First, the impeccable Eli August released his latest EP, titled The Rhythm Of One Place, recently via his website. As readers may recall, I reviewed the full length album he released last year, and this EP seems a follow-up of sorts, as well as a clear indication of the forward momentum Eli has been gaining in the musical foray of steampunk social settings and events. I genuinely enjoyed this EP a great deal. While Eli continues to specialize in his own unique brand of melancholy music, there is a clear love of music and even some musical joys in a few tracks, such as the surprisingly happy sound of guitar in “End of the Line” compared to its morose lyrics and the energy level of “The Smell of Rain” with its excellent use of strings and tight guitar chord progressions contrasted with the lyrical context of the song’s otherwise dreary message.

 

The remaining tracks of the album “Chicago,” “Vow,” and “Struggle” are clearly Eli’s staple sound – the classic melody of a man singing somber songs while strumming the strings of a beaten and weathered guitar. The good Mr. August informed me that “The Smell of Rain” makes for a good waltz dance… and I look forward to testing this theory very soon at my next gig. All in all, I think this EP is an excellent addition to the growing body of work Eli August is contributing to the steampunk music community.

 

And now to take a deep turn down the rabbit hole. From the singer-songwriter American sounds of the somber Eli August, to the retrofuturist electronic rock sound of the French band, Victor Sierra. Contrary to the name, Victor Sierra is a whole band, not just a front man. And their music is fascinating, if this is what French steampunk has to offer us.

 

A four track EP, likely testing the waters, brings us a blend of industrial, world, and synthesized music, opening with “The Killer’s Kiss.” The blending of those delicious hammer-on-steel sounds makes most anything better. I am reminded a lot of the days when I would close my eyes in a Goth club and wish people were better dressed (caveat: my Goth club was full of kids in black T-shirts and too much eyeliner. It was pathetic).

 

This opening track brings you into a soundscape of gears, industry, and dystopia in a brilliant way. Next, they blend some middle-eastern drums and multicultural flair with the second track, “Pale Golden Flecks.” It invokes a sound that reminds me a lot of the old Abney Park, but not so much as to be derivative, merely complimentary. Then themulticultural drums clash hard with the industrial beat in their third track, “Salle des Machines,” in which we are treated with the vocalist speaking in her native language. I have no idea what was said… but I liked it. I could listen to her speak in gibberish if it meant the music kept going. So much so that when this track gave way to “A Steampunk Symphony” I felt almost a bit jarred to the end of the album. Although the closing track was well done, it sounded the most synthetic, and the vocals had the most noticeable accent. It seems to me that the track had the highest concept to execute, but could likely use some minor tweaks in post-production to clean. Not to say it wasn’t enjoyable, but my favorite, easily, was “Salle” so much so that had the tracks been reversed, I would likely never have noticed anything.

 

That said, I think anyone who has a love for the industrial sounds blended with ambient sounds and world music would be remiss to not add this EP to their collection, as well as to follow them via their social networks, as I am sure if their EP is this good, their debut full length album is guaranteed to leave a mark in our community.

 

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