This was the press release, so OBVIOUSLY I was all in 🙂
” Foam in the Ocean”, from Seattle, Washington garage-pop, post-punks SEASIDE TRYST is their take on the Hans Christian Anderson classic “The Little Mermaid” which is arguably one of the more devastating allegories of queer longing. In the original story, instead of becoming a beautiful, Disney-fied woman following a kiss, Ariel disappears forever after she turns into foam in the sea.”
New release from the Seattle WA DreamGoth band full of dark post punk driving bass and elegant Galaxy 500 dreampop. Lovely energy of wistful exploration crashing into isolation. The vocals are warm bright eyes searching an alien place. The video really embraces the caring culture of the queer community. I was an immediate fan.
In 2024 Raymond Watts continues to be one of the great innovators and provocateurs of the industrial music genre. Always finding some new musical thread (Gospel/Soul/Rock/HonkeyTonk) to feed through the electronic percussion meat grinder churning out new flavor. His career as an electronic artist has spanned decades working with KMFDM, Psychic TV, Chemlab, Revco, The Joy Thieves, and countless more. Working with illustrious company the PIG character remains distinctive in every project he crosses. This new album “Red Room” shifts the tone back to an oily glamorgrime full of hanging hooks and spicy rock licks. This is dance music at it’s core. Not high octane jump around the club music. This is sensual drunken master slithering through the masses music.
A true rogues gallery of guest talent for the ages graces this record Alexis Mincolla (3Teeth), Chris Hall (Stabbing Westward), and the PIG Choir: Chris Connelly (Revco, Ministry etc), Emily Kavanaugh (Night Club), I Ya Toyah, Marc Heal (Cubanate) and Burton C Bell (Fear Factory), En Esch, Susannah Doyle, Anita Kyoda, Mark Alan Griffiths, Mike Watts, Jimmy Livingstone, and more! It speaks to your capacity as a producer when you can pack this many top tier talents into one place and make everyone shine.
Previous interview from 2021
People pay more attention to a whisper than a shout. When I think of industrial music, I think angry, aggressive, pounding, revolutionary. PIG is industrial, but a whisper you lean in to hear a secret from. You aren’t assaulted with a barrage of words. It is a tantalizing siren song, drawing you down a dark alley. A forbidden promise you accept. Dark pacts of excess and submission are forged with dashing figures in fur coats.
Let’s dig into some of my favorite tracks:
Red Room: I always love when a title track comes near the top of an album and sets the tone for everything that follows. Wicked 90s glam guitar riff to set the scene. The chorus melody is an infectious chant “There’s a Red Room among the dead, to count those guilty words you said” something in this delivery put me in mind of 70s Alice Cooper. A beautiful dark pageantry wrapped in velvet curtains
Dum Dum Bullet: I recently did an interview I will publish soon where Raymond talked about firing an idea into someone’s head where it fragmented in every direction once inside the skull. The beat has a sultry strut and a bow whip guitar. The lilting xylophone lead is one of those perfectly placed accents. The chorus harmony lends reverence and charisma white breaking apart after impact. There is magic when the construction of a song becomes a metaphor for the core concept.
PIG is at The Window: Nothing sets my nether’s on fire like a slutty muted horn. This track really brings the character out of the smoke and solidifies it into a hungry entity you feel with all five senses. Sinister early 90s glam guitar. All the hairs on my arm are standing at attention for this filthy banger.
Overall: This is another great example that Raymond Watts is still growing. The story has more to tell. I am extremely excited to witness this show live, sweaty, and intimate on the tour with Curse Mackey and Unitcode:Machine. You should be too.
Recently I have found myself seeking out music that caused my mind to wander in fantastical textures and elevated thoughts. To listen beyond slamming club hits and bask in something inspirational. So I have chosen to share some intellectual sonic nourishment outside the mainstream. Most of what I have chosen isn’t the darkness Sounds and Shadows is known for. This is music drenched with vibrant colors to inspire and innovate. I hope you find something you love.
Chiasm – Chasing Butterflies – Amazing new remix EP from Emileigh Rohn of Michigan. An electronic producer with an impressive body of work that has honed her emotional electronic style into flashing blades that whirling dervish poetic musings. Compiling an all-star heist team of Beborn Beton, Stabbing Westward, Black Car Burning, Sapphiria Vee, Jean-Marc Lederman, and Steve Anthony to remix three tracks. Each one captures a different aspect of the chaotic manic wandering from the original. Emileigh has a wispy fae delivery in vocals that transports you to a supernatural realm, each canvas shows different hues. With all the legendary names taking on Chasing Butterflies, I found myself drawn in to Black Car Burning‘s version of “Dead Trees” with it’s greyscale contrasts and spoken word delivery. When I was a child I accidently saw Poltergeist staying up past my bedtime one night. The scene with the tree breaking through the window has always haunted me. Something about this remix struck me in the same way. I love a song that crawls under my skin.
released May 3, 2024
All songs written, programmed, performed and produced by Emileigh Rohn.
Recorded in MausHaus Studio 2020-2023. Mastered by Jean-Marc Lederman. Artwork by Christian Petke/DCore.
G.W. Childs IV – Spectrum – Last year I fell in love with the yee haw synth goth sound of G.W. from his EP “You Don’t Know“. I love a lofty concept and here G.W. addresses his childhood synesthesia by composing a sonic representation of each color in the pallet. Opening with Gold and winding a spiritual sidewinder through emotion and imagery to Silver. This album really stretches the human experience and makes sharp cuts for every track. The vocal delivery embraces a deliberate cadence with almost hip-hop aspects. This can’t cover the twang of Texas that makes the whole journey feel the sway of the saddle. Generally to write a review I listen to an album 3 times minimum. After playing this four times, I feel like I am barely scratching the surface. This record has a Tolkienesque feel of epic technicolor journey. A footstep by footstep quest past every pain or triumph that makes us human.
The whole point of this album is to use only sounds that let you close your eyes and see the essence of a color in your imagination. So choosing a favorite tracks is really tough. I suppose some did impact me the most. Maybe they were the tracks that captured my favorite colors. Maybe they reminded me of my favorite Tolkien characters once I made that connection.
Orange: This was my Tom Bombadil. Burnt synthesis. Sunsets, that moment of reflection right before a transition. An extra burst of energy before things go dark. Orange is a wild card. Orange is possibility.
Violet: This track is dangerous. This is mystery. A mist that doesn’t let you see to the horizon. Something supernatural made of dreams. Duality of bright and dark. Violet is both at once.
I love when an artist takes chances. This record took all the chances.
Written, programmed, performed and produced by G.W. Childs IV Executive Producer: Christian Petke Mastering by: (Slam) Stephen Lam
Rohn – Lederman – Black And Bleu – A brand new release from frequent collaborators Emileigh Rohn (US/ Chiasm) and Jean-Marc Lederman (Belgium/ The Weathermen, Ghost & Writer) on Jean-Marc’s new label Les Disques de la Pantoufle. A two disc CD with a clear tonal division. As composers Emileigh and Jean-Marc have always impressed me by forging raw emotions into a complex blended human experience. Black and Bleu takes that complete being, deconstructs it into laser thin aspects to categorize by the duality of contrasting colors. I highly recommend a physical copy with the stark contrasting artwork of Erica Hinyot.
The Black CD was more tortured and introspective. Emileigh’s voice went to a more passionate poetic place than their previous collaborations. It had me recalling another favorite electronic poet Susanne Vega and her 99.9 degrees F album. It’s such a powerful combination, the way no sound is wasted. Everything here has a purpose in the swirling black abyss. Each bass note, every synth pad, electronic brushes on electric drums. You never hear a crescendo unless you have to, because when the impact comes it needs to strike hard.
Black Favorite Track – Eggshells – I LOVE when a CD closes with the most powerful and revealing track. This simple piano and reverberating strings paint such a tapestry for a soul shaking poem. I’ve tried to walk forward in life, on what I knew was dangerous ground. I could feel every tentative step and my heart went out. when music is something you don’t just listen to, but feel.
The Bleu CD let’s you see the color, a more hopeful twilight. Overlapping harmonies caught on the wind. Thee tracks make full use of Emiliegh’s styles. Cadenced whispered spoken word, rattling off piercing uplifting choirs. Bleu uses surreal background effects to give the world a sense of whimsy. These tracks all feel like dreams. A movie you watch with your eyes closed.
Bleu Favorite Track – Sliding In Socks – I love the way this song captures a private moment we all have done, but never in front of anyone. There is something beautiful of that idea both secret, and universally relatable. The keyboards have the feel of an 8 bit virtuality game you might get lost in forever. I’ve listened to this 4 times, and each one the words tell me a different story.
Trick Casket – BITCHCRAFT – I remember saying this about the band Haex, this is as much metal in my Industrial as i can handle and still love it. The Toronto band of Connor Grant, Brett Carruthers, Ryan Parker, and Nicolo Cassidy are a heavy breath of stalking invisible hell hounds chasing you down the hall. Frightening electronic horror that walks the sinister pace of inevitability. The chorus roars ferocious intention.
An unfortunate fate to conjure you An unfortunate fate to conjure you All the suffering you wanted me to Fuck that, I hope it happens to you An unfortunate fate to conjure you
Often with Metal music my hangup is the vocals where intention gets lost in the pure aggression. Trick Casket finds a subtitle delivery just on the brink of chaos. If I ever get the chance to demolish concrete walls with a sledgehammer, Trick Casket is the soundtrack to fill my heart with brimstone for the deed.
released April 2, 2024 Written and performed by: Trick Casket Music produced by: Trick Casket and Brett Carruthers Mixed & Mastered by: Brett Carruthers
“The Black Maria: a menacing 19th Century figure who would come to take away our outcasts and miscreants… later used as the slang term For UK police vans… Nothing much has change”
ATTRITION – The Black Maria – Electronic music legend Martin Bowes put out the single The Great Derailer some time ago. An instant classic utilizing vocal talents Emke of Black Nail Cabaret to paint a striking portrait of 19th century baron’s holding a mirror to modern day post capitalism. In March the full album was released from Cage Studios in his home in Coventry. There is a focus in music these days to release a constant stream of content to maintain relevance. I love the patient unraveling of this records story, as well as the controlled narrative style of it’s creation. Additional collaborators Yvette from Vaselyne, Joanne Wolf and most notably the return of original ATTRITION vocalist Julia, to create an album varying in style from industrial to gothic to dark ambient soundscapes. These drum compositions and sound effect craft create a subversive world of flickering amber lights and combustion machinery. Martin adds his own slow whiskey gravel vocals, building and chanting intensity.
Using a menagerie of symphonic sound from special guest appearances by Alia Miroshichenko (Subterranea) Annie Hogan (Marc and the Mambas etc) on Grand Piano, Vancorvid and Marietta Fox on Violins, Ian Arkley (My Silent Wake, Guillotine Dream) on Guitar, Steve Clarke (Futumche/Octogoth) on additional guitar/bass, and Kris Force on Cello. Every aspect of this album feels large and significant.
Favorite Track: The Great Derailer is the easy answer. I have reviewed the single before though. So I will talk about The Alibi – This terrifying Bioshock lullaby with tension lashing violins, and gorgeous operettic harmonies. A chaotic fever dream held together by the tempo of the rolling tracks. A wonderous example of songcraft.
This entire album is a wonderous experience that paints images and inspires higher thought. Something we are sorely in need of in the modern world. What if Tom Waits crooned and industrial record on the downfall of mankind in 2024? You don’t have to dream anymore.
Red Lokust – Hope is the Last Refuge of the Dying – Latest release from Pittsburgh’s Distortion Records guru Jim Semonik one of the truly good dudes in this scene. Things I appreciate from the starting gun “Sunfall Down” bouncy clubdustrial beats with sunken distorted vocals, in which I can hear every word ring out. Sometimes genre gets in the way of intent. Not here, lots of classic 90’s industrial homage elements but never at the expense of the lyrics and delivery. This album is bright and crackling with an explorers sci fi hope. It’s dark and snarling, but always charging forward and this underlying live wire is what makes the tracks sizzle. I didn’t link an interview to this review because somehow I have never had Jim on the show, I really need to remedy that. I kept waiting to hit my high speed industrial limit break but it never came. With breakdown tracks like Crestfallen to lay tempo change and curve to the laser car extravaganza.
SU – Amanita ocreata – So last year I fell in love with the bizarre Quebec duo that did the most amazing cover of Skinny Puppy “Smothered Hope” on the Retronomicon album to help Charles Levi. I suppose when I spooled up this new EP, I expected something vaguely in the vein of that. I LOVE being this level of delighted and surprised. To start with, the cover art is magnificent. Before I hit play I was transported to a secret Jules Verne cavern of wonder. The opening track is an operatic chorus of deep sea majesty. Then track two (The title track) completely flipped the script on everything I thought I knew about SU. A sleek alien submarine QLazzarus meets Miranda’s Sex Garden adventure soundtrack in French where I understood nothing but heard all. Song after song I felt so transported by the creativity and execution I was convinced Jean-Marc Lederman was involved somehow.
Paroles et musique par SU Enregistré et mixé par SU Pochette par Raphaëlle Lavoie
Favorite track: La fête des spores – Closing out with these toms and fairy fire vocals was captivating like the first time I heard the Sugar Cubes. Chanting underdark magic rising from spore laced smoke. The whole time I listened I felt myself lured to a cold fate, and kept following the beauty of the song.
BRIDES – Doom Profits – Adrian has been levelling up at an exponential rate. This EP has been in my heavy rotation for a couple months now filling my need for grimy painted on leather pants classic goth. He has zeroed on a course vocal style right on the mean ratio between a blended instrument and poetic delivery system. Previous Brides offerings have tended towards a theme of sound. Doom Profits flings wide the door to a range of possibilities within the project. Using that distinct voice as an anchor to tie this gently drifting ghost ship together from Ultravox to New Order Movement.
Watering flowers in the bowels of Hell With painted tears Smokestack serpents coil around us Can`t see the forrest for the fire And the waves come crashing through Burning hands applaud the wreckage on
Suffer little children Sell your fear for doom profits
Favorite Tracks:
Heartquake: This is a record it is difficult to pick a favorite on. Each song hits you in a different place. This opening bassline is an obsidian boulder chasing you down the mountain. The synth leads are the exact amount of brass to shine in all this darkness. That title and idea evoke such an image. A heart shaking with profound trauma. So much it rocks the ground around you.
Doom Profits: A title track should always been a strong one. The backbone of your idea. Adrian read the assignment. That keyboard tone of water dripping from a stalactite into a dark pool. I have that same feeling when Goodbye Horses comes on. Profits come to harken the masses of a terrifying destiny. Adrian growls forth a frightening warning, as well as a promised hope. I adore the outro guitar lead. Using the theme of other tracks in a single moment the title track shows the complexity and growth on this record.
Year two of Small’s in Hamtramck’s Fixation Festival happened this past weekend. For the second year in a row Mike Mouyianis and Kat Paled put together an epic bill of legacy/modern darkscene talent both locally and around the country. This city has always celebrated a rich musical culture from Motown, Iggy Pop, The MC 5, techno’s holy trinity, ADULT, along with a slew of new talent in the current wave. Small’s cares about and celebrates artists, while running a tight ship that respects fan’s time. The venue is intimate with a great sound system and professional technician that knows how to communicate and bring out the best in the wide variety of acts. Having the stage and merch in one room, another with the bar for cooler temps, quick service, and a large video screen showing the stage at a volume you can talk over makes for a best of both worlds. Sometimes you want to be right in the action. Sometimes you want to share a moment with friends, making a personal connection with the bands. It has the Cold Waves “goth summer camp” vibe with a smaller more relaxed venue.
I’m going to fire off some quick impressions from of all the bands. Some that are long time favorites, some I saw for the first time. I’ll also include photos from the amazingly talented Jen Jeffery who really captured highlight moments from both nights.
Helix – Starting out Friday night strong was the married duo of Mari Shear (Day Twelve, Mari & The Ghost) and Tom Shear (Assemblage 23) firing off blistering electropop with Mari’s powerful, smokey delivery. Her stage show was captivating and serpentine. A beautiful way to set the tone for everything to come.
Rosegarden Funeral Party – Next up was Dallas TX dark rockers Rosegarden Funeral Party who I had previously reviewed for albums and singles. I had never seen them live, this became my favorite surprise of the weekend. Sometimes you really need to see the live show to get a full appreciation of a band. Leah was this glorious guitar sheading silver beam of light belting out lyrics with breath support to do Aretha Franklin proud. Thunderous live drums really his home the organic dark rock roots to give the impression of a wailing full band with only two people. I became an instant fan for life, can’t wait to dig into the new album “From The Ashes” available on bandcamp now.
ego likeness – I remember looking over to Collin right after Leah absolutely obliterated that stage and saying “I feel bad for whoever has to sing after her”. Then I saw it was Donna and went, never mind it’s Donna, she will be fine. With everything Donna and Steven have going (Poetry, Painting, Stoneburner, Audiobooks) sometimes it feels like Ego Likeness shows are a rare and glorious treat. Rick and Mike were here on stage to give the full experience of powerful percussion, wet crunching swamp riffs, and luring siren vocals. There is a reason Ego Likeness has stood the test of time between goth resurgences. Another call out from this performance, you can always tell a special band by how they react when something goes wrong. Tech issues happen, you can either let it under your skin, and lose focus. Or you can let the audience feel like they are a part of the inner circle, pop forward, and hit a higher level than you were when something went wrong. This is what the greats do.
Bootblacks – This was my second time seeing the reinvented suave dark Italian disco Bootblacks sound and they have dialed it all the way in. I’ve seen a trend of bands moving towards this sound, but I think Bootblacks were the first American’s to the peak. The new single “When You Want” highlights the power of pacing change to create constant movement. Panther’s vocals have never felt more present and sensual. This performance had the whole crowd sweating both physically and metaphorically.
Assemblage 23 – Tom Shear coming back to the stage for a second performance in one night. This marked another band I have listened to frequently but had never seen perform live. FuturePop fell in that middle place where I had given up on new music and got to re-discover recently. Hearing a top tier male vocalist delivering such crystal clarity free of effects is a powerful experience. Sometimes poetic lyrics feel a bit of an afterthought in the modern era. So hearing heartfelt emotive words delivered with a beautiful voice really stands out. I really need to see Tom play again when he is the focus of the night. Tom did promise to do an interview with me soon, so be on the lookout for that.
Night Club – I understand that some traditional goth fans don’t really want to embrace the darkpop cross over in the modern scene. I’m not one of them. Night Club was another band I had only reviewed albums of. On stage, they absolutely brought the house down. Sassy, dangerous, with pristine production, setting the stage for Emily’s undeniable star power. I know it when I see it, Night Club is dripping with it. What a way to close out an epic night one. Another of those bands I implore everyone to catch at an intimate venue like Small’s now. It’s won’t be long before main stream audiences catch on.
Adding this selfie of Amaranth/Stoneburner/Black Rose Burning who will be playing together August 17th in Lancaster PA. An incredible night 1 where we Uber’d back to our Air B & B to crush previously acquired late night food which turned out to be some of the best Thai cuisine I have ever had.
The Love Part – George Grant (Black Rose Burning) once impressed upon me the importance of festivals including some local flavor in the mix. Night two is where Fixation let some Detroit talent shine. My partner Rachel has exceptional taste in music, so when she came running and dragged me to the stage (something she never does) to hear The Love Part I knew I was in for something wonderful. Swelling psychedlicgaze pastel ectoplasm with great charisma from the singer spinning Curesque romantic energy. I spoke with them a bit after and this was an early show for them. I think this project has a high ceiling. I love that Small’s took a chance on them, I love that they delivered in a big way.
Access To Concrete – Another Detroit band that was my highlight surprise of night two. The Stringer brothers put together a full experience multimedia performance that took the best parts of Devo and Front 242 synthesized into chaotic SciFi sonic assault. They had multiple guest vocalists including Steph Strange (Schedule IV) in Nuruto/Tank Girl cosplay and Industrial Alice In Chains. It was fun, it was fury, it left me hungry for more.
LEATHERS – This was another showstopper highlight. The evolution of Shannon to ultrastar status has been a pleasure to behold. Having to do two sets in a night at this level of energy and precision is a feat within itself. This performance was a shooting star sparkling across the stage. Captivating and razor sleek Leather’s brings an otherworldly late 70’s glam energy that leaves you feeling how am I seeing this? It’s too bright, too beautiful to exist on this mortal realm. Last night they played Cruel World Fest on a stage with Duran Duran/Ministry/ect and I can’t help but feel like a dream realized for Shannon is hope for us all.
The Bellwether Syndicate – Chicago darkscene legends that always rock Detroit like they have something to prove. William Faith (Faith and the Muse, Christian Death, Mephisto Walz, Shadow Project, The March Violets) throws the best rock star looks in the biz. Sara Rose and Philly have enough musical pedigree to fill 10 bands. They really create a mythical beast with gnashing punk rock teeth, a long slender synthpop neck, and expansive sharp post punk wings. Moving together in perfect harmony. It always feels like a complete experience, a big deal, every time they play. Vestige & Vigil is such a good album, I had to buy it twice on LP.
ACTORS – How do they do it? How does a band I feel objectively plays one of the best live shows rather in a 300 person capacity club or a festival consistently raise the bar to amaze me? The sound is so sharp, crackling with spirit, engaging the crowd every night until we all leave feeling a part of something special. Some might think I sound crazy saying this, but in 6 short years since “It Will Come To You” Jason’s voice is reaching towards the discussion of all-time greats like Ian McCulloch, David Gahan level of impact. Actors might not have compiled that size of discography yet, but they are climbing towards it at a rate few others in the modern scene can keep pace with.
Also it is the love they show for their fans everywhere. After absolutely demolishing the crowd. Most of the band playing two sets that night. They must have been exhausted. I truly don’t expect folks to have the time and spoons to say hi to every reviewer. So Jason reaching out to have me come to the back for a headlight selfie and to say hello meant a lot. Actors aren’t just a band for a lot of us. They are a movement you are a part of.
Stabbing Westward – I have seen Stabbing Westward several times. 16 year old Ken alone in his bedroom, eyeliner streaking down his face because some girl broke his heart and only Chris Hall could understand. I have never seen SW play 8 feet away from me for 90 minutes spanning their entire catalog in a room of rabid fans. The fact that 1) they took a show in a smaller room to do this festival 2) They brought the energy of 20 year olds for and hour and a half while walking through the crowd and meeting everyone catching the other bands. To have a band with as much impact as they did on me be that down to earth and considerate is such a glorious icing on a face melting show of a cake.
I even managed to keep my cool when I went to introduce myself to Walter, who said “Yes Ken, I know who you are, nice to meet you”. We talked about the modern scene, how much he loved Actors, and how much he still enjoyed doing this. I feel like I maintained my pretend journalistic integrity the whole time my brain went SQUEEEEEEEEEE IM TALKING TO WALTER FLAKUS!!!. Hopefully I will have an interview with them soon and won’t sweat to much while I ask the questions. Overall it was the perfect cap to a perfect night.
Another smashing success in year two establishes that Small’s has built something here. That top talent is recognized and travel out of their way to play with like minds. My head is already spinning with the possibilities of who will be there next year. Detroit is a fun an economical alternative to some of the other big destination festivals. A beautiful diverse setting full of unique cuisine and friendly people looking out for each other. If you have heard mutterings to the contrary, my guess is you are talking to people who saw Detroit in a movie. Not folks who have spent time here. I’ll see you in 2025.
