When the history of the retrosic starts in april 2001 with the publication of 'prophecy', no one can foresee that already the first album will enjoy considerable resonance. particularly, as during a time indicating a boom of future pop, a band, which is orientated toward harder electrics will not necessarily be a success. final evidence of the opposite is the publication of 'messa da requiem' hardly a year later. from nowhere the mini album hits the top of the european alternative charts, only to be celebrated 'record of the year' of the dutch alternative charts after three months’ holding top position. the musical qualities of the band are also challenged soon after in various remix works for bruderschaft, clan of xymox and others. thrilling results such as the remix for [:sitd:]’s 'laughing stock' to whom cyrus leases his voice mean an enrichment to the club scene in the following months. on april 26, 2004, almost two years after 'messa da requiem', retrosic’s new full-time release 'god of hell' will be published.from a musical point of view, the band presents itself full of variations as usual and seems unimpressed by the huge pressure due to expectations under which the album was conceived. harsh arrangements combined with biting vocals remain the immovable centre of retrosic, electronics meeting more exceptional instrumentalisation than ever before: in 'the storm' indian flutes open the album. martial military drums find their way and ethereal boys’ choirs rise in the final part of 'maneater'. 'dragonfire' supposedly first-ever links industrial elements with wide trombones, whereas 'elysium' apparently leaves the electronical context completely to make room for oriental rhythms. it is this song, which again features zaide’s singing as its centrepiece. finally new york’s scene veteran and mastermind of bruderschaft, rexx arkana, contributed his part to the subject of the album by accounting lyrics for the song 'new world order'. written under the leitmotiv 'destroy the world' to save it, 'god of hell' is thematically a logical consequence of its predecessor, but considers the issue globally. as far as final mastering is concerned, this time cyrus relies on the musical feel of the motivating force behind [:sitd:], alias tom lesczenski.
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