Jaret S. Young

Greasy Strangler by The Writhers

on February 25, 2022February 28, 2022 By Jaret S. Young

San Diego band The Writhers blends sounds from some unlikely sources.

“It mixes the avant-garde weirdness of Tom Waits with the chaos of Dead Kennedys and is sure to satisfy that spooky aggressive itch!” As posted by Writhers drummer Rikk R Treat. I can’t say I disagree.

Their new single, “Greasy Strangler”, dropped on the 15th. It is a curious hodgepodge of musical styles that comes coated in slime, grease, and perhaps some more intriguing fluids as well. The song changes gears drastically between verse and chorus and has fun with it all. Their bombastic sound is well-produced (but not over-produced) and the manic evil clown vibe feels like it borrows from the darkest and dingiest corners of glam rock.

Rikk R Treat and vocalist Robert Writhe were kind enough to take some time for an interview with us:

Who are your influences and what did you take away from those artists?

Robert: The band’s guiding influence is a mash up of The Cramps and Dead Kennedys. Not only do I like their unique sounds but both Lux and Jello are inspiring in their wildly charismatic performances as front men. My favorite band is They Might Be Giants, a New Wave / indie / art rock group who came out of the New York punk and creative scene. They’re not really “punk” in the typical sense, but their subversive approach to songwriting has those exciting non-conformist sensibilities. Drawing inspiration from oddball sources like TMBG and a more recent favorite of mine Tom Waits helps me attempt to make my take on dark punk unique.

Rikk: My influences vary a lot, I listen to anything from batchata to metalcore so I typically throw in weird breakdowns or Latin influences whenever I can. My biggest influences for my playing are Fran Mark of From Autumn to Ashes, Adam Carson of AFI and Travis Barker.

Do you draw inspiration from sources outside of music, per se?

Robert: Everybody does unless you’re living under a musical rock. The great horrorpunk tradition demands tributes to the horror genre of film. While we don’t usually write show directly about horror movies, our latest single is somewhat inspired by the bizarre and chaotic 2016 movie, “The Greasy Strangler” though mostly in name only. I am in charge of the visual side of the band and take a lot of inspiration from surreal cinema and internet creepypastas for the art direction.

Please describe a typical day in the studio. What is the chemistry like?

Robert: Kenny shows off. Chewy cruises in neutral killing takes in one go. Rikk is a sweet boy. I try not to go insane.

Rikk: The chemistry in the band is usually one similar to siblings. We record videos and laugh a lot, poke fun at each other and some times get on each other’s nerves. But at the end of the day, we have a great time and are usually really happy with the end result.

What’s next for you? How are you forming/adapting your plans in the age of COVID?

Robert: We’d like to do more media beyond or to compliment our sound but we don’t have the budget. But over all patience is the keyword.

What is your take on the current state of the dark music “scene”?
*Impressions, opinions, funny thoughts, etc.

Robert: Fragmented. A lot of sub genres that can be considered “dark” have some crossover but my impression is people aren’t open to try related things. But at the end of the day I don’t care.

Rikk: I have been playing in the dark music scene for many years. I think it can be both very welcoming and very exclusive at times.

We are sort of a hodgepodge of music so it definitely has its ups and downs. While we have mainly found our fan base in the horror punk scene, we would love to play within the goth/ deathrock scene as well but it hasn’t happened yet.

https://thewrithers.bandcamp.com/

Fractals To Infinity by Giant Monsters on the Horizon (feat. Arden and the Wolves) – Part 1/2

on February 25, 2022February 28, 2022 By Jaret S. Young

GMOTH has a work-ethic that makes me envious: they release a new song every month. This month brings us “Fractals to Infinity”, a collaboration with Arden & The Wolves. Incidentally, the meeting came about via our own Sounds & Shadows website.

“I honestly couldn’t believe our luck. I think her voice is brilliant”, says GMOTH mastermind Vinnie Saletto. “We first started our collaboration with a cover song. Laura Brannigan’s “Self Control”, and she was able to grab that song and work it perfectly. So then, it was a chance at an original, and she had some ideas she wanted to throw on it about the gift of prophecy. I loved the concept, and told her to just start at a certain point. There was some chopping to be a part of the arrangement, and some changing of the arrangement to match what she had. But it was great in the end.”

The song itself is as well put together as anything I’ve heard. The production quality is crystal clear;
something I don’t take for granted, even the world of electronic music. Synth layers interplay as the big beat-style drums lead in to Arden’s vocals and it all fits quite nicely. Imagine, if you will, The Prodigy with harmonized female lead vocals.

In an effort to become more acquainted with the band, I got up in Vinnie’s business with all sorts
of questions about the band. Unfortunately, Saletto’s partner-in-music, Madison Davis, was unavailable to contribute to this article. But Saletto speaks very highly of her. “She’s fantastic in that she will reign me in if my manic OR depressive tendencies get in the way of progress. Musically, she’s the greatest arranger of this music that I know, and she certainly keeps me moving forward. We’ve worked a great strategy together.”

He added, “We’ll switch off between who is at the computer doing what. Usually within 5 hours we either have a solid foundation as to what to do with a song, or finished a song that we started in the last session. We also tackle remixes in this manner, and can get one out the door in a very short amount of time. We have a phrase that we use, “It doesn’t have to be perfect, it just has to be.” Simply because I’d find myself sometimes lost in the weeds when mixing a track, and she’ll remind me to put the track aside.
Sure enough, when the next week comes around, I cannot find a single thing wrong with that mix, and can’t remember what the stumbling block was that I had in the first place.”

I inevitably asked him about his influences…

“I’ll admit. I love music. There are so many to choose from depending on my mood. On one hand I could be listening to Nine Inch Nails, David Bowie or Gary Numan, and then I could turn around and on the other hand I’ll listen to Prog Rock like Peter Gabriel, Genesis, Yes, Gentle Giant. Then, on another hand I’m really digging the old electro sound lately from artists like Grandmaster Flash, and Afrika Bambatta.
Which eventually takes me back to Gary Numan. To me, all of these styles (electro, industrial, progressive) are constantly fighting for supremacy of my brain whenever I write something.”

I think it’s safe to say that Saletto’s influences come across on Fractals To Infinity. Fans of pop, EBM, alternative or just darn good songcraft will get something out of this song.

I was intrigued and delighted to discover that Saletto shares my love for film scores as well.
“Films are a huge inspiration for me. It’s my hope to one day score a major release. I’ve done a few independent films. The most recent one is all about the PTSD like conditions of time travel.”

I was impressed by the band’s consistent output, especially considering recent setbacks.
“We were lucky in that we had practice being isolated! Truthfully, it was middle of 2019, and we were playing a show down in Tampa, Florida. When that happened, St. Louis was hit with a giant storm, and the rain came down and flooded my basement where my studio was. I had enough foresight not to put anything important at the floor level, but still, it was enough to weaken our foundation, and soak the carpet. So, the rest of 2019 was us pulling up carpet, taking down sheet rock, replacing the sheet rock, and, after adding steel beams into our foundation, and all the other tedium involved,
we got our recording studio back by… March 2020. We spent all of 2020, and then some of 2021 figuring out how to work online. Zoom, DropBox, all of that. By the time the vaccines were readily available, Madison started coming by, and we realized that we were more productive in one recording session than we were through all of 2020. So now? We vaccinate, we meet. Every month, we are coming out with a new single. I’ve removed myself from the role of being singer.

Unrelated to COVID, I’ve had some health issues that have reduced my lung capacity, so I have to watch what I’m doing. This is why I’ve been so lucky to find a battery of vocalists who want to be a part of what we’re doing, and Arden has been fantastic in her vocals with our music. It’s really a great fit. We are getting ready for live. It may be a few months off as we are retooling things about our performance, but we’re excited.”

—

POSTSCRIPT:
As I dug deeper into the GMOTH story, it made sense to seek input from Arden & The Wolves as well. That interview will be forthcoming in Part 2/2.

https://giantmonstersonthehorizon.bandcamp.com/track/fractals-to-infinity-feat-arden-and-the-wolves

https://ardenandthewolves.bandcamp.com

Piss Up A Rope by Sea Lungs

on February 4, 2022February 4, 2022 By Jaret S. Young

Dark, gritty, and just a bit angry. These are just some of the words that come to mind when describing
the new track from Melbourne’s Sea Lungs. This song less-than-subtly decries capitalism and those who perpetuate (or did someone say “exploit”) it.

The guitar riff satisfies without going overboard, while the solo attacks like a buzzsaw. The rhythm is nice and gutsy with a deep kick drum thump that pounds you in the chest. The vocals exudes a deathrock vibe that would make Rozz Williams proud. And the production value captures all the parts in a lo-fi garage rock way, which suits the song well.

I picked up on a hint of Glam Rock in this song as well; it breaks up the verse-chrous-verse song structure nicely and the lyrics defy typical rhyming conventions. The ending drives home its point with rhythmic pounding that leaves its mark. Altogether, the song rolls out like a anti-capitalist anthem.

Fans of Christian Death and Virgin Prunes should sit up and take notice of Sea Lungs.

https://sealungs.bandcamp.com/track/piss-up-a-rope

Unrated V by VAZUM

on January 15, 2022January 15, 2022 By Jaret S. Young

NOTE: This review includes an interview with Zach of VAZUM. See below.

—

Detroit’s VAZUM is a band I’ve had my eye on for a while now. Zach Pliska started the band in 2017,
with Emily Sturm joining in 2019. Since then, VAZUM has released three albums and an EP.
Unrated V marks their third full-length release and their second release this year.

Sonically, Unrated V has a fully realized sound. Everything sounds like it is meant to go with everything else. Clever arrangements and intricate songcraft are certainly the bedrock of the album, which also serve as the perfect fit for Sturm’s vocals. You’ll hear what I mean on the song “Lycanthrope”. Pliska’s no slouch as a vocalist either. The duet on Frankenstein Gurl showcases their voices in tandem and gives evidence of the chemistry these two artists share. The synths interact with the guitar parts and themselves in a very eloquent way; a sign of well-rounded musicianship, IMO.

With such song titles as “Lycanthrope”, “Frankenstein Gurl” and “Vampire”, it’s easy to guess their
aesthetic (- a style which they call “Deathgaze”). But there is certainly much more going on here than
your garden-variety deathrock dirge or yet-another darkwave push-button band-in-a-box. The instrumental, “Fantoms” is a cinematic tour of a horror movie nightmare-scape and is something you really have to know what your doing to pull off effectively; especially in the darker musical world.

And they’re not afraid to change gears. “Wytch Tech” has a decidedly more danceable approach and is surprisingly minimal compared to the songs leading up to it. “Summon Her”, another instrumental, is rhythmic clangy-ness in the style of old-school industrial. In fact, the entire latter half of this album is instrumental. VAZUM takes full advantage of this to explore sonic possibilities not always called for in 3 1/2 minute radio-friendly crowd pleasers.

All in all, I can’t say enough good things about Unrated V. It had me already looking forward to the next release; which, conveniently, was released on December 31st, 2021; the double single, “Gallows”.

Zach was kind enough to take some time with us and do an interview via text. Here it is…

Who are your influences and what did you take away from those artists?

Smashing Pumpkins had a big impact on me from when I was 10 years old and served as a gateway to other genres like classic rock, shoegaze, new wave, goth, progrock and jazz drumming. Emily is really into Gary Numan, Christian Death and Queens of the Stone Age. She naturally brings elements of new wave, deathrock and desert stoner rock into her songwriting. Lately we’ve been influenced by more atmospheric groups like Cranes and Miranda Sex Garden and listening to their production techniques.

I get a cinematic feel from your music. Do you draw inspiration from sources outside of music, per se?

Emily and I are both visual people and associate images with music. Emily is a horror and sci-fi film expert. She is strongly influenced by Dario Argento (Suspiria) and Panos Cosmatos (Mandy) with The Thing and Alien being in her top five. She is also really into the aesthetics and soundtracks of the video games Silent Hill and Bloodborne. Emily has a background in jewelry and costumes which she incorporates into our videos.

What’s next for VAZUM? How are you forming/adapting your plans in the age of COVID?

The pandemic set the stage for the path we’re currently on which is writing, recording and releasing a steady stream of music and videos. Before the pandemic there were a lot of distractions. I was playing drums in multiple bands and I didn’t take recording or producing seriously. We’re currently recording a new single called Thief which is about energy vampires. Thief will be on our next album along with our previous single, Gallows. We’re doing electronic versions of the songs too as we go along.

Please describe a typical day in the studio with VAZUM. What is the chemistry like?

We’re fortunate to have a good home studio set-up so it’s pretty relaxed. It’s nice being able to wake up on a Saturday morning, brew some coffee and get to work on a mix or overdubs. Recording and producing can be a long and tedious process but we are committed to seeing it through to completion. When we’re working on a new song we’ll usually play through it a bunch of times until we’re comfortable then begin tracking each instrument individually. Emily and I understand each other pretty well. We can learn and play a song without saying a word. We just feed off each other. I can sense when she’s going to a change and vice versa. I’m in the studio everyday working on something. I like experimenting with my gear. I mostly use hardware for compression, reverb and effects instead of plug-ins. On Unrated V we ended up using a Dark Glass distortion pedal on a lot of tracks and it worked out really well.

What is your take on the current state of the dark music “scene”? (Impressions, opinions, funny thoughts, etc.)

I think the music industry as a whole would benefit from toning down the nostalgia and giving new artists a chance. When a tour announcement from an artist that’s been around for 40 years is the biggest news story of the week, or the popular bands of the day all sound alike, I shake my head. The music industry is relying on nostalgia acts to keep itself afloat which is short sighted and counterproductive. And I think people are sick of it. Fortunately there are underground outlets supporting independent artists. We are very appreciative of the DJ’s that play our music and the websites that share our videos or write reviews. There is a healthy network of artists, DJ’s, bloggers, youtubers and playlisters all keeping the dark scene alive. I wish there were more mainstream outlets, but we will infiltrate those in time. Most independent artists seem to share a common belief structure and are supportive of one another. I’m optimistic about the future. As messed up as the music industry is, there are a lot of advantages at our fingertips. Being able to record, produce, market and promote from home is a huge advantage. The technology really does place the power back into the hands of the people.

https://vazum.bandcamp.com/album/unrated-v

https://vazum.bandcamp.com/album/gallows

https://www.youtube.com/user/theallelusive

Ultra/Filth (Split Release)
Damascus Knives
&
Ratio Strain

on December 14, 2021December 14, 2021 By Jaret S. Young

This collab between LA’s Damascus Knives and San Diego’s Ratio Strain is just the ticket for those
in the mood for harsh rhythmic noise and grinding industrial beats. The first five tracks belong to Damascus Knives and would feel right at home in a cyberpunk noir thriller. The spoken-word soundbites allude to a CIA mind control experiment.

The Experimental Remix is stripped down and feels more synthwave to me than IDM, and that’s not a complaint.

Ultra’s title track has a four-on-the-floor beat that hypnotizes the listener while it envelopes with synth swells.

Psychic Driving has a slow intro before beats and arpeggios take over. Certain sounds made me think there’s a Middle Eastern musical influence at work. Like the name implies, imagine listening to this track while in the desert just at that moment when the Psilocybin kicks in.

Sick Mind has a keyboard line that drifts in and out of key and punchy vocals. The whole thing induces that state of mind that only exists when one is between sleep and waking and can’t tell the difference.

Ratio Strain is the brainchild of W.A.S.T.E. drummer Vanessa Engelfield and dominates “Side B” of this collection with “Filth”. The beats on Industrial Love Song clash seemingly by intention, which makes the beats all the more enticing, all while sound bites of a dominatrix suggest something naughty.

The spoken-word samples on the title track are harder to distinguish. I felt like I was getting cussed out by an android. The beats harken back to 80s-style IDM.

Fuel Injected Suicide Machine features W.A.S.T.E. and has a relentless 808 kick that takes me back to my days of sweating on a dancefloor so cramped you can make out the body odor.

While I hate to compare bands (but still do it all the time), the trippy beat on Kindness made me think of a dark Meat Beat Manifesto. Choral sounds loop in and out of the mix along with heavily-delayed voices. This track is my personal favorite.

Remixes by DJT_Roy and Lexx finish off this collection with additional fuel for the dancefloor.

While the beats are gritty, even downright harsh at times, there’s no shortage of danceability on this record. DJs will be spoiled for choice with these groovy gems.

https://squarewav.bandcamp.com/album/ultra-filth

https://ratiostrain.bandcamp.com