Black Dog Bite LP cover
Intravenous Magazine’s Sean Palfrey dissects Angelspit’s 2017 album ‘Black Dog Bite’
Stuart Bruce from Chain D.L.K reviews Angelspit’s 2017 album ‘Black Dog Bite’
Riccardo Oldenburg from Dark Music World gives Angelspit’s ‘Black Dog Bite’ a close listen.
Ilker Yücel from ReGen Magazine review’s Angelspit’s 2017 album “Black Dog Bite”
Electrozombies’ Thomas Frenken reviews Angelspit’s new album “Black Dog Bite“
-In The Mail Today
Lorelei Dreaming – Banshee
Like your electronic pop with a dark but danceable feel? Love beautifully sung powerful female vocals? Then Lorelei Dreaming, the debut release from Chicago chanteuse Lorelei (Laura Bienz) is going to set your mind on fire!
Steve from Aggressive Deprivation reviews Angelspit’s Cult Of Fake.
“Overall, Cult of Fake is a brilliant album that is full of classic EBM/Industrial sounds and styles. It is an album that threatens to drag you into the past and beat you repeatedly until you enjoy it.”
ReGen Magazine’s Will Superior reviews Lorelei Dreaming’s EP ‘BANSHEE’ (Produced by Angelspit)
Chicago based artist Laura Bienz takes a different artistic direction with Lorelei Dreaming in comparison to her work with St. Griselda and Angelspit, unleashing a solo project that is modern, versatile, and here to stay.
Lorelei Dreaming is a fresh new project and the brainchild of Chicago musician Laura Bienz. It takes on exquisitely different forms in comparison to her work with St. Griselda and Angelspit. Bienz joined forces with Zoog Von Rock of Angelspit for the creation of this release with a style of music that’s been branded as “Dystopian Future Pop,” and with this project, she works a distinct and captivating approach to songwriting craft that has a strong and magnetic appeal.
Rocki Lee from Auxiliary Magazine give ‘Cult Of Fake‘ a close listen.
After a successful Kickstarter campaign, Zoog Von Rock returned to us with Cult of Fake, and what a hell of an album it is! For the sixth outing, it was promised to be a lot more of a dance album than others in the Angelspit catalogue, and it certainly delivers in that respect.
Tracks are filled with harsh stompy dance beats, with catchy hooks and strange, yet genius, progression. Yet, as dance-y as it all is, this is definitely an Angelspit album through-and-through; the trademark recognisable style shinines through, along with it’s aggressive anti-corporate vocals and lyrics. In fact, as much as it treads new ground, it has a very old-school Angelspit feel to it, very reminiscent of the earlier albums.