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April Showers Bring May… Covers? Sure, Why Not?

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Sometimes the right thing to get the creative juices flowing is to take an existing and influential song, put one’s own spin on it, and unleash it upon an unsuspecting fanbase. Whether taking a page of a genre playbook similar to one’s own or covering a track clear out of left field, why not shake shit up here and there? Within the last few weeks, the alternative world has seen a number of its best and bleakest offer up their interpretations of some popular tracks, ranging from a Nine Inch Nails Grammy winner to a cut from the Queen of Pop.

Poppy modernizes nu metal darlings Kittie’s first salvo “Spit” from 1999 debut

The post-genre princess known simply as Poppy has paid homage to the women that have rocked before her, namely t.A.T.u (“All The Things She Said”) and Jack Off Jill (“Fear of Dying”), but the once-YouTube sensation tends to wear her musical influences on her sleeve. The title track from Kittie’s 1999 debut album was a rattling of the metal cages, as the Canadian four-piece challenged the entire concept of women in heavy music in a way that hadn’t been done since the heyday of Doro Pesch. A shame it may be that the lyrics of “Spit” are still relevant nearly a quarter of a century after its initial release, 

Poppy’s update picks up the pace and adds in more electronic elements, making what was already a mosh-ready track a mule kick to the teeth. If Kittie’s original was pissed off, Poppy’s is an exasperated, infuriated howl along the lines of “god damn it, we’re still debating this shit?!” It’s urgent, dangerous, and an improvement on an iconic song from the heart of the nu metal era, and for that Poppy should be proud.

Danny Blu & Moris Blak confirm what we all knew: Janet Jackson’s “Rhythm Nation” is, in fact, industrial

In 1989, Janet Jackson invited us all to join a nation without geographic boundaries, united by a common mission. The title track from her landmark fourth album was set to bring people together through the power of music, addressing social calamities in a concept album for which Jackson fought tooth and nail to maintain creative control over. Given the rising influence of industrial music in the late Eighties, some have quipped, albeit only semi-seriously, that Rhythm Nation 1814 is an industrial album, but leave it to two of today’s best and brightest in the game to take that and run with it.

The SHVDOW Records duo of singer Danny Blu and producer Moris Blak bring the legendary track into modern times, tweaking the lyrics ever so slightly to reflect the problem du jour (namely, “with music by our side, to break the gender lines,” whereas the original named “color lines”). The live out loud mantra and attitude of Blu, with the pounding rhythms and thought-out production and arrangement by Blak, amounts to a smash for both. May this collaboration never end, and may the Rhythm Nation never stop. 

We found Garbage hiding, and they finally uncovered their take on Siouxsie and The Banshees’ “Cities in Dust”

The godmother of goth that is Siouxsie Sioux championed the post-punk sound that populated the Seventies and Eighties, influencing innumerable alternative music acts for decades to come. The Madison, WI quartet Garbage has gone on record saying that the Banshees frontwoman was integral to their sound from moment one, and as a loving tribute, the band’s recent Record Store Day special Witness to Your Love EP included a version of “Cities in Dust.” Part electropop, part noise rock, and all driven by Shirley Manson’s smooth yet commanding voice, this cover may take a bit to grow on the more diehard Siouxsie fans, but such a careful and thought-out tribute cannot go unnoticed.

Ego Likeness mark their return with a rendition of Madonna’s “Live to Tell”

Madonna is an artist that invokes an old adage from wrestling manager extraordinaire Captain Lou Albano: often imitated, never duplicated. The Queen of Pop has a body of work and a sound all her own, making any artist’s go at reimagining one of her songs a tall task. Leave it to the seasoned Ego Likeness, breaking their yearslong silence following the reissue of their Dragonfly album and the release of their Wolves EP, to put the “power” into a power ballad. Donna Lynch’s dynamic and haunting vocals with the instrumentation and production of the multi-talented Steven Archer give this song about lies and mistrust an even darker, more ominous cloud to hang over it.

Otep’s take on Billie Eilish’s “you should see me in a crown” rules with an iron fist

The music of Otep Shamaya has always been confrontational and boundary-challenging, and her handling of covers has been no different. Be it her faithful cover of Nirvana’s “Breed” or even the transformation of Lorde’s bedroom pop smash “Royals” into an alt-metal banger that begs to be belted, the edge which Otep adds is one that is razor-sharp. On her first studio release since 2018’s Kult 45, Otep tackles Billie Eilish’s “you should see me in a crown,” one of the anchoring singles from the young singer’s debut full-length. Through death-growled choruses and gritted teeth, Otep adds plenty of bite to the track, going for aggressive where Eilish’s original approach was more understated.

Tony Hawk enlists a bevy of heavy to cover Nine Inch Nails’ “Wish”

If you had “Tony Hawk sings Nine Inch Nails” on your 2023 bingo card, no you didn’t, you fucking liar. Fairmounts frontman Mike Hawdon hosts “Mikey and His Uke” on YouTube, a music show featuring a who’s who in music creating all-star covers of rock and metal classics. For a more recent video, Mikey recruited Tony Hawk, who I’m convinced still doesn’t know how famous he really is, along with guitarist Ben Weinman (ex-Dillinger Escape Plan, Suicidal Tendencies), bassist Brad Magers (The Bronx), keyboardist Kat Lucas (ex-P!nk, stormylovechild), and drummer Ryan “Legs” Leger (ex-Norma Jean, ex-Every Time I Die), to cover a song which Hawdon himself always wanted covered on his show: Nine Inch Nails’ 1992 smash “Wish.” In the music video, Trent Reznor himself makes a brief cameo, giving an emphasis to the phrase “fist fuck” while still keeping well within YouTube terms and conditions. The cover itself is crunchier and more guitar-forward, with Hawk’s vocals staying faithful to Reznor’s original takes, albeit with a bit less inflection than the genuine article.

Projekt Records’ 40th anniversary

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In 1993 Sam Rosenthal (Black Tape For A Blue Girl) started an Indie label that combined a love of Dreampop, Ambient, Shoegaze, and Dark Cabaret. It began as a vehicle for his own band, but through a decerning eye towards the future highlighted eclectic new sounds we are celebrating four decades later. I discovered Projekt in college branching out for colder, darker sounds than Dead Can Dance and similar world beat shadow folk. With bands like Black tape, Voltaire, Love Spirals Downward, Attrition, and Lycia early Projekt sampler cd’s were fertile ground for a young mind exploring the boundaries of darkscene music.

Shop Projekt: Darkwave | 30 years in the underground

For 40 years Projekt and weaved and bobbed changing focus and embracing new technology in the music industry. With Mini Disc, MP3’s, even a resurgence in discord vinyl Sam has flowed with the tide to bring new fans to music which otherwise may not have seen the light of day.

The first band Sam signed was Dark Industrial legend ATTRITION. with several records already out, they brought a blend of intelligent punk ethos, electronic textural ambiance, and ice cold rage. Martin Bowes would find an international audience still captivated today. This also awakened Sam, fresh out of college to the realization the record lable would consume his life the next couple years.

Music | ATTRITION (bandcamp.com)

Lycia from Arizona would be the first band “discovered” by Projekt. I first found them through Burning Circle and The Dust. A haunting, memorizing, slushy burnt pastel sounds. Submerged ethereal vocals that wrapped around every sense. Eventually they would go on to form their own label. Releasing new material in March 2022 which I reviewed. These early Projekt records that put them on the map will always be my rain-streaked dorm window memories.

▶︎ The Burning Circle And Then Dust | Lycia (bandcamp.com)

I don’t want to go any further without talking about the other band that drew me into Projekt, Black Tape For A Blue Girl. Another major nostalgia band that opened my eyes wider to the idea that what we think of today as “Trad Goth” or “Post Punk” was the end of the conversation when it came to darkscene music. Things could be elegant. Darkness, pain, and regret could be beautiful feelings that explored the human experience. “The Rope” from 1986 held a particular majesty, with Oscar Herrera‘s strange cadence and David Bryne clarity paved a new road in my mind for what was possible. Four decades later Sam is still finding ways to explore sonic paths not taken.

mesmerized by the sirens (2023 stereo mix) | Black Tape For A Blue Girl (bandcamp.com)

Another Projekt band that had a major influence on me was California Stargaze ethereal band Love Spirals Downward. Guitar layered woven tapestry and warm blanket harmonies. Songs that offered comfort and jump started deeper dreaming. Extra shoutout that Jennifer Wilde of Sword Tongue did additional vocals on my favorite album of theirs Ardor.

▶︎ Ardor [Remastered Reissue] | Love Spirals Downwards (bandcamp.com)

As someone who makes “comedy goth” Projekt records artist Aurelio Voltaire opened my eyes to what was possible with dark music. Clever gallows humor and rapier wit blended with eastern traveler instrumentation was a fantasy idea that captured my imagination. I recently interviewed Aurelio and doing preparation research found I still knew every lyric on “The Devils Bris“. A true shadow bard that transcended music style in favor of narrative craft. This troubadour set trends that paved the way for everything I am trying to accomplish today.

Hear about his new album The Black Labyrinth here

The Black Labyrinth ~ A Requiem for the Goblin King | Aurelio Voltaire (bandcamp.com)

This has been an enjoyable memorandum as well as a glimpse into the future for a label that has helped define modern darkscene music. Rather you want to rediscover these updated releases of the past. Or explore the Projekt artists of the future, Sam has left an undeniable mark on out scene. I encourage everyone to delve into this rich tapestry of sonic narrative and celebrate 40 years of Projekt Records.

Music | Projekt Records (bandcamp.com)

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

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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

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“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)

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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 Hodges– Despair – 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 IV – Gentlemen 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)

melodywhore – Ghosts – 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 G – Methods 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)

Tenderlash – Life 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)

Unwoman – Darkest 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)

Vaselyne – Riverman – 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