Intense electro-tribal darkwave with pagan overtones and profound lyrics by Monica Richards of Faith and the Muse fame. InfraWarrior, composed by Monica Richards alone, is at once hard-hitting and sensual, a revolutionary and seductive culmination evolving from her many years as an Independent artist. InfraWarrior ranges from Neo-Classical and World Music to Avant Garde melodies; at times personal and at times filled with rage at unaddressed social issues, Monica is an artist that is not afraid to speak her mind. Monica Richards, who began singing in her early teens fronting bands during the heyday of the Washington D.C. early 80s' hardcore punk scene, is best known through her years in the Darkwave/Classical duo of Faith and the Muse. Highly respected for her strong voice, deep poetic lyrical sense and the ability to take her listeners to another realm, InfraWarrior is the music that fans of Monica Richards have been waiting years to discover. Monica's InfraWarrior album has a number of special guests, including Matt Howden, Paul Mercer, Lustmord, Fred 'Freak' Smith, Jarboe, kaRIN, and a special spoken word by Monica's father, Lloyd Richards. Produced by William Faith and mixed by Chad Blinman.
Beauty in her voice, conviction in her words, and blood in her teeth. Monica Richards sheds the escapism that many Faith and The Muse fans expect, and gets down to business. The frequent Afro-Celtic beats suggest that these songs address (tragically) ancient issues. The opening 'Gaia' is, ironically, written and spoken by Monica's father, Lloyd Richards. It's a fitting start, the premise that the earth itself is a Mother entity. The patriarchal crimes Monica Richards denounces will continue beyond her lifetime, but her words will echo into the future as well. Songs such as 'I Am Warrior', like an Amazonian bonfire dance with tribal rhythm, chanted vocals and layered harmonies. 'Into My Own' - Celtic rhythm gives way to hard rock, with some of the best singing on the album; Fred "Freak" Smith brings a clean, hard Tool-ish guitar to the party.'Sedna' - A siren song with a lurching, neo-martial groove; Jarboe has a spoken-word piece in this one.'The Hunt' - An ominous spoken piece with ambient dread courtesy of Lustmord: the calm before the storm, which comes four and a half minutes into the song, 'Death Is The Ultimate Woman' - A hypnotic piece with a Middle Eastern appeal. Layers of speaking and singing entwine like snakes, and 'We Are The One' - The most modern-sounding track. It's a cover, and this version has Depeche Mode appeal. 'Like Animals' - Solemn, gorgeous vocals with no music and lyrics by Leslie Bricusse. - Scott Sweet --amazon.com
All in all, InfraWarrior installs a new dynamic for Monica without breaking with the evocative musical universe of Faith And The Muse. The latter, in addition, will not see its end through the emergence of Richards as a solo artist. Simply, it adds to the whole of the subtle and hypnotic progression towards more concern for the world. InfraWarrior clearly gains ground on the music of Faith And The Muse, and even reminds me of the roots of William Faith and the Christian Death/Rozz Williams period 1993/1994. Monica was not part of this experience personally, her American hardcore and punk roots come from bands like Hate From Ignorance, Madhouse and Strange Boutique. Leaving these primal beginninings, her voice continues the search for clean dynamics and proves on the globality of this first test solo that the spirit can rise above the hardness of Rock. InfraWarrior is a success, and if this solo album of the Lady proves less explosive than the work of Faith And The Muse, it does have any less relevance. - Emmanuel --obskure.com
Like a true daughter of Lilith, Monica Richards dedicates her first solo work to the Woman from all perspectives: Mother Nature, the oppression of society, the Sensual Female, Mythology, the Slavery of the Ages, and Death. --sonidobscuro.com