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Spice Girls EP
Empty Eyes single
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Whitby Promo
Flashes Of Light LP
Flashes Promo CD
The Mirror Pond EP
Disconnect EP
2001
2000

Of course we've had our fair share of reviewers that have completely missed what we're about, and that's to be expected... it's all part of sending your work out to complete strangers and asking them to judge it! But we're very lucky to have had people out there who have heard and understood. As artists, it doesn't get any better than that, and for what it's worth our sincere thanks and appreciation.
On this page we hope to provide a some examples of both the good and the bad reviews of History Of Guns releases.

MICK MERCER
One reviewer who's always understood History Of Guns since his first review of Disconnect EP has been Mick Mercer. His words have been of more help and guidance to History Of Guns over the years than he'll ever know...
We've now collected his reviews on their own page, over here: The Mercer Files

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Spice Girls EP: When You Don't Matter / Slice Up Your Wife / Forever (2009)
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review of Spice Girls EP taken from: Heathen Harvest

So here we go again, the two post punk revivalists come back at the tracks after an awesome debut album. What we have in here is their ticket to their definitive ascension; opening the doors from your ears through a smart conception of Electro went Post punk and Gothic flirts. Three tracks for the double A side will be all what the listener need to admit them inside their world. An agile despair will the host waiting and an exhilarating mordacity its speech, you’re all welcome!

The first difference with the previous album is the distance taken from the more rude punk attitude, the violent vocalizations are now replaced by a dismal voice lying somewhere beneath Ian Curtis carcass and Dave Roberts bad dreams with a particular twist as distinctive appeal. A gothic vibe is evident for the three tracks displayed, disjointed by post punk rhythms backed by a ghostly breaks and piercing electro sequences that will definitively conform the clear differentiation. Atmosphere is generally well dispensed, marked by strong synth lines like in “When you dont matter” where the electro structure is more distanced but notable. “Slice up your wife”is really contrasting with the character previously assumed by the band, it’s a pretty festive in rhythm yet typically anguished with its vocal development. The apparent tropical happiness contains a mad touch that is evidenced in the exhilarated and often frantic piano lines with the decadent disco rhythms, this is a cocaine fueled party slowed down by high quantities of alcohol. This track shows another facet from History of guns, its flirts with Disco music, an aspect that comes really interesting when in combination with their extremely hard rhythm logic and violent aural development.

Last track “Forever” is a marriage between Disco rhythms and retro electro synth lines with very solid yet bright rhythms encompassed by groovy sequences that grants a surreal tone along with some darkwave paint strokes here and there. The fact that is an instrumental just augments its exotic quality and its atmosphere that mixes the melancholy from darkwave sequences with decadent dance rhythms simply come as a vanguard track for the dance floor. Great stuff, good mutation and transgressive as usual! "
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review of Spice Girls EP taken from: The Dreaded Press
It's a peculiar feeling seeing your own words quoted back at you on a press release. I liked History Of Guns‘ “Acedia” last year, and the prospect of a return single whetted my appetite. And with three songs, it’s a value-for-money single, too.
Looking through my groaning shelves recently I noticed that History Of Guns‘ musical references are diverse and unclassifiable: I found their pretty decent Hawkwind cover in the midst of the space rock bands. That, however, is nothing compared to the sheer variety of musical forms on show in this packed collection.
“When You Don’t Matter” is a slurred Goth lament for the early 80s synthesizer bands (Yazoo, Depeche Mode, Soft Cell) with a gloomy atmosphere and a plodding depth that stands in opposition to the pop-orientated originals. History Of Guns scramble around with technology and tones both old and new, but over it all hangs that spectral voice; taking his vocal cues (as always) from early Andrew Eldritch, Del Alien inhabits the song as never before.
“Slice Up Your Wife” is a sub-three-minute slice of staggering satire and vengeful rage. Taking an allegedly ‘live’ Spice Girls song as its base, Max Rael twists the bouncy pop of “Spice Up Your Life” into a frightening and uncompromising did-he-really-say-that? swipe at media phenomena, consumerism… and the essential terror of the Spice Girls.
Apparently triggered by an overheard remark, “Slice Up Your Wife” alternates male vocals with the original lyrics, cut-ups of sound and meaning, new vocal sounds from Del and a satirical thrust that’s over a decade late. That said, it’s still the funniest thing I’ve heard in years and will undoubtedly find dancefloor favour in the few industrial/Goth clubs that remain.
“Forever” finishes up with six minutes of comedown/chill-out music featuring the (inevitably) repeated mantra of the song’s own title buried in the mix. Well, how else would YOU end an EP after the up-tempo darkly frivolous madness of “Slice Up Your Wife”? As far as I’m concerned, History Of Guns rule; you won’t hear better this year. The forthcoming album can’t be this good – but what a joy it’ll be listening to them try

(Duncan Harris. July 14th 2009)
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review of Spice Girls EP taken from: Tasty Fanzine
A weird slice or arch-neo-goth-industrial pomp that phases threateningly like it is about to spring into life then falls back listlessly into its hibernating state. That is until it kicks up a terrifying din after about four and a half minutes, sounding a bit like Front 242 being fed through a crackly AM radio signal. B-side ‘Slice up Your Wife’ is a play on the Spice Girls’ ‘Spice Up Your Life’ – not a particularly clever one at that – it just sounds like a bunch of adolescents shouting their own words down a megaphone at the local disco. All of which is more than made up for by the slick outro track which sounds more like it was formed by Underworld rather than in the underworld until a parpy, squelchy melody kicks in. Catchy and consequently inadvertently commercial in appeal.
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Empty Eyes / ...But I'll Be Waiting (2008)
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review of Empty Eyes taken from: Insiders Guides


History of Guns - Empty Eyes / But I’ll Be Waiting

I listened and then listened again, I was trying to determine if this was progress or imitation; Joy Division and Sex Pistols were screaming out at me as I heard this, no bad thing at all; indeed I positively encourage it. After several listens I was in no doubt that History of Guns have enough rawness about them to make a difference, post punk done effectively; a novelty.

Rating 7/10
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ACEDIA (2008)
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review of ACEDIA taken from: Insomnia

Yet more industrial madness from the very angry and very moody History Of Guns. This is the bands third studio album and first for new label Line Out Records, and is without any shadow of a doubt their best work to date. From the opening track, the hard-hitting and stomping 'Born, Brutalised, Bought Then Buried' what is evident on this album is that History Of Guns are now using much more guitar and far less electronica, which is a theme that runs the course of the entire album. Musically this albums sees a big change in direction for History Of Guns, but they haven't lost any of their dark edge as lyrically it's as dark as anything they have done in the past, none more so than on the thought provoking and haunting 'Exhaust Fumes'. Deep, dark and as depressing as fuck, History Of Guns have truly nailed it with this album.
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review of ACEDIA taken from: Judas Kiss

History of guns sound is a grim British inner city mix of spitefully/ chant along punk vocals, bleak often pumped-up yet tuneful metallic/ rock riffing, electronica beats ‘n’ textures as well as organic percussion, dark ‘n’ dense ambient dips and the odd pretty/ cimatic piano/ keyboard element. There’s a very really feeling of dislike of humanity and mistrust ripe through-out the album, the vocalist is either ranting and raving about how low and inferior someone is, or reeling of tales of suicide, addiction and cheating scheming ways.
The whole album really smothering you with its bad karma, hatred and bitterness. One particular track exhaust fumes details someone killing attempts with suffocating them car fumes over chugging bleak metal backbone and later on the revving up of a car engine. But through all this grim and pained feeling the tracks are well constructed, memorable, atmospheric and original.
The only thing that made me smile (which I’m positive was not intentional) is that ever so often the lead singer sounds like Harry H Corbet doing his Harold Steptoe voice. Anyway all in all a creative slap in the face of mean spirited yet tuneful English rock with atmospheric and electronic touches.
Roger Baggy
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review of ACEDIA taken from: The Mag

History Of Guns - Acedia LP (2008 - Line Out Records)
Some very scary artwork accompanies this very scary electro-gruff-rock (with hints of metal) album that harks at an eighties industrial influence. At its best when the beats and guitars drive it along and at its worst when the beat goes missing - often demonstrates both within the same song. Don't read the lyrics if you have a heart condition. 6/10.
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review of ACEDIA taken from: Sonic Curiosity

HISTORY OF GUNS: Acedia (CD on Line Out Records)
This release from 2008 offers 43 minutes of angry rock music.

History of Guns is: Del Alien (on vocals) and Max Rael (on guitars and machines), with Gary Hughes (on drums, guitar and bass), Stagger Lee (on bass), Daniel Vincent and Fester Schuster (on additional guitar).

Harsh electronics mix with fierce percussion and blazing guitars to achieve a sonic fury that can be quite entrancing.

The guitars establish a wall of rage, delivering grinding chords that burrow into your ears with feverish determination and infect your cortex with a discontent for apathetic acceptance.

The electronics are dark and vehement. Savage waves of keyboard instigated sounds assault the listener with dire sweeps that wash away shock and pave the way for the lyrical messages of social rage.

The percussion is brutal and relentless, achieving rhythmic patterns that are capable of penetrating steel bulkheads.

The masculine vocals are overtly confrontational, sparing no respite in the pursuance of imparting their incensed missives. These communications refuse to be ignored or brushed aside as fringe voices.

These compositions express nihilism through overt tuneage. The band’s displeasure with life will touch familiar notes with many people as they articulate rage against the way things have become. The songs crystallize this sentiment with cruel intensity, producing angry anthems that are fascinating and mentally stimulating. This music advocates a desire for widespread change more than wanton destruction.
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APOPHENIA (2006)
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review of APOPHENIA taken from: Gothic Beauty

HISTORY OF GUNS
Apophenia
Liquid Lens

One could, conceivably, sum up this album as "techno beats, dubs, synths, and samples for the thinking man." On History of Guns' second album, Apophenia, Max Rael, Del Gun, and Fester Schuster (along with a myriad cast of guest musicians) de-construct and re-construct traditional implements of industrial, tribal and more. This elevates the overall effect to a much more intelligently designed collection of cuts than some of their experimental contemporaries. Fused to the music are relevant thought pieces and samples - as their name suggests, so do their songs express. Check out 'Battle of the Bands', and 'Divide and Conquer' for a taste. (Jessika)
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review of APOPHENIA taken from: Cool Noise
: History Of Guns are not a band who believe in compromise. They have a bleak world view and if you need a break from the monotony and compromise of everyday life you can immerse yourself in this world of pain.
This album represents a change in texture mainly because they have added a guitarist and left behind the purely synth work. It does add a little bit of humanity to their sound compared to earlier works. Death Of A Nation begins proceedings and it's almost a new mellow Guns. There's guitar twangs and the music is more melodic than usual. The next track Your Obedient Servants was on the Whitby Sampler album so it is already one of my favourites. I affectionately think of it as Dickensian Punk - the cheeky barrow boy detailing the difficulties of existence while the chorus is Bill Sykes expressing obedience with a demeanour that tells you he will slit your throat that night.
From I Am/You Are on, we descend into the deep abyss of despair and darkness. Sonic attack time. Battle Of The Bands is History Of Guns meeting The Sound Of Music (I kid you not) and I think you know who wins. The History Of Guns track is an extended jam. It throws in samples from the albums songs and mixes everything up - but it is all based on a Thrash Fest of guitar and drums. "The History Of Guns will blow your brains out", as they say.
It's your choice: either you want music to take you on a journey into dark places, or you don't. With Apophenia, for 46 minutes History Of Guns will drag you through their Gothic world. It's a hell of a trip.
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review of APOPHENIA taken from: Music Extreme

This is with no doubt a weird band. It is almost impossible to classify their music. In fact I can hear elements of punk, metal, gothic and also some industrial in some parts. Weird, isn´t it? Despite all this influences they have managed to create direct compositions with harsh vocals and direct rhythms that make their listening accessible. There is use of clean and distorted guitars that set different moods along this recording as happens in tracks like "I Am/You Are". And there is use of different vocals and vocal harmonies that make each composition original. The recording has a raw and direct sound that gives more weird feelings to the listener, specially when some guitars with wah wah appear really loud in tunes like "I Am / You Are". Pure experimentation.
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review of APOPHENIA taken from: Adrian Denning
: History Of Guns : Apophenia 8
*Death Of A Nation / *Your Obedient Servants / I Am - You Are / One In Three / Apophenia / Divide And Conquer / *Does Anyone Remember The War? / TV Spotlight / Battle Of The Bands / History Of Guns / After The Breakdown 'Flashes Of Light' was a brilliant LP and i'd recommend anybody track it down. 'Apophenia' is the follow-up record and i've been rather looking forward to it. Well, let's face it. There is no underground scene anymore, in the old 'indie' sense. Bands like History Of Guns are out there working away, creating decent music and provide a genuine alternative. It's difficult though when you get to know the guys in a band, in whatever small way ( eg, through correspondance relating to promo copies and reviews ) to break the news that I prefer 'Flashes Of Light' to 'Apophenia'. However, that's not to say 'Aphoneia' is without it's merits. More a compliment to 'Flashes Of Light', i'd say. Still, History Of Guns continue to show their invention across this second full-length LP. Interesting percussion abounds, the actual sound incorporates lots of variation. For example, we've the usual History Of Guns industrial sounds, but mixed with a house line. Mixed with dance beats. Mixed with heavy-metal sections. We've entire tracks such as 'Does Anybody Rememember The War', a track full of percussive patterns upon which the vocalist repeats the song title and Basel Fawlty, John Cleese from Fawlty Towers, pops up at a certain point to add his two-pennies worth. It's scary and unsettling fun. A couple of tracks on this album remind me almost of a lo-fi industrial version of The Fall, an intriguing sound to hear that once you get your head round it, actually makes perfect sense.
My pick of the pops so to speak from 'Aphonenia' is the marvellous 'Death Of A Nation', which I'll spend a short time discussing. Sounding initially like a cross between early 80s Cure and The Sisters Of Mercy, the guitar and beats combine with the vocals to create an hypnotic effect. The vocals are low, mumbled and growled. All the different elements of the track combine perfectly together. It's also got a hell of a tune, so that's good. Listening to 'Aphophenia' as a whole reminds me of how far History Of Guns have come since their early singles and EPs. They've come on in leaps and bounds in the way they put their songs together. They always were an enjoyable and inventive band, but they've now reached a level of higher acheivement they should be proud of. Another good album from History Of Guns? Well, yes, of course it is. Go out and buy a copy for yourself today. Buy 'Flashes Of Light' while you're at it, too. Be warned though kids, History Of Guns are gonna blow your mind...
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review of APOPHENIA taken from: Heathen Harvest
: And I thought their last release was impossible to classify... Apophenia certainly picks up where Flashes of Light left off. We find the group giving a slightly more rock direction a try, but not by any means leaving behind their many electronic influences. This album seems to focus more on mixing it up with actual beat programming rather than more industrial sounds. This sounds like more be-bop styled trip hop drumloop work that I've heard. Moments of gabber with atmospheric and melodic guitar work also take the stage for this release.
The truth is, History of Guns has a far superior production sound than almost any self-produced industrial goth rock band out there. They don't really match up with those bands though as they even manage to avoid categorization in that side of the electronic field. They stand on their own for the most part, a genre to themselves. Or rather they perhaps are a combination of every genre you could think of involving electronic music besides perhaps poppy bands like Bond. Certainly inventive, but more profound in their ability to mix and match genres effortlessly. It doesn't seem like they're trying, or having to force any music out of their systems. It all flows incredibly well.
Just as with Flashes of Light, I highly recommend this release, though I personally confess to having enjoyed Flashes of Light more. The only thing that is hard to get used to is the voice. Its a bit less gothy than before and sounds almost chaotic and random this time around, much like moments in the song history of Current 93 or Nature & Organisation, but more punk-influenced. This is especially apparent on Your Obedient Servants. It would be nice to see them enter more harsh territories, but their music already goes all over the place so I shouldn't really complain!
- Sage
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review of APOPHENIA taken from: Sonic Curiosity

HISTORY OF GUNS: Apophenia (CD on Liquid Len Records)

This CD from 2005 offers 46 minutes of hard-edged songs of social dissatisfaction.
History of Guns is: Del Gun, Max Rael, and Fester Schuster. They are joined on this release by the Goose, Hughes the Reverend, Kyle Reece Gilbert, and DJ Russell Osborne.
Anger is vital here, and highly infectious as the band communicate their discontent through catchy tunes and raging melodies.
Pulsating rhythms crowd together until the intricacy becomes exhausting. Grinding guitars belt out furious riffs that snare the ears with their devilishly enticement. Liquid bass provides murky undercurrents of rumbling that serve to unsteady the ground underfoot. Overt electronics end up adopting a darkwave mood as they seethe deep within the mix. Keyboards are rare here, but when used they inject a funeral air to the gritty music.
Deeply masculine vocals croon and growl and rant against corrupt authority, whether that be self-serving governments or ill-informed parental advise. The messages are not just angry dissent, though, often providing depth and insight into the conspiracies that blind the average citizen to the world around them.
This band is devotedly opposed to the privatization of freedom. This sentiment pervades each song, lamenting oppression and condemning corporate distractionary methods that perpetually trivialize important global concerns while reminding you to keep your breath sparkly fresh and minty.
While most of the songs derive strong influences from punk, these roots are forced into more refined delivery with slick production and modern technology. Imagine if Bauhaus reformed and were more concerned with politics that the undead.

(c) Matt Howarth
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WHITBY OCTOBER 2004 PROMO (LTD EDITION)
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review taken from Music Extreme
HISTORY OF GUNS - WHITBY OCTOBER 2004 PROMO
Label: Liquid Len recs
Year: 2004 Country: U.K.

Really weird sounding music. Starting with "Random Death Bag" with a really distorted guitar, programmed drums and some spoken vocals. This is a music difficult to label because it is extremely original. It has elements of pure rock, some guitar riffs that sound really heavy and vocals that go beyond description. The good thing is that songs are memorable because of the way vocals are delivered and because of the keyboards parts. programmed drums are essential here to achieve the History of Guns identity (even if in some tracks there is a real drummer). Track "Hystory of Guns in Session" is pure drunken rock in more than eleven minutes of madness. An album for lovers of original heavy rock and powerful music.
Produced by Hystory of Guns
Contact: www.historyofguns.com or www.liquidlen.co.uk

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review of Whitby Promo October 2004 taken from: Cool Noise

Whitby October Promo - November 2004

History of Guns have very kindly sent me a promo for the Whitby Goth get together. It confirms my opinion that this is a band to be reckoned with. It's mostly a retrospective/best of from The Flashes Of Light and previous EPs. It's great to hear Pattern Death again and some of the earlier work is stupendous - Fact has the most amazing, hysterical sample in the beginning and then matches it with the music that follows. Reconstructing Terror from 2001 is half guitar thrash, half electronica fest, and half doomy Goth diatribe (and yes, I do know how fractions add up normally).

You know, I was beginning to wonder whether maybe I was just getting into normal Goth - that my admiration of the dynamic rhythms and doom laden lyrical outlook was just a general liking for the musical form. Okay, the best sleeve notes in the known world would have helped e.g. 'The unavoidable decline to infirmity and death. As skins grey and organs fail, your loved ones die and society considers you nothing but a burden.' And then I left the tape in the car and my wife listened to it - she has good taste in music (less obsession with the obscure than me) - and she thought it was really good. So, I'm not alone in thinking History of Guns are special. My particular interest with this CD is the track from the next album Apophenia. I had heard HoG had been joined by a guitarist and I was worried because I loved the synth work. The track previwed on this promo, Your Obedient Servants, is a lighter feel than before but is a classic punk track - Patrik Fitzgerald backed by Crass. The next History of Guns album is something to look forward to.

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FLASHES OF LIGHT LP
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review of Flashes Of Light LP taken from TELETEXT
HISTORY OF GUNS - Flashes Of Light (Liquid Len) - album

We at Louder first got wind of this Hertford-based outfit late last year, and boy have they delivered.

Flashes Of Light is, for lack of a better word, destabilising. The listener is encouraged, by means of industrial-ambient torture, to rid their head of any shred of positivity, optimism, and joy, and infect the soul instead with a vacuous nothingness ready to consume one and all.

Scary as hell, but just as fiery.
3.5 / 5
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review of Flashes Of Light LP taken from Grave Concerns

Artist: History of Guns
CD Title: Flashes of Light LP
Label: Liquid Len
Reviewer: Joshua Heinrich
Date: 12/21/05

Following up a handful of EPs and a demo release, Flashes of Light LP, History of Guns' proper full-length debut, is an interesting eight song musical excursion that walks the line between electro-art-rock, slightly more straightforward dance/electronica, goth rock, and electro/noise-industrial (or, as the band describe their sound, "post-industrial goth"). Vocalist Del Alien, with his throaty goth timbre and blend of Ian Curtis and Bowie inflections, speaks, whispers, sings, and leads the way over slightly chaotic landscapes of shuffling electronic dance percussion, brooding piano, industrial noise undercurrents, electronics that swirl and shimmer, moody melodic synth passages, and real rock instrumentation.

Throughout the album, the band creates a stylistically interesting, ever-changing world, one where the straightforward electronica number "Pattern Death" is followed by the sparse Bowie-esque piano balladry of "Blown". The album's four-part title track, each part a ten-minute ever-evolving opus, makes up over half of the disc's running time. The goth rock standout, "Going Hollow", is a lo-fi, stripped down affair rebuilt with dense, swirling layers of noise just below the surface, with the strong, semi-chaotic goth dance number "Learning Curve" rounding out the set.

At first, particularly for those with more mainstream or coherent musical tastes, History of Guns' Flashes of Light LP may be a bit difficult to digest, stylistically unstable and filled with massive, intricate compositions. However, it's an interesting and diverse offering that will likely reveal its depth through further listens. Still probably more likely to appeal to those with musical tastes that are relatively left of center, it's a nice stab at genre-blending and experimentation that's resulted in something rather unique and quite worthwhile.

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review of Flashes Of Light LP taken from: Sonic Curiosity

This CD from 2003 (sic) offers 54 minutes of socially outraged goth rock.
History of Guns is: Del Alien and Max Rael.

Growling keyboards and scuttling electronics conspire to achieve an ominous soundscape of aggressive portent. Agile E-perc pitter and thunder throughout, punctuating the dark flow with catchy rhythms. Traditional drums and acoustic bongos contribute to these tempos, delineating a blurring nest of beats that is as relentless as it is angry. The electronics are angry too, hissing with breathy sighs and crackling with dangerous textures.

This music excellently conveys a brittle discontent, but where most goth rock concerns itself with emotional ennui, these songs address social oppression. Where's the victory in eternal love if you can't pay the rent, or the bus is always late, or you starve on a diet of nutritionally-deficient burgers? Life is far too short to waste it struggling to maintain an unacceptable status quo.

The vocals are gruff with masculinity, lamenting the downfall of cultural freedom and condemning the rise of corporate greed. These sentiments are timeless, but so are the inequities forced upon the public by the mortal powers-that-be. The difference is that History of Guns seeks to reassure you that your plight does not go unnoticed, that your dissatisfaction is universal, that there is a cure that lies within each person.

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review of Flashes Of Light LP taken from: Hard Wired

Given HOG's steady improvement in their musical skills over the past year or so, I have been looking forward to this release.

And now it's here, what does it give us?

Well, before I go on, I want you to be up to speed with the HOG sound – it's like nothing else that's out there right now. It's not electronic, it's not traditional Goth, and it's not Industrial. But what we have here, is a mixture and fusion of all these styles, and with a bit of Punk thrown in too, not to mention some heartfelt depression. 'Post Industrial Goth' is the label that best sums it up!

Given the tracks on this album, I feel safe in saying that you’d be hard pressed to find these filling a dance floor at your local club – this album is for pure self indulgence only.

The overall theme is a depressing one – talk of genocide, disease and depression are rampant here – the male vocal monologue over the music is talking to 'you' all the time, making this a very personal listening experience.

But it works so well – the vocals over the samples and loops never get boring. It's like listening to some bloke down the pub, telling you his thoughts and views on a world gone mad. Compelling listening! Maybe mix into this a semi theatrical presentation, and you've pretty much got the idea.

What strikes me about HOG, and this album in particular, is that it is truly 'alternative' – I can think of no others that sound like this band (maybe I've missed someone out, but I don't think so.), and that's what makes this album so damn special.

Okay, back to the music. A strange format here, as the album opens with two 10 minute long tracks ('Flashes of Light' parts 1 and 2). Each of these tracks changes pace and tempo throughout, leading to mild disappointment when they’re over. We're then given 4 'normal' length tracks, and then it's back to 'Flashes of Light' part 3 and part 4 – each one 9 minutes long.

Not sure what the reasoning was behind these, but it works well, making the 54 minutes running time of the album fly by – you really do get dragged into it.
I'm sure HOG will not be to everyone's taste, and some may question the 4/4 score we’re giving this album, but it is truly 'alternative', and well put together. Thought provoking, catchy (the excellent track 'Learning Curve' testament to this!) and depressing all in one. What more could you want. We like this!

4/4 Keith Elcombe

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review of Flashes Of Light LP taken from: Cool Noise
The press release says 'In one hundred years everyone you know will be dead' and 'no one really loves you and you will die alone'. This is not designed to put me off, since it was once commented after an interview on Slovak Radio that I was a Nihilist - I didn't have the heart to say to the interviewer that I didn't even believe in Nihilism.

Truly strange. One of the most interesting explorations of the dark side of electronic Goth I have ever heard - the only one actually! Sublime electronics, scary vocals - and some moments that sound so naff it's hard to believe. There are moments on this album that make the blood run cold. I had been struggling to describe it until I played it very loud in the car coming home from work on Friday. Over the hour of listening, the sky darkened, the rain fell and it all made sense.
Dave Home (COOL NOISE)
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review of Flashes Of Light LP taken from: Moving Hands
History of Guns "Flashes of Light"
Format: CD/Album
Online date: 14/10
Label: Liquid Len Record s
Genre: experimental, alternative

3/10

We're all fond of underground experiments aren't we? But this is either beyond me or just a sampler/sequencer after party held way too late after way too many beers gone wrong (it must have been an awful night out since not only did they record it, sometime later, perhaps during the following hangover, it was decided that others could enjoy this on some level and subsequently it was pressed and distributed).

There are so many things that are wrong here. "Flashes of Light" is an eight song expose and plunge into digital production that, while it occasionally glimmers and shines, at least as often degenerates into swift shifts of patterns, volume and what not. Gloomy, dark and orbiting in a rather seductive way one minute and collapsing into nonsense only to return with powerful strings the next beat – and this is just the opening song. Uneasy listening for the schizophrenic I'd call it and suggest that some has a look to sort out what is a slight case of fitting to much sound onto too few songs.
/Fredric Düring
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review of Flashes Of Light LP taken from: Adrian Denning Album Reviews
Flashes Of Light 8½ ( 2004 )
Flashes Of Light - Part One / Flashes Of Light - Part Two / Going Hollow / Pattern Death / Blown / Learning Curve / Flashes Of Light - Part Three / Thunder In The Airwaves (Flashes Of Light - Part Four)

During the past ten months out of the three years i've been running this web-site, my daily hits average for the site as a whole has nearly doubled. History Of Guns were one of the very first bands to send me a CD through the post. These days, I get a lot of rubbish sent to me by all and sundry, I get to hear a lot of new music and I still buy a lot of new music. CDs cover the walls of my bedroom and organising them is proving to be more and more of a difficult task. At this point, you may be wondering what any of this has to do with History Of Guns. Well, I've stuck with them. I've been waiting for a full length album from Max Rael and Del Alien ( aka History Of Guns ) for quite a while now, and it's nice that it's arrived. It's even nicer that it's better than i'd dared have dreamed from listening to their 'Disconnect' EP several years ago. Of all the new albums i've listened to this year, happily, this is right up there with the very best of them. A big plus is the fact History Of Guns have a sound, and that it's an original sound. They also cover a lot of ground. 'Flashes Of Light' has serious material lyrically, it has a theme running through it ( the title song has been split into four parts ) and covers everything from goth industrial through to pumping dance beats.

The opening two parts of the title song account for the first twenty one minutes or so of the album, a good third of the album. It really works though, the opening part has dark melodic keyboard lines and quite frankly astonishing vocals and lyrics that within the context of the soft electronic beats and keyboard lines, work very well indeed. It's the finest thing they've ever done. 'Flashes Of Light - Part Two' continues from this. Being two lengthy songs, it's remarkable that you don't for a single second lose concentration. This is very atmospheric music, the combination of keyboard/electronic textures with the distinctive vocals and interesting lyrical material consistantly keeps a listener interested. Both 'Going Hollow' and 'Pattern Death' continue with a high quality for the album. 'Pattern Death' is the one with really pumping dance beats. Marrying that to gothic lyrics/vocals is quite something. I think I mentioned this in an earlier review, but the vocalist really does have a voice that's, well, it's unusual. I'm a big fan of unusual distinctive vocalists, because if you care to think about it, that type of vocalist, the I love or hate it type of voice - usually produces the most interesting results. It certainly attracts a more dedicated fanbase. Generally, it means people care more. I'm starting to care more and more about History Of Guns because they've produced the single most startling album i've heard so far during 2004.

'Blown' is a piece based on dark piano patterns, 'Learning Curve' initially sounds like it's about to burst into a catchy sunshine pop ballad, but happily for everyone it doesn't. The closing two parts of the title song also close the album, things get a little strange at this stage. They experiment with musical sounds, with more avant-garde moments, with samples of voices and noise, etc, etc. Switching to the final part, very attractive piano patterns, astonishingly deep intoned vocals intoning what exactly? Well, all kind of intriguing things, basically. Buy, listen and enjoy. History Of Guns may not be extensively featured in lavish, glossy music magazines as yet, but on the evidence of this, their debut album, they certainly deserve to be.

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review of Flashes Of Light LP taken from: Live 4 Metal
History of Guns - Flashes of Light (Liquid Len) Review by Crin
Electro Goths, History of Guns have been lurking about the melancholic hinterlands for a few years now. The band have released numerous self financed cd EP’s, all of which fall into a category that to rationalize would be to decipher insanity itself. You see, History of Guns do what they do without any regard for current trends or guidelines. The electronic synthesizers, spaced out sound-scales and bereaved vocals that hark back to the Sisters of Mercy, emanate from main driving force of Max Rael and Del Alien. Max, being the composer of all this slothful, depressing music and Del, the harbinger of desperation and imminent demise.

This new offering is a long, lumbering journey into a nightmarish world where psycho-morphean images collide with acid induced aural chaos. Sleep becomes necessary to understand the very nature of the compositions. Shimmering keyboards, swaying moog, off centre harmonies and a distinct misery underpin each track. Guitars add depth to the occasion and rather oddly, there is no bass guitar to be found. The atmosphere transcends any suffering one could imagine listening to the most harrowing Doom release. The music here makes the chronic gloom of Sabbath and My Dying Bride seem warm to the touch, and that is a very important point. Whereas the likes of the aforementioned Gods of gloom carve vast immediately illuminating music wrapped in recognizable aural discomfort, this in comparison lacks any instantly welcoming melodies or digestible tones. Here lies the challenge so to speak. To actually consume the albums duration is almost implausible considering its discordant static atmosphere and deliberate emphasis on pissing you off. I would suggest this album will gnaw at your mind if you have the care to listen. It is a dreary rhapsody that seeks not to enchant you, rather propel you across emptiness itself. I found the experience unique, though gruelling. The 70 odd minutes is maybe far to long. The album itself is expressed within the first 30 minutes and thereafter you are just dragged further down, trodden deeper into oblivion. www.historyofguns.com

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FLASHES Pt1 PROMO CD
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review of Flashes Of Light - Part One taken from: Metal Hammer
THIS is by far and away the oddest demo we've heard for some time. It consists of a single track called 'Flashes Of Light' which starts off in a wash of ambient electronica in the vein of Future Sound Of London, with what sounds like a Muslim call to prayer. This is just an appetiser to a slab of dirty and gothic dark wave techno which also features the kind of crunchy beats and drug freaked tweaks that wouldn't sound out of place at a Chemical Brothers gig. This is oddly brilliant, like a goth metal Underworld and ever though HOG aren't quite there yet, they've got the potential to make a truly unique record.
7
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review of Flashes Of Light - Part One taken from: Cool Noise
History of Guns are Max Rael and Del Alien. They are based in Hertford in the UK and are described by their record company as Post-Industrial Goth. This is a promo track from their soon to be released album Flashes Of Light.
I'm not sure I'm attracted by the description 'Goth' but I am addicted to this 10 minute track. I have to play it twice a day. It's dark electronica topped by vocals that sound like a deep-voiced, sick, David Bowie. The beat programming is good and topped by an episodic development of the song that starts fairly disjointedly and leads to a long section of lush melodic synth notes topped by the strange yet attractive vocals. Dark and disturbing, maybe, but it also has flashes of melody and inspiration. I can't wait to hear the album just to see whether they can come up with anything quite as brilliant as this.
The good news is that History of Guns are giving away free copies of this CD (while stocks last!) to anyone who emails them. Check out their website
(Dave Home - Cool Noise)
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review of Flashes Of Light - Part One taken from: Raw Nerve

HISTORY OF GUNS
"Flashes of light - part one"
1 Tracks 11 Mins

1. Flashes of light - part one
Taken from the album "Flashes of light"

This eleven minute track is part one, a taster for the Flashes of Light album. Starting off beyond odd with a mix of Future Sound of London, The Orb and Jean-Michel Jarre style electronica and mixed with David Bowie and Bauhaus-esque vocal weirdness, this piece, and this project intrigues. Lots of nice delays and reverbs are aided by shooting stars recreated in sound, and followed by a nice chunky bassline and suave drum line. The track morphs quite a lot throughout, with changes of pace, mood and bizarreness every couple of minutes almost as if four or five separate tracks are joined within this one.

Maybe too broken up to be called one piece in fact, but still it works, and with more than just a little David Bowie, and also Andrew Eldritch of Sisters of Mercy's vocals stylings noticeable later on, I think the picture is painted.

Nice production, shimmering and smooth, and full of nice subtle sounds flickering and dashing past.
(Paul Preist)
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review of Flashes Of Light Pt1 taken from TELETEXT
"HISTORY OF GUNS - Flashes Of Light Part One (Liquid Len)

Quite what goes through the mind of someone willing to create the 'music' HOG do is certainly lost on me.

Weird doesn't even begin to explain 'Flashes…'. Adopting the spartan electronic leanings of Future Sound Of London and Orbital, and fuelling them with the stomach-bug industrial psycotica of early KMFDM, it's a confusing, yet bizarrely compelling journey through the backwaters of a very, very disturbed soul.

Bring on Part Two…
3 / 5 "
(Kristian Barford)
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review of Flashes Of Light - Part One taken from: Hard Wired
Artist: History of Guns
Title: Flashed of Light Part One
Genre: Post Industrial Goth
Format/Catalogue number: Single track Promo CD
Label: Liquid Len Records
Date of review: February 2004

Eek! This had got lost amongst a pile of other albums, and as a result, is a bit out of date now, what with the full album released on the 23rd of February this year. But a late review is better than no review eh?
Well, as you’ll know, Hard Wired has covered HOG since their first release some time back now, and with each release they get better, musically stronger, and more together. This one track outing had me stunned as to how far they have come since their last EP – this release, while in keeping with the HOG sound (semi-punk-industrial-goth-fusion), is head and shoulders above their earlier work, The sound and melodies are very tight, and the vocal/music balance is spot on.
The track is a mixture of ambient, melodic tunes. A bit electronic, and then a bit Industrial, with a bagful of electronic noise thrown in for good measure. This works, and I cannot wait to hear the album when it’s out.
Across the 10 minute span of this track there are a full range of musical styles, but it builds well into a complete and competent track. Best thing of all since the last HOG release, is that the balance of the vocals to the music is finally accessible to all. The past approach may have alienated some, but not this.
Nice one lads. Here’s to hearing the album!
3.5/4
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THE MIRROR POND EP
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review of The Mirror Pond E.P. taken from: D-Fleshed Zine
HISTORY OF GUNS - THE MIRROR POND E.P.
Liquid Len Records, 2003

"You're not set in stone, don't stand alone, you're screaming inside with no place to hide. Confusion. This world is fed on confusion'
A famous author once wrote that he who can write an honest work will write a masterpiece. History of Guns are an honest band. Not in the usual sense of conforming to genre formulaics or upholding the embarrassing clichés which dog much of Metal music; History of Guns function at a far more immediate level, exploring the trials of a post-modern existence in a haunting musical exposition.

Such a portrait requires the blurring of barriers between thought and composition, as themes are drawn from painfully close to the heart rather than the safety of an external source. Whereas much modernist writing struggles to represent the inner conscience through the confining medium of text - Stein, and Joyce in particular eventually wholly abandoning traditional grammar - History of Guns, like Godflesh and Whitehouse before them, have realised the advantage of expressing such an inner world aesthetically, through music.

As with most great (and make no mistake, this is indeed great) records, the spark of genius is ignited through contrast. In this case, the fragmentary, stream of conscience style lyrics are narrated over an often serene and soothing backing of industrial minimalism. Del Alien's vocals are afforded a heightened poignancy and realism by the unashamedly english diction, sounding brave and fragile in their quirky exploration of inner fear, realising, 'this isn't how it was supposed to be, they force me away to their world'.

'Compassion Fatigue' deals with the dilemma posed by Ford Madox Ford's 'Soul Of London', which forces one to 'pipe one's own tune' over the background of suffering, pain and detachment which comprises the modern metropolis. As is so aptly surmised here, 'you can't care about everything, so what you gonna care about?'. Only cold detachment seems a viable choice.

The title track is the album's masterpiece, brilliantly using the myth of Narcissus to challenge contemporary society into taking responsibility for itself, almost accusative in its stating, 'it's your age'. The Mirror Pond casts a reflection of our own making, distorted by the confusion of the endlessly fragmented narratives which form the constructs of our daily lives, exemplified in the hollow proclamation of victory - 'I'm already on T.V.' - offered by the closing track. This work challenges the very concept of self-identity by narrating from the perspective of the pond itself, and in a moving climax concludes, in true post-modernist style, that everything is 'fed on confusion'. There is no over-arching narrative or Hegelian history, only the detached, media-driven world in which we find ourselves. What answers can we find? We are guilty of '....', as the album concludes, bringing us through a self-examinatory journey to this point of realisation, profound in its complete nothingness, challenging the listener to complete the line himself.

History of Guns have matured into a truly special band. Likely to provoke hugely divided reactions, this work is delivered with an endearing subtlety and quiet intelligence which is wholly free of pretence, scene politics or arrogant posturing. Seemingly unspectacular upon first listen, The Mirror Pond rewards with each repeat listen, growing into a haunting musical and even spiritual journey and, dare one say it, moves towards the realm of genius. The most promising and original British band currently active, bar none.

Rating: 10 / 10
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review of The Mirror Pond E.P. taken from: Demo Universe

On their third release, UK-based History Of Guns serve up an adroit mix of elegance and ugliness, chaining together the melodramatic proto-goth of Bauhaus and Joy Division; the harsh guitars and jackhammer beats of industrial rock; and the sleek, shadowy grooves of Portishead and Fatboy Slim. Inventive and cool, worth seeking out.
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review of The Mirror Pond E.P. taken from: Meltdown Magazine Issue 16

HISTORY OF GUNS
THE MIRROR POND EP
genre: goth/industrial

This latest EP from the unpredictable Hertford trio sees a few changes in style - most notably a shift towards more industrial, with a slightly more electronic sound usurping their old guitar-rock approach, plus a few more melodic moments and a little less vocal aggression in places. But then it's also got songs like Compassion Fatigue - which sees vocalist Del back on centre stage, raging against the world (in a voice that's a little reminiscent of the late Ian Dury.)
Whereas the last EP, Disconnect hinted at good things to come, this one has definitely started to deliver them - from start to finish, it's a far more polished affair. The only frustrating thing about them is that they're still entirely a studio band - and while it works well on CD, the music and attitude they showcase here sounds as if it could make for some very impressive live shows!
4/5 - James White
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review of The Mirror Pond E.P. taken from: Hard Wired
Artist: History of Guns
Title: The mirror pond EP
Style: Post Industrial Goth
Label: The Liquid Lens Recording Company
Back in October last year, we heard the first outing by HoG, and I have to admit, my boat was not rocked. (See our Archive Reviews section)
Well, five months on, and we now have 'The Mirror Pond EP' – another 5 tracks from the band who class themselves as being 'Post Industrial Goth'. So what's new, if anything?
It's amazing what five months can do for a band. This release is musically much more 'together' - the addition of bassist Kevin Gerrish has given the music a more 'funky' feel – and there is more competence behind the music, making it more accessible than the last release.
Lyrically, it's still that 'punk' influenced sound, but toned down a bit. Track one, 'Moonburn' is a good track to start this release off with, as it's mellow, almost dreamy style is quite accessible - the quiet spoken lyrics over the top of the music works well. The next track, "Compassion Fatigue", is return to HoG form – in your face vocals, that are off key with the music, giving us that disjointed feeling again – the punk influences all too evident here. The third track, 'Mimozine', is very melodic, rhythmic, and laid back, with those vocals standing out from the music again, building up into a more frantic number, that manages to keep the rhythmic flow going throughout.
The last two tracks, "Skin can't breathe" and "The Mirror Pond" follow on in pretty much the same vane, and in some way you cannot help but feel that HoG have found their 'sound'. It's a hark back to the days of typically British punk.
Whether this release does anything for you or not is neither here nor there. In my mind HoG are one band who take note of comments and criticisms, and work on their material. This release, while not superb, is a step on from earlier work, and it would seem that the band are making inroads into forming their own niche. Keep it up guys!
Keith Elcombe
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review of The Mirror Pond E.P. from OSIRIS
a cool little slice of a soundtrack to a nuclear holocaust. vocals for some reason are reminiscent of Ian Dury, make of that what you will. nicely done mix of industrial guitar and noise with an almost hypnotic trancey beat and backing. the production would definitely benefit from a bit more work on the bass and distorted guitar sounds at the recording stage - the backing sounds well mixed and thought out, getting the sound of the bass and guitar to a similar level of production would enhance the sound a lot.
overall, one likes. consider history of guns approved. great name too, a rare thing in these days of mass-produced "The Insert-Random-Word-Here's" being thrust upon us by NME.
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review of The Mirror Pond EP taken from Vision Thing
It's been quite a ride for History of Guns since we reviewed their last CD. Acclaim across the board appears to be the order of the day for these boys. From the evidence presented of their latest CD 'The Mirror Pond EP' looks like this following looks like it can only grow. The production values this time are far higher, with tracks like 'Moonburn' hinting at a more trance-like dance friendly sound. High point for me though was the unnamed sixth track on the CD, which is all industrial feedback and circa '83 hammerhead beats a'la Killing Joke. Could History of Guns turn out to be the male fronted Curve for the noughties?
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review of The Mirror Pond E.P. taken from: Raw Nerve
HISTORY OF GUNS "The mirror pond EP"
6 Tracks 23 Mins

historyofguns@hotmail.com
1. Moonburn
2. Compassion Fatigue
3. Mimozine
4. Skin Can't breathe
5. The mirror pond

The beginning, a little disjointed, but somehow working, has odd noise, a sample, ambience, dark rock, and general oddball electronica mingling together. Bit of a strange soundscape to be honest, especially with the spoken male vocal, but the effects are interesting and pretty linear so forever morphing as we move onwards, but still remaining trancey and delightful. Some nice and simple chord progressions too keeps things moving. "Moonburn" changes direction in the last few seconds, with the addition of crunchy guitars and more hectic vocals, making way for the very strange "Compassion Fatigue" which most definitely is out of the Bauhaus book of bizarre. Think of very early Pop Will Eat Itself as well. Dirty and raw with a mix of clever electronics and sounds (around the 100 second mark especially) and horrible, nasty punk filth.

Not quite my thing in places, I think the vocals put me off, but I do like a lot of the sounds going on, and with "Mimozine" being a bit more luscious in sound, and sweet with the strings sounds, mixed up with Andrew Eldritch (Sisters of Mercy) inspired waffles and warbles, there is quite a weird juxtaposition between the sounds and the speech. "The mirror pond" definitely tries to be History of Guns' own "Marianne" or "Some kind of stranger" or maybe "Body Electric" for the dank, dark, epic and moving theatrics, and almost manages it, but being a little more lighthearted sounding. Vocally I guess this is pretty close though.

A strange EP from this band, but has some very different moments, including the extra track as well, which has some very weird times, but is actually in contention for the best track of the six. Another one for the Bauhaus fan out there I estimate.
Paul Tangaroa
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review of The Mirror Pond E.P. taken from: Adrian Denning Album Reviews
The Mirror Pond ****
Moonburn / Compassion Fatigue / Mimozine / Skin Can't Breathe / The Mirror Pond
I don't usually care to follow the career of a band who send me CDs to review, bribery reviews if you will - but i'll start to make an exception for History Of Guns right here. This, their second EP is better than the first and I like to see new bands improve, for a start. Whilst 'Disconnect' was guitar heavy with machinery mixed in, here the machinery takes center stage with the guitars relegated to the background. It bodes well for a full length album, should one appear, and I for one hope it does. I hope they mix both styles for an album, though. Variety is good for an album, but let's talk about 'The Mirror Pond' whilst it's here and avaliable for you all to buy. See the URL listed in the review above, click on it. Listen to a free download and buy this thing right here. Oh, nice almost leaning on ambient parts introduce 'Moonburn' before the loud noisy industrial part comes in. It's good! 'Compassion Fatigue' makes me laugh. The cockney vocals I mentioned in the previous review? Ah, those are back! You wanted Ian Dury fronting Nine Inch Nails? Or, did you want rap artist The Streets sounding a little more rock and fronting Nine Inch Nails, but a Nine Inch Nails that aren't a pile of steaming lacking entirely in melody CRAP? Ah, History Of Guns will give you that. 'Compassion Fatigue' is damn good, and at one point, a voice pops up saying 'F*****g S**t', which will get them in the Kerrang singles charts, for one! Ever read 'Kerrang' the metal magazine? Swearing is quite important to Kerrang, but i'm drifting off here.
'Mimozine'' has nice keyboard lines, great melody throughout, 'Skin Can't Breathe' continues to show real progress and development for History Of Guns and again, bodes well for a full album release should they sell enough copies of this to pay for one. Or get signed to a label willing to finance a full length album. Again, visit History of Guns' for the info for purchasing the thing. Ah, before I go. The closing track has a great deep bass line, and I like deep bass lines, so there you go. Gothic elements move through the vocal and surround the vocal and the lead guitar is nice too amongst the electronic sounds. Great stuff, all in all.
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DISCONNECT EP
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review of Disconnect EP taken from Vision Thing
If there's anything that always strikes me about the initial recordings of so many new and upcoming artists, it’s always how polished and pristine so many of their first offerings are. Gone are the days when a band would take straightforward idea and evolve in to something new with the passage of time. I guess a lot this has to do with all the new technology that is so freely and cheaply available now. But whilst it's great that so many folks now have access to the kind of facilities that were once the domain of big name acts, the saddest thing is that so many 'artists' (and I use that term loosely) are becoming reliant on technology to such a point that it becomes a crutch that hinders the progress of new ideas and originality. Preset sounds almost rule the roost now, to such a point that it's easy to long for the edgy looseness that so many bands possessed at their genesis.
Fortunately, it appears that Hertford's History of Guns agree with me. Theirs is a slick brand of electro terrorism that forgoes the over relied upon Cubase backing of every other electro-industrial act to give us a result that it closer to the jack hammer rhythms of early Killing Joke. The lack of sheen gives tracks such as 'Burn' and 'Fifty Seven Days' a ragged attitude that makes up for what it lacks in sheen with a gnarling menace that’s guaranteed to get under your skin.
Despite the aggressive emotions on display, 'Disconnect' is very listenable EP. Like early nineties indie-stalwarts such as Therapy? during their 'Pleasure Death' period, History Of Guns know how to blast your skull inside out whilst still leaving you enough brain cells to remember how great the experience was. Proof that classic tracks come not by pushing the right buttons, but determination and a lot of heart.
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December 2002 - Adrian Denning Reviews - review of the Disconnect EP
Disconnect ***
Pride (In The Name Of Arrogance) / Fifty Seven Days / Burn / Fact / Disconnect
This EP occasionally sounds like Nine Inch Nails with a Cockney singer, occasionally like The Damned during their more gothic era, but always sounds like an exciting noise that you want to listen to. The songs themselves may not be the be all and end all, but yeah, this is fun stuff to listen to. 'Burn' sounds particularly aggressive, guitars to the fore - the machines and noise that surround the vocals and music really does sound like a fire. The opening 'Pride' is pounding and exhilarating. The machines and industrial textures occasionally get too much and occasionaly the vocals sound a little odd - this kind of english vocals married to industrial music - but ultimately History Of Guns win through and show themselves to be a band worth keeping an eye out for. Visit their web site at historyofguns.com for further information.
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review of Disconnect E.P. taken from: Goth Nation
UK's History Of Guns has come up with a 5-track EP which is quite reminiscent of goth from days gone by. The sound is a sparse mixture of keyboard pads, and guitars, topped with a vocal style that's a hybrid of Ian Curtis/Joy Division and Alexei Sayle, (take that, as you will). As for the songs themselves, they're a combination fo experimental song formate together with more traditional ones, such as "Burn" which is probably the best track on offer here. On the whole there's nothing really here that's going to change the world as we know it. If you're curious heck out their website (www.historyofguns.com) where you can download some additional mp3s. - Charlie
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October 2002 review of Disconnect E.P. taken from: Hard Wired
Taking us back to when the Goth sound we know and love was a dim and distant dream in the minds of Hussey and co, History of Guns is distinctly pre-Goth sound infused with punk overtones. It's raucous, noisy (especially the track 'Burn'), and chaotic (as seen in the track 'Fact'). Imagine an alcohol induced trance, where you're stumbling around while trying to watch Apocalypse Now.
The demo is well put together, the music fitting well, while the punk- like overtones of the singer walk over the music, creating dis- jointed feeling between music and lyrics. I have to admit that the demo only made it to track three on my cd player before I took it out. But I've given it a couple of more tries since, You have to be in the mood for this, otherwise it'll mess with your head.
I'm not sure where the band hope to go with their sound, as I can't see much of a market for this, but here's wishing them well.
Keith Elcombe 2/4"
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September 2002 - Esoterica - review of the Disconnect EP
Bless 'em, they're trying again. It wasn't that long ago that I gave History of Guns a pretty disparaging review, after they sent me an unclearly-titled CD-R of two of their songs. Looking past my, not exactly distaste, but more suspicious apathy regarding their genre (now more clearly than ever a fairly abrasive stripe of electro-goth), to what lies beneath reveals a band who have musically done a great deal of growing up lately, getting a grip on their recording technology and streamlining their songwriting techniques. Of course, this is how it should have been last time around, especially given their extensive library of past releases.

So where are History of Guns now? Well, as I mentioned above, still very much in the electro-goth camp, but now with a less frantic approach. The material is more song-like, with the electronics and programming used more to enhance and embellish songs rather than merely create a fluffy mess, and the result of this new level-headedness is five songs of comparitively listenable, clean-lined goth. Del Alien's vocals, whilst greatly improved and almost always in tune now, still are struggling to find an identity of their own away from Joy Division's Ian Curtis ("Burn", especially) and the Sisters of Mercy's Andrew Eldritch, despite some inroads being made into less conservative territory. Background flashes of almost random electric guitar noise add a slightly deranged air to the pulsing backbone of programmed beats in a much more convincing manner than on previous releases, too, so clearly History of Guns's artistic capabilities are condensing from the gaseous nebula of vague skills they were displaying before and becoming compatible with the band's aesthetic values.
Or: they can actually play what they're trying to play now. Still a rung or two up the musical ladder to climb before any sizeable number of people are going to get interested, though.
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EARLY WORKS
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2001

November 2001 - ORGANzine - review of Psycho / The Mirror Pond
'HISTORY OF GUNS - Old school industrial Batcave music, dark psychotic psychedelia, all throbbing gristle and geezers having a word and the viewers having a word.... psycho, the bastards, the viewers always knew, some kind of cockney Gun Club. It's Goth from the days before Goth became a Mission mess parody with uniforms and formulas. Psychic Youth indeed. '
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November 2001 - Esoterica - review of Psycho / The Mirror Pond
"Psycho" is a two-minute, poorly-produced splurge of all sorts of sounds, Del Alien's vocals varying from a murmur to a halfway-decent Johnny Rotten impression (which doesn't stay in tune much) to a sort of sarcastic rasp, with distant guitar riffs which need to be brought forward a significant amount if they're going to have the desired effect, which I speculate is supposed to be much more ear-bashing. "The Mirror Pond", on the other hand, sounds not entirely like Joy Division with a downward-pitchshifted Edward Ka-Spel of Legendary Pink Dots fame on vocals. It's much more tolerable than the first track, but still the weak point is the iffy vocals and the muffled production. And in the light of the fact that I do actually own Joy Division's Closer, this isn't exactly necessary. Conclusions: invest in some better recording equipment, spend a little longer on post-production and pay for some singing lessons for Del Alien - then perhaps we'll be able to really see whether the material is any good beneath the more superficial inadequacies.'
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January 2001 edition of 'Metal Hammer' magazine.
Mention of History Of Guns forthcoming collaboration with black metallers Meads Of Aspohdel...
'But apart from Cradle Of Filth, what of the UK? Well, we might be struggling a tad in the black metal fjords, but among our brightest hopes are the oddball Meads Of Asphodel. This mystery crew, who only ever appear in public in face-shielding helmets, have already made their mark with tracks on two volumes of the excellent underground series 'Contains No Holy Additives', as well as recording the well received demo, 'The Watcher Of Catal Huyuk', but their debut album has been delayed yet again. It should have been issued early in the year 2000, but now we shall have to wait until sometime in 2001. However, there are some confirmed details, including a raft of guest appearances - some of whom will cause a few eyebrows to be raised. The more obvious guests are members of fellow Brit band History Of Guns, plus Scandinavia's Old Forest. But alongside them you can expect to hear former Hawkwind guitarist Huw Lloyd-Langton and AC Wild, who was a member of '80s underground Italian cult heroes Bulldozer.'

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2000

December 2000 edition of 'Metal Hammer' magazine.
Review of the compilation cd 'No Holy Additives - part IV'
(which includes the History Of Guns song 'Reconstructing Terror'.)
'Part 4 - like its predecessors - is a triumph for those who appreciate musicianship and musicality in whatever form it might manifest itself. Drawing contributors from around Britain, the compilation proves that we have a lot to be proud of on this very island - and don't have to constantly look beyond our borders to find inspiration, perception and focus. All of the bands here are worrth a listen, but the very best - the perversely melodic Meads Of Asphodel, the warped History Of Guns, the deathly stoner age Epoch and the orchestrally driven Ewigkeit can compete with anyone.'
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2000 d-fleshed zine Review of 'No Holy Additives - part IV'
9 - History Of Guns - Reconstructing Terror
Some genuinely original Industrial madness here: literally the sonic equivalent of a bad acid trip. Abrasive vocals collide alternately with a cyclic power-chord riff and haunting synth passages which could have been lifted straight from the theme of 'Casualty'. Doused with the prerequiste quota of samples (I suspect a certain Ming the Merciless laugh at the start \m/ heh) and drug-f***ed dialogue, the song culminates with the vocalist promising to 'crawl through the speakers and lie buck-naked on the floor'. No, really. While not generally being a style this reviewer has much time for, it's hard to criticize a band with such conviction and originality: HIT
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2000 Ezine 'Death To Dead Things' said of compilation cd 'No Holy Additives - part IV'
'Rapidly becoming an institution, the fourth volume in Godreah Zine’s (www.godreah.co.uk) trawl of the UK underground is by far and away the best so far. This is of course reflective of the general improvement in homegrown talent in the last few years, as well as Editor Crin’s nose for noise. The tracks are arranged into styles, simple and effective, beginning with the black metal of Meads Of Asphodel, Thus Defiled, Antigone and Old Forest, doom from Unsilence, gothic from History Of Guns, to the death of Mithras and Ligature. If you believe that the UK scene begins and ends with Cradle Of Filth, you should be forced to listen to this at gunpoint. For your own good you understand. (Ian)
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History Of Guns - Enough Is Too Much LP
~review by Mick Mercer

The way they described this ‘lost’ (until they moved a piece of paper and found it again) album in the interview I did you’d have thought listening to this would be like watching Barbara Cartland lapdancing. It was a record, supposedly, which made them shudder and yet, it all sounds pretty good and explains where they came from.

Okay so ‘ Weevil’ is the irritating slicing technique, and why the grand design of ‘Devastation Remains’ needed to go beyond 3.30 is a mystery to one and all, when it was so good in its pained but restrained manner, but overall this collections hangs together as well as any furtive gang could. ‘Floods Back’ has those circus drums and the phased wooziness with guitar and rhythm jostling the drowning vocals. ‘Ode To The Succubus’ has brilliantly malign percussion with a sweet melody hanging on the barbed wire, ‘Random Death Bag (Vs.1)’ highlights the old Sex Fiend or Pop Group posters which might have been on their early teenage walls, and the rave residue is swiftly cleared up in ‘Best Of Me Two Thousand.’

There could be a spoken turd album if they willed it, with ‘Plain X/Requeim’ sliding along on wispy synth and agile beats, the rascal that is ‘Little Miss Suicide’ still demands attention, ‘I Am Defective’ is grubbily hypnotic, with superb beats and ‘Meat On Slab’ has a fine cinematic opening, then falls apart like a limited edition PIL sickbag.

If you know anyone who loves Faithless you ought to sneak this into one of their CD cases. They’ll not notice immediately, then they will be astonished, assuming you always listen to rubbish.
Don’t make the mistake of thinking this is only for diehard fans. This is a more than decent record. It is indecently adventurous.
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Winter 1999 'Blue Metal' zine
History Of Guns - Little Miss Suicide E.P.

The accompanying letter that arrived with the new History Of Guns CD, has clearly written in it, 'Genre: Post-industrial Goth'. What the f**k is Post-industrial goth I hear you all ask? Well the CD starts with the title track; a gentle piano intro, then big beat style drum loop... There's even some scratching in the chorus! Despite these attempts to add some kind of 'relevance', no amount of scratching can update this actually rather old-fashioned goth-pop dirge.
The second track, 'Ode To The Succubus' works better, great goth vocals over a moody danceable soundscape... (even though it does sound like there's a lorry reversing in the middle!)
They saved the best two to the end though... undisputed highlights of this EP include the pulsing, FatBoy-gone-dark instrumental 'i am defective', then a full blown goth stomp along, 'Secret Garden' complete with pounding electronics and heavy guitar. Post-industrial goth then... or Goth meets Big Beat... or Fatboy Slim meets Joy Division! Perhaps History Of Guns *are* the pioneers of post-inudstrial goth!


'GODREAH' zine.
Band Directory
A rather trippy Gothic affixed band who have had a track on the 2nd Godreah CD as well as being featured on the third. Not exactly extreme metal but they do have a grasp of the dismal neuroticism normally present in the gothic genre although very electronic in places and far removed from the more singular Sisters of Mercy stereotype gothic band. Vocal wise it has an instantly gothic appeal yet the individuality of the music makes the songs stand out from the bland atmospheres so often etched across this particular style of musical woe. The new demo’Little Miss Suicide’ has some mind altering moments and I wouldn’t be surprised if the band were on drugs when they wrote parts of this demo.

Mick Mercer review of No Holy Additive - part III
I guess the most exciting track, after a sample of a rather well known German ponce, belongs to Ewigkeit, whose painful upbringing in the grim hinterland they call Brighton, creates enchantment momentarily with a nice female voice, and plenty of space as well as neat, vivid riffing, and Zeus fizzed and skipped with purpose, but the finest song of all has to be the juicily provocative noir-nerve-shredder 'Random Death Bag' by History Of Guns who really are a class apart.



Review of the compilation cd 'No Holy Additives - part III' taken from 'Esoteric' magazine.
(which includes the History Of Guns song 'Random Death Bag vs.2.0'.)
Ewigkeit sound surprisingly like The Meads of Asphodel actually, only with more keyboards; the chap behind this band seems to want to be the black metal Jean-Michel Jarre, but this is still one of the best tracks on the CD. If you're into groovy death metal, Dying Day are your men, and if ever I heard a band enjoying themselves, it's this lot. Scotsmen Dag Mora play very rocky metal, which isn't bad for tapping your foot to, but I couldn't really get my teeth into their material. History of Guns win a special prize for having the worst band name ever, but their attempt to weld together techno and metal doesn't impress me much, not because they are particularly bad at it, but because the two genres have always seemed to me somewhat immiscible.


'Death To Dead Things' ezine said during their review of compilation cd 'No Holy Additives - part II'
(which includes the History Of Guns song 'Secret Garden vs.3.0'.)
I was expecting something along the lines of Lacrimosa or The Gathering from next act History Of Guns (weird name!!!) as they are described as gothic metal, but instead of the great music I'd hoped for I heard this toss. This isn't metal at all but outright gothic, and very poor gothic at that.