Tag: Negative Gain

Review of Panic Priest

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Band: Panic Priest

Label: Negative Gain

Members:

Jack Armondo – Vocals, Guitar, Bass, Synth, Programming

on record: Toph McNeil (programming) + special guests

https://panicpriestngp.bandcamp.com/album/panic-priest

https://www.facebook.com/pg/PanicPriest/about/?ref=page_internal

A captivating self titled release from Chicago shadow minstrel Jack Armondo hits like a velvet coated brick with it’s power and beauty. As a musician when you ask another musician for feedback of course they are always drawn first and foremost to the thing they play. Therefore when I find a record with a truly gifted and unique sounding vocalist who writes great lyrics I am hooked. That’s how it was with Panic Priest. Jack has a voice that leaps in front of the music and leaves you entranced. You hear familiar elements in the style. A bit of Andrew Eldrich in that dark flowing wail, coupled the grit and soul of Peter Steele, you even hear the sorrowful beauty of Andy Deane. When it all blends together and crawls out of your speakers like a seductive demon creeping towards you, it becomes something of it’s own. This is no pure front man either. Jack is an accomplished musician who takes all of the writing and music on himself. The guitar work is a precise needle bouncing in time with the velvet curtain and rising synth sounds, they shimmer over a dark pool of bass building a story of sound and human frailty. The themes are aesthetic and heartbroken and they drip from a landscape which changes from song to song as quickly as the range in Jack’s voice. I have had the good fortune to share a stage with Jack and it is an incredible experience to witness live. I found myself even more impressed with his guitar playing than his unique and memorizing voice. It’s hard to pick out stand out tracks because the production is exquisite and every song is powerful and elegant. For the sake of whatever professionalism I front at I will try.

I find as time has gone on and I hear this record again and again I am struck by the fact that the sound matches the human making it. That isn’t always true but this album flows with an organic and genuine energy. It is deeply personal and gives you an experience of sharing in someone closest held self when you listen to his music. It’s one of those records you need to sit down alone with to truly appreciate. It is layered, it is lovely, and it unlocks self reflection.

Sideways – The opening track, this song is so catchy it haunts me rather in my ears at that moment or in my head later that day. Jack’s wails a chorus that speaks of familiar heartbreak. “Strange to say, think of me sideways” The drum beat jumps about light and enthralling for a true slow goth club jam. Swing your arms and fling your head about. I could hear this track 1 million times and it would never be enough.

Die Divine – This leans into the keyboards more and lets Armondo croon with a tenderness of a forgotten age while the chiming church bells of the keys fill the room. This is the soundtrack of city street walking in the rain. It bleeds isolation and echos a subtlety that makes you reach for it instead of coming for you.

Velvet Cage – Here you really hear that First Last and Always percussion guitar. The drums have an urgent speed. The vocals wrap it all in that voice which stares into your eyes unblinking. I love the concept of that beautiful cage we place ourselves in.

If you haven’t gotten from my over the top gushing yet, this album needs your attention. This is a band that has the something extra which is both definable and undefined. I originally wrote this review before this page existed and it remains one of the best things I have discovered in the modern dark music scene. I can’t recommend enough.

Review of Stoneburner: Technology Implies Belligerence

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Band: Stoneburner

Album: Technology Implies Belligerence

Label: Negative Gain

Members: Steven Archer (Ego Likeness)

https://stoneburnerngp.bandcamp.com/

Brand new video Minor Monsters released 7/1/19

So here is another album I have had for a while and have played many times fearing the daunting task of trying to describe the intense emotional and musical impact of this record in an effort to do it justice. Steven Archer is a mainstay in the goth/industrial scene from his band Ego Likeness which I have reviewed before. Their credentials in this scene are indisputable with several albums to their credit that have all hit the mark. I have thoroughly enjoyed the previous Stoneburner albums however with “Technology Implies Belligerence” Steven has achieved another plane in his musical expression and I will do my best to capture some of that concept in this review. I’m put in mind of Phillip K Dick when he wrote the Valis trilogy. An artist who had critical and commercial success that had earned the freedom through his labors to produce a piece of magnificent art that tested his own boundaries and redefined the genre. This record was completely un-tethered and unapologetic in it’s scope and daring combining sounds and concepts which pushed the edges of synthesis through technology . It is brave, it is meticulous, and it addresses poignant themes which speak to the struggle of current human existence.

To appreciate the full scope it has to be said that Archer is a modern artistic renaissance man. Playing in several projects on a variety of instruments. In addition he is a noted visual artist (I was lucky enough to have him do the cover art of my own album). As a visual engineer he made a series of accompanying videos with practical effects he created himself. This album also broke ground in the access he offered to fans with an interactive discussion group where he shared technique and answered questions on every stage of the creative process. A truly novel and cutting edge idea for the modern digital age. Industrial music often pays homage to the cyberpunk ideology of science fiction and Archer has dug deeply into some of his literary keynotes making the songs a thesis on one of his favorite works from Peter Watt’s “Blindsight” dealing in first contact higher conciseness and personal freedom. This blending of literary theme, visual expression, and musical emotion formed a groundbreaking multimedia art piece in a point and click surface world.

Ok we have gotten this far and I haven’t discussed the music yet. Stoneburner features many of the staples of industrial music. Syncopated distorted guitar sounds. Pounding drumbeats in body blow intensity. With effect laden vocals lashing out in varying cadence. Where Archer pulls back the throttle and rises towards uncharted ground is in the use of world beat percussion sounds layered with pinprick sitar guitar riffs. Listening while watching the sound wave file really gives an appreciation for how much thought went into the purposeful dynamic shifts and emotional crafting. Not known as a vocalist Archer dives in with passion and intensity filtered through a barrage of electronic effect using his voice and samples as an additional driving percussion instrument to unleash a sincerity and terrible beauty with the raw power of his words. Can you take the diverse expressive sounds of Dead Can Dance and force them through the meat grinder of Coil’s chaotic destructive power. I wasn’t sure until i heard it happen.

This is a concept album, you need to hear it all song to song. However I will speak to some standout tracks:

Dry Gun – This song astounded me. The percussion is intensity held at bay with greasy chains. This dancing pinprick guitar lines lending an eastern feel with a guitar effect from Roger Waters. The swooping cello synth pad and jagged leading dynamics create such primal movement that when the unorthodox vocals samples come in you are already dancing with reckless abandon. This song owns your body.

The Angel of Abscess – Brooding and dark intro spreads out with subtlety and danger. I really enjoy the grinding metal effects. Stevens vocals come in with a distant chant while new sounds are added and built. A desolation and fear scrolling through the emptiness of darkness. The repeating melody line has an almost Celtic feel which seems to get faster and faster until you are hurtling towards oblivion in a rapidly decaying vehicle.

Identity by Diagnosis – You can’t travel to the edge without questioning the reality you are seeing. This song brought me back to the questions of my own minds perceptions. Again achieving that frantic sense of speed and motion while maintaining a medium pace without relying on volume to create intensity. I think what amazed me most in this record was the deliberate effort that seemed to go into every decision and every note. If you have ever had to find reason in the modern world of chemical science you find yourself empathizing with this storytellers journey.

Overall this was a staggering emotional journey of a record that found a way to do something so difficult in the modern times. Touch on new and undiscovered ground in music. I honestly feel like this record will be something we look back on as a new beginning of a branch of future sounds to come. Try and really breath in the power of that statement. I hear so many new albums these days and this isn’t something I say lightly. If you are a person that appreciates art for what it is capable of stirring in human emotion. If yours is a mind that quests for a deeper challenge and greater understanding. You owe it to yourself to get this album and play it loud enough for the neighbors to hear.

Review of Strvgers: Exhumed Vol. II

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Band: Strvngers
Album: Exhume Vol II 
Lable: Negative Gain Records
Members: Maria Joaquin and Kyle Craig

https://strvngersngp.bandcamp.com/

Bio

https://www.facebook.com/strvngers/

So this is an album from Alberta Canada’s post punk/darkwave act Strvngers. It’s another band from Negative Gain records and I feel like maybe I am giving that label too much face time in my reviews but they just keep putting out great music so screw it I’ll keep reviewing it. A couple other strange things from the albums I usually review on this page are that it is covers and remixes (I prefer a focus on new original material) but I can tell you it screams and scintillates with fresh takes and original sounds. While it has an obvious dark tone I have to say this album is not gloom and doom. It’s fun, upbeat, and made for the club floor. The production and drum beats are searing fire and full of movement. Joaquin’s vocals are pure energy and have a beautiful pop quality while showing a great range of styles and colors. This album is a true death disco of spinning lights and weaving textures. The production is all seamlessly blended full of complex synth tones to create a cyborg automation of moving metal. It’s also diverse and challenging, every song finds a new voice which keeps the listener challenged. It’s sexy, it’s fierce, and it is proof that dark music doesn’t have to be sad bastard whining. If a DJ rolled out this album as playlist I would dance my ass off and not be sad.

I remember in my jaded youth being deeply into the dark brooding of goth and the testosterone driven angry Industrial and seeing Die Warsaw the first time and thinking this music can be more. It can be fun, and bursting with life and warmth. That’s what I hear from Strvngers. Ever track is a shot of adrenaline straight to my cold withered heart. It’s beautiful and wraps you in a welcoming hug that says we are all a part of this scene together. It’s industrial with a message of hope.

Standout tracks: 
Dancing with Myself (Billy Idol Gen X cover) – Ok this opens with that signature guitar riff but in a bright synthesized form. The tempo seems only slightly sped up but it feels more energetic. I love me some Billy Idol but the straight Adrenalin energy and beauty of the vocals makes this dance classic modern and uplifting.

Party all the Time – (Eddie Murphy Cover) This keeps the 80s retro flavor of the original but more of a Killing Joke sound than an Eddie Murphy one. The tone definitely has a feminine flavor of ladies taking over the dance floor which changes the whole meaning of the song. It’s a fun anthem with a really cool breakdown of bleep bloop madness and a giant wall of sound chorus.

This is not a Phase (remix) – The original song has a very 2000’s emo feel. However this remix does a beautiful job of adding a darker tone. The vocals come from the bottom of a well and chant out a teenage rebellion anthem. I’m not sure if it is a shout out to one of my favorite 80’s horror movies Return of the Living dead but it serves well in that way of a driven almost punk scream.

Cry Little Sister – (Gerard McMahon cover) This is an incredible homage to The Lost Boys using perfect samples of lines from the film with an edgy vocal feel. The sustain vocals on the whole album are brilliant and uplifting but on this song they are really turned loose.

Overall this album is just plain fun. I had a hard time picking favorites in the covers. They are all a glittering explosion of stop motion dance in a dark wave world of intense foreboding. This record was not afraid to just enjoy itself on the surface without trying to plus the depths of human emotion and I found it refreshing. It shakes, it bleeds, it needs to be in your next dance party.

Review of Fires: All Of My Dreams Are Of This Place

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Band: FIRES

Label: Negative Gain

Vocals/Music: Aedra Oh

https://www.facebook.com/pg/firesofficial/about/?ref=page_internal

https://firesngp.bandcamp.com/album/all-of-my-dreams-are-of-this-place

So as I listen to so much new music in the “Goth/Industrial/Post Punk” genre I hear a re-occurring trend to reach back to the sacred 80’s and revamp our holy dark forbears with a new twist. I think what immediately struck me in this album was rather than reaching back, FIRES has reached across the isle and pulled inspiration from other genre’s not typically heard in this scene and fired them like a laser through the leans of dark electronic music. Some electronic dance beats, emo, pop punk, and indie prog simmered down into a searing beam of light and fired through the ultraviolet fury of Aedra’s sorrow. The result is positively electric.

This record is such a contrast to the driving and precise darkness currently in vogue. Instead of cold and introspective it is a burning rage of passion and integrity engulfing you without pretense. Aedra was experiencing a physical and emotional awakening during these songs and that message strides forward courageously while being abstract and textural. This is a beautiful woman on a hill holding a fire hose attached to to a gasoline truck spewing forth blazing brilliance to incinerate every ignorant shadow around her. I find it almost more impressive that this chaotic sound weapon is maintained within such clear production and tight hooks of pop glory.

Favorite Tracks:

Show Me Life – Crackling energy is crackling off these guitar sounds. Overlapping and building. Her Vocals are a pleading shout to her inner self. It’s big drums and savage attack but it also breaks down in a focused introspection. These songs feel so much like a conversation but not one held polite in company. One shouted with emotion to a true friend in a moment of emergence.

Revive- Give me these glorious drum beats. The wave after wave bleeding synths. Then give me Aedra chanting out boot stomping cadence with her voice. ” Say my name, remember” This song makes me want to destroy a 50s diner with a sledge hammer on fire and scream.

Ever- If this album was all piss and vinegar it couldn’t have taken me so far. However “Ever” is a beautiful Cocateau Twins shoegaze dream slush ballad that wraps you like a blanket after the assault of the first few songs. It’s a memorizing comfort and an acknowledgement of Aedra’s range and the delicate beauty of her voice. The driving Martin Hannett Joshua Tree style bass line is the perfect counterpoint to the elegant beauty of this song.

This album is an experience. It’s personal, and is very unique in it’s delivery. I must have listened to it 20 times in different places and times before writing this (It actually released back on May 10th) but Negative Gain has done it again and stepped out of the comfort zone to support an artist who laid bare her soul in a fiery red aura. You need this.

Review of Curse Mackey: Instant Exorcism

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Artist: Curse Mackey

Label: Negative Gain

Other Affiliations: Pigface, Evil Mothers, Amorous, My Life with the Thrill Kill Kult, Grim Faeries, SPASM

https://cursemackeyngp.bandcamp.com/?fbclid=IwAR3pLI_Sfju7v_VlnffOHq26o_EY3zOmxXymbDs4fovEw3Zhj-9EYIn-kmY

https://www.facebook.com/pg/cursemackey1/about/?ref=page_internal


So someone much smarter and a better writer than me once told me “If you want to be a better writer, read books written by great writers” I feel like this is advice Curse Mackey has taken to heart. Because here we have an album of a very literary quality with an engineers craft. As I listened to it again and again I kept finding myself drawn to the question, what was he reading when he wrote this?

Curse Mackey photo by Christopher De La Rosa

Going to try a slightly different format for this review because of the artists pedigree. I mean here is a guy David J calls to fill in for Peter Murphy when he is tired. An artist who is appreciated and respected at the highest levels of industrial music. It’s for good reason. He is a wizard of craft bending the ultraviolet light of electronic sounds into a laser focus. This is his first solo offering and is a chance to tell his story strictly from his own perspective.

Right out of the gate the first song “Submerged“ is a subtle and gripping offering. Where the chains slip around behind you and lock in place before you know you are captured. Satirical blasphemous religious allegory in the style of William Blake hints at the greater heresy to come later without going over the top. I was extremely impressed with the rising and falling dynamics to create this sense of slowly sinking beneath the water.

“O’Blasphemy” This is a dance floor burner for the ages. The imagery is sexually charged and delivered in a boot stomp cadence. I love the background keyboard lifts, so much motion feels like dancing in an earthquake. The vocals are razor slices tearing you to shreds while they lull you into acceptance. This sounds like post coital breathing mixed with rebellion. 

“Somewhat Processed” This is a Dante’s Inferno quest of the River Styx touring and longing for something lost. “Just part of the show for our bloodstained soul” A need to feel. The triplet snare snap to create that off kilter hurky jerky motion while the dangerous silky vocal is your Charon poling you down the river.


“Concubinary” Sometimes a song strikes me by what i picture myself doing while listening to it. This is a great city-scape street walking burner that jumps on the back of Mackey’s vocals and lets the lyrics carry it across the finish line. That wild and untamed part of the city where the rules don’t apply.

“ Secrets of the Resurrection” Such a delicious pop hook served up in classic ritual form. The song carefully and strategically assembles all the parts until you see the face of the monster. The chorus from Nat King Cole re-imagined in this wicked anthem of hope and clashing counter culture. Beautiful live wire tension shakes your core.


“Dangerous Sleeper” I love this breakdown creep with throwback samples reminiscent of Wax Trax or Evil Mothers days. Not sure where they came from Mackey is known for finding or creating samples from his everyday experience, but i am moved by the slow creeping doom and flowing rhymes. “He’s my arch angel made flesh, he takes the mark, upon his flesh”

This entire album has a cohesion and message that stands out in a current world of blips, clicks, and snippets as a classical work with the quality of literature and study. It really spoke to me for the experience and craft that was the culmination of a career in art and learning leading to this moment. This is a must own album for anyone who values the genre of Industrial Dance Music.