Dead Can Dance "Dead Can Dance" (1984)

Going back to the roots of Australian duo Dead Can Dance, we find an interesting debut record that makes much sense of their future linage, yet is firmly rooted within a Post-Punk sound. It has come to be one of the most interesting genres for me in recent years, although a broad term it captures the creative freedom and artistic diversity that came after the DIY Punk scene changed the rules for popular music. On the record we hear hints of whats to come, however it is masked by a rather gloomy Gothic Rock overtone and an Ethereal touch that makes it easy to indulge in.

Mood, tone, atmosphere, very much the charisma of this record without being overt or overly ambitious, its mid tempo, calming, indulgent and far from a lull but without any big, memorable moments it can pass you by. The dissonant guitars murmur through tonal riffs, steadily droning in the background with a fuzzy tone that never lets the life it has really jump out or create much of an impact. Often they dial it down to a more acoustic tone but even then it feels so subdued.

These are typical Post-Punk ideas, provided we are talking about the same niche, guitar riffs that focus on tone and mood rather than rhythm and melody. Bouncy baselines rumble underneath and the drumming is simple, repetitive, Industrial in some cases. The drums are the first noticeable instance of their future direction to come. The opening track "The Fatal Impact" and "Frontier" have tribal sounding drum patterns, hinting at Medieval or historical themes.

These ideas are yet to flourish and the two's singing voices are barely dissimilar from future trajectory. Its obviously is a big thinking point for me with this music and maybe being blind to it, something different could of emerged but the reality is its a reasonable record, enjoyable but not riveting. It has one burst of light with "A Passage In Time" however the repetitions in song structure really unwind the power of the music given the rather quiet, meek and passable production that makes for quite a bland sound where the music itself is clearly more deserving.

Rating: 5/10

Killing Joke "Brighter Than A Thousand Suns" (1986)

Ive been chipping away at the Killing Joke discography for some time, their first two records "Killing Joke" and "Whats THIS for...!" were really something but the rest of what Ive heard hasn't been quite as unique or interesting. I last listened to "Outside The Gate", their most poorly received record but one I thought wasn't all to terrible, it had a couple of memorable, catchy songs on it. I actually skipped a beat there, missing this record which ironically feels more like a solo effort from front man Jaz Coleman who's face dominates the albums cover. The negativity surrounding the band at the time seems to revolve around the shifts in style but listening thirty years later its seemingly irrelevant.

Guitar distortions and aggression are almost non existent, the guitars, mostly overdriven, are jamming away in the distance, drifting through melancholy riffs in a wash of hazy reverb that vibes with the synths. Jaz's electronics are eerie keys with an astral quality about them, they take much of the melodic lead and usually the guitars are following them, adding texture and density to the simple synth lines. The drums are rather punchy and active with solid tones however in the mix the are rightly quiet and keep pace rather than make a big impact on the songs. The bass lines are a key component of groove, big and bold the rest in the forefront jamming to their own tune that ties the drums to the guitars and keys. Rising above it all is Jaz's voice who flexes the soft yet powerful side of his range. The instrumental sets the tone, building the atmosphere for Jaz to take the stage. With some soft reverb he shows his talent however as always the lyrics generally pass me by. Its an agreeable chemistry but as it stretches on through its hour run time a limitation arises without a flexibility to his approach on each song. The songs two are rather simple and their is no grandiose ideas at work, just variations on the same aesthetic.

Its still got that distinct Killing Joke vibe, but far more New Wave, and with a tinge of Gothic residing in its moody, slightly gloomy exterior. Two tracks in the middle stick out, breaking the established formula and stripping back the guitars for the synths to take lead. "A Southern Sky" has a memorable hook "Death on the hills, into the forest" and "Victory" has a much perkier, upbeat feel with a jovial base making itself known. They feel different and slightly more pop than the rest of the record, at one hour it probably could of dropped these songs off but that's just my opinion since they feel so out of place to me. Overall its a reasonable record, enjoyable in its moment but not much sticks in the mind about it. Its something for a particular mood, just a mood I'm rarely in.

Rating: 5/10

Killing Joke "Outside The Gate" (1988)

Continuing our journey through the fifteen full length Killing Joke albums we arrive at their seventh and undoubtedly their worst received record by both critics and their fan base. The group made a stylistic shift towards the once trending Synthpop sound without any form of subtlety. Having wrapped my head around it I see the negativity as a reaction to what was probably perceived as trend hoping, however being from the distant and mysterious future there is little offense I can take as its no longer relevant. That doesn't let it off the hook though, their are some jarring, rigid and unfortunate moments where it doesn't work, equally some great moments too. The opening track "America" is a fantastic example of good pop song writing, with a hook and catchy chorus. Its cynical lyrics and unsettling, gleaming synths reinforcing underlining the dark, observational message.

The rhythmic identity and tonal guitars are all but absent on this record and its a key part of what defines them, or once did. Equally singer Jaz Coleman steps further outside his normality and flexes his vocals, showing his ability, range and the charm his softer side has, similar to on "Love Like Blood". It sound stunning on the second track when accompanied by lush chorus pedal guitar strumming and can sound equally fluky on "Stay One Jump Ahead" where they play out Synthpop cliches. The records problem is in the rigidity between their natural instincts and the Synthpop characteristics they emulate. There is a couple moments where its awful, mostly mediocre but between them they always drift towards the moody, brooding atmospheres which having a rich set of synths and decent production value sound glorious in their moments, however theirs only a few tracks that hit that mark.

For me that's the record in a nutshell. Its best moments come from the bands leanings to their unique sound and the worst from pop cliches and "moments" in songs you've heard other bands do. It does however not deserve the flack it received in my opinion, the chirpier synth added a welcome dimension when executed with inspiration and it yielded a couple of fantastic songs. Whats interesting is this shift came years after the scenes apparent decline. I'm doubtful the motivation was to scene hop, maybe just to explore an interest in a sound than played out alongside their best years.

Favorite Songs: America, My Love Of This Land, Unto The Ends Of The Earth

Rating: 5/10

Killing Joke "Night Time" (1985)

Its the fifth record of our beloved Killing Joke, the niche Post-Punk, Industrial Rock band of the 80s and an expected return to form considering it produced two of their best songs. Following a duo of unfavorable records its great to hear the group back on track but this time in a new and refined direction. "Night Time" tones down the aggression and Industrial accent, dialing down the loud, smothering distortion guitars in favor of a more spacious sound that still retains distinctive qualities of the identity they created for themselves but with a more accessible sensibility.

Singer Jaz Coleman may be the one exception, shifting his style to a significantly softer, resonate delivery, melodic and bolder. He still retains his voice, but in moments sound like other singers of the era. Behind him the lightly distorted guitars emphasize on strung out chords plucked into atmospheric reverbs. They often drop out for quiet and thin synths to eerily drone in the distance. For the most part the drums and bass chime with one another, rhythmically clattering away through short jolting grooves that pound away, repeating over and over.

It works! And with better clarity from the production, the nosier moments don't cloud the listener. There is room to breathe and the bass's tone keeps it right in the front of the record, grooving away with a thick, vibrant tone. Song structures are nothing to marvel and if it wasn't for the two spectacular tracks there isn't to much going on. Its a record of moody vibes that sets its timbre and rolls with it through a soundtrack of cold concrete and rainy days. It elevates itself to inspired heights with "Love Like Blood" and the albums closer breaks to what feels like a different record altogether. With a different aesthetic, hard hitting drum pedal, "Eighties" ends on an upbeat note with a party, sing along track to pump your fist to.

Favorite Songs: Love Like Blood, Eighties

Rating: 7/10

Killing Joke "Revelations" (1982)

It was back in March of this year that I first gave this record a spin. After listening to their debut "Killing Joke" I moved onto their third and found it very difficult to get into this one. A lack of fidelity in the production made it unsuitable for earphones on a windy walk. Months later on my sound system I was able to distinguish a lot more of what was going on but still felt an absence of something important. With much reluctance I have finished listening to what I hope is the worst Killing Joke record, its pretty appalling, gloomy and tinged with Gothic influences.

The band's charm is in the dissonant guitars, mechanical stop start rhythms and singer Jaz Coleman's distinguished voice. On previous records it all came together with atmosphere, drive and meaning to form memorable songs that introduced new ideas and musical approaches in the Post-Punk scene that's had a profound influence on many bands, mainly Metal & Industrial. Going from the snappy rhythm led hook of "Tension" and anthemic dystopian sing along "Follow The Leaders", the band hit an inspirational bankruptcy on "Revelations". Opening with the mediocre track "The Hum" marks the high point for a stale and drab record which quickly drifts into obscurity.

The spark is missing, and it can be felt sorely after the first two tracks as the discordant guitar fails to ignite any atmosphere. Idea after idea, riff after riff falls hard on itself as obvious injections of "unexpected" sounds creep into the tracks with bells and acoustic guitars in the breaks. The drums pound and grind away uninspired rhythms that lack a groove or any chemistry with the guitars. Jaz's wails away in his own style but like the drums just fails to gel with the guitars and we end up with a collection of misfiring songs that drone through a moody and uninspiring setting.

It feels like the band where going for a darker vibe and focusing on the drone of the discord. In doing so they were unable to create anything memorable on a miserable record that felt like leftovers from a demo. I'm trying to be fair, but Its a poor effort with little chemistry and a lack of direction. There is also the absence of any electronics which in retrospect feels like an even bigger part of their sound. Disappointing, but I'm still keen to get through their discography.

Rating: 2/10

Lycia "A Line That Connects" (2015)

After a ten year absence, American Darkwave band Lycia returned from the dark with their ninth full length "Quiet Moments" in 2013. At that time I didn't give it much attention and its occurred to me I've never gotten into any of there records beyond 96s "Cold" which is a favorite of mine. When I saw "A Line That Connects" pop up in my inbox I decided to make sure I give this one a proper listen. Under the impression that they had moved on from the lonely, frosty ethereal ooze of "Cold" I was pleasantly surprised to a familiar moody, dark somber tone in this record.

Its gloomy, dreary and bleak but comes through a soft, melodic embracing melancholy of airy synths gently rolling through the background mist while the percussion draws out a reluctant beat stretching the tempo to sleepy lows as singer Tara Vanflower chimes sorrowful cries behind Mike Vanportfleet's soft and whispery spoken words. Between it all glistening guitars ooze and flow, unifying the song with pale, somber melodies drenched in reveb heavy effects. Its cold, snowy and dark, but has its own flair compared to "Cold". This one isn't quite as frozen or bleak, there's a glimmer of hope shining through a sorrowful, mourning record of solitude.

Not all of the record follows this vibe, about halfway through "The Rain" kicks things into life with a punchy, rocking track with a faster tempo, pumping beat and catchy guitar riffs. Mike brings a lot of energy to his voice as he delivers foreboding lyrics through a forceful deep tone that sounds fantastic. Its a track reminiscent of 80s Goth Rock and with the following tracks the album keeps the tempo and shift of mood up for a short while before drifting back into bleak, sleepy numbers.

The production is a big step up from "Cold" but that's no surprise, nineteen years of progression gives the sounds a richer texture and depth but it doesn't stretch what the music can do. This record was an approachable dose of the Lycia sound, however it very much plays the same game and offers nothing new or unexpected. Great record but more of the same, of which I can't complain.

Favorite Songs: Silver Leaf, A Trade Out, The Rain, Hiraeth

Rating: 6/10

Bauhaus "In The Flat Field" (1980)

With a recent exploration into the origins of Gothic Rock, Bauhaus's "In The Flat Field" was one I picked up alongside Christian Death's "Only Theater Of Pain" & The Cure's "Boys Don't Cry". It's a Post-Punk record thats been hailed by musicians as a hugely influential one, making them a "bands band" in some regards. The Post-Punk era is a fascinating one, a time of great potential and innovation. Here we can clearly here the origins of new ideas blooming a sound of gloom and darkness arriving with a distinctive clarity of vision. The expression and musical theatrics feel void of experimentation despite that era indicating you could of labeled it "experimental" at the time. This was the groups debut record and they released another three before disbanding in 1983, leaving a short lived legacy behind them.

The record starts with its most bi-polarizing track, "Dark Entries", which starts the record of with a declining single strum note riff that rings out some chords and shifts octaves in between blazing out the dark riff over and over. Theatrical, moody vocal musing don't detract from rocking feel this track delivers, but its far from what the rest of the record offers. As "Double Dare" starts we get a different feel from the same pallet as a submarine ping introduces distorted, fuzzing guitars into a dark, hopeless atmosphere. The guitars play between crumbling drum rolls that rattle in the absence of the distortion. This goes back and forth as Daniel Ash's vocal theatrics embellish like a performer at a play, exaggerating every word. Quickly a dark and paranoid atmosphere is established and explored as the song descends into itself, heightening with Ash's tempering line "I Dare You", performing the "I" over and over. It paints a powerful image of him parading around a set as he performs.

From that point on the album plays out an hour of theatrics, bold, dramatic, audacious and artistic manipulations of sound explore the doom and gloom through screeching guitars, muzzled electronics and big, tom rattling drums. The bass diversifies itself continually with all sorts of fx pedal manipulation. It sounds terrific for an old record, the space and atmosphere is captured finely without a dated feeling. The group utilized what was available and captured there expression timelessly. I have a lot of admiration for this record, but its not one that gets me especially excited. Perhaps they captured the gloom all to well, as these songs plunge into despair they do so artistically, not manipulating it for bombastic effect, but for the art itself. Every moment is intense and gratifying, but tends to stretch on as only a couple of songs change up the pace. Terrific record, was well and truly worth my time.

Favorite Songs: Double Dare, In The Flat Field, Dive, Stigmata Matyr

Rating: 5/10

Marilyn Manson "The Pale Emperor" (2015)

Its time for our first record of 2015! And I've been listening to it since 2014, when it leaked onto the Internet. Its still not released, but available for streaming, and I've held of from talking about it, but soon I will own this fine record that may just be Manson's finest hour. "The Pale Emperor" on first listen was a great listen that was rather unexpected considering the impression I gathered that Manson had "fallen off" since his classic trinity of records. Having thoroughly enjoyed them recently, this record didn't feel to far from where "Holywood" left off, but had an obvious progression and maturity to it. Gone are the bold and contentious statements that shock some and excite others. On this record Manson turns inwards for inspiration, and the pains and hardships of being him, it is reflective of the overall mood of the album with only "Deep Six" hitting that harder Rock/Metal vibe Manson does with a urgent sense of style on previous records.

It's a calmer record thats theatrical, intelligent, with a subtle grandiose to it. The band instrumentally focus less on hooks, and craft matured songs with no cheap thrills, yielding a rockier vibe that sees the Industrial element of their sound quiet influence of past. Manson is in his artistic vision as always, but his chemistry with the group is spot on, the track "Birds Of Hell Awaiting" for example, Manson's performance is free and audacious, it carries the dreary, mechanical instrumental along and together they climax the song with a boisterous flamboyancy. Its a high point in a charactered group of songs that are crafted through a subtle arrangement of instrumentation that is varied and lead by some fantastic guitar work that appreciates where and when to bring the energy, and where to decorate the instrumentals with calmer energies. The record's calmer nature was reinforced by the dismissal of a drum machine and the inclusion of Sharone, formally of Dillinger Escape Plan. In the moment they could provide the classic Manson fist pounding rhythm to get your noggin bobbin, as well as structuring the theatrical nature of these tracks.

Manson as always is a huge part of these record, his presence here was commanding as ever, and even when showing his weaknesses he stays in the music and turns his anguish into an exhilarating performance. Its a sign of maturity that his artistic vision can change and retain the best of his performance. As touched on a couple of times, this album is openly personal and introspective, more so than the observational and instigating nature to poke at establishments and ideals in controversial fashion. Even with a shift in focus Manson delivers those classic lines that stick in the mind, twirling thoughts of intrigue. "At least I know, wherever I go, I got the devil beneath my feet" and "Were killing strangers so we don't kill the ones that we love". I've listened to this record countless times, its stuck in my mind and I have enjoyed it through and through. I feel like its a record that has a lot to offer, and will continue to do so. Its theatrical presentation, mature delivery, and depth of theme are true strengths that challenge this as their best artistic output to date.

Favorite Tracks : Third Day Of A Seven Day Binge, The Mephistopheles Of Los Angeles, Slave Only Dreams To Be King, Birds Of Hell Awaiting

Rating: 7/10

The Cure "Boys Don't Cry" (1980)

I've been aware of English Goth Rock group "The Cure" and their influential status for a long long time, but Id never given them a listen until recently. I can't count just how many times I've listened to this record, but essentially I have held of from talking about it in search of a deeper understanding of this record and it's importance. Nothing profound has really come to mind, I just found this record to be a simple pleasure, a light and relaxed listen that had a fluency and ease about it that made each song as enjoyable as the last. Maybe thats the beauty of it? In the age of cerebral, introverted extreme music we can loose touch with the pleasures of melodics and simplicity.

Boys Don't Cry is a warm, spacious Post-Punk record that has a tinge of moodiness to it that would later blossom into a Goth Rock aspect of their sound. On this one, the trio stroll through 12 short numbers that create an uplifting and mindful feeling through a minimalist and toned down sound that greatly appreciates the space between the instruments. The kit is soft, the bass kick is padded, the snare devoid of any snap or punch, and the symbols are quiet and low in the mix. The bass lines rock a steady groove, providing a backbone for these songs which Smith's guitars compliment at their own pace, the trio don't overpower there own ideas by trying to give all the instruments something to do at the same time, on certain tracks and moments the bass and drums rock together quietly with Smith's musings, and the absence of guitars works in their favor.

The guitars bring in the most colorful aspect of sound, cleanly strum chords are tinged with flange for a tone that has an exotic touch. Its a splash of color into an otherwise tamed sound. Smith's vocals are enjoyable, I like his strong accent and afflictions, they are the final component of what gives this record a pleasant and warm approachable sound. As I said earlier, I didn't find anything profound about this critically acclaimed record, but its a simple pleasure I can listen to over and over.

Favorite Tracks: Boys Don't Cry, Accuracy, Jumping Someone Else's Train, Killing An Arab, Three Imaginary Boys

Rating: 7/10

Christian Death "Only Theater Of Pain" (1982)

I came across this album during some casual browsing, praised as the first Gothic Rock album I figured its something I should give a listen. My understanding of Gothic music is limited, so the accuracy of that statement is beyond my knowledge, but this certainly struck me as an overtly Gothic and "out there" record considering the time. The stark album cover is certainly attention grabbing, and the ghoulish yellow font could be an early source of inspiration for many Extreme Metal bands who in the coming years would take a similar path with their logos. And with all that said, Christian Death are a four piece outfit from California, and this is there debut album.

With the sound of church bells opening this album, the group set their Gothic tone quickly as the drums bring in a beat for dreary, mournful guitars to build an eerie atmosphere of pain and suffering through some rather genius flange overdriven leads that gel with a strong, warm bass presence thats participation in the forefront fills a space left by the guitar leads that go of on noisy, emotive tangents in between the core riffs. The chemistry is strong between the two and provides moody Gothic instrumentals for Rozz Williams's vocals which are a point of interest. Flamboyant and dramatic, Rozz's delivery is driving with a slight touch of whine. Its a hard one to describe, but its a love / hate style and one that defines a lot about this album. The lyrical content is introspective, emotional and romanticized with some dark and occult overtones through vivid use of language. 

The aesthetic and theme of this album is spot on, but the execution is disappointing. When doing it right the songs are dramatic, dauntless and absorbing, but more often than not the songs wander off into uninspiring and self indulged tangents that fail to offer anything to get excited about. These weaker songs were frequent and made the listen somewhat of a drag, but for what it does right I will find myself revisiting this one to hear the better numbers.

Favorite Tracks: Cavity, Figurative Theater, Romeo's Distress, Deathwish

Rating: 5/10

T.S.O.L. "Dance With Me" (1981)

The True Sounds Of Liberty (T.S.O.L.) are an American Hardcore Punk band who release this, their debut album, in 81 not long after releasing a self titled E.P. This record saw the bands shift their sound in a new direction, something they would continue to do as they progressed through their career, which is still going today despite disbanding and reforming in the 90s. A stranger at a Public Enemy show recommended this record to me seemingly at "random" and I doubt I would of found my way to it otherwise. Since then its been a short record that I turn to from time to time.

Aesthetically, T.S.O.L. have a fairly average Punk sound, unapologetic vocals, simplistic and overdriven chord led guitars, energetic drumming and a bass guitar thats bold presence and involvement in the music is refreshing and a rewarding part of their sound. Rough around the edges, the production is fairly impressive considering the times and value of an "underground" act. What makes T.S.O.L. stand out is their creative musicianship and theme. Through these 11 short songs the group keep a varied approach that gives each track its own identity and flexibility to be inventive and inspired creatively, again the bass guitar often being heavily involved in some of the more progressive and unexpected moments.

It wasn't until recently exploring Gothic Rock (Christan Death, The Cure, Fields Of Nephilim) that I thought of this record and realized its strong Gothic overtone. Although the lyrical content is more socially, emotionally aware, their is a definite tinge of Gothic culture in there, maybe most noticeable on "Silent Scream". It gave this record a unique theme and identity I noticeably enjoyed. This "review" wouldn't be complete without a mention of the track "Code Blue" a comical tongue in cheek number about necrophilia that is packaged with their most catchy and rockable instrumental, definitely one of the highlights of this short record, which at 25 minutes often leaves me a little disappointed with its length, however these songs are short, to the point and devoid of filler. A quality album with a fantastic vibe.

Favorite Songs: Code Blue, The Triangle, I'm Tired of Life, Love Story, Silent Scream, Funeral March, Dance With Me

Rating: 7/10

Depeche Mode "Black Celebration" (1986)

It feels a little strange to talk about music you know is hugely influential, yet know so little about. Over the years I've heard nothing but good things about Depeche Mode, their influence and legacy. Finally I have got around to giving them a listen. It took me a while to fully grasp this album and adjust to their sound, which is strange considering how clean and approachable they are. My memory of the first listen feels almost alien to how it sounds now, maybe this is the power of familiarity.

Depeche Mode compose powerful, intelligent music with a strong emotional narrative and direction thats guided by energetic, bold arrangements of synth notation and quirky noises layering these songs with detail. This absorbing sound is beautifully composed giving bright, colorful melodic leads room to shine and chime with Martin Gore's loving voice and swooning lyrics. The combination is powerful, creating a lasting impression as the two dance around each other and drive home moments you can't get out of your head.

Their genius is subtle, there is a brilliance to these compositions, the group build up suspense and narrative with detailed instrumentals that are ever so slightly contrasting to Gore's powerful soothing voice. Then at the perfect moment they shift the gears to let the melodic lead unfold and meld with the vocals to create those goosebump moments that last. Fantastic sounding album that has grown on me tremendously with each listen, now i understand what the fuss is about.

Favorite Songs: Fly On The Windscreen, A Question Of Time, Stripped, Here Is The House

Rating: 9/10

Killing Joke "Extremities, Dirt And Various Repressed Emotions" (1990)

I have been enjoying my recent foray into Industrial music, and Killing Joke was a group not so appealing at first, but i am glad i stuck with it as this album has grown on me tremendously. Killing Joke are a Post-Punk group from Noting Hill who through the 80's released many albums that incorporated some Gothic and New Wave elements to their sound. Extremities is the groups ninth album and one i chose to listen to for the cited Industrial influences the band had brought to their sound. With little experience of there previous works i got to listen to this record from a neutral perspective.

Extremities is drenched in nostalgia through guitars that bring forth a big sound, distortion characterized by flanged overtones mold a big presence in these tracks. The riffs, either simple or complex are given a big boost by this sound which remains a strong point for this record from start to end. Killing Joke utilize a variety of riffs across this one, often lending to progression and atmosphere but at times breaking out some rock sensibility and memorable riffage that stands out from the hazy flanged noise the guitars ooze. There presence feels paramount but there is more on offer.

The drumming is solid, nothing that stands out but it doesn't do any harm, its always in tune with the music. The bass is solid, its presence is strong on most tracks but occasionally gets a little lost under the big guitars, on occasions bringing a lovely overdriven tone I wish would have featured more often. The vocals being very British were a little stark on first listen and felt slightly contrasting, however with familiarity comes acceptance. Alongside these elements there is definitely some electronic presences with the occasion tracks brining in some subtle scratching sounds at extra details if you listen carefully. And some synth leads are there t0o, mixed to bleed with the guitars. Overall a great listen. Lots of good songs but I especially liked the mix, it has a lot of character and lets the instruments work together to build some noisy atmospheres.

Favorite Tracks: Money Is Not Our God, The Beautiful Dead, Solitude, North Of The Border

Rating: 5/10