'Shiver X' is a curious choice for the single, with simple seepage kept linear with a tidy guitar line and a somewhat syruppy vocal delivery. It's twinkly, for sure, but fairly standard. 'Imaginate' is fairly Curvetastique, and a winsome closer, the vocals soft like a demure fan across well behaved flames.

It's not a wildly demonstrative album but nor, more importantly, is it as direct as Collide records or as heated as Curve, landing somewhere between the two and creating something you need to live with for a while. We've actually been listening to this back and forth to the vet on daily visits to our cat on a long journey and gradually the sounds start to appear bigger. It's a grower.

Morpheus Music Reviews

Restless, gutsy darkwave songs with slinky, prowling female vocals. Ultrashiver is built primarily around a guitar, bass and drums set up - an almost live sound driving the album, yet there is also a wealth of electronic enhancement and sonic manipulation to broaden the sonic spectrum and excite the ear. At the beating heart of each song is kaRIN's distinctive voice - intimate, disdainful, dripping with coiled sweetness, sprawling in predatory languor. Reflecting the same grit and sugar mix, churning guitars brim over with distortion, squeal amid sci fi feedback or pick out rolling flanged patterns whilst electronic atmospheres and peripherals provide contrasting subdued hues. The overall effect is quite a dense sound mass broken apart into brief softer interludes where a rippling synth, some smoother programmed tones or a low-key sustain guitar paints a lighter scene for a moment. The Secret Meeting don't play with obvious melodies, preferring instead a driving intensity threaded through with sensual moodiness - electrodes connected directly to tissu, a nocturnal shroud draped over everything, an ethereal light shafting through storm clouds.

Eye catching artwork accompanies The Secret Meeting both on the sleeve design and the website. Surrealist photomontages reflect the sonic juxtaposition of the music - the front cover centres on a winged human torso with a spherical topiary head inlaid with the dial and mechanics of a clock face - this form emerges impossibly from an upturned snail shell suspended against a brooding sky. Lush green grass carpets every panel, anchoring disparate elements in a procession of peculiarities. On the rear is a tracklist set out aside tree-like mushroom forms and a glass stream. Inside the insert opens into five panels - one side given over entirely to lyrics for the songs, a quadruped skeleton, a flying fish a polished gramophone horn and owl - the other side holds an image of each artist framed in scorched close-up, almost monochrome but not quite. Generous thanks and credits are found inside also along with contact details.

The story goes that Collide vocalist kaRIN contacted Dean Garcia (of Curve fame) whilst surfing the web - a guest vocal was the initial idea, a complete collaborative album the end result. Ultrashiver then features the combined instrumental talents of both Garcia and Collide's other half - Statik bringing their complementary approaches into a decisive shared trajectory, there are also appearances from guitarists Scott Landes and Rogerio Silva (both familiar to Collide fans). Inevitably this new project manifests aspects of the musical heritage from both sides and so will delight current fans, but The Secret Meeting has a personality of its own something that sounds new and familiar both at the same time. The album is released through Noiseplus Music and sleeve notes indicate a two step recording process passing initially through Garcia's U.K. studio and then into Statik's hands at Noiseplus. -Paul Jury

MoveMent Magazine

The Secret Meeting is the combined efforts of kaRIN and Statik of Collide with instrumental help from Dean Garcia formerly of Curve. After listening to this album, I concluded that a more perfect mixture of artist's could not have been more beautifuly matched.The music is very reminicent of both bands (showing the striking similarities they both share) but the music still has its own unique qualities. kaRIN's voice is seductive, soothing, and at times her voice sounds like Toni Halliday (former vocalist for Curve) almost to the point that I first thought it was Toni singing! The music itself is a union of trip-hop grooves, lush electronic atmospheres, and edgy bursts of distorted guitar. Both Garcia and Statik's compositional genius is a force to be reckoned with on this album. Having lent their talents to such acts as TOOL, Eurythmics, Skinny Puppy and many more, you can only imagine what they have achieved together on "Ultrashiver". This album could have stood as a Collide or Curve release individually in some respects, but the interplay between these very talented artist's has forged something just as beautiful, full of emotion and totally captivating that pay the utmost homage to both bands.--Craig Harvey


Combining the talents of California darkwave electronic duo Collide and former Curve programmer Dean Garcia seems like a pretty promising match, as both acts have specialized in swirly mixtures of moody yet sensual grooves and aggressive electrorock. U1trashiver is quite possibly some of the finest and most developed work yet, from either camp. Ranging from the subtly-layered vocal melodies of the percussive "Touch" to the delicate and melodic closer, "Imaginate," which bursts into a swell of epic noise and drums grooves alongside the sweetly mysterious vocals of kaRIN, this trans-continental collaboration flows beautifully. Echoes of Curve lurk within the dubby electro-with-guitar-feedback of "Every Little Thing," whereas Collide's penchant for ghostly texture and bold grooves envelop "Beautiful Noise Machine." Fans of edgier dance-rock with heavenly voices will find immediate sustenance in The Secret Meeting. Wonderful music, and if you doubt me, check out their website (www.thesecretmeeting,.net) and hear it for yourself.- Rob Wickett


The Secret Meeting is the coming together of the past, the present, and the future of dreamy, electronic pop music. Comprised of kaRIN and Statik of Collide and Dean Garcia, the musical half of Curve, this project is met with much anticipation. And with Ultrashiver, the high expectations are justified. While hints of both Curve and Collide are to be expected, The Secret Meeting arises as its own entity. During quieter moments, Garcia seemingly forces kaRIN and Statik to shed some of the trip-hop elements they have incorporated in their own music and replace it with shimmering syths, smoothing out some of the rough edges and allowing kaRIN's purrs and coos to become hypnotic, as heard on the disc's opener, "Touch." But it's with the grinding guitars of "Beautiful Noise Machine" and the pulsating electro-rocker "Blacker Than Blue" where The Secret Meeting becomes more than just the sum of its parts--simultaneously more outwardly aggressive and adventurous yet more accessible than any of the members' parent bands. Ultrashiver is sonically challenging and constantly shifting moods with its eerie soundscapes and endless walls of guitar, all of which is anchored by kaRIN's otherworldly voice. Lush, mesmerizing, and addictive, The Secret Meeting creates music that is familiar yet refreshing.- Brian Lumauig


kaRIN and Statik and the kernel of the renowned Industrial Gothic band Collide. With Dean Garcia (Curve) their new project is The Secret Meeting and this is their first production; a seductive, tempting mix of the sumptuous atmospheres typical of the aforementioned two bands. But Ultrashiver is so much more; it is a gift from three artists with an impressive degree of maturity playing on genre borders.

ReGen Magazine

The Secret Meeting's debut album finds Curve's Dean Garcia in yet another collaboration, this time with the members of Collide, producing a varied album that couples atmospheric electronica with a rock and roll vibe not dissimilar to Curve's gritty Brit-rock edge.

One certainly can't accuse Dean Garcia of resting on his laurels. Since the dissolution of Curve when Toni Halliday amicably left the renowned duo, Garcia's thrown himself into a plethora of rather intriguing projects, from oddities such as his collaborations with Jason Novak in Glytsch and his two Headcase albums, to the higher profile groups such as KGC with Sascha Konietzko and Lucia Cifarelli of KMFDM, as well as producing music for his daughter Rose Berlin. Adding to his prolific discography is The Secret Meeting, in which we see him working with kaRIN and Statik of the American electronic group Collide.

As to be expected, the band's debut album, Ultrashiver is full of elements of both groups while managing to find a musical middle ground to give The Secret Meeting a flavor all its own. For Collide's part, kaRIN's distinct voice soars as blissfully as ever, adding an ethereal quality that complements her sense of dark melodies. Her layers of harmonies add greater depth and ambience to the music, particularly in the trip-hop leanings of "Am I Here?" and the almost trancelike psychedelic groove of "Every Little Thing." There are even some jazzy moments to behold on "Shiver X," which could easily play the part of soundtrack to a Michael Mann crime thriller. Then there are tracks like "Forwards and Sideways" and "Touch," both of which strangely begin with the same atmospheric sample loop (a holdover from Garcia's work in Glytsch apparently), carrying his signature dirty beats and gritty bass drones, very reminiscent of his instrumental work in Headcase and in later Curve. "Blacker than Blue" is another standout song with percolating arpeggios of edgy electronica and chugging guitars that evoke the heavy Brit-rock bravado Garcia is so known for. And just in case you thought The Secret Meeting was incapable of humor, the lyrics about superheroes and their powers on "Shooting Laser Beams" will surely bring a chuckle to the listener.

It can be said that The Secret Meeting is a more varied cooperative than KGC, for while Dirty Bomb was an excellent album and certainly not lacking in collaborative spirit, it was clear that the definitive KMFDM components were relegated to the production while Garcia's post-Curve compositions took to the fore. On Ultrashiver, there is a greater sense of sonic variety, incorporating the best of both worlds. Some may find it a dubious pairing as many have described Collide as an American version of Curve, indicating some sense of redundancy. However, Ultrashiver is anything but; the songs hook you in as well as anything by either band, from the catchy melodies to the supercool electronica to the down-and-dirty rock vibe that permeates throughout. As the first album of new material from the members of Collide since 2003's Some Kind of Strange, and as another outing from Dean Garcia, fans of either band should be very satisfied with Ultrashiver.-Ilker Yücel

Release Magazine

It is official. I no longer miss Curve. I'm over their dissolution thanks to this wonderous new record from Curve's Mr. Dean Garcia and LA duo Collide. Dean's been a busy man since Curve ended, his solo works have been amazing, his venture with KMFDM members Sacha and Lucia was solid but all of his work has been missing the one aspect I never figured he'd find again: a vocalist to fit his musical stylings. He's found it with Collide's Karin, my friends. I do not know how it is that this band was put together but I can only thank them for doing it. "Beautiful Noise Machine" is very aptly named. Subdued guitar work, low-key beats, luscious vocal harmonizing and then a chorus that'd have done Curve proud. A lot of this work I wonder about the origin of. Then again, it's so well tailored to fit kaRIN's voice I have to accept that I'm listening to something decidedly addictive. I picture windows being kicked out by black, shiny boots somewhere in the middle of nowhere when I hear this tune.

"Blacker Than Blue" sleekly arrives after with the sort of builds Collide are famous for but there's that damned Garcia knack for inserting hooks into places you'd never think of. Drifting... luxuriously narcotized synthesized bliss. You want to let it all go and then you cannot, the alchemy of Statik and Dean just will not let you. The crunchy guitar riffs hit hard, the sing-a-long words form a chain... struggle all you like, you'll only wind up harming yourself if you turn this album off. Kindly make more of these, all involved. This meeting won't be a secret for long.-Peter Marks

Rock Sound Review

"Somewhere out there in cyber space, in between social networks and porn and eBay, a beautiful 21st century baby has been born. "Ultrashiver" the result of a cross-continental collaboration between kaRIN and Statik of Collide and Dean Garcia of Curve, is something rare, a newborn with a mature outlook on life. Dreamy, delirious, reeking of atmosphere and heavy with lush layering. The Secret Meeting create songs which are like looking into a very deep well. There is mystery and darkness and a sort of a silky stillness. Languorous industrial beats and often eerie electro experiments are teamed with guitars at times swirling at times jarring, and often just quietly beautiful, while kaRIN's sultry yet searching vocal meandering intoxicate. This is one secret best shared.-Sarah Cosgrove


While we knew that Curve recently split in a definitive way, the fans will be reassured to learn that Dean Garcia will have not remained unemployed for long. He indeed became allied with the very good Collide for a project which turns out as high as their respective discographies! The fusion is total and we like to find the influences of each in each of the compositions of this first album. If Collide seemed to sink into a too soft rhythmic or if you find that Curve sometimes missed delicacy, you will find your happiness in this project while keeping a place for a kind of sensuality. Garcia brings out the kinkiest side of the duet with an edgier rhythmic where fleet in a remarkable way, the excellent voice of kaRin. "Ultrashiver" is a total success and a whole conceptual album where it is difficult to bring out a particular song. (CX:8)

Sputnick Music

When Collide seemed to virtually disappear from the music world I was bummed. They were one of the better darkwave/industrial bands I had heard, and their vocalist, Karin, had a unique and cool voice. So you could imagine my surprise when I stumbled across this band which is a collaboration between the members of Collide and Dean Garcia of Electronica/Shoegaze band Curve. It seems safe to assume that a majority of people have no idea who these bands are, so with that in mind, I am going to move forward with the review as if this were a totally new band without any past to reference.

The Secret Meeting plays an interesting blend of darkwave and electronica, with an emphasis on Karin’s lush and delicate vocals. The music is often slow and mellow with darkwave-inspired synths contrasted with slow, groovy beats, occasional guitar sounds (they lack the form to truly be called riffs), and ambient noises. Karin’s breathy, almost erotic, vocals are often layered with indistinct chanting and reverberating vocal harmonies which gives a lot of the songs an ethereal, almost dark, new age quality. It’s not a sound that has never been done before, but the band pulls it off better then most.

Almost every song embodies the above characteristics, but standout tracks would include “Am I Here” with its trip-hop beat, dark vibe, subdued, distorted guitar sounds, and Karin’s vocals which are truly alive with subtle sensuality. Another song worth noting is “Beautiful Noise Machine” which takes its guitar influence directly from bands such as Slowdive, with its use of a full, lush, melodic sound that is dripping in echo and fuzzy effects and is played over a chill groove, soft electronics and has one of the more memorable choruses as well.

While up until this point I have had nothing but good things to say about this band and album, there are a few things that some may see as a problem. The main issue that some may encounter is that due to the mellow nature of the songs that emphasize atmosphere over catchiness, by the end of the album you may not be able to think of any one track that you actually were able to retain in your mind. With repeated listens that problem slowly dissipates, but the listener must be willing to give the album the multiple listens and attention it requires first.

Overall, as the rating suggests, I am very happy with this album as it has everything I liked about Collide, wrapped in the more delicate sounds of trip-hop and shoegaze. The sensuous vocals of Karin have never sounded better, and the increased focus she receives in the form of multiple layers and experimental chants sets this to a new standard for her. Musically, the lush new age feel of the electronics, mixed with Slowdive-inspired guitar sounds, contrasted with the gloomier sounds associated with darkwave is near perfect, and we can only hope that this wasn’t just a one-album side project.


kaRIN and Statik of Collide fame join forces with Dean Garcia (Curve) to get together on this new project. Energetic alternative pop is blended with airy industrial dance along with ethereal melodies and blissful arrangements are what makes “Ultrashiver” really outshine everyone else. Rich textures and darkwave atmospheres percolate the Secret Meeting into an out-of-this-world combo that is completely intoxicating. Beautiful!

Trilogy Device

The Secret Meeting is not just one of the current projects of former Curve song-writer, but it is in fact a collaboration between Dean and trip-hop darksters Collide. If you had told me that Collide and Dean from Curve were collaborating, I might have told you that the mixture of personalities would not work. But having heard it, I can tell you that the match was indeed made in heaven. What I have heard from their debut album "Ultrashiver" has been just incredible. Musically, it sounds like a perfect fusion of Collide and Curve. The two styles mesh perfectly and kaRIN's voice more often than not actually does sound a lot like Toni Halliday. So much so that before I realized that this was a collaboration with Collide and when I heard one of the tracks, I thought it was a new project for Dean and Toni. It is obvious that Toni has had a huge influence on kaRIN as she has had on many other great female singers.

The contrast between Dean's and Statik's writings styles creates a harmony of dark atmosphere and downtempo groove. kaRIN's vocals accentuate an already blissful soundscape of spacey dark chambers. Definitely worth checking out for anyone who likes either Curve or Collide or trip-hop music in general. This is probably the best pure trip-hop that I have heard since Massive Attack's 100th Window.


Bravo almighty on one great and impressive effort. Ultrashiver is fantastic. I have only had it for a week and have lived it some 20 times. That's rare for me to dedicate that much time and intensity to any CD of any genre. With every re-visit I gain more. Heck, it even makes me horny too...LOL That's also rare for me too!

From content, writing, production, arranging, packaging and the very notecard and materials sent with it....it is well thought through and total pro to every detail. My sincere congratulations upon the wonderful and appropriate new name and all the work you poured into this work of art. I wish you every success and continued growth. If the industry doesn't dig this one then they truly need hearing....and feeling aides! You certainly deserve all attention.

Underground Press

Ultrashiver is the debut release from The Secret Meeting, a collaboration between Dean Garcia (ex-Curve) and Collide members, kaRIN and Statik. It's an intricately woven artpiece, where emotions, imagery and sound capture the perfect moment. The voluptuous voice of kaRIN liquefy the sensual melodies and lingers long after it fades into silence. To cage the sound into a genre would break the delicate enchantment it possesses. Ultrashiver is ethereal velvet, extravagantly vulnerable and enticingly pained a splendid epic!-Tess


Noiseplus Music, distr. Matrix esparto. Exit: June 2007 After 32CRASH, union inspired of Face 242 and Implant (see chronic ici-même), Alfa Matrix again celebrates a happy marriage while convolant in right weddings (musical) KaRIN and Statik of the group electro American Collide (” the best unknown underground group”, known as the promotion and I approve) with Dean Garcia de Curve, reference impossible to circumvent of the English pop noisy. As with 32CRASH, the child born of this union, baptized Ultrashiver, is much more beautiful than his parents who are however sexy each one in their kind. The éthérée voice (and one nothing rascal) of KaRIN ciconvolutionne lascivement to the tormented guitars of Dean Garcia, extremely constant - even carried to the naked ones - by synthetic arrangements of Statik. It is beautiful, large, extremely, planing (Touch), noisy (Beautiful noise machine), surprising (Blacker than blue), entêtant (Shiver X) and always new, new and original. In short, there is strictly nothing to throw in this essential album. The Secret Meeting laid an exceptionally gifted child, already brilliant. What tops will reach it while growing?! Jean-Marc Ligny


For those of you not up to speed on the goings on in cybergoth world, The Secret Meeting is a collaborative project between long time Zeitgeist / M4L favourites Collide and ex Curve fella, Dean Garcia.

Now my knowledge of Curve can easily be written in block capitals on my pinky nail, but I absolutely adore the cold yet sensual darkwave electronica of Collide. So, I was a tad concerned that this project might strip away some of the lustre from my precious. But it was a needless worry. It's certainly more organic than their electronika based releases, but the added warmth works well.

It's also considerably more commercial, but not in a dirrty way, and there's no reason why songs like 'Am I Here?' couldn't find their way on to radio. After all, the alleged TV show, NCIS has already picked up on a couple of the tracks. I do miss some of the sharper corners Collide used to exhibit but when there's songs like the exqusite 'Blacker Than Blue' to rip my soul apart, it's a price I'm willing to pay.-Stuart A Hamilton

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Tuesday, January 07, 1997

Live at the El Rey reviews

Bite Me

Collide is such an underrated band. They really don’t get the recognition they deserve. Just ask my kitties. Whenever I play a CD (good or bad) they hide under the bed. However, when I put Collide’s Live At The El Rey in the stereo for the first time ever they didn’t hide. If that isn’t a seal of approval I don’t know what is. Live At The El Rey is by far one of the cleanest live CD’s you’ll ever come across. It even blows the roof off of some major label live recordings. The mix is just right. (No doubt due to Statik’s technical genius). The instruments don’t drown out the vocals, nor does the crowd drown out the band. Collide fans will rejoice because all the favorites are here, and with the aid of newly added, talented musicians their tremendous electro-gothic-industrial sound is expanded to something even more magnificent on stage. kaRIN’s voice is pure perfection. If you ever doubted her talent, you’ll become a true believer after listening to this disc or viewing the band’s recently released DVD ‘Like The Hunted’. All in all, Collide’s Live At The El Rey is perfection at its finest. Visit www.collide.net and experience the euphoria for yourself. –NIN

Dark Realms Magazine

Essentially envisioned as a studio project, Collide has successfully made a name for themselves in the realm of darkwave music without ever performing live. Their seductive brand of dark digital rock is the product of composer and electronic wizard, Statik, and the sultry songstress, kaRIN. For this rare live performance, four additional musicians accompany the duo as they play for an intimate yet avid crowd at the El Rey nightclub in LA. The album contains many of Collide's most popular songs from their prior studio releases. Songs like "Beneath the Skin," "Slither Thing," and the band's rendition of "White Rabbit" take on a new dimension while watching kaRIN weave her musical spell with them. The band has also released a Live at the El Rey DVD that documents the entire concert and features various other videos, interviews and bonus material from Statik and kaRIN. It may be quite some time before Collide commits to a full-scale worldwide concert tour, but until then, this CD and video documentary of one of their rare performances truly captures the magic of the moment.-Devon King, Dark Realms Magazine

Godsend Online

Principally a studio electronic band, this document of Statik and kaRIN's 9th ever (!) live appearance presents them as a well-oiled rock machine capable of translating these songs ably into a live experience. From the driving dance-rock of the seductive 'Beneath The Skin' to the slinky trip-funk of 'Razor Sharp' to their modern re-interpretation of 'White Rabbit', COLLIDE prove that their songs are what count, whether it's electronica or guitar-and-drum-fuelled rock. This album works, to put it succinctly, and this is yet another new leaf turned for this independent group who continue to thrive on their own terms.Bravo!


Last year the US darkwave band Collide did their first concerts while they already have 5 albums out. This is what you can call perfectionism. By the time they did El Rey in Los Angeles during the tour the band thought the show was perfected enough to do something more with it. This performance was directly filmed with very professional equipment and multiple camera angles, and of this a live album as well as a DVD release is out now. The cd recording is sold seperately from the DVD and of course has the same tracklist, with an extra bonus consisting of the video of ‘Euphoria’.

Collide clearly is in perfect shape and a concert is really recommended. This is very clear when you see the recordings and listen to the live cd. This recording could as well be seen as a best of by Collide. Tracks like ‘Beneath the Skin’ , ‘Crushed’ , ‘Complicated’, ‘Falling Up’, ‘Slither Thing’, the Jefferson Airplane cover ‘White Rabbit’, ‘The Lunatics Have Taken Over The Asylum’ and ‘Euphoria’ are all performed and present on this cd. Now you hear the band live it is striking all the more that this is a very unique outfit. KaRIN’s voice is strong and musicwise Collide plays a powerful elixir consisting of heavy rock guitars, electronics, gothic synths, dance influences and triphop. kaRIN and Statik have selected some fine musicians for the live line up of Collide. This is enjoyment for over an hour, listening to a band this nice.-Review by: Steven Hurst

Gothic Paradise

What more of an introduction to this album can I give than what I have said about their DVD released at the same time. It was a big step for this studio project to step out, find live performers and convert their music into something that a six-piece live group could play. Through their respective talents and work they have pulled it off and this is their first live album released. It features live performances from tracks throughout their entire career including a nice hour-long set spanning fifteen tracks. This disc also includes a bonus track which is the "video edit" version of their recently popular piece "Euphoria".

When you listen to their studio albums, the listener is often lulled into a sweet sense of euphoria through the downtempo tracks that vary between this euphoric sense and the onslaught of electronics and guitars. One thing that comes out of their live performance is a lot more energy, more grinding guitars and percussion. At times this can really be over-the-top, which is great for an energy boost, especially while there in person, but I found the crashing cymbals at times began to wear on me while listening to the album, because the listener isn't always in a position where the adrenaline is pumping and you want to be right on the front row. However, through all of this, kaRIN's vocals remain solid, strong and clear as if she were still right in the studio recording them. Of course you're not going to get a lot of the vocal processing that goes on in the studio albums, but the overall mood is still there very solid and steady.

The track selection for their live playlist is an excellent choice of tracks including many of their popular tracks and featuring many of the more upbeat pieces. Of course it just wouldn't be complete without "Razor Sharp", "Crushed", "Slither Thing", "Wings of Steel", their awesome cover of "White Rabbit" and the fun piece "The Lunatics Have Taken Over The Asylum". Their performance of this last track is awesome and is a great way to wind down the show, but it just wouldn't be complete without their finale "Euphoria", and so they close the show with this piece and once again we have another great work to enjoy for a long time to come. Rating: 4/5

Legends Magazine

Live at the El ReyFor years – over ten actually – Collide have been creating music from their studio. Statik and kaRIN have always remained outside the world, reachable only by closing your eyes as you spin their released CDs. It wasn’t until 2004, nearly a decade after the duo of kaRIN’s vocals and Statik’s extra-sensory noise came together originally, before Collide appeared and played any venue.

The crown jewel of the recent live endeavors of the group has given us two assortments of media wonderment. The first is the CD, Live at the El Rey, and the second is the DVD Like the Hunted, which I will talk about in more detail sometime later. To form their live outfit, Collide needed to find others that would help them realize the sound that they could create in the studio. Thusly they’ve enlisted Rogerio Silva (guitar), Chaz Pease (drums), Kai Kurosawa (guitar/bass) and Scott Landes (guitar). Live at the El Rey plays like a best hits collection. Beneath the Skin opens us before moving into Crushed and Complicated. All throughout the recording is masterful with the only audience sounds being during the breaks between songs rather than a muddied unprofessional sound you expect with most live recordings. And the sound is full and glorious, rivaling even Collide’s previous studio work, with the full assortment of live musicians that played.

The CD was recorded on April 14, 2005 at the El Rey Theatre in Los Angeles, California. One of the most striking things about the CD is Karin’s humility – her short talk between Complicated and Falling Up shows how thrilled she is to be making music and to have people listen to it. She’s astounded by the fact that Collide has been making music for ten years successfully, and just as astounded at the fact that they really do sound that good. One of the few truly approachable figures in music history.

Her voice is phenomenal as always, high and sultry and laced with bitterness and sexual energy all at once. Falling Up sounds gorgeous with her voice like this, and the multiple guitar work and live drums brings power to the track like never before. Razor Sharp has always been a favorite of mine, found here on track 9, just as sultry as ever with a great job on bass by Kurosawa – live bass gives the track a punch that wasn’t there before.

The Grace Slick cover, White Rabbit, elicits screams from the crowd at its onset. Guitar work here is brilliantly done live. Again a lot of stock must be placed in Kurosawa’s bass breakdowns as well. The El Rey set is closed with Euphoria and Live at the El Rey has the bonus track of Euphoria’s video edit to close the album with sixteen tracks.

Collide has always been a studio project. But if you can find the right combination of people you can take even the most studio-enclosed sound to the stage. I’ve seen many acts fail at this, trying to turn an electronica band into a live outfit and looking more like a couple of gonads lost on a huge stage alone. And studio music can easily lose its power when put in a live venue. Collide has added musicians, increased the sound and is not only just as powerful outside the studio in front of you as it is within – it’s even moreso.-By Marcus Pan


Collide has been a duo act for many years so when word of a live album and dvd were made on their website, I began to wonder how will they reproduce the studio tricks live. My suspicions soon flew out the window upon hearing their live album from April 14th, 2005 simply entitled, Live at the El Rey. The set list is the same as on the dvd, “Like the Hunted” with the exception of a extra edit version of Euphoria. Other than that, the listener will be able to live or relive the live experience Collide has to offer.

The line-up is also the same, with Scott Landes and Rogerio Silvio on guitars, Kai Kurosawa on warr guitar / bass and Chaz Pease on drums. Again I was really amazed to hear a warr guitar played within a metallic based band. This, to me gives the music more dimensions. Kudos to Kai! Also kudos to the main duo kaRIN and Statik. Both of them over the years have created such beautiful music together. The twin guitars of Scott and Rogerio also add their style into the fold as well. I was surprised to hear the “live” drum sound within the songs, Chaz does them much justice.

One of my favorite songs of Collide has always been Crushed, so to hear it in a live setting was a treat. They beefed up the song to make it, dare I say, better than the original. I can see this band becoming a household name very soon withing the gothic/industrial genre. They have the makings of being one of the best of the newer modern music. This along with the companion dvd, Like The Hunted are essential for both new and old fans alike. One can only wonder what Collide has in store for us on their next studio album. I’m sure all of us fans will be waiting eagerly. -Ron Fuchs on February 4th, 2006


The optimum completion to Collide’s "Like The Hunted" DVD is their "Live At The El Rey" CD...

In crystal-clear, voluminous sound quality, the CD offers us the chance to listen to 15 live songs, i.e. such classics as "Beneath The Skin", "Somewhere" or "Euphoria".

Even without pictures, the recording transports the kind of magical mood that must have filled Los Angeles’ El Rey Theatre on April 04, 2005. Supported by bassist Kai Kurosawa, guitarists Scott Landes and Rogerio Silva as well as drummer Chaz Pease, kaRIN’s and Statik’s compositions sound profound and equal to the original electronic arrangements that the band performances are based on. Statik managed it exquisitly to re-arrange the original tunes and add some rock feeling to the songs.-Dom, 06 Feb 2006

The Collide Experience (Live At The El Rey Review)

Sometimes, when composing a live album, bands take serious risks. Live venues are, by and large, are simply not the best for recording quality and many live albums that I've heard have left me wanting. There have been a scant few exceptions to this rule, of course.

KISS: Alive III, Marilyn Manson "The Last Day On Earth Tour" being two of the ones I considered exceptions. The great thing about live albums is that they tend to capture the most essential elements of the rock and roll experience. It's the reason you show up, dress your best (or worst) and go. You wanna be up front, feeling the sound rattle your body. You wait with trepidation for that one member of the band to point at you, touch fists with you, blow you a kiss...something...anything personal. One connection that you know the band member may forget but a moment you'll remember forever. That's where it matters, doesn't it? Then there are The Rock And Roll Moments that you look forward to. Maybe a lyric gets screwed up, maybe they say something that will be remembered forever, no matter, that part can be captured and forever immortalized in digital electronic media and with certain permissions, can be used for a variety of ends.

The Collide Camp informed me that their DVD "Like The Hunted" had been sent to me but I never expected "Live At The El Rey" to accompany it. What a pleasant surprise. The only shame of receiving the items when I did was that I had to work. The next morning would prove to hold no moment free for me to properly listen to it either but then came the moment. I woke up for work...my last day of the week to be twisted on Stackers to survive another dull and boring night at work. I took a few spare moments while in the shower to let it spin on my CD player which needs to desperately be replaced. I heard the near-doomlike sounds of the intro flowing in and the music built. The funny part was that I could barely hear the crowd. Normally, the crowd either adds or takes away from the recording but with this particular Live compilation, they added even as far in the background as they sounded.

Then I went sideways. kaRIN's vocals came in loud and true, blending and harmonizing perfectly with the music. There was no doubt in my mind that this album was going to be good but now, my suspicions were cemented and forever sealed. kaRIN, Statik, Kai, Scott, Rogerio and Chaz went all out in their performances and nothing was held back...no quarter asked, none given. AND THIS WAS ONLY THE FIRST SONG!!!!

I was able to listen to about two or three tracks before I went to work and all through the night I waited and quietly bided my time. I wanted to hear the rest of the disc. I couldn't wait!!!

Finally home this morning I finally was able to sit down and listen to the rest of it...I can honestly say that, as a fan, "Live At The El Rey" will join that once-duo of KISS and Marilyn Manson in terms of the best live CDs of all time. Performances never lacked. Nothing was missing. It was everything I'd hoped it would be and much much more than I expected.

The live cover of The Fun Boy 3's "The Lunatics Have Taken Over The Asylum" was great, their cover of "White Rabbit" far surpassed the original, Beneath The Skin, Crushed, Slither Thing, Modify, Razor Sharp and Euphoria were done more than beautifully. Collide took away my power over my own ability to describe the performances. I think the whole disc can be brought to two words...Simply Excellent!!!!

I walked away from the CD once it was over wishing I'd been AT the El Rey the night of that concert. This disc is a must-have for anyone proclaiming themselves to be a fan of music within the gothic genre or even of Collide in general. I can't believe you're still reading this....GO GET YOUR DAMN COPY!!! And THAT's The Genocydal Maniac's Bottom Line.-jen (dj.ste.mairet)

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Tuesday, January 07, 1997

Like the Hunted reviews

Bite Me

Recorded live at The El Rey Theatre in 2005, Collide’s Like The Hunted DVD is an amazingly crisp and clear video experience. Featuring 14 songs, this 65 minute concert was filmed with 5 cameras plus a second angle crane camera, all of which serve to capture every minute of the concert’s electrifying energy. The DVD was shot by Kevin McVey, who managed to convey the true essence of this magnificent unit. The truth is, Collide doesn’t have the big budget backing of a major label, but because their love for their craft is so intense they still managed to put out a very high quality, professional video. Many Collide fans have not had the pleasure of seeing the group in a live setting. The expanded unit made its first stage appearance in 2004, thanks to the addition of some very talented musicians—Scott Landes (guitar), Rogerio Silva (guitar), Kai Kurosawa (bass), and Chaz Pease (drums).

Like The Hunted showcases a whole new dimension of Collide’s material, and if you haven’t had the pleasure of experiencing the band live this DVD is about as close as you’re going to get to the real thing. Recorded digitally, the audio and visual is just breath taking. You’ll feel like the convert is in your living room. In addition to some great live footage there are also lots of special features for your viewing pleasure. Collide included a stunning photo gallery and some entertaining videos. Be sure to also check out the interview with Statik & kaRIN. The chemistry between the two of them is great. I never knew Statik was so funny, and I’ve hung out with him a few times. In this interview he really cracked me up. If you’re a Collide fan you owe it to yourself to buy this DVD, and while you’re at it pick up the accompanying Live CD, Live At The El Rey. Both can be purchased at www.collide.net -NIN


Fans have been waiting since the mid 90's to get a chance to see elusive Goth faves Collide bring their soothing, yet scary - dark, yet warm mishmash of industrial and etheral to a live stage. In 2004 lucky fans in Los Angeles finally got a chance when Collide made their live debut. For those of us who don't live in southern California, the band was nice enough to film the show and put out a DVD. Shot in a simple, intimate style, Like The Hunted is a concert film that not only captures the essence of the band, but also makes the viewer feel like they are part of the audience. Singer kaRIN prances back and forth onstage like a nervous cat in heat while sound architect Statik and the rest band brings the dense sound of the songs to life around her in a blur of motion and surgical precision. All while looking like Goth royalty in black leather. With bonus features that include all the band's videos (a highlight being an almost unrecognizable cover of Dusty Springfield's "Son Of A Preacher man"), interviews (come on Statik - let kaRIN finish a thought before interrupting her) and acoustic renditions of "Modify" and "Deep". This is the most revealing document ever produced on this mysterious band.-Posted by Brad Wednesday, February 22nd, 2006


Industrial dream act Collide have been coming forward in leaps and bounds in the past year and this Live DVD is evidence of the hard work they put in. It only seemed like yesterday (and it hasn’t been long at all) since they put together a live act to support the two prime members of the band (kaRIN and Static) and then hit the road. And for a band still fairly unknown in most parts of the world – it certainly helps the band’s image to not only support their work with Remix albums, but now the live album too.

The DVD itself comes with plenty of extra features including acoustic performances and three videos shot for their songs ‘Preacher Man’, ‘Razor Sharp’ and ‘Euphoria.’ This is also complemented with a gallery from their photo-shoot collection and there is also a 15-minute behind the scenes/interview with kaRIN (vocals/ words) and Statik (Noise).

The performance itself has the added bonus of having been presented with two different edits of the camera work – So if you enjoy the performance, you can watch it again and switch to the second edit to enjoy it from a different perspective.

Collide have selected 15 songs to perform here taken from all three albums in their back catalogue as well as from their previous remix album ‘Vortex’ which also included cover tracks.

The sound quality is good and although the visual aspect can look a bit grainy on some shots – it’s certainly shot well enough to give off some atmosphere – this of course is helped by the production visual aspect of the background screen effects. kaRIN thankful keeps here voice heard, as there is a tendency for some vocalists to be drowned out by heavy noise. What is also avoided is the tendency for live acts to rush through songs so quickly it kills pleasure of hearing them. All songs sound good making it hard to highlight any moment – but fans will no doubt love their favourite tunes being played. What could have been employed, and Static gets the brunt of this one, is an effort to mix things up slightly giving a different sound, or extended feel to some of the material. The most obvious point of reference for this is the Cure who always extend and mix up ‘A forest’ (usually towards the end of a performance). This is merely a hint for future reference. It makes a live audience appreciate the performance all the more to have a long lead into a song, or an extended epilogue out of one whilst retaining the core soul of what the song is about. Here though it is the songs played well and nothing more. And there should not really be any heavy criticism for a first effort if the material is put forward well enough.

A decent first DVD release then, comprising all they have to offer via media so far. If anything though, it could have done with a better (longer) interview piece. The documentary (and at times joke laden) feel of the 15 featurette here is good, but die-hard fans will no doubt want better questions about the band and not just about there beginnings which most fans will know all about by now anyway. But as it’s a first – this featurette does help introduce them to new audiences. Statik and kaRIN’s comic relationship on camera certainly deflates any sense of them taking themselves too seriously.

This release also comes in the form of CD which includes the whole of the performance and the Radio-Edit of ‘Euphoria’.

Godsend Online

Collide - "Like The Hunted" DVD - Coming from the mid-90's industrial scene, the duo of Statik (noise) and kaRin (vocals and words) has been among the more successful to date. Their self-released studio albums have been influential documents while remaining firmly electronic in nature. Translating these songs to a live experience could have been a typical pre-programmed setup in lesser bands' hands. Here, the California duo round out their sound with 4 additional musicians, crafting a guitar-and-drum fuelled rock experience. COLLIDE's original songs, like the blistering 'Beneath The Skin' or the seductive 'Slither Thing', are grafted new wings. A superb and commanding presence from kaRin leads the live band from aggressive electro-rock hybrids to elegant and atmospheric dark-pop songs. And besides the excellent live concert, you get added bonuses of COLLIDE's promo videos, interviews, and other live footage. A great set and recommended.

Gothic Paradise

For a band that was pretty much strictly a studio project up until late 2004, they have really taken a jump and done a lot with their live lineup and live work. This DVD is just the next logical bold step from this band in their adventure into the live scene. What we have here is a real gem for fans of this band. Even with their live performances, they've still only done a handful including a west coast tour and a few other performances, so in reality it's still a rather small group of people that have actually seen them live. This DVD gives us all a chance to see a little bit more behind the scenes, their live show and some excellent videos.

The music from this band speaks for itself and for further information I'll refer the reader to the other reviews here on the music and the individual albums. So we'll delve into the live performance and the features on this DVD for a bit here. The stage presence of the live band is awesome, featuring live drums, kaRIN's captivating form, live guitars and as always, Statik sitting in the background kind of keeping everything together and providing all of the experimental electronic sounds. Everyone performs well and lends their own talents so well to the stage performance. This DVD captures this live performance very well providing multiple camera angles, nice shots of the audience and all of the performers. This really ends up being one of the better live video shoots that I've seen, providing some up-close views as well as capturing the entire stage at once and really making the listener feel as if you're right there on the front row of the live show. And while I would have loved to have been there in person, it's so convenient to watch it in the comfort of your own living room with the sound adjusted to your own preference.

Apart from the excellent live performance from this group with their concert at The El Rey venue, the DVD also contains a gold mine of other features. These features include an excellent video interview in a couple of parts and different locations with Statik and kaRIN. The interview gives the viewer not only some insight into how this duo pulls their music together, but also gives you a good look at them off the stage and out of the spotlight, especially when Statik finally loosens up and starts to actually talk in the latter part of the interviews. The features include a huge photo gallery that plays in a slideshow with their music playing in the background featuring live and studio photos throughout their career. The real treat for me had to be the actual bonus music videos including two versions of "Razor Sharp", the fun and strange video "Son of a Preacher Man", and "Euphoria", as well as a couple of bonus live videos and acoustic performances and videos "Modify" and "Deep".

That pretty much sums up the DVD in a nutshell. I've spent hours going over this material, watching the live performance, digging through the photos, watching the music videos and interviews and know that I'll be able to spend hours more enjoying the material here. Fans of this band absolutely have to pick up this DVD.

Rating: 4.5/5

Gothic Revue

kaRIN and Statik have pulled their sublime studio sound and fleshed it out with additional live performers. I think Collide have always struck me as akin to Switchblade Symphony with the stage presence of "The Cult" and the sound of Battery at times. Karin's vocals on "White Rabbit" (A cover of Jefferson Airplane of the late sixties) is the best cover that I've heard in about five years. I highly recommend this dvd along with the live cd (for your car-listening)

JIVE Magazine

Any techno-head worth his or her salt is either very familiar with Collide’s work or should be. Comprised of singer/found-artist Karin (an occasional value-add to Front Line Assembly) and synth-god Statik (Skinny Puppy, Tool), the duo have made their musical mission one of the most-watched in electro history. Only recently have they taken their unique sound on the road, as seen here in the CD/DVD release “Like the Hunted.”Above and beyond the glossy professionalism of the overall sound (it’s not often that bands come off like wizened road rats on their 8th-or-so live gig) is the trademark combination of kaRIN’s intensely sensual crooning (picture a young Siouxsie in full seduction mode, often half-whispered as if she’s fixated on Neptune) and Statik’s uncanny noise innovations, which range from trance-inducing samples to nu-metal stun-buzz. It’s the ultimate combination of goth, industrial, metal and fashionista post-punk, delivered as if they’d been tasked with saving the entire electro genre. Collide doesn’t relegate itself to one type of song but instead explores everything from psychedelic synth-pop (“The Lunatics Have Taken Over The Asylum”) to Evanescence-like anthem-metal (“Euphoria”). The key ingredient – what truly gives the band a high-odds shot at success as an album-oriented band rather than being doomed to one-shot vampire-disco status – is their very personal sound, a trick most bands learn five albums into things.

The bravest step forward here is their decision to bring other performers into their bizarre, reclusive but crucial little world – this live set (recorded at the El Ray in Los Angeles) is enhanced immensely by the addition of living, breathing humans playing drums, guitar and bass. Thus, unlike so many onesie and twosie techno acts whose live shows consist of one guy stomping the boards, there’s plenty to keep the camera busy in the DVD.

You’re advised to keep Collide in your sights, as they could easily break through the stratosphere with their next studio record.

Rating: 5 out of 5-Eric Saeger

Kaleidoscope Issue #21

Now this is a true gem! One of my favourite bands, but they very rarely play live (though as theyre American my opportunities to see them would be zilch anyway) so on one of their incredibly rare shows they decided to film it for release. And here it is filmed at the El Rey in Los Angeles in 2005, the result is stunning. Very well filmed and directed, you really get the feel of the concert, and the sound is superb. Given that this was something like the bands 5th ever show, their style, presentation and delivery puts bands of far greater experience and financial backing to shame! Tracks from across their albums with some of their infamous cover versions including the radical reinterpretation of The Lunatics Have Taken Over the Asylum fly past as this concert makes for compelling and highly enjoyable viewing. Apparently the DVD supports that multi-camera-angle button that sits idle on most remotes, but I couldnt get it to work! As for extras, again there is no shortcomings as after a typically mashed around interview presentation film we have two acoustic shots, two different live performances, and then 4 of their glorious video clips. Their videos are truly wonderful, combining the effects and contrasts of a Marilyn Manson video with their own fantasy world imagery part organic / part mechanical! So why they split these extras into two separate root menus is beyond me, and is the only thing about the whole package I wasnt keen on as it prevents a free flow of all the songs without having to faff about with the remote. But this tiny niggle aside, this has to be one of the best DVDs ever released by a band without major label bankrolling, and really does deserve to be in your collection you will not regret it! Very, very highly recommended! - Mike Francis


Since I first heard Collide on a magazine cover disc many moons ago, I've had more than a slight obsession with them. However, I was slightly worried when I heard that they were taken their studio bound musical experiments out on the road for the first time.

After all, the delicate duo had attained moments of perfection on their studio releases, and I was loathe to see / hear them bludgeoned into submission by a backing band. Fortunately, that hasn't happened.

The main portion of “Like the Hunted” is a live performance at the El Rey in Los Angeles on April 14 of 2005 with the main duo of kaRIN and Statik ably assisted by some well chosen hired hands. It still seems strange to watch a band that you've only ever pictured in your head, going through their live paces, and nothing really lives up to the mental imagery. However, they have done an excellent job of taking classics like "Slither Thing" and "Complicated" and translating them into something different, but still excellent.

For the geeks amongst you, the show was filmed with 5 cameras and was recorded digitally into a Pro-Tools HD system. The concert part of the DVD also features a second angle (crane camera) for viewing and it is presented in widescreen, 16:9 format.

However, as if that wasn't enough of a treat, the DVD includes a collection of videos which come closer to the pictures in my head with clips for "Euphoria" and "Son of a Preacherman" amongst others. There's also a couple of acoustic performances, a long (if lo-fi) interview and a a photo gallery of over 150 photos.

Nothing could live up to the music they've put out on CD, but this is a brave and worthwhile effort.

The concert is also available as a 16 track CD.

:twisted :twisted :twisted :twisted out of 5


Collide has been a duo act for many years so when word of a live album and dvd were made on their website, I began to wonder how will they reproduce the studio tricks live. My suspicions soon flew out the window when I began watching the main concert footage, which was taken at a April 14th , 2005 show at a LA venue called the El Rey.

The dvd portion of the show is called “Like the Hunted” and for those unable to attend can live the experience. For those that seen the band live, can relive it visually over and over again. The band gets fleshed out to a sextet with Scott Landes and Rogerio Silvio on guitars, Kai Kurosawa on warr guitar / bass and Chaz Pease on drums. I was really amazed to see a warr guitar within a metallic based band but I think it helps give the band a leading edge over most in the genre. Here’s hoping Kai as well as the others will contribute more than just live.

On the DVD, we get treated with a bunch of extra special features. Collide sure spoils their fans! The special features includes studio videos of Euphoria, Son of A Preacher Man and Razor Sharp as well as tour videos of Like You Want To Believe and Wings of Steel. Other features are acoustic versions of Modify and Deep. Showing that kaRIn truly has a angelic beautiful voice outside of the electronic based music. It would be interesting to hear more acoustic pieces, maybe a piano/vocal song here and there in the near future. Another feature is something called “The Modification”, which is an interview with various live, studio and video out-takes.

Like The Hunted proves that Collide is not another studio project, but in fact a full fledged band. This is one of the better made and produced music DVDs that I’ve seen in a long while. It’s definitely one I will be revisiting often!

Reviewed by Ron Fuchs on February 4th, 2006


The DVD opens with the live recording of their set, and I must say, well done! Professionally shot, well edited, and definitely gives the fans a good idea of what their concert would be like. Collide has an excellent visual performance - from the costuming, to the lighting, to kaRIN's onstage persona, nothing is lacking.

But I think for me the real thrill on this DVD is the music video collection; specifically, the ??Euphoria?? video. Jaw-dropping gorgeous. Literally in my top 5 music video picks of all time. I also enjoyed the "Son of a Preacher Man" video as well. The first viewing was rather shocking, but once I got over the initial ??WTF??? moments, it was thoroughly enjoyable the second round. As far as the "Razor Sharp" videos go...not quite as thrilling. Which is disappointing since "Razor Sharp" is to date my favorite Collide song.

The interview was pretty interesting in regards to substance, though technically could have been better done. I know a lot of bands try to go for that "in the studio" look, but the lack of decent lighting and audio doesn't really make it worth it in the end, especially when it's held in comparison to the higher quality of the rest of the DVD.

Overall on its own, I would have given this DVD 4/5...but it's the live CD that came with it that clinches the deal. I'm usually not totally into the live recording deal, but this is technically one of the best live recording jobs I've heard, and thus a totally interesting spin.

Overall a very complete and comprehensive package for every die-hard Collide fan!

Rating: Excellent (5/5) Review by Valdyr

Release Magazine

I’ve been a fan of this quirky LA duo since I heard their latest album ”Some Kind of Strange”. Their style is a collision of trip hop and electro, with a dark edge to it. And there are guitars too! Lately, Karin and Statik have taken to the stage, and performed their material in front of an audience. This concert at El Rey in Los Angeles was filmed, and is now released both as CD and DVD. The set is a mix of songs from their career, beefed up for the stage. They have a full band with them, filling out the sound nicely, and bringing even more weight to the songs. The sound recording is excellent by the way, and the DVD features a lot of extras for you to peruse. There’s an interview with Statik and Karin, a couple of videos, photos and two brilliant acoustic pieces, performed in the studio.

Check this out even if you’re not a fan. You just might like it.-JOHAN CARLSSON

Smother Magazine

editor's pick

Breathtaking. Both visually and audibly. “Like the Hunted” gives us unfortunate folks who haven’t seen Collide live in concert a chance to be there—practically on stage with the dynamic duo.

Stuffed into this DVD is a slew of special features, videos, and their live performance at the El Rey in Los Angeles on April 14 of 2005. Ethereal vocals by kaRIN combined with the raw energy of Statik translates extremely well to the live stage setting. Not only is the band stunning to watch but so are the visuals with videos for their cover of the Dusty Springfield classic “Son of a Preacher Man” with a manic battle between stuffed pigs, strawberries, cowboys, cheerleaders, and more plus a couple other videos that you unfortunately won’t be seeing on MTV’s main channel. Kevin McVey helps out with the concert footage and a couple of the music videos and shows off his tremendous talent as well. Also included is an interview, photo gallery, and acoustic performances of “Modify” and “Deep”.

This Is Corrosion.com

Collide, the duo of Statik and kaRIN, has been around for over 10 years, releasing many great albums, but have always been just a studio band. Well that has changed; Collide have hit the road and Like the Hunted is their live performance from April, 2005 at the El Rey in Los Angeles.

The DVD has a nice cover, though the content listing on the back is a little hard to read. The inside is very sparse: just the DVD. I would like to have seen liner notes, but after all, this is a DVD and the contents of the DVD more than makes up for anything lacking in packaging.

The menus are visually pleasant and clear and concise; no hunting for menu items. The DVD contains the live concert, plus added bonuses of an in-depth interview, acoustic performances of "Modify" and "Deep", all of their videos to date and a gallery of photographs.

The 60+ minute concert is done very well. Often, music DVDs can be stale and drain the music of its impact. It was refreshing to see the dynamic coverage of the show, with multiple angles and for the most part, no evidence of the video cameraman. The video itself is top-notch; the video is sharp, the colors are vivid, and the audio sounds "live" without being washed out. We get to see all of the band members, although Statik either seems to be camera shy or they just didn't get good shots of him. All of the "hits" of Collide are represented, and the recording has the feel of a live concert, as opposed to being staged for the DVD. The concert also feels intimate, which would be lost had it been in a larger venue. The crowd in responsive, but fairly subdued. The songs themselves have an added dimension from live play, due to the additional four live band members.

Onto the special features: The live photos give a glimpse of the visuals from other live performances and are presented with background music. The studio photos are very well done; exquisite photography. The music videos are also well done and even if you have seen online versions, the DVD versions are so much better. There are also live videos for "Like You Want to Believe" and "Wings of Steel", plus acoustic performance videos for "Modify" and "Deep". The interview, "The Modification", is a candid look into the motives and thoughts of Collide.

" Like the Hunted" is an excellent example of what a music DVD should be. There is plenty of content and it keeps your attention. If you're a Collide fan or you're curious as to what Collide is all about, this is the DVD to buy.-legion

Virus Magazine

Filming a band’s ninth concert is courageous – but not when you’re in a band called Collide. Supporters of these perfectionists know that the band had been working hard to celebrate their live debut after a decade of existing...

Recorded at Los Angeles’ El Rey Theatre on April 04, 2005, by director Kevin McVey, the 65 minutes lasting gig on this DVD proves that it was high time for Collide to finally enter a stage.

Wrapped in highly artistic light effects, it’s in the first place vocalist kaRIN who bewitches the audience as if she had been doing millions of shows before. kaRIN’s and Statik’s songs pull the visitors into their world without utilizing clichés. Without a doubt you believe that both live their music, that they don’t write their lyrics with the help of a construction set.

Collide are a work of art, and their excellent live band members give songs like "Falling Up", "Razor Sharp" or "White Rabbit" very characteristic trademarks that the crowd can’t disappear from. In the bonus section, kaRIN once more shows her expressive vocal range by performing acoustic versions of "Deep" and "Modify".

Altogether, the featurettes’ playing time is about 60 minutes, including the tasteful videos for "Euphoria", "Like You Want To Believe", "Razor Sharp", "Son Of A Preacher Man" and "Wings Of Steel", a gallery, backgrounds and a very interesting interview that shows the makers of such serious music as humorous people.

Rating: stylish.Dom, 06 Feb 2006

The Second Level Of Darkness And Below

I'll admit that I was tired. Possibly not in the best condition to be thinking and moreso, not the best condition to be carrying on about watching anything that would require some degree of intellect as most of what I had for the evening had been spent.

When I prepared to stretch out on the couch, it wasn't my massive book of DVDs that I reached for. I had two of them that I hadn't watched yet but I didn't reach for them, nor did I reach for my Star Wars or Lord Of The Rings DVDs.

No, I decided to descend further into the abysmal depths and indulge my sickness by watching Collide "Like The Hunted" because, to me, music is what usually revitalizes me. I was right. Drained, I ceremoniously put the DVD into the player and Live At The El Rey was the first thing that came up in the main menu. I'd just written the review on the CD. Now, I was going to get my wish...I was going to the El Rey to the Collide Concert visually. I would get the pleasure of not just hearing the music but SEEING it performed.

I stretched out on the couch and began to watch. My cats, Tails, Nermal, Snowball and Ares piled themselves on top of me. Normally, they all just fall asleep but when the music started they began looking at the TV. Then, there was the silhouette behind the screen. Unmistakeably kaRIN dancing like something out of a Babylonian seduction. Statik stood awash in blue light that would turn purple and then red. The guitarists were rocking back and forth in anticipation, with guitars ready like soldiers ready to begin firing at multiple targets.

BOOM! The music began...remember what I said about the CD "Live At The El Rey" lacking nothing? Well it was true but this had the added bonus of kaRIN coming out from behind the screen and beginning her part of the performance, dancing like some demonic goddess, using some strange magick to seduce the crowd along with her voice. Only on "Beneath The Skin" and already it was becoming less of a DVD and some sort of dark ritual.

Screens flashed imagery, lights bathed the band members in differing hues of green, blue, purple, red and mixtures of them all and kaRIN kept her dancing and her voice wickedly fun, decadent, and her eyes told a story of insanity. I noticed that my cats had also taken notice.

The performances were only magnified on the DVD. The contrast of the music to kaRIN's voice was creepy and the crowd was loving it.

So was I, for that matter. I'd been revived to face certain sacrifice as now, I could not take my eyes from my screen. The whole of the scene threatened to envelop me and lose me in the insanity. I was more than happy to let it.

The "Live At The El Rey" session is something I could watch over and over again.

It's more than just concert footage...it's an experience.

The Rest Of The Story:

I'd spent hours tooling along the special features. The videos were hypnotic, the songs were abysmally beautiful and the imagery was tormentingly wonderful. The interview and video outtakes do nothing to destroy the illusion that is Collide. That is, if you believe it was all illusion.

Collide has done nothing short of creating a highly underrated media phenomenon with this work. Their attention to detail and hard work both as a studio unit and live act prove beyond the shadow of a doubt that you reap what you sow. This band hasn't created itself...it was spawned. There is no illusion to this band...and the source of their material comes from somewhere dark that even angels fear to touch.

There are things on this disc you'll see that you can't undo. You'll never get them out of your head. The imagery is beautiful and haunting and if you even remotely like Collide...this will cement your position as a die-hard fan. Even after I sieze control of my mind again, I'll still remain a fan after seeing this. I'm sure residual trace images will remain and threaten to overtake me.

But hey...what a helluva way to go huh?

Now...Lord Genocyde says, "Forth, my minions to grab your copy now!" -DJ Genocyde (dj.ste.mairet)

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Sunday, January 05, 1997

Vortex Reviews

Fac 193

The remix is in many ways an alternate universe where songs can take new life—or, in the worst case can be rendered an unintelligible mess (I can think of a few, but in fairness to the artists and remixers won’t mention them here). Sometimes a remix can even become more well-known than the original tune (think Todd Terry’s remix of Everything But the Girl’s hit “Missing”). The duo known as Collide put in their bid for remixed greatness with this double-disc set, Vortex.

There’s a little more to Vortex than just remixes, though. kaRIN and Statik treat us to three excellent covers: “Feed Me to the Lions” (originally by Adam and the Ants), “The Lunatics Have Taken Over the Asylum” (by The Fun Boy Three) and a tremendous take on Love and Rockets’ “Haunted When the Minutes Drag”. Also included for posterity’s sake is their own remix of Front Line Assembly’s “Predator” which originally featured on FLA’s Re-wind remix compilation.

Vortex features tracks from their Chasing the Ghost and Some Kind of Strange albums, remixed by a wide array of well-knowns (Charlie Clouser, Mark Walk and Rhys Fulber to name but a few) and newcomers (Oleg Skrynnik, Kevin Kipnis and the list goes on). It is significant to note that the mixes on Vortex never once betray the intent of the original versions: even then there is a considerable stylistic move away from the music of the original (like the , it doesn’t sound mismatched. Personal favorites include the Sensory Gate Aura Mix of “Halo”, the Amish Rake Fight mix of “Slither Thing” and the Astro Sensorium Mix of “Wings of Steel”, though it’s safe to say there’s something for all Collide fans in this set.

With a handful of new recordings and a slew of new mixes, Vortex will more than likely tide over us fans as we wait in anticipation of a new studio recording from the group.-Jack Alberson

Jane Magazine

Collide's latest venture into gothic darkwave, Vortex, is a two-disk collection of decadent aesthetic brilliance. Vortex has tracks to please every dark-minded eccentric at’s not the most impressive—this album is, which is released through their own label Noiseplus Music. A massive improvement amazingly over the last album, “Some Kind of Strange”, of Collide’s that we covered for you, which I never would have imagined possible. If you’re looking for dark, gothic dreamy atmospheric dance music than this is your cup of tea.-J-Sin

Obscure (France)

"Vortex" give another dimension to the work of the duet American electro-Gothic Collide. They are indeed a double compilation remixes and recoveries, which gathers services as various as those of Charlie Clouser (N.I.N.), Rhys Fulber, Kevin Kipnis or Mark Walk (henchman of the last Skinny Puppy), to quote only them. The titles are found thus entirely reorganized but, except for rare exceptions (the end of the formed CD2 of "Like You Want to Believe - Bondango's Twisted Acid Mix" / "Crushed - Scored Mix" / "Wings of Steel - Astro Sensorium Mix"), the original style of Collide suffers from it by no means... gains a certain freshness even there (terrible mix of Clouser for "Euphoria").

The titles chosen by kaRIN and Statik are exclusively drawn from their the last two albums, and one does not weary oneself to see how and up to which point each remixor "capte" a title: If "Crushed" - for example, and as well as "Wings of steel", itself treated on several occasions - is remixed not less than five times (!), it always comes out from it something of interesting and original (except the piteous mix of Shane Terpening).

"Vortex" thus never suffers from the linearity or the illegitimacy whose often the discs known as suffer of "remixes". Undoubtedly because here or there, Statik puts at it of its salt grain for the remix, ensuring a certain continuity compared to the original?uvre. Undoubtedly also because Collide offers recoveries new and cooked to the small onions ("Feed me the lions" of Adam & the Ants, "Predator" F.L.A., or "Haunted when the drag" minutes; of And Rockets Coils).

Just like the discs studio of Collide, this "Vortex" collect a certain magic, undoubtedly more important on the CD1 than on its successor. This time, the magic is insufflated by external observers recruited by Collide, for the greatest happiness of the amateurs of this at the same time éthérée and powerful, and single music. Astonishing.-Emmanuel


Collide Vortex [ Noiseplus Music ] Six months after the exit of their last album, Collide offers double CD not containing to us less vingt-six titles. Composed of a handle of news and remixes in gusts, this collection covers the last two albums of the group, "Chasing the Ghost" and "Some Kind of Strange". The good pupils remixeurs have as a name Charlie Clouser, Rhys Fulber or Mark Walk: excuse little. We also find there, with surprise, the reinterpretation by Collide of Predator de Front Line Assembly, already present on the "Re-Wind" of the latter. Rhys Fulber s'est in addition split d'une pretty second reading of Tempted, which could have had its place on the first album éponyme of Entreats One, and there is extremely to bet that Karin will lend its voice to the second album of the Canadian.

The version of Crushed by Dave Simpson is listened as one loses oneself in a table of American Mc Gee's Alice, the head full with the sounds specific to the universe of this a little lugubrious video game. Far from being monotonous as it is often the case with the exercise of the compilation of remixes to all goes, Collide show us a small step of cha-cha (The Lunatics Have Taken Over the Asylum), test themselves with traditional arrangements (Somewhere) and remixer themselves do not forget to in no case, with very the cold Frozen.

The verdict is thus without call: it is remixée which the music of Collide is richest and the most diversified. And if it were necessary to add some, will know that Statik, the one-man band and sculptor of sounds of the duet, took part in the composition of five titles of "The Greater Wrong of the Right", the new album of Skinny Puppy. A true lesson for all those which never succeeded in making an album of remixes also complete. Bertrand Hamonou (Dark Realms Magazine)

Regen Magazine

Collide for me are the U.S. version of The Curve: exotic, deep, dark, dreamy, gothic and sexy. The band is essentially kaRIN and Statik, who have been creating darkwave music for years now, releasing four albums combining dark gothic smoldering beats and powerful, exotic rhythms with kaRIN's sensual, haunting and peaceful, breathy and dynamic vocals combined with brilliant lyrics. Vortex, their fifth CD, is a double-disc remix album featuring 26 tracks and over 140 minutes of elements of multiple music genres. It is a prelude to their new studio album.

The remixes include tracks taken from their Chasing The Ghost (2000) and Some Kind Of Strange (2002) releases. There’s a little more to Vortex than just remixes, though. KaRIN and Statik present here three excellent remarkable covers: “Feed Me to the Lions” originally by Adam and the Ants, “The Lunatics Have Taken Over the Asylum” by The Fun Boy Three and a tremendous treat with Love and Rockets’ “Haunted When the Minutes Drag.” Also included is their remix of Front Line Assembly’s “Predator” that was originally featured on FLA’s Re-wind remix album. The tracks are remixed by a respectable lineup of well known producers, remixers and DJs like Charlie Clouser (Nine Inch Nails), Mark Walk (Skinny Puppy), Rhys Fulber (Front Line Assembly/Delerium/Conjure One) and Mike Fisher ( Machines of Loving Grace / Amish Rake Fight) to name but a few, and newcomers Oleg Skrynnik, Kevin Kipnis and others. These remixes often add more of a danceable feel to the songs and so many different influences can be heard throughout Vortex that one never sounds identical to another; from heavy metal crunching guitars to melodic and trancy dance floor grooves to dark electronica to classical instrumentations of strings and piano, you can truly almost hear it all.

You have here all sorts of music producers drawn to the music of Collide, paying tribute and showing respect by contributing their talents, inspirations and passion and adding their own interpretations to Collide songs. So there's much more being put into each piece on the album, than just making a plain remix. A lot of creativity was invested here and this is truly a great listening experience for the heart and the soul.27-May-2004 by jezman

Release Magazine

There’s always some risk involved when you release a double album of remixes. It’s inevitable that some of the mixes will disappear in the sheer quantity – 26 tracks in this case! Especially if not all of them are of similar standard. This is true on Collide’s new mix collection, and even though I have listened to it a couple of times now, the songs still all blend together in my head. That said, most mixes are well done, and imprints the mixers' styles on the song. Variation is good, with styles ranging from Charlie Clouser’s dark, trippy and guitar-laden mix of “Euphoria” via the softer and groovy Conjure One mix of “Tempted”, to the Headache's breakbeat version of “Wings of Steel”. All those mentioned are among my favourites, and bring a lot of fresh ideas to the table. Mark Walk's mix is of course incredibly weird, but interesting with its orchestral approach.

Also included is Collide's own mix of Front Line Assembly’s “Predator”, with Karin on vocals instead of Bill Leeb. It’s pulled from FLA’s remix album “Re-wind”, and is still brilliant. Karin and Statik have also taken the opportunity to include a couple of covers, and all three of them are quite impressive, with that unmistakable dark, sensual and edgy feel we have come to expect from the LA duo.

Of course, you’re not meant to listen through this in one go like I did. Pick your favourite version of a track. And “Vortex” gives good value for your hard earned cash.-JOHAN CARLSSON

The Machinest

(roughly translated from Russian, see link here for original text)

The new large-caliber release VORTEX industrial - Gothic group COLLIDE will constrain remixes on songs from two last albums " Chasing the Ghost " and " Some Kind of Strange ", and also covers - versions on songs THE FUNBOY THREE, LOVE AND ROCKETS and ADAM AND THE ANTS. The project has turned out rather scale - kaRIN and Statik it was necessary to make a choice from 130 remixes sent by groups, DJs and people from different parts of the world, including Germany, Ireland, Russia, England. The stylistic spectrum of the remixes submitted on "Vortex", has turned out wide. Here to you and rigid, almost metal guitar versions, and slippery, hot electronics, and elegant dancing a la DELERIUM/CONJURE ONE, and cold, it is total synthetic modern ???????-??????????, both seductive ????-???, and the stylized gothic style … Almost all compositions on "Vortex" are decorated with a seductive, dense, sensual and hypnotic vocal charming kaRIN. Thus, the material of two disks will necessarily find the students and admirers in the most different and unexpected musical communities. And I any more do not speak about fans COLLIDE which number has appreciablly grown for last years. For them the double "Vortex" becomes the most pleasant gift! Remixes for COLLIDE this time were done(made) both known people on a stage, and by new groups and musicians. Thus it is difficult to tell, whose versions are more preferably. All the same for "Vortex" the best mixes were selected only. So, among not beginners it is possible to name such musicians, as Kevin Kipnis (PURR MACHINE), Charly Clouser (???-NINE INCH NAILS), Wade Alin (CHRIST ANALOGUE), Rhys Fulber (CONJURE ONE, FLA, DELERIUM), Mark Walk (producer SKINNY PUPPY, RUBY), Mike Fisher (MACHINES OF LOVING GRACE), Ian Ross (FLESH FIELD). Names of other participants of the project to me about anything do not speak. Charlie Clouser has prepared for the " Emirian mix " on a song "Euphoria" in a typical manner of the American industrial fate, emphasized thus on east motives, in many respects the singing caused by a viscous manner kaRIN. The cover on the song ADAM AND THE ANTS " Feed Me To The Lions " has turned out a such a clockwork and fast track, that is atypical for COLLIDE. Over it (it) is dominated also with guitars. Beautifully, and air sounds multilayered Amish Rake Fight remix " Mike Fisher on " Slither Thing ". Perhaps, the most interesting begins with this track on the first disk "Vortex". The experimental, radical idm and sharp industrial sounds Wade Alin has made the whole two remixes - on songs " Razor Sharp " and "Inside." Remixer Remko van der Spek on the song " Like You Want To Believe " in which dense guitar and feverish drumbeat a la FEAR FACTORY interestingly contrast with melodious singing kaRIN severely, rigidly and dizzily sounds. All specifies that is a potential club hit. But still the big hit can become a cover on song THE FUNBOY THREE " The Lunatics Have Taken Over The Asylum ". I believe, that this playful and ?????????????? ??????? with purring vocals especially is pleasant to a Gothic audience. Certainly, it has not been forgotten and remix already becoming classics on song FRONT LINE ASSEMBLY "Predator" you could hear earlier on Front Line Assembly's 2CD "Re-wind"). By the way, the given remix is especially expensive(dear) kaRIN. Two remixes gravitating to an orchestral format, have been made Dave Simpson and Mark Walk. Here the voice kaRIN is brought to the forefront also she shows to us new sides of the singing talent. Also, I very much liked the monolithic, and ice " Core mix " Nils Schulte on a song " Wings Of Steel ". The German musician has appreciablly cleaned initial arrangement and was focused on rhythmic and melodic aspects of a track. Further, as I have already told above, some remixes on both disks "Vortex" are made in "???????????" a key so you and without my help can imagine as they sound. Better I shall pay your attention on remarkable " Shoe Gazing mix " Kevin Kipnis on the song "Inside". This musician has transformed one of my favourite things COLLIDE into a fragile, gentle track in which echoes of romantic English guitar new wave are audible and are present with warm elements. Finishing the first disk deep and dark with a remix on a composition "Frozen", made Statik. The second disk opens a cover on song LOVE AND ROCKETS " Haunted When The Minutes Drag ", on sounding reminding me of the last albums CURVE. Experienced Rhys Fulber has carefully costed with a song "Tempted" and it is predicted has made of it(her) typical caressing hearing ?????????????? atmospheric track CONJURE ONE. dramatically, sadly and ??????? sounds " Out Of Control mix " Jesse Maddox on a song "Crushed" that it is impossible to tell about inventive and rhythmical " The Sound Of Glass mix " Aaron Mdonald on the song " Wings Of Steel ". Probably, most further have gone Marty Ball and Shane Terprning, made of two songs COLLIDE vigorous and club techno. It was always interesting to me to listen to such remixes on songs of a duet, and I am not disappointed! The good remix was made by Russian Oleg Skrinnik. In his version song" Wings Of Steel " have appeared additional ??????????, ?????????????? and ?????????. To continue further is not present sense. I believe, you have already understood, that with such quantity(amount) of remixes it is possible to sink without ceremony in magic sounds COLLIDE! P.S. Recent advertising support and sales of the 2CD "Vortex" and previous albums by COLLIDE in Europe is carried out with Belgian label Alfa Matrix. Thus, music of Americans for us became even more accessible and is closer. [9 points]-vAlien/DJ Commando LABELLA

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Saturday, January 04, 1997

Some Kind of Strange reviews

1340 Mag

Collide deliver their latest, Some Kind of Strange, via their own Noiseplus Music label. I wasn’t sure at all what to expect from Collide, but whatever expectations I may have had were shattered after only one song. At the end of track 1, Crushed, all I wanted from the band was to hear more of their art.

I don’t really know how to describe Collide, which is always a good thing, but suffice it to say that you can hear pieces that explore many of the same veins as artists like Torn Paper Dolls, Eva O, and maybe quieter Evanescence. It’s not really like any of those bands, but if you like those bands then you’ll find plenty of things to love here. The instrumentation here is sparse and reserved, there are elements of the world of electronica throughout, and the music is without a doubt a spotlight that points towards kaRIN’s beautiful voice.

kaRIN’s vocals here are done very well and her voice itself is tremendously haunting but also very feminine and understated. It makes you want to listen closer to understand where the journey is leading. So, listen close, because the journey is more than worth the admission price….Key Song: To many great songs to single one out.--Mark Fisher

Beyond the Grave

Seductive Aggression is what collide can be described as. Collide is a gothic/industrial duo from Hollywood California. They combine seductive vocals and deep lyrics with aggressive music and tones to create their music. Some Kind of Strange is Collides 4th album and they seem to be getting better and better with every release.

This release has the same emotional depth as past releases. The best way I can think of to describe their music is songs of the soul. Their deep lyrics and seductive vocals will penetrate your very being. This is by far one of best albums I have heard all year. This CD also includes the talents of cEvin Key of Skinny Puppy as well as Danny Carey from Tool. I recommend this CD to anyone looking for something different. Fans of the new success Evanescence will love this album.

Bite Me Magazine

Have you ever come across an album that you’ve immediately fallen in love with? An album that made you fall in love with music all over again? Well, Collide’s Some Kind of Strange is that kind of album. In fact, it is THAT album.

I’ve listened to this CD a countless number of times and I’m still in awe of its beauty and perfection. Statik & kaRIN’s latest foray is a seductively captivating piece of work that exemplifies the extraordinary talents of these two gifted musicians. If they said this record took 20 years to complete I would believe it because of all the thought and detail put into each exquisite tune. Some Kind Of Strange will make an immediate and lasting impact with its collection of ornate compositions that play out like lullabies for the soul. kaRIN’s poetic lyrics and sensual vocals flow over rich melodies, intricate soundscapes, and exotic arrangements all laid forth by Statik.

An impressive cast of musicians (cEvin Key, Kevin Kipnis, & Danny Carey to name a few) adds to the layers of depth and emotion intertwined within this masterpiece. Some Kind of Strange begins with the sultry rhythms of “Crushed”. The mystical journey continues with the haunting electronics of “Modify,” the dreamy textures of “Inside,” and the Eastern accents of “Tempted”. Not to be overlooked are the alluring tones of “Shimmer” and the wickedly addictive “Complicated”.

Without a doubt, Collide have outdone themselves, as no stone was left unturned. Even the album’s artwork is as stunning as the material. It’s a polished package from sleeve to disc. Some Kind of Strange is nothing short of amazing. It’s easily one of the best albums of 2003 because it is a record that can be appreciated by music lovers of all ages. There are thousands of reasons why you should own this disc. Find out why and order a copy at www.collide.net-NIN

Dark Realms

Some Kind of Strange is a dark and tantalizing collision of the exotic and the erotic that follows in the footsteps of the bands previous release, Chasing the Ghost. The CD begins with the hard- edged, heavy rhythms of the alluring "Crushed". The hypnotic and breathy vocals of songstress kaRIN weave a sultry and irresistible spell of seduction while electronic wizard Statik works his magic to conjure one provocative composition after another. Members of Skinny Puppy and Tool lend their percussive talents to some of the tracks as well. "Mutation" starts out light and dreamy then incorporates a powerful, driving dance rhythm. "Shimmer" evokes images of an erotic enchantress with its bewitching Middle Eastern melody line, while 'Complicated" is sheer, unbridled electronic sensuality. Collide succeeds once again in creating mesmerizing and intoxicating music that is Some kind of Strange'.-Devon King

Drowned in Sound.com

No doubt about it, there is something just so undeniably seductive about a girl talking re-e-e-ally slo-o-o-wly with a deep, softly spoken hush that vocalist Karin knows about only too well. As one half of ethereal gothic 2-piece Collide she really pricks up the hair on places I didn’t even know I had, her captivating velvety charm gliding over Collide’s darkwave beats in tracks such as ‘Euphoria’ and ‘Slither Thing’ with an effortless ease, massaging your mind until you’re at her complete helpless mercy; though the coital undertones beguiling those aforementioned song titles may also have something to do with it.

Collide’s mission involves rocking the listener on a sensuous cradle of sultry laid-back beats with a deliciously sinister undercurrent, although the ambiguity of lyrics such as “I am future I am past / I am haunted I am blessed” can often be mysterious to the point of fanciful, recondite nonsense. Though much of this album seems intent on casting a dark hypnotic spell on the listener, slight crescendos of noise are allowed to permeate the likes of ‘Somewhere’ (thanks to Tool’s Danny Carey, who provides live drums) and ‘Mutation’, bursting open some rare guitar distortion. Industrial Goth anoraks (or should that be long dark cloaks?) may be interested to learn that Collide’s other half, the moody-looking Statik, is currently involved with the re-formation of Skinny Puppy and indeed SP drummer cEvin Key provides live drums on ‘Euphoria’; giving you some idea of the kind of circles Collide are mixing in.

With female-fronted goth-rock coming into the increased focus of the media, thanks to Evanescence and soon-to-be-big Finnish newcomers Velcra, it appears that all Collide need is a guitar-heavy hit-single and the future is theirs. One things for sure, in Karin they have a jaw-droppingly beautiful cover-star in waiting.Author: Mat Hocking

Ear Pollution.com

On their website, Collide offers a ProTools screenshot of one of their songs. I'm just a simple fellow and I have enough trouble actually counting all 48 tracks, and the idea of keeping track of all the instrumentation across each of those bands requires more memory space than my brain can support. And so, when I use words like "textured" and "lavish" and "sensual" to describe Some Kind of Strange, Collide's latest effort, you can see for yourself that these words fall short of the thousand such superlatives that such a picture provides.

Collide is just the sound of two people -- Statik (noise) and kaRIN (words, voices) -- but, from the wealth of audio which surges from their sound, you would think there is an army of musicians providing the music (and, in some cases, there are appearances by guest musicians providing live drum and guitar work).

Some Kind of Strange is their fourth record and is a regally paced affair which is never hurried in its execution. Filled with ethereal grandeur and symphonic polish, these 11 tracks are the love children of Delerium and Nine Inch Nails who have been abandoned in the center of a Middle Eastern bazaar. The climax of "Euphoria" is a rising maelstrom of distorted guitar sound, a razor wind which tears around kaRIN's sensual and stately voice.

"Tempted" is everything Balligomingo wanted to be for the "darkchilde" club-goer: a twisted back on itself lyric filled with eternal yearning, exotic beat patterns to turn the children of the night into serpents on the dance floors, and an acoustic tinged chorus to remind them of daylight. "Mutation" flickers in the shadows, a blossoming web of voice, power guitar, acoustic interludes, and quivering echoes which coalesces into a living thing for a brief instant before being washed away by a lingering spring rain. "Crushed" begins with an all-compass points call of percussive tones before exploding into a dark songbird with wingspan that reaches to the horizon. In every song, kaRIN's voice spreads through your cerebellum like a slow syrup, tickling and teasing your eager receptors with the luxurious croon of her words. She is never hurried by the complex rhythmic textures flashing around her, and her pacing and phrasing only serves to mesmerize you that much more completely. Could this be what Odysseus heard when he was lashed to the mast? Could the song he heard have been a predecessor of "Somewhere," the sound of water and rock crashing together in measured cacophony behind the luring trill of the siren's voice? Some Kind of Strange is aural opium, a heady drug which induces fever visions, seductive nightmares, and grand passions in equal part.Mark Teppo


The fourth effort from LA’s Collide is Some Kind of Strange and their hypnotic mixture of gothic imagery, abrasive sounds and trip-hop beats is better than ever.

Augmented with drumming contributions from cEVIN Key (Skinny Puppy, Download) and Danny Carey (Tool), this batch of tunes carefully tiptoes around the stereotypes and pitfalls of their peers to remain a step ahead of any and all imitators. The unique sonic landscaping of “Modify” and “Mutation” are potent highlights here, showing off Statik’s marvelous programming prowess and Karin’s sultry voice and words.

Definitely fantastic music for the dark hours of the day, Some Kind of Strange serves as a template on how it should be done. Review by Jack Alberson

From Dust Zine

Collide’s fourth full-length continues down the path set upon with 2000’s Chasing the Ghost... While the general sound is in many ways similar to that album (and has evolved even further from the sounds of the original albums), Some Kind of Strange is its own animal, a bit funkier, more exotic and sensual than the former. Even with a number of guest appearances (cEvin Key, Kevin Kipnis or Purr Machine, Danny Carey of Tool, etc.), Collide are perhaps more solidly Collide than ever before, and are going stronger than ever, especially on tracks like “Euphoria,” “Tempted,” and “Complicated.” Sonically there is more variety, the vocals and musical tapestries woven are richer and fuller, and the production smoother than ever. If Chasing the Ghost grabbed you, Some Kind of Strange will immerse you.-Reviewed by E. David-

Godsend Online

Collide - "Some Kind Of Strange" CD - The third studio album from this California duo shows yet another step up, in both production and songwriting. COLLIDE's electronic dance/rock grooves are packed full of depth and moody texture, with vocalist kArin's ghostly, seductive voice carving a marvelously mysterious melodic path between the circuits. Lines can be drawn to acts like CURVE, though COLLIDE seem to go for a far more lush and even elegant sound. Guitars and live drums accent the programming, and 'Some Kind Of Strange' will appeal to a wide cross-section of modern rock listeners. From the slinky trip-hop vibes of 'Slither Thing' to the surprisingly successful and mature balladry of 'Inside', to the heavier SKINNY PUPPY-like crunch of 'Mutation', to the subtle Eastern-tinged exotica of 'Tempted', COLLIDE successfully prove their mastery over their sound-world and show that they are at the top of their game. Superb work. (Noiseplus Music)


You won’t meet many of them these days : artists who prefer to record and release their music all by themselves, just because of the artistic freedom and keep control of every creative activity. Collide is one of those exceptions. This duo, based in Los Angeles, US, is formed by kaRIN (vocals) and Statik (noise programming) and ‘Some kind of strange’ is their fourth release. Behind the excellent artwork we can find even more superb music. Gothic floating sounds with a psychedelic touch are the concept of this piece of art, sometimes based on smooth relaxing soundscapes with dance influences, the other time expressed by sprankling guitar parts. Statik was involved in albums of Prince, Red Hot Chili Peppers and Tool before, but he prooves with this CD that he is a very talented artist anyway.

The softly caressing voice of kaRIN fits very well in this dreamy kind of music, having some resemblances with bands as Portishead, Clan of Xymox and Delerium. Although ‘Some kind of strange’ is a mainly self-made product by kaRIN and Statik, this duo got a little help from famous friends like cEvin Key (Skinny Puppy) on live drums in ‘Euphoria’ and Danny Carey (Tool) on live drums in ‘Somewhere’. The contributions of less famous musicians as Rogerio Silva and Kevin Kipnis even have a greater impact on me, because they created some fantastic guitar lines with an almost hypnotical effect.

Just have a listen to those wonderful sounds of ‘Euphoria’, Slither thing’ and ‘Tempted’ (although, you better listen to the album from the beginning till the end) and be part of the dream world of Collide.9.6-John Buis

Horror Web Dark Reviews

Sensual, powerful, exotic, and haunting. These are the words that just scratch the surface of describing Collide. At once they are filled with dark and brooding emotion. The next they are ripe with a dangerous sensuality. The music is filled with layers of sound and emotion with meaningful lyrics and hypnotic vocals that make for a unique listening experience.

Chasing The Ghost, Collide’s previous release, drew a significant amount of critical acclaim. Without a doubt Some Kind Of Strange has taken a significant step forward both in vocal work and arrangements. Easily their best endeavored to date, it blends gothic textures with electronica and powerful percussion right from the start in Crushed, the first track of Some Kind of Strange. kaRIN's sultry vocals are layered and mixed well above the arrangements throughout. Altogether adding to the lush keyboards, guitars and backing harmonies making this so well structured that it’s hard to chose just one song that stands above the rest.

Euphoria, the second track, is hypnotic and echoing. Filled moments that will give you goose bumps, it is a wonderful example of Statik’s musical technique. Also of note is the drum work on this track provided by Skinny Puppy’s cEvin Key. Modify moves onto a more layered electronica sound with added acoustic guitar with rich underlining strings that complements kaRIN’s vocals. Somewhere then builds with several tempo and mood swings that are dominated by kaRIN's soaring and evocative vocals. Filled with more pronounced electronics and percussions (which is provided by Danny Carey of Tool fame) Somewhere will likely be the track with the most appeal to the general listener. Slither Thing is a slow and richly arranged number that crosses the boundaries between a slow dance and a jazz-style number. The tempo drops further with Inside an electronic ballad. Both put kaRIN's sensually shimmering vocals to the forefront and are mixed to new heights pushing the instrumentals right to the back. Mutation is a heavy track outside the acoustic guitar-based chorus. The sharp contrast between the various passages--ending in rain--is simply incredible.

kaRIN's evocative opening in Tempted leads into a lush symphonic-styled tune. Filled with powerful acoustic string arrangements and a touch of Eastern influences, Tempted is probably the most sultry and erotic track. Shimmer continues in a similar vein but at a slower more electronic ballad tempo. Complicated is complex and thickly arranged upbeat number with plenty of vocal layering as well. It’s Gothic sensibilities are more pronounced than any other track. The final track So Long is slow and raunchily electronic in arrangement, with multi-layered vocal harmonies. Filled with throbbing beats and complex layers, it builds to a calm climax then hauntingly fades making it a perfect ending to Some Kind of Strange. Dave Ghoul

Grave Concerns

"The most recent achievement from this already highly regarded eclectic duo. "Crushed" begins the disc w/ strolling electronic programming that accents glowingly around Karin´s sexy & sassy vocals. They bring to mind a more unnerving Portishead or an electronic blend of other female fronted rock acts like Curve, Garbage, & Tapping The Vein but their far from sounding like knock off clones. "Euphoria´s" hazy intro. opens into a pretty & fragile Trip Hop vibe next to the soothing guitars, & the beautiful vocals, while "Modify" continues much in a similar vein but a bit slower w/ churning, bleak organic synths provided by composer extrordinaire, Statik. "Somewhere" intensifies things up a bit w/ pounding drums & the sensual vox plays like an aural lullabye layed atop delicate keys. "Slither Thing" draws upon a "4ad" pop style of mesmeric, mellow grandeur, while "Inside" is the epitomy of pretty. It´s so pretty it´s pouty w/ alluring psychadelic winds & naturally, the powerful vocals of Karin. "Mutation" mutates from heavenly serene soundscapes to more hard rock edginess & vice versa. "Tempted" is a lush, middle eastern gem & not unlike something from Delerium. "Shimmer" & "Complicated" provide more haunting & smokey Trip Hop infestation w/ Karin´s trademark angelic vocal style & Statik´s innovative synth work.

All in all, "Some Kind of Strange" is a radiantly bold step that excels their previous work, shaking off the Gothic-Industrial tag. These songs have commercial attraction written all over them & should appeal to fans of not only dark music, but also Trip Hop & the aforementioned bands. A stunningly & sensual piece of work. Along w/ the sincere lyrics this is an exotically vivid journey into the depths of the human soul."[-Marcos-]

In Music We Trust

Okay, so everyone has their pants in a knot over Evanescence, but they were certainly not the first band to put a female voice to sexy-spooky epic-industrial rock, nor are they the best. Exhibit one: Collide.

Following in the footsteps of the Gathering and Sunshine Blind, this So-Cal duo (with help from such notables as cEvin Key and Danny Carey) churns out a heady cacophony of futuristic and mechanized sounds powered by distorted guitars, robotic rhythms and bigger-than-life synthesized symphonics, and then caps off the beautiful mess with the super-sensual, threatening purrs and dangerous coos of Collide's vampy vocalist, a beguiling beauty known only as kaRIN. Not only is she more interesting to look at than Evanescence's Amy Lee, her voice can soar and slide with loads more feeling, conviction and allure. She gently yanks you into Collide's dark and dramatic world, and it's a place you'll likely want to stay for some time.-Scott D Lewis


I got an advanced promo copy of this album about a week before it was released and was a very excited boy for a few minutes. This album is supposed to be some years in the making, and it shows. I think this album is much more refined than previous. While the sound is still very smiliar to previous efforts, this album shows a definite improvement in technique. All of the little details are perfected this time around, it's all smoothed out and shined up.

Most of this album is kARIN's silky sweet voice layered over and through Statik's distortion. There a lot of fuzzy heavy guitar and groovy, velvety rhythms. There are a lot of moments when the song will go from loud and distorted to quiet and clean, and somehow it sounds good. The song "Euphoria" is a good example.

The song "Inside" is a really cool, jazzy / trip-hop love song that deserves special note.Score: 8--Ethan


kaRIN & Statik are back with their new release, which was 3 years in the making. Well worth the wait, too. Collide's music just keeps getting more and more intricate and intense. Layer upon layer of sound mixes with kaRIN's voice, which always sends chills down my spine when I hear it. She has got to have one of the sexiest voices I have ever heard. Add the incredible production by Statik, and you have one of the most distinctive sounding releases so far this year. Some stellar guest stars on this new CD as well, including cEvin Key from Skinny Puppy, and Danny Carey from Tool.--eolsen214


"...A beautiful and well conceived musical artwork, with a extraordinary female voice with such amazing sounds and we can feel such as an heavenly peace, obscurity, cruelty, madness, as we can mix all of this and we don't get tired of listen such precious band.. Professional...

Musical Discoveries

The latest offering from California's Collide is an eleven track album entitled Some Kind Of Strange (Noiseplus Music (USA) Noise 002, 2003). Fronted by their stunning female vocalist kaRIN, her collaborator Statik is responsible for the instrumental arrangements. A bevy of guest artists contribute percussion, acoustic and electric guitar on various tracks. The band's website is loaded with further information, soundbites, photos and additional features.

Some will recall that kaRIN provided some of the original vocal work for the early Balligomingo demos but she did not contribute to the finished Beneath The Surface (review) project. Collide's previous album Chasing The Ghost drew significant critical acclaim. Suffice it to say that Some Kind Of Strange has taken a significant step forward both in vocal work and arrangements. Make no mistake--this is a female vocals album clearly cast between gothic and electronica; it is certain to appeal to Balligomingo and Delerium enthusiasts!

Some Kind Of Strange blends gothic textures with electronica and powerful percussion right from the start in "Crushed." Layers kaRIN's sultry vocals are mixed well above the arrangements. "Euphoria" is a more accessible tune--lush keyboards and guitars compliment sweetly soaring heavenly style vocals while powerful instrumentals and sensual vocal textures dominate "Modify." The album builds to "Somewhere" a richly arranged Balligomingo-style tune with several tempo and mood swings that is dominated by kaRIN's soaring and evocative vocals.

Equally interesting is "Slither Thing," a slow and richly arranged number crossing boundaries between a slow dance- and jazz-style number. The tempo drops further with "Inside" an electronic ballad; layers of kaRIN's sensually shimmering vocals are mixed to new heights with instrumental arrangements being pushed right to the back. The electric guitar parts and backing harmonies are as notable. "Mutation" is a heavy track outside the acoustic guitar-based chorus. The sharp contrastbetween the various passages--ending in rain--is simply incredible.

The album's standout track is clearly "Tempted." kaRIN's evocative opening leads into a lush symphonic-styled tune and remarkable guitar-backed chorus with tremendously accessible multi-layered vocal harmonies. Balligomingo enthusiasts will agree this track has single potential! "Shimmer" continues in a similar vein albeit at a slower-- electronic ballad--tempo. The band's gothic orientation emerges in "Complicated," a complex and thickly arranged upbeat number with plenty of vocal layering as well. Slow and raunchily electronic in arrangement, the multi-layered vocal harmony of "So Long" concludes the album.

Release Magazine

Wow, the opener on this album totally blew me away. “Crushed” contains such force and talent that it scares me. Collide makes a kind of trip hop-ish, edgy, melodic, emotional and very interesting electronic mesh of sounds, with the beautiful Karin’s sexy voice bringing the songs home. All these components really come to life in "Crushed", and it gives me the shivers every time I hear it. Lucky me then, the album has almost the same caliber throughout, except for some uninteresting pieces here and there.

Collide has been a bit of a blank page for me, but I’ve heard their awesome remix of Front Line Assembly’s “Predator”, a remix that gave the track whole new life. The duo consists of Static and Karin, from USA, where they interact with a lot of interesting people. Static is said to be a guest on the upcoming Skinny Puppy comeback album, and kaRIN sings on Cevin Key’s Plateau album “Space Cake”. Sure enough, Cevin Key also helps out with drums on this album.

I really think you should give this piece of plastic a try, especially if you would like a more edgy and harder take on the Delerium sound. This album is a winner. JOHAN CARLSSON


I wouldn`t say this is some kind of strange; it`s more like some kind of wonderful. Beautiful female vocals are layered over electronic synthetic soundscapes. The result is staggering and morphs into what many have been searching for in their attempts to find the perfect band. You have your heaviness, you have your melody, you have the beautiful atmospheres, and you have danceable beats. It`s all addicting, all wonderful, and simply a textured delight. Both gothic and EBM fans will be delighted to hear this album and so will you.- J-Sin 4/03

Soul Eclipse

I got exactly what I wanted from this cd... eerily beautiful music and vocals that blend together perfectly. If you're already a fan, I doubt you'll be disappointed... Some Kind of Strange definitely is not a rehash of what they've already done, but it still gives you what you've come to expect. The sound is a little smoother than it has been on Collide's previous releases, but that isn't necessarily a bad thing. It's also not very surprising, since that was the direction their music was starting to travel in with Chasing the Ghost. The only gripe I have (and the reason this cd got "only" 4/5) is that there isn't a whole lot of variety in sound, and after awhile the tracks start to blend into each other. But the music is so good that you probably won't care. There isn't a song on here that's not worth listening to.-Kat

Southwest Texas (SWT) University Star

Here we have the new album from the Los Angeles based band Collide entitled Some Kind Of Strange released on Noiseplus Music.

Again, kaRIN and Statik of Collide have outdone themselves in making an amazing masterpiece with awesome production, wonderful vocals and excellent lyrics. This new record has a lot of the same qualities found in their last album Chasing The Ghost, like “Crushed” sounds a lot like the song “Transfer” with some rough guitar and a slower beat, and some of the others possess that dark but sensual feeling that is found in the song “Halo. It is also quite different from the previous albums, Beneath The Skin was more raw, had a lot of heavy guitar, and had a lot of industrial layering to compliment it, (“Strange,” Beneath The Skin” and “Falling Up) Distort the remix album kept a lot of that going as well, while Chasing The Ghost took a more darkwave and ethereal-type direction, being more sensual and eerie (“Halo,” Chasing The Ghost,” “Frozen” and Monochrome.)

Some of the songs on Some Kind Of Strange like “Complicated, “Somewhere” and “Shimmer” seem to resemble the more melodic gothic styles of Curve’s 1993 album Cuckoo (songs like “Unreadable Communication,” “Crystal” and “Superblaster”) and some of the other tracks like “Slither Thing,” “Modify” and “So Long” show some of the characteristics of the trip-hop sounds of the Sneaker Pimps’ 1996 album Becoming X, when Kelli Dayton was still doing the vocals for the band (“Becoming X,” Spin Spin Sugar,” Roll On” and “6 Underground.”)

Another thing that is so great about kaRIN and Statik, is that they love to include their friends in the recording process of their albums, and this time we have cEvin Key of Skinny Puppy and Danny Carey of Tool playing drums on the song “Somewhere. This album gets 5 out of 5 stars for presenting something a little different and original all the same.By Jake Roussel


I think Blu still loves me, despite me being MIA the last few months. Really I do. Because she sent me Collide.

I had a feeling that she did when my husband picked up the then still unopened CD and said “Collide? I like them. I have heard some of their stuff. Mind if I take a look?” Hey, it was 9am on a Monday Bank Holiday, I didn’t give a flying fudge.

“Cool, cEvin Key and Danny Carey.”

“Huh? Skinny Puppy and Tool? Oh shit, it’s industrial.”

“Give it a listen. You might be surprised. I don’t remember them being industrial.”

So after editing down Turning Japanese and choreographing the CanCan (Hey I am a dance teacher), I found myself a glass of wine, settled into my bedroom and gave a listen. Thank you Blu.

I love atmospheric music. I love music that seems to paint a canvas with sounds that create visions and landscapes of ideas, fantasies and mysteries. Collide does just that. This is no uncharted territory. Many bands attempt and usually fail at this genre and idea. There are a few that succeed. The Changelings are one of these bands. Black Tape for a Blue Girl, especially of their latest album are icons to me in this kind of musical painting. Collide is definitely one of those bands that are to be respected and to be taken seriously.

But different to the aforementioned bands, Collide adds something a bit more. They add grit. They add dirt to the landscape. They add the grime and the dark, dirtier undertones…even sexual and erotic undertones to this kind of music that I don’t believe the others have. Don’t get me wrong, I am not saying The Changelings or Black Tape for a Blue Girl are goody two shoes. But these two, kaRIN and Statik are the black sheep, the dark cousins of the family of landscape artists (hmm, have I just created a new label for a genre of music?)

I am now, as I type this, at the end of the third track off the album, that being "Modify". It ends almost, well, forgive the ugliness of the wording, snorting. And then a soft lovely sound brings in "Somewhere". kaRIN’s voice is lovely, with a touch of Kate Bush to it. Pushing and diving throughout and within the notes finding new depths and heights to go almost simultaneously. How that works and happens, I don’t know. Somewhere floats among the waves finding their peaks and valleys taking you on an oceanaic journey that leaves you satiated and questioning. Another strange combination.

And perhaps that is what Collide is all about. A strange combination. Their representation of themselves through their press pack sure does echo my feelings. They admit that they are opposites, trying to find a middle ground from where their music can soar. But middle ground is the wrong phrasing because that can mean something of a mediocrity and Collide definitely doesn’t know the meaning of mediocrity.

So back to kaRIN’s voice. It is not only Kate Bush I hear. (wonder if she is an influence to her?). But I hear a bit of Siouxsie in there. A bit of Monica Richards (who is thanked on the album). But what is the best part of it, is that it is like a really fine dish. You can taste the essence of the ingredients, but when put together well, the dish takes on its own identity and can be compared to no one.

The engineering on the album is masterful, the balance of instruments and voice incredible. Now Statik, who mixed and engineered album is in charge of noise. I don’t know exactly what instrument that would be, but it makes him a damn good engineer. I find that if a member of a band mixes and engineers an album, there is always a imbalance either away from or too towards the instrument of the engineer (Belisha, Killing Miranda and Faith and the Muse being fine examples of exceptions to that perception). I am interested in hearing exactly what “noise” playing is. I suspect it’s keyboards but I don’t want to put my two cents in…just yet.

There is a problem with reviewing this album and it goes back to the analogy of the fine dish. This is just a fine, excellent produced and created album….oh jesus, I just got to track 6, "Inside". Can I say wow? I think this slithers more than preceeding track called "slither"? This just wraps itself away in that breezy way of a summer day. The first song I have ever heard in this genre that calls for a white wine? Light chardonnay. Or perhaps a reisling? But again, it’s guttural. It’s sensual and erotic…but doesn’t make you feel guilty, dirty about enjoying it.

Wait a second, let me go back to what I was saying. Yes. A fine dish. You don’t taste individual ingredients, just their essence which makes it taste so good. Not too much pepper or basil. The meat done to perfection. So you can’t pick out one thing. You can just take it as one dish to savour and enjoy.

Damn, this is an album for a bubble bath for two.

So I have gushed and guffawed over this album (and it’s now on it’s second playing in a row by the way)…..okay, I have to say something of constructive critiscm. Hm. Um. Okay. Here goes.

The press release enclosed jumps from first person speaking (kaRIN) to third person quoting kaRIN. That was a bit unsettling. I hate all these strange spellings of name. They not only are a pain in the bum to type, and make my spelling check have fits, but they are a bit silly.

There you go. My constructive criticsm. Fix your press release and spelling your names correctly. Consider your knuckles slapped.

Now the rest of you – go buy the album. Jezebel--Blu


Imagine yourself in the humid heat of summer, stripped to near nothing, covered in delicious sweat, languid and supine. Now, crank up the erotic possibilities, and you have a rough idea of the atmosphere set by Collide's Some Kind of Strange. Easily their best work to date, Collide has put forth a solid release filled with sexy rhythms and an overall sultry atmosphere, though possibly unlike anything one might have expected. Some Kind of Strange moves into a mellow groove filled with edgy guitars, touches of acoustic, topped with masterful and highly textured programming.

While undoubtedly dark, Collide continues in their tradition of genre blending so much so, it is uncertain where one might want to categorize this disc. Hints of psychedelic, undertones of trip-hop, and allusions of electronic only barely begin to describe the sound contained within. All I can say is I was wowed by the presence this CD maintained throughout.

kaRIN's vocals only serve to add to the appeal on this disc, having come through clearer and with a high polish that just wasn't quite on this level before. Clean and seductive, every word flows from her mouth with sensuous ease- spicy, sexy, and definitely appealing.

Some Kind of Strange is so well structured and constant that I can't even pinpoint one song that stands out above all the rest. They are all equal in quality, mood and presence. Its atmosphere is quite dominating and continues to linger long after the disc has ended. Hmm, warm and sticky like hot fudge on a melting sundae.

"Crushed" is a great song to kick off the disc, boasting hypnotic and unusually structured beats, rich guitars and lush sequences. "Euphoria" is a soft and shimmering gem with slightly more subtle approach on the electronics, using soft strings behind the highly pronounced, distorted guitar (some might like to know cEvin Key guests as drummer for this track). kaRIN's vocals are dreamy and layered in places emphasizing their sweetness. "Modify" introduces acoustic guitar into the mix along with the rich underlying strings and more textured electronics. The acoustic guitar in this piece really gives the track a hot summer night feel.

With more pronounced electronics, "Somewhere" continues the thread of warm atmospheres. The guitar here is more varied in style, still accompanied by strings and excellent live percussion from Danny Carey of Tool. I'm a sucker for atypical beat structures. One gets tired of the old 4/4 style monotony. "Slither Thing" really pushes forward the strings, backs down the guitars a couple notches, and takes a more rhythmic approach to the electronics. The primary attention is put upon kaRIN's purring and sexy vocal style.

Taking things to a down tempo level, "Inside" is more unusually structured with pronounced breaks and light use of funky guitar. It's very drifty and light compared to the other tracks on the disc. "Mutation" strolls back into something slinky, brings back the bigger guitars, and the beats come up a little. Here and there, the track slips back into the dreamy. The track with the most erotic atmosphere is probably "Tempted". Hints of the east, acoustic guitar and strings make up the primary musical foundation while drippy drums skip along in the background.

"Shimmer" is one of tracks that tend to echo through my brain most often after listening. The music is pushed pretty far back, again allowing kaRIN's vocals to lie in the forefront with the ethnic drums swaying along behind her. "Complicated" is more electronic in nature with nice sequencing and wide variety of sounds. Guitars are present, but not so pronounced and blend into the electronics. Some vocal effects are added at times, but mostly layering and light echoes.

"So Long" makes an excellent exit to Some Kind of Strange. I'd say this is my winner on the disc. Big crunchy keys pulse through slow and steady. The airs bounce about amid the throbbing beats. Lots of swirling textures and complex layers are used, but not so much so that it becomes chaotic. kaRIN's vocals are also played with heavily here, bouncing around from left to right and overlapping in such a way it makes the head swim. It builds nicely as the track progresses and then fades out slowly so that it lingers in the air like a pleasant perfume. They say all beauty fades in time, but we can always hit the play button again.By Laura B.

This is Corrosion

Some Kind of Strange is the fourth release for the Los Angeles-based duo of kaRIN and Statik, also known as Collide. Collide is a suffusion of sultry female vocals and an almost industrial sound.

As with their previous release, Chasing the Ghost, Collide has used the talents of Chad Michael Ward from Digital Apocalypse Stuidos for their cover artwork. Presentation is an integral part of an album and this album is a visual gem. CD packaging and artwork are as essential to a release as the music itself. This is a very strong reason for not copying music, beside the obvious loss of revenue and appreciation to the artist for their hard work.

The album starts out with the track Crushed, which is an excellent example of what their music is all about; kaRIN's lush vocals floating in a torrent of guitar-driven and electronic music, balanced by soothing soundscapes and acoustic guitar. Though this band might be labeled as gothic, it doesn't quite fit, being somewhat down tempo and with a much fuller sound than found in many classic goth bands.

Euphoria, the next track, combines female vocals with varying acoustic and electric guitar, producing a most powerful sound. Modify progresses with a slow, twisting sound of acoustic guitar, layered with a dense background of electronic/orchestral sound. Track 5, Slither Thing, adds an almost lounge sound to the mix, which I found oddly catchy. Mutation is yet another superb example of kaRIN's soothing vocals, interwoven with crunchy, industrial music, creating something not easily fit into any one genre. Overall, this a strong, consist release, representative of Collide's sound and worth a listen, as are their previous releases. Listeners of such varied artists as Delerium, Nine Inch Nails, Switchblade Symphony, Clan of Xymox, etc. would enjoy this band.-legion 8 out of 10

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Friday, January 03, 1997

Chasing the Ghost reviews

BlueBlood Magazine

kaRIN and Statik have treated us to another highly anticipated installment of their beautiful music. We've loved their unique sound for a long time and we're very excited to have the opportunity to enjoy another quality release from Collide. For those of you who are less familiar with their sound, Collide is the perfect balance of precisely engineered electronic synthpop layered as the foundation for the amazingly sexy vocals provided by kaRIN. Together, they show remarkable range while maintaining a trademark style that stands high above their genre contemporaries. At times, brooding and lingering, then sliding smoothly into energetic danceable club favorites, and always powerful. Chasing the Ghost is a bit more subtle in it's presentation than the previous release Beneath the Skin had been. Each CD will have its fans, as their latest release is not just another knock-off of the first. Instead their sound has been allowed to grow a bit more mature, a bit more somber. There are a lot of tracks that I love on the new release, but I particularly like the timeless retro-future "Razor Sharp." It has a really erotic lonely torch-singer feel to it that gives me chills. Plus, as has become expected with new releases these days, there is a cover. This one features a spooky rendition of Grace Slick's psychedelic classic "White Rabbit" that shouldn't be missed. As an added treat William Faith and Monica Richards, of Faith and the Muse, step in for some additional vocal and guitar work on a few cool tracks. Be certain to stop by the Collide website and say hi, there's a lot of fun goodies to take a peek at over there, like MP3's, videos, photo galleries, even some of Statik's odd animal and insect photos. Also, be sure to pick up a copy of Chasing the Ghost while you are there, as this release is sure to fly off the shelves of your local record shops and it would be a shame to lose out on this great album. Chasing the Ghost is also very likely to be a good album to have sex while listening to. I know you all wanted to know that; I just had to share. Forrest Black

Chaotic Critiques March 2002

Much like the Sirens in Homer's The Odyssey, the music of Collide may be characterized as an outward projection that is beautiful and alluring, and an internal matrix which is hazardous and menacing. Rich electronic soundscapes and dark ambient beats create a seductive tapestry of layered sounds that interacts in stunning fashion with kaRIN's distinctive vocals, beguiling whispered harmonies that are too tangible to be spectral, yet too ethereal to be fully material. If the album could be said to have a mere two highpoints - a severe injustice done to the remainder of this rather amazing disc - it would have to be the infectious, spine-chilling third track, "Razor Sharp", with its disarming, swirling vocal melodies and mind-warping soundscape, and a brilliant cover of Jefferson Starship's "White Rabbit", which maintains the psychedelic apprehension of the original while giving it a more modern flair courtesy of the electronic instrumentation. And, like every good cover tune, Collide's take on "White Rabbit" preserves the spirit of the original, and uses that as the all-important scaffolding with which is builds its own unique interpretation. Simply excellent. Tate Bengtson, Editor

CMJ New Music Report Issue: 695

Collide's music is like an H.R. Geiger painting: It's dramatic, messy and dismally monochromatic, but its wicked array of macabre imagery never fails to evoke an immediate emotional reaction. This Los Angeles duo paints a vulgar picture on Chasing The Ghost, its second album of plodding goth-rock and electro-pop lamentations. Lead vocalist kaRIN hisses and coos about "ghosts of time" and being "caught up in icicles." The album's swampy orchestrations -- courtesy of producer Statik -- creep along at a snail's pace for the album's first half (most funeral marches pack more pep than the Portishead-inspired "Razor Sharp"). And kaRIN sounds like she's popping Valium rather than LSD on an unfortunate cover of Jefferson Airplane's "White Rabbit." But the band reaches its stride on "Monochrome" -- Indian melodies and rhythms illuminating the song's tribal energies -- and "Halo," where the pair pulls off the best Curve impersonation this side of Garbage. - M. Tye Comer


The time spent waiting for Collide to release a follow-up to their impressive debut, Beneath The Skin, has proven to be more than worthwhile; Chasing The Ghost not only improves on their elegant gothic stirrings and industrial grind, but further defines it into truly something to behold. From the opening of Transfer, kaRIN's seductively breathy voice is punctuated by crunchy percussion and distorted guitar effects. This dichotomy of angelic beauty and mechanical Hell proves itself Collide’s distinguishing trait, and Chasing The Ghost explores this territory with staggering results. The dark rumbling and slowly churning machine noises of Wings Of Steel are draped with sultry vocals and an incongruous harpsichord against a lazy trip-hop beat, further illustrating the dramatic growth that both kaRIN and Statik have undergone. Statik’s electronic compositions have expanded to include some eastern instrumentation. A sitar drone begins Halo, before being overtaken by a driving electronic score and KaRIN’s slightly processed voice; the sweeping Frozen is detailed by some other stringed instruments and middle-eastern horns, which work perfectly with the isolationistic atmospheres and laid-back percussion. The jarring explosiveness of Dreamsleep is held firmly together by kaRIN's determinedly heaven-sent voice, nicely exploring the classic balance of conflict Collide exemplarise. Chasing The Ghost is in every way strides ahead of Beneath The Skin, with the most notable aspect being Statik’s music. Each track is brilliantly layered in sound detailing, as Razor Sharp indicates so clearly. A jazz piano chimes quietly beneath a chilled beat and hollow percussion, and tiny spectres of ambiance float in and out of the song. Looking back to their electrogoth dance sound, Monochrome is a propulsive and scathing dance floor track, with a hard beat and fast-paced scratchy synthesizers, and a cover of White Rabbit suitably schizophrenic, both elegant and vicious, with a positively lethal rhythm structure. A fury of pure beauty and greasy ugliness, the soft and the harsh, flesh and machine, Chasing The Ghost welds together darkness and light into a seductive and haunting whole; sort of the aural equivalent of a clattering and screeching mechanical angel.--phosphor

Hidden Sanctuary

It seemed as if everywhere one looked, there was information about a band named Collide slapped onto something. Everything from packages to all sorts of public billboards and phone booths blatantly screamed the name from its perch only to be followed by a number of magazine ads. This made me start to wonder about this group as well as their street team who are getting the word out. Amazingly enough, all the posted stickers are coming from loyal fans. Upon listening to "Chasing The Ghost," it is impossible not to be fully absorbed into their musical world in a large way, and one can fully understand what all the fuss is about in the first place. Collide is a cross between Rhea’s Obsession, Switchblade Symphony, My Scarlet Life and a libidinous dark angel. This particular CD also received additional assistance from Monica Richards and William Faith from Faith and The Muse. There is also a dark remake of the Grace Slick song "White Rabbit" created for the new millennium sound, without detracting from the beauty of the original. The music is a steady amalgamation of trip hop, electronica, goth, ambient and rock, all rolled together in an intriguing hybrid and expertly sequenced for obtaining maximum listener enjoyment and satisfaction. Some vocal high tech tweaking similar to the Cher hit "Believe" is also included on the track "Razor Sharp," which rounds out the sound and is going to cause a number of tongues to wag in musical circles for quite some time. Beyond the fact that the album is well made and purely brilliant, is the fact that it boldly takes dark music to a sensuous level. It is romantically enigmatic and erotic while still giving homage to the surrealistic depth of darkness in all its guises. Basically you can sit back and listen, dance to it or you can have an all night Tantra session with that special someone with this as background music. The eroticism of the music and vocals leaps off the CD in an almost subliminal fashion, drawing you in deeper and further with each passing song. kaRIN's vocals are at times like sex-kitten whispers woven between anticipatory longing and sieved through a futuristic chasm with understated crooning. This reviewer can’t recall a dark music album being this seductive in quite some time. It can safely be said that based on the strength of this CD, I fell in love with this dazzling work and am looking forward to obtaining some of their earlier music as well. Mike Ventarola

Legends Magazine

Since 1997, many trip-hop and goth-electro fans have waited on pins and needles for the follow-up release of duo Collide. The release of the remix album Distort and, a year previous, 1996's Beneath the Skin and the single Son of a Preacher Man, complete with a surrealistic masterpiece of a video that depicts a gang of cowboys fighting it out with a gang of people dressed in various animal costumes; this has set duo Statik and kaRIN up as greats within the trip-hop electro field of sound fusion. The dawn of the millennium brings us now Chasing the Ghost. The album ends a long wait for Collide fans, and delivers tenfold on the promises that the moody duo has set for themselves with previous releases. Moody, rhythmic and infused with a maturity that shows how the two have grown together on a personal, professional and musical level, Chasing the Ghost is, in short, a fucking masterpiece. Not only can you hear the maturity of their music, you can see it in the release of Chasing the Ghost on their own self-made label, Noiseplus Music. Available at CDBaby, Amazon.com, and direct from Noiseplus of course, this is a must-have for any lover of previous Collide releases. It is a further step in the duo's analogy and no collection of trip-hop or similar music is complete without it. Statik's control of the instrumentals have reached a new high, with more control and less of a noisy stance. The rhythms are smoother, more subtle, even cerebral at times and with the exception of some tracks that push a high-brow drumbeat they have a deeper arrangement. kaRIN continues to laud us with sultriness and erotica, crooning with a combined sound of malice, finesse and lust. "This album was torture to make," says kaRIN about Chasing the Ghost, the perfectionism of the duo manipulating each track to higher levels of form. Some favorites include the slow, moody and sultry Razor Sharp, with vocal effects that give kaRIN a devilish/succubus sound, dragging "s's" and consonant sounds as they chant through the membranes of your soul. Statik's groove is slow, funk-driven and sexy, pulsing bass that are wrapped with melodic, sharp-intoned keyboard licks. Jumping to track 5, here Collide cover Grace Slick with the 1966 White Rabbit. The rhythm is lifted up and injected with more fervor, speeding along with guitar chords that are mechanized yet retain humanism when surrounded by kaRIN's deep vocals. One thing you will notice on Chasing the Ghost is that she seems to supply less of the diva-esque vocal qualities and more a deep-chanting quality, with even soprano notes spoken with assured intonations and less of a belting wail. The latter computer-bass rhythms and guitar-style riffs performed by Statik further on surrounding kaRIN's "ooo yeah" closing vocals are excellently balanced without a highlight, providing a blend of instruments that play along with each other rather than one against another. Also here is Halo, a true trip-hop bass-sliding style. The mixture of bass-level sounds throughout Halo allow kaRIN to shine with her singing, as it allows her to appear just above the bass lines with higher-octave sounds, though you'll find her voice still remains within an alto range for most of the song. Chorus areas are intoned with a keyboard chorale style that, while stepping up to the higher octaves, are low-cut enough to still allow kaRIN's vocals to retain control of the track. Overall, Chasing the Ghost delivers on a promise made about three years ago when the last Collide release hit the streets. Back in June of 2000 Rat B. reviewed the previous works of Collide and closed by saying, "There are plenty of Front 242s, Leaether Strips, and FLAs in the world, but only one Collide." And indeed, kaRIN and Statik remain true to their sole vision - Chasing the Ghost, and Collide in general, is not a band where you can easily pin their influences on the jacket sleeve. Trip-hop, electronica, EBM, euro-industrial (a la Kraftwerk and not Ministry) - it contains facets of all of these, while still being a sound of their own. Marcus Pan

MeanStreet Vol 11.06/December 2000

Collide, a Los Angeles based duo comprised of kaRIN (vocals) and Statik (programming), creates music that marries exquisite vocals with orchestrated layers of sounds. The band’s latest release, Chasing the Ghost, weaves together complex tapestries of rhythm, melody and texture in which kaRIN’s velvety vocals and poetic lyrics add a beautifully human element to Statik’s moody electronic washes and machine generated sounds. “Wings of Steel”, an ethereal erotic piece reflects the bands gothic roots while “Halo’s” infusion of eastern dance imagery and club friendly beats showcases the band’s industrial nature.Not to be overlooked is Collide’s mystical version of Jefferson airplane’s “White Rabbit,” which is utterly delectable. Overall, Chasing the Ghost is a pleasurable feast of rhythms-- offering up a perfect balance between sound and vision. Grade A Nikki Neil:

Music Connection Vol. XXIV, No.23

An L.A. based Duo, Collide create a fetching swirl of industrial-based rock that is very nicely realized on their full-length CD. "Razor Sharp" and "Wings of Steel" are appropriately draped with fantasmagorical lyrics and electronic textures that combine to conjure black and Blue visions of what the band (vocalist kaRIN & Statik) might create in a live, goth-enshrouded setting. Echoes of Souixie & the Banshees envelope the duo's cover of Jefferson Airplane's "White Rabbit," turning it into a wicked, wind sheared tour de force.

Negativepop.com March 2002

Now, when I first heard Hooverphonic’s electronic trip-hop masterpiece A New Stereophonic Sound Spectacular I thought that I”d heard the sexiest album of my life. Of course, that title was just begging to be contested, and the new champion is Collide’s Y2K album Chasing the Ghost. This is a sexy, sexy album kids! It’s a triumphant blend of trip-hop, electronica, goth, pop and yes, even world-music elements. Exotic, erotic, and seductive, that’s this album in a nutshell. All of Collide’s songs are produced, mixed and engineered by Statik, while the lovely Karin provides vocals and words. It’s a match made in heaven, to be sure. This album is cohesive and fluid. And I’m gushing now, which is hardly flattering to me, but this album is just so good that I can’t stop talking about it.

All the way through, the rhythms are syncopated and trippy, with undulating waves of sound that seduce the senses. Karin’s vocals are amazing. Sometimes soft and sweet, often whispery, she is a siren to be sure. She can also scream and rant with the best of them. She’s not a bad poet either. From “Wings of Steel”: “Your wings are tired/You can not get there from here/Where you aspire/You can not fly there from here/Chasing the wings of steel/Chasing the ghost of time/Chasing the taste of life/Chasing the ghost of time”. Her imagery is powerful, often dark and lyrical.

Collide’s “thank you”section reads like a who’s-who of the underground music industry. They even garner the help of William Faith and Monica Richards of Faith & The Muse for guitars and vocals on the songs “White Rabbit”, “Dream Sleep”, and “Monochrome”. If the title “White Rabbit” rang a bell in your memory, yes, it’s a cover of the Jefferson Airplane song! Collide does it up sultry and trippier than the original. I like cover songs anyway, but I REALLY like Collide’s covers. By all means, search out their covers of Devo’s “Whip It” (its extremely sexy) and “Son of a Preacher Man” available on their remix album Distort.

I am amazed by their ability to segue from a darker-heavy-beat dance song to a strange wispy vampyre-waltz type tune. My favorite songs include the trip-hop “Razor Sharp”, which goes down so easy, yet, if you listen to the words, isn’t all that pretty of a song. Its all about the isolation, baby. “Ocean” is my other favorite, a rhymthmic tango of a song. “Liquidized emotion/Water takes you in/Deep within the ocean/ I could sleep for days/Hours only minutes/ thoughts of imagery/lure you from your spectrum/solve your misconceptions”. “Ocean” is extremely melodic, sensitive and sensual. Its at once deep and smooth as glass. Other tunes of note (although the whole album comes highly recommended): “Wings of Steel”, “Transfer”, and “Like You Want to Believe” (one of my personal anthems of the summer).

Chasing the Ghost was my second-favorite album of 2001 (nevermind, it was new to ME in 2001). Languid, sensual listening with a darker bent and tremendous production value. Take this to your next rendezvous. Rating: Sensual electronic dark trip-hop dream-pop Stars:(5 stars) Bloodloss girl

Outburn Magazine, Issue 14

Dark Femme Fronted Electro Goth: After 4 years, kaRIN & Statik have finally supplied the waiting and drooling masses with their second full-length of new material. Chasing the Ghost has a bit more of an ethereal feel to it. It's less dense, ghostlier if you will, then their debut Beneath the Skin, but that's not to say it doesn't have the same cool sharpness. Angel voiced kaRIN's whispers, coos, and purrs drift through the ears, down the spine, and shimmer out to the nerve endings prickling the skin as they go, only to rush back in a wave to the brain dispensing their rapture...ahem, where was I? ah yes, kaRIN's vocals hang well supported in the roiling gauzy mist of Statik's programming. "Wings of Steel," "Frozen," and "Halo" stand out just above the other tracks, but really all of the cuts are fantastic. Overall, Chasing the Ghost is a haunting album, meant for a glass of absinthe in a darkened room to be absorbed into the pores. Oh how I wish there were more than just 10 songs. Doc Benway

Rhythm us Network

Gothic diva KaRIN's vocals ring in your head like a dark siren call. Collide will most likely appeal to fans of artists like Curve, Siouxsie & The Banshees and The Cranes. They have a dark sensibility which appeals to lovers of Ethereal and Gothic music while Statik's electronic manipulation will draw heavily on the EBM and Electronica crowd. While remaining highly alternative in sound some tracks such as "Razor Sharp" has a more pop sensibility while not losing any of it's subteranean depth, it remains dark and progressive. Collide evidently draw from a wide range of influences from both pop and alternative music styles. Appropriate for a CD whose release is Halloween of 2000, "Wings of Steel" has a bit of what sounds like a Halloween soundtrack in the introduction. "Halo" and "Monochrome" have a bit more of an EBM feel to them. "Ocean" drops back into a more ethereal sound with a bit of internationally flavored percussion. In some ways Collide has more similarities to artists like Attrition than any others but there are so many aspects which are dissimilar between the two bands that comparisons could do neither any justice. Collide somehow manages to juggle a heavy electronic sound with ethereal vocal stylings while blending various forms of alternative music to create a wholely original sound. There's even a very interesting cover of "White Rabbit" featured on the CD which grabs the essence of the original while completely updating it technologically with modern hardness and electronics.

Sideline Music Magazine, #34

Hey kids, tired of the soulless fodder available at your local record store? Well, "in the middle of darkness there is a light", Collide's latest is dripping with hot sweaty soul. Long overdue but well worth the wait, "Chasing the Ghost" slithers in and out of your mental meat dropping unnoticed fertile eggs at each and every turn. This is an ethereal, emotive disc that crosses the cold fire of early Siouxsie with the warm urgency of modern trip hop, yet wholly manages to defy categorization. The lyrics intrigue and kaRIN's vocals are seductive and powerful enough to make the hair on your ass stand up and take notice. Statik, the insane digital wizard behind the music, takes us places we haven't been since those feverish, chemical induced, lucid dreams of yesteryear. Guest musicians abound and provide a subtle added dimension to the recording. Featured are: William Faith and Monica Richards of Faith and the Muse, supplying additional guitar and vocals on several tracks, Kevin Kipnis of Purr Machine, Tim Pierce and Chris Candelaria, all contributing guitar as well. There's even a dose of sitar on "Halo", courtesy of Fritz Heede. My favorite tracks are "Wings of Steel" for it's methodical hypnotic groove, and "Ocean" for its tribal beat and sheer beauty. Both tracks supply the mind with enough added bouyancy to transcend the woes of everyday life. Anyhow, I say put this recording on your list of "must haves". Buy it , jam it in the CD player and experience a synergistic capitulation of your senses. KMR.

Slug Magazine

kaRIN & Statik return with their own record label, after remaining silent for the past few years. It is deeply introspective album and a slight change of musical direction. Those of you familiar with their previous efforts, Beneath the Skin” and “Distort,” need not fear because Collide is just as layered and well orchestrated--they just pulled back the noise, allowing for more focus on the vocals and lyrics. The only drawback the album may carry is that none of the tracks scream out to be club hits, with a massive sing-a-long chorus, but since when was that a drawback? If you even remotely like bands with female vocals against distorted electronics or intelligently constructed sound-scapes with honest lyrics this album will not disappoint.


Sex. That's what this CD is all about. Put it on before you hop in the hay, or flannel, or whatever it is you use to do the deed in, and you'll see what I mean. Collide have been around for awhile, but I'm a newbie to them really...so I can't really say if this is a departure of sound for them or not. I think it is, if the press-sheet is to be believed. Although the 'sex' part was probably always there, thanks to kaRIN's vocal delivery. She just sounds so...sultry. This time around it seems as though the music caught up. Listening to 'Chasing The Ghost' brings visions of kaRIN encased in a drool-tastic latex/leather ensemble, draped over a piano in a smokey lounge sometime in the 40's. Great atmosphere to this release. Statik is no slouch either, the music on this album is top-notch, covering a lot of ground. Hints of middle-eastern material here and there, subtlety abounds... I have a soft-spot in my heart for Darkwave. It appeals to both my inner Goth and my inner Rivethead. Collide have crafted an exceptional work with 'Chasing The Ghost', further establishing themselves as part of the upper elite in the Darkwave genre. Lookin' for music to drink wine to late at night, but tired of the same old Goth classics? Go out and grab yourself a copy of this release. Bask in it's voluptuous, seductive charms... Anguish never sounded so kinky. Psionic Imperator

Starvox Webzine

As a music-hungry teenager I ordered Collide's debut, Beneath the Skin, on the basis of one review, a good 4 years ago. This review was favorable, but the CD was also considered a disc of hit-and-miss. I couldn't disagree more on the hit-and-miss part once I heard it and felt quite grateful for whichever part of that review had convinced me that this was straight up my alley. To date Beneath the Skin remains one of my all-time favorite albums and although band members kaRIN (vocals & lyrics) and Statik (music) have supplied us with singles, a remix CD (Distort), numerous compilation appearances and several excellent remixes over the past few years, I couldn't wait to finally hear their sophomore effort.

Wrapped in a gorgeous cover courtesy of Digital Apocalypse's Chad Michael Ward, Chasing the Ghost presents itself with nine new songs and one cover version ("White Rabbit"). The first thing that occurred to me was that the often harsh and explosive sound of their debut has partially made way for a more trip-hop feel. The songs are still powerful, but thanks to dense layering it creeps up at you, instead of lashing out full-force. And what definitely hasn't changed is the lush, sensual mood and its paradoxical feeling of a beauty submerging the listener so seductively that it could please, yet just as easily kill. All of this is still the result of kaRIN and Statik's symbiotic chemistry; voices become instruments, sounds emerge like whispers, words fall seamlessly into place and the end-result is once again astonishing.

"Transfer" sounds the closest to something off of Beneath the Skin, with uplifting guitars and lovely vocals, while "Wings of Steel" turns towards the trip-hop feel that dominates most of this disc. Statik creates a wonderfully eerie soundscape on this track and its ethnic feel is present on several other songs as well, a very welcome addition to the scope of Collide's sound. The lyrics are poetic and extremely well-placed, with kaRIN's whispers sounding as creepy as they are beautiful during strategic breakdowns. One of the album's best songs, in my opinion. The percussion and loungy feel of "Razor Sharp" are also very trip-hop, but during the chorus the song gains a lot more substance and transforms into genuine Collide material. While I'm not too fond of the "Cher" vocoder effect, the song is still very good. The same effect, however, is applied much better in the mesmerizing "Frozen" and its use in "Halo" deserves mentioning as well. It's unfortunate that it has become so over-used, because Collide show that when utilized sparsely it can be very effective. (Or use it like Yendri in their lovely "Inside the Machine", where the human nature of the vocals has almost entirely been discarded.) Faith and the Muse play a significant guest role on this CD, with William Faith's guitar work gracing the delicious mayhem of "Dreamsleep", as well as Collide's cover of Jefferson Airplane's "White Rabbit". Grace Slick's psychedelic 60's anthem finds itself revamped with style and this cover shows that a gap of over 30 years of music history can definitely be bridged. Monica Richards shares vocals with kaRIN on the high-speed chaos of "Monochrome", my second favorite track on this disc. "Ocean" sounds like the ultimate cyber-age lovesong, with a charming chorus and more of kaRIN's alluring vocals, which always tend to drift on through your mind long after the CD has ended. The CD comes to a subtle end with "Like you Want to Believe", which makes me want to believe that the next album will follow sooner than this one did. ;)

The production of this CD is simply amazing and as with their debut there are new sounds and whispers to be discovered each time the disc is being played. There will only be one Beneath the Skin, but Collide can only be applauded for avoiding the "debut part 2" syndrome and continuing to push their sonic explorations. Chasing the Ghost is a perfect package of poetic lyrics, enchanting vocals and unique compositions with a refreshing mind of their own. There's no stopping it now, the band that was once the best-kept secret of the goth/industrial genre and its many sub-genres is convincingly working on making sure that mentioning the name Collide will never be met with question marks again. ~reviewed by Wolf

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Thursday, January 02, 1997

Distort Reviews


Remixes and a host of covers. Collide is one of those bands that tries very hard, either succeeding spectacularly or failing in the worst possible way. The remixes here aren't uniformly as adventurous or ambitious as the band itself, but many do well. I challenge you to recognize Son of a PreacherMan (coming soon to one of the stranger tributes I've encountered, remakes of songs from the Pulp Fiction soundtrack). Whip It is much easier to identify, and many of you probably heard it on the Newer Wave compilation. The cover of Obsession (Siouxsie, not Animotion) lies somewhere in-between. Compelling listening, if nothing else. Hit-and-miss, as all remix projects are, but with enough nuggets to satisfy fans. Look for a new album next year. That's when Collide really has to come through.


Though it pales in comparison to a stiff Kamikaze, the music of Collide, mixed and shaken, is intoxicating. This gothic-industrial duo can do no wrong. Whether they're discharging spooky lullabies, napalm cyber-metal orerotic technotica, Collide are holding a high place among the industrial elite. This disc of dubwise remixes gives little to expectation. What lurks behind each measure? Sheets of divine female crooning? Jerking guitarriffs? Mesmerizing dance hooks? Ghostly keyboard chimes? How about all four? The industrial community could use more remixes like those on Distort. Heads up to fans of melodic goth stalwarts Switchblade Symphony and anyone desiring inventive, top-shelf cyber-club music. Damn. 5 out of 5 rating. - Aaron Johnston

CMJ Issue 549

Goth/darkwave outfit Collide has just released Distort, a 14-track disc featuring remixes, cover songs, and one new track. Darker and more sinister before, standouts include the band's covers of Whip It, Son of a Preacher Man and Siouxsie & the Banshees' Obsession.


We've never gotten a chance to cover this band before, and I'm stumped as to why. Statik, the man behind Collide's machines is a veritable alchemist of electronic sound, conjuring unknown breeds of structured chaos for the next millennium, and kaRIN's sultry ethereal voice is the most unexpectedly perfect fabrication taming Statik's creations. Distort is not the new Collide album. Instead, it's the monolithic remix album we've been hearing about for months. 14 tracks in all, 10 of them are remixes by other artists, as well as Statik himself. A few of the choices of remixers come as no surprise, like Alien Faktor and SMP, or even Waiting for God and Idiot Stare. The end products of these are really not all that surprising, with the exception of Alien Faktor's Abstract Dub Fuck Mix of Violet's Dance. This is really the most innovative work Tom Muschitz has ever done. The best mixes are provided by Das Ich, whose darkwave style mix is of course breathtaking, THC's deranged goa techno mix is simply brilliant, and Crocodile Shop's eclectic electro techno mix is par for their course. The three cover songs are all as excellent as Collide's own material. The one new track, Fear No Evil, shows the duo keeping up their high standards, and gives us a taste of what's in store for the new album. Distort is further evidence that Collide is on the cutting edge of modern electronica. With just one full-length release, they've garnished legions of fans, and gained the utmost respect of their peers. Bravo! (6 out of 6 rating)

D.L.K. #4

A very long full length album by another band coming from the realm of female vocals with electronica music. It is the aggro-ethereal coalition better known as Collide, who previously released a CD and a CDS on Re-Constriction and on the German label Offbeat. Statik, the musical mind of the couple is quite well-known due to his work as a musician, audio-for-video expert, remixer, sound designer or producer with Tool, Prince, Diatribe, Love & Rockets, Michael Jackson, Christ Analogue, Marvin Gaye, Trevor Horn, B-52's, Machines of Loving Grace, Red Hot Chili Peppers, Leonard Cohen and Waiting For God. On the other hand the girl, kaRIN, provides all the songs with first-rate ethereal throatwork creating dainty and delicate voicescape atmospheres as well as melodic more easy to listen to lines. But let's come to Distort. Distort is a collection of ten remixes, three cover songs, and a new track; respectively elaborated bykey members of Idiot Stare, Spirits In Sin, Das Ich, Crocodile Shop, T.H.C., SMP and Statik himself; and (covers) coming from the original repertoire of Siouxsie & The Banshees and Devo. As you will discover, Distort is a peculiar piece of work. It is something very interesting and particular due to the unusual yet winning matching of hard dance, techno, ebm, noiztronics and electronica with such a beautiful female voice refusing every sort of radical treatments (intend this as no distortion etc) and laying over all the songs a dense and truly heavenly soft veil of tuneful taste.

EFFIGY Vol.2.1

Although not as good as Collide's work in and of itself, this collection of remixes (and cover songs) will satisfy your urge to hear more Collide until the next release. The amazing combination of kaRIN's vocal work with Statik's storming synth has been groundbreaking in this genre. Remixes by Alien Faktor, Waiting For God, Crocodile Shop, Regenerator, Idiot Stare, SMP, Das Ich, Spirits in Sin, and Statik himself, take Collide songs andwarp and distort until they are almost new songs. Covers of Devo's Whip It and Siouxsie's Obsession will bring a smile to your lips and lump in your throat. Wow, these guys are just amazing. If our feature on Collide in issue 3 did not entice you to rush out and buy their first album, Beneath The Skin, perhaps giving this a 4.5 out of 5 will. - KC


The semi gothic, semi electronic band known as Collide has made quite a name for themselves over the past two years. With music akin to modern electro and vocals likening to wispy goth, Collide have managed to merge together two separate musical entities. Distort is a 14 track CD featuring numerous remixes from their debut, as well as a pair of cover tunes (Whip It and Son of a Preacher Man), and one new track, Obsession. I was glad to see that this US release only borrowed one track from Collide's Euro MCD, Skin. That particular mix for Beneath the Skin, reworked by Das Ich, was one of the highlights on the Euro release and still retains its integrity and dark atmosphere. Other remixers on Distort include Spirits of Sin with their Egypt Mix of Falling Up, Alien Faktor with his Abstract Dub Fuck mixof Violet's Dance, Waiting For God and their Full Moon Version of Falling Up, Crocodile Shop with their Pitched Version of Black, and SMP's rhythm heavy, percussion strong mix of Strange. The oddest of these mixes comesfrom Tom Muschitz (a.k.a. Alien Faktor.) He takes Violet's Dance and really turns it around, utilizing only small vocals snippets, a throbbing rhythm line, and deep bass sounds. It's unfortunate that this is also the shortest mix, clocking it ant just under the 2 minute mark. Regenerator rework the same track, adding a certain airy feeling to kaRIN's vocals and dividing the piece into two separate atmospheres. During the chorus, this piece has a full electro feel, but during the refrains it loses the electronic elements and sounds like unadulterated goth. This CD should hold fans over until some new material surfaces, which hopefully won't be for too long.


Now this disk I fell in love with immediately. It has everything I like in goth-industrial music: hard, aggressive rhythms with beautiful female vocals. kaRIN's vocals have a sinister beauty I liken to Toni Halliday of Curve on some songs and a lot like Siouxsie on many others. Shit, they even cover Siouxsie's Obsession. They also do a killer cover of Devo's Whip It. There are a number of remixes on here. Some, such as the Waiting For Godremix of Falling Up work very well giving a very nice heavy industrial treatment. Overall, an excellent disk. Highly recommended. - David G. Barnett


I am a sucker for the female voice. There has always been something invigorating and seductive about the juxtaposition of femininity and harshness. Distort is a collection of remixes and covers for those awaiting Collide's follow-up coming out next year. Statik, who is credited with the music aspect of Collide, has worked with many of my favorite musicians, spanning from Tool and Machines of Loving Grace to Love and Rockets and Leonard Cohen. But within the confines of Collide, the music is original and seductive. Distort offers a look from the remixer's mind into the eye of talent. Every track offers liquid pleasures from the organic styled synths to the intriguing sexual voice. - Drew West

INK 19

Collide is the best of two worlds: dancefloor prowess coupled with lyrical grace. Distort, their remix CD, is a way-station between Collide's excellent debut Beneath The Skin and its anticipated follow-up. Collide, in releasing their music to a half dozen remixers, have opened their own Pandora's box and let the mutations fall where they may. Luckily, the end result, while wild and varied, was consistently excellent. For example, gabber-geek George Sarah of T.H.C. weaves vocalist kaRIN's throatwork on Pandora's Box over slipbeats, while Idiot Stare's Chad Bishop blisters feet with his homicidally danceable reworking of Violet's Dance. In all, a great collection of remixes for a great band. - Sharon Maher


This CD is basically a remix CD containing a few tracks which were released on compilations and tributes exclusively. A perfect blend of haunting vocals and heavy darkfloor. Definitely one to get. The remixes do not take away from the originals which often is the case for Remixed CDs. An exceptional CD from an exceptional band. - St. Dave


"Dreamcore" duo Collide returns with Distort, the remix version of its highly acclaimed debut, Beneath The Skin. I'm not a huge fan of remixes, but some of the efforts here are worthwhile. Regenerator, Das Ich, and Waiting For God are among the contributors. Four bonus cuts - covers of Whip It, Son of a Preacher Man, and Siouxsie's Obsession, plus the original Fear No Evil - give fans a reason to nab this disc. - Bryan Reesman


This is the first taste of Collide I've had, and let me tell you, I was impressed. The combination of Statik's techno like beats, and kaRIN's beautiful "throat work" turned me on. This is the first dance, ambient, electronica with vocalizations that I've thoroughly enjoyed. Distort starts out with a dancish Pandora's Box and goes on to faster beats in covers of Dusty Springfield's Son of a Preacher Man and Devo's Whip It. In my opinion, they are far better renditions than the originals! Their cover of Siouxsie's Obsession is haunting and orgasmic. I'm looking forward to hearing this virtually unheard of band. Thank you Re-Constriction for bringing us to the next level.


From track one this album will hook you and will not relinquish you until you have surrendered to it. The first sounds of kaRIN's siren voice will trigger a Pavlovian response of salivating and attacking anyone who mighttry and remove this disc from your stereo. Keyboard guru Statik takes on remixing five of the tracks without disappointment while other hands in the remix include Alien Factor, Das Ich, T.H.C., SMP, Regenerator, Waiting For God, and Alien Factor. Crocodile Shop's Mick Hale provides one of the best tracks with his mix of Black. Distort is an album that you will simply love forever thanks to kaRIN's inescapable vocals ranging from cooing whispers to smoky ethereal cries and just down right great music. The album provides diversity with the ambience of songs like Falling Up, Strange, and Deep and the beating thrust of Son of A Preacher Man, Whip It, Black and others, all a listener's tastes are provided for and blended unbelievably well. This isn't simply a remix album, and thank god for that. We are not offered four or five remixes of three tracks here. There are two versions Pandora's Box, Falling Up, and Violet's Dance but whoever put together the final order of this album was smart enough not to put them back to back. They were put far enough apart that while you'll realize you've heard it before you won't be thinking "Not this song again." Distort is offered as an appetizer to tide us over for Collide's album due out next year some time and if this is a snack I can't wait for the main course. - Doc Benway


Distort is the penultimate Collide remix album designed to satiate the media clamor for a new Collide release just a little longer. Unlike most remix albums which tend to concentrate on only the popular tracks from an album, Distort has more than a single remix of two tracks. This means that tracks like Black and Strange, which received little attention on the original release Beneath the Skin, get a chance to shine here. Of courseall of the various Collide compilation appearances and cover songs make their appearance as well including the Devo's Whip It, Siouxsie's Obsession, and from the Cyberpunk Fiction soundtrack Son of a Preacher Man. As luck would have it, the album is rounded out with a brand new track Fear No Evil which serves as an excellent indication of where Collide is heading in the future. Distort is certainly one of the best remix albums released in recent memory for not only the depth and extreme diversity of the remixes but for the track selection as well, making this record a definite must have.


Much anticipation was built up for this, and I think I was actually wanting just a Beneath The Skin remixCD - i.e.. Buy Skin, you dolt. The build up of Pandora's Box, remixed by Statik, is pretty amazing, with more and more things being pulled out of the box and added onto the song. The Spirits In Sin remix of Falling Up is one of my favorites, making it more sultry and surging. It's very minimal, but the open space leaves more room to hear kaRIN's voice. And never will that be a bad thing. And, stepping into the Beneath The Skin remix by Das Ich, we're treated to bass guitar. Gee, thanks! But when I heard the light saber-type sound, all was safe in Collideland. It's still the song. Crocodile Shop's remix of Black, I like, but I didn't find that it worked all that well with the vocals... but I liked the techno and electronics used throughout it. Deep, remixed by Regenerator, soothes me. Very slow and mild, it retains all the sound of the vocals and doesn't detract one bit from the sound. Very simply: Pretty.

SUB #2

While Collide was waiting for their second album - as is often the case - they offer us a remix album in sinusoidal curve. The remixers are Idiot Stare, Das Ich, Alien Faktor, Waiting For God, Crocodile Shop... and Statik,of course. In the end, it's ten remixes, three covers and one previously unreleased track. Really good, professional work. 4 out of 5 rating. - DD


These two electro bands (Collide and Waiting For God) feature female vocals and are the best that Re-Constriction have to offer among their other "industrial rock" bands. Collide have released a 14-track compilation ofremixes, cover songs and one new track (for those anxiously awaiting new material to follow Beneath The Skin and Distort). Covers include Siouxsie and the Banshees' Obsession, Devo's Whip It and their interpretation of Sonof a Preacher Man for a Pulp Fiction tribute. Exceptional remixes to note are Regenerator's remix of the already intense Deep and Idiot Stare's mixof Violet's Dance, which makes a great club track. It's wonderful to hear women kicking butt in the industrial world.- Jill Grant


This disc is absolutely amazing. Remixes from more names than I care to list breathe new life into several tracks from the group's debut album; also on Distort are three (remixed) covers and a new song. I am disappointed that there aren't more dancefloor-oriented remixes; I'd also have liked to see Violet's Dance (Abstract Head Crash mix) and Beneath the Skin (Constrictor mix). Nonetheless, Distort is wonderful and highly recommended to those who don't think "pretty industrial" is an oxymoron. Even better, it is very inexpensive, especially if ordered direct from Re-Constriction, so you've no excuse for not getting a copy. - Brian Parker

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