'Gothtober - Exhuming the Tunes with Christian Death's"Born Again Anti CHristian"

Even though this album was released 26 years ago, it still feels like the modern era of the band for me. When this album came out, I think I was really into hardcore, so it went under my radar. I really appreciate the dark drama of the opening track that sets the stage for this album. For there we go into a song about a serial killer, so they are totally winning so far. This one is really creepy. I think they have settled into their legacy here and understand the assignment more clearly than on other albums where the more metallic were being introduced. The drummer is bringing it on this one.

They get heavier on " In Your Eyes," whcih is not a Peter Gabriel cover, but Valor takes on a ballsy Coal Chamber-like roar on the chorus. I am half goth, half metalhead, so I like the metal moments that were introduced into these later albums but understand why someone might not be into it. Particularly when this comes up as more like nu-metal here. The bass certainly delivers that bounce. Both "the Knife" and "Peek a Boo" carry on their game blend to take death rock and give it a set of bigger metallic balls. The production value has increased here, so it is translated better. There are also mroe serial killer references. 

There is an almsot Tool-like bass to "Fear and Superstition," then they lost this groove by speeding things up with double bass. There is a rowdier punk undertone to the verses. The drumming is good; it just doesn't fit the song. There is a more deliberate groove that I can get behind on "Dead Sorry." Valor uses a more creeping, whispered vocal on the verses.  The more aggressive vocals on the chorus might take some time getting used to for some fans. "Malevolent Shrew" finds the bass line from the previous song carrying over, but with a more Ministry - like vocal. I might like this even better than the first use of this bassline but feel weird about them recycling it. The drummer does not like to hold back. 

"Blood Dance" comes closer to just bringing death-rock back from the dead. At least they are not trying to sound like Marilyn Manson, who in 2000 was what most people thought of when it came to goth. There is a taste of Halloween in this song's ambiance, so I am not going to complain. "Fucking in Slow Motion" brings in some of the trippy, more experimental sounds they have played with in the past but frames them in a more song-oriented perspective. More intense folk dynamics come into play to give some ebb and flow. There is a much heavier sludge-oriented bass line holding "the Painted Aura" down. The way the gutiar contrasts this is pretty cool. It's the first wink in a Type O Negative direction, who, to their credit, might have reached their commercial peak but were still in motion. 

"Kill Me" closes the album, yet there is a Cradle of Filth version of "Peek a Boo" but I am not one to really include remixes in my reviews unless that is relevant to the album. "Kill Me" is more like the more experimental sounds they used earlier in the band's career, so it makes sense as an outro. I will round this one up to a 10, as they are still trying to find their place in the world here, and pretty much do this with more grace than shown  on previous albums from this era. 

10.9

pst505

Gurriers Nobodys Coming to Save You

 

This Irih band was showing up on a bunch of post-punk lists, but they are really just a punk band. There is none of the melancholy of post-punk; instead, it is projected as anger. They are not bleak and bring more swagger to "Party Lines".  There is a well-produced guitar sound to "Shades." In some ways, it touches on a Gang of Four-like sound in the angular riffing. The emphasis is placed on the explosive dynamic."Pins" is more in the vein of Fontaines DC as it carries a moody groove and big hooks, but only flirts with punk. 

They are sonically rowdier on "Today is Not Enough," but the song feels more focused on the weird guitar sound than the dynamics; compared to other songs on this album, "Drones" takes a minute to become an actual song. When it gets there, it works out of a moodier throb; with that said, it might be the closest they have gotten to post-punk so far, which here is likea depressive version of Stone Roses. When they erupt from this, it is a clanging, garage version of punk excitement. I appreciate the dynamics. 

"Nothing Happens Twice" finds them carrying the jagged, raw attitude to punk into Britpop. The chorus pops off with a similar chaotic energy to where they took you in the previous song, but more controlled. There are interesting guitar textures, and this album sounds great with a very organic feel despite some of the noisy experimentation at the fringes. 'Waiting For Fisher' is a more restrained version of punk but still frantic enough. I prefer this over unhinged noise. They ebb down to melody for "I Wish I Was". The vocals are more sung than spoken. It floats off into an atmospheric haze with a rumble inside. The last song, "Crybaby" finds the rowdiness also dialed way back. Interestingly, the album's final act finds them going off in a show-gazing direction; it is, however, also the best vocal performance on the album. I will give this album a 9.5, it is not perfect but pretty great and good to hear some punk with a sense of sonci adventure and not just banging out chords. 

7.9

pst504

Enslaved : "Mið"

 

The elder statesmen of Pagan Black Metal are back with their 17th album. The first song is more black metal than I was expecting, even though it still ebbs back into the more progressive grooves. Sami musician Johan Sara jr contributes to this song, which is not going to be that big of a deal to anyone outside of Norway. They do not let up that much with the more deliberate gallop of "Solar Will'" which starts off with their more early 2000s black metal sound that infuses some of the more progressive elements, like the vocals at times, and swirling ambiance that touches the building metal storm here. Textures like guitar melodies keep them from getting too close to the status quo. 

They keep their Pink Floyd side under wraps until the more atmospheric and melodic "Mountain" the song does build into a cool, heavier groove that feels more like Opeth. Kevin Kicking Woman, an elder of the Blackfeet nation, lends his voice to give these guys a more legit native sound than Blackbraid has ever dreamt of. They jam over this in a cool, grooving manner that is still dark and moody. "Parting" finds the guitar leading the way with some atmospheric depth. Not their black metal side but it sounds good, so it is hard to complain, and I don't think any fans expect them to ever be solely black metal again. The sung vocals set the stage in the verse.  The growled vocals do chime in.A heroic guitar solo ties the two worlds together. 

A more aggressive flood of double-bass drumming brings the thunder to "Tales of Trees". It's closer to death metal, with the more rock n roll intention of its riffs. The guitar solo is more of a melodic passage. The last song opens with an even brighter, more sonic riff that sung vocals are cast against. The vocals hit more like 90s melodic death metal. This song works more off the tropes they have developed in the second half of their career. It works for what it is, and sounds great, but is not really hooking me in like the rest of the album; maybe it needs to grow on me. I will give this album a 9.5 and see how it grows on me after additional listens. This one drops October 30th on Nuclear Blast. 

1

pst503

Gothtober - Kontravoid : "Sound of the Void"

 This project is poised to break through to a larger audience of dark music fans. This is combined with touring with Front 242, which gives them goth cred from the old school. That tour certainly influenced the making of this album, as its primary objective is to ride dance-hungry grooves with a great deal of momentum. This might be best displayed on "Without," which is more of a song than some of these tracks that work off the energy from the sound being generated. It's this energy alone that empowers "Mortal". It accomplishes the kind of booty grinding that you look for in clubs. But this momentum alone is not enough to keep this album in motion.

 "Subject" has a more hammering, old-school cold wave feel. The vocals are spoken and dod not serve much of a purpose aside from being a human element in a track otherwise working off an electronic pulse. "Chances" finds a little more of a new wave bounce. The deadpan vocals complement this in a more post-punk manner. Not the strongest song on the album, they get credit for at least attempting a song. "Dimension" is more atmospheric and darker. It has one of the better pulses on this album, and while it doesn't follow a traditional song structure, it's an experiment that pays off. 

There is a cold-wave throbbing to "Forever". The vocal approach is still spoken, but phrased more sullenly. It's a more melodic song. "Abandon" is under two minutes, which is compact for an labum of very compactly written songs. But it is just an interlude. There is a more convincing beat to "Returning". But at this point, the monotone vocals are now officially boring me, as they feel obligatory. The last song brings a rather anticlimactic end to the album, as it recycles sounds and moods they have already used on this album. There are some good sounds being curated here, and good songs come about as happy accidents at times; I'll give this an 8. Out on Artoffact Records. 

pst502

'Gothtober - Exhuming the Tunes with Christian Death's ""Pornographic Messiah"

Though they walk through the valley of the Christian Death, they fear no evil is the theme here, along with god trying to fuck you. They are more commited to industrial and pulling it off in a smoother fashion than the previous album. That is not to say they are not indulging in some experimentation along the way. Of the first three tracks only one is a song. It's not til 'the Lie Behind the Truth' that they are willing to commit to busting out some guitar riffs again. Then there is the darker, brooding thump of "The Millennium Unwinds". It's thump drones on in one sonic color. 

"Weave My Spell" kicks into a more electronic groove that is more like KMFDM thanks to the guitar accents. I am fine with the industrial version of the band. In 19998 death rock was seeing a revival, and there were no bands even making the music, though goth rock has shifted focus over the years. "Washing Machine" is more likea Rammstein song, with lower, snarling vocals and the chug of guitars at the forefront. They cover Soft Cell's "Sex Dwarf," which is an odd choice, but here we are. The guitar adds more beef to the mix. 'Does it Hurt" feels like they are heading in a My Life With the Thrill Kill Kult direction. The almost moaned vocals and pron samples in the background cement the mood. It is not the most dynamic song on the album. 

At this point, I am preferring the heavier industrial sounds over some of the other experimentation going on; "The Obscene Kiss" kinda slaps. It has more of a chorus than the previous song. "Out of Control" is another bizarre sleaze electro-industrial offering, that finds the vocals reaching their peak aggression thus far, and for all its chaos, this makes it work. They take bipolar breaks from this to bathe you in ambient sound. "Die With You" finds them drifting off into a doomy drone. There is a thick, dark atmosphere to this, so it feels pretty on point for their overall vibe. The guitar melody helps it transition from one of the sound baths to almost an instrumental, as vocals do not come in until the final minute. 

"She Never Woke Up" finds them back in creepy industrial mode. They are darker and moodier than Marilyn Manson, but it is intersting to hear what they are doing in a post-Manson era. The vocals obviously picked up on how the tide was turning.  Even with the harder edge to the guitars, this is on brand for them. With a song titled "Pillars of Osiris," I assumed I was getting another weird sound bath and the drums almost made me second-guess myself, but I was right.The last two songs are both weird in different ways one is just noisy chaos the other is more deliberate but the ranting of a child are the vocals . I will give this one a 9, it's great Halloween music and I like what they were going for here even if the experimental elements are a tad overealous.

11.5

pst501

Gothtober-Lili Refrain : "Nagalite"

 

This album is four movements of a suite that explores the four alchemical states. Yes, let's have more occult practice in goth; that is what we need, and aside from being mentioned in the album's notes, it is not being otherwise exploited. It is a Dead Can Dance-like journey into atmosphere with siren-like vocals calling out over the mist of the synths. Not sure I would call this darkwave. At this point,   I am going with ambient neo-folk, but we will see where the album takes us from here. 

The title track is more percussive from the get-go. There is a more organic quality to this song thanks to the lingering guitar that ebbs in. The vocals continue in a mroe abstract chant in Italian. At least that would be my assumption, given it is her native tongue. A more rocking electric guitar joins in. While it is somewhat droning, there is still a sense of dynamics that works for me. Electronic elements are introduced in "Coil' which works off a more hypnotic pulse that finds us getting into the more ethereal side of darkwave. The vocals do not come in until midway into the song. The percussion takes on a more tribal feel; I can appreciate the tension but it does not feel like it's giving the same payoff as the previous two songs. 

It ends with the twelve-and-a-half-minute "Lithos". From the jump, it's clear they could cut some of the ambient bloat to make it a more efficient song. It almsot feels more like Krautrock. In fact, the vocals do not come in for four and a half minutes, so it could have been an eight-minute song if we are being fair to her vision.  This is a sparser arrangement with her voice taking center stage, which is fitting, as she has an excellent one, though not as powerful as Lisa Gerrard. But who is. I will give this album a 9; it is worth your time with you like this brand of forward-thinking ethereal neo-folk that is not afraid to step into the present with electronics. 

pst500

Gothtober- Lessons in Purgatory: 'Vermin Sermons"

 

Ok death rock out of Texas. Well, considering the fact that I am reviewing every Christian Death album this month, it almsot seems silly to review an album by a band trying to sound like Christian Death. Though it does turn a more critical ear toward this sort of thing, as I have been absorbing all the nuance of Christian Death, which is what none of these bands really pick up on.I would say of all the Christian Death worshippers, Astarie Nite and Swan Wash are the best at following this path of sorrows, as they bring more of themselves to the equation. 

These kids get the punk thing but are approaching it with a Valor Kand late 90s style of sonics. Most bands use the more organic formula, but these guys are doing it this way. They are alittle catchier on "Death Sneaks off to Rot" and the female backing vocals help. There is amore metallic chug to "Divinity Damned", they are going with similar lyrical explorations as their idols. This song needed mroe tightening before they went into the studio, but some decent ideas are buried in here. With the death rock revival, you are in a rock and a hard place, as you want more new bands to come into the scene to keep it alive, but you also don't want it diluted by recycling influences.  

I like the more depressing atmosphere that takes 'Dry Pressed Lamentations' in an almsot doomy direction. The female vocals should do more if not even go as far as split the duties evenly so the bone is not being so pointed at them.  They cover Blue Cross' 'I Am Death' to prove they do know more death rock bands than just Christian Death; I think covering Alcest or even TSOL would have been a better idea or even TSOL. I will give this album an 8.5; it's a decent attempt at keeping the genre alive. 

pst499