M83 “Fantasy” tour, yeah, it kind of was.

Event: M83 “The Fantasy Tour”

Date: May 6, 2023 (SOLD OUT)

Venue: The Ogden Amphitheater, Ogden Twilight series concerts.

City: Ogden, Utah

In a world where we are all so connected by technology, sometimes you have to just “Be there” to connect. The French Electronic rock band “M83” will do just that. They are an atmospheric “Dream-Pop” band, that covers so many genres of sound, riding somewhere between New Order and Tangerine Dream, whilst venturing into Vangelis spacescape territory. You have heard plenty of their work for the better part of 20 years in some of the strangest films, “Oblivion”, “The Gambler”, a perfume commercial, and even the zombie comedy film “Warm Bodies”. Like the friendships in the song “Temptation” by New Order, you have no place for them in your life, their music is never invited, but always welcome.

Utah is a “High Desert” mountainous territory, that is usually dry. May 6th was a very cold, and rainy day in Ogden, sitting at 5000 feet, with snow still coming down just 2 miles away. That set the atmosphere for M83 to give deliver in an almost torrential downpour, and honestly, we wouldn’t have had it any other way.

Sitting in the 4th row was the supporting act, Jeremiah Chiu, just hanging out with friends. He then just walked onto the stage and started playing his analog synthesizer. It was really cool to see, in a “Wendy and Walter Carlos” kind of way. As he played, he switched out cables and turned knobs to make his music, while delivering a “pre” Depeche Mode type synth sound, reminiscent of Kraftwerk, and Yello. He did a Kraftwerk cover, and didn’t sing a word, but reminded us all of the early 80s video games.

The stage had a “Stranger Things” motif for a very “Sci-Fi” feel, but we were still unsure what we were going to experience. The intro piece for any show is incredibly important, whether it’s an atmospheric intro song by another band, an audio clip, or a speech, the mindset and mood you need to be in are so important for the rest of the show. For so many bands, the performance begins before the set, often before the band even takes the stage.

The band came to the stage while Kaela Sinclair in a dress with the funkiest clash of colors began playing a synth line to “Water Deep” that the rest of the band plugged in and started playing on top of as an intro with Anthony Gonzales on vocals, he managed to keep the focus not just on himself, but to blend in with the rest of the band. The rain was pouring down on the punters, with beautiful seascape background lights until everyone was in position with their instruments. Suddenly there were “Red Alert” lights flashing, showing the entire band onstage, and the drums kicked in, synced with the lights, we were now into “Oceans Niagara”, the fog and the mist from the rain added to the ambiance coming from the stage. The band were in hoodies and it was so cold you could see their breath in the air. The lights illuminate the stage and at the same time leave only the silhouette of the musicians.

Kaela Sinclair taking lead on synth

They went from atmospheric to danceable as they rolled into “Amnesia”, a very joyful sounding tune you would have found easily in the new wave clubs of the 80s, mixed with synth and bass lines of Ultravox and a Flock of Seagulls. This is just “Feel good” music with a great atmosphere.

Kaela Sinclair moved over to a sit-down piano, and they went into “Us and The Rest”, another dreamy opus with acoustic guitars and the light show slowed down to keep everyone just swaying in the rain. “Run Into Flowers” had a switch out of instruments, violin instead of guitar, and the light show animated on the screens behind them looked like some of the monsters on “Stranger Things”.

The Visage of the "Fantasy"

The Light show for “Gone” was reminiscent of the alien ships landing in “Close Encounters of the Third Kind”, so many times through the show, I almost forget that you have a band there to watch, as you are paying more attention to the lights and the screens. By this time we were unsure if that was atmosphere fog, or just from the rain. It was strange to see it this way because the backdrop looked like a very bright sun obscured by the heat shifting off the ground. We could see the effects, but still experience something so cold at the same time.

There was a vocal like “chanting” as the new age “Kenny G” sax kicked into a disco riff while they played the title track from the new album “Fantasy”, with the visuals of the face of a monster in luminescence on the screen. A scary-looking space alien, to disco music, yeah, that’s what we came here for tonight.

They played through “Lara” with a lot of saxes, “Don’t Save Us From The Flames” and then “NOISE” until they got to the one song that made me fall in love with their music “Wait”. It was a dreamy opus, that you just had to let it take you where it wanted to. It reminded you of the sound of water dripping down a deep shaft before it splashed at the bottom, and how that sound travels. They sang like you were at sea, and underneath them were the sounds of great whales carrying the music. Yeah, it was all just like that. “No Time” was the only word you could discern from the rest of the song, and that was all you needed to know. M83’s music is heavily focused on moving feelings around inside of you, more than you trying to listen to the words.

Kaela Sinclair was the only band member in the lights while she sang “Solitude”, the rest of the band was barely lit while they took us through this dreamy Pink Floyd-esque experience. This was just a science fiction soundtrack, while the violin played, the drums began to pound and I was feeling it shake my entire frame. “Teen Angst” along with “We Own The Sky” lead us to a dancy synthesizer tune straight out of the dreamy ambient numbers we had just been through. It was almost like CHVRCHES on ambient speed, it was absolutely wonderful to be seeing and hearing this carnival of light and sound.

After a high-intensity dream, M83 gave us “Midnight City” with all the power you would expect. Even the band was dancing, almost pogo-stick dancing, these guys are very energetic on stage. While the rest of us were in the cold, the drummer was stripped down to only his shorts, and Anthony the singer was out getting everyone in the audience to clap along with him, while steam was rising off the drummer. (It was a cold night). Everyone was disco dancing to “Mirror”, and since it was sold out, and standing room only, one of the guitarists took off his monitor pack and went crowd surfing knowing there were plenty of people to pass him around. Anthony G sat down on the edge of the stage and sang to everyone at eye level in the pit. If you think they would be mellow, and just play their instruments, you would be so surprised at how animated and interactive they are with the punters. The visuals were a mix of the original “Bubblicious” gum commercials from the 70s, with early 80s video game graphics, with the light show meant to distract you from even noticing the band on the stage playing the music.

They closed out with “Outro” and a blinding crescendo of blue lights, and at full volume. It was so loud, my body was shaking, and my earplugs were useless, it was as loud and as perfectly in tune as if it was a SWANS concert.

With a stage setup looking like it was from some of our favorite science fiction films growing, up and the music taking us to exactly those places and beyond, M83 is a must see performance. Even better if it is a cold rainy night.

Chant & KMFDM – Live at The Observatory, San Diego, CA, 05/16/2023

“There’s going to be moshing tonight.” Such was the warning I received from a fellow concertgoer as I stood before the stage while people filed into The Observatory for my second KMFDM show ever. With a bad back and blown knees, I aged out of mosh pits several presidential administrations ago. So this little reminder was appreciated.

The Observatory is one of my preferred places to see a show in San Diego; there isn’t a bad view in the place whether on the floor or the balcony. And there’s plenty of distraction to found all along University Avenue even before you go inside, including the sushi spot across the street where I ran into Chant’s Bradley Bills. He warned me that his voice may not be everything he hoped for on this night but I remained optimistic.

By showtime, the venue was nearly full. Chant came on and started strong with the firm intention of getting the crowd’s blood flowing. To say this Austin, Texas act quickly made a strong impression would be an understatement.

I’ve seen other acts that have featured the drums as the lead instrument before, and it would have fallen flat in the hands of lesser musicians. Instead, the duo of Bills and Alvin Melivin wowed the audience in a way that could best be described as high-concept; especially when Melivin began to throw down on the cello. Between the theatricality (including a mock gunshot onstage) and the musicianship, Chant created a full experience that fully immersed the viewer. And Bradley Bills’ voice held up just fine.

As a drummer myself, I appreciated the performance for its intricacy and intensity. I have always felt that live drums should play a bigger role in industrial music. Fans of the first two Killing Joke albums know what I’m talking about; tribal drumming is both powerful and hypnotic.

New fans hooted and hollered over their discovery. One young man commented that he’s ready to forgo his guitar lessons in favor of buying a drumkit.

The set wrapped with Bills offering his sincere thanks to the audience and pointing out that this would be the 99th time that Chant and KMFDM have shared a stage.

After intermission, KMFDM came out to do their thing. There was only one guitarist this time, which differed from the dual guitar assault I witnessed the last time I saw them live. Nonetheless, the band came on loaded for bear. They wasted no time taking the already amped-up crowd to the next level. Showmanship was a constant throughout the night.

Only stopping once to say hello to the crowd, the show ran with little to no space between songs. Which makes sense; they played a LOT of songs this night. The anticipated set ran over the band’s decades-long history with later and newer songs mixed with favorite crowd pleasers. The forewarned mosh pit didn’t break out until they went into Drug Against War. Strong stage presence and a dazzling (almost blinding) light show kept a lot of folks transfixed with the stage. It’s not every band out there that are keeping it this real after four decades. And while I was hoping to hear Lucia Cifarelli bust out with Professional Killer, alas, no such luck this time.

By this point, I was dancing like a fool. But then, so was everyone around me. A sense of cameraderie permeated the crowd with everyone on their best behavior and projecting good vibes.

The encore included the gems Godlike and Paradise and the show closed with a looped outro and clever lighting.

This particular tour is a very short one, only five cities. Those of us in the Southwest were fortunate to catch a visit from a still rock solid staple industrial band and an exceptional act whose star is still on the rise.

Review: Still Life in Polaroids (A Tribute to the works of Japan and Beyond)

In 1974 in Catford, South London Dave Sylvian, Mick Karn, and Steve Jansen formed a GlamProg band which would have some commercial success. The true impact was the influence they would have on future generations of complex and emotive artists. Along with fellow pioneers like The Velvet Underground, New York Dolls, Roxy Music, they challenged the boundaries of the time and continues to impact alternative voices today.

Coitus Interruptus Productions well known for creating tribute albums to highlight the best in new Darkscene music has released this latest offering with the assistance of Yvette Winkler of Vaselyne. Assembling a great production team of Jasyn Bangert (Mastering) Greg Rolfes (Artwork) the team at CI has compiled an amazing list of talent to pay homage to one of the most underrated bands of the past 50 years.

Still Life in Polaroids (A Tribute to the works of Japan and Beyond) | Coitus Interruptus Productions (bandcamp.com)

.Ashes of Youth – His Box 04:16
2.Attasalina – Blackwater 04:55
3.Blackcarburning – The Other Side of Life 04:35
4.Brian Hodges & Pieter Nooten (feat. Marselle Hodges) – Let The Happiness In 05:45
5.CODENAME: LOLA – Canton 05:25
6.C Z A R I N A – Halloween 04:38
7.David Scott Keller – God Man 03:15
8.Dogtablet – Despair (Ft Marselle Hodges) 04:33
9.Dreamscape Invocation – World Citizen (I Won’t Be Disappointed) 06:47
10.G.W . Childs IV – Gentlemen Take Polaroids 04:39
11.Krate – Oil On Canvas 03:41
12.Melodywhore – Ghosts 04:25
13.Michael Alan Giller – Closer Than ‘I’ 05:41
14.Pedro Code & Herr G – Methods Of Dance 05:26
15.Pete Burns (Kill Shelter) – Waterfront 03:15
16.Stefano Panunzi & Nicola Lori (feat. Yvette Winkler) – Damage 03:32
17.Tenderlash – Life In Tokyo 04:07
18.Tearing The Blackbox (feat Yvette Winkler) – Back In The Beginning 06:05
19.The Blue Hour – Nightporter 05:44
20.The Essence – Quiet Life 04:26
21.Tom Berger (Johnny Tupolev) – Visions of China 04:03
22.Unwoman – Darkest Dreaming 04:03
23.Vaselyne – Riverman 05:19
24.White Rose Transmission – Transmission 03:00

24 tracks on multiple labels all with a passion for Japan. With so many great takes I won’t be able to cover each one. I will try and give some quick impressions on as many as I can. This whole release is brimming over with friends and favorites. If you know and love Japan, this is a wonderful way to rediscover songs you love. if you don’t know them, find some of your favorite covers, then look up the originals. You will not be disappointed.

Brian Hodges & Pieter Nooten (feat. Marselle Hodges)Let The Happiness In – originally a Mick Carns solo album track from “Dreams Of Reason Produce Monsters“. Marselle has one of those voices you can get lost in, gentle and wispy. Holding the power to erode stones over time. The Seattle artists fully embrace the streaking grey beauty of Sylvian’s original delivery. This isn’t a cover, it is a love letter.

Music | The Blue Hour (bandcamp.com)

Dogtablet Ft Marselle HodgesDespair – Industrial legend Martin King also adds Marselle on vocals on this haunting cover that adds a brighter more resonant piano. The percussion is a gentle heartbeat underneath the streets of Paris in a smokey artist cafe. I love the addition of phosphorous glow to the existential dread. I will say I miss the amazing sax solo from the original, but I want sax solos in every song.

Black Space Dust & Memories | Dogtablet (bandcamp.com)

G.W. Childs IVGentlemen Take Polaroids – My dear friend G.W. covering probably my all time favorite Japan track. A single that hit number 60 in the Uk charts in 1980. The original really showed the Brian Eno influence with it’s funky sensuality. G.W. keeps the funk, punches the vocals forward with Pet Shop Boys sass and spices up the dance beats. This is a perfect cover for roller disco lovers spinning hands locked gazing into each others eyes.

You Don’t Know | G.W. Childs IV (bandcamp.com)

melodywhoreGhosts – Steller cover for Texas electronica songsmith and remix master. Released in 1981 and probably their best-known hit, this dreamy ballad where Sylvian really unburdens his soul. James opens with these giant pillar synths and really captures the despair of the original. Wonderful harp plucking effect to take place of the marimba. This was a true exercise in method acting, it really gets in the head space of Sylvian’s composition.

Love Will Tear Us Apart | melodywhore & The Joker Project | melodywhore (bandcamp.com)

Pedro Code & Herr GMethods Of Dance – Two amazing talents from Portugal team up to cover another track from “Gentlemen Take Polaroids”. This song features my favorite drum performance from Steve Jansen. A bold change to reimagine it as an electronic dark dance floor driver. Pedro’s voice is always exquisite and goes towards the top of the register in parts. They really change the focus of the track and make it their own.

Music | IAMTHESHADOW (bandcamp.com)

Pete Burns (Kill Shelter)Waterfront – I believe this track was a David Sylvian solo song. Beautiful Blue collar dockworker ballad. Sylvian really channeled his gruffer edge for this. Pete, who I know is an enormous Japan fan piles on a further gently plucked blues tone on the guitar and a fading town anguished delivery on vocals. I was almost scared to hear this one because the original is so amazing, but of course Pete absolutely crushed it.

The Sex Tape Sessions EP | Kill Shelter & Death Loves Veronica | Kill Shelter (bandcamp.com)

TenderlashLife In Tokyo – 1979 release that definitely had a disco glam feel that became a hit on the singles chart in 1982. The NC darkwave band adds in a beautiful New Order synth swell to accompany Candy’s beautiful wispy croon. I really like the megaphone voiceover on the breakdown. They prove this could have been just as big a hit in the 90s alt rock riot girl scene.

Hold Still | Tenderlash (bandcamp.com)

Tearing The Blackbox (feat Yvette Winkler)Back In The Beginning – A team up from Netherlands, this track really hit me with the jazz walking Mick Karn basslines I’ve been waiting for. It’s surreal and engaging with a wicked guitar solo backed by Yvette’s swelling chant. A perfect homage to the precise chaos that is Japan.

Now | Tearing The BlackBox (bandcamp.com)

UnwomanDarkest Dreaming – Another Dave Sylvian solo album track. This one is a gentle introspective stargazing dream. Erica of Unwoman, who always brings an original spin and quality to their covers stretches out the time as the bow slides across strings. Powerful organic tendrils of sound paint a road for their soulful vibrato and layered nuance. I fell into this track like a baby in arms.

Music | Unwoman (bandcamp.com)

VaselyneRiverman – This was a Sylvian + Robert Fripp team up. One of those epically weird and expansive songs with world beat psychedelic flavor. Covered by the Dutch band including Yvette who helped put the whole project together. I absolutely loved this rendition with all the organic movement and Yvette’s warm whiskey vocals. The guitar leads crackle with life and plunge in and out of the water. Definitely a stand out track on a record full of them.

Under Your Skin | Vaselyne (bandcamp.com)

Coitus Interruptus Productions from Seattle has another home run here. I love the way they are creating a bridge between the past and future of this scene. Highly recommend checking some of their other tribute albums to Chameleons, Killing Joke, Coil, Psychedelic Furs, and more. I didn’t get to touch on every band here, but they are all worth checking out. Artwork by Greg Rolfes. Mastering by Jason Bangert

Club Grave Beat at Til-Two, San Diego, CA, 5/12/2023

San Diego has a very respectable track record for the clubs in its dark music scene. With nights like Sabbat, Ascension, and Rapture leaving black-clad local fans spoiled for choice of nights to dance and socialize to their cold dead heart’s content, it’s nice to see there’s still room for up-and-coming club nights to carve their own unique niche.

So I was delighted to hear that Errol Fritz (of New Skeletal Faces) and DJ Grimm Beatz threw their hats into the ring with Grave Beat, an all-Deathrock night at the Til Two club.

I’m no stranger to Goth, Industrial and Post-Punk, so it was a rewarding breath of fresh air to have a night that’s dedicated to a sound that, in my opinion, still goes underrepresented in this town. I mean, how many clubs can you hear The Misfits and Fad Gadget in the same DJ set?

There’s several clubs in San Diego alone that offer that intersection between Goth, Punk, and even Metal. And even if Grave Beat shares that intersection, it’s on a different corner. The vibe was definitely unique on this night. Styles overlapped and melded in a way that seemed to have something for everyone.

The crowd was made up of faces I hadn’t seen a million times before and everyone seemed to be on the same page; dancing to tunes that have dancefloor appeal but without the usual untz-untz-untz vibe. The “snug” confines of Til Two make for a cozy (and often sweaty) sense of fellowship. Everyone seemed to be having a ball dancing to the likes of Bowie, Love & Rockets, and Ministry as well as TSOL, and – of course – Christian Death; along with lesser-known bands that make Deathrock such a fun genre.

The all-vinyl set made for some awkward segues at times, going from a frantic moshing pace to grooving slickness with eclectic abandon. But the crowd rolled with the changeups in stride as many just seemed to enjoy the musical catharsis.

No description available.

By evening’s end, I knew I wanted more. After asking around, I found out that this was Grave Beat’s inaugural and possibly sole night. With no promise of a follow-up, I managed to catch Errol Fritz and ask if Grave Beat will become a regular part of Til Two’s monthly rotation of hip events.

“Do you want it to?” He answered teasingly. I answered with a resounding yes.

Grave Beat was the kind of intimate but lively club that I enjoy, with a music selection that went deeper into the vault of bands beyond the same old same old.

With Southern California being the birthplace of Deathrock, Grave Beat would be a very welcome addition.

http://www.tiltwoclub.com

So many Dark Clouds hanging over The Scene. I will try and counteract By sharing Music That Makes My heart Swoon

May began with some really heavy blows to out scene. A tragic car accident. An unexpected health scare. It seems like the Chicago Industrial scene is weighted down with tragedy. This is also a time when we remember and appreciate how much we mean to each other. So please tell the people who matter how much you love and appreciate them. if that takes the form of an artist or song, then turn it up, sing it loud, and share it with others. Here are some artists which are currently touching my heart and I appreciate.

Hail Your HighnessWinter – Let us begin in my own backyard of Grand Rapids Michigan with two sisters playing Sega Dreamcast bleep bloop against rain-streaked windows. Fading memories of dewy blades of grass and sadpop drizzle. Honesty and clarity ripple on a still pond. Each track feels close to home. I look forward to reading the well worn paper back pages.

Winter | Hail Your Highness (bandcamp.com)

ChiasmRelapse (Reissue) – A re-release of the 2005 electronica spider crawl synth from Michigan artist Emileah Rohn flawlessly remastered by composer and contributor Jean-Marc Lederman. Hearing an artist you know well from their delicately polished and precise recent material through the darker rawer lens of their early voice is a shocking beautiful realization.

Favorite Track: Delay – The gnashing teeth to the vocal delivery here is a fresh dynamic to the familiar imagery of Chiasm’s poetry and digital complexity. Falling in even rotation through a bottomless dark void.

This remaster feels like seeing a familiar friend in a virtual reality home movie to a history you have heard as a story but never seen with your eyes until now.

Relapse (Reissue) | Chiasm (bandcamp.com)

BELLHEADGood Intentions – New EP from Chicago double bass indie grime band Bellhead. In the 90’s when Avant Gard indie rock was happening, I listened to it. I don’t think I ever truly appreciated it. Maybe I didn’t yet have thick Buddy Holly glasses, maybe my pallet hadn’t refined. whatever the reason when I hear the bone shaking bass lines and tennis technique volley vocals in 2023 it just hits different. A blend of stalking menace and luring sweet hooks. You keep on the ride for the familiar feelings, the longer you stay the more you realize this is something you haven’t heard yet. Ivan Russia has a stalking wolf voice that is breathing hot death on the back of your neck. The lyrics have this hard line Frank Miller pulp narrative. Karen volleys back with the perfect energy and accent to make the picture complete.

Favorite Track: Into The DeepIvan goes full beatnick Ginsberg on this bopping funeral surf ceremony through hell. This is Frank Black and Nick Caves boiling seaside vacation to hell.

Good Intentions | BELLHEAD (bandcamp.com)

MOЯIS BLAK – BURIAL + VOID [remixed] – Boston based CyberApocolypse artist Moris Blak has been pumping out thrumming electronic bass grenades. With this new remix album featuring Rabbit Junk, Syzgyx, and GenCab features a reflective subtlety that I feel deep for. Spotlights to the sky on a rooftop rave. See them on tour now with Danny Blu and Eva X.

BURIAL + VOID [remixed] | MOЯIS BLAK (bandcamp.com)

Antipole & Paris AlexanderCrystalline – I have been a huge Antipole fan since the beginning of Sounds and Shadows. Karl’s attention to detail in perfecting the post punk guitar sound is a level of mastery akin to a Rennaissance painter worthy of naming a ninja turtle after. So when I say this is my favorite release to date by the Norwegian songcrafter it is a statement of weight. With frequent collaborator Paris Alexander and Eirene on vocals this record is an exploration of cold biting beauty and haunting memories. One of those albums which fits well as a pairing to any activity. A long solitary walk, a soundtrack to an intimate dinner party, a delicate thrum in a crowded club. I was really impressed with how much Paris vocals stand to the front in a way I haven’t heard as much on previous releases. A raspy whisper full of danger and sensuality. This is an early contender for my top albums of the year.

Favorite Track: I really loved each one for different reasons. Track 4 Disjointed left me mesmerized and haunted. The guitar riff hung like a bridge of ice as you slowly make your way across an endless gap. Paris voice is a haunting poetry. This was a New Order Movement track that never got made before this moment.

Crystalline | Antipole & Paris Alexander | Antipole (bandcamp.com)

DogtabletBlack Space Dust & MemoriesMartin King of the legendary Test Dept and Roberto Soavel have gathered an epic ensemble of talent to weave a wet aired electro jazz fantasy on the edge of comfort. Each track is a destination well outside of civilization and teeming with sharp teeth and claws.

Guest vocalists: Track 2: Steven Archer (Stoneburner/Ego Likeness)
Track 4 and 9: Coral Scere
Track 6: Jared Louche (Chemlab)
Track 7: Daz Sharp
Track 10: Melodywhore
Track 11: Cat Hall (Dissonance)
Track 12: Franke Nardiello (My Life With The Thrill Kill Kult)

Roger Ebner – Sax on Diamonds
Phil Moseley – Guitars on Ashes

Artwork and Layout by Greg Rolfes

Trying to pick a Fav track is too big an ask here. There is so much variety and ground covered. An airship of adventurers each with a role to fill. On track 4 Whispers Coral Scere gives such a tragic and soulful delivery I felt my eyes welling up. Track 7 Tar Pit featuring Daz Sharp was another level of vocal craftsmanship by stretching each phrase through thick murky ink. Layne Staley was looking down smiling. Track 12 The Oversight featuring Franke Nardiello is a snake charmer doing a flickering flame dance surrounded on all sides. The opening track Diamonds was rich and heavy with swaying Tom Waits swagger and the shimmering sax of Roger tied around each limb and stretching us to our limits. This record is an adventure.

Black Space Dust & Memories | Dogtablet (bandcamp.com)

Grey GallowsStrangers – Patra Greece darkwave artist with a new full length album. I found them through Cold Transmission and was hooked in right away. A sinister batcave thrum blended with modern darkwave club beats. Konstantin has an expressive range and a showman’s inflection on vocals. The basslines are tight and weighty like a bowling ball down castle stone stairs. Track 3 “Spirits” featuring Kriistal Ann was a lovely standout. Giant sweeping synth pads and her operatic grace accented with cymbal accents. I really need to dig through the back catalog of this band. This album is keeping old school goth alive in 2023.

Favorite Track: The Night In Me – The tempo drop and pageantry of this song put it heavy in my rotation. The vocals drip like hot wax on a cathedral candle. The reverb heavy rhythm guitar crated perfect anticipation between verses.

Strangers | Grey Gallows (bandcamp.com)