Showing posts with label Gothic. Show all posts
Showing posts with label Gothic. Show all posts

Tuesday 2 January 2024

Crosses "Crosses" (2014)

Having enjoyed the duo's new sophomore record, I ventured back to their debut, released nine years prior. Feeling very much fitting of its era, the electronic percussive arrangements tilt in a handful of directions, ta Disco House flavor of Daft Punk rears its head early on. The rest mostly an assemble of sluggish Trip Hop grooves and subdued drum patterns. They mostly stir echos from Post-Punks expansive umbrella, far from the hard hitting, cutting edge that its followup leaned into. 

This left Crosses with an expression rooted in the moment, something about arriving ten years late has been tricky to reorient. Led by Chino's charm, that inescapable Deftones feeling is prevalent but this time his partner Lopez crafts moody textural passing of mellow sound. Drenched in ambiguous, airy, soft design, many sounds emerge. Gentle guitar licks, plucked strings, a groaning Sax, broody pianos and riveting organ shimmer, with the occasional metallic riff dialing down its intensity.

The two fall into a sway, grooving on sullen, melancholic strides, mustering occasional bursts of energy on odd songs. The Epilogue was my favorite, cruising with pace and bustling in gated toms for a lively energy, the guitar lick and vocals made for a catchy hook. A rarity, much of the music focuses on mood, highlighting a lack of connection in its absence. Ultimately, the duo focus on a side of their chemistry that doesn't quite tick all the boxes for me. A fair listen but not one I'll come back to often.

Rating: 5/10

Tuesday 19 December 2023

Crosses "Goodnight, God Bless, I Love U, Delete." (2023)

 

I was drawn to this project by Chino Moreno of Deftones, the vocal half of this dynamic duo. Drawing inspirations, moods and textures from the likes of Dream Pop, Electro-Industrial and Gothic, Ethereal adjacent music, the pair attempt to carve a distinct niche. Crosses, however, seem inescapable of Moreno's instrumental chemistry. His harmonies relate to melody and rhythm with an all to familiar cadence.

Not intent on exploring new vocal territory, the best of the twos chemistry aligns in the same space Deftones' magic sparks from. The record's most striking tracks could be mistaken for Deftones remixes. Is this a complaint? Absolutely not, just a clear observation. One half of whats to enjoy is firmly rooted in a familiar setting, which Moreno executes with that typical alluring charm. His brilliance never seems to tire.

Crosses' other half, Shaun Lopez, brings character and distinction. Exploring the aforementioned genres' moods, he guides songs with bold, striking percussion. Modern in crisp intensity and rhythmically jolting, groove or bounce aren't words that comes to mind. Steady tempo and snappy aesthetics seem to be key motivators. Shuffling crisp, bold strikes, they land resolute on swift attack and minimal reverbs.

These drum lines come counteracted by melancholic melodic instruments, often virtual but housed in enough echo and reverb to paint ambiguities. The atmospheric touch leans towards soft and darkly shadows, breeding self-indulged emotion reflections. Often Ethereal in tone, they brood without catchy melodies. That falls to Moreno, who most often plays a role of light peaking through sombre clouds.

This chemistry varies track to track, almost all its ideas evoke loose relations to the broad spectrum of Post-Punk evolution in music. For all its explorations, this seems just shy of greatness. Invisible Hand, which plays like a Deftones' remix, sets a high ceiling the rest of the record doesn't live up to. When it comes close, its Moreno's mainstay I'm reminded of. EL-P turns up for a fantastic collaboration. I'm sure he had a hand in the tracks baseline. A cracking listen for fans of anything mentioned here.

Rating: 6/10

Saturday 14 January 2023

Type O Negative "Dead Again" (2007)

 

 I'm under the impression that front man Steele was responsible for much of Type O Negative's musical writing. It blossoms again in refined directions on this final record. His passing a few years later sealing the groups fate, them choosing not to continue on without him. From the offset, Dead Again bestows a different intensity. Distanced somewhat from the Gothic tonal cheese, always orchestrated with emotional connection, Steele leans into certain inspirations present since their inception.

Kicking off with dense guitars lunging into burly Doom Metal groans, followed by a sudden energetic drive of hurried Hardcore aggression, the metallic, mainly Black Sabbath inspired focus makes itself known. Equally split with The Beatles influences and Pop Rock ideals from decades back, many songs beautifully journey through lengthy non-linear song structures. It gives the record a perpetual sense of excitement, as more gratifying compositions seem to lurk around every corner.

Now entirely stripped of prior flirtations with crass humor and noisy aesthetic interludes, their collective eclecticism flows focused and gratifying. Barely a wasted second goes by, Steele leans into his vision and delivers a plethora of intriguing arrangements. Personally its clearly cathartic, channeling catchy lyrics over grabbing melodies, they frequently skirt easy conventions, offering truly distinct music.

Some songs stick to one of its three main styles, others easily chop through wildly different intensities as Doom Metal, Hardcore and Pop Rock get a fascinating salute from these brooding Gothic oddballs. Its seems with age came maturity and the hunger of expression never faded. Dead Again has a notable shift yet with it an awe and fascination as to how the odd mix of chemistries could emerge again as exciting as ever! Despite the remarkable impression October Rust left on me, I get a sense this could be my favorite given more time to sink in.

Rating: 9/10

Monday 19 December 2022

Type O Negative "Life Is Killing Me" (2003)

 

Consistency is a thickly thing among bands amassing the years and albums. Maturing into their second decade, I anticipated a dip. With a sound no longer reflecting scenes of the time, Life Is Killing Me firmly solidifies the genius of this group. Stripping out the crass comical skits and experimental noise design interludes, Type O Negative ram another compact disc full with seventy plus minutes of moody Gothic tinged delight.

Their eclecticism runs amuck, new territory conquered and past roots resurrected. The pumping Hardcore Punk energy of Slow, Deep and Hard returns, accompanied by classic horror cheese synths. Fresh worldly instrumentation inflects accents in breezy unison with their motif. Somehow the experience comes intermingled with wretched bursts of sludgy Doom Metal riffage, Life Is Killing Me seems to offer it all again.

No thematic arc seems prevalent, simply a string of fantastic songs. Easily jumping among its more diverse territories, dense atmospheres and ripe attitudes always accompany. Steele seems evidentially distressed. Troubled by medical and identity issues, a handful of lyrics catch the ear as "overpaid meat magicians" are taken aim at professionals I can only assume gave him news he didn't want to hear. That and "I know I'm strange, I ain't no queer" turns up unfavorable attitudes lost to time.

Its a humble reminder of the human fragility behind the mesmerizing power of music, a touch unsavory in places yet his singing is quite the opposite. Leaning further into harmony and tenderness, the vulnerable side of a burly voice expresses captivating melodies with a keen pop sensibility among the 90s Alternative Metal vibes and doomed gothic romance he conjures. A bleeding heart performance, with sore pains and bleak suffering upfront yet not falling folly to shoutings barbaric aggression.

Thus its fifteen offer up fantastical conjurings which any fan will pluck some favorites. For me, IYDKMIGTHTKY a clear favorite. As Peter chants, "Gimme that", a snaky guitar grooves broods intensely in contrast to its shoegazing verses. The pivot into a hypnotic Synth whirl as he cries "If you don't kill me" an absolute delight. I could drone on but its rather simple, a quality record, lacking soaring peaks but absent of valleys along its path too. Just one record left to enjoy now. What a discovery!

Rating: 8/10

Sunday 20 November 2022

Type O Negative "World Coming Down" (1999)


 On initial exposure, a singular overt obvious influence and echoes of October Rust's Gothic glory hung overhead, looming like a curse. Type O Negative seemed to have hit a snag, one of stagnation. Having wholly won over my admiration, I persisted. With repetitions familiarity, their gloomy Gothic themes explored last outing grew on me. As did the Black Sabbath fervor reveled in by Hickey and Kenny, who's decent into the menacing grip of grueling Doom Metal lethargy, carves many unshakable riffs.

The buzzing, thin and fuzzed guitar aesthetic seems hard to justify on first contact. Riffs drift into the ether as Steele's manly darkened voice broods alongside bright punchy synths that channel 80s gothic cheese into stunning emotional splurges. Of course, this is actually their brilliance, great song writing in action. Swinging from gloomy theatrics with flashes of cold colors, dramatic lunges of rhythmic sway consume one. Powerful notes and bends play off one another, shuffling down the fret-board with measured persuasion on its groovy, sludgy march of Doom Metal prowess.

The thematic tone is rather dark as title and song names suggest. A looming gloom seems constrained to Steele's struggling lyrics and strife dwelled upon. The rest of the band come through with familiar strides in terms of theme, Steele directing a once Gothic allure to something grave. Despite this, the music still encroaches on the mid 90s melodic glory of past, among its diverse set of songs. Less experimental, more instep with their established persona, its Sabbath influences that shine brightest.

It sharper gravitas swings into gear when bluesy grooves bustle a rhythmic might. Pyretta Blaze kicks off with lengthy, sludgy low end riff to die for. Each time it comes back around is a pleasure. White Slavery, Who Will Save The Sane & World Coming Down all contrast Tomi Iommi riffs with ideas not plucked from this metallic world.

This underpinning comes to ahead on the closing and sublime Day Tripper Medley. Some how, this Gothic oddball group fused The Beatles and Black Sabbath together without a hint of irony. Sung with sincerity and heart, the odd fusion of sludgy groove and classic Pop Rock songs coalesces brilliantly under a haunting cawing of crows.

Technically cut short, its a special note to bow out on after a lengthy CD filling runtime. Its oddity tracks and interludes run intermittent with natural flow. They tie its rather grim lyrics to bodily constraints of mortality. As a whole, it plays wonderfully without filler yet some of its lengthier tracks do linger. Not quite as sharp as before but on World Coming Down Type O Negative still spark a bright, fascinating flame.

Rating: 8/10

Friday 21 October 2022

Type O Negative "October Rust" (1996)

 

Smoothing out the oddities of torturous experimental sound design and crass, filthy humor, Type O Negative deliver a cohesive, lengthy album experience fit for a classic. Breezing past two brief humor driven tracks, Love You To Death embarks on chilly December moors. Cold winds groan as merciful  melancholic melodies descend upon on a cursed gothic romance. Stripped is the architecture of cinematic cheesy horror tones they previously yielded to sincerity. With a dreamy yet dreary aesthetic, imbued by fuzzed, hazy guitars and murky bass distortions, the record croons with affection.

October Rust's metallic foundations plays second fiddle to the manly sobs of Steele's engrossed voice. Soaring with emotive words, punctuated by cunning lyrics, he lands songs gracefully with infectious moods to latch onto. In duet with Josh Silver's keys, together they reign in a 90s spirit, yielding it to their own confessions in a glory of tuneful delights. Touches of the Alternative and Grunge sound lurk, even a smidge of Britpop akin sensibilities are heard on brighter numbers like Green Man.

Embracing warmth on brighter outings, so to do swings into dramatic sorrows and pains adorn this venture. Glorified by a passionate love of Gothic veneer, Type O Negative revel in the anguish of heartbreaks and loves lost. Thus its songs swerve the terrain of frosty landscapes in remarkably acute degrees. Both light and dark find unusual unions under brooding church organs, shimmering Shoegaze guitar tones and even a glistening Christmas bells on a mournful, gloomy Red Water.

Despite brilliance throughout, October Rust's second half steadies pace. After My Girlfriend's Girlfriend, a tongue in cheek romp, a string of excellence expires. The cover of Neil Young's Cinnamon Girl a further highlight and the concluding ten minute Haunting. Their absurdist humor is not lost, as the song abruptly ends during its Doom Metal parade upon lunging tempo and choral harmonies. I do wonder if it was brought about by medium constraints. After the sudden close, its final spoken remarks, "I hope it wasn't to disappointing" a crude one, given the wonderful seventy minute machination of Gothic majesty and 90s moods that proceeded it. A classic? Almost!

Rating: 9/10

Friday 23 September 2022

Type O Negative "Bloody Kisses" (1993)

 

Casting a shadow over their debut effort, Type O Negative return to encapsulate the early 90s alternative vibes under their eclectic Gothic identity. With this lengthy sophomore the band reach a new apex in intervals. Wedged between crude satirical humor, noise driven experimental soundscapes, Doom Metal worship and bursts of Hardcore aggression lies superbulous song writing where melody, rhyme and reason reign supreme. An excellence is to be discovered on its lengthier affairs.

Christian Woman, Black No1 and Bloody Kisses are driven by theme and theatrics, a beautiful sense of expression playing out with a craft on all fronts. Bold horror synths chime with a heavy hand alongside dramatic pianos. Catchy melodies and rocking riffs align succinct with fantastic anthemic vocal hooks, "Loving you is like loving the dead". So to do gleaming guitar solos errupt with a 90s tinge, checking all my nostalgia boxes. The song structures are immense, ambitious and bold, carrying a gripping gravitas on these lengthy journeys. With pivots and sways encompassing drastic shifts, the transformations are remarkable in expressing these Gothic epics.

Sadly, the rest of the record doesn't live up to the strengths of these songs. It can be expected from the brief experimental interludes that paint bizarre horrors. They exist at odds with the more conventional offerings. With a strong whiff of Black Sabbath and Hardcore, Kill All The White People and We Hate Everyone steers too far from the mesmerizing Gothic allure. Where it exists on other songs is among a slew of shifting, radical ideas that don't gel with the thematic intensity seen on its best numbers.

Kudos however, taking a step back from the blender of ideas presented as Bloody Kisses, its clear the band are unabashed in pursuit of what interests them. The vast array of aesthetic influences displayed withdraws the record from a sleek and streamlined experience, revolving on its catchy elements. The foundations of such a thing are in sight, yet the direction seems more intent on where curiosity leads them.

Rating: 7/10

Sunday 7 August 2022

Type O Negative "Slow, Deep and Hard" (1991)

 

Despite having a legendary status in their own right, this cult American band had eluded me until recently. I'd seen plenty of Type O Negative shirts at Metal shows over the years. I may have even passed up the opportunity to see them live a couple times before the vampyric Peter Steele's death in 2010. Having now familiarized and come to adorn some of their best material, it seemed certain a new journey was in wait.

 Starting with their debut, Slow, Deep and Hard breaks out with an unmistakable identity hinged around a willingness to meld new and distant musical ideas. Birthed through Gothic Horror and a crude sadistic humor, cheesy synth tones, gritty Industrial percussion and embrace of guitar dissonance somehow emerges authentic with underlying pains. A crude mix of Hardcore, Doom Metal and all things Gothic, Type O Negative straddle the estranged Avant-Guarde soundscape with oddities, yet land their lengthy songs with chant-along choruses, memorable melodies and rocking riffs.

Its a chemistry of their own making with cheerier punches fit for the 90s spirit. This light rarely departs a depraved side, gloomy and blood soaked as many of these songs lunge into slow and sluggish rhythm sections resting on dissonance and audio horror. Its quite the ride for an adventurous listener. Burly poetic recitals, gang shouts, pained screams and heavenly choral singing, variety is no stranger. Song structures straddle similar constructs as twisted avenues tend to return to the gratifying ideas.

This introduction is a powerful entry point, yet wanes with multiple listens as many of the first two tracks key ideas seem uncannily recycled over the remaining records span. Type O Negative display a unique character fit to bloom into a beast. With thoughtful appreciation, one can hear the previous decades influences. The likes of Swans, Bauhaus and Christian Death among others clearly shape an ever evolving Gothic mood. Industrial and Metal influences present too, this union of genres feels so odd and genuine too, the kind of chemistry that gets me excited. I can feel it already, this journey will be one of the greats!

Rating: 7/10

Sunday 10 July 2022

The Gathering "Nighttime Birds" (1997)

 

Shrouded by the swift abrupt judgements of youth, my initial contact deemed Nighttime Birds unfit for consumption. Supposedly not cut from the cloth as Mandylion, one of my all time favorite albums, it has sat snugly in the shadows, patiently awaiting me all these years. Like a broken record, past judgements have failed me once again. At this point, it might just be worth conducting a list of all prior dismissals...

Nighttime Birds is the broody matured brother of a band once ripe with color and youth two years prior. With a touch of restraint and a seclusion of craft, the band withdraw their eternal melodic delight to initiate songs with darker morose tones. Heavier guitars lean in shadowy chromatic, luring Anneke's sublime, luminous voice to a weighty pensive reflection. The duality explores a beautiful and burdensome contrast. Its a measured friction that compliments, coming to fruition with increased exposure.

Where its synths once adventured with bold punctuation, the keyboards now withdraw to a subtle, powerful role. Lurching behind steely distortion guitars, they await a turn to chime, often guiding the music from its beautiful gloom, soaring to blossom its hidden hues. Each song journeys to blushes of sequestered warmth. Familiar simplistic lead melodies gush from guitar and keys with their classic, distinctive personality.

Comprised of mostly lengthier tracks above five minutes, the album locks in a mood and explores it in beautiful increments, each exploring this darker chemistry. A union of thick power chords and cold acoustic guitars is explored early on. The May Song introduces a powerful, emotive organ tone to set off one of Anneke's most delightful performances. She wails sublimely, ascending with spirit much like that of Leaves. In fact, I'd go as far as to say its this albums equivalent, given the familiar guitar solo.

The following songs invoke soft computerized effects expertly, characterizing synths with subtlety. Later on a soft violin can be heard too. Each song finds subtle shifts to define them. The band fire on all cylinders. The shuffling contributions from its instruments explore so many ideas within a snug sound. Even moments of heavy metallic groove emerge in climatic beat downs and sluggish power chord brooding.

Nighttime Birds promptly made itself apparent as a lost classic from my youth, one I would have adored. However, I persisted. With my love of its saddened tone growing, I couldn't put it down. Weeks turned into months and that emotional evocative magic kept oozing. I feel so fortunate to have discovered it now. The Gathering's spell is truly eternal with me. Although a fraction behind the charm of Mandylion, this record has a clear sense of maturity and direction locked in by a fruitful yet cold concept.

Rating: 10/10

Monday 27 June 2022

Tiamat "Clouds" (1992)

 

My metallic ventures of late have leaned towards nostalgia. This path however, id not previously indulged with. Uncovering this European scene of melodic Gothic Doom and gloom, unearthed parallels capture much of my attention as the tapestry of influence enriches. Yet to devise the matured atmospheres of Wildhoney, Clouds builds on the heals of Thrash Metal. Its weaker songs burdened by the tempo and intensity of the 80s scene, a hangover needing a cure. The dusky keys and tuneful melancholy struggles with reflexive sways into choppy aggro and sluggish groove.

Magic emerges when its macabre themes blossom. Funeral synths and grievous melodies paint its Gothic graveyard blues vividly. The record finds stride with songs like The Sleeping Beauty as its distortion guitars lean into the lurching terror Doom Metal. In other chapters the spell is broken by pivoting guitar solos. They wail dazzling flushes of theatric on the gallop of thrashing riffs and doubled drumming tempos.

To my ears, Clouds suffers its influences. Aching from within beautiful, inspired song writing emerging stiffly in its calm and dark temperaments. Stitched together through tropes not quite suited this vision, my ears can't help but linger on the disparities. One of which is Edlund's wretched poetic "cleanish vocal" readings and lightweight guttural growls, the latter of which surprisingly suited the dreary cumbersome tone.

In brief glimpses, its keys yawn similar to a favorite of mine, Always... I especially loved the arrangements utilizing cheap and effect Casio keyboard tones for its Gothic cast. I wouldn't consider Clouds great but It seems fitting that adoration can be bestowed if discovered in the right time. For me, that probably would of been in my youth when reveling over Cradle Of Filth's starkly Gothic take on Extreme Metal.

Rating: 6/10

Saturday 11 December 2021

Cradle Of Filth "Existence Is Futile" (2021)

 

 
Stuck in a familiarity fatigue, my soft spot for Cradle Of Filth still yearned. Their recent revival of form through Hammer Of The Witches and Cryptoriana had me tuning me again. Despite all its competence and theatrics, sadly this latest length installment of their Gothic Extreme Metal didn't spark the thrills I was hoping for. All the cardinal sins are intact, Dani's shrill animal howls and deep burly voices narrate the vampiric and Lovecraft themes. Blast beats and lively percussion houses flexible distortion guitars and an array of timely gothic synthetic keyboard tones to orchestrate the night.
 
His current guitarists expand a little with a few less restrictive guitar chops and leads that have a mellower edge but its only a handful of moments among a meaty arsenal of tracks. For the most part they stick strictly to the classic CoF formulae. Its opening track Existential Terror, however, tackles pandemic parallels with tales of plague thrust through a very orchestral Abrahadabra tone. Its big symphonic strikes of melody and archaic choir singing hailing back to that particular Dimmu Borgir sound.

Its a niche that doesn't stick and swiftly do the band land on familiar footing, leading to a record that shows no noticeable blemishes yet failed to really get my blood pumping. There are instances of choppy thrash riffs that get a little tiring but some fiery spurts of aggression too. Aesthetically it gorgeous and full of lively instrumentation. A lack of originality is probably a fault at times. All arrangements rehash old ideas, the closing Unleash The Hellion very distinctly reminiscent of their Vempire era. I couldn't pick out a favorite track, I think I've just found myself in a spot of tiredness without a cure. I'll probably swing back to this one whenever I snap out of it, if ever I do!

Rating: 6/10

Thursday 18 February 2021

Cocteau Twins "Love's Easy Tears" (1986)

 

And so the Cocteau Twins musical journey continues on with what will be the last of these brief EPs, for a few years at least. Its been a consistent drip feed of mediocrity with the occasional spark of magic and Love's Easy Tears is no exception. Hot off the back of an experimental Victorialand, the band slip back into a groove as a trio again. The ever present drum machine and a persistently muddy bass presences rears the band into a familiar space. The title track and Sigh's Smell Of Farewell hit the similar trend of lacking chemistry between Fraiser and Guthrie, however it should be said the rhythm section brings little beyond bare bones to bolster their performances.

Those Eyes, That Mouth perks the ears with the two finding an esoteric spark to lure us into a mysterious Ethereal tension that never finds a release its yearning for but ventures through its darkly atmosphere finding a rising tide as intensities swell into the closing phase. Orange Appled sounds remarkably different from the other three. Fraiser's singing is in a deeper range and her wordings more pronounced and upfront yet still ambiguous. Its hooky bell melody come on strong but the tune doesn't quite land for my ears. All in all its another collection of B-Sides, fun to dive into but pales in comparison to their album material.

Rating: 4/10

Wednesday 6 January 2021

Cocteau Twins "Lullabies" (1982)


This wasn't part of the original plan but with a bunch of EP releases between albums I though we might as well do the deep dive! I am curious enough, so checking out these three leftover songs from the Garlands session was a bit of fun! Lullabies was released just a month after their debut and its three songs represent different approaches that clearly would not of fit the mold. Its production is also a little beefed up with stronger bass lines, balanced out percussion and a louder Fraiser at the front.
 
 Feathers-Oar-Blades is her moment to open up her voice, become more involved in the music, paint it with her singing. Its a brighter track that relives itself of the dreary grey much of Garlands resided within. Not particularly memorable but the following Alas Dies Laughing take the opposite direction, almost to dark for the full length. Its actually reminiscent of Gothic outfit Christian Death and their gloomy, creepy guitar leads. The bands guitarist Guthrie emulates this tone well, layering and overlapping his eerie melodies and guitar noises with subtle reverberations.

Lastly there is It's All But An Ark Lark. A lengthy eight minute crawl propped up by the perpetual pounding of its warm tom drums and higher pitched bass kicks. Its a slightly hypnotic, atmospheric affair with Fraiser's overlapping singing sounding a little contrasted to the warm bass line and general tone. Its all interesting but obviously these songs didn't quite fit the bill and as an EP simply offer some insight to where the band were at. What was most interesting where how a connection to Gothic influences is made obvious. Of course that music scene was born of Punk and Post-Punk too.

Rating: 3/10

Thursday 10 October 2019

Chelsea Wolfe "Birth Of Violence" (2019)


Singer, songwriter Chelsea Wolfe returns again and with each passing album a new approach is found. This new chapter is a sombre, calm and almost soothing affair. In all its alluring abandon, Chelsea graces us with the haunting softness of her voice. Treated by shadowy reverberations and armed with a desolate acoustic guitar, she strums through the eerie and dreamy atmospheres the two conjure together. Lurking percussion, elements of noise and ambiguity converge on occasion to dial up the mania but much of the album explores the loneliness in voice, mirrored in minimalism where soft airy synths and grave strings may be the only backing.

The records pacing is drawn out as it lingers tortuously on the sadness each song seems to swallow itself in, its temperament dreary and drifting. There is little uplift, light or reprise but despite wallowing in the shadows her beautiful voice gives a sincere weight to the darkness that follows her. It makes for a mourning listen, a doom always present, yet its grace and musical harmony is welcoming. Its a strange dimension, a limbo for all pains to be laid bared and observed but for the listener to remain distant from. Its as if shes shut the lock and thrown away the key.

Birth Of Violence is a finely felt, crafted and expressed experience but for all its stunning harrows, it tends to pass one by in the best of ways. I kept listening to this record over and over. It would always drift towards my subconscious attention, birthing an atmosphere softly dark and painfully warm mood. It was pleasant yet full of suffering. Perhaps that is precisely what she was aiming for, It wasn't until the lens of writing examined my experience that I realized how particular it could be. I couldn't give you a favorite song or stand out moment, the music just exists, engulfs and then its gone with the storm! To say that feels like a conceptual through line.

Rating: 7/10

Saturday 23 March 2019

Pale Waves "My Mind Makes Noises" (2018)


My Mind Makes Noises is a frankly disappointing debut record from this youthful eighties revival band. Its a rather different experience from their promising four track, All The Things I Never Said. The excitement of a young new act and nostalgic vibes stirred quite hype but its weak points, mainly lyrics, never stood out as much as it does on the fifty minutes one has to endure here. Singer Baron-Gracie has the clean cut voice perfect for simple pop songs but the lyrical simplicity is almost painful. Her use of plain observational language, a lack of creative lyricism and heavy repetition cycles through the same bleak teenage relationship topics over and over again. Insecurities, envy, jealous, infatuation and raging youthful emotion froth to the boil on every song. Its just not my cup of tea unfortunately.

Behind her words glossy, squeaky clean instrumentals pump out eighties melodies in dead simple song structures for fourteen songs with little in the way of variety. Its a tolerable experience with gleaming melodies glistening over steady beats and sturdy foundational baselines. They come repackaged again and again with varying degrees of tone but ultimately the same formula. Its little distraction from the self indulgent, aggrandizing lyrics that elevate surface emotions over self reflection or introspection.

Its quite frankly immature and that is fine, Its clearly for a younger audience and I could totally see a young me digging it. The music is tolerable but the lyrics were like an ear worm. I don't think the EP's words were less formed in this direction and thus got away with one but at this point I am not terribly excited about where they go from here. I will probably pick up the next album if its singles show signs of development. Seems unlikely but would be nice to hear this sound go to new places.

Rating: 2/10

Saturday 9 March 2019

Pale Waves "All The Things I Never Said" (2018)


This young band have emerged with much attention for their distinct revival of 80s New Wave, Synthpop and Goth Pop sounds. Echoes of The Cure, Tears For Fears and Dream Pop unite with no particular distinction of something original beyond modern and glossy production. Singer Heather Baron-Gracie has strong, warm singing voice with an approachable range. Her lyrics are some what vanilla with direct language to convey her thoughts and feelings. The simplicity lacks a spark but within the squeaky clean and polished sound it suffices over the dreamy instrumentals.

Big cruising bass lines lay down warm, bold foundations for simple drum patterns to craft snappy grooves behind the attention grabbing glossy guitars and reverb soaked synths that churn out nostalgic melodies. Its held together in a sweetly warm balance of fun and youthful innocence with tinge of sadness and sorrow lurking that never surpasses the bright, uplifting gleam of glossy sounds channeled over engulfing airy synths that fill the spaces between its popping, chirpy melodies.

The records four cuts circle the same waters, making an appetizing listen if you enjoy the first track. Its accolades are to be found in reviving the spirit of and old sound and giving it a modern touch but beyond that their is little remarkable. They execute a musical concept that still works with a bit of love and care. It will be interesting to see where they go from here as this EP is a solid introduction and hopefully a foundation to grow as a band and take this sublime sound to new places!

Rating: 5/10

Friday 14 December 2018

Marissa Nadler "For My Crimes" (2018)


Bleak, dreary, full of sorrow, this latest record from American singer, songwriter Marissa Nadler drags us through the dwelling of her melancholy. Disguised by a beautiful, timeless voice and soft, sombre acoustics the details of her torment and pain escape in this frightfully dark journey through personal and emotional struggles. Its calm, ethereal demeanor lures one in as strummed acoustic chords sing their harmony underneath her bare, vulnerable words. Mournful strings occasionally creep in as the songs grow, twisting tone and mood as they chime in with shadowing conclusions for her illustrious stasis of beautiful despair.

Its her lyrics that twist the knife. The instrumentals and her voice are poised in that precarious position, devoid of jollity, caught between beauty and sorrow, suspended in a timeless space of reflection turned to light. As one listens closer to her words moan a great sorrow as pain emerges, heartbreak, separation and distance ache sorely. Journeying deeper into its final tracks, the words take on darker tones as fractions of paranoia and an abusive relationship rears its ugly head through the poetry. It may be a far to literal interpretation on my part. Music as art can often be a ventilation that takes a different form on exit but her open and vulnerable singing within this ethereal state of reflection sends shivers down the spine. "You're only harmless when you sleep".

Its a moody, introspective record and that's what I like. I take great solace in these calming, shadowy records and as an artist she strikes me as the sort to channel this single part of herself. It culminates to a vivid and alluring state of hyper reality when opening up to the poetry of her words. I'm fondly reminded of Mazzy Star and Chelsea Wolfe listening to this newest release and also remember her music having a far more "happy" vibe. Its why I had not gotten into her records that deep before but this turn of pace since I last heard her just happens to be my cup of tea.

Favorite Tracks: For My Crimes, You're Only Harmless When You Sleep, Said Goodbye To That Car
Rating: 7/10

Saturday 3 November 2018

Lycia "In Flickers" (2018)


I'll always be interested in some Ethereal Darkwave from Lycia. If its their classic Cold or the more recent A Line That Connects, it conjures a meditative mood Ive truly grown to love. They were one of a handful of bands to drew me to this cold, soothing and introspective sound that tinges on psychedelia. In Flickers has the experience I expected, forty three minutes of bleak, gloomy and forever drifting music. Its gentle and sombre in its pacing, soothing and indulgent with its reverb soaked instruments. We float precariously in a stasis of limbo, with purgatory just beyond our vision. Its a beautiful place that does not need anything happy or upbeat to be so.

For a moment the record surprised me as its second song, A Failure, includes the use of bold buzz saw synths and a punchier precussive beat that gives it a little feet moving dance and gusto. This shaped up my expectation to potentially hear an unleashing of a potent twist on the bands well defined sound. Unfortunately it wasn't so. Another one, Mist, returns to the idea for its almost five minute duration but two out of ten tracks leaves a musical idea that clearly works thoroughly unexplored. The chemistry only seems to give another dimension without taking anything away.

Through its shades of intensity and reworkings of the slow, dreary gothic soundscapes each song possesses, Rewrite stands out for its embracing of of a thick, distant and haunting sound at the heart of the song. Possibly a distortion guitar, the sound is lavished in effect pedals and comes through dense wall of ambiguous shadows. Its climatic melody soars with an unsettling darkness. Its forever marching baseline drives the song stride forward through this darkness in epic wonder.

In Flickers has all the hallmarks, slow and soft drums patter at humble pacing. Reverberated synths build snowy, chilling atmospheres and the singing of duo Mike and Tara bring arcane chorals and deeply spoken words to the fold within the composition style. Its very enjoyable and suited to its particular mood, with only a few sparks that transcend expectation Id say its a fair record, one for fans of the sound and a great introduction for those curios in Darkwave and Ethereal music.

Favorite Tracks: A Failure, Mist, 34 Palms, Rewrite, Autumn Into Winter
Rating: 6/10

Thursday 28 June 2018

Myrkur "Mareridt" (2017)


There's always music to be discovered and this year at Download Festival I decided to wander over to the forth stage while grabbing some food and to my delight caught an unexpected amazing show by the Danish group Myrkur. A combination of furious Black Metal and angelic singing played right to my tune, I knew I would have to pick up a record and my first is their second.

Mareridt, Danish for nightmare, reveals so much more about their sound from the live experience, although it is probably a dimension to their sound your just not going to hear first time around at a show. The record however shows depth and emotion in abundance as the contrast between singer Amalie Bruun and her band goes beyond a simple concept and aesthetic, tapping deep into the folk sound of pagan cultural roots.

The record achieves a meditative, indulgent state just at its surface level alone. Steady, naturalistic songs let the light draw to Bruun's singing as she delves into soft angelic singing with accents of Scandinavian heritage, on De Tre Piker she goes all the way in with what could pass as on old hymn handed down through generations, stunning singing reminiscent of Lisa Gerrard. Behind her the music finds different temperaments with the Black Metal aspect of the music finding many intensities to approach from, occasional bursts of ugly, snarly spats of grimness fuel some darkness but more often than not, it rides on the uplifting gleam of awe inspired lead melodies, similar to the epic grandiose scale of an act like Saor. It mostly serves as an aesthetic for the theme.

As the distortion guitars and drumming compete for their moments they sway up again the persuasion of heathen sounds. Violins, harps, modern synths, organs and pianos grip firmly on the naturalistic experience that will have one smelling the outdoors air, feeling the breeze as it rustles through the leaves of tress. One can really feel the spiritual connection to the forgotten past when man was closer to mother nature. The swaying and competition between two sounds gives the album a healthy flow that finds an interesting middle moment on Funeral as Chelsea Wolfe lends her voice to an abyssal, slow, crushing instrumental that could of easily been on her own record. It highlights some similarities but more so adds to the diverse pallet these songs have with one another.

On first listen I felt the Black Metal aspect to be rather rigid and stiff in its volatile phases. I could hear a lot of 90s abrasiveness at work but with each listen as the overall theme became clearer its chemistry in relation to Bruun's voice and the other cultural sounds gave it a far more organic and Post feel. Perceptions change and I am finding myself loving this record more and more with each listen. Its moods, feelings and vision run deep, the music comes to life with vivid visuals of dark and ancient times filled with pagan mysticism.

There is a very personal and mischievous period in the outro track Bornehjem, a childish Golem alike voice talks to its demons, leaving me to believe there is most likely a much more personal theme running through the lyrics, of which I haven't read, perhaps that is something I should make the effort to do. This band will undoubtedly be one of my favorite new discoveries this year and luckily there is their debut record to get into next.

Favorite Tracks: The Serpent, Elleskudt, De Tre Piker, Funeral, Ulvinde
Rating: 8/10

Friday 12 January 2018

Dead Can Dance "Spleen And Ideal" (1986)


Freeing themselves of the Post-Punk shackles their Self Titled debut was wrapped within, the Australian duo take a shy stride toward the vivid world they would come to inhabit on Within The Realm. This humble and quaint beginning is an exploration of imagination with a striking sense of nostalgia from cultures lost to the perils of time. Whatever the duos inspiration and vision for their music was, I find myself always overcome by a sense of worldly, earthly epic within the roots of a simpler existence, close to mother nature yet drawn to mystic and esoteric.

Initially the record strikes me as a half way house, a transition of sound but so swiftly do the supposed short comings of this record evaporate as its atmosphere engrosses with its rolling repetition. Drum arrangements and especially the baselines have hang overs from the Post-Punk record beforehand. The base guitar pops and plucks at a steady, unshakable pace on almost every song as if it were backing thick walls of distortion guitar. The drum patterns are somewhat stiff and repetitive, always churning away as if a requirement. Ironically it maybe these droning elements that help conjure the atmosphere as they provide a sturdy hypnotic backbone for the duos voices and spell bounding keyboard melodies.

With higher fidelity production and a richer array of synthesized instruments the spark is ignited. Gerrard's resonating voice memorizes without dense guitars muddying the rapid vibrato texture in her singing. Perry's deep and wholesome words relish in the reverb afforded to him in a more spacious production. It all amounts to a wonderfully relaxing and vivid experience of simpler lives yet beneath it all lurks an undercurrent of something eerie and haunting that never surfaces, always lurking in distant shadows. Despite the sense of mortal coil it remains a rather warm and endearing listen.

Favorite Tracks: Advent, Indoctrination
Rating: 7/10