Chamber of Echoes

Our KILLER October episodes continue with very special guests Chamber of Echoes! FANG-tastic Industrial Pop music that is infectious! No really, it gets under your skin and festers! The only cure? More Chamber of Echoes! So don’t miss this episode Kiddies! Yours Ghoully will be dissecting them for your DIS-pleasure as well as spinning some of their best tracks. Including two Darkest Radio exclusive songs! - Darkest Radio

Our KILLER October episodes continue with very special guests Chamber of Echoes! FANG-tastic Industrial Pop music that is infectious! No really, it gets under your skin and festers! The only cure? More Chamber of Echoes! So don’t miss this episode Kiddies! Yours Ghoully will be dissecting them for your DIS-pleasure as well as spinning some of their best tracks. Including two Darkest Radio exclusive songs! - Darkest Radio

Fronted by the multi talented Klaryssa Korolenkov, Chamber of Echoes is an industrial pop/rock and electronica music project that combines live music, exciting visuals, performance art and crazy fashion. Klaryssa Korolenkov is the lead vocalist of Chamber of Echoes; she also produces, writes the songs, plays various instruments and handles art direction. The other members of the rock band include Chris Martin on drums and percussion, Xavier on bass and synth, and Tim on guitar and synth.
Chamber of Echoes is currently based in southern California, primarily in Los Angeles, but as their fan base grows, they hope to take their unique brand of rock music to a far wider audience. For now, though, Chamber of Echoes is concentrating on live shows in and around Los Angeles and they are currently working their way around the Hollywood club circuit, covering such iconic rock venues as Skinnies, The Key Club, The Monte Cristo, and even headlining at the world famous Viper Room.
During their live shows, the band is proud to have shared the stage with several famous rock musicians and bands including Killmatriarch, Shiny Toy Guns and Dommin. Klaryssa has also worked with Jay Baumgardner of Linkin Park and Evanescence fame, plus many others.
Fans of Chamber of Echoes have described the band’s music as an exciting fusion of Nine Inch Nails, Evanescence, Celldweller and Kidneythieves and with increased exposure via many local rock radio stations and online podcasts, the band’s popularity continues to grow.

Chamber of Echoes
As well as making time to tour rock venues across southern California, Chamber of Echoes are concentrating on spending time in the studio to record new tracks for their first full length studio album, “World of Silence”. The band has also been filming a new music video to promote their latest music release, Asylum (The Sickness). - The Daily Review

Fronted by the multi talented Klaryssa Korolenkov, Chamber of Echoes is an industrial pop/rock and electronica music project that combines live music, exciting visuals, performance art and crazy fashion. Klaryssa Korolenkov is the lead vocalist of Chamber of Echoes; she also produces, writes the songs, plays various instruments and handles art direction. The other members of the rock band include Chris Martin on drums and percussion, Xavier on bass and synth, and Tim on guitar and synth.
Chamber of Echoes is currently based in southern California, primarily in Los Angeles, but as their fan base grows, they hope to take their unique brand of rock music to a far wider audience. For now, though, Chamber of Echoes is concentrating on live shows in and around Los Angeles and they are currently working their way around the Hollywood club circuit, covering such iconic rock venues as Skinnies, The Key Club, The Monte Cristo, and even headlining at the world famous Viper Room.
During their live shows, the band is proud to have shared the stage with several famous rock musicians and bands including Killmatriarch, Shiny Toy Guns and Dommin. Klaryssa has also worked with Jay Baumgardner of Linkin Park and Evanescence fame, plus many others.
Fans of Chamber of Echoes have described the band’s music as an exciting fusion of Nine Inch Nails, Evanescence, Celldweller and Kidneythieves and with increased exposure via many local rock radio stations and online podcasts, the band’s popularity continues to grow.

Chamber of Echoes
As well as making time to tour rock venues across southern California, Chamber of Echoes are concentrating on spending time in the studio to record new tracks for their first full length studio album, “World of Silence”. The band has also been filming a new music video to promote their latest music release, Asylum (The Sickness). - The Daily Review

Chamber of Echoes
Category: Industrial / Goth
Album: Asylum EP
Stars: 4
Blurb: Excellent production conveying dark modes of industrial rock make for a wonderful sophomore outing.




As the second release from Los Angeles based Chamber of Echoes, the Asylum EP might seem sparse at 18-and-a-half minutes long, but the four tracks presented here serve as a precursory transition toward the band’s upcoming full-length album. While the debut dual EP of Unbound + Set Free / Under Lock + Key presented an intriguing experiment, featuring Chamber of Echoes’ Klaryssa Korolenkov in all of her musical glory with two versions – one a more mainstream produced rock interpretation, the other as Korolenkov originally intended – of the same set of songs, Asylum presents a small narrative pertaining to its title. From the imprisonment of sickness and mental decay presented in “Asylum (The Sickness),” Korolenkov’s voice soars melodic and boisterous atop layers of industrialized synthesizers and stuttering guitars, the beats aggressive but tightly programmed. A lush mix of ambient guitar and piano with some intelligent chord progressions forms a satisfying bridge to the song, immediately indicating the complexity of the songwriting as well as the production. Next follows “I Don’t Mind (The Resentment),” which immediately brings to mind the attitude-laden standoffishness of Kidneythieves, grinding guitars chugging alongside mechanical textures that belie the vocals. The bittersweet intonations add to the song’s atmosphere, hinting at an explosion of rage that doesn’t quite occur until the next track. ‘Feeding the Disease (The Loss)” adds to the abrasion and the ambience with a harmonious shift from a rhythmic throb of guitar and somber piano shifts to a vitriolic, ascending chorus before “The Way Out (Rebirth)” ends the EP on an emotionally ambiguous note, at once sullen and uplifting, heart-wrenching yet optimistic, as a piano-driven instrumental complements the moments of dark beauty that permeate throughout Chamber of Echoes’ music. It’s an all too brief affair, but one that builds up the excitement for the full-length album on the horizon. As well, the Asylum EP is indicative of all that Chamber of Echoes has to offer: excellently produced layers of rocking industrial and dark emotions that will surely enable Klaryssa Korolenkov and company to ascend to the top of the underground.

Track list:

Asylum (The Sickness)
I Don’t Mind (The Resentment)
Feeding This Disease (The Loss)
The Way Out (The Rebirth)

Chamber of Echoes Website http://chamberofechoes.com
Chamber of Echoes MySpace http://www.myspace.com/chamberofechoes
Chamber of Echoes Facebook http://www.facebook.com/pages/Chamber-Of-Echoes/206684417802
Chamber of Echoes Twitter http://twitter.com/chamberofechoes
Chamber of Echoes ReverbNation http://www.reverbnation.com/chamberofechoes
Interscope Digital Distribution Website http://www.interscopedigitaldistribution.com
Interscope Digital Distribution Facebook https://www.facebook.com/pages/Interscope-Digital-Distribution/208841169176735 - Regen Music Magazine- Ilker Yucel

Klaryssa Korolenkov has an intriguing EP in the darkwave/industrial mold. One side is the major label idea of her music and the other the EP the way she wanted it. Either way "Esoteric" charges along nicely and sees Karol's sharp vocals dance against a strongly emphasized beat.

"Scar Tissue" bounces along like a latter day Nine Inch Nails track with nicely sung vocals. "Disenchanted" is dense yet retains a melodic appeal; Karol's emotional vocals set the tone well. The closing "The Shade of my Spirit" is a bit of dramatic melody fired by the singer's passionate delivery. By contrast the Under Lock And Key EP has more pronounced rhythms and a punchier, more commercial delivery. While not bad, it seems Karol's heart is more in the independent version. An interesting idea and a captivating pair of EPs. - Luna Kafe

Klaryssa Korolenkov has an intriguing EP in the darkwave/industrial mold. One side is the major label idea of her music and the other the EP the way she wanted it. Either way "Esoteric" charges along nicely and sees Karol's sharp vocals dance against a strongly emphasized beat.

"Scar Tissue" bounces along like a latter day Nine Inch Nails track with nicely sung vocals. "Disenchanted" is dense yet retains a melodic appeal; Karol's emotional vocals set the tone well. The closing "The Shade of my Spirit" is a bit of dramatic melody fired by the singer's passionate delivery. By contrast the Under Lock And Key EP has more pronounced rhythms and a punchier, more commercial delivery. While not bad, it seems Karol's heart is more in the independent version. An interesting idea and a captivating pair of EPs. - Luna Kafe

Who is Klaryssa Korolenkov?

I am the founder, creator, producer and art director of Chamber of Echoes, an industrial/post-apocalyptic/
victorian music-art-fashion-visual project. Wow, that was a mouthful.

My role in the project is pretty extensive so I'll just name off a list of things I do: Vocals, lyrics, arrangement, composition, production, synth, programming, engineering, mixing, sound design, keys, piano, drum machine, artwork, graphic design, overall project concept, design concept and visuals.
Outside of the project, I am an outgoing introverted person that rarely goes out because I am always creating, but when I do go out, it is usually for some kind of art/music/visual media/fun social event with other like-minded individuals. I like to hide away, and it's pretty hard to find me. I spend my free time doing digital and traditional art, graphic design, playing video games, going to industrial clubs, concerts, art shows, cooking, reading about all things spiritual/occult/metaphysical/scientific/music business, and I like to sleep a lot too lol.


What role did music play in your childhood, did you grew up in a musical family?

I began classical piano training at 7 and a half years old, which pretty much set the foundation for everything I know today in music. I had to learn theory and classical pieces which I hated because I felt I didn't have any control over what I really wanted to learn, and the kind of music I wanted to bring to the masses in the future. I still hate being controlled when it comes to anything concerned expressing myself. I dropped out of classical training at 15, and after that delved into the world of learning by ear which is easier for me anyways, programming, sound design, engineering, and production. I gained all of my musical ability from my mother, who grew up playing the accordion, was trained in opera, and is a classical and folk guitarist.


When did you enter the so called “darker music scene” and what does this scene mean to you?

The "darker music scene" was something I always enjoyed, but was kind of afraid of growing up because I was raised in a very sheltered environment. I was forced into Christian elementary schools, and an all-girls Catholic high-school where that kind of thing is strictly forbidden, not to mention I was pretty much the only one in school that I knew of that was into anything dark music or art wise. I kept my interests hidden, and looked like a completely normal homecoming-queen type. When I got out of high school I did a complete 180 degree change overnight because I finally allowed myself to be a part of something that always felt completely natural to me, and it was such an awakening experience. It freaked everyone else out because I looked so completely different, and many people weren't used to me expressing my interests in the dark music and art scene/occult/ paranormal ect, thought I may had some sort of crazy problem hah.This scene to me means complete and total freedom in every sense of the word, it's also a family that can last a lifetime because in this scene I have found it has drawn me directly to such amazing people that have 95% in common with me; they have really turned into my family and we will remain close forever:) I am in complete creative freedom and it's absolutely thrilling to be able to merge mindsets with others, having an unspoken understanding. I finally have a huge network across the world that relates to my interests, activities, new ways of thinking, and all of these people are so accepting, passionate, humorous and encouraging, not to mention collaborative ;)


You are the only member of Chamber of Echoes, can you give a brief introduction to it?

I started Chamber of Echoes officially in 2006. The name came to me right out of a dream state in the middle of the night. When I was younger, I always tried to write rock songs, but with an acoustic piano, and it was never satisfying to me. That alone just could not get the job done. I could never fully express the music I had inside of me with a solitary instrument. When I was in high school, I discovered Nine Inch Nails, and fell in love with Pretty Hate Machine. Since no one else had anything else in common with me in school, I had no idea this kind of music was really out there as sad as that is...everyone else around me was into pop stars, and I didn't have anyone else to discuss my love of industrial music with. It was then that I discovered that there was only one person behind the whole project, and that Trent Reznor did pretty much
everything himself, on keyboards. Then I thought, "hey why wouldn't I be able to do that?" I started teaching myself programming and engineering at 17, and aspired to be the female version of Trent Reznor, doing everything myself, but only on hardware and MIDI. I am just realizing this definition isn't so brief! Well, that is how this project got started, though a lot has changed. I am still the main person be - Cyber Angels Magazine- Ed Roos

Who is Klaryssa Korolenkov?

I am the founder, creator, producer and art director of Chamber of Echoes, an industrial/post-apocalyptic/
victorian music-art-fashion-visual project. Wow, that was a mouthful.

My role in the project is pretty extensive so I'll just name off a list of things I do: Vocals, lyrics, arrangement, composition, production, synth, programming, engineering, mixing, sound design, keys, piano, drum machine, artwork, graphic design, overall project concept, design concept and visuals.
Outside of the project, I am an outgoing introverted person that rarely goes out because I am always creating, but when I do go out, it is usually for some kind of art/music/visual media/fun social event with other like-minded individuals. I like to hide away, and it's pretty hard to find me. I spend my free time doing digital and traditional art, graphic design, playing video games, going to industrial clubs, concerts, art shows, cooking, reading about all things spiritual/occult/metaphysical/scientific/music business, and I like to sleep a lot too lol.


What role did music play in your childhood, did you grew up in a musical family?

I began classical piano training at 7 and a half years old, which pretty much set the foundation for everything I know today in music. I had to learn theory and classical pieces which I hated because I felt I didn't have any control over what I really wanted to learn, and the kind of music I wanted to bring to the masses in the future. I still hate being controlled when it comes to anything concerned expressing myself. I dropped out of classical training at 15, and after that delved into the world of learning by ear which is easier for me anyways, programming, sound design, engineering, and production. I gained all of my musical ability from my mother, who grew up playing the accordion, was trained in opera, and is a classical and folk guitarist.


When did you enter the so called “darker music scene” and what does this scene mean to you?

The "darker music scene" was something I always enjoyed, but was kind of afraid of growing up because I was raised in a very sheltered environment. I was forced into Christian elementary schools, and an all-girls Catholic high-school where that kind of thing is strictly forbidden, not to mention I was pretty much the only one in school that I knew of that was into anything dark music or art wise. I kept my interests hidden, and looked like a completely normal homecoming-queen type. When I got out of high school I did a complete 180 degree change overnight because I finally allowed myself to be a part of something that always felt completely natural to me, and it was such an awakening experience. It freaked everyone else out because I looked so completely different, and many people weren't used to me expressing my interests in the dark music and art scene/occult/ paranormal ect, thought I may had some sort of crazy problem hah.This scene to me means complete and total freedom in every sense of the word, it's also a family that can last a lifetime because in this scene I have found it has drawn me directly to such amazing people that have 95% in common with me; they have really turned into my family and we will remain close forever:) I am in complete creative freedom and it's absolutely thrilling to be able to merge mindsets with others, having an unspoken understanding. I finally have a huge network across the world that relates to my interests, activities, new ways of thinking, and all of these people are so accepting, passionate, humorous and encouraging, not to mention collaborative ;)


You are the only member of Chamber of Echoes, can you give a brief introduction to it?

I started Chamber of Echoes officially in 2006. The name came to me right out of a dream state in the middle of the night. When I was younger, I always tried to write rock songs, but with an acoustic piano, and it was never satisfying to me. That alone just could not get the job done. I could never fully express the music I had inside of me with a solitary instrument. When I was in high school, I discovered Nine Inch Nails, and fell in love with Pretty Hate Machine. Since no one else had anything else in common with me in school, I had no idea this kind of music was really out there as sad as that is...everyone else around me was into pop stars, and I didn't have anyone else to discuss my love of industrial music with. It was then that I discovered that there was only one person behind the whole project, and that Trent Reznor did pretty much
everything himself, on keyboards. Then I thought, "hey why wouldn't I be able to do that?" I started teaching myself programming and engineering at 17, and aspired to be the female version of Trent Reznor, doing everything myself, but only on hardware and MIDI. I am just realizing this definition isn't so brief! Well, that is how this project got started, though a lot has changed. I am still the main person be - Cyber Angels Magazine- Ed Roos

“After listening a number of times in judging, I’ve found myself quickly becoming a fan. Solid writing, great production, and beautiful vocals. Looking forward to the EP & follow up album!” ~ Adrian of Das Gift

Zack Daggy: Who are your main influences?

Klaryssa Korolenkov of Chamber Of Echoes: My main influences are NIN, Depeche Mode, Evanescence, The Birthday Massacre, The Kidneythieves, Celldweller, and Porcelain and the Tramps :)

ZD: How would you describe Chamber of Echoes’s sound?


KK: “Industrial music production fused over alternative-pop song structures and hooks. Ambient dream-like pads make an appearance over trip-hop beats, distorted pianos, experimental intros and pulsing synths.” Things are starting to change though…they are going to move away from pop song structures to a more hard rock/metal influence…stronger vocal harmonies, heavier distortion on the drum machines and synths…

ZD: What does the term “goth” mean to you, and do you consider yourself gothic?

KK: I think that “goth” is really different for everyone, and everyone has their own personal definition of what it is to be gothic. For me, it is a lifestyle of dark romanticism, and expressing yourself through darkly creative art, music, literature, and visuals. I’ve always been this way, since I was a super small child growing up before I even knew what a “goth” was, so yes I am, and I’m not afraid of the label either. I like to be a part of and associated with this subculture:)

ZD: What are the origins of Chamber of Echoes?

KK: C.O.E. officially started 4 years ago, when the name came to me in the middle of the night after having just woken up from a dream. I had been classically trained on piano starting at 8 years old, and started writing my own songs at 11. I wanted to write more complex pieces, and the piano alone was just not enough. At 17 I began learning to engineer, record, and program, and following in Trent Reznor’s footsteps, I began writing, performing, arranging, and producing every part of every one of my songs. Finally this music/art/fashion/visual project has come together as a live project recently.

ZD: Where do you find inspiration?

KK: I find inspiration through solitude, and being able to collect my own thoughts. If there are too many people around me all the time, my creative energy kind of gets drained, and I lose the ability to focus or come up with anything worthwhile. I find I am able to create a lot after heartbreak, or after something disappointing has happened, but also I am able to write when new people come into my life changing the dynamic of everything around me, and through the visuals of other recording artists. Art and visuals are a huge inspiration to me.

ZD: What has been the raddest moment thus far in your life?


KK: Hmmm… The raddest moment?! I don’t know that I have come across it yet! But definitely the completion of my first album was indeed a rad moment where I felt I finally got to a place where I was finally supposed to be all along, and that I had finally accomplished something:) There was a huge sense of happiness and fulfillment when this finally happened.

ZD: What has been the most embarrassing moment thus far in your life?


KK: Hmhmh. Most embarrassing moment. I guess it’s always an embarrassing moment when you invest your time and feelings into someone, and then you reveal it to find that it isn’t returned! This has happened a lot unfortunately, which is strangely where I can also draw inspiration from. A funny embarrassing moment was when I worked at Guitar Center, and they told me to come to work the next day in a hula skirt with a coconut bra for “hawaiian day”. I showed up the next morning in costume, and they locked me out and told me to wait outside. Finally when I walked through the door everyone laughed cause I actually did it, and they were all dressed normal. So I was a good sport and wore the damn costume the rest of the day. Free hula dances for everyone.

ZD: Are you playing any live shows these days?


KK: Yes! Finally got my live band together and am working with some incredibly talented friends and musicians. We have definitely turned into a family unit:) Our first live show was a great success and drew about 350 people! Our next live show is May 17th at Skinny’s Lounge in Hollywood.

ZD: How would you describe Chamber of Echoes live?


KK: Well, we definitely aren’t one of those boring bands that just stands there in their boring hipster clothing and acoustic guitars. Its an experience almost like that of a whole new environment. There is a very darkly magical, let powerful feel to the music, we are all dressed in post-apocalyptic clothing, and they are visual projections and animations that accompany the music that range from anything from avant-garde art films, to scans of old Victorian medical illustrations.

ZD: Which line from one of your songs best describes you?


KK: Like anyone, I am always evolving an - The Mothpod

“After listening a number of times in judging, I’ve found myself quickly becoming a fan. Solid writing, great production, and beautiful vocals. Looking forward to the EP & follow up album!” ~ Adrian of Das Gift

Zack Daggy: Who are your main influences?

Klaryssa Korolenkov of Chamber Of Echoes: My main influences are NIN, Depeche Mode, Evanescence, The Birthday Massacre, The Kidneythieves, Celldweller, and Porcelain and the Tramps :)

ZD: How would you describe Chamber of Echoes’s sound?


KK: “Industrial music production fused over alternative-pop song structures and hooks. Ambient dream-like pads make an appearance over trip-hop beats, distorted pianos, experimental intros and pulsing synths.” Things are starting to change though…they are going to move away from pop song structures to a more hard rock/metal influence…stronger vocal harmonies, heavier distortion on the drum machines and synths…

ZD: What does the term “goth” mean to you, and do you consider yourself gothic?

KK: I think that “goth” is really different for everyone, and everyone has their own personal definition of what it is to be gothic. For me, it is a lifestyle of dark romanticism, and expressing yourself through darkly creative art, music, literature, and visuals. I’ve always been this way, since I was a super small child growing up before I even knew what a “goth” was, so yes I am, and I’m not afraid of the label either. I like to be a part of and associated with this subculture:)

ZD: What are the origins of Chamber of Echoes?

KK: C.O.E. officially started 4 years ago, when the name came to me in the middle of the night after having just woken up from a dream. I had been classically trained on piano starting at 8 years old, and started writing my own songs at 11. I wanted to write more complex pieces, and the piano alone was just not enough. At 17 I began learning to engineer, record, and program, and following in Trent Reznor’s footsteps, I began writing, performing, arranging, and producing every part of every one of my songs. Finally this music/art/fashion/visual project has come together as a live project recently.

ZD: Where do you find inspiration?

KK: I find inspiration through solitude, and being able to collect my own thoughts. If there are too many people around me all the time, my creative energy kind of gets drained, and I lose the ability to focus or come up with anything worthwhile. I find I am able to create a lot after heartbreak, or after something disappointing has happened, but also I am able to write when new people come into my life changing the dynamic of everything around me, and through the visuals of other recording artists. Art and visuals are a huge inspiration to me.

ZD: What has been the raddest moment thus far in your life?


KK: Hmmm… The raddest moment?! I don’t know that I have come across it yet! But definitely the completion of my first album was indeed a rad moment where I felt I finally got to a place where I was finally supposed to be all along, and that I had finally accomplished something:) There was a huge sense of happiness and fulfillment when this finally happened.

ZD: What has been the most embarrassing moment thus far in your life?


KK: Hmhmh. Most embarrassing moment. I guess it’s always an embarrassing moment when you invest your time and feelings into someone, and then you reveal it to find that it isn’t returned! This has happened a lot unfortunately, which is strangely where I can also draw inspiration from. A funny embarrassing moment was when I worked at Guitar Center, and they told me to come to work the next day in a hula skirt with a coconut bra for “hawaiian day”. I showed up the next morning in costume, and they locked me out and told me to wait outside. Finally when I walked through the door everyone laughed cause I actually did it, and they were all dressed normal. So I was a good sport and wore the damn costume the rest of the day. Free hula dances for everyone.

ZD: Are you playing any live shows these days?


KK: Yes! Finally got my live band together and am working with some incredibly talented friends and musicians. We have definitely turned into a family unit:) Our first live show was a great success and drew about 350 people! Our next live show is May 17th at Skinny’s Lounge in Hollywood.

ZD: How would you describe Chamber of Echoes live?


KK: Well, we definitely aren’t one of those boring bands that just stands there in their boring hipster clothing and acoustic guitars. Its an experience almost like that of a whole new environment. There is a very darkly magical, let powerful feel to the music, we are all dressed in post-apocalyptic clothing, and they are visual projections and animations that accompany the music that range from anything from avant-garde art films, to scans of old Victorian medical illustrations.

ZD: Which line from one of your songs best describes you?


KK: Like anyone, I am always evolving an - The Mothpod

Location: Los Angeles, CA, California, USA
Description: Chamber of Echoes is a female fronted and produced electronica/industrial/visual rock project, conceived by Klaryssa Korolenkov.
Biography: Chamber of Echoes is a female fronted and produced electronica/industrial/visual rock project, conceived by vocalist/multi-instrumentalist/producer/songwriter Klaryssa Korolenkov. Fans have compared the project to the likes of Nine Inch Nails, Evanescence, Kidneythieves and Celldweller. Chamber of Echoes has played several shows throughout southern California, making rounds throughout the Hollywood club circuit at venues such as The Key Club, headlining at the world famous Viper Room, and targeting their demographic by touring throughout selected Hot Topic locations. COE has gained press through numerous sources such as OC Rock Radio, Time Warner Cable, OC Weekly, The Orange County Register and several online radio stations and podcasts. They have also shared the stage alongside notable acts such as Shiny Toy Guns, Dommin, Killmatriarch (members of System of a Down), local favorites such as Skum Love, and Klaryssa has worked alongside with Jay Baumgardner (Linkin Park, Evanescence), Jay Gordon (Orgy), John Tempesta (White Zombie), Jon Fuller (Helmet), Angel Bartolotta (Dope, Koch Records), Jack Sinamian (Die Trying), and I Am Ghost (Epitaph Records). The Los Angeles-based band is focused on taking their energetic live show worldwide as they continue to promote the release of their second EP “Asylum”. - A Voice To Hear

Location: Los Angeles, CA, California, USA
Description: Chamber of Echoes is a female fronted and produced electronica/industrial/visual rock project, conceived by Klaryssa Korolenkov.
Biography: Chamber of Echoes is a female fronted and produced electronica/industrial/visual rock project, conceived by vocalist/multi-instrumentalist/producer/songwriter Klaryssa Korolenkov. Fans have compared the project to the likes of Nine Inch Nails, Evanescence, Kidneythieves and Celldweller. Chamber of Echoes has played several shows throughout southern California, making rounds throughout the Hollywood club circuit at venues such as The Key Club, headlining at the world famous Viper Room, and targeting their demographic by touring throughout selected Hot Topic locations. COE has gained press through numerous sources such as OC Rock Radio, Time Warner Cable, OC Weekly, The Orange County Register and several online radio stations and podcasts. They have also shared the stage alongside notable acts such as Shiny Toy Guns, Dommin, Killmatriarch (members of System of a Down), local favorites such as Skum Love, and Klaryssa has worked alongside with Jay Baumgardner (Linkin Park, Evanescence), Jay Gordon (Orgy), John Tempesta (White Zombie), Jon Fuller (Helmet), Angel Bartolotta (Dope, Koch Records), Jack Sinamian (Die Trying), and I Am Ghost (Epitaph Records). The Los Angeles-based band is focused on taking their energetic live show worldwide as they continue to promote the release of their second EP “Asylum”. - A Voice To Hear

Now working on Chamber of Echoes’ first full-length album, Klaryssa Korolenkov speaks to ReGen about the experiences that have led the project to its current incarnation.

An Interview with Klaryssa Korolenkov of Chamber of Echoes

By: Ilker Yücel

In this day and age, talent and fame rarely go hand in hand; one need only listen to mainstream radio for proof. As incendiary a statement as that may sound, nobody knows this better than the up and coming musician who arrives into a record company executive’s office with stars twinkling in their eyes, a heart full of hope, and all the confidence in the world to display exhibitions of musical skill and drive that simply can’t be learned, all in an effort to be recognized and perhaps celebrated by a larger audience…only to have those dreams quashed under the weight of the moneymaking mentality that places profit over art.

This is a difficult lesson that Klaryssa Korolenkov has learned and thankfully survived in bringing her artistic and musical vision to fruition: a vision in the form of her band, Chamber of Echoes. In 2010, she released an ambitious debut, Unbound and Set Free / Under Lock and Key, a dual EP that featured two distinct versions of her songs – one produced at NRG Studios, the other produced by Korolenkov as she originally intended – perhaps acting as the ultimate example of where the mainstream and underground mentalities clash. More than that, listeners beheld Chamber of Echoes’ dynamic brand of dark industrial rock, full of subtle complexity and resonating atmosphere. Taking her destiny into her own hands, Korolenkov took Chamber of Echoes to the next step with a live band and honing her songwriting skills, the four-track Asylum EP following in early 2011.

Now working on the first full-length album, World of Silence, Korolenkov speaks to ReGen about the experiences that have led Chamber of Echoes to its current incarnation. From her beginnings as an aspiring musician to the ups and downs of dealing with the music industry to the formation of the current lineup, we are guided through a stimulating sensory feast of audio/visual escapism.

Tell us about your musical background and how you first started Chamber of Echoes.

Korolenkov: I started taking music lessons when I was seven and a half; I started on the piano and I had classical training, but I dropped out because I was bored with it. I started to write the classical pieces over. When I’d go in for lessons, I would play them as rock versions, and the teachers wouldn’t get mad, which was really weird. After doing that, I started getting interested in programming because when I was 16 or 17, I kept on looking to be in bands and every band I wanted to be in was always looking for programmers, not piano players. So I started listening to bands that had heavy programming. That’s when I really got into Nine Inch Nails and studied who Trent Reznor was, how he played everything, how he made his first album and wrote everything himself. I thought, ‘Well, why do I need a band? Why don’t I just be like him and play everything and try to figure it out?’ When I was still in high school, I started getting into engineering. I didn’t have any money to do it, so I was learning everything I could from the Internet. I had an old microphone from my computer from 1995; I ghetto-rigged it so I could record from it, and that’s how I tracked my demos, because hey, you’ve got to start somewhere.

When I was about 19 or 20, I started getting into engineering and researching everything that I could. I was still having a hard time finding bands, because every band I wanted to be in was full of egomaniacs and people that weren’t really sure of what they wanted. I felt that I really had to start my own thing, start my own band. I started developing the MySpace accounts, back when MySpace was still really popular, and I was putting my rough demos up there, but it still wasn’t called Chamber of Echoes at that time. One night when I was sleeping, I was really hyper from creating, and I kept on waking up. The name literally popped into my head mid-sleep without me having to even try to make something up! I thought it sounded very mysterious and dark, and maybe something a younger audience would wonder about and want to look into.

Chamber of Echoes has a very strong visual aesthetic, full of sepiatone and gothic/sci-fi elements. How did the visual components of the band develop in relation to the music?

Korolenkov: Because I’m a visual artist also, I’m involved in a lot of creative things like makeup design and costume design, painting, graphic design. I wondered how I could combine all of those things into my music as well. I thought, ‘Why don’t I turn Chamber of Echoes into a visual and musical project or a multimedia project? It could be a combination of music with performance art and video art,’ and then it started developing into this entity. I started putting a story behind it and getting my frien - Regen Music Magazine- Ilker Yucel

Chamber of Echoes is an industrial band that embodies the essence of a powerful singer with a gothic dose of musical melodies which make this music artist a force to be reckoned with. If Amy Lee of Evanescence and Trent Reznor of Nine Inch Nails were fused together in an accidental transporter incident, the result would be the birth of Klaryssa Korolenkov, the heart and soul of Chamber of Echoes.

Read a featured one-on-one interview with Klaryssa of Chamber of Echoes on Great Unknowns Music Exposé

Track listing: Scar Tissue, Esoteric, The Proof in the Pawn, and The Shade of My Heart from the double EP, "Unbound and Set Free" and "Under Lock and Key"

Find more information about Chamber of Echoes on MySpace - The Great Unknowns Presents:

Young songwriter Klaryssa Nicole (aka Chamber Of Echoes) from Fullerton, CA has entered the studio with Jay Gordon (Orgy) and Jay Baumgardner (Linkin Park, Evanescence) to produce a debut EP which will be out later this year. We grabbed at the chance for a raw and honest chat with the passionate artist about what has brought her to this point.

S] How does it feel to be working with Jay Gordon and Jay Baumgardner and how have they helped you develop your sound?

Klaryssa] This whole process has actually been a surreal, unbelievable experience that I am truly grateful for. I have been a fan of Jay Gordon since I was a kid, and he has been a huge influence on me musically. Also I have admired Jay Baumgardner’s production work for many years, and he has worked with and produced many of my top favourite artists. When all of this began, it was just a real shock that I got to work with both of them, and that they were willing to help develop my craft and be my musical mentors. I am very fortunate, and this has been the greatest experience of my life.
As far as the sound development part, a lot has changed from what I used to sound like. At first I was really stubborn because I am very strong in my artistic conviction. Before I worked with my producers, I wrote, played, programmed, sang and engineered everything myself; I was basically a one-chick band that delved within the Industrial, Ethereal and Goth genres, and I was very experimental when it came to song-writing. When they stepped into the picture, many things drastically changed, and now my music has evolved into more of an alternative pop-rock sound, with some Industrial ambiances and distorted drum loops that peek through on occasion. Instead of the songs being based around programming, they were restructured with a live band on the new recordings, and then I put programming back into the space that was left available. The producers really stretched my vocal range and ability, and pushed me up a couple of octaves. Also, much of the lyrical content was changed because they felt that my vocabulary and subject matter needed to be simplified in order to appeal to the masses.The reason why they turned me in this direction is because they felt that I needed to have some sort of crossover appeal to be successful to the mainstream market, and I’m not gonna lie, it was a bloodbath at times.
Though my sound is changing on the EP, in the future, I am going to write, play and program what feels natural to me, but I will infuse many key elements and techniques they have taught me to better my songwriting. At times it felt like I lost much of my artistic control, but I realize that they only changed my sound to make me marketable to labels, and because they thought this was the best option for me that would ultimately lead to commercial success. While the new sound is different, I am happy with the results. It was quite frightening at first to not have had complete creative control, but it’s widely known that every new artist goes through this, and contrasting the new sound with the old actually shows my versatility and adaptability as an artist. I was told “This EP is your Pretty Hate Machine, you can have your Downward Spiral later…”

S] How will the new 'Lock and Key' EP expand on the themes and ideas you have dealt with on previous material?

Klaryssa] The themes presented on the EP are actually just revised renditions off of the songs that were my original demos. Much of what I write about is based on the human condition; re-occurring themes of loneliness, rejection, isolation, questioning of existence, death and loss, obsession, romantic idealism, and revenge. However, since the lyrical content has changed and developed, listeners may not necessarily recognize those previous themes. You can still hear and feel the emotions, and some metaphors are still present, but the subject matter is now geared towards a younger demographic instead of an adult audience. Because of this, topics range anywhere from seclusion, angst, abusive relationships, ardor for androgynous boys, and cries for attention from those I am infatuated with.

S] How did you find your live band, and what are you most looking forward to about taking your outfit out live?

Klaryssa] [Laughs] I am still working on the whole live band situation. I have quite a few people that are willing to make this happen, and are very skilled as performers themselves, but I am still auditioning people. I found some of them by going to shows, or I worked with them previously on the EP, I was introduced to others through mutual friends, and even found some online. I want to make sure that I find musicians that are just as passionate about music as I am, and are not in it for just the money or the fame. I am ecstatic to finally be able to perform as Chamber of Echoes, and bring my music to life as both a singer and a musician, as well as play live with other musicians. I can’t wait to connect and communica - Soundphere Magazine- Dom Smith

Young songwriter Klaryssa Nicole (aka Chamber Of Echoes) from Fullerton, CA has entered the studio with Jay Gordon (Orgy) and Jay Baumgardner (Linkin Park, Evanescence) to produce a debut EP which will be out later this year. We grabbed at the chance for a raw and honest chat with the passionate artist about what has brought her to this point.

S] How does it feel to be working with Jay Gordon and Jay Baumgardner and how have they helped you develop your sound?

Klaryssa] This whole process has actually been a surreal, unbelievable experience that I am truly grateful for. I have been a fan of Jay Gordon since I was a kid, and he has been a huge influence on me musically. Also I have admired Jay Baumgardner’s production work for many years, and he has worked with and produced many of my top favourite artists. When all of this began, it was just a real shock that I got to work with both of them, and that they were willing to help develop my craft and be my musical mentors. I am very fortunate, and this has been the greatest experience of my life.
As far as the sound development part, a lot has changed from what I used to sound like. At first I was really stubborn because I am very strong in my artistic conviction. Before I worked with my producers, I wrote, played, programmed, sang and engineered everything myself; I was basically a one-chick band that delved within the Industrial, Ethereal and Goth genres, and I was very experimental when it came to song-writing. When they stepped into the picture, many things drastically changed, and now my music has evolved into more of an alternative pop-rock sound, with some Industrial ambiances and distorted drum loops that peek through on occasion. Instead of the songs being based around programming, they were restructured with a live band on the new recordings, and then I put programming back into the space that was left available. The producers really stretched my vocal range and ability, and pushed me up a couple of octaves. Also, much of the lyrical content was changed because they felt that my vocabulary and subject matter needed to be simplified in order to appeal to the masses.The reason why they turned me in this direction is because they felt that I needed to have some sort of crossover appeal to be successful to the mainstream market, and I’m not gonna lie, it was a bloodbath at times.
Though my sound is changing on the EP, in the future, I am going to write, play and program what feels natural to me, but I will infuse many key elements and techniques they have taught me to better my songwriting. At times it felt like I lost much of my artistic control, but I realize that they only changed my sound to make me marketable to labels, and because they thought this was the best option for me that would ultimately lead to commercial success. While the new sound is different, I am happy with the results. It was quite frightening at first to not have had complete creative control, but it’s widely known that every new artist goes through this, and contrasting the new sound with the old actually shows my versatility and adaptability as an artist. I was told “This EP is your Pretty Hate Machine, you can have your Downward Spiral later…”

S] How will the new 'Lock and Key' EP expand on the themes and ideas you have dealt with on previous material?

Klaryssa] The themes presented on the EP are actually just revised renditions off of the songs that were my original demos. Much of what I write about is based on the human condition; re-occurring themes of loneliness, rejection, isolation, questioning of existence, death and loss, obsession, romantic idealism, and revenge. However, since the lyrical content has changed and developed, listeners may not necessarily recognize those previous themes. You can still hear and feel the emotions, and some metaphors are still present, but the subject matter is now geared towards a younger demographic instead of an adult audience. Because of this, topics range anywhere from seclusion, angst, abusive relationships, ardor for androgynous boys, and cries for attention from those I am infatuated with.

S] How did you find your live band, and what are you most looking forward to about taking your outfit out live?

Klaryssa] [Laughs] I am still working on the whole live band situation. I have quite a few people that are willing to make this happen, and are very skilled as performers themselves, but I am still auditioning people. I found some of them by going to shows, or I worked with them previously on the EP, I was introduced to others through mutual friends, and even found some online. I want to make sure that I find musicians that are just as passionate about music as I am, and are not in it for just the money or the fame. I am ecstatic to finally be able to perform as Chamber of Echoes, and bring my music to life as both a singer and a musician, as well as play live with other musicians. I can’t wait to connect and communica - Soundphere Magazine- Dom Smith