Elenor's music covers a huge range of genres.... everything from dreamy ambience to thrashing industrial.
But there's one undeniable factor in everything she does and that's the pure emotion which pours out of every track.
and her voice...
"...can one actually fall in love with a voice?"
-Andreas Huebner, Uselinks Electronic Music.
HEY! you can get Sobriquet music on itunes:
Excerpts of reviews of July album by SOBRIQUET
“Here in the upper half of the world we haven’t heard enough of Elenor Rayner.
Her first CD-length release, “July”, combines the edginess and tension of her industrial roots with a tuneful pop sensibility and thoughtful, intelligent lyrics.
It isn’t just a promising debut, or even the best thing to come out of Australian this year; it’s a major accomplishment by an artist who deserves a worldwide audience.”
“Rayner’s delivery on the tracks veers between sweet to angst driven, taking genres to new heights by mixing them up and shoving them in our face, while captivating the listener at every turn.”
“Sobriquet has created an album for the electronic industrial underground that is highly poignant with sentiment, depth and introspection.”
“Sobriquet changed the parameters of the timeworn path where the construction of industrial music is concerned. She created songs that blurred the lines between genre description.”
“The electronics are exceedingly well executed and the use of electric guitar has that nice subtle edge and razor biting cut through when required.”
“…beautiful vocals, excellent production. I could quite easily put the disc on loop and not be sick of it by the end of the day.”
Review of "Glass" album
I started listening to this album from the second CD and I have no wish to stop listening.
I was seduced at once by Elenor's gentle, elusive voice and the music like the beating of her heart which mark their presence unobtrusively in "Why Do I Hate Myself".
The second recording "Another Rainy Day" is simply a hit!
This is what I think, and so I'm writing a petition to dj's to include the recording during the parties. It's irresistable, but not overwhelming.
The third recording is "Why ..." again a very 'climatic' version.
The first three recordings is a mixture which brings me to my knees. I listen to the further part of the album having in mind the impression the first three pieces made.
There is one more recording which deserves a very careful attention. "Poetry" is a pure amorphism, flow of shapelessness, unformed sunbeam which floods us with warmth.
After listening to the first CD I'm convinved that the group combined the graphic framework and the music successfully. Coldness or even freezing coolness emanate from the cover. One has an impression of being surrounded by the world of glass and is dazzled by the metallic shine of whiteness coming from the pictures.
Through the sounds, the group managed to achieve the effect of glass's firmness, which may surround us with the inflexible tile, and at the same time to render its fragility and momentarinesses.
Peter Crane's music and Elenor's voice show this duality perfectly.
In the recording "Gabriel", her shout, lost somewhere in the labyrinth of white lines. And the first recording, "Vampiric Touch" evokes my memories - I come back to it, because it's hard not to.
The music is gentle, yet energetic" electronic, invirogating experience. Cold, dazzling lights and warm voice of the vocalist.
I strongly recommend it!
SydneyGothic.com review of Glass:
The Crystalline Effect - Glass - Black Flames/Crash Frequency [2CD]
It's hard not to tag Melbourne down as the city for polished Goth
electronica. This is proven again, with the release of The Crystalline
Effect's rewarding double release, Glass. Like the releases' title,
it's a combination of different elements and the final product is
shear, clear and cold. Peter Crane's dry pattering breakbeats draw
dreamy train tracks on "Why Do I Hate Myself" as Elenor Rayner's cool
vocals slip over them. Futurepop styled synth strings build around
this but there's no trace of industrial machismo or ebm sentiment -
the whole track is transparent and honest - what good alternative
electronic music can be when you don't let a genre pin it down. The
darkness and introspection conveyed by the notes seems to come from
inside - it's not put on. The title track lends some beautiful,
layered vocals to the vocoder, but tastefully and with style. One of
the most striking things about the EP is that, even though Raynor and
Crane have some experience with prominent electro and Goth bands, this
is The Crystalline Effect's first release. "10k" offers the most
danceable cut from the album - an anthem with harder beats and
eccentric synths framing hooky, straight vocals. "Gabriel" is really
the jewel piece in the album - it's a down tempo track where Elenor's
vocal strength and beauty is employed a lot more than the dispassion
of other tracks. It addresses the listener with soft sadness, and
throws acoustic guitar and strings into the blend. The remix disc
offers interesting reworking as well as value - with other Crash
Frequency bands like Tankt, Angel Theory, Stark and AngelSpit and
label mates Skoyz it pulls tracks in twelve different directions that
of themselves, offer promise to how TCE might develop. Glass is
industrial cooled down, intelligently written and produced with taste
and a sense of holding back. While it would be nice to see the music
stretched in a harder, faster direction, or conversely a warmer,
ambient one the duo's talent is apparent. Lie back and listen or
dance. -James Ryan. -SydneyGothic.com
German review of
Thus, now we learn again times which in addition: beside Koalabaeren,
Kaengurus, much sun and human being-corrosive monster sharks it gives
in Australia, one hears and is astonished, apparent also a black
scene. At least of it the new Black Flames tells - Signing "The
Crystalline Effect", the in this country with their debut album
"Glass" on the electronic scene squint. The duo, consisting of Elenor
Rayner (vocals, lyrics) and Peter Crane (music, programming, keys,
guitar), call their music Dark Pop Trip Hop EBM, which sounds not only
interesting, but also are actual.
Before one comes to this realization, one must however first times
sense and idea-free Gewaber of the Openers "Vampiric Touch" behind
itself leave. Dark surface with nothing is then somehow nevertheless
too few. Since this remains however the only real absence ride on the
plate, forgiving does not fall so heavily. Already with "Why DO I has
myself?" understand it the two to win the listener again for itself
and not to leave it any longer from their undercooled universe. Why
they should hate themselves, is also me veilful, because Peter's
arrangements remain on "Glass" usually minimum atmospherically, since
however alternation is largely written, does not arise boredom. The
often floating Trip Hop loans stands for the debut just as well as
isolated to hearing, very much December ducks acoustic and e the
guitar employments. Not least without exception each Song with one
captivates irresistibly melody guidance.
... and then is there this voice: each clay/tone sits, where it
belongs. Elenor seems the personifizierte "Coolness" to be, only
sometimes, then however the more beautifully, to sensitive outbreaks
hinreissen leaves itself (one can actually fall in love with a
voice?). So one wants nearly the besungenen "Gabriel" hate, because it
created it that Elenor - in the beautiful garb of the Heavenly Voices
parliamentary group - sings so sad that one would like to take it
dearest into the arm. But, God is thanks, at the latest with
dance-surface-suited Songs like the hammering "Ideologicall Illogical"
and "10k" (e-guitar meets e Pop) we know that them got over it
probably well... what a luck.
There apparently also volume like among other things. Implant, fishing
rod Theory, Ivory frequency and refuels the charm by The Crystalline
Effect is hunted, gives it "Glass" by the way in the double with a
full-packed rem ix CD, on which further, twelve extremely interesting
Schmankerl of most different interpretation directions wait for it, by
you to be discovered.
Then down Unders nothing more might stand to a DATE with the two in
the way, or?!
My Newcomer of the still young yearly!
July is the first full-length effort from the solo project of Snog keyboardist, Elenor Raynor; otherwise known as Sobriquet. The album provides a mix of electronic dance and industrial rock influences bound together by strong pop sensibilities.
Sobriquet kick things into high gear with the upbeat and dancefloor-friendly XLS, which showcases a smooth melody and a highly infectious chorus. By contrast, the next couple of tracks, Sarah and In the Beginning, are somewhat more aggressive, featuring what one could dub Raynor's "Pissed Off Voice," and, as could be expected, more prominent guitars (yet without them being too prominent to the point of over-saturation).
Gears are switched yet again with the title track July, which veers into the domain of slow and melancholy. Of course further adventures await the intrepid listener, including a couple of electronic instrumentals ( Some Elation and Skyline) and more variations upon the styles presented in the first half of the album (though anger seems to be the predominant emotion of July), all executed with a notable degree of skill and finesse.
With 15 tracks, there is quite a bit of album to take in. Luckily, filler tracks seem to be at a minimum. The Prophesy is the one song, that I can name offhand, that really didn't do anything for me. That and the Harmonic 22 remix of Dreams Burn Down which I'm reluctant to count, as it is a remix of a song found elsewhere on the same album. Similar territory does manage to be retread at least a few times, with a particular slant towards more angry tunes. This will likely please the more industrially inclined, while those looking for more variations of the opening track may be slightly disappointed.
All in all July is a worthy debut, presenting quite a few worthwhile songs and signs of the possibility of greater things to come. I can't say with any amount of conviction whether or not Snog fans will enjoy it (being only mildly familiar with Snog), but it's a certainly worth a listen to any fans of the electronic/industrial pop/rock genres.
"...can one actually fall in love with a voice?"
-Andreas Huebner, Uselinks Electronic Music.
these are the sort of comments people make about Elenor Rayner.
Under the name SOBRIQUET she produces an intense, boiling brew of rock and electronics. She has released 3 full-length albums and 2 EPs as well as countless tracks on compilation albums, remixes and collaborations.
(G U P)
"People Don't Go Out To Clubs To Get Laid"
EP released independently
The Crystalline Effect
She also plays live in Snog.