Once Again Into the Breach My Friends. Time To Review Some Music.

Another Friday night finds me tipsy and alone behind this keyboard. However I am never truly alone when I have great music and all of you to share it with. I have all my latest Bandcamp purchases, a few of which are absolutely smash hits. Please leave a comment below of who you would like to see me review in the future.

Twin TribesAltars – The beautiful lads of TX have released a remix album. Now I will always buy anything Twin Tribes put out sight unseen. I have to say this collection of remixes by some of the hottest names in darkwave was a special treat. The songs were big departures from the standard Twin Tribes style, but Luis voice still kept each song familiar. It included tracks from both previous albums placed lovingly up for sacrifice on the Altar to be transmuted and given back to the world.

https://twintribes.bandcamp.com/album/altars

Remixers Include: Skeleton Hands, Geometric Vision, Luz Futoro, Ash Code, NITE, Wingtips, Matte Blvck, Dave Parley, She Passed Away, Bootblacks, and Creux Lies. Yes you read that right. I think the power house of performers here really speaks to the immense effect Joel and Luis have had on this scene in such a short time.

Favorite Tracks:

Upir (remixed by NITE) – Damn this is gorgeous. This slow drifting synths remind me of a quiet corner in a buzzing high energy club. The beat then kicks in with a lovely synth line. Just such a bold shift from an already amazing song. This is the most I can ask for in a remix. I true homage while breaking a new vision.

ShadowsMatte Blvck remix – Shadows was the song that started my deep love of Twin Tribes. It holds a very personal place in my heart. To have it transformed in this way and still hold such an intense emotional impact is something glorious. This is that secret cult but no longer around a ancient tree but now in a lush modern club. Full of velvet and burning incense. A beautiful and dangerous collision of past and future.

Overall Impact: Generally speaking I am not a huge fan of “just remix” albums. I really love remixes included with an EP or something fresh. However as is often the case Twin Tribes have become the expectation that proves the rule. They took songs I love and collected most of the top names in modern darkwave. If you don’t know some of the bands here, you need to let this album lead you back to them. It’s very accessible and has a nice variance of sound. General fans will enjoy, fans of Post Punk/Darkwave will love.

the DramedyAnd The Light Goes White – New album from Dave Dramedy, who I recently saw playing bass for Caroline Blind in Detroit. This was a strange and experimental album that never left me bored. Dave surely has a power and range to his voice that rides the line of Mark Burgess and Iggy Pop punk edge. I really like the blend of rhythmic acoustic and harder driving bass guitar sounds. This is an album that grows on you. It seemed to get better with every listen. Like a favorite film where you notice a new detail every time you watch and always feels fresh.

https://thedramedy2014.bandcamp.com/album/and-the-light-goes-white

Favorite Tracks:

Parasite: It’s hard to put my finger on it. The inflection in the vocals. The ring of the drums. The chopping downward acoustic guitar. This song although having a very dark edge, carries a vibe of 60’s Height Ashbury psychedelia. Of the Mamas and the Papas. It covers a lot of ground stylistically. The vocals are full of piss and vinegar for how beautiful and resonant they are. This song is a jam that is hard to place in the box. Other than the box of I love this fuking song.

What’s left To Say – Just stabbing sun shard energy right out of the gate. Total bop feel with flaming guitar lines, biting vocals, and late 90s Brit Pop hooks. I just couldn’t stop my leg shaking on this one.

Overall Impact: This album is so full of twists and turns. A definite nostalgia feel, as well as a region one. I really felt the California connection in every song. I think this record is very accessible despite the complexity. It is a hard sound to describe but if The Church were being yelled at by Iggy pop to stop changing time signature and just play bops. That’s what I feel.

Christian DeathSpectre (Love Is Dead) Kill Shelter Remix – This song is a classic. Probably my favorite CD track. So how do you re-imagine something iconic? Give it to Pete Burns. Pete is such a master of the sonic scalpel cutting away tiny bits until you are left with such a precise and streamlined modern wave beam. If I had it in my heart to toss a grenade over my shoulder and purposefully stroll from a collapsing building, this is the track I want playing. It’s pure energy and dangerous intent. 10/10.

https://christiandeathrozz.bandcamp.com/album/spectre-love-is-dead-kill-shelter-remix

Overall Impact: Everyone will love this track. It’s very fresh, it’s very way back. It’s just a slamming banger from start to finish.

Deadlight HolidayBlood // Body – Our dear friends from West Michigan uncorked this badass single with some slamming sounds of Nu Metal and sizzling tempo Stabbing Westward vibes. Great production in the breakdown swirl. Loving these scratchy tear your head off vocals blistering past the crunching guitar. Also a gasoline covered dead man’s dance remix by Angelspit. I sense big things on the horizon from these young folk and I look forward to sharing a stage with them again soon.

https://deadlightholiday.bandcamp.com/album/blood-body

Raichyl SinversaYou Tell Me (Re​-​Mastered) – Remastered single from Raichyl of Philly. This is a nice crooning darkpop head bopper with an empowerment edge of 90s grunge. The guitar work is napalm scorched earth to contrast the lovely lifting vocals. A little bit of southern sass in the tone puts a nice edge to this “I’m not falling for your shit again” boot stomping driver.

https://raichyl.bandcamp.com/track/you-tell-me-re-mastered

Aesthetic PerfectionAutomaton (feat. Sebastian Svalland) – Ok I have a confession that will not win me any goth points. Aesthetic Perfection sort of happened right in the moment between when I gave up on discovering new music and the time I listened to nothing but. Daniel Graves has become a leader of the modern dark scene for a reason. So getting to hear this new single without much context is a really interesting way to stumble into the band. This track is a bop. With firecracker exploding chain guitar work by Sebastian Svalland. It is also produced by Front Line Assembly legend Rhys Fulber. So I went in blind expecting cold razor precision on the production. Which is exactly what I got. What I was pleasantly surprised by was the range and voice charisma of Graves. It oozes with thick viscus grime and light footed cadence that keeps the energy constant and focused. The song also gives a tight compressed poetry of lyrics that convey a relatable idea in the modern era without an abundance of words. There is a special anticipation when you discover a band with a rich history later in their career and get to work your way back. I may have to do some of my reaction videos to some Aesthetic Perfection classics. Put your favorites below in the comments. Also buy this track immediately because it is a slam.

https://aestheticperfection.bandcamp.com/track/automaton-feat-sebastian-svalland

Witchhands: Unto Death

There are times you just know. Something mystical about a good cover that seems to communicate something of the band, something about the album you are just about to listen to. Something just let’s you know you are about to hear something great.

https://witchhandsdxr.bandcamp.com/album/unto-death

Unto Death, the Colorado Springs band, Witchhand’s, 4th album is one of those albums. Where does one start to describe a work that is bound to become a classic filed somewhere between Christian Death‘s Catastrophe Ballet and T.S.O.L.’s Change Today? If you are into Death Rock, Goth Rock or Horror Punk, WitchHands has you. From the opening notes of the title track “Unto Death” through this four song journey’s end with “Dust (Dying of the Light),” this EP promises unrelentingly good, song after song. Trust me, I have listened to this possibly 30 times since I received a copy a couple of days before release, and it is now in my regular rotation. The crooning yells of singer Ryan’s strangely distant, yet hauntingly close vocals to Bryan’s thick thunderous drumming; The swirling dance of layers from Aaron’s screaming guitar, Josh’s driving bass and the steady ethereal keyboard work of Lance, this is a classic waiting to be recognized. The production has cleaned up and improved drastically from their previous releases, but still feels raw, reminiscent of proto death rock greats, creating a perfect balance. Unto Death is bound to find a permanent place in the collections of DJs, fans and audiophiles everywhere

Unto Death: From the first time I heard Witchands, I fell in love with the lofi sound. The gutter growl doom rock cheese. I worried the clear driving production level would kill that effect. It does not. It’s more of that energy but with laser beam precision. It’s a finer articulation, a focus to Ryan’s voice. A blend of guitar, drum and lyrics that opens the sanctum and makes you the sacrifice of this ritual. I’m still wandering through a foggy graveyard on a full moon, but the stars are clear enough to read the gravestones.

Neurenberg (Dying of the Light): We’ve brought up the tempo, and Bryan’s thundering tom fills create a languid ritual cascade. The clarity of running up a tight spiral staircase of climbing scales as the punctuating guitars weave a twisting dancer’s cadence. Lance’s vocals punch in with a newfound sense of emergency, capturing with their high energy.

*Mortification: This is our favorite track. Tribal drum rolls open, three unlicensed nuclear accelerators firing plasma at a spectre across a New York ballroom. Ryan’s voice unleashes such an intensity and urgency, his biology exploding through his vocal chords.

Dust (Dying of the Light): Closing track unleashes a thick and driving baseline. Again capturing that break neck speed and rum fills that kilter on the razor edge between doom rock and metal. This is a song of a desolate landscape, zombie truckers in the 1970’s driving through the desert huffed up on memories and formaldehyde.