It’s time to start reviewing Twitch livestream DJ shows. First up Hate Mior Isolation – A Soundtrack to the Life and Death of Ian Curtis

This pandemic has changed things. The world we left is not the one we will return to. Even as vaccination rolls out and tours and festivals start booking. A giant void was left in the fabric of our reality and club Dj’s headed to places like Twitch to fill that void. It wasn’t enough to spin Spotify or Mixcloud playlists. People hunger for an interaction. To have a story told. A “Radio show with a strong visual componentHate Mior. The people who have embraced this new medium have broken a never before done artform which is creating a modern day electronic salon for music fans from around the world to congregate and discuss culture and music in real time. I will start by reviewing a very special 5 hour show by Toronto Street artists/Clothing creator/and DJ Hate Mior and their show to commemorate the life and death of icon Ian Curtis (Joy Division).

https://www.twitch.tv/hatemior

https://www.twitch.tv/hatemior/clip/KindTrustworthySalmonPipeHype-1hbfCfSy4qdUdKo3

https://www.twitch.tv/videos/1042696401

This piece is a journey, a story of one of the most known and tragic figures of our genre. Ian’s words and unique musical style were taken too soon but left a rippling effect which burned hard in the imagination and inspiration of generations to come. It opens with the fitting David Bowie classic “Rock and Roll Suicide“. Hate then appears on the screen with the flat lined supernova readout that is homage to the Joy DivisionUnknown Pleasures” album. One of the most recognizable images in T Shirt history. Their face is emotive and playful. Stark in Black and White. Projecting the range of an experienced theater performer. Then The Sex Pistols No Fun rings out. It’s hard to separate The Pistols from Joy Division. Legend has it the band was formed at one of their early shows.

At the 25 minute mark Hate lays out what the concept of the show is and why it is important. Also the role the visuals play in the story. Because this isn’t a radio program. It’s a multi media experience. They site reference material like “Touching from a Distance” by Ian’s widow Debra Curtis and the film Control. I love how the story starts at the true beginning. The number one hit in England during Ian’s birth “Why Do Fools Fall in Love“. The narritive progresses to Ian’s early family influence and what it was like growing up in a factory town like Manchester. Matching up the video to the film “Jason and the Argonaughts” which was sited as playing a dramatic role in his development. I love this attention to history. It is clear early on this isn’t just a setlist. It’s a biography set to music.

Ian Curtis is best known for the power of his lyrics. It was truly transformative poetry of the depths of the human condition. Here Hate calls out specific lyrics and the impact his early loves played on those later verses. A story then goes into Ian’s love of mime and performance. How this connected to David Bowie. Then the most important part, how it connected back to Hate’s own life and experience in performance. Because the new roll of the streaming Dj is also as a performer who makes a personal connection with the audience. The Dj is no longer the the one who chooses the music, but a part of the story themselves. This brings Kate into their idea of Ian and Debora’s personal mixtape. I think the other aspect worth noting is Kate does not hit play and put their headphones on. They take this journey with you. In movement and facial expression.

“Kate has an unhealthy knowledge of this band. The setlists were weird until I realized where the show was going.” It felt like going through a museum with the best tour guide on their roster. The stories, background, and history allowed you to see the paintings for yourself. Just gave all the best behind the scenes insight to make everyone who watched feel like an expert.

Setlist: PROLOGUE: David Bowie – Rock n’ Roll Suicide John Peel Announcement

: The Death of Ian Curtis Sex Pistols – No Fun Sex Pistols – Pretty Vacant PART 1: Frankie Lymon & The Teenagers – Why Do Fools Fall in Love David Bowie – Sound and Vision The Doors – Light My Fire Neu! – Wave Mother The Velvet Underground – Candy Says Nektar- It’s All in the Mind Mott the Hoople – All the Young Dudes Roxy Music – More than This WARSAW YEARS Warsaw- No Love Lost (early recording) Warsaw – Warsaw Warsaw – The Drawback Warsaw – They Walked in Line Warsaw – Tension Warsaw – Lost Iggy Pop – The Passenger Buzzcocks – Lipstick The Fall – Firey Jack The Drones – Persecution Complex X-Ray Spex – Oh Bondage! Up Yours Delta 5 – Mind Your Own Business Gang of Four – To Hell with Poverty Martin Hannet & Joy Division – Noise Drums Sine Warmup N.F Porter – Keep On Keeping On Joy Division – Interzone Frank Sinatra – My Way

In between the sets you hear the famous Henry Rollins rant, along with a Bill Burr quote. I love the full picture here of adding other voices to how Joy Division effected them. Shout out for the Bootblacks spin who I think has a direct line the flavor and magic Joy Division captured. From here the set veers sharply into a tribute to Joy Division the way it was meant to be heard. 1st pressing vinyl, obscure cuts, and a Martin Hannett homage. Kate calls out the people who support them, which is such an important part of the modern stream. People have a longing to be connected to what they are seeing. The best streaming shows understand this and make the experience interactive.

PART 2 – THE RISE AND FALL OF JOY DIVISION Joy Division – Shadowplay (First television appearance) Kraftwerk -The Man Machine Joy Divison – Day of the Lords Joy Division – Twenty Four Hours Joy Division – Insight Martin Hannett & Joy Division – More N4 Drum Programming Joy Division – Transmission (Arrow Studio 1978) Jou Divison – Transmission (12″ original vinyl) Joy Division – Incubation Joy Division – Dead Souls (live at Les Bains Douche) Joy Divisio – Isolation Joy Division – She’s Lost Control (original first UK press vinyl) The Captain and Tenille – Love Will Keep Us Together Joy Division – Love Will Tear Us Apart Section 25 – Girls Don’t Count Section 25 – Colour Movement Sex & Violence Parts of Ian Curtis’s recorded past life regression therapy (originally recorded by Bernard Sumner) FINAL CURTAIN A Certain Ratio – All Night Party Joy Division – Ceremony (Live at Birmingham University) Joy Division – Disorder Joy Division – Decades Joy Division – Digital Joy Division – The Eternal Iggy Pop – Nightclubbing Iggy Pop – Mass Production Martin Hannett & Joy Division – Atmosphere Buildup MUSIC VIDEO: Atmosphere David Bowie – Warsazawa

The game has changed and Djs haven’t just had to adapt. They have had to create a new medium of art and experience. This was a history lesson, a street performance, and a psychology paper rolled into musical format. If this is the future of streaming shows that the pandemic has made for us. If this is the way the world connects online to become a little closer, a little smaller. I say the future looks bright and is starting to heal the pieces of what this isolation has made. Where will it end?

I’ll work on more stream reviews soon, who are some of the ones you love? Comment below

The Next Wave of Goth Is Now

Goth music and culture has always been rooted firmly in the past. It often has felt this subculture awards time served in the scene and knowledge of the obscure history of the bands, clubs, and fashion of our progenitors. However in order for a culture to carry on it must evolve and strike a chord in future generations. This happened in the 90s, then again in the mid 2000’s as new waves of goth music found and audience. Each time adding to the story by paying homage to the generations before it. As time went on “Goth” has splintered into smaller subgenres which have pushed further from that original concept until a tangled and complex web reached towards the edges of other genres. I for one embrace how rich and diverse the concept of goth culture has become. In future articles I want to explore some of these subgenres and how they are impacting modern music. In this article I will be focusing on the return to the core. That first idea of guitar driven dark music, with throbbing basslines, ethereal keyboards, and haunted lyrics with romantic natures.

1st Wave: The Velvet Underground, Joy Division, Siouxsie and The Banshees, Killing Joke, Bauhaus, The Cure, Sisters of Mercy, The Birthday Party, Sisters of Mercy, Red Lorry Yellow Lorry, Fields of the Nephilim, The Mission.

2nd Wave: Rosetta Stone, Nosferatu, The Wake, Children On Stun, Dead Can Dance, Lycia

3rd Wave: Angels of Liberty, Merciful Nuns, Switchblade Symphony, O’Children, Ritual Howls, Pink Turns Blue, The Horrors, Sunshine Blind, Golden Apes, Black Tape For a Blue Girl, Razed In Black.

Finally a new slew of darklings is raising that torch and producing the next wave of goth rock. I think it is key that these are bands who came up listening to the post synthesis goth and found their way back to the root. It gets me excited for the future.

The Kentucky Vampires: Hailing from shockingly, Kentucky, here is another band that brings old school sinister pipe organ and fire bright guitar riffs. From Secret Sin records the tone and emotion of their 5 records is everything true fans of 80’s death rock long for. Abbas has a haunting voice full of chorus and foreboding. Brandon of Sonsombre does mastering for them and helps add a sense of continuity to this new goth sound.

https://thekentuckyvampires.bandcamp.com/album/crimson-curse

Scary Black: Another amazing new goth act from Louisville KY. What the hell is in the water out there. This is a one person band that has such electric energy and frightening tone. Singer Albie has one of those deep baritone voices that comes from the bottom of a well and fills you up with emotion. 3 albums and the napalm fire single Starlight Dancer.

https://scaryblack.bandcamp.com/album/are-you-afraid-of-the-dark

Twin Tribes: These lovely lads from Texas have taken the world by storm. Dreamy private ritual sounds that bring the beauty and heartbeat of The Cure back into the mainstream. Tender poetry and swirling texture smoldering in a cauldron on a moonlit night. Already with two breakout albums and additional singles they are setting the standard for the softer side of gothic rock.

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

Black Angel: London UK artist Black Angel is putting the bat cave rock back into death rock. I feel so much of The Mission and later Sisters dancy flow to gothic rock. Their music reminds me so much of the goth club scene, swinging arms, leather and lace. Gothic music has always been tied to expression with the body, that is something Matt Vowel’s has grasp and fused into the future.

https://blackangelmusic.bandcamp.com/album/kiss-of-death

IAMTHESHADOW: When I think of goth, I think of passion and vocals that capture a room. Lisbon Portugal’s IAMTHESHADOW does that in spades. Pedro Code has the best baritone in modern goth. It’s sexy, crooning, dangerous music that sounds like a full bodied red first touching your lips. It’s music to give yourself over and get lost in. Like the first time you heard Peter Murphy and thought this is the sound that encapsulates the image i want to see in the mirror. Now on Cold Transmission Music.

https://iamtheshadow.bandcamp.com/album/pitchblack-2

Cliff and Ivy: Alaska’s favorite goth couple Cliff and Ivy have brought back the isolated howling wolf tooth and nail of goth. The punk blend of The Damned and Alien Sex Fiend. It’s raw, fierce, and unapologetic. Ivy takes the back of your head with her beautiful prose, then smashes your nose with a headbutt of power. Cliffs thick guitar riffs are a growling beast let off the chain. Iron Gauntlet in a velvet glove.

https://cliffandivy.bandcamp.com/album/the-best-of-cliff-and-ivy

Crying Vessel: Slade and Basil also bringing that softer dark edge to gothic rock. Horror author Slade is integrating imagery of the macabre an sinister with a glam razamtaz feel. Gorgeous layered production and flange rich echo’s that simmer with Bowie and Love and Rockets. That special darkness you find on the edge of a rainbow after a storm. Available on Cleopatra Records.

https://cryingvessel.bandcamp.com/album/pleasures-for-the-wicked

Mary: My newest goth obsession from Toronto. It is fast paced, spicy, with an old school New York feel. Strong sweeping vocals with a lot of depth and meaning. It also has a complete album feel with the sweeping tempo and dynamic shifts. Take me through the full range of emotions in one record. Another Cold Transmission signing. I expect big things in the future from him.

https://maryofficial.bandcamp.com/album/die-before-death

Death Loves Veronica: This lovely lady from Texas brings that same Souxie dripping soul and witchcraft elegance to modern goth. It’s smoky and pours straight from the vein into your ears. Really nice use of guitar to add weight in the right moments. Goth needs to echo through the listener on a personal level. You need to feel what they feel and that is what Veronica captures so elegantly.

https://deathlovesveronica.bandcamp.com/album/in-the-silence

Sounds Like Winter: All the way from Australia Art Banister’s popping sharp edge retro feel goth rock has a lot of that true early Joy Division/Warsaw vibe in the drum and tempo. The vocals are forceful and ringing in a hopeless monotone. All that fuzz and emptiness given flesh.

https://sounds-like-winter.bandcamp.com/album/no-interest-single

Adoration Destroyed: Also from Texas this band is leather pants sexy in musical form. Masters of blending modern pop and old school shadow shock. It’s animalistic and winding with crackling electric dance destruction. Erik has a voice that calls to you come hither and has a 10/10 on the shake that ass factor.

https://adorationdestroyed.bandcamp.com/

Orcus Nullify: The doom and shattering gothic rock sound and poetry unafraid to lean into the cheese and imagery of early goth. Thunderous bass driven rock about bog witches and grave dirt. I love the courage and delivery of this South Carolina sensation

Witchhands: Colorado doom metal with raw open wound sounds full of decay and ritual. That place where early goth rock stayed into metal and pain. Spewing forth a filth and blood soaked pageantry with blistering guitars mashed with organs and echos.

Redwing Blackbird: Another Colorado band with blistering speed and The Damned edge punk feel mixed with true goth sensibility. This album picked me up when i am feeling low…and then sends me low again. Great production and electric tempo.

https://redwingblackbird1.bandcamp.com/album/too-klaus-for-comfort

Amaranth: Ken, do you have the strength of character to not engage in shameless self promotion and include yourself with this wave of goth bands? Fuck No! I feel good about the music we have made coming back. It veers from old school to proggoth/ to industrial but fuck it, it’s good. Give it a listen 🙂

https://theamaranth.bandcamp.com/album/spreading-the-charred-remains-of-hope

I also wanted to call out a few bands that rose from the grave to join the modern scene but have been making music all along 🙂

Caroline Blind: The stunning voice from Sunshine Blind has returned to cut an amazing solo album. Bringing in a who’s who from third wave goth to accompany her on this soulful and rich goth endeavor with a more organic feel. Her voice grabs hold of the heart strings and rides your into the ground. Breathtaking music contributions from Rich W. (The Wake), David Wolfenden (Red Lorry Yellow Lorry), Dave (The Dramedy), Ashe Ruppe (Delphine Coma), George Earth (Switchblade Symphony), Gordon Young (Pretentious Moi, Dream Disciples, Children on Stun), CWHK (Sunshine Blind), William Faith (Bellwether Syndicate, Faith and the Muse) and Geoff Bruce (Sunshine Blind, Faith and the Muse). Everyone who shows up hear really shows the impact of this artist on the scene and how much power this newest release packs.

https://carolineblind.bandcamp.com/album/the-spell-between

The Wake: Speaking of The Wake, they have just unleashed a new album in 2020 and it is game changing outstanding. This record is going to get it’s own review but to not mention the power of this release would be an oversight. Such a sky opening laser of guitar beams interlaced with velvet smooth vocals and a canopy of bass to hold it inside. My breath is taken.

The Cassandra Complex: Rodney Orpheus of London’s Cassandra Complex has been keeping the goth sound alive for years. A tantalizing and sinister painting of sound with the history of human experience brought shining and new with each release. Recently on bandcamp he put out some remasters of those lovely goth anthems back into the light. A true crooner of the poetic experience of early goth music who actually toured with the early progenitors.

https://thecassandracomplex.bandcamp.com/album/wetware-2019-remaster

I didn’t come close to hitting everything, and with facebook now stopping videos, lists like this on our page might be the best bet for a full playlist of new music. So If I missed something you feel meets the requirement of guitar based goth made in the last 4 years. Please add in the comments and I will try and get it included. Much love, Precious Ken.

Post Punk Music made this year you need in your life!

So I just did the piece on new Industrial which I admitted is a bit out of my wheelhouse these days. However the modern resurgence of Post Punk is right smack in my center. So we have had a lot of great releases in the past few months so I figured I would also catch up on some quick reviews of these. Post Punk is so rooted in the past. Sacred mainstays of the 80’s still rule this scene. I think a lot of the new bands I love pay a lot of respect and homage to that. However what we have in terms of technology and access to good recording has really opened the door to push this genre further than ever before. Here are some examples of people taking that post punk sound and cranking it up to hyperspeed for 2019.

https://antipole.bandcamp.com/album/radial-glare

Kicking off with a review far overdue. Norwegian Post Punk all stars Antipole released “Radial Glare” in September of this year. I have done glowing reviews of Karl Morten Dahl’s last two albums. He is a true post punk historian who has an intimate understanding of Post Punk roots. The tones, effects, and mood are perfectly constructed in the vein of Joy Division, New Order, The Cure, and The Church. I don’t say this lightly but i feel like the clarity and texture of what he achieves goes beyond what those legends had at their disposal. This newest offering is pure frozen crystal that conjures such beautiful images of icy castles of fantasy rising against a desolate land. The vocals from frequent contributes Paris Alexander, Eirene & Marc Lewis charge to the front in a way Antipole never has before and I feel like it was the final piece in the evolution of this band. Karl is an artist that loves listening to music as much as making it. It really shows in the art he makes. If a writer wants to write better they read great writers. Karl is a great song writer because he is always listening to great songs. This album is available in a mint green limited Vinyl and it is 100% the way to hear the nuanced layers he has constructed.

https://manicdepressionrecords.bandcamp.com/album/md115-twin-tribes-ceremony

Next up are those beautiful boys from Texas Twin Tribes and their new album “Ceremony“. This is the sophomore offering from one of the fastest rising stars in this genre. Their first album “Shadows” was basically the reason I started this review page. It was going to be a tough act to follow, but they have not missed a beat. The perfect ritual like intimacy of these songs reminds me so much of The Cure. The connection between their instruments of Joel’s driving foundation on bass creating a floor for Luis’s nimble fingers to dance on with guitar. I found an instant connection to the lyrics on Shadows but Ceremony has really focused on a poetry which might be the hardest thing to recreate of early Post Punk. Each song is beautiful, sorrowful, and unique. These lads are truly destined for greatness and if you haven’t heard them drop what you are doing and get them in your ears now.

https://wingtips.bandcamp.com/

I can’t believe this is the first review I am writing about the shadowy melancholy dream that is Chicago’s Wingtips. I had the extreme pleasure of seeing them at this years Cold Waves festival and their stage show is a powerful vision. The new album Exposure Therapy off Artoffact Records is the type of romantic beauty and chic attitude I miss in this genre. They tell luscious stories that are intense and self involved in a way that speaks truth. I think it is this genuine anguish that makes it feel so authentic and nostalgic. This is an album that you listen to in your living room and feel like the artists have joined you for tea. Trust me you want Hannah and Vincent at your next tea party.

https://kaelanmikla.bandcamp.com/album/n-tt-eftir-n-tt

Ok to be fair this album from Iceland’s Kælan Mikla released November 2018 but somehow I never reviewed it and that is a freaking crime. I feel like they have a lot of the check marks of post punk. Driving basslines, dark themes, rising keyboard leads, slushy guitars. This album Nótt eftir nótt is so hard to put in a genre box. I can’t understand the lyrics so it feels like placing your hand on a burning hot rune stone and summoning a pack of raging Scandinavian Fae who assault you with powerful rebukes and Peter Hook bass lines. Maybe I’m not painting the picture of how glorious that is but it is an effect I have never heard replicated and an amazing one. If you ever feel like no one is breaking any new ground in post punk music you need to dive into this band deep. Trust me you haven’t heard it before.

https://closedmouth19.bandcamp.com/album/o-n-e-remastered-bonus-tracks

Closed Mouth is the amazing project from Yannick Rault who put out an album titled One on Cold Transmission in May. It was mastered by the amazing Pete Burns (Kill Shelter) who also mastered us. I think what is so ambitious and wonderful about this record is the scope of it. It has a very Killing Joke feel, but all the incarnations of Killing Joke at once. The synthwave, the post punk. It drives, it grinds, it’s a shimmering adventure of sonic possibilities. It’s one of those albums you can pick up anywhere in the 14 songs and always get a different feeling. Yannicks vocals are distant and haunted and reach you from a million miles of painted texture. This album is a deep dive.

https://octoberburnsblack.bandcamp.com/

October Burns Black is a bit of a supergroup with James Tramel of (The Wake) they definitely delve more to the darker Chameleons side of post punk. The newest album “Reflections” is a master class in dark, sinister, emotional groove. I love the slow winding power of these expertly crafted whispers pulling you down the river Styx. High on my list of must see bands.

I could go on all night about the wonderful post punk resurgence happening right now but i have to draw a line somewhere. If you have a favorite I have not listed or reviewed please leave it in the comments below.

Editorial: Goth Culture is it time to bury the past?

When i write reviews one of the common traps I try hard not to get lost in is comparing every new band I review to one of the sacred dark gods of the 80’s and 90’s. It’s a pretty common tactic and lets face it an effective one. It’s easy to associate with what is familiar. Often feels like the world of goth/industrial/darkwave/new wave/ect has pretty much been discovered and artists are searching for ways to test the boundaries of what is possible and find some new ground. I figured I would take a moment to acknowledge this is a reality for a lot of people.

Continue reading “Editorial: Goth Culture is it time to bury the past?”

Interview of Palais Ideal

Band: Palais Ideal
Album: No Signal


Label: Dark Vinyl Records – Now on Cold Transmission Records
JOHN EDWARDS:  VOCALS, GUITARS, SYNTHESIZERS, PROGRAMMING 
RICHARD VAN KRUYSDIJK: BASS, SYNTHESIZERS, BACKING VOCALS, BARITONE GUITAR, PROGRAMMING 
Produced, Mixed and Mastered by: Uwe Teichert At Electropolis

https://palaisideal.bandcamp.com/album/no-signal

https://www.facebook.com/palaisideal/

https://palaisideal.bandcamp.com/album/pressure-points

Palais Ideal means the Ideal Palace. A concept of building a home or place from the things you find in everyday life. This is an album that achieves something I think is so lost in the modern music scene. Each song is so unique in it’s sound and style. All the ideas tie together but the songs themselves have such an individual sound and aesthetic. This is a intellectual thinking album that has a calculated scientific arc. The songs are poppy and engaging but the words behind each song are a challenge and inspiration. This band from Netherlands attacks themes of politics and technology in the modern world. Lofty ideas that go beyond the standard party themes you could expect from club beats and hook melodies. I found myself lost and found following this story laid out about the hardship and pitfalls which face the modern person. I think the true genius on display was how easy it was to set aside these thoughts and get lost in how fun and energetic the songs sounded.

John Edwards vocals are a master class in range and engagement. From driving chants, beautiful croons, spirited edge, along with playful tongue and cheek. The theme and sound changes within each song and from one to the next. The synths are masterfully sculpted to create a rising falling tide of emotion. Van Kruysdijk’s guitars and bass lines are a driving cacophony of sound and style that build an express train for Edward’s vocals to ride upon. I hear New Order, Joy Division, Information Society, Pet Shop Boys, Japan. All are blending together but the fusion creates something unique that finds it’s own path. From a technical standpoint the music is as precise as the lyrics. No sound is wasted or lost. This is purposeful production that has a journey and a destination. I love when a true professional enhances their vision with craft and that is what Palais Ideal has achieved. I listened to this album 4 times before attempting to review it and I feel like I am just scratching the surface.

Having trouble choosing standout tracks because the flavor is so different with each but here goes
Standout tracks:

Crossfade/Dissolve – Here is that beautiful New Order chanting anthem sound right off the bat. It’s catchy, it’s evolved, the lyrics are delivered with just enough sharp edges to enhance the emotion while having this beautiful calculation of an architect building a better world. I played this track 7 times and regretted none of them.

Deity – Beautiful sped up cut time drums. Textural open voice lyrics delivered with a driving cadence. Again this song has such a science fiction story delivered with a build that opens up with a wonderful guitar line. This is the soundtrack of a future I fear that strikes a logical chord.

A Black Noise – This one gets dark, really dark. A droning Bauhaus drum beat with sinister guitar riffs. Edwards drops his voice to the low register to paint a frightening picture of fear and loss. “Every secret sight and sound, where are they now. A million voices underground, where did they go.” This bassline has a Sisters of Mercy Floodland drive. It’s a fierce and frightening emotion that captures and grasps.

Overall this album is just well done. The highs are high the lows are low. It’s an album you can dance in the club to but take home and really listen for the deeper meaning. I found myself falling into it like a pit that had no bottom. What an experience, what a record. You need this, if you are up for the challenge.

After spending a lot of time with the album I got the chance to talk with John and Richard a bit about what went into the construction and vision of the record. As well as get to know the artists who created it.

(Ken) – I did a bit of research about your name Palais Ideal and found there was a lot more to it then I originally suspected. Why did you choose it and what did it mean to you?

(Palais Ideal) – The Palais Ideal – “Ideal Palace” in French – is a strange and eccentric 19thcentury building that was created by Ferdinand Fernando Cheval, a postman from Southeastern France. He had no formal training as an architect, but collected stones while he delivered letters and built his very odd palace. A perfect metaphor for the desire to create something purely because it ought to be created – which is the foundation of all great art! We love austerity and starkness, but are also heavily into romanticism and bizarre ideas – like building your own private palace!

(Ken) – You have plenty of experience which I feel brought richness and depth to the album. Tell me what you have coming out down the road and what led into it?

(John) – Palais Ideal has only been around for two years, but Richard and I formed our very first band together ages ago, playing a mix of prog rock and goth. Over the years, I’ve been in bands performing everything from latin music to technical death metal. The fact that we both play different instruments and have experience arranging, recording and producing has also helped us to get where we wanted to be. The next big thing for us is the upcoming release of our second album, on which we’ve brought together a wider range of influences than before – from Low-era Bowie and classical music to funk pop and krautrock. We kept pushing each other in interesting new directions and wanted to see how much we could expand, while still staying more or less within the post-punk and new wave genres.

(Richard) – I have been exploring many different musical styles, albeit all of the darker, melancholic variety. Early new wave and post-punk are my roots, and to create something that references this musical era feels very natural to me. We are trying to keep our musical direction and style very clear, and at the same time looking for ways to find our personal ‘signature’ within the genre. A very interesting journey!

(Ken) – Music is usually not all glitz and glamour. You need to pick moments to fuel you into the next. What is the moment you are most proud of in your career?

(John) – For me, touring in Germany with Clan of Xymox was a big occasion – if I’d have known that would happen when I was a teenager listening to their albums, my head would presumably have exploded. We toured the UK last year, which was another wonderful experience. Of course, working with the legendary John Fryer, who produced many of our favorite albums, has been incredible – he’s brought a whole new perspective and has been delightful to work with. We’ve had a lot of great reviews and met some wonderful people through our music, which is highly inspiring. In May, we’re releasing our new album at an event featuring some of our favorite bands – She Past Away, Selofan and Auger – and we’re looking forward to that!

(Richard) – I am fortunate to be able to say that there are so many moments that come to mind! For instance: watching Gitane Demone delivering spine-tingling vocals in the studio on a track by another band that I am involved in: Phallus Dei. To have co-written songs with heroes such as Graham Lewis (Wire), David J (Bauhaus), Winston Tong and Blaine L. Reininger (Tuxedomoon), Peter Christopherson (Coil), Edward Ka-Spel (Legendary Pink Dots) and Larboe (Swans). Also memorable is the tour I did with Daniel Johnston, for whom I arranged three songs for big band. A very special programme! As for Palais Ideal: There have already been so many highlights in our short existence! I’m proud of our videos, our releases, and especially our upcoming album.

(Ken) – So one of the things that enamored me with this record was its eclectic nature. Every song has it’s own flavor. Who was your inspiration and how did you make the styles fit together?

(John) – I’m a big prog rock fan, especially the early 1970s stuff, such as Pink Floyd, Genesis, Van Der Graaf Generator and King Crimson. On many of the albums from that period, each song would be clearly built around a specific concept, which could be a musical theme or lyric, yet all tracks would be tied together. It made sense to try this approach within a post-punk concept: creating a self-contained little world around the musical and lyrical concept of each song.

(Richard)Before we started, we defined a very clear sound for our music: what kind of drum sounds, synths, bass and guitars we were going to use. The fact that there is a logical connection between these sound elements, allows us to go to the heart of each song without the album becoming incoherent. We are always looking for clarity in our musical ideas and arrangement. Every track should be a strong statement in itself.

(Ken) – So “Seen Missing” was a song that has been playing over and over on my phone all week. The lyrics has such a mystery of a secret message. Maybe it is the double entendre in the name 🙂 What was going on when you wrote this, tell me the secret?

(John) – Basically, it’s about the fact that, thanks to the internet, we currently have access to a huge amount of art, music, writing and more. We can access all of this at any time, from anywhere. Countless great ideas and creations that might have been forgotten forever are available to us. It’s important that we look back and remember all of the people that came before us, re-evaluate what they’ve created, and share our discoveries. A lot of our lyrics are a bit bleak, kind of techno-paranoia “Black Mirror” stuff, but technology can also have a huge positive influence on our lives.

(Ken) – To me seeing a great band live needs to be a different experience than hearing the record. Tell me what you do live that makes it different?

(John) – Personally, I’d rather see a band like Motorhead playing than watch some dude behind a laptop. We like to get carried away and focus on getting across as much energy as we can and involve the audience. It’s fun to goad each other on a bit on stage. One of the greatest gigs I’ve ever seen was The Fall, who were completely serious and totally entertaining at the same time. Why shouldn’t post-punk be fun?

(Richard) – Whereas in the studio one can zoom in on the details, on stage it’s about the right energy. A live performance is, first and foremost, about communication. To feel connected with the audience is a great sensation that can take you to great heights on stage. Most important thing is to be fully authentic and really go into the feeling of a song. We dive in head first into our shows and people feel that. A live show is about celebrating the moment. We have played quite a lot, hitting the stage just a few months after we started, and we have taken that experience back into the studio and into song writing.

(Ken) – We have talked about something happening lately in dark music. A Renaissance, what do you hear and what does it mean for you?

(John) – There are quite a few contemporary bands that are making music that is strongly inspired by the “golden age” of post-punk, new wave and goth, but with a contemporary spin and new energy. At the same time, a lot of the 80’s generation of musicians are reappearing, or still going strong. I think people are pretty sick of the generally pathetic, bland and whimsical nonsense that the music industry is forcing on them, and looking for something that dares to ask relevant questions and tackle difficult themes. There’s a kind of grassroots movement happening across different countries, with new labels, blogs and bands that are just ignoring the status quo. Something similar has been happening in the Synthwave scene, and it’s great to see how so many people have picked up on that.

(Ken) – If you could play with one band current or gone who would it be and why?

(John) – I think being on the same bill as Killing Joke would be pretty awesome. We have a lot of respect for them, musically, and also because they’ve been doing their own thing for decades. I’d also love to perform with Joy Division, The Sound or one of the Rozz Williams incarnations of Christian Death, although that’ll never happen for obvious reasons. If I could join someone else’s band for a day, it would be early Genesis or Van Der Graaf Generator 😉

(Ken) – This one is for the gear heads. What is one piece of equipment you couldn’t make your sound without?

(John) – I bought some late 90s USA-built PRS guitars last year and couldn’t do without them! My Roland Jazz Chorus 120 amp and my Juno and Oberheim synths are pretty inspirational, too. Although we use a lot of hardware and tube gear, we’re both big fans of the UAD hardware and software platforms. However, I like to think that we’d still sound like us if we were limited to a pair of banjos

(Richard)My ’62 Fender Jazz bass is totally the sound that I love! As for synths: My Prophet 5 features in every song we make. The most beautiful synth for me.

(Ken) If you could use dark magic to span time and steal one dead musician from history to join your band, who would you summon forth?

(John) Bowie! We’d let him do anything he wanted to, obviously… Johann Sebastian Bach on keys would be quite good, too.