In a flashback to 1983, rockers everywhere are dropping their guitars and picking up synthesizers. Jean vests have made the jump from long haired, heavy metal hicks to the slick haired, hipster elite, as this generation's skinny tie. Next thing you know, Queen will release a record adorned with a sticker, "This record contains no synthesizers nor Freddie Mercury." Cynical, sure, but this is what old men do. Hearing Self-Control begin with "When the Hope Dries," one pulls up one's pants, yells at the neighborhood kids to get off the lawn, and preemptively starts to roll his/her eyes. Starting off like a bedroom Zombi cover band, the fairly thin, and uninspired "Hope" leaves very little hope in the listener's heart. But then something happens. The drum beat breaks, the soup thickens, and the synthesizers become alive. Ensnared in the trap of a tired old cliche, the listener is then pounced upon by a dynamic, and thoughtful beast. Synths shift into a supporting role as guitar chords blast to the fore. What had started off as a proggy, retro nostalgia had thrown off it's disguise, and showed itself as an intriguing post-metal/post-hardcore number. Against a back drop of synths and intrigue, metallic, and somewhat wistful guitars play host to reverberated, somewhat distantly shouted vocals. From this lovely, well done platform come some really clever and heartfelt breakdowns. That's not to say that this is just guitars and screaming, either. The synthy, darkness stands on its own as a lead in to most tracks, but serves as a great vessel for which the sax drops on "Collapser." Playing like a crime drama in a futuristic city, this is a standout number on a very solid EP.

Karamazov's debut, Self-Control EP 23:28 is a delightful mix of electronics and post-metal/post-hardcore. Eschewing the recent trend for retro synthwave and John Carpenter-esque electronics, Karamazov adds a lot of spirit to a generally cold genre. This unique approach bolsters much confidence for any upcoming projects they may have.