DASebasstian Singing


D.A. Sebasstian (Self Titled)





D.A. Sebasstian's self-titled release begs the question, "Is atheism an essential component of industrial music?" Sebasstian, having kicked drugs and found religion, includes a track called "Manifestation (Voice Of God)" on his new CD. The voice of God apparently speaks through a megaphone over a drum machine revved up at the highest gauge. This track has pronounced note of a vintage Kill Switch...klick release, Produkt, and is perhaps one of the best on his self-titled release. The rest of the CD echoes more roadhouse and blues influences. A modern day Fonz would love the instrumental cover of Link Wray's "Rumble," which combines just enough surfer drag and just enough modern effects. Sebasstian uses the same drag race inspired sound on "Last Ride" using the classic megaphone vocal effect. On "Monster Monster" he adds some horror show inspired vocals into the lowrider sound. Those who worry religion has softened Sebasstian need only hear an ode to a female slayer, "So Blue" to realize he has not lost his twisted edge. Nor has he lost his punk dogma, as the self-explanatory "The Underdog vs. Mr. Establishment" proves (musically, it serves as one of the more interesting anthems today- ever since Sebasstian turned 180 degrees and embraced the guitar, he has done more with it than those playing for years). He does fall on one track, "Isabella Rossellini" on which he raps with the same smart ass teenaged sneer found too often in music today. Sebasstian is better than this song, but maybe he wrote it just for the challenge of finding words to rhyme with Rossellini (he cheats with "Steve McQueenie"). - J. Kim


MAXIMUM INK June 1-July 5, 2001

d.A. Sebasstian
Go-Kustom Rekords

Classic crooning with a lo-fidelity touch from the KILL SWITCH...KLICK frontman, Sebasstian toughens up his tender voice with distorted guitars and crazy synth warbles, but keeps things approachable with subtle melodic accents. d.A. gets bonus points for the oh-so cheeky Isabella Rossellini: "Isabella Rossellini in a blood red Lamborghini, driving hard like Steve McQueenie." Nice! At a few points the production does feel a bit canned, but Sebasstian's classic voice carries us through moments of dull instrumentation. On the whole, I would say that this is fairly inspired work, with Sebasstian being responsible for the arrangement, production, and most of the playing. - Bo Twiggs


SkopeFebruary, 2005

d.A. Sebasstian, "d.A. Sebasstian" (Go-Kustom Records)
d.A. Sebasstian is the kind of sub-rock-star every kid in Southie dreams of becoming: a capo without a .38, Sebasstian knows about cars, George Thorogood and people who require very large bras. Kickoff bunker-buster 'Monster Monster' finds new pay dirt in Destroyers territory as Jerry Lee Lewis battles Frankenstein, and it gets even more adeptly kitschy from there: 'Last Ride (1965 Plymouth Fury Four Door)' chronicles the adventures of the only remaining car on earth, presumably after the earth was invaded by bug-eyed androids. This is not your homey's lameoid rockabilly – one could easily become convinced that Sebasstian is expecting a brand new TV season of Dragnet. Oh, by the way: if you ask real nice when you order, he may send you a DVD copy of the trailer for his upcoming drive-in film 'Hot Rod Girls Save the World'. You read it right.




Sebasstian's previous work with the industrial-rock outfit Kill Switch...Klick perhaps didn't give him the space to experiment with his own musical interests. It's tough to be pigeonholed, after all. And so this is Sebasstian's latest solo effort, a part of this intriguing artist's catalog that fills a page (with very small print).

Leaving aside the industrial bent, Sebasstian's independent work is an odd mix of surf guitar structures and thick, Nick Cave and the Bad Seeds-style rock, ominous and brooding yet with hints of playfulness and curiosity. Clearly, Sebasstian is exorcising the influences that brung him, experimenting with acoustic and electric guitar, organic drums and drum machines, and even trumpet and other assorted instrumentation.

"Monster Monster" kicks off as something of a cross between Monster Magnet and Nick Cave. Full of thick, crunchy guitar riffs and Sebasstian's growled-out vocals, it has a heavy, ominous tone that leads into the post-industrial, beat-heavy "Isabella Rossellini," which might be the closest to a KSK song and gives Sebasstian a chance to mix some guitar with an almost rapped song. My favorite song is where the surf guitar and all-out rock-n-roll really kick in on "Last Ride," a song about vehicles in the future, apparently. Also good is the instrumental cover of Link Wray's "Rumble," which was progressive before its time. "The Underdog Vs. Mr. Establishment" is a unique romp that flirts with an industrial-rock sense. Think a toned down White Zombie.

But it's songs like "So Blue," "TailDragger," and "Manifestation (Voice of God)" that really showcase what Sebasstian is trying to accomplish on his solo effort. A mix of electronic beats, thick, ripping guitar riffs, and Sebasstian's thick vocals, these songs seem a mix of southern rock, industrial energy, and techno beats. Odd, at times, sure, but Sebasstian succeeds by putting the rock as the focus, and the songs feature his guitar first and foremost.

d.A. Sebasstian is doing something new, but he's doing it in a very traditional way. If that makes sense. This album clearly draws from a host of influences from as far back as the 50s and 60s, but it's mixed with some rocking electric guitar and industrial/techno style. Different, hell yeah. Most definitely worth a listen.

- Jeff 




DA Sebasstian is a founding member of the band Kill Switch...Klick. Now, on his own, he has taken off in a new direction and different adventure with a variety of twists and turns. He has no set patterns or style, but offers up a mix of dance beats, hip-hop remix dubs, rockabilly, and Nick Cave-like lyrics. As a consequence, the project reads like a comp, or, better yet, a Nick Cave DJ dance master, if you can imagine that!

I enjoy this because of all the different moods it captures. The eponymous release starts out with a heavy beat and a twisted Hazel Adkins feel, then jumps into a Beck-like rap, then a techno automobile song. From there, it continually keeps on changing pace and styles. I sincerely enjoy the fact that it keeps you on your toes -- you have to listen to keep up with the artist and that's a good thing! - Ed Shimborske Jr.




D.A. Sebasstian As the crunchmaster for LA (Seattle) tech-gothers Kill Switch...Klick, guitarist Sebasstian doesn't get much opportunity to unleash his noble twang amidst their impending, netherworld doom. Forging his first indie solo, Sebasstian mixes an unusually noxious cyber-billy concoction of surf/sci-fi instrumentals and unconventional industrial beats where Dick Dale meets the Aphex Twin. Which sounds perfect if you're heading for the beach- and we mean the dunes on Mars. Includes a metallic, futuristic remake of Link Wray's "Rumble" (bringing that raunchy classic into its fifth decade of cover versions!), as well as a Quicktime movie that poises Sebasstian as techno's Chris Isaak. Real gone. -Goria Collins (Go Kustom, P.O. Box 77750, Seattle, WA 98177-0750)



D. A. Sebasstian

This guy reminds me a lot of Mean Gus except he's not from Texas; he's out of grungetown and his tunes are maybe a bit grunjy and somewhat rappy and a little retro too. Sebasstian plays a mean guitar and writes and arranges well. James Whiton turns in a fine piece of work on acoustic bass going into "So Blue." The only cover is a good one of Link Wray's "Rumble" and the rest are D. A. Sebasstian's rather dire but sometimes clever look at life.



d.A. Sebasstian - d.A. Sebasstian

The self-titled EP from Kill Switch...Klick front man is in a different style than what d.A. Sebasstian had released prior to 2001.
It is more experimental than Kill Switch...Klick, but has a more refined and complete sound than his work under his own name.
Where One Minute Endless, the first d.A. Sebasstian release, was mostly slow, experimental with quiet spoken word if any lyrics
at all, the self-titled release maintains an experimental sound with use of a variety of guitar and sound styles in various interesting ways.
This CD also comes with a quicktime video along with the good tunes, making it a fantastic buy.

Although the CD is a bit short, about 40 minutes, each song on it is interesting and good in its own way. The CD starts out with the song
"Monster Monster" which has a very deep noisy guitar sound and Sebasstian exploring a different style of singing, sort of like a 50's
rocker. There is also a remix of this song toward the end of CD, like the original, the Elisha-One Mix is great. Even though this track is
good, I would definitely like to hear it with a different vocal delivery. Most of the songs have interesting use of the guitar incorporated
with Sebasstian's traditional electronic sound; there is even a cover of the guitar classic "Rumble" by Link Wray. Almost all of the
songs are fairly upbeat and have good percussion. However, the two slower songs are quite possible of the best on the CD,
"Taildragger" and "Crawling" are both very relaxing and cool. The slower songs along with the more upbeat "The Underdog Vs. Mr.
Establishment", "So Blue" and "Monster Monster" and all the rest of the songs, that make d.A. Sebasstian's second release a very
good record.

The quick time video is the only dissapointing part of the CD. It is a black and white video to the song "The Water is Deep, the Water is
Clear", which does not appear on the audio part of the CD. Although it is directed by award winning Brent Watanabe, the video is
fairly boring.

As a whole, d.A Sebasstian's self-titled release is a very good electronic record. It is fun and experimental, while at the same time maintains elements 
of Sebasstian's past work. Every song on the CD is great and deserves more exposure than it has received. Each song adds to the experimental sound
and demonstrates the variety sounds and styles in d.A. Sebasstians repertoire.
D.A. Reviews

D. A. Sebasstian
D. A. Sebasstian
Go Kustom

The man from Kill Switch Klick hits with a dark industrial disco solo show. It's Depeche Mode on a killing spree. It's pulling me back in time to when I used to stay up all night dancing under black light, looking bored but moving to the beat. It moves into some red velvet lounge-like snap, like on the song "Isabella Rossellini," with the great line, "Isabella Rossellini/In a blood red Lamborghini/Driving hard like Steve McQueenie," but the delivery somehow reminds me of a bad Red Hot Chili Peppers song. It's got a bit of that white boy rap moving through the dark dance floor beats, and that's pretty much as scary as it gets.

Go Kustom, PO Box 77750, Seattle, WA 98177;

Red Ink = fact correction in parenthesis after original text.





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