Yo, people who are just starting down this “electronic music path.”
You’re gonna play your shit for people and they will nitpick bullshit production stuff. Like…”oh, well your snare sucks or if you cut X frequency on this fuckin thing than I will like it more until I figure out another thing to take personally and bitch about.”
Don’t fuckin worry about that shit. Like. AT ALL.
Learn to write songs that matter to you. That’s the only important thing.
Because if they matter to you, you will be satisfied and keep going.
I’m not saying they have to make you happy. There are always going to be things you want to make better. But if they don’t resonate with you, they sure as shit won’t resonate with an audience.
And your audience is there.
It may not be huge. Who the fuck knows? But it is there. I mean, shit, 311 still has a fan base, right?
Don’t worry if your gear isn’t the best. Hell, we wrote our demos on a four track, our first full length was run through a 16 channel boss mixer to a stereo pair and recorded over. It wasn’t until our second record that we were able to sync our gear with our computer.
Our computer was one of the original pentium one laptops. I used a sound blaster usb Soundcard with $60 hacked drivers that I got from some dude in Germany, that allowed me to get my latency down to a reasonable size.
We recorded vocals in our kitchen and most of the strings were from a Casio keyboard with speakers in it.
By contrast now, I have a shit ton of gear and still write almost everything on my laptop.
Point being that these days you are far more likely to have someone come at you about some sort of bullshit production thing than you are about song writing.
But here’s the kicker. That demo? And that first record? They are still in print (along with the rest of our catalog) from our record label Metropolis records. And I don’t mean still as in they have always been. I mean still as they were rereleased as special sets.
Meaning they think they can make money on them. Because they will sell, because we have an audience, because we wrote good songs.
Am I a better songwriter now? Probably. But I learned to be one because of all of the material I wrote back then. And even now when I go back to, it still functions. It sounds the way it was supposed to sound.
So, just remember the following three words when that comes up ,”fuck that guy.”
Say it with me ,”fuck that guy.”
No, I’m not saying ignore a legit critique and advice. But seriously, fuck that guy on the industrial darkwave bullshit wave forum that’s bitching about your frequencies.
Steven Archer is a Stoneburner, one half of Ego Likeness, a visual artist, and has several published works. For more information try:
So we had a bit of a hiatus from the podcast and will be starting out 2020 with lots of great guests in our standard format. However we missed it so much Collin and I got rum drunk and decided to do a podcast talking about some recently releases we couldn’t wait to talk about. As always I will put links to all the bands we talk about below. Enjoy the tracks and we look forward to getting more great interviews for you soon.
2019 has been quite a year for my dream. It has found it’s tar dark wings and started flapping them to places I never imagined it would go. I have new writers like Collin, Katy, and Adrian. I have 4 times as many followers. Made new friends which I have come to love and value. Traveled to distant lands. Started a podcast. In general it gets me excited for the future that so many people all over the world have shared with me this love of what is happening in modern music.
Unlike last year when I did a top albums review all alone I know had a wine drenched democracy of shouting voices sitting in a room and debating what had moved them in this years music. It was an amazing feeling I had forgotten. I wanted to make this list hold weight. So we made hard cuts and decisions to get our list down to 4 genres and 10 albums per genre. Everyone had input and voice and no one 100% agreed. I love that. This was never suppose to be about me but about the celebration of art. I hope you find something new here. I know I did and it fills me with hope for places a song or album can still move me. We split it into 4 parts 1) Post Punk/Goth 2) Industrial/EDM 3) Synthwave/Darkwave/Coldwave 4) Wildcards
First up is Post Punk/Goth. This one is my primary wheelhouse so I took point here. There has been a true resurgence in this genre and this was a hard list to choose. The albums listed here are all amazing but we fought long and hard to try and pick some form of order. Here is what we found.
10) October Burns Black (Reflections) – London superband and Traditional goth act from London put out this amazing record this year. James Tramel (The Wake) has composed this album with Rod Hanna (Vox), Lars Kappeler (Guitars) and Tommy Olsson (Guitars) Simon Rippin. It is so full of flowing sinister goth sounds. It really holds true to the sounds of yesterday while forging new ground. Every song is an emotive blast.
9.5) Ritual Howls (Rendered Armor) – I know, i cheated. I just can’t leave this record off. We debated and argued so hard to get this list to 10. This album is just such a world beater. It’s Nick Cave putting on the armor of Echo and the Bunnyman. They are even Detroit fam. They are keeping a flame burning for a sound that cannot be forgotten.
9) Frozen Charlottes (Wax Venues) – Santa Ana post punk doom weavers Frozen Charlotte released this beautiful album in November of this year. I have been in love with Chandler Grace, Janell, and Sky’s savagely dark spit and vinegar punk goth style since their previous incarnation. With Wax Venus they really found a way to refine that edge to a razor point of intensity, Waxing and waning like the moon in a flowing dance around the fire witchcraft ritual.
8) La Me’canique (Dernier Voyage) – This is such a lovely record from Cold Transmission that really embraces the post punk ideals. It’s wide, flowing, and full of landscapes. It feels large and comes through the lens of a distant camera. I think of 80’s Duran Duran and the way they transported you to another place while listening to the songs. A vacation in musical form.
7) Mark E Moon (Refer) – Another exceptional album with a lot of traditional goth elements. Another Cold Transmission band on this list who has a wonderful vibe of old Peter Murphy but with a modern edge full of poetic lyrics and Mark’s deep resonant vocals. Lots of balance and pop hook in this record. I want to peel the layers of this onion and find the core of it’s art.
6) Crying Vessel (Illusions) Slade Templeton is bringing the glam razzle dazzle back into dark music. His dark rich voice climbs and slide around an impressive range. I found it in my heart, and building a place in my head. I had the wonderful opportunity to see them live in Germany this year and it really gave this record another plateau of range. A perfect mixture of previous styles and modern technology this record is a must have.
5) Golden Apes (Kasbek) – Berlin based post punk Golden Apes have been making music for a long time. To find an album of this power and depth of idea deep in a storied career is a noteworthy achievement. Peer Lebrecht has a voice so full of soul and power that it wraps you in it’s world. The music is a masterclass in what post punk can achieve in movement and embrace. I will finally get to see this played live in Boston this year for their first US tour. If you don’t know about this record plunge head first into one of the genres most exciting artists.
4) Antipole (Radial Glare) – Karl Morton Dahl of Norway holds the distinction of being the most reviewed artist on Sounds and Shadows. I feel moved by every album he has made. This one found a way to hit a special new level for me. Antipole is everything you love about post punk music like Joy Division and New Order. Karl is a true historian of the genre, but finds exciting new ideas about how to use modern technology to make the concept sharper and more intense. This record was such a wonderful tribute to his homeland. A record that transports you to that reflected, glittering place of dark ice. Paris Alexander and Eirene of Young and Cold records have added perfect vocal compliments to create one of this years stand out records.
3) The Dream Collision (The Certainty of Forever) – This album from Pedro Code of IAMTHESHADOW was a piece of art that left me changed and moved. Pedro has possibly the most beautiful and sensual voice in modern dark music. This record was so stripped down and exposed I found myself unforgettably moved. It is powerful and tender like Nick Cave but with the beauty and elegance of Ian McCullah. A truly moving offering.
2) Twin Tribes (Ceremony) – With their recent transition to Negative Gain Joel and Luis of Twin Tribes hold a special place here at Sounds and Shadows. Their Debut album “Shadows” was the inspiration for this webpage. They are bringing the concepts of spiritual post punk into the modern era. This sophomore offering was not a lull but a leap forward in concept, depth, and power. Rich and full of energy each song is a ritual to summon forth an intimate experience in the listener. You probably need this one on vinyl. Also they do a must see live show, find them in your town and bare witness.
Sonsombre (Veil of the Ending) – So goth music has always been so obsessed with the past. If it wasn’t Sisters of Mercy it seems people just couldn’t find a way to embrace another wave. Sonsombre newly signed to Cleopatra has found a way to capture that original Traditional concept and rebuild it with fresh sounds and modern ideals. This record was a game changer that opened a new door to a darker dimension. Poetic lyrics, powerful delivery, slithering snakes of oil and shadow woven into guitar riffs of power and delicate dexterity. If this isn’t in your collection you are living in history. The Future is Black.
Part II is the best Industrial/EDM – I grew up on industrial. It was my punk rock. My scream at the world release. Somewhere along the way i just drifted to other avenues. This year was a huge one for me to rediscover Industrial. Adding in Adrian and Collin to the family who are both stronger on Industrial than me have really helped me find this world again. The albums that have come out this year and bringing it back front and center for a lot of people. These were our top picks.
10) Klack (Introducing the 1984 Renault Le Car) – Matt and Eric are workhorses. They had a Daddybear album, Null Device, and another Klack album all this year which could have easily made this list. This album rose to the top for me. It’s perfect blend of retro and fresh feel with dance beats and unique concepts has become a go to for my listening parties. New ideas for the new industrial.
9) Lingua Ignota (Caligula) – I just found this through Adrian. Wow. It was like nothing I have heard. This is a sound so frightening and intense it gives The Goblins nightmares. It is the sound of a priestess ripping out her own eyes and bleeding from the sockets. Do not listen right before bed unless you want to be haunted by disturbing dreams. I speak from experience.
8) Kid Saint Nothing (Above_Below) – What a treat that I get to add a dear friend from Kalamazoo MI to this list. They belong here. This album is a raw heartfelt therapy session scream set to catchy dance beats. It’s wide and intense and needs to be played constantly on your listening device.
7) Dogtablet (Feathers and Skin) – Industrial music lords Jared Louche (Chemlab) and Martin King have worked with others to create this massively powerful record of animalistic spirit totem sounds. It feels like a creature speeding free under a moonlit sky. This album came late in the year but has been my constant companion ever sense.
6) FIRES (All My Dreams Are of This Place) – Aedra is a force of nature. Her intensity and vocals have really pushed the edges of the Industrial genre. This album has a tight mixture of early 2000 emo and electroclash force. Whenever I need to find my inner tiger to face the day this album is where I reach first.
5) Moris Blak (The Irregularity of Being ) – This album is a force of creative expression and cyber blending technology. Lots of amazing guest vocalists like Pete Crane, Amelia Arsenic, and Angel Metro. A true tapestry of electronic sound woven and blended with dance hall beats and shattering brash power. This needs to be in heavy rotation of every club you shake your ass at.
4) Curse Mackey (Instant Exorcism) – Curse has been a huge part of the industrial scene for a long time as Evil Mothers, Pig, Pigface, ect. This album represents his first solo offering and it is nothing short of breathtaking. This album has such a focus on lyrics with a true William Burroughs literary quality. Full of slashing beats and laser focused vocals. I own it on LP. You need it on LP.
3) Bones UK (Bones UK) – More of a big label offering but a straight burner. This album is on the top of Collin’s list this year. I love the ladies getting representation in this genre and this album cooks from front to back. Lovely pop hooks to really add some mainstream club vibe, and we unapologetically love that.
2) Stoneburner (Technology Implies Belligerence) – This record changed the game for me. It made me fall back in love with Industrial music. It has that same old school flavor, but takes such incredible chances. A thinking persons industrial with a concept and follow through. Steven Archer of Ego Likeness has unleashed something transcendent and powerful and managed to save enough in the tank to follow the record with another this year “Massdriver”. Both are incredible pieces of art you need to explore but you never forget your first love. This record was that for me.
Go Fight (Anthem) – Jim Marcus and Die Warsaw were a part of my first obsession with Industrial music. A titan in the genre and one of the great humans who holds this scene together. This record is all covers of the 80’s songs that helped build his musical life. It’s perfectly crafted. It’s full of soul. It finds a way to make something of the past connect with my present. I mean any time i can hear two of my favorite things in this life Go Fight and Shriekback happen simultaneously consider me hooked. Nothing on this record doesn’t immediately send my body into motion. This is the work of a master crafting a love letter to the things that built him.
Next up is Synthwave/Darkwave/Coldwave: Another brutal list to try and widdle down to 10 albums with everything wonderful released this year. As genres have expanded and new ground was broken the resulting art which is dreamy and beautiful has grown with it. This is a list of our favorites.
10) Lilith My Mother (Her Fall) – Beautiful dance magic with clear pop beauty infused with midnight dark lyrics and fallen angel vocals. Every song fills me up and has me asking questions. Do not sleep on this amazing artist.
9) Corlyx (In 2 the Skin) – Sexy LA sludge grunge is my weakness and this album is the cure. It’s sensual, powerful, and forces your body into motion. Caitlin has a voice that wraps around you and stirs that hairs on the back of your neck. Doesn’t your party deserve to be this hot?
8) Standalone (Standalone) – Steven Seibold of Hate Dept has unleashed this solo project so delicious and stripped down with beautiful synth sounds crafted with a wizards touch. It’s so personal and easy to relate to at once. The vocals are smooth and elegant and hold your heart with tender timing. So underrated.
7) Boy Harsher (Country Girl Uncut) – The feels of this record. It’s a smokey dimly let exclusive club that would turn me away at the door in music form. It’s efficient in the use of layers and sounds and has gorgeous imagery in the lyrics. I love everything about the crafting done on this record.
6) Agent Side Grinder (A/X) – Oh the delicious post punk infused stabbing drum beats. The dynamic vocals have a dark tone and emotional delivery. It’s full of songs that always feel like they are moving faster than they are. It’s that energy and crackling synth pad sound that makes ASG have such a unique sound. This album builds on everything that makes them one of the biggest names in the genre.
5) Sweat Boys (Nervous Prayers) – This record off of Give/Take strikes a special chord with me. Sitting in my room listening to Yaz “Upstairs at Erics” was such an impact on me. Waiting to hear a synth driven album that captured that same purity and exposed feeling has been something i have searched for a long time. With this record my search finally ended. It’s beautiful, electric, and makes me jump up and down like only a 260lbs man on a pogo stick can. If yuo care at all about synth pop you need this in your ears.
4) Drab Majesty (Modern Mirror) – Drab Majesty off Dais records isn’t just an album, it’s an experience. Knowing the exact amount of every sound to use to get a perfect blend is such a difficult art form. The harmonies, and flowing lush beauty. They are like aliens operating at another level from us common music plebs. This album is staggering and unique in it’s beauty and darkness.
3) Mr.Kitty (Ephemeral) – 31 tracks, all of them good. Take that in for a moment. This album was such a memorizing accomplishment. It’s an artist exposing themselves and making it sound lovely and pure. I played this record so many times this year I feel like I have a personal relationship with the artist and I have never spoken to them. If you don’t have this you need to make that a priority.
2) Hante (Fierce) – The soundtrack to a film of a better life lived than mine. Just listening to the gorgeous vocals and visual sounds on this record fill me with hope. The creative force unleashed here is an epic achievement. It makes you think, it makes you believe.
Wingtips (Exposure Therapy) – Look I can tell you what I love about this music. To me the real power of this album is that so many great musicians I know all talk about how much this record meant to them. It has been mentioned and picked on our podcast by almost everyone we have interviewed. It’s perfect, nostalgic, fresh, and full of texture and intensity. Every track is a banger. Every line is a poem. This was our combined number one pick out of one of the hardest categories to judge.
Final Catagory Wildcards: This was all the things too far out of the box to fit anywhere else. In a way I feel like it made it really exciting and definitely some of my top overall picks.
10) Scary Black (Shadow Dwellers) – Kentucky sinister darkness Scary black released this shadow storm full of familiar elements and fantasy sparkles. It’s full of dangerous dreams and lovely rich vocal melodies. I really look forward to their future.
9.5) Vlimmer (XIIIII) – German sound wizard Alexander continues to spew forth the most gloriously textured collections of sounds with pull heart strings like a horses reins. It baffles me how good every single release is.
9) The Purge (Rain) – Strange winding electronic storms. This album feels like weather shifting and changing. It has a flavor of trauma and young love lost. Thomas does a beautiful job using his vocal range to tell stories and build tension. It’s my sad rainy day music.
8) Girl Band (The Talkies) – Strange twisting and powerful. I really liked the chant of this band and the abrupt changes. This one came courtesy of Katy. Really intense sound.
8.5) The Joy Thieves (This Will Kill That) – Again a little bit of cheating here but this EP needs to be on the list. Such a perfect blend of hard rock and industrial with some of the biggest vocal talent in modern industrial. It’s smash everything in this room music because you are happy. I first described it as Clutch beating the shit out of Stabbing Westward with a baseball bat and I stand by that.
7) SYZYGYX (Fading Bodies) – One of the fastest up and coming bands in the scene. On both Negative Gain and Cold Transmission Luna and Josh are a sonic experience full of sexy dark disco grooves you would find in David Lynch’s private club at 3am. It breaks every mold and is always in my rotation.
6) The Ghost of Bela Lugosi – Ok technically not an album, but my house my rules. Australian based Vin Price has released about 12 singles this year and everyone of them is straight fire. It’s so punk rock, so raw, but so melodic and beautiful. It touches every part of every genre and I am here for all of it. It won’t play by the rules and that is part of it’s power.
4) Hide (Hell is Here) – Sheer unbridled power with a meaningful message. This is like nothing you have heard. Raw, intense, full of power tools. The vocals have more spit and acid than most metal. This album changed my world view
3) ELZ and The Cult (Psychodrama) – Visually, sonically, sassily, there is nothing about this album that does not completely enthrall me. It’s filthy, beautiful, it’s a horrible dream of a broken world that i can’t escape or look away from. I find a new layer to it every time i listen. You must have this.
2) Palais Ideal (Pressure Points) – I have been waiting to make this one of my top albums of the year all year long. This record broke all the boundaries of post punk. It’s thoughtful, precise, unique, and tells a story of some of the best science fiction I read in any novel. A thought provoking example of the power of music. Have this on LP and feel it’s warmth and glory as it was meant to be spun
Mesa Luna (Feel Nothing) – This one came to our attention courtesy of Jason Corbett (Actors). We didn’t have enough shoegaze representation here and this album was a stunner. #1 pick from Katy. It’s haunting, diverse and full of life. Take a journey with this record.
I had about 40 more albums this year that could have made this list. Maybe I will do an honorable mentions. I’m shredded though. There is currently a glorious revolution happening in music. Be a part of it. This list is a great place to start. Happy Holidays from us at Sounds and Shadows.
This was an a great experience interviewing our friends from Twin Tribes where they discuss their new album Ceremony, three new bands they are exited about, life on tour, food on tour, which coney dog is superior, and the Absolution festival. Below I will post the links of all the bands we discussed. Please check them all out and support great music. Please like and follow the Soundcloud page, we have more great stuff on the way.
This is episode 1 of the Sounds and Shadows podcast. Here we feature artists in our scene choosing three bands they find meaningful and important in modern music. We then discuss three of their songs. In this episode Collin and I talk with Jason Corbett of the band Actors and Jacknife Studios from Vancouver Canada. We discuss three bands he has recorded Frankiie, Gang Signs, and Mesa Luna. We also drink sugar free Red Bull and spout off about life on tour, the modern post punk revolution, and whatever came to mind.
Industrial music is having a resurgence for me. Sometimes I have to put something on the shelf for a while and let a form of art grow on it’s own until I am ready to jump back in. This year in particular I have fallen so deep in the hole of new releases I couldn’t keep up. So I am going to fire through several reviews at once to try and touch on the wondrous new movement happening in this genre. This piece is a bit of the throwing several things in the blender and doesn’t have my usual formatting. It’s also two authors because Adrian Kjøsnes did the review for Moris Black.
Industrial music has generally been something nostalgic for me. The music of my jaded youth. My aggression, my frustration, a remembrance of a young man lashing out with fire at the world. Then like many things from my youth I put aside that fire and found myself drawn in new directions. Maybe I felt I had outgrown Industrial. this year that changed for me with Stoneburner’s “Technology Implies Belligerence”. This was an album that kindled that fire and chaos once again. This time with an intelligence and focus that made Industrial feel mature. When Steven told me he had a new EP already I will admit I was skeptical. How do you follow an album I thought of as groundbreaking so soon? “Massdriver” to my amazement and excitement has done just that.
Currently out on a US tour Stoneburner is bringing to life this throwback to old school rhythms and noise with modern production and lyrics that matter. With “Technology Implies Belligerence” we were assaulted with abstract concepts of progressive thinking persons blends of sound and image. Drawing on world beat drums and samples. “Massdriver” takes this idea, but clarifies it. Pushes the poetry and emotion of the vocals to the front where Industrial has been afraid to go. To create a psychic assault so powerful that a piece of the artist is left resonating in your mind after the show.
I had a chance to discuss this tour and record with Steven a bit and here are some insights.
(Ken) Why is this album and tour special for You?
(Steven) The album and tour are special because they are the culmination of 35+ years of listening to electronic music. When I sat down to write this record, well these records, wanted to address the lack or originality and grit that seeing to have pervaded their genre.
(Ken) How has your stage setup changed for this tour?
(Steven) The stage setup has grown. My drummer Hemlock is playing my old hand drum rig and I’ve built a new one out of sheet metal and triggers. Which frees up, or at least changes the performance dynamic.
(Ken) What material (books) (music) were you drawing from when you composed this album?
(Steven) The recent full length from this summer, “technology implies belligerence,” is based in large part on the book “Blindsight” by Peter Watts. Essentially I wanted to write a record with footnotes.
I was lucky enough to see the kick off show of this tour. The emotional and visual offering put on display in an intimate setting. Here is something I haven’t witnessed in a long time. Every aspect of what you see and hear is painstakingly constructed by hand and with extreme meaning. Also the live show features percussionist Hemlock MacNamara, who throws so much intensity into smashing mic’d up pieces of sheet metal I am tired just thinking about it. She is a force of nature. Steven is truly bringing fresh artisanal farm to table locally sourced sonic explosion right to your doorstep. Don’t miss this tour.
Nov 10 KC MO @ The Riot Room Mon
Nov 11 St. Louis MO @ The Crack Fox Wed
Nov 13 Houston TX@ Super happy Funland Thurs
Nov 14 Austin TX @ Texas Mist Fri
Nov 15 San Antonio TX @ The Amp Room Sun
Nov 17 New Orleans LA @ The Goat Mon
Nov 18 Tallahassee FL @ 926 Bar & Grill Wed
Nov 20 Knoxville TN @ The Concourse Fri
Nov 22 Nashville TN @ The East Room Sat
Nov 23 Chattanooga TN @ ziggys music box Thurs
Nov 28 West Palm Beach FL @ Respectable street Fri
Nov 29 Jacksonville FL Bay Street bash Mon
Dec 2 Raleigh NC @ Legends Fri
Dec 6 Richmond VA @ Fallout Sat
Dec 7 Charlottesville VA @ Holly’s Diner Sun
8 DC @ The Pie Shop
All The Wells Are Poison Now – Fierce and dangerous in it’s pacing with a lovely echo chant. “You will always curse the ones you love”. It is an infectious hook with building intensity. Goddamn this made me dance hard live.
First World Murderer – Breakneck attack right out the gate. This track really shows Stevens love of east coast intellectual rap like Public Enemy. They lyrics strike forth in a rhythmic cadence assault. It really reminds me of the common ground between well done rap and well done industrial.
The name Jim Marcus is such an integral part of Industrial music. For me personally seeing Die Warsaw in my formative years opened my mind to how wide the range of Industrial music could be. Go Fight also put out an amazing album last year Tokyo Sexwale. The follow up Anthem was fairly uncharted ground for Jim in that it is an album of covers. One of the powers of great industrial music has always been to take something old and wonderful. Run it through machines, effects, and sludge and make it new and glorious again. This is what Jim achieved by taking his most influential songs of the 80’s. Showing you the music that fueled him in his art and feeding that energy through a giant battlemech. You recognize these “Anthems” but they are dancing towards you with cybernetic tank tread power.
I was lucky enough to be at the CD release party and hearing this album blasting over club speakers was experience that fueled me with hope. There is still more ground to explore in Industrial, and GoFight is paving the way.
My Spine is the Bass Line (Shreikback) – Ok, Shreikback is one of my favorite things in this life. To hear GoFight add its filthy, sexy, dance groove to it left me speechless. Honestly I am not sure how to even process how excited this makes me.
Right Wing Pigeons (Dead Milkmen) – The Dead Milkmen are one of the most underrated bands of all time. They are a huge influence of mine and their versatility to flow between political punk and humor was so unique in a time desperate for satire. This cover is an almost unrecognizable re-imagining which GoFight truly made its own. It’s still so poignant, maybe even more so all these years later.
Here I get a two for one. I Ya Toyah remixed by Joy Thieves. These are two of the hottest new bands coming out of the Chicago Industrial scene. I had the amazing pleasure of sharing a stage with Ania last Saturday. I can’t remember the last time I faced that much terror having to follow someone on a stage. The amount of sound, emotion, and precision she achieves all by herself is nothing short of staggering. Having Dan of Joy Thieves who are amazing in their own right do this remix creates an absolute burner single. She is about to go on tour with Pigface and if you miss her live performance you have done a disservice to yourself.
I Ya Toyah leads well into the amazing new release from superband Joy Thieves from Chicago which features here. I just did a review of this release but it is putting the hard rock edge back into Industrial and music be checked out.
Moris Blak is an industrial artist based in Boston,MA who after the release of their “Dead Summer” EP began gaining a cult following within the scene of dark electronic based music.
November 8th saw the release of the debut album “The Irregularity Of Being” and that is what we will be dissecting here…
So, let the ceremony begin.
We begin with the intro track, just a few seconds over a minute long “Every Limb Into The Bottomless Pit” . I myself honestly tend to skip intro tracks as they`re often just not all that interesting but this one escapes the trap most intro/outros fall into. Big, chiming bell like sounds combined with the spoken word and sizzling electronics draws you in and anyone who chooses to not discover what follows would be just plain wrong to put it very lightly.
The intro leads us directly into “Druglicker” where we begin with a catchy sequence, a Silent Hill-esque siren sounds comes crawling in before the first punch of the beloved industrial beat. I do have to say that I myself do not always the most positive view or words regarding the current state of the industrial scene but Moris Blak quickly dispels any expectations I may have had by breaking the traditional and quite simplistic 4/4 kick drum over a series of arpeggios and/or sequences by giving us something more akin to glitched out industrial madness.
So far so good. After a glitchfest of an ever evolving buffet of sounds, bleeps, bloops and squeals regularly breaking into a sequenced bass synth the track slows down and enters noise tinged ambient realms for a moment before we enter back into industrial territory.
track number three is entitled “Pain” and features Angel Metro.
Here we begin by entering the church of synth, in fact, we`re crashing in right in the middle of choir practice. Ominous, choirs layered over samples, with a sequenced bass creeping in all slowly evolving into a slower paced beat.
And then come the sirens…
Female, and quite interestingly produced vocals is a pleasure to hear rather than your usual balding dude in camo pants screaming into a mic processed by the Boss SE 50 as with so many other bands within the genre….Moris Blak offers a great variety of vocals styles ranging from whispers to broken up, glitched out and pitch shifted . There`s even a small piano sample at one point for extra creep factor 😉 This track looks like it`ll be on my top three list when we reach the end but with how well this is going who knows? Maybe I`ll find something even better..
Next we got “Erase Displace” featuring Pete Crane of Australian electro act Shiv-R. There`s an element of horror score to the intro, which of course, is no complaint. Clean vocals draw you further in before the drums, which stay consistently big , punchy and bass heavy appears. Atmospheric melodies comes and goes before the drums speed up and drops us down into ambiance. A soft yet dark and beautiful pad accompanied by the vocals slithers around us…And then comes the drum attack, broken by what sounds like reversed and crushed samples before the vocals reappear and brings us to the end of the track.
It`s hard not to want to put this on the that top three list as well but I must resist in order to keep the space open for anything that may come next…
When I looked at the title of the next track I couldn`t help but smirk a little as I saw it features Amelia Arsenic of Angelspit. A band I was introduced to in my early teenage years by one of what must have been the only four (including myself) alternative people in the middle of nowhere town I grew up in… I`m a bit surprised to find out this track seems to, at least to start of, be more of a ballad.
I also want to point out the production quality overall, the sound design of this release is interesting and fun in all the right ways, Moris Blak definitely has his “sound” I think it`ll be interesting to see what the future brings.
The ballad esque aspect leaves and introduce vocals reminiscent of Skinny Puppy nicely sprinkled around Amelia`s voice while the drums seemingly builds up towards something big only to drop us back down with high pitched piano sounds tricking us into that this is all nice and soft then hitting us with driving, pulsing synths beneath floating almost dreamy vocals. This track in particular seamlessly incorporates elements from a wide array of genre. Something not everyone can pull off and even less can make you want to listen to.Beat changes, style switches, every color of the proverbial crayon kit is used.
“Strange Eternal” features the trademarks of the 90s and early 2000s industrial scene, four to the floor and cut up vocal sample galore. Not my preferred form of the genre but MB hasn`t let me down thus far and so my hopes remain..
What I will point out however is that while Moris Blak does have his own style and ways of things it`s never predictable, each track serves you something new which keeps things interesting yet recognizable which can`t be said for that many.
“Strange Eternal” trudges along as what seems to be the more club oriented track this far, I may not be a clubgoer myself but I can easily envision the hordes of darkly inclined youth (and elders) enjoyment of this track on the dance floor of any given industrial night.
“The Violence” follows and features Slighter.
An instant improvement from the previous.
Clean, soft vocals always interest me in a genre riddled with screaming.
Musically it quickly changes from slow paced and atmosphere filled to drum driven and interestingly broken by glitchy sound design. The drum work in itself is interesting, yet another element that so often lacks in this genre. To hear something where you can`t always so easily predict the next hit of the drum, or the sound even, is definitely refreshing.
About three minutes and twelve seconds in is where for me at least this really shines. I`m loving the layering of the near seductive vocals as well. The track ends in a glory of ambiance and piano and leads us to the second to last track “Velvet Coil” which features Noire Antidote and Johnny E. Veil, the latter being a member of fellow industrial band MAN1K1N who I absolutely would recommend.
What sounds like lost souls screaming in despair greet us at the gate here with a melodic bass line almost hollow but the good kind. Trust and believe , I`m not happy about making this comparison but my immediate thought regarding certain aspects of the first seconds of vocals brings Marilyn Manson to my head.
I`ll see myself to the door…
Anyway, this track is a serpent slithering through each and every crack leaving a trail of reverberated melody before entering into a more danceable territory featuring cut up samples of the aforementioned choir of lost souls in despair.
We`re lead towards the end by drums and melody galore and enter the last track, being the albums title track clocking in at ten minutes and 49 minutes.
A drone greets us.
It presents us with malicious piano melodies, air raid siren esque synth sounds and heavy, slow ,draggin drums that quickly picks up it`s pace.
Full stop and only remains of ambiance and a fractured piano remains until we go back where we came from but this time there`s the sound of reversed samples to accompany us along the way.
Glitchy sound design, a steady beat that stops up here and there but not for more than a second at a time to keep dragging us into itself as a softer style synth sound floats over, witnessing our arrival at the end of days, or at least this album.
An array of sound comes in after a nicely timed build up, not too long, not too short, just right there at the sweet spot. At least for those of us with SASD (Short Attention Span Disorder)
Five minutes in and halfway to the end it`s clear that this track could only be described with one word: Grandiose. In fact, we could sum up the album as a whole using that very word.
Six minutes and six seconds in comes one of my favourite moments of this album.
The beat slow its pace, a haunting melody crawls ever near…Can you tell I`m a sucker for ballads yet?
It doesn`t last as long as I`d want it to but what follows isn`t bad so I won`t bitch too much about that..
Back to what I can`t help but describe as a more club oriented pace I`m a little surprised to see we`ve only got a couple minutes left `till it`s over. Longer tracks tend to bore me quite rapidly (see the aforementioned SASD) I`ll take this as a positive sign of that Moris Blak has managed to keep me interested, my attention has been firmly pointed towards the music rather than drifting off into thoughts of well, anything else really.
The album closes with large, atmospheric pads floating through a piano as the album title suggest this album is indeed an “Irregularity Of Being” in that it doesn`t lean and rely on old, trite genre tropes , it keeps itself exciting with its ever changing soundscape yet retains it`s identity for the full 45 minutes of running time.
Overall I would say this is definitely one of the better releases to come out of the current industrial scene yet it operates within the confines of the genre, the modern take on it that is…
We are just scratching the surface here of the exciting things happening in Industrial. If you are ready to take a dive back in with us these bands will give you the right starting point. What bands did I miss you are excited about? Leave a comment below. KM
FORMED IN ORLANDO,FL BACK IN 2007, MISSFIT TOYS IS A BAND WHO`S SLOWLY MAKING THEIR WAY UP. PLAYING WHAT MOST WOULD CALL AGGROTECH OR ALTERNATIVELY “TERROR EBM” THEY`VE TOURED AROUND THE U.S OPENING FOR WELL KNOWN NAMES WITHIN THE INDUSTRIAL/ALTERNATIVE SCENE SUCH AS TIM SKOLD`S (PRECIOUSLY OF MARILYN MANSON, KMFDM, SHOTGUN MESSIAH) EPONYMOUS SOLO ACT, GRENDEL, PIG, DOPE , DAVEY SUICIDE AND PSYCLON NINE.
MISSFIT TOYS RELEASED THEIR LATEST ALBUM “THROUGH THE GLASS” OCTOBER 20TH WHICH WAS ALSO THEIR FIRST DATE OPENING THE SHOW FOR PSYCLON NINE ON THEIR RUINATWOUR.
AS THE SAYING GOES THERE IS NO SLEEP FOR THE WICKED AND WITH THAT IN MIND SOUNDS & SHADOWS GOT A HOLD OF VOCALIST/BANDLEADER RICHIE V. SURIV FOR A QUICK INTERROGATION REGARDING THE BAND, RELIGION AND OF COURSE, THE ALBUM.
(Adrian) Could you give a short backstory to MissFit Toys? How long have you been around and who makes up the current incarnation?
(MT) MissFit Toys has been around since 2007 but was only active on line until 2011 when we played our first show. Currently the members are as followed my self Richie V. Suriv as the vocalist/ song writer, followed by Travis Lee our drummer, Damien Carrion our guitarist and Adrian KJØSNES as a contributing studio artist at the moment.
(Adrian) What is the meaning behind your name?
(MT) The meaning behind the name came after a suicide attempt when I was 20. Only after an argument with my family telling me I wouldn’t amount to anything and that the people I associate with are nothing more than misfit toys. Broken people that can’t do anything on their own. I took that and used it as fuel to do something more, I added “Miss” as a play on words to show my obvious androgynous nature. Thus the name was born.
(Adrian) MissFit Toys seem to fall under the industrial/aggrotech umbrella, what made you want to create music within that particular genre?
(MT) Honestly I have always loved electronic music but also metal and always wanted something that mixed the 2 but never knew how or what that would sound like until I discovered industrial. And I fell in love.
(Adrian) Do you currently have any other musical project or have you been involved in others in the past? If so which ones and how were they different from MissFit Toys?
(MT) I have been involved in several different projects including ludovico technique and Forever Dawn ” project of the vegan black metal chef”. Some of the projects were definitely in line with what Missfit Toys does currently and some were completely different I love all types of music. There are talks right now of collaborating with a few different artists but I can’t disclose any of that at the moment.
(Adrian) Tell us about your new album “Through The Glass”. What does the title mean and how long has it been in the making?
(MT) Through the glass is a combination of feelings, struggles and beliefs.It was inspired by a fan that felt like they weren’t good enough for me to ever acknowledge that they existed. So I went on the hunt trying to figure out who had sent me this message when I did find them I asked them if they would be alright with me turning their message into a song and album concept.Through the glass is not only important to me but also the band as we continue to evolve.It shows the hurt, the doubt and the struggles that not only I go through in my faith but others like me go through everyday.
(Adrian) A lot of your lyrics are inspired by faith, would you say the band as a whole has an agenda tied to this or is it more an expression of yourself as a person?
(MT) – There’s no hidden agenda behind the band whatsoever and I am very open with it’s message and my beliefs. I am a Christian and the band is full of references to that, but more importantly it shows me and who I am through it. That not everything is sunshine and rainbows. that I am not better than any one else. it shows that I am broken and that I live in a broken world and this is what every one goes through. We do everything with intent and purpose, nothing is on accident. I use music as a way to not only cope with my emotions and the struggles that I have daily but as a way to communicate with people. Listening to the music you’ll understand the struggles that I go through and what their impact on me is.This album in particular shows a sense of longing, overwhelming feelings of drowning , guilt and desperation. So It’s more a reflection of myself and what I go through, along with the struggles of others.
(Adrian) How do you think you’ve evolved musically since the beginning of the band? Has there been any major changes as far as the creation process or is it all more or less the same?
(MT) I feel that the music took a more developed appeal than what it was in the early days.As far as writing I do put a lot more care and effort into the message than I used to mostly so the message is not twisted and manipulated into something else. But other than that not much has changed.
(Adrian) The last word is yours, feel free to promote anything you`ve got going on or just leave a message, shout out etc for your listeners.
(MT) We love our fans. the connections that we have with them at the shows and online are amazing and without them we couldn’t do what we do.Currently we are working on our next release and at the beginning of the year we will put through the glass online and will be available on all major streaming sights. Thank you so much for your love and support.
Music in general has always been a bit of a boys club. Sadly I feel like ladies have always faced an uphill battle particularly as producers and song writers. The goth/industrial scene has had it’s share of amazing and talented ladies as well as a progressive view, but it has never been a 100% fair shake. Since I have been getting back into the cutting edge of new music I have been overjoyed and amazed at the influx of talented female led performers currently putting out wonderful art that adds to the discussion and furthers the diversity of this scene. So I thought I would take a moment to highlight some of my favorite new artists creating music that places emphasis on the female perspective and makes this genre richer. I can’t add everyone I am listening to but i feel excited that it took me just a few moments to have several amazing artists currently enriching this scene. These will be quick hits, but I have more extensive reviews of many of the ladies featured.
Hante – Hélène de Thoury has an amazing voice and textural songs of beauty and effortless grace. She has such an unspoken coolness to her songs that paint a picture in your mind. I am transported every time i listen to her.
Sunshine Blind – Caroline Blind was an artist I grew up listening to that helped shape and mold me and changed my worldview of music. She has continued to make amazing music with the power and beauty of her voice. I always describe Sunshine Blind as a Steel gauntlet in a velvet glove. This is a cover she did of the Swans “Godamn The Sun”. It’s simple, striped down, and amazing.
Black Nail Cabaret – Emese Arva is a freaking force of nature. Her presence and power remind me of the first time i heard Annie Lennox. Her voice is pure raw energy, strength, and beauty. Wonderful range and a revolutionary song writing style that makes me want to charge up a hill and believe in a better tomorrow. I challenge you to listen to this song and not feel inspired!
S Y Z Y G Y X – Luna Blanc has a voice that feels like a slow drink of whiskey in a club owned by David Lynch. It’s smokey, immersive, and full of desire. Can’t get enough.
Tearful Moon – Sky Lesco from Texas has such a haunting and lovely voice. It redefines barriers and has such an authentic concept and sound. She charges headlong into any subject matter while writing. It is deep, rich, and isn’t afraid to delve into the deepest concepts of the human experience.
Cliff and Ivy – Ivy Silence is a dear friend and all around wonderful human. Hailing from Alaska with her husband they do a sharp edge stabbing dark goth rock full of punk sensibility. Her voice is raw and unapologetic and as it crashes through you with sultry fierceness.
Kaelan Mikla – From Iceland is an amazing female group that hits on every level. It’s driving, fierce, gorgeous music filled with simmering intensity and textural beauty. They are truly a cutting edge sound for the modern age. Every time i listen to them i get lost in the picture they paint with every song.
Corlyx – Holy shit i love this band. Caitlin Stokes has a clear and fearless beauty and style. She really captures the raw sexuality and intelligence of the modern scene. This new album has a filthy glittering glory reminiscent of the 90s but with modern flare and strength.
Audrey Burne – I always love when i can give props to a fellow Michigan band. Lilith Gates of Audrey Burne is a immensely talented and haunting vocalist that has a lovely Natalie Merchant lilt and wonderful stage presence. I’ve had the honor or sharing a stage with her and they have a wonderful driving dark rock feel that really captures a room.
Fires- Aedra is a freaking force of nature. She sings with such intensity and burning passion about her experience and her song writing ability really pushes the boundaries of industrial electronic music. This album really changed the game for me this year.
Angel Metro – Soft, sultry, understated glory. Virginia’s Angel Metro does a wonderful blend of subtle dance beats and lilting tender beauty. She really exposes her inner most feelings for every song and this courage lends the tracks a real power.
Schedule IV – Stephanie Strange again from Michigan is a friend and amazing energy on stage. This is perfect precision post punk glory that blends her high range intense vocals and intelligent lyrics to create an entrancing and intimate experience. One of our favorite bands to play with and wonderful people.
Lorelei Dreaming – Laura Bienz leaves it all on the floor every night. I’m starting to reflect on how many of these amazing ladies i actually got to share a stage with. The energy, stage presence and political savvy combines with the intelligence of the lyrics to create a wondrous and unique experience. Do yourself a favor and bask in the fiery glow of this album.
I Ya Toyah – Chicago based Ania Tarnowska brings a fierce and rocket fueled electronic dance symphony of raw sensual strength to every performance. I love these explosive pop hooks blended with crashing dance rhythms.
Leathers – Is the sultry synth dream darkness of Shannon Hammett of Actors. It’s so great to see when a performer in a band of the quality of Actors finds her own voice and shows the ability to create such staggeringly beautiful music like this with her as the center piece. I love how far this reaches from the sound of Actors to really allow her voice to shine because it is one that deserves to be front and center.
Ego Likeness – So Donna Lynch has had a long, successful, and storied career and I could have picked a lot of songs newer than this, but it’s my favorite so I’m going with it. Donna is a hurricane of passion and darkness. She has been taking on intense topics in her art for a decade and creating beautiful songs about the horror which resonates with the feminine experience and having an intimacy of truth for decades.
Bess – Aussie dark alternative rocker Bess Linda is making churning sultry dance beats full of world beat toms and off kilter warm toned vocals to shake a dance floor.
Bones Uk – This recommendation came from Collin Schipper, filthy wide room fresh sounds. It’s pop hook sensible but cutting edge in your face intensity. You aren’t wrong “Beautiful is boring”
Death Loves Veronica – Veronica Campbell is a slow, back beat, sultry drive down a long empty road. It’s effortless tension, and subtle whispers of reality laid barren with brutal honesty.
SINE – I must admit I heard about SINE and Rona Rougeheart through her collaboration with Curse Mackey. However once i dug into the power of her art for itself I found an intense flurry of disco dance beats underneath powerful vocals and world building soundscapes which captured me and brought me to my knees to beg for more.
VV and The Void – Valentina Veil has a wonderful whispering smoke swirl style. Really great at building tension in her songs to feel like a story.
Dissonance – Cat Hall has such a rich soulful voice with I feel gives a unique flare to her dark dance electronic sound.
I know I have missed so many impressive female artist which drive and push the boundaries of this scene. Just looking through what popped into my head without much through fills me with hope for a brighter, stronger future of diversity of the dark music scene. I hope you find something here you give a try to expand your horizons with.
Kat Squared was kind enough to put all these bands together on a Spotify playlist
When i write reviews one of the common traps I try hard not to get lost in is comparing every new band I review to one of the sacred dark gods of the 80’s and 90’s that the group I am listening to sounds like. It’s a pretty common tactic and lets face it an effective one. It’s easy to associate with what is familiar when it often feels like the world of goth/industrial/darkwave/new wave/ect has pretty much been discovered and artists are searching for more subtle ways to test the boundaries of what is possible and find some new ground, I figured I would take a moment to acknowledge this is a reality for a lot of people.
I am very open about our special relationship with Cold Transmission Records from Frankfurt Germany. I feel like their musical family approach to releasing Post Punk/Dark Wave/Electronic/Goth music is a template for how new labels can grow bands through a personal relationship and passion for distributing the art they are creating for new fans. Andreas Herrman, Suzy Herrman, and Yvonne Kiel have been working to build something wonderful through an emphasis on quality of music and artistic freedom for their artists which through word of mouth is growing into one of the fastest up and coming labels in this scene. This concert was special and represented what is possible when someone has a vision that puts personal gain aside and instead fosters an environment for unity, beauty, and friendship that brought together fans of this music style from all over the world. We came from America to meet friends from Germany, France, Belgium, Portugal, Denmark, Canada, Sweden, Israel, Turkey and many more all in one club to celebrate without pretense the music we love and what Cold Transmission has accomplished in bringing all these people together. It’s really hard to express in words in the digital age just how special that was and what it felt like to be a part of it. You see that was the secret, anyone could do this. It was one of the most welcoming inclusive environments I’ve ever witnessed at a show, and I have seen a lot. If you loved music there is a place for you here and it made my head spin thinking about the possibilities for how do I make this happen in America. Because everyone needs this. Everyone deserves it.
Lets talk about the epic lineup that was brought together for this show. One of the things that was a cultural shock for me as an American. The show was in Cologne Germany at this wonderful club called the Blue Shell. Doors opened at 7pm (Still quite light out during the summer) 1st band started at 7:30 pm sharp. This was no exaggeration. In America the idea of getting “goth” people to show up before 10:30 pm is laughable. Even when the event says doors at 8pm. So when we showed up at 7:20 pm thinking we will have a long wait before music we saw a packed sold out house that went from the stage to the back wall. People were engaged and clamoring to get to that stage. I was speechless to see this level of passion for new music and the energy and excitement was crackling through the air from the moment the doors opened.
First up was Crying Vessel. I had been extremely excited to see Slade play live for a while and it did not disappoint. Hearing the snapping drive of the live drums Basil was laying down really added an urgency and and fierceness to the melodic beauty of Slade’s singing. The sound system was honed right from the get go and each lyric cut across the distance of a room full of excited fans. Slade reached up with a bit more edge and length on his notes to really lift up the power of his performance. Mixed with those floating effect driving guitars this had even more of the energy and swagger that has been missing in dark wave music.
Setlist: Intro, Empty Glass, Lovers in Paradise, Aftershock, If it all was Real, Killing Time, Kiss the Fire, Dig Deep, Illusions, The Second Sleep
Band number two was IAMTHESHADOW featuring Karl Morten Dahl of Antipole. What an amazing team up. It was at this point I was really struck by how diverse the sounds of the bands on display were. Pedro Code has such a deep rich voice and passionate delivery. The crowded room was drawn in to such a level of intimacy and enveloped in the dark crooning style. Karl’s signature syncopated guitar sound added a unique flavor to Rui and Victors pulsing rhythm section to give this show a one of a kind experience. The rises and falls were so dynamic as Pedro lifted and diminished the power of his voice without much movement. (The stage was tightly packed to give little room for dancing). The beauty of this album which i have reviewed before is powerful and staggering. However I found myself overwhelmed with emotion hearing it raw and exposed this this format and looking out at a captivated audience swaying in time by the dynamic waves of sound washing over us. Then as a surprise the band played two Antipole songs with Pedro providing his resonant artistry to treat the crowd to a performance never heard on stage or album. When they played my favorite Antipole song “Closer” and I heard Pedro’s voice burn forth through the crowd I was overwhelmed. Breathtaking. Hard to image how seamlessly these two bands wove their songs and styles together to make something new.
01. into your eyes 02. Fall apart 03. Everything in this Nothingness 04.the skin 05.october novel(Antipole) 06. Closer( Antipole) 07. This violence 08. Embracing theFall
Playing third was Joy/Disaster from France a band I had limited exposure to before the festival. Having them play after IAMTHESHADOW ended up being a master stroke. All the eloquent subtle beauty was left behind for a blast of pure energy and intensity. It started as a dark foreboding creep with Nicolas Rohr’s echoing rhythmic chanting solemnly floating on top of Soupa Rundstadlers room swelling bass lines. The air crackled with intensity from the contrast. Following a performance like IAMTHESHADOWS was no small feat and Joy/Disaster delivered with a show stopping set full of lashing venom differing from the their album. It was a breakneck march of driven tempo charging up a hill in battle cadence . Because this was the set I had the least expectation for I think it was the one that left me most moved. I was expecting post punk and was assaulted with burning punk aggression played with precision and sweeping melody. The performance was capped by a touching moment where the band presented Andy with a signed guitar for his 50th Birthday present to the ovation of the crowd. Again showing the emotion and sense of family this label has with it’s artists.
CRITICAL PLACE PARANOIA FADE AWAY STRANGERS KISSES & PAIN OMEGA EXTINCTION DEALER OF LIFE LOBOTOMY RESURRECTION HUMAN ROBOTS
Closing the bands for the night was Silent Runners a band I had some knowledge of before the festival. I can tell you the album did not prepare me for the quirky and intense performance they had live on stage. Hailing from the Netherlands singer Dolf Smolenaers oozed with stage presence and connected with the crowd setting up a blistering atmospheric set of laser sharp texture and melodic longing. The off kilter drum beats and and carefully timed guitar and keyboard lines left me in mind of Factory records Happy Mondays. Stanley’s guitar riffs came in varying waves and set the boundaries of the controlled chaos. It surged at you from all over the stage while the crowd swayed and stared in rapture. What a sizzling close to a night of amazing live music
Setlist: Human Capital, Wilderness, Dark Mountain, I Walk Away Again The Knife, Roadkill, Forgotten, Through The Night, Cavemen.
The night was finished by Cologne Disorder blasting everyone’s favorite retro dance hits until we couldn’t dance anymore.
This was the first Cold Transmission Festival but with it’s resounding success it certainly won’t be the last. I felt something special in the Blue Shell that night. I know everyone around me felt the same. People traveling a great distance to feel a part of the magic they created. We came from many places, spoke many languages, but we were all united in what Suzy, Andy, and Yvonne have built. Bands, Dj’s , Music Writers, and fans. Basking in the connection and glow of the music we love. This was a experience I will hold in my heart and my mind until my dying day. When you get the chance to be a part of something magical like this I can only say grab it and hold on as tight as you can. Moments like this are what make existence worth while and it is never too late for you to be a part of something monumental.
It seems like the original goth music concept is becoming a bit of a forgotten relic from times of yore. It’s easy to forget sometimes as goth music is experiencing a resurgence that brought a shattering and synthesis of various styles to create new sub genres that the original fans of Sisters of Mercy (totally not goth just ask Andrew Eldrich), Fields of the Nephilim, Rosetta Stone , in the 80s are all elders at home on a Friday night. Even the generation after (which i am a part of ) are in our 40’s now. That is why when I heard this record from North Virginia doom rockers Sonsombre my heart soared with the idea that the new generation of “goth” is ready to come back to square one. To the place it all begin with some true dark unapologetic goth rock. Risen from the crypt and given shadowy wings to soar once again into our hearts. I am 100% ready for this and I think the world is as well.
Sonsombre means dark and somber and this record surely is. It is cold and menacing. Guitar lines twisting like serpents of smoke flowing with the sound of a fender jazz tube amp with poison fangs aimed for your head. Brandon Pybus voice echos and canters through poetic verses about a sinister world closing in. Up tempo rock beats with crisp sword dance snare beats snap you like a frothing horse running towards a cliff. This album feels more and more like an unearthed and forgotten magic which was always there sleeping but we had forgotten. I want to remember. I want this new generation to hear what goth meant to me, and Brandon has captured that sound in a bottle and spread it back into the world. How can a concept so old feel so fresh?
Ok top tracks, a lot of scorchers here but lets make hard choices 🙂
Night Child – Just listen to that opening guitar line dripping with sensual energy and dark foreboding. The driving baseline straight out of the Floodland playbook. Brandon’s voice is a pleading chant of deep and tortured challenge. “Night Child am I reaching you?” It comes in waves and erodes you as it washes over.
The Future is Black– The opening of the sinister music box tinkling. Building a tension until those slashing guitar sounds come racing towards you in a fury of cuts. The drums for this have a tight fierce pacing making a dance driving attacking feel. Try not to move your body while this washes over you. The future is black and I am hearing this kingdom collapse with fists raised and boots stomping. This song is so familiar , like a club anthem I had forgotten.
Matte Black – Taking the tempo down to a cursed dirge drive. The vocals charge to the front. This song is haunted and full of pageantry. Facing our own demons and acknowledging the romanticism found in a doomed and nihilistic world. Prybus is a true bard and this song is his heart song.
Overall this album was a remembrance I needed. If you were not old enough to feel the first two waves of goth than this record is a masterclass in how those songs inspired a movement. It isn’t a simple retread though, it is a sum of all the best parts of the music that inspired it. Using modern technique and technology to bring and energy and crackling life that I think was sometimes lacking in our ancient sacred fore bearers. The lyrics are poetic and poignant and I am filled with the possibilities that traditional goth rock has in the modern era. Fire this into your veins and sway your arms in burning ruins of future sounds.
So here is another album I have had for a while and have played many times fearing the daunting task of trying to describe the intense emotional and musical impact of this record in an effort to do it justice. Steven Archer is a mainstay in the goth/industrial scene from his band Ego Likeness which I have reviewed before. Their credentials in this scene are indisputable with several albums to their credit that have all hit the mark. I have thoroughly enjoyed the previous Stoneburner albums however with “Technology Implies Belligerence” Steven has achieved another plane in his musical expression and I will do my best to capture some of that concept in this review. I’m put in mind of Phillip K Dick when he wrote the Valis trilogy. An artist who had critical and commercial success that had earned the freedom through his labors to produce a piece of magnificent art that tested his own boundaries and redefined the genre. This record was completely un-tethered and unapologetic in it’s scope and daring combining sounds and concepts which pushed the edges of synthesis through technology . It is brave, it is meticulous, and it addresses poignant themes which speak to the struggle of current human existence.
To appreciate the full scope it has to be said that Archer is a modern artistic renaissance man. Playing in several projects on a variety of instruments. In addition he is a noted visual artist (I was lucky enough to have him do the cover art of my own album). As a visual engineer he made a series of accompanying videos with practical effects he created himself. This album also broke ground in the access he offered to fans with an interactive discussion group where he shared technique and answered questions on every stage of the creative process. A truly novel and cutting edge idea for the modern digital age. Industrial music often pays homage to the cyberpunk ideology of science fiction and Archer has dug deeply into some of his literary keynotes making the songs a thesis on one of his favorite works from Peter Watt’s “Blindsight” dealing in first contact higher conciseness and personal freedom. This blending of literary theme, visual expression, and musical emotion formed a groundbreaking multimedia art piece in a point and click surface world.
Ok we have gotten this far and I haven’t discussed the music yet. Stoneburner features many of the staples of industrial music. Syncopated distorted guitar sounds. Pounding drumbeats in body blow intensity. With effect laden vocals lashing out in varying cadence. Where Archer pulls back the throttle and rises towards uncharted ground is in the use of world beat percussion sounds layered with pinprick sitar guitar riffs. Listening while watching the sound wave file really gives an appreciation for how much thought went into the purposeful dynamic shifts and emotional crafting. Not known as a vocalist Archer dives in with passion and intensity filtered through a barrage of electronic effect using his voice and samples as an additional driving percussion instrument to unleash a sincerity and terrible beauty with the raw power of his words. Can you take the diverse expressive sounds of Dead Can Dance and force them through the meat grinder of Coil’s chaotic destructive power. I wasn’t sure until i heard it happen.
This is a concept album, you need to hear it all song to song. However I will speak to some standout tracks:
Dry Gun – This song astounded me. The percussion is intensity held at bay with greasy chains. This dancing pinprick guitar lines lending an eastern feel with a guitar effect from Roger Waters. The swooping cello synth pad and jagged leading dynamics create such primal movement that when the unorthodox vocals samples come in you are already dancing with reckless abandon. This song owns your body.
The Angel of Abscess – Brooding and dark intro spreads out with subtlety and danger. I really enjoy the grinding metal effects. Stevens vocals come in with a distant chant while new sounds are added and built. A desolation and fear scrolling through the emptiness of darkness. The repeating melody line has an almost Celtic feel which seems to get faster and faster until you are hurtling towards oblivion in a rapidly decaying vehicle.
Identity by Diagnosis – You can’t travel to the edge without questioning the reality you are seeing. This song brought me back to the questions of my own minds perceptions. Again achieving that frantic sense of speed and motion while maintaining a medium pace without relying on volume to create intensity. I think what amazed me most in this record was the deliberate effort that seemed to go into every decision and every note. If you have ever had to find reason in the modern world of chemical science you find yourself empathizing with this storytellers journey.
Overall this was a staggering emotional journey of a record that found a way to do something so difficult in the modern times. Touch on new and undiscovered ground in music. I honestly feel like this record will be something we look back on as a new beginning of a branch of future sounds to come. Try and really breath in the power of that statement. I hear so many new albums these days and this isn’t something I say lightly. If you are a person that appreciates art for what it is capable of stirring in human emotion. If yours is a mind that quests for a deeper challenge and greater understanding. You owe it to yourself to get this album and play it loud enough for the neighbors to hear.
I’ve been searching for the right words for this May 25th 2019 release from Palais Ideal. This album had such an profound impact on me. It’s an early runner for my album of the year and we are just getting started. For me when I think of this record I think of the first time I heard The Church and thought, they are doing the same thing as most of the new wave bands. They are just doing it on a level of depth and complexity which touch on a higher step, while somehow maintaining everything in terms of pop sensibility that their contemporaries are achieving. I think the lack of sugar coating could make Palais Ideal easy to look past when in reality they are the ones creating something most profound.
John has such a wonderful and unique voice which i will expand on later but for a moment I want to focus on the message rather than the voice it is given in. You just don’t hear intelligent, challenging lyrical content like this in modern post punk music. A lot of it is expressive and clever but what Pressure Points has done is weave a cohesive tale of vibrant expression about the plight and achievement of modern culture. It’s Issac Asimov set to a tapestry of music. Enormous in scope and precise in vision. I have listened to these songs so many times already but I ordered the LP and put off writing the review partially out of intimidation partially because i needed to absorb the record played front to back as it was made to be heard. I’m not saying they don’t have great singles here. To me, this is a record of the best 12 deep cuts spaced over a bands 10 albums in one place.
Lets talk about what is unique here. Post Punk tends to lend itself to a technically adept style and Palais Ideal features two masters of craft at the height of their instruments. What they have done is take a step beyond the technical proficiency and into the progressive rock style almost more King Crimson than Joy Division. Dramatic shifts in key and tempo. Time syncopation that has the same heavy driving bass but such fluid movement of tone that it transcends the genre. The music is layered like mesh steel on a robots thigh. John has a voice that flickers and strikes with clarity and hovers on a range between Bernard Sumner, Joe Strummer and Mark Burgess yet always finds a way to cut through the complexity of the tempest. The use of guitars and Synths are economical and create a cleanness in spite of how much is going on.
How on earth to pick favorite tracks?
The Programme – What a complete cybernetic device digging into the depths of your skull and rattling around the pleasure zones in your brain. This bass line is everywhere at once. John’s delivery and that winding guitar rift which glances like light through a prism. “The Colony breaks down, we built it up again, we run the program now” A true statement on the loss of reality through technological euphoria. Facing the self shackled slavery of the modern world with glorious synth candy.
Context Collapse – This high energy snare snap building into a smooth cornered transition and that signature delicate guitar light show. “Forever avoiding a moment of disconnection. Improving, engineering a more transparent you.” So much to unpack here, layers upon layers.
Everything Will Be Ok – So much focus is on this dytopian world of the modern struggle this dance beat New Order soother with the strange echo robot effect vocals breaks up the weight and lets everything go green. “There is no such thing as destiny, life gives you everything you need. Everything will be ok?” So tongue and cheek I can almost beleive.
Overall this album is a force of everything that this new renaissance in post punk music is making possible. First you tear it down, then you rebuild it, then you synthesize it to a higher complexity and evolution. Pressure Points is a soundtrack for the modern spy novel of the post digital age. It’s full of adventure, depth, and a calculated empathy that makes me dream of electric sheep. This will be an album I am still peeling apart when I am putting together a list of the most important musical contributions of the year.
I’m very excited about this interview. Kill Shelter “Damage” was one of my top albums of 2018, a truly groundbreaking piece of artistic expression which harnessed the vocal talents of some of the darkest stars in the Post Punk/Darkwave genre. I tried to ask questions which would give a firmer grasp of his process and motivations in creating this monumental and personal offering. The album just became available on vinyl and is a must have for any serious collector who values this style. Link just below
(Ken) Pete this latest album “Damage” touched on so many emotions for so many people. What did this title mean and what were you trying to capture in these songs that related to it?
(Pete) Firstly thanks so much for the kind words and for the opportunity to talk about it. “Damage” was written during an exceptionally difficult time for me and there were a lot of dark thoughts and emotions that influenced both my music and my song writing in the nine months that it took to produce the album. “Damage” not only reflected my state of mind but it became a thread that ran through all the tracks – whatever happened I wanted to try and create something with a sense of purpose. Music has become so disposable and ubiquitous that I just wanted to try and make something that had some form of substance, meaning and hopefully resonance.
(Ken) You did such a unique concept of writing these songs but bringing in a who’s who of incredible musicians and singers to bring your words and songs to life. That couldn’t have been easy. How did you come up with this concept and what was your biggest challenge to overcome?
(Pete) I’ve always seen myself as a producer first so working with other artists, especially vocalists, is something that I love to do. I’d been doing a set of remixes and had just started writing material when Pedro from Unknown Pleasures Records approached me asking if I intended to do an album and if so he would be interested in considering it for his label. So that gave me something positive to work towards, of course there was no guarantee that a) it would be good and b) that anyone would like it. At that time UPR were going to only do 100 releases in their catalog so I knew if Damage was to be considered it needed to be special and I wanted to help mark the history of the label in some way. I had a “hit list” of artists that I wanted to work with so I began writing with those people in mind. The mistake I made was writing the song first then approaching the artist rather than gauging interest levels first then going down the writing process. It also takes a lot of time to slot into other people’s schedules too so it can easily become a logistical nightmare. I’m taking a different approach with the follow up…
(Ken) I feel like post punk/darkwave music is going through an incredible Renaissance right now, as someone who has made music in this scene a long time what has changed for you the last few years? What excites you about the future?
(Pete) Yes, there is a lot of chat about renaissance and revival and I think that is a good thing – “a rising tide lifts all boats” as they say. The scene is definitely broader now and influences and genres tend to blur at the edges and that is really exciting. I read recently that we were in the 4th or even 5th wave of post-punk now but that doesn’t mean it’s all good. I tend to gravitate towards the timeless and the innovative and that’s what I look and hope for in music. I’m always excited to hear outstanding new music so I’m forever optimistic that something very special is just around the corner
(Ken) I watched Damage shoot to the top of so many top albums on 2018 lists, including Sound and Shadows. Did that surprise you? What is the ideal future for Kill Shelter?
(Pete) To say I was surprised would definitely be an understatement – yeah, I’ve really been blown away by the response. For an album that was released so late in the year (November 26th) I never thought anyone would care let alone put it on their “best of” lists. I’m very grateful to everyone who has supported the album including Sounds and Shadows of course.
The ideal future for Kill Shelter would be continued interest and support and the chance to release another album (or two) that were equally as surprising as the first. That would be a good start.
(Ken) You worked with so many incredible artists I love on this album. Pedro Code, Ashe Ruppe, Nate Jespersen, Karl Morton Dahl, Hante, many more. If you could bring in any vocalist living or dead to do a song with who would it be?
(Pete) I’m hopeful that the next set of Kill Shelter releases partially answers that question for you. There are so many extremely talented vocalists in and out of the genre it would be difficult to name just one. David Sylvian is still one of may favorite vocalists of all time.
(Ken) These songs have such a person feel, are they about your life? Or more of a narrative about what you are seeing in the human condition? If the first what did you draw on to create them?
(Pete) There are people who write from experience and there are people who write imagined experiences. On Damage the material I wrote draws directly from very personal experiences and emotions. I’ve always found writing music cathartic in that way – even when I was growing up I buried myself in writing as a way to deal with my feelings.
(Ken) It’s so hard for me to choose a favorite track on this record, but In Decay hit a special chord for me. Ashe has told me these are your words he sang. Tell me about the background of this song, what were you feeling in Decay?
(Pete) I’m really glad you called that particular track out although it’s an incredibly personal track to me. Without being too maudlin about it, “In Decay” was written about the death of my mother. I didn’t tell Ashe originally what the real meaning was as I thought it was unfair to put him under that amount of pressure. He sang it just the way I’d imagined it though so I’ll be forever grateful to him for that. The line “at the end of forever – I come undone” just about sums it up.
(Ken) This was a complete album and concept, but music is changing. Is there still a place in the modern scene for 10+ song concepts or is the future, singles and internet hits?
(Pete) Listening behavior has changed dramatically. Anonymous single tracks appearing on semi-curated playlists and individual tracks being recommended by algorithms based on listener preference has definitely changed the way we consume music. “Damage” was written as an album and you can hear that when you listen to it – it’s supposed to be a journey. But the individual nature of the contributing artists makes each track unique and therefore able to stand on its own too. Is there a place for a 10+ song concept album? Probably not, but who wants to be the same as everyone else. I really hope that people will discover the album and put the time aside to listen to it as a whole.
(Ken) If you could go on tour opening for any band currently in the scene who would it be and why?
(Pete) There’s a question. How close to the scene are Depeche Mode these days? I’m sure that would have a positive impact on how many people had heard of Kill Shelter. Gary Numan, She Past Away, The Sisters, The Soft Moon… you get the idea…
(Ken) If you could get in a Delorean and travel back in time to talk to 21 year old you, what would you tell that young man? Would he listen?
(Pete) He’d definitely listen to the advice it’s whether he’d have the self belief to act on it. I’d probably say “you are right to be uncompromising in your music. Enjoy listening to other people’s music and continue to be open minded but the best stuff isn’t about trying too hard, it’s about being natural whether it’s in-vogue or not. This journey is yours so stop thinking about what other people think. Above all else – don’t fuck up the only chance you have. And try to stop hating yourself if you can.”
All songs written & performed by Benny Sweat except “Never Be You”, performed by Benny Sweat & Jerry Miller (guitar) & “Endlessly”, written by Dylan Thomas Lambert & Benny Sweat, performed by Benny Sweat & Nicklas Stenemo (guest vocals). Vocal Engineering, Mixing, Additional Production: DEATHDANCE. Mastering: Rob Robinson. Logo Design: Jim Marcus.
Sometimes I fall in love with an album because it is something really on the edge and sometimes because it feels familiar like an old friend you haven’t seen in several decades that showed up and filled you with feelings you had forgotten. The second was how it was for Sweat Boys. This is a beautiful synth driven welcoming EP full of tender hooks and very personal lyrics containing familiar themes. Relationships, longing, loss, acceptance. I kept coming back to one of the most important albums of my youth Yaz “Upstairs at Eric’s”. These songs are beautifully crafted and delivered with piercing emotion while the music is warm and comforting. Much of it is full of blood pumping dance beats and snapping snares.
Benny Sweat has a gorgeous voice that is clear and to the front. He doesn’t hide it behind a lot of effect and slush and the clarity of it really adds to the personal nature of the songs. For a 5 song EP it has a tremendous amount of range movement. You just don’t hear enough music in this genre in the modern era that takes the courageous stance of beautiful pop hooks without hiding behind layer after layer of production. It takes me back to sitting in a room with close friends and really sharing the feeling invoked by an album together. That stumbling youthful searching and awkward energy of finding a truth in each other. I found myself lost in nostalgia but at the same time enamored by the freshness of it because this just isn’t done anymore. I forgot how much I missed that feeling and that is what this album gives you.
I Don’t Love you – Here is that beautiful ringing energy and clarity of Erasure and Yaz. It cooks at a breakneck medium pace but still makes Benny’s vocals the star of the track. We have all felt this moment of realization and it is an intense feeling but the simple beauty of the music keeps the heady concept so light and bright.
You’re Gone – This is a darker tone and beautifully transitioned. Giving it more of a early INXS or Pet Shop Boys feel. The isolated keyboard line here rings out so beautifully and really carries the melody. This is a dance around my living room in my underwear throwing my hands in the air and just feeling a moment.
Endlessly (featuring: Nicklas Stenemo of Kite) – What a gorgeous ballad breakdown that has a soulful Madonna/Cindi Lauper feel. The back and forth discussion like vocal lines are extremely powerful. “lying awake I can’t sleep but still I’m dreaming” It’s mesmerizing and so real. A glimpse into a personal discussion and a stirred emotion.
Overall this was a beautiful and touching album that leaves you feeling someone shared a piece of life with you. It has true blood and soul in it. Maybe dance music has forgotten how to infuse this kind of heart felt power but Sweat Boys are bring that back and I am here for this moment. Get this in your collection right away.
So as I listen to so much new music in the “Goth/Industrial/Post Punk” genre I hear a re-occurring trend to reach back to the sacred 80’s and revamp our holy dark forbears with a new twist. I think what immediately struck me in this album was rather than reaching back, FIRES has reached across the isle and pulled inspiration from other genre’s not typically heard in this scene and fired them like a laser through the leans of dark electronic music. Some electronic dance beats, emo, pop punk, and indie prog simmered down into a searing beam of light and fired through the ultraviolet fury of Aedra’s sorrow. The result is positively electric.
This record is such a contrast to the driving and precise darkness currently in vogue. Instead of cold and introspective it is a burning rage of passion and integrity engulfing you without pretense. Aedra was experiencing a physical and emotional awakening during these songs and that message strides forward courageously while being abstract and textural. This is a beautiful woman on a hill holding a fire hose attached to to a gasoline truck spewing forth blazing brilliance to incinerate every ignorant shadow around her. I find it almost more impressive that this chaotic sound weapon is maintained within such clear production and tight hooks of pop glory.
Show Me Life – Crackling energy is crackling off these guitar sounds. Overlapping and building. Her Vocals are a pleading shout to her inner self. It’s big drums and savage attack but it also breaks down in a focused introspection. These songs feel so much like a conversation but not one held polite in company. One shouted with emotion to a true friend in a moment of emergence.
Revive- Give me these glorious drum beats. The wave after wave bleeding synths. Then give me Aedra chanting out boot stomping cadence with her voice. ” Say my name, remember” This song makes me want to destroy a 50s diner with a sledge hammer on fire and scream.
Ever- If this album was all piss and vinegar it couldn’t have taken me so far. However “Ever” is a beautiful Cocateau Twins shoegaze dream slush ballad that wraps you like a blanket after the assault of the first few songs. It’s a memorizing comfort and an acknowledgement of Aedra’s range and the delicate beauty of her voice. The driving Martin Hannett Joshua Tree style bass line is the perfect counterpoint to the elegant beauty of this song.
This album is an experience. It’s personal, and is very unique in it’s delivery. I must have listened to it 20 times in different places and times before writing this (It actually released back on May 10th) but Negative Gain has done it again and stepped out of the comfort zone to support an artist who laid bare her soul in a fiery red aura. You need this.
Band: Black Nail Cabaret Album: Psuedopop Label : Dichronaut Records Members: Emese Arvai-Illes // vocals Krisztian Arvai // keys, production Mixed and mastered by Krisztian Arvai Album art: Emese Arvai-Illes Album art design and editing: Stapel Design
Prepare yourselves for one of Ken’s absolutely gushing reviews. Black Nail Cabaret is so far up my alley as it is a cooler than jagged steel icicles. Featuring a singer with a strong message and pithy lyrics. Unique blending of styles executed with perfect precision, and sensually delicious dance beats that make your heart go thump. I got lost in this album over the weekend and the video for Bete Noire is so glowing razor hot it made me want to run away and join the revolution. Emese Arvai-Illes has the kind of effortless power in her voice that put me in mind of the passion and snark of Siouxsie meeting the class and elegance of Annie Lennox. Listening to her sing in a wide range of styles without any noticeable effect on her voice is like seeing a master fencer in the Olympics snap through forms and striking your eardrums with effect in a way you cannot parry.
Lets talk music because BNC are not a pop star vocalist carrying the work. These songs are beautiful and diverse. Styles ranging from sullen ballads that have hints of a timeless smokey jazz underground , dance club anthems, and advent-garde textural builders. The scope is what sets this timeless work apart . Krisztian Arvai is a synth wizard crafting worlds of dance magic pulling beats and hooks like a puppeteer with strings. Emese would not need much to prop her diamond sharp voice but the music is a beautiful throne for her to ring out from. I think one of the other beautiful aspects is they really know where their strength lies, the focus does not go beyond the sounds they need to create the image. No extra parts for the sake of complexity. Which helps lend a focus to the words and music in a punk rock revolutionary edge. Ok, I’ll try to pick a few tracks but this is a whole album to hear in one go record.
Bete Noire – Ok this is how I first found them and this song is just a total anthem. The vocals are defiant and precise. The Line “I think I want to kill you but I believe in peace bitch” seems a tad tongue and cheek when written out but the delivery is done with passion and reverence. The beats and keys are thundering and make your feet stomp in rhythm. I want to march to the hills and eat the rich with this jam on.
Verge on the Creepy – For starters what an awesome song title. This song really reminded me of the beautiful elegance of an 80s Eurythmics classic pop song. It has such dark blending tone though. It’s full of longing and emotion. It’s one of those pop songs that transcends too deeply to be pop.
90S – Ok this might not be one of the darkest deepest tracks on this album, but it’s just fun. It’s such a different sound for Emese. Krisztian brightens the tone in these water fall keyboards. I can’t help but get lost in the nostalgia of a decade when I was the same age. It captures a moment in time.
this album is exactly what I needed in this moment. It was gorgeous,
and nuanced. It ran me through a range of emotions and was just one
of those records so accessible and easy to fall in love with. This is
both a dance party in your living room at 3am, and a rainy day laying
on the couch with a cat and a cup of tea at the same time. So rare
and glorious. Get this in your collection right away.
So since we have started doing interviews with bands to add another layer of content to Sound and Shadows it got me thinking about all the other pieces that go into creating a vibrant and exciting music scene. Djs, promoters, and record labels. At the moment the world of music is changing to a focus on global reach and grass roots distribution. No one is doing more to build a base and put out great music for Post Punk/Dark wave/ Cold wave/ Shoegaze genre than Frankfurt Germany based label Cold Transmission Music. Run by Andreas and Suzy Herrmann with Yvonne Kiel as graphic designer, this label is on the forefront of the multimedia movement happening in dark music. They aren’t just a record company, they are music lovers that are looking to lift all ships and find exciting new ways to share the music they love with the world. They have made the idea of musical distribution into a family with a caring touch to foster the people on their label as much as putting out albums and compilations. The Cold Transmission playlists have come to set a standard for support of what is cutting edge. I had the opportunity of getting to know the people behind Cold Transmission a little better and want to share that experience with our readers. Bands currently on Cold Transmission Music: Elz and the Cult, White Mansion, Push Button Press, Carlo Onda, Rosi, Monographic, La Mécanique, Reconverb, S Y Z Y G Y X, Silent Runners, The Blue Beard’s Castle, Icy Men , Palais Ideal, Bedless Bones, Closed Mouth. We have reviewed some of these bands and the more I hear from them the more I like, I can’t wait to continue working my way through their catalog.
(Ken) When did you start the label and what was your goal starting out with Cold Transmission?
(CT) In 2017 Cold Transmission began as a Mixcloud show because we had the burning desire to make more people aware of the new music and bands that were coming up in our scene. The shows were very well received on Mixcloud and the number of followers grew steadily so we created the name „Cold Transmission“ and launched the Facebook page. The next idea was to create a digital compilation, so our ZEITGEIST series was born. Although Andreas always thought about starting a label from the beginning, it was a spontaneous idea that evolved over time, a next logical step. We are still growing into it, learning new things every day about what it takes to be a label and it makes us very happy to support up-and-coming bands and help them grow. So our greatest respect goes out to all other independent labels that are doing this for many years now with enthusiasm and passion. It’s a lot of work especially when doing this next to your normal jobs. The music is our true satisfaction.
(Ken) I feel like goth music has always been a genre focused on the past, in the last couple years this style of music is seeing a huge resurgence with fresh new talent in unprecedented levels since the 80s/90s. What do you think is leading this? What do you see as Cold Transmissions role?
(CT) Yes, we have the same feeling about the scene. You can hardly find a band that is not referencing one of the 80s bands like Joy Division etc. Even our name is inspired by a Joy Division song! Those are all icons we really love but time doesn’t stand still and music is developing further with fresh impulses, techniques and sounds combined with the classic Post-Punk influences. Jason Corbett of ACTORS once called it Post-Punk 2.0 which is an apt description. When you go to parties or festivals a lot such as we have since the 80s we had the feeling of hearing the same music all the time in the last 10 years. We talked to many people from all over the world who had the same experience. Maybe people had gotten a bit fed up with this. We created Cold Transmission to show people from the scene what great new music is out there and what great new bands are surfacing from all parts of the world – through our Mixcloud shows, social media accounts and our label. We’re going to concerts and festivals, sometimes hosting them ourselves. We did a Cold Transmission party, re-invested the money we earned with it to buy new music to support the bands. We also see Cold Transmission not just as a label but as a platform to connect bands and supporters from all over the world. There is a great community of artists, labels, blogs, radio stations, growing up around us and we’re proud to be part of it and support it with all our energy. There also have been great collaborations between the bands already doing remixes of each others songs which is great to see. We created our t-shirts and sent them to supporters, bands and friends around the globe – for us it’s a statement of being part of a wonderful and growing community in our scene.
(Ken)You had a lot of success in 2018, I have watched your support base grow. What are you excited for on the horizon in 2019? What new albums are you looking to release this year?
(CT) In 2019 we’re looking forward to growing our label further – we will release the new albums by La Mécanique, White Mansion, The Blue Beard’s Castle and many more in the future. (Since this interview they had a very exciting release from Palais Ideal currently available) Also we will release four new ZEITGEIST compilations this year. And of course there will be our first little Cold Transmission Festival in Cologne, Germany in July. Still there is no 5-years-plan or anything for Cold Transmission. We love to see things develop organically – we have amazing friends around who are supporting us in so many ways, bands that became friends, interesting people that we are discussing partnerships with to allow us all new opportunities. We have hundreds of ideas in our minds and the day only has 24 hours so let’s see what happens!
(Ken) Recently I interviewed Jim Walker of Push Button Press (amazing new album) and Ashe Ruppe of Delphine Coma. Both are American bands that spoke of how happy they are signing with European labels. What do you think is drawing American bands to think of European labels for the dark music scene?
(CT) Since we are very new to that business we don’t really know about the major differences between European and American labels yet to be honest. We as Cold Transmission try to be as professional and committed as we can when signing bands to our label – a typical German attitude maybe. We are still a small label and the personal contact is very important to us and also to our bands. We want them to feel like they are part of a little family that believes in them and motivates them. A way of working that is maybe difficult when you are a bigger label with many bands. The scene in Europe is very old, still vibrant and much more concentrated simply because of the size of the continent compared to America. Maybe that is also a reason why so many bands are looking to Europe and has nothing to do with the differences between European and American labels in particular.
(Ken) What inspired you to become a part of this music scene? Was there a band in particular that let you know this was your chosen path in life?
(CT) We have to distinguish here between us due to our age difference of nearly ten years. Andreas was more into electronic music since 1980 starting with bands like Kraftwerk, Ultravox, Gary Numan, Cabaret Voltaire etc. In 1986 he was really convinced to be part of the scene through bands like Click Click, The Klinik, Skinny Puppy and Front 242. Suzy was more into guitar music, and a real 90s Dark Wave girl – so was Yvonne. Starting with Depeche Mode, The Smiths and Sisters of Mercy in the late 80’s her first „dark love“ was Deine Lakaien in the early 90’s
(Ken) Talk to me about the Post Punk/Darkwave scene in Germany, what is it like today and how has it changed in the last 20 years?
(CT) The scene was always great in Germany from our point of view. You have so many huge festivals, concerts and parties in nearly every part of Germany. In particular the Wave Gotik Treffen in Leipzig that has become the largest Gothic festivals in the world. As said before, from a music standpoint you had the feeling that nothing really changed in the last 20 years. Sure there were new bands surfacing all the time but not many people seemed to be really interested. Especially in the last few years there are new artists emerging and we get the feeling that more people are now open to finding new music. There are more small festivals coming up in Germany next to the big ones that give you a more traditional feeling. The Wave Gotik Treffen took notice of a lot of those bands and presented many of the newer acts in 2018. This is a trend we really hope to see continue.
(Ken) Along with putting out music you got your start in creating playlists and sharing music for bands in the genre. You even had Amaranth on a few, so thank you for that. What lead you to this idea and what role do you think it will play in the future of music?
(CT) The Mixcloud shows were the starting point of Cold Transmission. Andreas is a passionate music collector and spends a lot of time searching for interesting new music on the internet. The desire behind the playlists was to make people aware of that new music – Hey guys, listen, there is more to our scene than our beloved classics! A sort of modern mixtapes we did in the 80’s. Many people don’t have the time anymore to spend hours searching for music on the internet or in record stores – they have their music players and mobile phones, listening to playlists on Spotify or other platforms. This form of listening to music will continue to play an important role in the future.
(Ken) You have a festival in Cologne this July featuring some amazing acts. I’m beyond excited that Rachel and I will be going to witness it. Tell me about it, who will be there, and what are you celebrating?
(CT) The festival will be our first Cold Transmission festival. We are celebrating Andreas’s 50th birthday bash. We chose the Blue Shell in Cologne since we have very strong connections to that club and also close friends in Cologne since Suzy lived there for 20 years. The club has a storied history going back to the 80’s so they are quite experienced and passionate. Some really great bands which we also call our friends are playing live that night: Crying Vessel, IAMTHESHADOW, featuring members of Antipole, Joy/Disaster and Silent Runners. The after show party is hosted by our close friends of Disorder Cologne (Holger and Chantal) who have been successfully running that party for nearly 10 years now. We are also very proud and overjoyed to have a special DJ set by Pete Burns and Christian Schaefer of Rule of Three. A music blog that inspired us from the beginning. Pete recently garnered critical acclaim with his project Kill Shelter! Pete has also became very important to us personally at Cold Transmission through his friendship and guidance from our beginning. We have the feeling that this is not only a festival but also a way of connecting people with a common love of darkwave/postpunk music. People from all over the world are planning to come to Cologne to meet with bands and friends. For example Jim Walker from Push Button Press traveling all the way from Florida. It will be a great event and we are really looking forward to that! Glad that Rachel and you will also be part of it. Let’s make this a night to remember!
(Ken) What do you look for in a potential band to sign to Cold Transmission?
(CT) Since we like to call our label our “Cold Transmission family” We are currently signing bands whose music we really like and believe in. People that are as passionate with their music as we are. We have close contacts to all bands signed to our label and support them in any way we can in a variety of ways. Every success the bands have makes us very happy and proud. We want to grow up together with our bands so it’s symbiotic in a sense. We also aim for long-term partnerships to achieve that. Of course we also want to have a good mixture of different music styles from different countries on our label especially in the Post-Punk and Coldwave genre. In nearly every country of the world you can find bands and artists from our scene and we are happy to have some of them on our label to show the variety that is out there.
(Ken) If you could travel back in time and see any show ever in recorded history, what would it be and why?
(CT) That would be shows of today’s Post-Punks icons like Joy Division in the late 70’s and early 80’s. To see such a show in a small club with around 20 people, listening to the music and having the feeling that something great is happening. That would have been awesome.
Since this was our first interview with someone who wasn’t a band I thought it was important to share some perspective of some of the people who surround Cold Transmission. Musicians, artists, producers about what this label means to them. Here are some of those thoughts.
Jim Walker (Push Button Press) “I will let a big secret about the label out of the bag, Suzy is the secret special sauce that makes everything fall into place.”
(SYZYGYX) “Suzy’s and Andy’s passion for music shows in the way they treat their artists, we’ve been lucky to work with such amazing people and label, and look forward to continue working with them. They know the scene, they’re knowledgeable on how to target the audience and promote! Love Cold Transmission”
Pedro Code (IAMTHESHADOW) “They are great enthusiasts of the dark Scene, wonderfull people and my friends. I knew them long before they started Cold Transmission, in WGT, Leipzig, 2017 but now its another level. They are growing and its a great thing for the dark scene in Europe hey are very passionate about the music being made. Its great for all the bands what they are doing, They once told me they had the idea of Cold Transmission, after we meet in WGT, 2017. :)”
Silent Runners “Like many people in the scene we met Andy and Suzy online, enthusiastically spreading our music on forums and groups within the scene. From the start they were the greatest supporters a band can hope for! They really have a personal love for music and the scene and want to spread it so other people can enjoy it as well. Since we met personally on WGT2018 we’ve been in touch weekly. Seems only logical that we recently took the next step and joined their great label family as band. We hope to do great stuff together in the future.”
Monographic “Cold Transmission is not a “normal ” record label! For us, its more a collaboration between friends for the most important thing… music!!! They’re doing a lot for new bands and for the underground scene. You can feel, its not about the money compared to other labels, its more about spreading the love … Suzy and Andreas are doing everything, for the bands to keep moving forward and you can see they are doing it right. We hope to be part of it in the many years to come and we look forward to the bright future of their label”
Pete Burns (Kill Shelter) “Andy and Suzy have been great supporters of both Rule of Three (which I run with my partner in crime Christian Schaefer) and also my personal Kill Shelter project so I can’t thank them enough for that really. They are extremely passionate, kind and energetic people and are always incredibly positive – you need unbridled enthusiasm and optimism to work in this industry and they have that in spades. I’ve been lucky enough to help them with engineering and mastering of some of their releases and that’s just been an absolute joy. I’m hoping we’ll do more of that in 2019. I’ll be heading to Germany in July for the Cold Transmission Festival & Disorder Party where Christian and I will be doing a special audio/visual DJ set and we have some surprises lined up for that. It will be an honor to be part of that event and I really hope they have a magical time – they deserve it.”
The new album Fierce by by Paris France based Helene de Thoury is a bold sensory attack on modern darkwave sensibility. It attacks the concept of pop music in its effortless ability to face concepts and sounds that feel comfortable and easy to accept. It attacks a dark and artistic scene with ear haunting melodies and hook heavy rhythms that appeal to the senses. This album walks a razors edge between counter culture revolution and dance hall destruction. A true dichotomy in every brilliant track that forces the listener to question what is the edge of artistic expression and do I give a shit because this song is straight toe tapping fire. These songs are haughty, they are Paris in an unnamed nightclub at 3am. They are unfiltered cigarettes and dark lit rooms. The songs are full of sex appeal and understated intention. When trying to describe these flowing keyboard lines and subtle drum beats I keep coming back to the word effortless. The details of drum fills, swells, texture are all there in perfect precision. But it has that feeling that is so illusive and hard to capture of trying to sound cutting edge cool without all this fore thought. Like you just showed up and it happened. That is the essence of Hante.
The vocals and Lyrics embody this concept most of all. Helene never reaches, never uses anger or intensity to portray her emotions in these songs. She floats like a phantom in a flowing black dress smoke rolling behind her and she tell the story of strength and heartbreak in these soundscapes and city tales. These are songs I found myself lost in. Shadow puppets that surrounded me and captured me. I have seldom heard an album where the vocals and music found such perfect balance and never overpowered each other. This is a record to become lost in. A labyrinth of sound and mirage.
Are there familiar elements here, sure, it has a giant audio wave tidal wave of Cocteau Twins, a grinding sultry darkness of Anne Lennox. Yet the beats and music have a edge, a sharp razor bite that speaks to the modern sensibility that subtlety is not enough to define her. This is beauty that must be heard and viewed from a distance from fear of steeping to close to the fire.
Waiting for a Hurricane – Driving gentle waves of keyboard and dance hall beat. Builds you in an ebb and flow. Helene’s voice is a whisper and a promise. The chorus is a angelic choir of pop majesty. These drum beats are driving and haunting. Like a lost ghost with a eternal message. I hear you.
No Tenderness – This song features Aetervader’s majestic and heartfelt vocal lines. I found myself in love with the contrast and unyielding echos. It gave such an important change of pace of urgency and effort from Helene’s delicate and gentle emotions. When you hear an artist of this caliber you have to ask how would one add to this? Aetervader found a way without detracting from her glory.
Never Over– A dissonant creeping melody. I loved this song for pulling back everything else and giving the purity of Helene’s vocals a chance to shine in an echo chamber. The clarity and dynamics of the keyboard line made this track stand out. When the drums dropped around 1:47 the song took on a fullness and depth that really made it resonate to me. To feel like rain bouncing off streets on a twilight night.
Overall this album is an album that feels like a painting. An image captured in time and full of stirring emotion. I had never heard Hante’s previous albums and didn’t expect to become so enamored but here I found myself. It’s gorgeous, tragic, striking, it makes you feel something. Something fast, and deep. It is efficient, modern, and grabs you in its arms and rocks you to a place you can both feel gently or dive into. Take this journey. Feel this power.
I think I have been putting this review off for a while out of intimidation. I have listened to this album A Ton. It has been my album to put on the headphones when walking into work to psyche myself up to face the day and find my swagger for the last several months. Austin Texas underground electronic star Forrest LeMarie has outdone themselves with such a bold and challenging offering of fiercely laced dance beats and emotionally dangerous themes. I first heard Mr.Kitty in a tragic way, I saw a post by another musician about how his tour van was robbed on the road. I gave a small donation because what a horrible thing to do to a touring artists. I remember being blown away and touched by the level of support and outpouring from other bands in the scene. I think that always says a lot about an artist by who will stand up for them. What is the name they have built and Forrest is truly beloved. Artists don’t give away that level of respect lightly. Then this record dropped in March 2019 and had 30 tracks? 30 tracks, who does that in the modern era…no one. What is more, it isn’t filler, it isn’t fluff. Every song is a story full of crystal clear production, heart wrenching vocals, and powerful themes.
In my formative years I was very flamboyant and it made me a target. Bands like The Pet Shop Boys, Erasure, who took beautiful pop hooks, harmony, and style and mixed it with an undertone of very powerful dark themes that contrasted the prism of color and joy in the music meant so much to me. That’s what this album stirred for me, that fierce defiance and truth of making something fun and beautiful of the fear and pain of feeling outside.
I think what is even more impressive about this record beyond the sheer scope of it is the precision and calculation of every song. Nothing is wasted here. Every tempo change, every keyboard sound, every line of poetry seems to have a place and purpose. As a listener it’s so captivating. As a song writer it is hard not to player hate and think, good gods how did you do this for 30 tracks. It’s truly a staggering feat when you think about it.
Ok, here comes the hard part. How does one choose stand out tracks when you have 30 worth while songs? Sitting here at 12:30 am on a Wed I don’t have a good answer to that question. However if Forrest had the focus of mind to create this amazing piece of work I suppose I can suck it up and narrow down 3 tracks I love the most.
Disconnected Lover – What a beautiful anthem chant dance room burner of a song. “It’s not up to you, it’s up to me, I’ll tell you how to set me free” The distant echo vocal sound creates this awesome displacement. The dance beat burns, it lives inside your head and you can’t shake it free.
Trauma – Oh the creeping build of this song. It’s so accessible but delivered in such an upbeat friendly tone it truly makes me not feel alone whenever I hear it. “With all my rage I’m going to take you down. To which you beg and plead before i put you in the ground. Few songs make me feel so connected in isolation, to capture that feeling in a genuine way is a truly monumental achievement.
Immurement– This album is so dynamic and full of range. It would be impossible to only focus on the upbeat dance gems. This is a full and crushing song hitting you with creeping walls of sound closer to Bach than to dance music. A slow exposed attack of sound and emotion. Striking and retreating. It’s a different story, a different journey and that is the beauty of this album.
Look if you haven’t gotten the picture yet, this is an album you need. It’s vast, courageous, but also full of fun and hope. It’s one of those records I keep coming back to when i don’t know where else to go. Which is one of the highest compliments I can think to give for a person who listens to as much new music as me.
So someone much smarter and a better writer than me once told me “If you want to be a better writer, read books written by great writers” I feel like this is advice Curse Mackey has taken to heart. Because here we have an album of a very literary quality with an engineers craft. As I listened to it again and again I kept finding myself drawn to the question, what was he reading when he wrote this?
Going to try a slightly different format for this review because of the artists pedigree. I mean here is a guy David J calls to fill in for Peter Murphy when he is tired. An artist who is appreciated and respected at the highest levels of industrial music. It’s for good reason. He is a wizard of craft bending the ultraviolet light of electronic sounds into a laser focus. This is his first solo offering and is a chance to tell his story strictly from his own perspective.
Right out of the gate the first song “Submerged“ is a subtle and gripping offering. Where the chains slip around behind you and lock in place before you know you are captured. Satirical blasphemous religious allegory in the style of William Blake hints at the greater heresy to come later without going over the top. I was extremely impressed with the rising and falling dynamics to create this sense of slowly sinking beneath the water.
“O’Blasphemy” This is a dance floor burner for the ages. The imagery is sexually charged and delivered in a boot stomp cadence. I love the background keyboard lifts, so much motion feels like dancing in an earthquake. The vocals are razor slices tearing you to shreds while they lull you into acceptance. This sounds like post coital breathing mixed with rebellion.
“Somewhat Processed” This is a Dante’s Inferno quest of the River Styx touring and longing for something lost. “Just part of the show for our bloodstained soul” A need to feel. The triplet snare snap to create that off kilter hurky jerky motion while the dangerous silky vocal is your Charon poling you down the river.
“Concubinary” Sometimes a song strikes me by what i picture myself doing while listening to it. This is a great city-scape street walking burner that jumps on the back of Mackey’s vocals and lets the lyrics carry it across the finish line. That wild and untamed part of the city where the rules don’t apply.
“ Secrets of the Resurrection” Such a delicious pop hook served up in classic ritual form. The song carefully and strategically assembles all the parts until you see the face of the monster. The chorus from Nat King Cole re-imagined in this wicked anthem of hope and clashing counter culture. Beautiful live wire tension shakes your core.
“Dangerous Sleeper” I love this breakdown creep with throwback samples reminiscent of Wax Trax or Evil Mothers days. Not sure where they came from Mackey is known for finding or creating samples from his everyday experience, but i am moved by the slow creeping doom and flowing rhymes. “He’s my arch angel made flesh, he takes the mark, upon his flesh”
This entire album has a cohesion and message that stands out in a current world of blips, clicks, and snippets as a classical work with the quality of literature and study. It really spoke to me for the experience and craft that was the culmination of a career in art and learning leading to this moment. This is a must own album for anyone who values the genre of Industrial Dance Music.
Label: Dark Vinyl Records – Now on Cold Transmission Records JOHN EDWARDS: VOCALS, GUITARS, SYNTHESIZERS, PROGRAMMING RICHARD VAN KRUYSDIJK: BASS, SYNTHESIZERS, BACKING VOCALS, BARITONE GUITAR, PROGRAMMING Produced, Mixed and Mastered by: Uwe Teichert At Electropolis
Palais Ideal means the Ideal Palace. A concept of building a home or place from the things you find in everyday life. This is an album that achieves something I think is so lost in the modern music scene. Each song is so unique in it’s sound and style. All the ideas tie together but the songs themselves have such an individual sound and aesthetic. This is a intellectual thinking album that has a calculated scientific arc. The songs are poppy and engaging but the words behind each song are a challenge and inspiration. This band from Netherlands attacks themes of politics and technology in the modern world. Lofty ideas that go beyond the standard party themes you could expect from club beats and hook melodies. I found myself lost and found following this story laid out about the hardship and pitfalls which face the modern person. I think the true genius on display was how easy it was to set aside these thoughts and get lost in how fun and energetic the songs sounded.
John Edwards vocals are a master class in range and engagement. From driving chants, beautiful croons, spirited edge, along with playful tongue and cheek. The theme and sound changes within each song and from one to the next. The synths are masterfully sculpted to create a rising falling tide of emotion. Van Kruysdijk’s guitars and bass lines are a driving cacophony of sound and style that build an express train for Edward’s vocals to ride upon. I hear New Order, Joy Division, Information Society, Pet Shop Boys, Japan. All are blending together but the fusion creates something unique that finds it’s own path. From a technical standpoint the music is as precise as the lyrics. No sound is wasted or lost. This is purposeful production that has a journey and a destination. I love when a true professional enhances their vision with craft and that is what Palais Ideal has achieved. I listened to this album 4 times before attempting to review it and I feel like I am just scratching the surface.
trouble choosing standout tracks because the flavor is so different
with each but here goes Standout tracks:
Crossfade/Dissolve – Here is that beautiful New Order chanting anthem sound right off the bat. It’s catchy, it’s evolved, the lyrics are delivered with just enough sharp edges to enhance the emotion while having this beautiful calculation of an architect building a better world. I played this track 7 times and regretted none of them.
Deity – Beautiful sped up cut time drums. Textural open voice lyrics delivered with a driving cadence. Again this song has such a science fiction story delivered with a build that opens up with a wonderful guitar line. This is the soundtrack of a future I fear that strikes a logical chord.
A Black Noise – This one gets dark, really dark. A droning Bauhaus drum beat with sinister guitar riffs. Edwards drops his voice to the low register to paint a frightening picture of fear and loss. “Every secret sight and sound, where are they now. A million voices underground, where did they go.” This bassline has a Sisters of Mercy Floodland drive. It’s a fierce and frightening emotion that captures and grasps.
Overall this album is just well done. The highs are high the lows are low. It’s an album you can dance in the club to but take home and really listen for the deeper meaning. I found myself falling into it like a pit that had no bottom. What an experience, what a record. You need this, if you are up for the challenge.
After spending a lot of time with the album I got the chance to talk with John and Richard a bit about what went into the construction and vision of the record. As well as get to know the artists who created it.
(Ken) – I did a bit of research about your name Palais Ideal and found there was a lot more to it then I originally suspected. Why did you choose it and what did it mean to you?
(Palais Ideal) – The Palais Ideal – “Ideal Palace” in French – is a strange and eccentric 19thcentury building that was created by Ferdinand Fernando Cheval, a postman from Southeastern France. He had no formal training as an architect, but collected stones while he delivered letters and built his very odd palace. A perfect metaphor for the desire to create something purely because it ought to be created – which is the foundation of all great art! We love austerity and starkness, but are also heavily into romanticism and bizarre ideas – like building your own private palace!
(Ken) – You have plenty of experience which I feel brought richness and depth to the album. Tell me what you have coming out down the road and what led into it?
(John) – Palais Ideal has only been around for two years, but Richard and I formed our very first band together ages ago, playing a mix of prog rock and goth. Over the years, I’ve been in bands performing everything from latin music to technical death metal. The fact that we both play different instruments and have experience arranging, recording and producing has also helped us to get where we wanted to be. The next big thing for us is the upcoming release of our second album, on which we’ve brought together a wider range of influences than before – from Low-era Bowie and classical music to funk pop and krautrock. We kept pushing each other in interesting new directions and wanted to see how much we could expand, while still staying more or less within the post-punk and new wave genres.
(Richard) – I have been exploring many different musical styles, albeit all of the darker, melancholic variety. Early new wave and post-punk are my roots, and to create something that references this musical era feels very natural to me. We are trying to keep our musical direction and style very clear, and at the same time looking for ways to find our personal ‘signature’ within the genre. A very interesting journey!
(Ken) – Music is usually not all glitz and glamour. You need to pick moments to fuel you into the next. What is the moment you are most proud of in your career?
(John) – For me, touring in Germany with Clan of Xymox was a big occasion – if I’d have known that would happen when I was a teenager listening to their albums, my head would presumably have exploded. We toured the UK last year, which was another wonderful experience. Of course, working with the legendary John Fryer, who produced many of our favorite albums, has been incredible – he’s brought a whole new perspective and has been delightful to work with. We’ve had a lot of great reviews and met some wonderful people through our music, which is highly inspiring. In May, we’re releasing our new album at an event featuring some of our favorite bands – She Past Away, Selofan and Auger – and we’re looking forward to that!
(Richard) – I am fortunate to be able to say that there are so many moments that come to mind! For instance: watching Gitane Demone delivering spine-tingling vocals in the studio on a track by another band that I am involved in: Phallus Dei. To have co-written songs with heroes such as Graham Lewis (Wire), David J (Bauhaus), Winston Tong and Blaine L. Reininger (Tuxedomoon), Peter Christopherson (Coil), Edward Ka-Spel (Legendary Pink Dots) and Larboe (Swans). Also memorable is the tour I did with Daniel Johnston, for whom I arranged three songs for big band. A very special programme! As for Palais Ideal: There have already been so many highlights in our short existence! I’m proud of our videos, our releases, and especially our upcoming album.
(Ken) – So one of the things that enamored me with this record was its eclectic nature. Every song has it’s own flavor. Who was your inspiration and how did you make the styles fit together?
(John) – I’m a big prog rock fan, especially the early 1970s stuff, such as Pink Floyd, Genesis, Van Der Graaf Generator and King Crimson. On many of the albums from that period, each song would be clearly built around a specific concept, which could be a musical theme or lyric, yet all tracks would be tied together. It made sense to try this approach within a post-punk concept: creating a self-contained little world around the musical and lyrical concept of each song.
(Richard) – Before we started, we defined a very clear sound for our music: what kind of drum sounds, synths, bass and guitars we were going to use. The fact that there is a logical connection between these sound elements, allows us to go to the heart of each song without the album becoming incoherent. We are always looking for clarity in our musical ideas and arrangement. Every track should be a strong statement in itself.
(Ken) – So “Seen Missing” was a song that has been playing over and over on my phone all week. The lyrics has such a mystery of a secret message. Maybe it is the double entendre in the name 🙂 What was going on when you wrote this, tell me the secret?
(John) – Basically, it’s about the fact that, thanks to the internet, we currently have access to a huge amount of art, music, writing and more. We can access all of this at any time, from anywhere. Countless great ideas and creations that might have been forgotten forever are available to us. It’s important that we look back and remember all of the people that came before us, re-evaluate what they’ve created, and share our discoveries. A lot of our lyrics are a bit bleak, kind of techno-paranoia “Black Mirror” stuff, but technology can also have a huge positive influence on our lives.
(Ken) – To me seeing a great band live needs to be a different experience than hearing the record. Tell me what you do live that makes it different?
(John) – Personally, I’d rather see a band like Motorhead playing than watch some dude behind a laptop. We like to get carried away and focus on getting across as much energy as we can and involve the audience. It’s fun to goad each other on a bit on stage. One of the greatest gigs I’ve ever seen was The Fall, who were completely serious and totally entertaining at the same time. Why shouldn’t post-punk be fun?
(Richard) – Whereas in the studio one can zoom in on the details, on stage it’s about the right energy. A live performance is, first and foremost, about communication. To feel connected with the audience is a great sensation that can take you to great heights on stage. Most important thing is to be fully authentic and really go into the feeling of a song. We dive in head first into our shows and people feel that. A live show is about celebrating the moment. We have played quite a lot, hitting the stage just a few months after we started, and we have taken that experience back into the studio and into song writing.
(Ken) – We have talked about something happening lately in dark music. A Renaissance, what do you hear and what does it mean for you?
(John) – There are quite a few contemporary bands that are making music that is strongly inspired by the “golden age” of post-punk, new wave and goth, but with a contemporary spin and new energy. At the same time, a lot of the 80’s generation of musicians are reappearing, or still going strong. I think people are pretty sick of the generally pathetic, bland and whimsical nonsense that the music industry is forcing on them, and looking for something that dares to ask relevant questions and tackle difficult themes. There’s a kind of grassroots movement happening across different countries, with new labels, blogs and bands that are just ignoring the status quo. Something similar has been happening in the Synthwave scene, and it’s great to see how so many people have picked up on that.
(Ken) – If you could play with one band current or gone who would it be and why?
(John) – I think being on the same bill as Killing Joke would be pretty awesome. We have a lot of respect for them, musically, and also because they’ve been doing their own thing for decades. I’d also love to perform with Joy Division, The Sound or one of the Rozz Williams incarnations of Christian Death, although that’ll never happen for obvious reasons. If I could join someone else’s band for a day, it would be early Genesis or Van Der Graaf Generator 😉
(Ken) – This one is for the gear heads. What is one piece of equipment you couldn’t make your sound without?
(John) – I bought some late 90s USA-built PRS guitars last year and couldn’t do without them! My Roland Jazz Chorus 120 amp and my Juno and Oberheim synths are pretty inspirational, too. Although we use a lot of hardware and tube gear, we’re both big fans of the UAD hardware and software platforms. However, I like to think that we’d still sound like us if we were limited to a pair of banjos
(Richard) – My ’62 Fender Jazz bass is totally the sound that I love! As for synths: My Prophet 5 features in every song we make. The most beautiful synth for me.
(Ken) If you could use dark magic to span time and steal one dead musician from history to join your band, who would you summon forth?
(John) Bowie! We’d let him do anything he wanted to, obviously… Johann Sebastian Bach on keys would be quite good, too.
This is an album I can’t stop playing. Edinburgh based Pete Burns has found such a fresh take in a saturated post punk world. He has created an eclectic mixture of styles both old and new. His beats and production are crisp and haunted. It has a drive and motion that changes drastically from one track to the next which gives the listener such a feeling of taking a journey. It twists and winds through the emotional turmoil of our modern psyche. Part of the effect is achieved by the all star list of guest musicians and singers that he has convinced to come together for this epic undertaking. Some of my favorites are here so hold onto your hat while I do a bit of fan boying at this lineup: Edwin Van der Velde of (Zwart Pozie) , Nathan Jespersen of (Ultra Violence) Karl Morton Dahl of (Antipole) Ashe Ruppe of (Delphine Coma), Helene de Thoury (Hante) , Vadim Kristopher of (The Shyness of Strangers) , Mariusz /\VOID/\ Łuniewski of (UnderTheSkin) , Marc Dwyer (Buzz Kull) , Pedro Code (IAMTHESHADOW) Alice Sheridan (New Haunts) , Dillion Dominguez (KillJoi). The amount of talent and diversity here is a bit staggering. I think it really speaks to Burns abilities not just as an amazing song writer but as a manager to know exactly where to use all this talent to it’s best effect
Lets talk music a bit. These songs have a driving ferocity that is led on by Peter Hook-esque baselines relentlessly driving forward in every song pushing blood through every concept. The guitar work is so varied and precise. In Decay in particular has that signature Karl Antipole sound which is blended seamlessly into a song uniquely it’s own. However the other tracks feature buzzing walls of sonic rapture, prickling fingers on your spine, and lush landscape ballads. The range of sounds and emotion feels like such a dramatic undertaking. The drum beats are unique and give a spice and flavor to all these moving parts that makes each jump off the page in it’s time.
Discussing the lyrics and vocals are so difficult because each artist deserves their own review page just to discuss. However I will say that Burns has chosen masterfully accomplished artists with peak performances which bring everything from Pedro Code’s rich passionate crooning in Hollow, to Helene De Thoury’s dark smokey seduction in Kiss Me Goodbye. Buying this album is like getting 10 records for the price of one.
I need to take a break from writing this just to collect my thoughts enough to pick some favorite tracks, because any of them could be my favorite. This is a complete work without a weak track. I’ll try though. Ok, I think I figured it out, although both are incredible tracks and some of my favorites I will skip over Decay and Hollow because I have written reviews of both Karl and Pedro and my love for them is well known. I know cheating, but I do what I can.
Black String – This song features the amazingly talented Nate Jespersen on this beautiful and subtle track which allows him to show vocal range. The music is creep dance magic. This feeling that gets you nowhere. Its so different from the standard post punk goth vibe but with such pop sensibility in the way that melody latches onto your mind and plays itself over and over. Puts me a bit in the mind of The Cult. Pure gold.
Get Down – This song features one of those bass lines that has a crisp clarity that it makes itself the focus of the track. Vadim Kristopher does this gentle spoken chanting vocals. The guitar riff if a fingertip dance that feels like flickering fire through the whole track. It feels so effortless but hits so hard.
Sever – This song is such a creeping dread. The keyboards have this splashing edge and Alice Sherridan has this Jonette Napolitano grinding edge in an off kilter tempo which adds such emotion to the track. I pictured the part in a terrifying ghost story when the monsteress is crawling towards her unsuspecting victim.
Overall this album absolutely blew me away. I’m truly in awe of how all these parts came together with such form and precision. It’s gritty, it’s tender, it’s dark, and it’s dancible all rolled up into one beautiful package that leaves me yearning for the next release. I have found so many albums I loved this year but this is right near the top of the list. Breathtaking.
There is so much beautiful and nostalgic to hear. What if you made The Cure Disintegration but gave it razor sharp teeth? The drums had more snap. The guitar lines had that same entrancing delay but with more motion. Ean Clevenger has an obvious Robert Smith quality to his voice, yet where Smith focused more on a tongue and cheek sass. Clevenger is bringing a piercing intensity and higher range of New Order Movement feelings of being lost. The driving bass , the rising synth phrases, those crisp bark beat snaps. It’s like hearing every album that got me through my formative years but done with the precision production of the modern age. Every song makes me want to fall in love but never find the courage to express it.
Lets talk a bit about what isn’t nostalgic, because there is plenty of fresh takes in this offering. Beautiful guitar leads full of textural slush in a shoegaze slither. This record bleeds of layered sounds so thick you want to run your fingers through them. Intricate drum beats with a symphony conductors precision control the movement of each track. Just like most albums that touch me deeply it usually comes back to a vocalist that can make me feel something. Who can take me on a journey with words and feelings and this album left me shook. Every phrase drips with tortured honey and sorrow. Sometimes as an older listener who has lived a bit you hear something that makes you feel young again. In the case of Creux Lies it is not with energy and power. It is by reminding you of how deep you used to feel things before the world tempered you. Hearkening back to The Cure again this album is full of pop hooks. Strong ones that grab the lapels and shake you. It’s hard to define when you hear something that is similar to plenty of music I am hearing, but has something extra, has IT. I’m at a loss on how to express it but I do know it when I hear it. I heard it.
There really isn’t a weak track on this
album, but I’ll pick some favorites.
Portals – This is the obvious single, but it is that way for a reason. The beautiful New Order keyboard melodies are absolutely captivating. The lyrics “Did you fall in love with a killer at your door, while waiting for a lifetime to begin” pure poetry. The vocals in this track are a masterclass in sliding between the cracks in the wall of sound around you. The build on the end is a perfect tension and release. Staggering.
Virginity – This is such a gentle caress of an opening, that effectively smashes you in the face with a giant crashing wave of sound when you least expect it. The slow crawling tempo makes you sway like a leaf on the wind. It feels like the terrifying lack of control at a first love so powerful you don’t yet have a frame of reference for it. Clevenger reaches into some sky splitting notes in this one and laser burns them into your heart. Slow dance with yourself in this moment.
Aine’s Song – Tom fills, give me all these tom fills. Tiny dancing pin prick guitar lines doing a duelist routine with the bass and rhythm, “I saw your face again, I want to take you home” That feeling of being struck. We have all felt it but to blend the music and lyrics so seamlessly to express it. I love the whispered secret in between chorus. I love the world drops out breakdown. You built me up and then pulled it all away. Just so those toms could drive right back into me.
Overall this album is an emotional and powerful offering. It’s also full of energy and fun though. It shows me how the past can pave the way for something new in dark music. I was an instant fan for life and you will be too.
Ok I have taken a bit of a hiatus from writing reviews prepping for a show but when Jason Corbett calls me out to review what is one of the most important new albums of 2018 I better crack my knuckles and get in front of my keyboard. When I first heard this Vancouver based band I was spell bound. Transported in time and enthralled by the sheer cold razor coolness of this record. It started really blowing up and I suppose I just felt like Actors were so good they didn’t need me to write about them as much as other new bands. However to not express what this album meant would be a disservice. This record cooks from front to back with throwback sounds, perfect precision and continuity, while lyrically bringing a fresh and modern take that resonates with everyone I play it for. Do you know how Ian McCulloch is a once and a life time sound that no one can really capture ever again? When I hear Jason Corbett I hear a young Ian crooning out effortless expressive lines that wrap you up and transport you. I’ve mentioned many times in reviews being a singer myself I always hone in on vocals first and Corbett delivers a sonic artistry of wide scope and emotion that makes every song feel like an intimate performance just for you. Not to understate his guitar work, when I saw the Actors live in Detroit I was blown away by how he shredded. The guitar lines while fitting in the post punk sound have a jagged edge. He was also wearing a Slayer shirt when he played them.
Musically this album is diverse in a way so missing from “Post Punk” today. It changes in tone and scope from song to song. Everything blends together in one story but just like a complex character in a novel it is full of intricate parts. Hemmett is a maestro of subtle brush stokes in the synth sounds contradicting the sharp moving guitar parts. They build, fall, and create movement. Russell has studied hard at the Martin Hannett school of using the bass as a percussion instrument to drive these songs and feed life. I remember being surprised how large a bass he plays live, but sometimes to get the big sound you need a big instrument. They are dark and bracing and surround you in the motion of a chase scene after a heist in a bright lit city on a cool night. Fink uses a crisp snapping drum sound that builds a foundation for the constant movement and swirling parts. I can’t remember the last time a record felt so much like a beautiful sound track of a film that was never made. You can’t help but conjure images of these songs in your head. It’s a magnificent effect which continues to grow every time I listen to it. Actors are not creating a brand new sound here, but they are playing at a level of quality in their synthesis of glam, post punk, electronic, and new wave that you feel like new ground is being broken. I’m truly awed by what is accomplished here and I am not alone.
So now we have reached the hard part,
how do I pick standout tracks on an album that was meant to be
absorbed as a single flowing piece. It’s not singles here. Every cut
is a deep perfect cut. Ok , self, be professional, I’ll try.
Face Meets Glass – I suppose if there is a “single” this is it. Such a lush and vibrant song in a dark tone. Here you can definitely hear the Echo and the Bunnymen comparison. It’s just slick city streets, black leather jackets, the coolest girl in the room dancing alone. If Ian McCulloch, Peter Hook, Iggy Pop, and Gary Numan were hanging out at a club in Berlin at 1:47am this would be the song they would listen to.
Let it Grow – Here the Post Punk edge is let off the chain. This bassline is as thick as a slow river. An elegant builder full of background guitar and stabbing single note keyboards that just keep getting layered as the song progresses. Flavors of New Order smashing Technique into Movement. Why did no one think of this before?
Slaves – All these days that you fear, there’s no god, only what you had to offer. Holy shit this is a burner. The simple slashing guitar riff, that bassline that just rolls over you like a Mack truck. I could hear this song 200 times on repeat and it would never lose flavor. It drives on the edge but in a medium tempo. This is the song I want to play while doing a jewel heist in a black turtleneck in New York while the revolution begins. (Note:Since writing this review I have definitely listened to this song more than 200 times)
Overall this album is a true modern day classic. It’s ambitious, perfectly executed, and full of homage. Actors are leading the charge in a Neo-Renaissance of dark wave music. If you don’t know about this album yet you need to get it immediately and be in on what is becoming a movement in modern music. Find this, love it, hold the vinyl in your hands and spin it many times.
Wait, there is more? Yes our own Rachel Pool got a chance to do this insightful interview with a Jason who we love dearly.
(Rachel) Explain, in ten words or less, the music scene in Vancouver.
(Jason) It’s a thriving hotbed of talent.
(Rachel) What made you choose the name, ACTORS?
(Jason) It felt just interesting enough. All the good names were taken and Duran Duran Duran was too long.
(Rachel) Does that name allow you some security in your songwriting? Was it by intent to create a lyrical fiction? How much of your songs are written from life experience?
(Jason) A name means less and less as time passes. It’s not something I think about. All the songs are written from life experience although it’s not 100% autobiographical. Sometimes you just need a visual and a good rhyme.
(Rachel) Describe the original formation of Actors. How did musicians of your talent level come to together into one singular vision?
(Jason) We are all friends first. It just made sense for us to fall together with ACTORS. We respect each other and everyone has something special to contribute. I couldn’t do this with just anyone.
(Rachel) Bands of brothers and sisters: what do you argue about most, as a band?
(Jason) We don’t really argue. I snore so I’m pretty sure the others members have wrestled with the idea of holding a pillow over my face in the middle of the night.
(Rachel) How do you feel about remixes? Are they necessary to band networking? Is it comfortable to have other bands interpret your music, and how do you deal with what you may feel is an inaccurate rendition of your song, or indeed one which may have captured the spirit/leitmotif better?
(Jason) I’ve recently started doing remixes for other artists again. It’s fun. I haven’t had anyone remix an ACTORS song since the first single Post Traumatic Love. I don’t think they are “necessary” but I do love to hear different interpretations of songs. Sometimes a remix will be better than the original.
(Rachel) If you could have any band/musician remix one of your songs, who would you choose?
(Jason) I would love to see what David Lynch would come up with. Maybe he would just light one of our records on fire and record it burning.
(Rachel) How did you find music? Did you grow up with musicians, or did a certain album or artist inspire you to create music yourself?
(Jason) It was always around. The radio and music videos on tv. Bowie was the first big inspiration for me. Ziggy Stardust > Let’s Dance > Scary Monsters, in that order.
(Rachel) Your album has been considered by many to be one of the most important releases of 2018, does this shock you? What is a best case scenario of what you want to accomplish in 2019?
(Jason) I wanted to believe that if enough people heard these songs that the album would find an audience. I had learned to temper my expectations over the years so the reception this time around was initially hard to believe. Best case scenario is we keep touring and continue to create opportunities to connect with more and more people. We plan on releasing our next full-length album in 2020.
(Rachel) There has to be at least one of you who is a Cat Person™ . Freyja Six Beans(our cat) sat on our computer desk and had to be forcibly removed several times while we were playing your album. How can you explain your animal magnetism?
(Jason) You’re very intuitive. We love cats. I’m sorry you had to forcibly remove Freyja Six Beans on our account. Can animal magnetism be explained?
2019 brought the release of one of the most exciting things to happen to the goth genre in the last decade. Sonsombre‘s “The Veils of Ending” was the album I had been waiting for. Goth music has always drawn it’s mystique from history. The Sisters of Mercy, The Mission, The Chameleon’s created a darker romantic form of rock music that explored the macabre which seemed hard to find again. After those gothfathers everyone wanted to reinvent goth music into something else. It got further and further from it’s form. I feel like the time has finally come for Sonsombre to bring things back to the roots. It leans in and captures that cemetery vine hanging from a forgotten temple aesthetic. With “One Thousand Graves” they have pushed through further beyond that veil into something dark and beautiful to challenge the senses and unlock the dark recesses of our hearts.
This album really shows a band finding themselves. I feel like the success of TVOE really gave a confidence to embrace more of what they are. The guitars are a giant black furred wolf growling with hair standing on end. The bass is a thundering storm bellowing out a foreboding prophesy of an uncertain future. The keyboard is rushing wind stirring the leaves on a damp autumn morning. Brandon’s voice is a dangerous and sinister whisper full of echo’s making a spectral challenge. These lyrics are a forgotten poetry of Byron and Poe singing to that darkest part of our nature. I know this review is starting to get pretty metaphorical but poetry demands poetry and Sonsombre makes me want to embrace the dark poet in my own heart.
Top Tracks: Fuck me how to choose. Ok lets try
Slumber: I love the tolling bells opening this song. An ominous ringing to play herald to Brandon’s anguished cry. Stinging buzzing guitar. A true power balled for the ages that reminds me of Sisters of Mercy 1959.
Lights out: This anthem of dark power and midtempo drive keeps you on the edge of your own mind. “With the Lights out we can share the sorrow, we can live like no tomorrow”. I think this promise of hope in the face of so much darkness in Sonsombre’s songs is what really captures me every time. Gentle pin prick fender jazz tube amp walking guitar. Like vampires stalking in a New Orleans graveyard hunting for my eardrums and sinking in their teeth.
No Warning : One of the things I have come to associate with Sonsombre is the sheer breakneck speed while the low end owns the tone of the music. It burns with a violet fire. This song makes your heart race towards your own demise. The bassline is enormousness and always driving. Dance Club jam!
The future is dark again, the past is reborn in fire, and I am a believer in what Sonsombre means for the future of goth rock music. Buy this album and become a believer that goth is real and alive in 2020.
I listened through this album over and over trying to think of what to say about it and it truly left me speechless. It’s incredible. I think it is beautiful. To say that it’s dreamy is an understatement. It’s absolutely mesmerizing.
The first time I listened through this album, I simply listened to it. I thought it was great! The album sounds upbeat with really pretty vocals. There are lots of layers and lots of reverb. The album has a lot of post-rock and shoegaze elements splashed in, but it was really hard to pinpoint genre-wise. The vocals are huge and captivating with lots of harmonies and layers. I got lost in them. I couldn’t shake that I was missing something bigger about this album though, so I checked out their Bandcamp page to see if they had lyrics posted. They do!
These songs are heartbreaking, sometimes even kind of creepy. The second time I listened through I read along. I realized the depth of each song and the intensity of each word. Where minutes before I was dancing around my bedroom thinking how awesome this album would probably be to run to, I was suddenly fixed to my futon, listening intently trying not to miss anything.
By the time I got to the white noise at the end, I was floored. How is it possible to write so well? How is it possible to put something out there that’s probably so specific and yet so relatable? It’s difficult to write about this without creating blurriness around their incredibly crafted sound.
Some favorite tracks
Sinew In Red– Remember earlier how I said that some of the lyrics were a little creepy? Sinew In Red starts with a twangy guitar solo. When the keys and drums kick in, the song starts sounding like a dreamy desert night. The lyrics are hard to understand, but they’re the darkest on this album. In order to really understand without giving it all away, a sinew is a piece of tough fibrous tissue uniting muscle to bone or bone to bone. It faintly reminded me of Nick Cave and the Bad Seed’s, Do You Love Me (part 2).
Golden Blue– This is probably my favorite track on this album. The story that’s happening lyrically is one of despair and heartache, but you don’t need to know the lyrics for the emotions to come through. The instrumentation never seems to stop building until it suddenly resolves. I can’t listen to it without having a level of excitement form in my chest while simultaneously wanting to cry.
Bright White Noise– This song made me feel very sad and lonely. For that, I love it! When the guitars and vocals come in, they convey such emptiness. The guitar plays a melancholic riff throughout that made me feel like a lost little kid looking for someone who wasn’t there. As the song progresses, the instrumentation becomes more chaotic as the singer sings, “big static bright white noise”. Then it dissolves into the guitar and then into static. It is perfect.
When I listened through this album the first time, I loved it. When I listened to it again, I felt really connected. It’s not every day that you hear something new and it almost brings you to tears the more you hear it. Yet I am trying to fill a hole in my heart I never knew I had.
I’d recommend this album to anyone who likes dream-pop, indie-shoegaze, post-rock, or post-punk. Heck, I’d recommend this to anyone. It left me feeling like I wanted more and I’m sure it will do the same for anyone who gives it a listen!
When I listened through, Lash, the debut album by Mesa Luna, I fell in love. It has pretty much everything that I need to be obsessed with an album. Lash is the perfect union of chillwave and shoegaze. The lyrics are relatable and impactful in such a soul-crushing way it will skyrocket you to the love you lost when your heart had never been shattered so badly.
Mesa Luna is a duo from Vancouver, BC consisting of Justice McLellan and Jason Corbett. This album has a central theme of trauma and definitely feels at points like you’re reading over their shoulders while he writes a deep and thoughtful journal entry.
Like every great shoegaze album, Lust, has great hooks throughout both lyrically and instrumentally. This is one of those albums that is psychologically soothing on a few different levels. Beyond it being a very pretty and listenable album, it delivers on what’s expected out of each song without being predictable. It’s definably interesting without being indigestible.
Some favorite tracks
Woronoco– This was one of the singles released right before the albums release, so you may have already heard this one. I love it! There isn’t much to not like about this somber breakup song. It’s blunt and beautiful as a story of empty promises and heartache unfolds. Though the message of the song is sad, the build-up and resolve is exciting. It kept me captivated the whole time.
Sarve– This song is absolutely gorgeous. It starts out really gentle with a soft guitar and keyboard creating a really warm atmospheric vibe. When the dual vocals kick in, it’s like they’re in an endless room. The beat is really relaxed, but still a head bopper.
Never Steady– This song is heartbreaking from the beginning. Though it starts out with a catchy beat and hypnotic synth, the lyrics spell out a sad scene of someone trying to move past something difficult. The builds in this song make your heart swell, but also leaves you feeling forlorn. Right when you think you get the flow of the song, all the instruments fade out and you can clearly hear what Justice is saying and it’s so god damn relatable. I would quote the line, but you just have to hear it yourself. When everything else kicks back in, it gave me goosebumps. This song stood out to me after listening to the whole album because it was one of the songs with less going on instrumentally, but still hit me just as hard as the walls of sound I’ve been expressing through this review.
I had a hard time writing this review because I found myself listening to this album over and over again finding new things that I loved and didn’t know how to explain. This album is definitely worth listening to if you’re into dream-pop, shoegaze, chillwave, or good music. I’d highly recommend if you like the artists: Jack Stauber, Primitive Radio Gods, and/or Youth Lagoon.
Here I sit again with a tequila in hand sifting through all the glorious new sounds that crossed my electronic desk in the past few weeks. Already 2020 has promised to be an adventure of new music.
Sonsombre – “Lights Out” The hottest band in traditional goth revival have done it again. Fresh off their groundbreaking album “The Veils of Ending” Brandon Pybus and company have released a new single with that beautiful breakneck paced goth glory building anticipation for a new album. I love the staccato guitar pinpricks and Brandon’s deep rich croon. A promise of a world emerged in darkness waiting for you to join in this reborn culture outside the sun. This track makes me so hopeful for the future of goth music.
Caroline Blind (Sunshine Blind) – “Heaven” – The third single from goth/Industrial royalty Caroline Blind. Continuing on with this acoustic shadow witch Stevie Nicks vibe of her recent releases. Caroline’s voice is a beautiful gift full of emotion and nostalgic blanket wrapping warmth. Ritch W of (The Wake) provides these driving rhythmic acoustic harp strike guitars to propel Caroline’s angelic vocals. While the winding dream of David Wolfenden (Red Lorry Yellow Lorry) electric leads wrap like tendrils on your sleeping mind. I keep being more and more impressed with each new single.
Dilk – “Hardship” – Sassy new release from our friends at Cold Transmission. Spanish based DILK has a breakneck electronic drum beat that put me in mind of Devo or Sigue Sigue Sputnik but with this rich darkwave edge to the vocals that held a melodic beauty keeping these sizzling dance beats in check. Something fresh and glorious to spice up your Saturday darkness.
Helvete Inc. – “Filth” I loved this fierce mouth punch industrial tire fire from Baltimore. It has a definite NIN Broken feel with dangerous themes, slashing electronic noise attacks, and sinister counter culture poetry. I listened to this before going into work to dwell on my own hypocrisy. It’s sexy, filthy, and unapologetic with songs like “Goddess Heathen Fuck Machine”
Klack – “Move Any Mountain” Industrial dance gurus Klack doing The Shamen’s hit which is the most remixed song of all time. This scintillating dance drone with Eric and Matt chanting away to the cascading waves of retro synth glory. Yes please, every time.
Dread Risks – “Errorcode” (Remix by Adoration Destroyed) I speak from experience when I say Erik and Ritch of Adoration Destroyed do the best remixes. This track is sinister, sultry, and full of snap beat attacks. The vocals are a whisper growl of agony full of broken glass and torture while the keyboards flow in lovely melody. Dance floor this now.
Electronic Substance Abuse Feat: Caitlyn of Corlyx – “You are safe here” This is a fearsome dance jam with vocals from the lovely and talented Caitlyn Stokes. It’s a floor destroying audio assault full of velvet and exploding sparkles. Turn it to 11 and stomp your feet.