Brand new single and video from Baltimore suicide rock artist STR Helvete! After a two year hiatus Helvete Inc. returns with new collaborator “DrumDaddy” Dan Milligan (Joy Thieves) and producer Erik Gufstafson (Adoration Destroyed) to unleash a savage electronic entropy doused in guitar driven gasoline. Briming with life and corruption this creeping track boils over and fills the dancefloor with green fog. STR’s voice cuts through the static with a subtitle melody.
Lyrics: Revel in this ignorance Confess my sins, kneel and repent But this ever present nothingness is eating me away Kill for unseen entities to justify existence Hold onto faith but drowning in the lies
What is it that you pray for? The Godhead What is it that you prey for? The Godhead
credits
released November 3, 2023
A Major Arcana work Produced and mixed by Erik Gufstafson Mastered by STR Helvete Recorded in The Void
Dan Milligan– Drums STR Helvete– Music, lyrics, vocals
Goth music has always been a scene obsessed with the past. By nature it came from a literary concept of macabre themes. Many of the bands that started this movement have actively pushed back, famously Sisters of Mercy for example. This month two bands that were there in that early pre-goth era paving the road for the decades, creating a new wave of splintered darkscene sounds. I love in both cases, these are not fan service records standing on the name of their past. They are fresh new ideas, forged in the skill and intensity that decades of releasing albums provide. So let us discuss the latest offerings from The Cassandra Complex and Christian Death.
The Cassandra Complex – The Plague – Rodney Orpheus and The Cassandra Complex have been entrenched in the concept of what we would later call “goth” music since before we had a word to describe it. They have toured with and played festivals with the biggest names in the scene. Starting in 1985 releasing 7 full albums and 3 live albums the last of which “Wetware” on Metropolis Records in 2000. 22 years we waited for a return with “The Plague” to burst forth with a ferocious new energy. Early releases like “Grenade” were thick with an aggressive political message. I fell instantly for this return of piss and vinegar spirit blended with fine blade refinement. A razor edge between emotional concept and ability. Although these are new songs tackling modern concepts of a post capitalism world, the album serves as a greatest hit record. Drawing on individual styles that run the range of their history. It doesn’t forget the tongue firmly in cheek humor, using wit to mock the face of power.
Rodney Orpheus: vocals, vocoder, synthesizers, drum machines Andy Booth: guitar, keyboards Volker Zacharias: guitar, bass, keyboards Axel Ermes: synthesizers
Produced by Rodney Orpheus @ Magic Library Studio, London Cover Art by Antony Johnston
Photo by Patrick Beerhorst
Standout Tracks: This is not an album of singles. No fractured thoughts of refracted light touching unrelated ideas. This is a record of intent meant to be played in succession. I must stress the importance of reading these chapters in order to understand the story. To say particular songs didn’t grab hold of my lapels and shake me with staggering force would be unjust as well. I will call out three.
Hotline To Elvis – Opening the album with this blistering gallop of southern twang guitar and hooved pounding bassline. Living in Kalamazoo MI I remember the Elvis hotline. It is often forgotten that bizarre conspiracy theories were not new ideas. When people want to believe something, no matter how absurd, they found a way. I love how Rodney takes on just enough southern lilt to summon the shaking spirit of the King. I blast of fire to set the scene.
We did this interview with Rodney in 2020. We have another soon to release 🙂
Speed Of Sound – Ok, this is that track. A swelling ballad that captures a relatable experience that just hits different. The heart grasping hook of this bassline, Rodney’s genuine and tragic delivery with a Lou Reed poetry in blue collar hues. I must have played this track 20 times. I feel myself well up for every single one. A modern classic.
Old Boys Network – This song is about a collision of sounds and fierce satirical rebuke of the men in power which permeate and destroy every aspect of life. This synth line is a bouncing frenzy and Andy Booths guitar lines crackle with LA punk chaos. Rodney keeps the effect of clarity and grey pastel while spewing forth a Dead Kennedy’s rant.
Overall this is a triumphant return, an band that has earned the freedom and skill to treat their fans to a fearless and personal glimpse into the human experience in a failing system. It is my sincere hope that this is a path back for younger new fans to one of the bands that paved the way for the modern darkscene.
Christian Death – Evil Becomes Rule – The most recognized name of the American Proto goth scene from Los Angeles “Evil Becomes Rule” marks the 20th studio album in a legendary career. In our recent interview Valor told me about EBR being a continuation of 2015 The Root of All Evilution. It would be easy to appeal to longtime fans, putting out similar albums in a fan friendly style. Some artists have wonderful careers doing just that. This has never been the Christian Death way. Always slicing the edge in every incarnation. Evil Becomes Rule took me to a new place I never expected. A shadow psychedelic blasphemy of triumph blending world beat Dead Can Dance and roaring power of Judas Priest. Maitri’s vocals are highlighted like never before and cast a sinister ritual of power.
Recording lineup: Valor – Lead vocals, guitars, violin, cello, piano (inside and out), keyboards, percussion Maitri – Lead vocals, bass guitar Pao – Drums
Live at Reggies in Chicago
Stand Out Tracks: It is so hard use objective judgement for a song writer I have this much respect for. I will try my best to pick a few favorite tracks that struck me hard and made me revaluate the idea of what Christian Death is.
Elegant Sleeping – This track is a stalking wolf in a swirling forest mist. Maitri delivers such a delicious snarl to split the space between the dervish guitar rhythm. The break down sails right off the rails in a savage cacophony of chaos. A blistering and explosive avant garde.
Beautiful – There are other singles on this record. This one just rings out with such beauty and clarity. The chorus hooked me in hard, I kept hearing it in my mind wherever I went. Cobra strike guitar lead, dancing beside a merciless chant of longing. The organic crashing drum sounds really find their form. This single is such a penetrating reminder of how complex and emotive Christian Death are. Shout out to this gorgeous video as well to bring the concept into stark relief.
Who Am I part I – Another aspect of CD has always been a clear understanding of the power of pageantry. Drawn bow strings and the call and answer dialog vocals of Valors Bowiesque glam dueling with Maitri’s storm winds challenge. Crashing contrasting voices meeting in the middle to erect a swirling tower. A final crescendo on this journey through past and future.
Overall: I am left astounded at Christian Deaths ability to always be growing, always raising a challenge. I saw the first night of the tour in Chicago and was overwhelmed by the presence they create. Valor and company are excited for this record. That enthusiasm bleeds into every word and note. Seek out a chance to witness this live, there just aren’t as many true rock stars in the world anymore. You still have a chance to see one in an intimate setting.
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.
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.
The Tacks is more than a Goth band. They’re a loud, dark, Goth, post-punk band from Christchurch, New Zealand. This five-piece is raw. The self-titled album that was released in early April is riddled with angst and passion. The driving drums and the lo-fi tone mixed with an incredible female punk-rock vocals establish something familiar while creating something unique.
I stumbled upon The Tacks on Bandcamp and was elated to find their album in the top six bestsellers under the Goth category. I gave their song “Merivale” a listen and fell in love with it pretty hard. The EP has four songs and is less than 10 minutes long. Each song is a fast-paced rocker that will get those angsty fires lit within you.
I can imagine being at their show, thrashing and sweating with the crowd, shouting the lyrics along with the band. I remember going to shows like that when I was younger and healed from mosh pits faster. I remember the thrill of being in the middle of everyone, being pushed around like the crowd was a giant wave pool. The terror I’d feel falling over only to find unexpected kindnesses all around me as people pulled me back to my feet. Those were the time’s shows were the most fun. When I didn’t know what to expect from the band but knew it would be a night to remember forever. As I listened to this EP, I got to live in that nostalgic thought.
Some favorite tracks
How Many Times– This song starts with a bang as group vocals shout “How many times?” The energy stays high throughout as a story is told about being let down by someone and wondering how many times they’ll get caught up in their own life only to let others down. Group vocals sing every chorus to emphasize each word and make it impactful. It’s a short song, but it’s oozing with familiarity.
Merivale– If you go to The Tacks’ page, this will be the first track that you hear. It’s a banger. This song has the most post-punk feel with tinnier guitar tones and chord changes that tug on your heartstrings. The chorus has group vocals and is very much a punk chorus, but there are other elements involved. For example, between overdrive and distortion as guitar effects, there’s a chorus pedal that gives it more old-school Goth vibes. Once again, this song isn’t a big-time investment, but it’s very fun and filled to the rim with energy.
Overall, I really enjoyed this entire EP. It reminded me of punk bands I loved as a teenager like The Distillers and X. There were just enough post-punk and Goth influences to make me excited and really look forward to this band’s future.
Members: Bruce Nullify – Vocals, Guitar, Bass/Leonia Teaneck – Lyrics on Death Hag and Rose Veneer/ Drum tracks, mixing, mastering and all around big help Ant Banister of Sounds Like Winter and Lunar Module.
So Orcus Nulify is a wonderful project by Bruce Nullify out of South Carolina. Bruce is one of those wonderful people in this scene that is always going out of his way to help everyone else in the around him. So I was really excited to get this EP and really dig into it. The sound has a lot of heavy old school goth guitar riffs, I would almost call it doom metal. His voice is a deep mellow chant and his lyrics are extremely theatrical and over the top. I get how it might even ride that line too much for some, but not for this guy. I think Bruce glides the absolute razor wire of creating a dramatic picture of allegory while keeping just enough in reserve to not cross the line into cheesy. It’s a real art in this day and age to create something this involved without coming across as ironic. As a listener you have that question in your head but you also have to face that this is extremely well done rock music with depth and substance. The Sisters of Mercy did this, Rosetta Stone did this, and I feel like Orcus Nullify is walking the same path. I think another great strength of this EP is that Bruce is doing every voice, guitar, bass, drums, when it all comes together I think it really gives the songs a singularity which are essential to the effect he is creating.
This was a four song EP I found myself wanting more of. He covers a lot of ground artistically in just four songs. Bruce got some help from Ant Banister of Sounds Like Winter who is an incredible song writer in his own right. He really smoothed out some of the edges and added in some drums beats that give motion to the tracks and make it feel more modern. Leonia Teaneck did the lyrics for Death Hag and Rose Veneer which are two of the strongest tracks. I don’t know any of her work but the lyrics here are truly unique and wonderful. “Drags her fingers through the leaves, and in the night, the veil is lifted.” This EP is full of power and vulnerability at the same time. It’s a memorizing combination.
As I have continued to listen to this EP more an more I think it is important to add a note to the original review. The guitar work in these songs really stick with you. It’s a lot of of rhythm and lead blending and twisting and the more I heard these songs the more I felt they were the true stars of what is making these songs so powerful. Bruce is doing both and I think that is part of what makes them blend so seamlessly and become another voice in the pageant of this music.
Since it is a 4 song EP the best tracks
could be any of them, but I will narrow it to two.
Rose Veneer – This is the quintessential bomb track and single. Powerful driving drum intro. Textured guitars that have a very old school Alien Sex Fiend British goth feel. When Bruce comes in with those winding thick vocals describing a crawling graveyard culmination of life and death. It really optimizes what Orcus Nullify does so well. It keeps you guessing as to how serious this is and leaves you as a listener questioning your own perceptions.
The Wind – Here things kick up a notch, a slashing static whip of guitar undercut by a driving Peter Hook bass line. Bruce’s vocals again are a chant in an off kilter rhythm that captures your attention. Then the chorus jumps up an octave in a traditional Cult like rock ballad. I love the dynamics here. The drums really add so much to this track with those crisp merciless snare snaps. I can picture the music video in my mind without seeing one.
Overall this EP is a brave and fresh challenge to the so much cooler than thou feel of modern post punk and goth and I found myself falling in love with it’s unabashed extreme darkness with a standard rock feel. This is an album that needs more appreciation and attention. Find the straight forward spooky romanticism of Orcus Nullify
The Tacks is more than a Goth band. They’re a loud, dark, Goth, post-punk band from Christchurch, New Zealand. This five-piece is raw. The self-titled album that was released in early April is riddled with angst and passion. The driving drums and the lo-fi tone mixed with an incredible female punk-rock vocals establish something familiar while creating something unique.
