GLASS EDEN
REVIEWS:

CD $10

LAST SIGH MAGAZINE-"Reviews"

A great deal of this release is metal-edge-industrial with plenty of angst, up front and in your face lyrics and great vocals which can be heard in the opening track, give up, real, and human ("lies, illusions, hope that transforms into pain"), which is heartily Reznoresque. The works present a good amount of diversity in form and sound such as the tracks hymn 13, which uses piano, heaven helping, classical backdrop and swirls, "my only friend is apathy, sweet apathy", real, with its electro-chugging, changes in timbre, guitar blending into sudden head on stops then picking up again with good vocals, and power, with a taste of funk mixed with guitar rhythms, percussion -- a slow rock track. Enough is one of the obscure tracks on the disk. The lyrics are absolutely astonishing in terms of driving sex, tasty guitar, drums and defensive vocals. I think this one may very well be a parody on love, sex and truth. The hidden tracks range from the whimsical sounds and female vocals with intermittent hard driven pulsing industrial of track #11 "Say Something", to the final short interlude with a Brit in #13 where the voice simply says: "So, from all of us here, good night, sleep well, and have an absolutely super day tomorrow. Kiss Kiss." [audience laughter], of which I think might be a sample from some Monty Python film.

From what I have heard on this release, I'd say Peter Blackwell is just bursting at the seams with material to release and rightly so, he is intense in his expression and has a great amount of dynamic and creative sounds in the proving ground of Glass Eden
-Kim Alexander

DARK VELVET- "Music Reviews"

Glass Eden- "Self Titled"
Glass Eden is a stunning one-man show by one Peter Blackwell. The sound is similar to bands you'll find on the German Zoth Oomog label with the exception that this is aggro with rock/pop sensibility that differentiates it from the rest of the genre. Blackwell even pioneers the acoustic aggro-ballad style here ("Goodbye"). You'll even find a nice soundscape here that is very similar to something from the X-files. Don't get the wrong idea though, this is a primarily aggro band that is talented enough to explore more than just the usual crunch-boom-crunch style.
-Michael Kidd(editor-Dark Velvet magazine, Scottsville, VA)

ACID ATTACK RECORDS-"Review page"

GLASS EDEN - Same (US Reality 98) US based Glass Eden is destined for big things on the strength of this recording. Total confidence and offering a strong blend of the heavier side of music. Glass Eden can and does move onto the more melodic side of things with ease. With the oblivious comparisons to such bands as NIN and Marilyn Manson doing this recording no justice at all. Glass Eden is going to be a major name in the rock world.-Martyn Jones@ACID ATTACK (West Midlands / UK)

GRINDING INTO EMPTINESS-"Reviews"
Glass Eden
Glass Eden
Reality Records/Black Noise
RAW 0832

This is one of the most diverse CD's that has ever made its way into my CD player. At one moment, it's thrash metal, and then shifts to serene piano mixed with minimal noisy soundscapes. Electronics, acoustic guitar, and male and female vocals are thrown in to the mix, each providing a different style of music for Peter Blackwell to explore.

The disc begins with "Give Up." An electronic pulse starts the song, which is quickly disrupted by loud guitars and angry vocals. I don't mean "oh my life is so horrid" goth-esque vocals. This guy is seriously pissed. A close comparison to Gravity Kills's work can be made.

After I was used to electric guitars for several tracks, I was somewhat surprised to hear solely acoustic guitars and soft vocals on track 8, "Goodbye." It follows a very pop-like song structure, and I could imagine hearing this one on the radio. As if "Goodbye" weren't a big enough surprise, the following track, "Underneath" comes with a change of pace that really took me away. This song is the most powerful on the CD, and partially for the reason that it displays Peter's skills on a different level. It is rare that an anger-driven artist will release a song that takes on a serene, calming feel. The fact that it is executed so well by a generally harsh artist is even more incredible. Piano mixed with soft noise is the only instrumentation used for this track. It's quite a change, but I really like it!

EVOLUTION & THE DISTRICT- "New artist reviews"

Recently I have been listening to the self titled"Glass Eden" CD. It is simply amazing. Peter Blackwell is a genius with the aggressive side of man. On songs like SHEEP and HUMAN he sings about man and all his faults as well as using religious references. This is especially noticed on his song HYMN 13, which surprised me. This song focused on Blackwell's voice and his piano playing. This isn't just industrial, it's emotion brought forth in many musical forms.

On track 10 and 11 there is female vocals done done by Renee Faia, and Landon Hall. This is a brilliant cd that took alot of musical talent to present man , emotion, and the flesh all connected together. I suggest you pick this up and submerge yourself in the garden and paradise of GLASS EDEN..................Peter Blackwell is GLASS EDEN.. (Reality Records Inc.)

Check out Glass Eden it totally defies all aspects of Industrial and makes you feel. Emotion is the key, it is the ultimate journey of the soul and the flesh. I will hopefully check back with Mr.Blackwell in a few months...Remember who beat Mr.Reznor to the punch my Rivet heads and goths.
-Aaron Goldman (Evolution & The District-Philadelphia, PA)

CHAOTIC CRITIQUES-"Reviews issue #11"

GLASS EDEN - self-titled

This was an unexpected surprise. Extremely catchy industrial with a highly original sound and unique songwriting ideas. GE usually sticks to the hard n' heavy guitar industrial, although it does soften up on occasion for an emotional ballad or funky groove, which are pulled off with a great deal of success. GE has the impressive ability to create multi-layered soundscapes without complicating its songs, which allows for a unique listening experience that is immediately appreciable yet impossible to fully grasp without repeated exposure. Different layers of looped samples and unorthodox percussion twist and twine in a perpetual renegotiation of sonic space, allowing the album to appeal on different levels. GE has a penchant for the unusual, which results in the unexpectedly funky third track that alternates between a driving aggro industrial chorus attack and a bouncy verse, even breaking into a piano solo. Excellent songwriting, talented musicianship, and a sound that should allow GE to go far. Industrial may be the platform that GE begins with, but it is most certainly not limited to genre boundaries and, in fact, makes a pointed attempt to break with the classification repeatedly.
-Tate Bengstrom (Chaotic Critiques, BC-CANADA)

WRAPPED IN WIRE-"Reviews"
Band: GLASS EDEN
Album: self-titled
Label: Reality Records
Songs: 12

Glass Eden is the solo project of Peter Blackwell. There is no way that you would ever think by listening to the songs found on this album that they were all performed by one person. Everything sounds like a group effort. These songs sound like they were performed by a band and not just a solo artist. There is so much variety delivered here that you would think that this is a compilation album with various artists contributing to it as opposed to the same guy doing it all. Track two "Sheep" begins like some happy 70's retro song and then turns heavy and psycho kind of like a Marilyn Manson song. It blends this uplifting feel in and out mixed with the chaotic madness to make for quite an original sound. Track three "Enough" has a bit more of a funk sound to it and sounds similar to Sister Machine Gun with an electro rock vibe to it. Track four "Human" is noisy, scratchy and distorted with a NIN sound to it. Track ten "Headless" is a great industrial rock song with demented female singing and an overall twisted vibe to it. If you are a fan of a more electro rock style of industrial music you will most likely enjoy what this album has to offer.

NEPHILIUS WEBZINE
Glass Eden: An organic industrial experience

This is a highly original approach to the industrial genre, is not pure machines and angry voices, but also some soft and heart "warming" bits that give you a rest for a couple of seconds. Just listen to the beginning of the second song before it gets hard and intense, than a soft break. The intro to song three is a very funky one, the rest of the song also keep this funky guitar sounds alive. Song five is a Jim Steinman listen alike song. Some have compared this cd to Nine Inch Nails, but it's actually miles away.
For my taste the guitar sound sometimes get to funky to really enjoy. This is the beauty and the beast mixed together in a twisted harmony. -Joost Hegle (NEPHILIUS Webzine)

STORMING THE BASE OF THE ALIEN FOE-"Reviews"
** REALITY **
** glasseden@earthlink.net **
GLASS EDEN "Glass Eden"
This starts off hard, firing heavy percussion and guitars at you right away in 'Give Up'. Distorted vocals searing through with intensity, and the song is nothing but a burst of aggression. It drops into the most unlikely sound from that in 'Sheep', which begins more like Pink Floyd than it should, considering it throws into heavy guitar and more distorted yelling. But it's that melodic filtered voice that makes the song, this soft part is so pretty and unexpected. Thereby making it more powerful than the heavy part.. the power actually drops off once it kicks into the guitar. 'Hymn 13' brings back the pretty vocals with piano and nice strings in the background. His breathy voice is where Glass Eden should be, even WITH the heavy guitar of the rest of the songs. 'Power' is all wrong guitar-wise, and all right vocal-wise. It would do fine on alternative radio, but then, what wouldn't? At least he knows he can sing, and knows he SHOULD, since there are a few little tracks based on the strength of his vocals.
The (listed) album ends with a drifting instrumental called 'Underneath' that trickles with piano and ambience until it drifts down into final silence. Three unlisted songs at the end, sound like a band crossing with Glass Eden and L7 shouting it out.
But it's no 'Shitlist'. -Jeremy Pfohl (DJ Antithesis at CKMS 100.3fm and Turn of the Tide Waterloo Ontario, CANADA)

IN_FACTION MAGAZINE: (Reviews)

DARK WAVE radio show in France
LEFEBVRE FABRICE

Here is Fabrice of Dark Wave radio show in France. Just this little e-mail to say to you that I have listened to GLASS EDEN and watched the video. Your clips are killer...excellent images, very good sound, excellent video. About the CD, nothing to say, excellent industrial near of Nine Inch Nails, very good production, excellent album! You can count on me to do an excellent production. As soon as I diffuse a track, I will send you an e-mail. Thanks for all and all the best for you.

Fabrice: Dark Wave radio show

STORMBRINGER MAGAZINE -"Reviews"

The opening track is 'Give Up', is a track in the style of NIN, Gravity Kills with powerful riffs and angry vocals.

The next track is 'Sheep', starts with some sampled narration, followed by a more mellow approach, nice vocals and keyboards, but not for long before the heavy guitars and angry vocals come in. Quite a few changes in direction, mood and tempo and one of nmy favourite tracks on the album.

The third track 'Enough', has some funky guitar, solid drum sound, vocals are more in the Marilyn Manson style. There are parts when the guitar gets heavier.

The next track 'Human', starts with a short intro with some narration in the background, drum machine and some angry vocals, the beat then slows down and the vocals get a bit softer although throughout the track the re are times when the angry vocals return. 'Hymn 13', this track shows a change in direction from the previous four tracks. This is more what I would call a singer/songwriter track mainly composed on piano and keyboards.

The sixth track 'Power', is a straight edged rock song.

The next track 'Real', this is another track that is more in the NIN style, vocals are more controlled and show a lot more emotion.

'Goodbye', acoustic track with softer, but emotional vocals.

The ninth track 'Underneath', is another subtler track with some nice keyboards. It's quite atmospheric with the noise of winds and a soft industrial rhythm in the background. Track 10 is 'Headless', is quite haunting really, I could imagine the softer parts to this track in a horror movie, theres angry vocals from Rene, softer vocals from Peter in the background.

The next track is 'Anal', is more straight rock, powerful guitars, fairly upbeat and powerful vocals from Landon. At the end of the track theres a bit from Monty Python

'Do It To Yourself', this is another track with a funky rhythm. The vocals are on the softer side and it also has a fairly catchy chorus.

The final track which is untitled is just a short bit from Eric Idle (Monty Python).

Glass Eden show that they are very versatile on this release. Beside showing the industrial metal side, they also have a more a sofetr side to their music.
Highly Recommended!!!

SLEAZEGRINDER -"Reviews"

Although I'm not sold on the "Organic Industrial" tag affixed to this one-man cyber-riot- seems like organic industrial would sound more like a bad day at the zoo, or a drunken Luddite party, than the slinky rocktronica on display here; but Peter Blackwell, the man behind the face full of tiger stripes, is most definitely onto something. Glass Eden is a glossy, smoked windows and shiny chrome ride through the circuit boards of some sinister city at night, with lust, murder, and salvation creeping in and out of the mind's eye in rapid succession. Hard to nail, nine inch or otherwise, just what the principal inspiration is for these songs, since they shape-shift like moon-sick wolves without notice or apology- depending on where you come and when you leave- you'll here shades of everything from Ministry and Skinny Puppy to 80's glam metal, Prince, The Hood, and even a few spurts of cyber-thrash. Sometimes this works perfectly- opening track "Give Up' sounds like splatterpunk era Shotgun Messiah- Stuttering drum machines, flash metal riffs, distorted vocals, the whole bit- and I could listen to that sound for hours. On the other hand, on the other end of the album, after burning through several razor tipped neo-metal tracks, there's the syrupy "Goodbye", which sounds like a Bullet Boys ballad, and might get you beat up if you're playing it in your car on the wrong side of town. This album is like a synth-happy radio station switching formats around at 3 AM, trying to figure out what works. Me, I like the bad ass digital vampire songs. But you knew that already.

ROCK and a HARD PLACE: "Industrial Reviews"

GLASS EDEN-(Self Titled)
LAB ANIMALS-"Silent Weapons For Quiet Wars"
TORSION-(DEMO)

If you've visited this site before, you'll know that I'm not a huge fan of the 90's industrial bands...that was the Major Label stuff, I've changed my mind since hearing the independents. Glass
Eden, Lab Animals, and Torsion have turned me on to a new sound without offending my traditional Metal tastes.

Glass Eden's Self Titled Debut has become an all-time favorite Industrial project of mine. In has the intensity of anything Mr. Reznor has ever done, and equals the quality and originality of
Ministry. This difference is the variety, which has become the greatest thing about independent releases. There are 9 tracks listed, which start with the ripping Industrial Anthem "Give Up", and goes through a barrage of industrial/metal hybrids. Then suddenly on what are called "additional tracks", a female voice takes over and rips through a couple tracks. A very "warm" production makes this a very enjoyable project. Unlike many industrial bands who mask their short-comings with over distortion and noise, Glass Eden exhibits a lot of talent in a lot of areas. This is an extremely professional project that must be listened to!

BABA LUBA e-zine: "Reviews"

Glass Eden - "Glass Eden" -
The comparison to Mr. Reznor will inevitably be made by others reviewing this album so I'll just recommend that if you like NIN then you need to check this one out for two more reasons: 1. Glass Eden weaves a ton of musical styles, samples and ideas into a nice black coat that never loses its metallic industrial heart, and 2.-Compared to Glass Eden, Trent Reznor is just whining, Peter Blackwell is REALLY pissed off! There are some great moments on this album that you will come back to again and again...

APOCALYPSE MAGAZINE at Tower Records:"Jim's Favorites"
Glass Eden - Self titled (Reality Records)

A very powerful release that has many different genre's of music within. Ranging from hardcore industrial to a very melodic ballad. Crossover electro-guitar, alterna-rock and even a hardcore punk song. This is one of the most original and best releases I've reviewed all year! Even folk who don't care for industrial-electro music will find songs here to their liking. I can see Glass Eden making a breakthrough to the major labels in no time. (Click to see INTERVIEW)Jim Smith-editor (Apocalypse Magazine/B.C. Canada, Tower Records)

THE CYBERDEN-"Codex Reviews"

GLASS EDEN - (Self Titled) - (Reality Records 31116-2) -

Angst is back and in style folks. With all the torture (yet centered around the illustrious 'femme fatal' relationship in various psyche), Glass Eden comes through sounding like NIN meets Chemlab meets Faith No More yet someone along the line, elements of perhaps that mature rocker sound of the 80's/90's (Rush, Zep, Floyd, AC/DC, etc...) has been spilled in via writing passages that are laden with melody (oh my god, melody and industrial?), and actual intelligent musical structure.

Glass Eden falls into that new breed of ?????trial in that it's not industrial, yet contains the elements that have been so trendily cast as such by the media since NIN was forced into the throats of listeners. The music also sounds as if it was written more from outside the industrial scene, and then the standard industrial beats ala Alesis drum machine were thrown in with that industrial 80's bass line. It works. Sometimes obviously as in one track which takes NIN elements from Hurt /Downward Spiral and morphs it into another soundtrack type of work.

There are surprises on this disc as in the last few tracks, two of which are fronted by female vocalists with equally burnt in angst of which those tracks come across as what perhaps one of my favorite bands would of continued on to be like if they were still around... Ethyl Meatplow! There are no lyrics for those two songs, but listen and feel the heat of the night - I definitely felt like I was back in the 'good ol days' of electronic based 'industrial' music where experimentation was the norm and not everyone sounded like everyone else as in today, yesterday and tomorrow.

For a debut CD, this is pretty slick. Definitely in the top 10% of what's being released out there lately. Glass Eden takes common formulas from the various scenes listed above and successfully weaves them together to create a scene of perhaps a live concert with a bunch of sweaty angry women-scorned men with spikes, leather/latex, ripped fishnets as shirts all rocking to and 'fro with their lighter's lit in the darkness... however, it will be those lighters that don't produce a flame, but rather that butane 9000 degree mini torch flare. My only gripe (and it's a technical one) was that it sounded like someone rolled the entire low end off the CD at 80 hz and it sounded a bit too compressed in that I never got lost in the stereo imaging that was possibly insinuated with some of the more sound-track type passages. Other than that, only time will tell if this first release was a fluke or not. Review by Bat

THE INDUSTRIAL BIBLE- "Reviews"

GLASS EDEN - s/t

When I initially received this CD I immediately thought it was going to be another indie goth band. Not really being a fan of goth, I set the CD aside to review at a later date. I should have never let the artwork fool me like that. When I finally placed Glass Eden's CD into my player I was overcome by a wall of angry vocals, pounding beats, and swift guitar riffs. Now, most would categorize a CD like this as coldwave, but there's so much more to it than that. Sheep is a slower piece with a long intro and barely audible vocals. The music is more varied and trace elements of electro seep through between the multitude of sampled sounds and cascading guitars (think Vein Cage!) Beginning with solid electro sequences and a rapid-fire rhythm line, Human goes on to include a slow beat and raw vocals and finishes off as a chaotic piece with rage tinged vocals. From there we move to Hymn 13, a piece constructed simply with a piano and vocals. This track shows that Glass Eden's sole talent does not lie within the guitar treated industrial genre. Power is a straight edged rock orientated track with some vocals that sound as if Lenny Kravitz recorded them. Journeying back into the subtler side of music, Goodbye is a piece driven entirely by an acoustic guitar and heart felt vocals. I was quite surprised to hear the choleric shouting female vocals on Headless. The sheer power of this piece lies within these angst-ridden vocals. Anal also features powerful female vocals, but unlike Headless, this track has equally as powerful guitars and a radical beat. The final musical piece, Do It Yourself, is a funkafied rock piece with a catchy chorus and light vocals. Eric Idle finishes off this CD with a bit of humor on the untitled track 13. Glass Eden has several strong points, the most noticeable being their ability to change styles at the drop of a hat, sometimes in the middle of a piece. Most bands tend to stay away from this much variety within one project, opting to release other material via side-projects, but if Glass Eden can get away with it more power to them.-
D. Robinson@The Industrial Bible webzine

ZEOLIGHT ZONE-"Reviews"

Glass Eden consists of Peter Blackwell, an American in his angry prime. In the press release there are comments from people that surround other artists like Marilyn Manson and Nine Inch Nails. Get the picture already? What separates Glass Eden from these other industrial giants is the way more relaxed and sensible feeling of the whole sound. NIN's lust for experiments is gone and has been replaced by more accessible links to all sorts of popular American music. One track can have a whiff of a country'n'western influence just as soon replaced by a funk guitar.