Within the properties of logistics, it only seems natural that there eventually must come a maximum of a positive thing. Industrial artists Kubrick defy this principle as they reinforce the Italian roster of synthesized acts.

            Residents of Bologna, the trio, including lead vocalist Keen, Zero on drums, and Simon X  manipulating the synths, released their debut full-length, Cyberbeauty, to an eager international audience hungering for as much industrial as their seasoned ears could behold.

            The 10-track album commences with “System Failure”, a suitable introduction reminiscent of Torino/USA breakthrough group Eiffel 65. The industrial machinery and instruments layer and build in a clever fashion; system failure never sounded so pleasant and musically conscious until now!

            The following two tracks, “Exterminate ‘Em” and “K.L.I.M.T.”, are similar in style as well as content, the only exception being the latter’s lyrical improvement upon the former.

            Both songs have a steely edge, with computerized effects and distorted vocals as certain highlights. Although melancholy, machinery-related lyrics are entwined into both tracks, “K.L.I.M.T.” further integrates this theme than its antecedent. This third track illustrates an image of plastic, glimmering beauty whose only validity lies in pixels of the technological realm. “But beauty lies in bytes; manufactured joy is fake. There is no air to breathe in cold virtual space.”

            The fourth song gracing Cyberbeauty, “Everybody Kills”, is similar in style to material of American radio-industrial Nine Inch Nails. Its originality lies in the fact that the synthesizer tone is exceptional and impeccably complements Keen’s vocals. The piano interlude is also a creative touch. The track overall is impressive; the Italian flavor it exudes is a definite boost from square one.

            The succeeding tune, “Ones and Zeros”, is distorted and metallic in nature, offering instrumental variation while consistently adhering to the lyrical subject matter as before. The synthesizer even performs bass and rhythm guitar duties—a creative concept, especially for a band’s initial release!

            The disc then transitions to a song quite similar to NIN’s “Closer”. Even down to the lyrics, “Collapse” is juxtapose to Trent Reznor’s creation in that it portrays overt sexual desire.

            The listener continues the journey to “Redial”, a song basically comprised of noise; the synths, drums, and vox aren’t coherent to each other until about halfway through the track. Although the music isn’t the album’s best, the track takes the opportunity to narrate a story. It depicts a relationship’s disintegration due to distance, despite futile attempts to salvage the lost love. Apparently absence doesn’t make the heart grow fonder, as explained in one verse, “All the time you spent with him, hanging on the phone till you both fell in love. Cables can span long distances, but can’t replace the feeling of your touch.”

            “Sex in Plastik” commences somewhat organically; the drums and synths sound as though they’ve been recorded live. The song describes the lyricist’s fantasies, but the lyrics become redundant as each line is a variation of the next. “After the Fall” falls into this groove by offering a lonely, remorseful industrial-appropriate monologue.

            One word: YES! “Cybernetical” and its Italian wave crash ashore with true Euro-industrial at the crest. Originality within the genre is abundant even finds a spark in Keen’s almost-spoken vocals. It seems that Kubrick have also one-upped their peers in the composition of this track; the synthesizer arrangement is superb! Each component of the “Cybernetical” contributes to form an intricately woven musical tapestry and conclude the album at the apex of its creativity. 6.5/10