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*Premonitions is a companion piece to The Devil, and similar to the concepts of Antisleep, four extended plays filled with short instrumentals of a more electro-punk fashion. However, this new extended play follows closely with the genre the album in question; electro-industrial, with country rock mixed in and is itself a discography of re-imaginings of the songs found of The Devil. In a way, this is Bret Autrey’s equviliant of Klayton’s Transmissions (2014 – 2015) and Soundtrack for the Voices inside Head (2008 – 2016) instrumental series. Premonitions is named after the remix of The Fall, which became a free download for the fans in April 2014.
Superhero Showdown is a re-imagined take on the track Enemy, with the clunky guitar riffs and drums surrounded with new electronic sounds. The only way I can describe it, is that Superhero Showdown is like a reprise, which it shares similarities to the original, but has been dissected and manipulated into something new. Outlaw opens up as an acoustic take of Shoot ‘em up, which then comes to fuses not only the countrified Demon but also the electro-rock Armageddon, as instrumentally you can hear ‘Armageddon, come, come and get it! Armageddon, baby! Armageddon come, come and get it!’ within the guitar rhythm.
Nemesis is a heavy electronic rock interlude of Down in Flames, where similar to Superhero Showdown, Nemesis is the reprise of the dystopian narrative about the failures, mistakes and downfall of the human race, and in a way embodies the presence of the tribal drums, are a musical interpretation of our primal instinct. The Sound of War seems to be a hybrid of You’ll Get What’s Coming ft Mark Salomon and Down in Flames, mixing the songs up into its own piece, not unlike Celldweller’s mixes of The Best It’s Gonna Get vs Tainted and So Long Sentiment vs Eon featured on The Complete Cellout Vol. 1 and Live Upon a Blackstar (2011).
Cyberpunk Dominion is a dark electro-industrial adaption of Ready Aim Fire, mainly focusing on the instrumentation of the chorus, the lyrics of the title itself. Bret only mixes it up with extra drum beats, synthesizers and drone. I am the Beast, the third short track to feature Armageddon, this time using the lyrical content of ‘I am the beast’, in a slowed, aggressive ‘reprise’ of the original. I am the Beast is strikingly more mournful than the originating material, which contained evident pride and cockiness; as if the protagonist featured is now showing remorse.
Heart, the last track of the album seems to be the only new song on the extended play, however I can hear parts of The Beginning – the opening prelude of The Devil – perhaps being its musical counterpart, venturing into a soft rock/power ballad vibe. It features an operatic/atmospheric female voice, which hints that Heart is an experimentation of ambient, art rock and dark pop, as there are mild influences of Anathema and IAMX drawn in. This track alone brings a beautiful conclusion to the four year project; starting out in 2013 as extended plays in the concept of chapters, with the full album coming out this time last year.
Written for Relive the Music