Category: Review

Sombre: Linsay

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Band: Sombre

Album: Lindsey

Lable: Self Release

Members: Axel Wursthorn and Cédric Manine

http://www.sombre-official.com

https://www.facebook.com/thebandsombre/

https://thebandsombre.bandcamp.com/album/linsay

This is a review for Sombre and it was a tough one to write. A lot of styles and voices were reaching to be heard on “Lindsey”, many sounds from song to song that it didn’t fit easily into a particular box. This is an band that wears their influences on their sleeves but those influences run the spectrum of all varieties of dark music. I find this lack of focus to be refreshing. There is a real sense of searching on this record. Some of the songs hit immediately right out of the gate, some of them fill me with longing for the possibilities. All of it stirs something in me and leaves me longing.

So lets talk about what I hear. This album sounds so clean and beautiful. I think as a scene that the trend in modern dark music is to pile layers of slush and effect just because we can. Sombre has the execution and production of a surgeon. It’s quickly apparent that a producer is also a member of this band. The hooks are very welcoming but the concept is simple and exposed. Cedric’s vocals are a deep and rich cadence that keeps within the melody and holds the structure together in almost the way a lot of bands use the bass line. He also has an effortless dare I say aloofness in the timber and cadence, it feels refined and existential in it’s delivery. I really enjoy the blend of Dead Can Dance, Depeche Mode, and most of all Killing joke for the sheer variety of sound. However what I like the most is the addition on modern Alt J trip hop texture slither mixed with panning orchestral synth pads.

Musically the feel is very retro and full of builds and tension. I feel like this album has another gear it is waiting to hit and I look forward to what that sounds like. The bass lines and percussion are crisp and driving. They flow forward and aft with Cedric’s vocals to create a frenzied and harried dance. I think the sound more than anything is hard to pin down which is intriguing and keeps me wanting to dive deeper. This album always feels like it is running somewhere new and that motion is what builds the excitement.

The lyrics lean more towards an expression rather than a metaphor. I found it easier to relate to for this. I am really finding a lot of appreciation for the freedom of a totally independent release. Again the subject matters really stretched from the romantic to the societal power dynamics. One thing that tied them together was the genuine nature. Where someone tells you their story directly from their hearts without anyone to answer to. That’s what captures me here.

Stand out Tracks:

Find the Light – This has that Duran Duran pop chorus and layered harmony with a Happy Mondays dancing bass line. The song has a lot of builds and falls. With Cedric’s rich warm vocal tone crooning in a sensual and charismatic verse just to be offset by that large build chorus. Silence burns holy night removes the veil from your face.

Black Twin Skins – This has an 80s almost prog feel that reminds me of everything the Church did well. It’s very dynamic but the layers pull and push to create movement. The vocals come way to the front and are very exposed. Cedric’s singing finds a way to carry the rhythm and the breakdown is a masters course in how to fill within a pop hook. I love the guitar solo for this song. Very slush 90s shoegaze. “We are to young to remain alone, the fear chills us to the bone”

The Master – What a non sealant effortless groove. This song slithers for lack of a better word. You can feel it moving back and forth through you. These drums are shadowed and echoing reminding me again of Happy Monday’s. I love the whispered echo vocals.

Lindsey – The title track stands above all others. This beautiful harmony with a second higher voice for the perfect capture of everything Sombre is bringing to the table. The lifting and lovely voice is dancing on top of Cedric’s rich baritone. The pop hook chorus is one that locks your mind up and repeats. The strange reversed vocals mixed with the heart beat drums. Just a complete anthem of artistic expression and accessible pop sensibility. A +

Ego Likeness: When the Wolves Return

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Band: Ego Likeness

Album: When the Wolves Return

Label: Metropolis Records

Members: Donna Lynch- Vocals/Words/Piano/Synths::
Steven Archer- Guitar/Vocals/Synths/Drums/Programming::
Mike K. Johnson- Drums::
Mindcage Rick- Drums::

https://egolikeness.bandcamp.com/album/when-the-wolves-return?fbclid=IwAR0SDspl-fqH_3VkagiU7J6ziC2Cqs2o5dh22P6T7yJCrLqqGYRnCEFVpXQ

https://www.facebook.com/Egolikeness/


http://www.egolikeness.com

So once again I am stepping outside the box and trying something different by reviewing an album that came out in July 2015. I have been keeping these reviews generally to new albums but while waiting for their newest release I will take some time to discuss the glory of Baltimore’s greatest dark couple. . I actually love discovering a band in reverse, finding the new album first then working my way back through the catalog and watch in reverse as they evolve. Makes me feel like Merlin. For me the album When the Wolves Return really highlighted what was possible when you bring a true partnership into your music. Often when I hear modern darkwave electronica I tend to pull apart all of the different elements and feel them at different times. It’s almost impossible to do with Ego Likeness. Donna Lynch and Steven Archer are in such total lockstep in their music. It really has no seams or edges. Every song is a twisting snake of smoke. Or in this case a wolf pack circling you in a clearing. Mike Johnson who I am convinced may be the only drummer left in goth music because it seems he is playing in about 73 bands and touring with them all. (Potential cloning experiment) is so sought after for a reason. Simply he is consistently outstanding in his style and ability to place subtle touches along with electronic elements. For as electronic as this music is with flavors of Switchblade Symphony, Rasputina, Dead Can Dance or Skinny Puppy both the music and Donna’s dynamic vocals have such an organic flavor. This is a rock band with a bleeding heart in it’s mouth, that just happens to be played over a grinding jerky machine cacophony. This album in particular holds such rawness, I don’t know exactly what was happening in their lives at this juncture but you can really feel a lot of it was splayed open and held up raw to the listener.

Donna has a vocal style that to me is all about dynamics. Her lows are growls and chants. Her highs are lovely and revealing. She is a true bard, you can hear the contents of her lyrics are just as important to her as the way she sings them. “I am blessed, I am cursed, never sacred, never worse” Steven is a painter both on the canvas and on the keyboard. A bard needs a stage and this album has such fierce driving drumbeats and rising falling cascades of synth sound. Needles of bright guitar burn and twist but never overshadow. Those pounding drumbeats are the beating heart of every song and the story is told in every tempo and range. I know I am getting a little gushy on this one, even for me. I have really been digging deep on this album lately in preparation for going to see their show this weekend but also because it is a turbulent moment in time for me and this album is a tempest of processing emotion.


Standout Tracks:

Leave a Light on Thomas – The album opens with this sky splitter. It’s a tiny echo whisper from Donna. While Steven smashes together giant symbols of sound. Tiny dancing melody notes. I also love the effect of Donna’s electric sounding echo voice. I’m not sure who Thomas is but I love this pleading call for him to have faith in this dark moment. This song is pure emotion and waves.

Darkness – I love this track on it’s own. It has another medium tempo but with an almost fantasy feel of hero’s traveling a a bleak and dangerous land. The music edges forward and uses large brass sounding warmth. Then the electric Guitars crash a call to battle “I’ll call them in to cast you out” Another band I have reviewed and love 11 Grams do a remix of this song which is one of my favorite polar opposite remixes. Truly a ying and yang when heard back to back yet it is still one voice.

When the Wolves Return – Holy shit what a heart wrenching ballad. “There is nothing to forgive, it’s the price you pay to live” This one really can make me a little misty. Swelling, giant, synth pads of loss and regret. Then at 3:30 the drums start marching to a sound of triumph! The music builds to a fevered crescendo. I hate to be such a nerd but hearing this song reminds me of the first time I read the Return of the King and you realize the boats are full of ghost soldiers repaying a debt. Sorry Spoiler alert. It’s pure majesty and triumph.



This album is a must own. This band is a must see live and I am giddy with anticipation for the chance this weekend. If you don’t know this record you need to grab hold of it by both ears and cling to it tightly.

Kill Shelter review of : Damage

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Band: Kill Shelter

Album: Damage

Lable: Unknown Pleasures records

Members: Peter Burns

All tracks mastered by Eric Van Wonterghem (Prodam studio/Berlin)

https://hivmusic1.bandcamp.com/album/damage-upr094-gothic-rock-darkwave

https://www.facebook.com/killshelterofficial/

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.

Go Fight : Tokyo Sexwale

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Band: Go Fight

Album: Tokyo Sexwale

Label: Go Station

Jim Marcus; Vocals, Drums, Percussion, Synths, Noise 
Daniel Evans: Bass, Guitar, Synths, Noise 
Vince McAley: Drums, Percussion, Noise 
Mission Marcus: Bass, Guitar, Noise 

Produced, Mixed and Mastered at: Go Station 

https://gofight.bandcamp.com/album/tokyo-sexwale

https://www.facebook.com/gofightband/

So I am excited for this review of Go Fight’s album “Tokyo Sexwale”. As a young angry man in the early 90s I never had a punk rock phase to express that feeling. Instead I found Industrial music as that outlet. I heard Pretty Hate Machine at 14 and I was all in. Most of what Industrial music came to mean to me was an expression of that angst I felt at the world. I went to a show around 1995 to see two bands Sister Machine Gun and Die Warzau. It really left me changed in my mindset that this music I loved full of drum machines and thick remixed heavy metal guitar was possible of so much more range in emotion and tone. Fast forward 24 years and I am listening to Pat Allen’s radio program when he plays a song called Chemical by Go Fight. That feeling was back, Pat used the wonderful term “fundustrial” but what really struck me was that same feeling of serious concepts carried with a beautiful pop energy. Then I learned of the connection between Die Warzau and Go Fight. While I danced my tail off around my bedroom I was transported back those 25 years by this fresh searing explosion of sound.

This album is all crisp sexy motion, covered in a layer of technicolor slime, and spun through a cement mixer. Jim Marcus has one of those unique and captivating voices that leads you in rhythmic chants mixed in with beautiful call and answer melodies. The songs keep building and driving pulling and pushing you around the dance floor. I don’t know if anyone in the business is writing better drum loops and fills in heavy dance music. These lyrics are anything but pop fluff. These are heady, often political, very in your face real challenges that are such a wonderful contradiction to the hot club feel of the music. This is music inspiration. Full of fight and life. Full of hope and energy. Evans and Marcus do a masterful job of laying bass, guitar, and tapestry to the vocals without overshadowing. They are the fire that fuels this engine. My only regrets about this album are that I didn’t find it sooner.

Standout tracks:

Chemical – I’ll start with this because it was my introduction to Go Fight but also because this song is a total jam. It starts with Marcus doing a sexy spoken chant describing the strange and complicated world of modern dating in technology. It’s so tongue and cheek but speaks to a relevant issue that touches on real emotion. Also the hook on the chorus is impossible not to sing along to. I challenge anyone to hear this song and not go running for the nearest dance floor.

Another Fucking Love Song – This one is another single but that crunchy guitar riff and Jim’s blues driven cadence sung with such venom and drive. Again they are really taking on a serious feeling that faces our culture and wrapping it in a golden industrial disco wrapper.

Queer the World – Great title! This bass line is coming at you right off the bat and sways you while the guitar cuts. Telling a series of stories in concrete terms before leading up to that deep chant of Queer the World. It makes me want to join the revolution right now.

Overall this album is one I can’t believe I found so late in 2018. It is so full of everything I love about music and fired from a glorious bright colored cannon of progressive ideals and themes I related to. It also makes me want to dig through my old cds to find Die Warzau. Seriously this record belongs on every modern dance mix in the world. I love every aspect of it. Got buy it!

Delphine Coma: Leaving the Scene

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Band: Delphine Coma

Album: Leaving the Scene

Label: Swiss Dark Nights Records

Edited and Mixed: Ashe Ruppe

Recorded: Aetemum Studios

Members: Ashe Ruppe – Music and Vocals , Guest Musicians: Amendoa Lizzbeth Tamburri – ambient guitar on “Touch” Domokos Benczedi – Bass guitar on “Comatose”

https://delphinecoma.bandcamp.com/releases

https://www.facebook.com/Delphine.Coma/

Review of Austin TX minimalist dark wave Delphine Coma’s album “Leaving the Scene”. I love the fitting tittle of this album because if I had only one word I was allowed to write about this release it would be unapologetic. This is a release that tune smith Ashe Ruppe has called forth from the sonic ether with a fresh minimalist vibe that is a dangerous break from the modern Darkwave norm. I first caught wind of them from Ashe’s vocals on previously reviewed Kill Shelter’s track “In Decay” one of my favorites from a great album. I found this CD and have immersed myself in it ‘s tortured textures and soul striking soundscapes. This album is full of desolation and loneliness. It has distant dirge drums and twisting guitars that put me in mind of the Chameleons UK. A true throwback sound which hearkens the muddy bleakness of early goth music. The feel is not dynamic, instead the emotions portrayed are weighty and intense. This is not an album aiming for beauty but instead one that opens a maw to show the listener the bottomless pit of an abyss. Rhythmic bass lines, and vibrating keyboards that aim for tension not for comfort.

Ashe’s vocals are a sinister baritone that never break stride as he lulls and beckons the listener into dangerous and forgotten aspects. Every time I thought this will be the change of pace song. The one that will release this immense pressure of dark seething weight, I was piled on with another share of the crushing power. If you came looking for a pop album or a toe tapping dance groove you arrived at the wrong place. These are thinking songs for a spiritual journey towards the self reflective aspects of the human soul.

Standout tracks:

Touch – This twisting winding guitar riff and vocal cadence is what really put me in mind of the Chameleons. It’s sinister, its challenging. “I feel your touch, I feel the coldness of your skin” This song lets Ashe’s vocal’s shine in there effortless cold clarity.

We Never Sleep – Crawling synths like grinding gears. With countering delayed guitar lines. Echoed vocals that seem to crawl towards you from a hundred miles away. This song creates an enormous gravity in it’s effect. “And when the substance breaks, we walk into the sea and never look back. Terrifying, beautiful, desolate.

Moth Meets Flame – A strange out of place change for the album but one I found myself drawn to. I am reminded a bit of the dance hall drone of Good Bye Horses. The vocals are a spooky spoken word chant. The synths continue to build from the bottom up creating an offsetting feeling. “Desire is calling, desire Is falling, desire is bleeding”

Overall this album is not an easy journey, yet one I found I couldn’t turn away from. A complete concept, a forbidden tale. Abandon all hope ye who enter. These songs are nightmares given flesh. Walk in darkness with it. Feel the danger of despair and live to tell the tale. Buckle in for this thinking persons album.