Gothtober - Vision Video : "Modern Horror"

The 2022's "Haunted Hours" took the top spot in our end-of-the-year post-punk top 10, so the bar is set high for this one. The 3rd album from this Athens, Ga, based band finds, them opening things up with the moodier title track, yet leans more into the organic post-punk side of what they do. All of this comes together with a smooth melody thanks to another great performance by Dusty Gannon. "Dead Gods " is the lead single, and it continues with a similar lyrical theme as the title track, as it's very bleak and agnostic in its outlook, which works for me. Religion is the passive-aggressive target of the dance floor-rocking anthem. To complement the lyrical shift the music is more aggressive in its drive that is empowered by some solid bass playing.

This is almost a concept album as "Sign of the Times" is only marginally less stark than the previous song. It is not as geared for the dance floor and feels more firmly rooted in post-punk. Gannon's voice seems to be soaring a little higher on this album. It's more Duran Duran sounding at times. "Balacave Kiss" is just as rooted in the sounds of the 80s, though the melodic nature reminds me more of Merchandise than anything dark wave. Keyboardist Emily Fredock lends her voice to the chorus to add a new sonic color.  They get a little darker on the more Cure-like"Normalized". Which bemoans the woes of the common man.  Gannon's croon is supple on this one with a tinge of vibrato. 

"Living Dead" is not as Halloween-minded as you might expect. The synth melodies often being the most goth thing about the overall. In fact, the chorus is rather upbeat. "Haunt Your Dreams' almost feels more like Roxy Music than the Cure, but it's a really well-written song so that does not matter. At this point, the lyrics have shifted to a more introspective musing. This feels like it might be the album's best song. It has some of the most driving drumming. The Roxy Music comparisons gain more weight with "Let Go of Time". Then they steer things into a new wave direction for "Never Enough" which has more in common with 80s synth wave revivalists like Gunship or the Midnight. The last song is the first song that taps back into the Smiths-like jangle. His croon is more relaxed, as they take you on a casual stroll.  I will give it a 9.5, so not quite measure up to the last album, but It might just need to grow on me. Though unlikely to usurp Crippling Alcoholism from the band's firm grip on the post-punk throne this year. I need to give it a few more spins, but it's still and impressive offering. This album drops on Oct 22nd. 

 

pst 497