buy this item on itunes
buy this item on


¥774 tonikom. the sniper's veil. cd. april2k9



temporarius delerium *.mp3
peripheral movement *.mp3
instar one *.mp3
watching from here *.mp3
in the far *.mp3
of those great walls *.mp3
instar two *.mp3
the source (album edit) *.mp3
fluorescence *.mp3
breaking down *.mp3
the gesture *.mp3
gap-toothed martyr *.mp3
look but never touch *.mp3

photography: dan klar;
layout by salt

after attracting attention with two cd-r releases, tonikom was signed by hymen records; epoch was the first result. two years later, the sniper's veil displays this artist's evolution and improvement.'temporarius delerium' invites the listener in with angelic voices, mighty bass pulses and a looped chant, just before a pounding breakbeat takes over and calls the shots for the album. pushing technoid textures carry beautiful electronica themes, sampled field recordings add a cinematic ambiance to the diversified, straight rhythmic foundation covering a range of downtempo, trip hop, breakbeat and fast chthonian four-to-the-floor cadences. with the atmospheric 'look but never touch' the album comes full circle - to start all over again...

a varied and monolithic opus designed for a maximum amount of body activity, letting you groove continuously in a higher state of blissful flow.

lift the sniper's veil - and watch tonikom live on her european tour in april 2009!

a review in russian language can be found on the machinist's webpage:
lancée dans la musique depuis le début de la décennie, rachel – alias tonikom – ne s'est réellement fait connaître qu'une fois signée chez hymen. the snipers veil est son deuxième opus produit par la prestigieuse maison. temporarius delerium se donne un peu moins de six minutes pour conditionner l'auditeur, après quoi il annonce la couleur : boucles entêtées, mélodies vaporeuses, et arpèges sous delay. si il y a une chose qui se remarque d'emblée dans la musique de tonikom, c'est que son idm fuit l'artifice. il sonne même un peu dépassé. peut-être est-ce la raison pour laquelle ce petit bout de femme impose à l'auditeur qu'il passe par un sas de pressurisation, avant de respirer à pleins poumons son atmosphère. tonikom veut affecter l'auditeur, pas l'épater.aux rythmiques complexes symptomatiques du genre, tonikom préfère assener la cadence d'un pattern de batterie tout ce qu'il y a de plus basique. à la froideur électrique de l'idm post-00's, tonikom préfère les synthés chaleureux au son un peu vieillot. par ces choix, la musique de tonikom a un léger relent d'µ-ziq. comme ce dernier, elle n'hésite d'ailleurs pas à varier les plaisirs ; ses titres lorgnent vers la techno, le hip-hop ou la jungle. the snipers veil est un album sans prétention, mais un album réussi. il sonne juste, et sait taper là où il faut. (tehanor)

connexion bizarre
tonikom's sophomore release on hymen records, "the sniper's veil", is a wholly satisfying exercise in breakbeats. by some accounts, new york-based rachel maloney has here at last matured her sound: bracing contrasts of technoid structures and evanescent ambient passages. pulling inspiration from a variety of sources, tonikom reflects the now familiar language of twenty-first-century electronic music - inter-genre, post-modifier and meta-taxonomic. perhaps characteristic of what we have come to expect, though in this case patience and a pared-down approach enables its success. "the sniper's veil" begins unhurriedly; a simple, extended intro sets the tone perfectly. when the crunchy breakbeats finally drop mid-song, the impact is immense. carried forward, the remainder of the album likewise finds a well-paced balance. in creating these intimate expanses with hypnotic tribal elements, tonikom employs commanding breakbeat rhythms and mysterious, dare we say feminine, moods. key to this is a vocal undercurrent present throughout the work, an aspect that invites the listener to wander its interior spaces, drawing calm energy from this comforting presence. voices range from ritualistic chant to choral upwelling and symphonic inflection, from the wordless lullaby of "temporarius delerium" to the fleeting angels in "the source", offering an anchor or link to the music's chambered heart. floating, enveloping and womb-like, "the sniper's veil" is an eyes-closed experience, one that expresses music as simultaneously meditative and invigorating. exemplar "in the far" is a towering piece, deep vibrations layered into a plush trance digression that is flawless in its subliminal, airy spaces and insistent push. tonikom also connects in a curious and sentimental manner, especially apparent in "watching from here" and "fluorescence", where a music box melody sifts through the beats and glitch to create a bit of through-the-looking-glass surreality. like tendrils of dreams, it implies a narrative aspect to an album that seems otherwise resolute in its gorgeous detachment. a similar melodic element gives "gap-toothed martyr" its hook; combine this with exotic singing, bass drops and an infectious tribal rhythm, and the track ranks among the album's most deeply satisfying. speaking of bass, it is certainly a strongpoint for tonikom; best heard in the resonant "peripheral movement", the swooping "of those great walls" and in "the source", which happens to be the album's only real foray into drum'n'bass. unfortunately, it is also the album's weakest track. despite this, everything appearing on tonikom's latest shows fantastic cohesion, simplicity, musicianship and, it must be said, an intriguingly feminine essence. (dutton hauhart)
on her second album on the hymen label, tonikom’s rachel maloney continues to refine her blend of danceable electronic abstraction with elements of ambient and even slightly poppy approaches that can work just as well for the dance floor as for close attentive listening. the track that opens the album, the sprawling "temporarius delerium" is some 11 plus minutes of slow development: a dramatic opening of processed loops, deep bass pulses and angelic layered voices starkly contrast the second half of sharp breakbeats and darker synth pulses that come later, mixing the beautiful with the raw.  the beat leans into that distorted overdriven sound that is consistent with other hymen/ant-zen artists, but never goes too far, instead tastefully mixing the dissonant textures with more conventional rhythms. the female choir sounds from this long opening reappear on "of those great walls," where they are looped in a spacious mix with warm synths and clicking rhythms.  "fluorescence" has a similar vast mix, though utilizing more raw mechanical beats with the slow and warm synth tracks.  both "peripheral movement" and "watching from here" lean more into the techno world, with the former opening with an 808 rhythm right out of "planet rock" and backwards keyboard tones while the latter focuses on reverb drenched piano pieces.  both have a steady and pounding beat to them, yet there is a wide variety of sounds between the rhythms that are just as compelling. a few of the tracks, at least to these ears, drift into instrumental techno pop with the occasional industrial edge to keep things interesting.  "in the far" opens with twinkling ringtone like melodies before segueing into a solid 4/4 kick rhythm and slower electro bass sequences.  the structure of the track is reminiscent of some very well done techno pop tracks that are as catchy as they are technically impressive.  the lush synths and mechanical polyrhythms of "the source (album edit)" and "breaking down", when mixed with the concrete rhythms and dialog samples, come across as being not far removed from 1990s industrial with a hint of pop sensibilities.  since the tonikom myspace lists front line assembly as an influence, i’m going to assume that it is no accident that i was reminded of some of that band’s  late '90s output. conceptually the disc closes somewhat like it started:  "look but never touch" is the only beat-less track here, mixing dark synths with an almost music box type melody, contrasting the natural and beautiful again with the synthetic and dark.  while it could definitely be an album to shake your ass to, it thankfully lacks the dull repetition and simplicity of so many techno records, yet it never lurches into the "lets see how random we can make our beats" territory of many so-called idm bands.  it straddles that narrow line, and it does so quite well. (creaig dunton)

tonikom returns with a new album on hymen records called “the sniper’s veil”. an album that proves the unstoppable evolution of an exceptional artist. tonikom merges cinematic music with genres like breakbeat, trip-hop, electronica and kind of four on the floor dance music in his very special way. the result is a rhythmic and intensive album that could be called a kind of concept album, because it tells a very personal hidden story that just can be found in between the lines of this mesmerizing music. a very groovy and danceable album, but don’t get me wrong when i am using this words to describe tonikom’s wonderful music. this is music with atmosphere and deepness, a labyrinth of emotions and pictures. a wonderful album that merges rhythms with emotions and stories together to a very intensive album. no question “the sniper’s veil” is my favourite album of 2009. convince yourself! 10*****

in a certain aspect tonikom's second release may be compared to its predecessor, the debut album 'epoch'. because, once again, it seems that this undoubtedly gifted composer either flatly refuses or just isn't capable to impose a satisfying amount of consistency upon a collection of tracks that constitute an album. though i generally always welcome a certain amount of variety on whatever album (in my opinion being an artist implies being capable of surprising your audience), i find it equal important that, in all its variety, a collection of album tracks posesses a kind of common denominator. despite the above average quality of this album i haven't been able to find that common ground. on this completely instrumental and predominantly electronic album tonikom appears not to be willing to make a real choice. triphop influences (fluoresence), break beat (f.i. temporarius delerium, which starts off with a very nice, repeating sample, that, somewhere halfway the track, is replaced by a heavy breakbeat rhythm), drum'n'bass, idm, tribal ambient: you name it, the sniper's veil's got it. some tracks will do very well on the dancefloor. other tracks will be good company in a lounge environment. to me it's plain that tonikom's got enough talent to create wonderful and diverse things, but somehow i can't get rid of the impression that several aspects of her talent still have to find a proper and common place to land. addionally, i have to conclude that a prominent ingredient of music in general is somewhat underrepresented: emotion. although some tracks on this album are intelligently constructed, this is just exactly what might be wrong with the majority of the tracks: they sound too constructed and cold. perhaps this is just the the reason why some critics question whether tonikom should be considered as either a musician or a club dj. my advise would be: just add some emotion and consistency and the next album might be a magnificant one... (drakengaas)

chain d.l.k.
the mysterious mistress tonikom is one of the very few females available in the modern idm/electronica music genre. after her marvelous debut ”epoch” 2 year before on hymen, here’s with ”the sniper’s veil” the enjoyable follow-up album, which again points out the musically preferences to several stylistically related colleagues. there is at first to name her varied rhythm and percussion work. by integrating influences out of downtempo, trip hop, trance and breakbeat you can be assured to hear diverse patterns in her tracks far away from repetitions. her rhythm work as being the energizer for hr global sound out, she also convinces with well-though electronica themes, which quite often express a sentimental mood – which is contrary to her rhythmic work. and to unite these different influences track by track in perfection, that’s the target to reach. this of course works on some tracks better than on others, both highly addictive tunes ”the source (album edit)” and the more than 11 minutes striking opener ”temporarius delirium” are approving this plan, while the most catchiest tune can be discovered with the quite linear arranged ”watching from here”. ”the sniper’s veil” balances well between ”float-and-go”-music, an ideal and demanding album to listen and to move to. (marc tater)

discography 04.2k9:
the sniper's veil. cd. hymen records ¥774. 2009
epoch. cd. hymen records ¥761. 2007
ocular pitch. cd. cold world records cwr002. 2006
tonikom killed tonik. cd-r. cold world records cwr001. 2006

official websites: