the Top 10 Goth Albums of the Decade

Of course I had to obsess over this one. I am less sure of it than the post- punk list, however I am going with both quality and quantity. Quantity being how much I actually listened to the album. Goth is a broader label. This is demonstrated here. There is every thing from metal to death rock to industrial to bizarre dark forms of indie rock. There are not only dark albums, but ones that were addictive as well. This year I am sparing with the long winded explanations as to why they are where they are on the lsit or on the list at all. You might have albums you feel belong on this listen. That is fine and good, so go start your own blog and write about them. I know for a fact I listned to these a ton over the course of the past ten years. It could be they are going to be on one of my other lists in the coming months, and you are just dumb and do not know what goth is. Do not hold your breath. Or actually do hold your breath and maybe you will pass out. Any way here are the top 10 goth albums of the past decade.



  

10- Marilyn Manson- "the Pale Emperor"






9- KMFDM - "Hell Yeah"









8- Street Sects -"Rat Jacket" 





7- Swans - 'the Seer"




6-Atriarch - "Ritual of Passing"








5-Killing Joke - "xxmi"


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4-Strvngers -"amor noir"





3-Zola Jesus- "Stridulum 2"





2-Beastmilk- "Climax"




   1-Chelsea Wolfe - "Pain is Beauty"

Gothtober - Wingtips :"Exposure Therapy"

Over the course of this month I try to cover all shades of goth, sometimes to the point where it is more goth leaning than black dyed to the soul goth. This time we are soaked to the roots in black.   I sometimes think of things as Dragon Con. There is a contingent of goth that seems to always get booked there that is perhaps not as dark as it could be granted a range of goth artists have performed there including A Black Tape For a Blue Girl  and Rasputina. This act is not like them before  the Cruxshadows side of Dragon Con. I am fine with the poppy touch and do like this project more than Cruxshadows and I am only on the first song. Though it is not a hard feat to accomplish they are singing in key and not perpetually flat.

The melody to "Accidental Effigies" does not hook me in like the first song. There is a fair amount of melodrama to make up for this.  The groove hooks into you on "After the Storm". When everything fires on all cylinders it is kind of like if Chvrches were actually a goth band and not just dressing up like one. I still love them though.  Sometimes the more brooding moments can take away from this, but I respect it as that is what they need to emote. When they can not catch the groove on a song like "Sentinel" I am less impressed than I am on the more Cure like "Here and Now". This album needed guitar and I am always going to like something that sounds like the Cure. Guitar is not an instacure as "Ghosted" wanders like it's namesake.  However when they get back on the Robert Smith tip for "Relativity" is works.

I like the touch of atmosphere they bring to the last song, that is balanced with melody. I will give this one a 9. Pretty high for a debut I know but they have a knack for songwriting. If you are into dark wave or goth this is a must. I think there is enough that is both new and familiar to keep your interest.

Gothtober -Live Review : Twin Temple, King Dude & Amigo the Devil @ the Masquerade

This was one of the first shows in some time where I was excited   to catch all of the bands on the bill . Twin Temple was stage when we walked in to a larger than expected crowd.It was fitting this show was set on the Hell stage of the Masquerade.  Their theatrical performance did not diminish the emphasis on the music. In fact their backing band was formidable, going off into jams when the sequined duo would go into the more ritualistic side of their stage show. The crowd was really into them, especially the climax of the show where the singer went into the crowd to anoint them with blood.

King Dude took the stage  and announced that he had come to ruin our evening by singing the saddest songs he could think of.  He was accompanied by a percussionist playing a pad of triggered drum samples. He was very engaging with the audience. When he could not hear himself in the monitors he said “It’s because I am deaf from playing all this acoustic music” . He played a little from each album some of the highlights were a darker version of “ Spiders In Her Hair , “Witch’s Hammer “ and “Jesus in the Courtyard”. When he let the audience pick the song it was  “Lucifer’s The Light of the World “ that won by virtue of girl who requested it being hot. He had to shame someone for yelling “Free Bird”. At several points in the set he brought up the fact he was tired from driving a long way, but then suggested they go out to the Clairmont after the show, which in fact after hanging out after the show proved to be a plan that was set in motion. His voice sounded great and I appreciate the fact that he does not try to replicate the album versions  of songs.

Danny came on and began talking about depression and how it was something he learned to live with and not see as a flaw. He also pointed out that the set list was written on the back of the dozen shot glasses on the drum riser and he would drink one before playing the song. He opened with “Cocaine and Abel” . Half of his set consisted of songs from “Everything is Fine”  <>Earlier in the set he played a cover of Tom Jones “Delilah”  and then worked in snippets of Carrie Underwood’s “ Before He Cheats” along with pop songs “Old Town Road” and “Pony”. He talked about when he was in high-school is listened to everything from harsh noise to pop, adding he was really into Meatloaf. Apparently this made him less than popular. But in defense of pop music for what it is , which is fun, he compared it to a water slide saying” A water slide is not art , it is just fun”. He said there should not be guilty pleasures you just listen to what you like.  Given my professed love for the likes of Miley Cyrus and Taylor Swift I can appreciate those sentiments.  

The covers did not stop there, he also played “All Star” by Smash Mouth, the audience  sang in unison, as he played along before going into “Husband” . Before the encore he played around with the chorus to Slayer’s “Angel of Death” , just the chorus because he said the verses are sketchy as well as Dio’s “Holy Diver”. When it came to encores , Danny said he hates them so  walked to the other end of the stage and walked back to the mic . All of the acts gushed about the camaraderie on tour. Kind Dude even said from the stage he would like for it not end and move in with them. It was a refreshing juxtaposition to see artists playing dark and depressing music who did not take themselves so seriously.

My girlfriend put this show in her top three of all time. I’ve seen David Bowie, Pink Floyd and Motorhead , so that is a pretty high bar. I can say this might go in my top three most engaging and honest exchanges with the audience. As stripped down as a show could be.  If this tour comes through your town, do not miss it. I never recommend something as strongly as I will tell you to make sure you catch this show. I am guessing you at least have a passing interest in these acts or you would have clicked on this review so there you go.

Gothtober - The Top 10 Post -Punk Albums of the Decade

The less dramatic more hipster old cousin of goth post-punk is what happened with punk got depressed . It saw a revival in the past year thanks to the next generation of Joy Division fans . Almost totally devoid of the fashion aspect the themes are variations of those espoused in goth music. With loneliness and isolation being paramount, they have a more anxious tension than a romantic depression of goth. It's for punks haunted by the ghost of cocaine in New York art galleries at night rather than hanging out in graveyards. There are some acts on this list that come closer to the darkest part of the darkside , they are on this list because they are more punk than mid period Cure, who started as post -punk and became more goth, unless you ask Robert Smith and then he doesn't know what you are talking about. There was a much clearer path in picking these albums than the forthcoming goth/ industrial list waiting in the wings. So I feel pretty self assured with this list that is covers the past ten years. 


10- Bellicose Minds - 'the Spine"






9- Holograms - s/t







 8-Ceremony- "Zoo"






7-Merchandise - "A Corpse Wired for Sound"





6-the Estranged - s/t





5- Death of Lovers- "Buried Under a World of Roses" -







4- Cult of Youth -"s/t"







3-Savages - "Silence Yourself"






 2-Lower- "Seek Warmer Climes"






1- Iceage - Plowing Into Fields of Love


 

Gothtober- Diat : " Positive Disintegration"

This album came out back in February and just now catching up on the under the radar releases.This album may not be as spooky or dark as some, but it plays off the eeriness of isolating in public .  If the Velvet Underground decided to jam with the Doors in a New York hipster art studio , the results might be much like what is going on here. The vocals are more spoken than sung. The bass like lulls you into it's slither. The second song works off  higher energy. The third song finds oddball electronics marching this more angular song around. I begin to notice the political nature of the lyrics on this one. The weirdness continues on "Disintegrate" it is just darker in it's drone.  Noisy and droning "Dogshit" finds the punk side of this project continuing to claim it's dominance. There is however still an electronic thump under the feedback. The vocals stay pretty dead pan.

Midway  into the album the political lyrics begin to bore me. Punk bands tend to stick to metaphor since they do not really know what they are talking about unless they are Bad Religion.  The emphasis in placed more on attitude with '"Only My Own". The pace becomes more of a brisk skip. There is more of a rock n roll feel here. The guitar is more melodic. The lyrics shift into a more personal tone and it really pays off to capturing more honest emotion. The vocals shift into singing rather than the monotone chant that colors most of this album. There is a darker almost new wave feel to the last song which encapsulates what post punk should sound like. Though I am open to some melodic embellishments.

The album shows it's potential and has great moments. The vocals can get a little boring and are not aided by even more boring lyrics. I see people bitching everyday on Facebook, so if you are going to do that it needs to be nihilism and about burning the world down rather than the more mundane. I will give this album and 8.5 as it works more than it doesn't. I know this will be on some folks end of the year lists , but not mine, however I enjoyed listening to it not sure if it would get a ton of play in my iPod.

Gothtober-Tempers :" Private Life"

On the more down tempo hipster side of  the darkness comes this duo. The music is more ghostly than the breathy vocals. Low fi synths bounce the lazy melodies along. This their 3rd album so the duo knows where they want to go. They are not taking the typical approach to lo fi dark wave thanks to production choice and not bathing every thing in Bat Cave reverb. This might have cost them a little darkness, but the songs are strong and do not need to hide in the shadows. The stronger electronic pulse of "Leonard Cohen Afterworld". Then things change when she dips down into her lower register for "Peace of Mind". These are the kinds of choices I need from more singers to know they have the range even if they do not use it all the time.  This song does have more of a drone that leans on the vocals. "Filters" is the kind of pop you make when you forget to take your meds .

What I really like is the grittier turn taken on "Daydreams" where it makes me feel trashy and want to prowl night clubs high on coke to have unprotected sex with strangers."Guidance" is a more blatant invocation of the dance floor. Musically it falls safely in the bounds of most dance music from the 2000s . "Push Pull" is a hazy trip hop that sounds like early 2000s Radiohead. The more groove induced side fades into this shoe gazing narcotic haze. The down tempo" More  Than You Realize" is hypnotic enough, yet it drones with little dynamics. Sonically I can draw comparisons with "Mers" era Chelsea Wolfe , though it is haunted by different ghosts. "Sleep" drones along  to an almost  similar path as the previous song. It feels a little more something that would be playing in Twin Peaks. I like the boozy swagger of it's lethargy.

The piece it ends with is just an atmospheric outro. It is three minutes of this , but it is not an actual song. Sometimes this album does get lost in the haze of it's atmosphere , but more often than not they pull it together in drugged out constructions of sound that can afford to write checks the melodies are going to cash. It is some of the sluggish moment that have me rounding this down to an 8.5. Granted that is still in the upper 15 percentile of bands putting things out.

Gothtober -Blood Ponies : "Hoax"

Here is a duo from San Diego who brings something new to the old dark wheel of post -punk. Not relying on the punk in the equation too much but not forgetting it either. The album opens with a low synth like bass frequency. Then comes the looming baritone vocals and single note guitar melody as the drums create a hypnotic pattern . One thing I like about this band more than your average post punk revivalist faction is the vocals more aggressive tendencies. Sometimes these are mixed into the background, others they roar out with more anger than you typically associate with the current state of this genre. I say current as this was not always the case with bands like Killing Joke belting it out with anger, so much so they became the precursor to industrial . They do not stick to one formula and give the album a dynamic range with more of am uptempo punk tension driving "Submit Surrender". This song grew on me with repeat listens .

The only constants to their sound are the drums locking into droning patterns. Their is a more explosive touch to the title track. Their is a catchy croon to the verses of "Four Walls". The chorus gets rowdy almost like an Amp Rep kind of band. The guitar rings out with a shadowy chill, though the song as a whole is more straight forward rock n roll.  "To be hungry already means you want to be free' is an experimental interlude focused on manipulated samples. The closer on the more Joy Division side of things on "Hostile Takeover. That is until the more punk chorus. "The Body" is more brooding but similar in execution. The guitar tone reminds me a little more of Dick Dale. "2182"the pulse of the drums is somewhat similar to patterns we have already heard, so it relies more on the guitar to break things up.

The last song finds them treading firmly while allowing the drums to sit back and wait for the right time to kick back in. This leaves guitar and vocals to bear the weight of the song. The melody gets more interesting the further into the song it goes.I think the fact they do not rest everything on the most conventional sounds and this is darker and heavier than the average post punk band goes a long way with me so I will round this up to a 9.

Gothtober - Cloak : "the Burning Dawn"

The goth word gets thrown around with these guys when they are more blackened form of metal, though very melodic. Black metal and goth are easily wedded since darkness is a prime motivator for the sounds of both genres.  A straight up black metal band might not be Gothtober material , but these guys are more flirtatious with black metal than committed to it. They are very committed to sounding Swedish .  After their first album the question I had going into this album is can these guys show me who they are without simply pulling from the books of  Dissection, Watain and Tribulation?  Vocally the answer is no. At least for the first song. It is like a toned down less blast beaten version of Watain.  The first song does not have the same level melodic rock sensibility. The guitar tone is more dialed in and some of the chugged riffs are heavier and cooler.

That Tribulation rock thing I was just mentioning shows up on " A Voice In the Night". There is a catchier chorus making it evident they have polished their song writing chops. They blend the shadows of their sound with articulated clean guitar and take you on more of a journey. They pick the pace up for "Tempter's Call". The vocals stay in a languid snarl leaving most of the weight on the guitars. There are sung vocals tracked away in the background.  It is not the band's heavier side , but their more melodic that makes them their own entity. There is a some what sung vocal it's more like a gothic chant 3 minutes in. The guitar playing is much more memorable here. The first time they go after a more feral Watain like sound is on "Into the Storm". It smooths out before hitting the verse. Then jam out toward the end of the song with a section that lets the bass wander.

With talk of rabid hungers devouring everything into nothingness, which might be sentiments I support, seem like ideologies espoused by their influences. The formula seems to be three minutes straightforward metal and then things change up with more atmosphere or melodic variations. Things progressively darker with "the Fire, the Faith, the Void". It's an instrumental interesting enough to keep my attention.  The are back being Swedish meatballs  with "On Poisoned Ground". I like the bass driven intro to "Where Horrors Thrive".  The lower almost whispered vocal floats in for a few moments here and there.  Every little bit helps as the vocals are really the only weak point of the band. They are the reason I will round this one down to an 8.5. Their influences  are still worn on their sleeves, but to a lesser extent as they continue to find themselves. . 

Gothtober - Blutengel : "Damokles"

German dark wave that could have come right from the 90s could be the beginning and ending of this review. What I am looking for are the pieces of atmosphere that set them apart from this mold. These seem to be in the female vocals haunting the edges of the title track that opens the album. They take on a more militant Rammstein like feel on the song, but it manages to be dancey in the Sisters of Mercy vein. Very 80s synth sounds color this song. Things stay centered on the dance floor for "the Search". It plays it a little too safe and is pretty color by numbers and the only color is dramatic black. "Strong" is in the same zip code, it just does a better job of conveying this concept. More groove and better hooks, pretty much what you want from any genre.  "Breife An Dich". finds the female vocals more prominent thanks to Kira, so it's a few shades to the left of the other songs.

I am skipping the re-mixes for the purpose of this review, as having two version of the same song on an album makes little sense to me. There is a darker sound to "Another Dream". This is an archetypal goth song. You can hear this playing at any goth club anywhere.  The vocal melody to"Hourglass of Life" is the best thing song has going the beat and the snyths are not doing it any favors.  They get some better synth sounds on the more uptempo "Fire & Ice". The vocals are more aggressive. Well aggressive for what they do. Not aggressive if you consider the other kinds of music I cover here.  Lyrical the singer confirm he is a big submissive so I can not relate to them , but takes all kinds. "Stardust" is pretty much what you expect from this project. Aside from sampled sounds it doesn't bring anything new to the coffin.

"Running Away" works off the same groove and melodies  that have kept the gas in this album's tank thus far and by now it is on fumes. At least for me, if you are  fan of what they do then this will meet all of your expectations. For that reason I am going to give this album an 8 as they succeed in doing what they set out to do. 

Gothtober - Unto Ashes :" Pretty Haunted Things"

I am not sure how this album slipped by me. I will say Projekt Records you are missing the boat by not keeping me in the loop. For Gothtober I am trying to capture a snap shot of all the many shades of goth. Neo folk being one of the those. The obvious choice for goth neo- folk is Death In June. Second choice is this band. With Rome coming in 3rd place. The first song is very strong with a more Psychic Tv vibe in the ambiance. Edgar Allen Poe contributes the lyrics to "Alone" which is goth as fuck . Maybe goth to the 3rd power considering he is dead. I hope even if you are a millennial and consider your self goth I do not have to explain who Poe is. No mansplaining here, I once went on a date with girl who asked who David Bowie was, I got up and left, had to ...go walk my cats. As a song the Poe thing is ok, but the first song is still the strongest  so far and the bar to measure this album by.

"Too High" confused me as lyrically I can not tell what context high is being used like one toke over the line or up in the air, maybe both. I like the percussion of  their cover of Gary Numan's "Dying Machine" .  It gives the album the needed dynamic shift.  "For My Funeral" doesn't hold up as well as the song is more disjointed without a melody strong enough to keep it together. The more neo element of the folk to "Intertwined" works much better. "White Noise" is more like an interlude than a song. After a piano interlude there is a proper folk song in "Don't Ask me If I'm Crazy" it is a good balance of what they do with a darker tone.  "Fall Leaves" is more of what one might expect when they hear the term neo-fok. The harmony vocals give it more depth.

The album ends with an anti -climactic strum of acoustic guitar. I will round this up to an 8.5. It is a solid album from a genre that can wander too far out into the woods and become hippie background music. The vocals are focused and the sound is fleshed out. That is not to say it is all sound no songs because they songs engage you in the way I would expect from this sort of thing. They are much less ominous than Death In June and that is ok, the vocals here are more emotive. If you are a fan of neo folk I do not have to sell you on this one. 8.4

Gothtober - Audra : "Tired Friends"

The bands first album in 10 years finds them picking up not far from where they left off while still sounding like they are from the 90s .  Blending melody with sonic tension they deliver pretty much everything you might want from the darker side of post-punk. There are some surprising in the compositions as melodic break downs in the middle of the song. His voice is very smooth. It's a baritone , but not stiff and capable of employing varied dynamics. The bass line to "Wish No Harm" is more predictable leaving the ebb and flow of the vocals to carry most of the song's weight.  Not reinventing the wheel, but very good at what they are doing. It is when the band breaks away from what l feel  is their strength on "Another Fallen Petal" which has more of a U2 thing going on

. When they employ a strum on "Drinking Yourself to Sleep" it feels more like The Church. Not their most compelling song, but Like it more than the previous one. "Sunglass" feels like "Something I Will Never Have" in the atmosphere more than the melody, though the piano line is similar. Mike Portfleet of Lycia is on the song "Planet of Me". I might be the album's most goth moment. Certainly one of the darkest moments.  "Sliding Under Cars" sounds like Neil Diamond jamming with a more upbeat late 80s Killing Joke. There is a more modern indie rock feel to "Fireflies". Distorted guitar is not their thing. The synths play melodies that sound like they would be Cure guitar lines and that is one of the songs coolest elements. Though I appreciate the post punk like tension here.

"1987" is kind of bland and sound like Crash Test Dummies with higher vocals . They begin to lose their darker touch at this juncture in the album and it begins to fall flat on me. I can hear a little The The influence on "Falling". It really sounds like any mid 90s mainstream pop rock song.  I will round this down to a  7.5, as though there are songs I like on this some of the ballads and happier moments did little for me.

the Great Old Ones : " Cosmicism"

It's a great month for atmospheric French bands . For a album to be Lovecraft themed and not join our Halloween features it lets you know how dark we get things around here. for Gothtober  There is more of a black metal feel to this one.  Rather than going for more over forms of creepiness, they are sticking to black metal  just giving it an undulating pulse.There is a more sinewy feels to the guitars then I remember them having . This is a great deal heavier than previous releases . Right down to the snarl of the vocals it is also a great deal more black metal. There is  a darker chanted section on "Of Dementia", but it is also countered by a huge dense chug. "Lost Carcosa" is more aggressive and plays closer to the safe sound spectrum of black metal. There are some really interesting riffs thrown in along the way, but the rule here is cool riffs alone does not a good song make.

There is more dissonance to "Thousand Young". The vocals are beginning to make me think more of Immortal. I like when they are playing fast without blast beats . The guitar playing is really good and the guitar solos are certainly on point. The songs are dark for sure and took many a twist and turn. I would not say their sound is based upon atmospheric drone, but in someplace it can come to the forefront. They are more full blast ahead on "Dreams of Nuclear Chaos". It succeeds at being nuclear with it's power and chaos with it's composition. "Nyarlatholep" is darker and more deliberate. They have proved to me before that they know how to write songs. It breaks up almost like Pantera song with the bass holding the groove and a low more spoken vocal.

The album ends with "To A Dreamer". It is like most of the album dark and dissonant. The riffs kind of jumble together and I lose track of what is going on as it becomes a chugged blur. I give them credit it is not due to blast beat mania , though there is enough blast beats to satisfy most black metal fans unless you are looking for old Darkthrone and in that case go listen to old Darkthrone. I will round this down to an 8. It sounds great and starts strong though the deeper into the album the more variation I need that I do not always get.

Alcest : "Spiritual Instinct"

I am not sure what I want from this album. Black metal or shoe-gaze. They go for black metal. They were never the most cvlt band on the planet and they do not try to use black metal as more than just a flourish. There is a much more metallic sense to what they are doing now. The sung vocals give it more of a folk metal feel. It is not what I expected , but I will take it. Harsher vocals do surface. They are not the dominate force. "Protection" is more straight forward, but still really well written .  The harsher vocals play a larger role in this song than the opener. I am fine with them letting up on the metal guitar sound for "Sapphire" . It still has drive and I am not expecting these guys to hit me like Nails. The change of guitar tone is more original .

In the last 3 minutes of " L'ile de morts" there is some sonic experimentation but over all the song is more straight forward working well with in the band's more middle of the road wheel house, not plunging into black metal , but not shoe gazing away either. In fact there is very little I would consider shoe gaze at all on this album. In some ways this album is darker. I know it is heavier so that factors in. "Le miroir" is a shade more introspective. While the last song is the only piece that involves anything with the kind of sonic spectrum of shoe gaze there is a great deal of atmosphere to this album. Even though it is heavier I would not call this a black metal album.  There is more tension, it builds like a coming storm.

The title track closes the album.  It does not use as much tension and goes for it when they hit what is the verse. The vocals are more androgynous here. It is more sonically heavy than it is metal, which wins in my book.  I will give this album a 9.5, it;s a vast improvement for them as a band. I think they find a perfect balance and avoided the Deafheaven bandwagon all together. More accessible to fans of mainstream heavy metal, but I do not think this is really going to expand their fan base, but who cares it is a great album. '

Gothtober - Legend :" Midnight Champion"

Imagine if their was a entire album inspired by the "Cry Little Sister" song from Lost Boys . Your dreams have come true. The world slept on this 2017 album that an internet wormhole took me to. The vocals are fucking spot on . They blend dark wave rock. In some ways it makes me think of if the band Blue October actually dressed up for Halloween and became a goth band. Who knew this much goth was coming out of Iceland?  When they commit to the more electronic elements they kill it. The song "Time to Suffer" is incredible. It is better than the less inspired Depeche Mode like ballads. Which do not suck they just can not compare to when they are more in your face. The groove to "Captive" continues to prove my point in regards to what is their strong suit.

The title track proves they can go into more down tempo moments , though there is enough of a dynamic shift to make it worthwhile. "Scars" finds even the vocals getting more aggressive . This owes more to 90s rock than metal, but is effective. "Liquid Rust" leans more into the electronic side of the band that I compared to Depeche Mode earlier. I think they are just doing a better job with it this time s it is moody , but not a ballad. Crunchy power chords do bubble up in time. More of an electronic pulse is summoned for "Gravestone". Vocally it is more subdued, though more melodramatic and reminds of H.I.M more than Depeche Mode. The melody is silky smooth.

They hold fast to the more electronic side of what they do with the closing track "Children of the Elements". The beat is more powerful than the previous song. Not industrial but influenced by perhaps.  The vocals are more in a Depeche Mode direction again. Builds into something like the harder alt rock moments of the 90s , before crossing over into metal. I will give this album a 9, it's unexpected and worth your time if you miss the darker moments of 90s mainstream rock. 

Mayhem : "Daemon"

This album doesn't fuck around . They go right into the blasting. It's still ark and broken up with fiendish gurgled snarls of Attila. The two members around for the drama the band is noted for is the bassist Necrobutcher and drummer Hellhammer. Hellhammer is one of the best drummers in metal;,. so he is the driving force behind the album. The second song is more interesting than the first. There is more thrash to the riffing thanks to the guitarists who came from Cradle of Filth and 1349. You can hear traces of both bands. "Bad Blood" is sadly not a cover of the Taylor Swift song. It is a fair depiction of what they do as  band. Enough blasting to show they mean it, yet melodic enough to keep my interest.

There is a more seething level of creepiness going into "Malum". Any way you slice it Mayhem is black metal. They do fall back on their past and tend to try to recreate "Death Crush" in a few places. Lyrically the emphasis seems to be back on black magic.  They are not just clocking in a retreading their sound, but they are not taking wild chances either. It's different enough to satisfy.When they linger in the dark and restrain themselves from pouring on the blasting the results are best. Wiht Hellhammer on the throne they can do whatever they want and it is going to be done better than the bands who aspire to be the next Mayhem. You can hear how even a band like Watain who many accuse of just picking up where Dissection left off has even drawn substantial influence from this band. The more predictable moments are still done with a great deal of heart.

One of the albums best moments is where they slow down and get darker and creepier for "Daemon Spawn". They speed back up with "Of Worms and Ruin". He uses his more croaked vocal. There is a dark dissonance to "Invoke the Oath" that I like, but as a whole I would say this album plays it safe and stays well within the bounds of conventional black metal, while retaining their thumb print.   I am not going to say this is there best album. It is a suitable Mayhem album that meets though perhaps not exceeds expectations. I will give this album an 8.5, better than the bulk of their peers , but not one of the years best black metal albums. Perhaps it will grow on me.

The Planchettes : "the Truth"

Of all the post-punk revival bands I think this is the first that I have heard influenced by the Cramps. The male vocals are really crazed at times, though over all their is more of a punk vibe to his vocals. The guitar tone is pretty authentic. It's more of a twangy cow punk on the punchier "Mourning Sun" . There is more of a 60s garage rock feel to "Let's Last Forever". I can see hippies dancing to this and not the Charles Manson kind.  Not only is the bass player hot , but she can crank out a solid groove. The horror thing was thrown around in their press release, but this is the first song where lyrically it is in your face. The vocals improve on this one, they were not bad before , just more refined here. The guitar playing on this album is really solid if you like the early days of rock n roll.

The title track is more up beat , but not as interesting as the previous songs and feels like run of the mill rock n roll that is playing it more safe than the other songs.  "She's So Violent" is like if the Rolling Stones got method out. It's more punk than Keith and the Boys normally are. So this is not just Cramps worship. As the album progresses  it gets more rock n roll. I expect something a little darker from a song called "Death in  Bloom".  Midway into the album it's more garage rock and nothing like the Cramps at all aside from the fact they are playing electric instruments. He uses a throatier lower vocal on "Empress of Fools" . The song rides tension without giving the pay off.

They do prove they are good at just playing straight up rock n roll on "Everyone Else" . They continue to boogie. Their bassist also lends her voice to this one. They do talk about suicide  and the end of the world. I am not sure I would say those things are horror in and of themselves, but they can be elements of it. I had to listen to listen to "Angel's Wing " a couple times before it clicked.  They are great at this style of rock n roll I guess the problem I had was I was hoping this would be darker and more horror focused, as it is they do a fine job of capturing the sound they are after. I will give this album an 8.

Gothtober - Looking Back in Anger at the Cure's "Blood Flowers"

This is supposed to be the 3rd part of a trilogy that "Pornography" and Disintegration " are also part of what is called the trilogy . Robert Smith himself said he never meant for them to be connected , though before writing this album he listened to the first two as he kept hearing fans say those were the albums that connected the most with them before writing this one. I had in my head that this would be the album for all the others to beat in order to claim the top spot. Is this founded in fact or a romantic notion.  When  this album came out I  was still getting high so the opening track was perfect for me to sail along in my bed to.  "Watching Me Fall" is a more solid song when it comes to what the Cure does.  I have listened to this album sober several time and did not notice until now that "Where the Birds Always" kinda coasts along without committing to a hook.

"Maybe Someday" was the lead single from this and the song from this album, that they will still pulls out. Rightfully so it's a catchy little ditty. Almost happy, but not enough to turn me off. I mentioned "Where the Birds Always" kinda coating but not committing, he goes for a similar vibe on " the Last Day of Summer" and nails it. The song carries a really nice reflective melancholy without being melodramatic. Not that I mind melodrama , would not devote an entire month to goth if I did .  He gets all romantic on "There is No If". Lyrically it is really pretty as only he writes love songs. The electronic elements are dialed back for more strummed guitars though they come out more on " The Loudest Sound", is not that loud of a song. It works more of Smith's trade mark slow hand guitar melodies. This is a perfect song to take a nap to in the fall. Smith's vocal is very sedate.

The pace picks up for the darker throb of "39". Lyrically this is one of the albums stronger songs. It's easy to forget how great of a wordsmith Robert is. The vocal is pretty impassioned as well which makes it more convincing. The title track that closes this album really taps into the heavier darker side of the band I love. The do not get as sonically intense as anything from say "Pornography", when the guitar solo kicks in some fire is added to the mood.

Starcrawler : " Devour You"

I guess the internet would normally be to blame for a 20 year old finding her way to juncture where glam and punk once met. Unless that 20 year old grew up with their parents in the biz. Yes the Runaways are a comparison that could be made. There is a grunge touch like early Hole in some places as well. On the second song they actually jam out some, The songs are very taunt and written in the compact punk fashion. The guitar is the instrument with the most swagger. They back off to a more Rolling Stones like place on " No More Pennies". It is not pop, but well written where the blues meeting slacker 90s indie rock. "You Dig Yours" has a more disco beat like the "Some Girls " era  Rolling Stones . The second time I have referenced the Stones , so there is something there. The bottom line is it's well crafted .

There are some playful throw away moments "Toy Teenager " being on, as it's a minute long, but makes sense for punk. The gunge thing returns on " Hollywood Ending" .  I am not sure the chorus is as strong as the previous songs . I had to give "She Gets Around" another listen for it to sink in. It has a darker purr to it. "I Don't Need You" is another straight forward rock song not far removed from Joan Jett , just less overt radio aspirations . I think that is big difference is being a younger band they have decades of intent apart from the bands they are taking inspiration from. "Rich Taste" is marginally darker in it's more gutter tinged grunge. "Born Asleep" is bluesier and more melodic. Lyrically it seems to be about an overdose so a little serious in tone.

The reckless punk of "Tank Top" is fun, but as serious as you can take this kind of rock n roll infused  punk. There is a country jangle to "Call Me a Baby".  I'll give this album a 9. It's more rock than punk, but will appeal to fans of early punk. It's well written and not what I expected going into this Released on Rough Trade. . 

1349 ; "The Infernal Pathway"

When what they do works it has a palpable evil to it and is like a more feral version of Gorgoroth. 1349 has always bared their  thrash side. This time things are different On my first listen to this album, my though was "Why do they sounds like Carcass?" . Another listen and I could hear the black metal creep through a little more. The first song finds their status as a black metal band less in question. The second and third are both kind of dialed in and not memorable. The drummer is insane and carries the first few songs. The first song that is interesting is "Towers Upon Towers".   "Deeper Still" By Y virtue of it's rabid  blasting is more black metal than the previous song.  The vocals are a little half hearted  and not convincing me of the lyrics. It is energetic. If you just need these guys to play fast, then they are not disappointing you.

"Striding the Chasm" is return to their older sound, though not as inspired . It is however on of this album's better songs. They lyrics cut through the buzz of guitar. I would take less articulation in favor of more screaming. Not even screaming just a nastier tone. Just when you thought this drummer could not get any sicker it happens .  This song does begin to grow on me. They slow down and find a groove with "Dodskamp" . The vocals begin to sound like they have the malice they once did here. Easily the best song on the album. There is a more rock n roll riff that leads into "Stand Tall In Fire"  . A baritone spoken vocals precedes the snarled vocals.  It does break all the way down to the bass line which is a needed dynamic shift as just relentless hammering is not effective.

The album ends stronger than it began. I will round this down to an 8. I need all the bands that can play black metal well to do that , because there are already enough bands who want to play it but should stick to death metal or thrash. It is a feel as much as a sound. If you are a 1349 fan then the drumming will make you jizz your bullet belt. I rounded it down because they already raised the bar for which this should be measured. 

Gothtober- Swans : " Leaving Meaning"

This album was somewhat released in demo form as "What is This" . The proper versions prove to be much more refined and atmospheric. "Annaline" being the first proper song and more nuanced of a recording . His vocals sounded good on the previous version , but even more emotive here and proving that Micheal Gira is a great singer when he sets his mind to it. There has been a more chanting and rowdy version of him on many of the albums the band has released in the past decade.This proper recording revels in the shadows of the groove to "the Hanging Man". His vocals s have less of a raw punk thing to them. It drones not unlike the rest of the offering of the past decade and his crazy preacher vibe is a little more melodic than on say "the Seer".

This version of "Amnesia " is darker and lush with choral vocals courtesy of Anna Von Hausswolff. The title track has jazz underpinnings thanks to the piano underneath the pulse of the song. The one long term member of the band in this in carnation is pedal steel player " Kristof  Hahn. Bass player Yoyo Rohm is pretty fitting addition as he has been in the New York avant garde circles .  'Sunfucker" works off more of a drone with varied layers of sonics and bells providing the dynamics. If you are really high and play this loud enough I am sure it is mind blowing. Midway into the songs things get really weird before catching an awesome groove. I was not expecting the female vocals to come in. The lyrics are creepy enough to accompany the David Lynch like mood of "Cathedrals of Heaven". The crowd funding must have paid off because this album is so well recorded it had me thinking the bells leading into the "Nub" were coming from outside my house. Female vocals handle this song. It is like free jazz in heroin hell. I am very pleased with how dark this album is .

There is great sonic depth to the atmosphere of "It's Coming It's Real". The silky smoothness of  Gira's voice recalls the more classic 90s sound. There is a weird rock n roll sound to "Some New Things". This is countered by the drone of the song. There is a hint of 50's pop to "What is This". It is however bathed in weird ambiance. There is a swaying drone to the last song "Phantom Limb" another song where we heard the demo and this version is a more polished and fleshed vision.  I will give this album a 9.5 as the last two song indulge more in droning an weird than songs. It's still a great turn of events and upholds the band's legacy , which is a pretty high bar.

Gothtober - ∆AIMON: DEVOTE​/​/​DEVOUR

Continuing to delve into all things dark, I found a gold mine of them from Artoffact Records. Only is Los Angeles does a project call itself witch house when it is dark wave. Granted a more modern take on darkwave with touches of industrial in the blown out manner in which is thumps. The vocals have little in the way of effects on the, Males vocals are dead pan chanted and the lighter female vocals add sex appeal. Not the most prolific  as this EP is two songs and then the respective re-mix of each song. It sounds like there could be real drums in places on the second song. The female vocals lead into this song. There is a tension and they are dark enough for me.

 if I sound skeptical it is more due to the fact that aside from Christian Death  and the Doors I tend to be skeptical of the sincerity of anything coming from LA. I have good reason to. Slayer were not satanists and then Jane's Addiction ended up going Vegas.  The beat to this song is better than the vocals . I am guessing that means I would be even less impressed with the remix. I often rail against having a sound more than songs. For this kind of music it is almost expected and they do fuck with the dark wave formula and bring it into 2019, so that is something. There might  be a shift in the groove to the remix of the title track. The last track is the most noticeable difference. Both of the remixes lend themselves to fading in the background and not holding my attention though very cinematic.

The first version of the title track is the strongest, though I appreciate the groove of the remix, I think it will appeal to the current trend of synth wave listeners and introduce them to more industrial tinged sounds.  I think an 8.5 is generous for this ep. I wish there was more of what I heard on the first song. They have potential if they continue down that path.    

Gothtober- Kælan Mikla : " Nótt eftir nótt"

Meant to check this album out last year but it got lost in the shuffle so here we are. more dark wave than post-punk, which is a good thing as it has a groove you can dance to. This is the Icelandic goth project's 3rd album. They dig up all the old 80s sounds. It is also suitable lo fi. The drum machines are probably fruity loops patches , but the have the machine like precision of 1982. The darkest element is how the vocal are layered with witchy whispering in the corners of the songs. "Skuggadans" gets more peppy. The whispering vocals are still there to keep the creep in the corner of your eye. The song after it however is more like your average cold wave retro fare. When the vocals join in for a chant it's the best part of the song.

When they back off and allow melody to breathe then it works best. With projects like this it is easy for them to get into the syndrome I complain about where they capture a great sound , but do not write great songs. I have heard evidence they are capable of writing decent songs. Would I prefer better production ? Sure, but I get what they are going for . They are pretty successful at this. The more organic bass lines that sound like they could have been played by an actual bass being the better moments.  Sometimes the results are more mixed than others. The more Bjork like voice being the better approach than the child like one that sounds almost like Yolandi. The atmosphere they create does make up for some of the more predictable moments.

One of the album's darkest moments is the title track. The vocals are the childish one, but they emerge from veil of reverb. It is very sluggish tempo wise and with a stronger beat might have been more effective, though it sounds like it might be real drums. I will give this album an 8. The inconsistent emlodies and obligatory production the only thing holding it back. They have a great sound and mood for what they are doing and the dark under current of the whispering helps them stand out from the pack.  

Gothtober - "Twin Temple - " Twin Temple Bring You Their Signature Sound"

Here is an album that might make Anton Lavey happy. He did not like metal. Despite what how that seems to be the on genre intent on doing the devil's work. I think the fact many of them purpose to be theistic Satanists does not help their case with him. I have to think he might be better with some of them than the bleeding heart approach of  the Temple of Satan that fails to see social justice is for Christians. Anyways they recall an era that Lavey would approve of. The first song reminds me of Amy Winehouse. The lyrics are satanic . They are not doing this in the kind of goofy fashion Ghost does.  "Lucifer My Love" is more of a ballad, not unlike say "Teen Angel" in it's down tempo. It sways like a slow dance at prom. She does say he kisses better than Jesus which made me laugh. The peppy "Satan's a Woman" is lyrically silly but the music makes up for it.

"Let's Hang Together" is an ode to gallows romance breaking away from the satanic theme. There is more of a noticeable nod to Winehouse with her vocals on "The Devil Did Not Make Me Do it". I was burned out on the Winehouse album moons ago so I am good with this.  Smoky sex drips from "Wicked". There is more of an empowered almost feminist slant that recalls the "Satanic Witch" book on this song and as an undercurrent to the album as a whole.  The  piano solo on this one is a nice touch.The feminist thing is amped up on "I am a Witch" But lyrics like 'when I bleed / I put it in your coffee" are just too funny to be mad about it. "I Know How to Hex' is one of the album's better songs as it slithers with a smooth samba.

"Santa Muerta" carries more of a latin groove and helps breaks thing up. Another break from the satanic imagery though not from railing again patriarchy.  "Femme Fatale"  is not as hooky with it's melody.  I will give this album a 9 and see how it grow one me Not the most original sound as it very much an homage to another point in time.Could I be bias due to the satanic slant , possibly.

Sturgill Simpson :"Sound & Fury"

The universe finally aligned me with this album. Truth be told I have sat on this for a minute before reviewing it. I downloaded the movie "the Dead Won't Die" at the same time this got on my radar. Simpson has the title track of that soundtrack and there is a movie that also goes with this album, but that is a lot of moving parts so I am going to stick with the music on this album. If you think this is just a country album you are wrong. It opens with a song that sounds like ZZ Top jamming with Pink Floyd. This is a vibe that reoccurs. The vocals are really the only thing that is constantly country. The drums might sound like they are from 90s Alt Rock radio and give a song like "Remember to Breathe" a Billy Squier like feel. This carries over into the more uptempo "Sing Along" .  80's pop ZZ Top is also a fair comparison. A funky bass line propels the brisk "A Good Look".

The 80s pop thing return, with a smooth vocal on " Make Art Not Friends" .  The guitar tone could have been lifted from a Cars album. There are more synths on this album than I expected. The guitar riff are pretty powerful to compliment the belted vocals. Even with this "Best Clocker Maker on Mars" does not have the same magic the first half of the album does.It returns for the more country "All Said and Done". Old school cow punk is the driving force behind "Last Man Standing". I am not sure this is his strongest side, though it does not suck by any means. "Mercury in Retrograde"carries pop quirk to it much like the rest of the album. The lyrics are perhaps some of the album's best as they are smart and have a geeky new age charm. He does not do anything vastly difference here, but what he is doing is working .

In some ways the same can be said for "Fastest Horse in Town", but here I get curious as to what they actually songwriting process was . It sounds like this was a country Song that he went back and recorded rock over. Not complaining just wondering, to the point it makes me want to hunt down his PR people and interview him. I will give this album a 10 . The moments that are knocked out of the park are balanced out by the really mind blowing ones.

Gothober -Looking Back in Anger at Skinny Puppy's "HanDover"

The 11th album from this band was meant to be a noise album that they were handing over to appease a record label. The music business happened and they were allowed to sit on it a little longer and turned it into actual songs, some of the other pieces that were not used were cannibalized on used for Ogre's solo work.  It shows how they were beginning to shift into more edm like back, though guitar can be heard in a sprinkling across the first few songs. "Cullorblind" being the most melodic of these. The vocals are some of Ogre's best. There is a darker vibe as the album progress they touch on the death of their tour manager with the song "Ashas". When tapping into this more personal side of their lyrics it brings with it a fresh sense of honesty. 

The glitchy sounds begin to surface on "Gambatte". It'as up beat and melodic with Ogre in a more sing song vocal.  Both more melodic and more aggressive,"Icktums" still cruises along more like a dance song than industrial. "Point" is not as refined and focuses more on the weird beat. It sounds like video game sound effects are fighting in this song. "Brownstone" is weird . It's very British. Like Ogre is reading a story for the BBC.  "Vyrisus" is however slamming and a good example of why Skinny Puppy is in my top 20 favorite bands. There is also a louder thump to " Village". I like the robotic effect to Ogre's voice.

 The album ends with "Noisex" which is a fair snap shot of what this album would have been like if they handed it over when they had first planned on it. It just kind of drones on. More of an outerlude. This is an under rated album that gets slept on by most fans but some song certainly worth your time. I will give it a 9.

Lightning Bolt : " Sonic Citadel"

"Blow to the Head " is a fair title for the opening track as it pounds you with unhinged chaos.  Even then it's more melodic and song oriented than many of the songs to follow. For a band that is commonly in your face and a challenging listen , this album takes those things up to 11. With "USA is a Psycho". They do not not give an inch. There is an angular groove , but it remains hammering.      The is more of punk feel to "Air Conditioning" and by punk I am thinking Dead Kennedys here. There is a punchy part that has a touch of metallic aggression to it. The punk things stays in play on "Husker Don't" . I like the song title better than the actual song, though it doesn't suck , it's just hard to have a song that lives up to that title. It just has little to hook my ears . They thrash into "Big Banger" with a heavy coating of weird.

"Halloween" doesn't seem to have anything to do with Halloween. The movies or the holiday. Things get a great deal more melodic with the more folk flavored indie rock of " Don Henley in the Park" . It has some silliness to it , but as far as song writing goes one of the more refined pieces. The drumming is the most insane element to their playing. He is the super star of this band. That doesn't mean the drumming always saves the day. They might have their energy dialed in, but rush right past writing an actual song at times. " Tom Thump" being one of those times . "Bouncy House" finds the vocals buried in the mix. There is a manic energy to it that is more like Amp Rep style noise rock.  Some of the guitar melodies seem to come from children's songs just sped up. I see what you did there guys/

There is more of a Queens of the Stoneage style rock to " All Insane" . It's a solid song that sounds like it could have been written by a band who was not just fucking with you. The drums go into "Van Halen 2049" racing. Bombastic could be used to describe many elements of what happens here. It descends int John Zorn like noise. Overall I think they accomplished what they set out to do. I will give this one a 9.

Gothtober - Cold in Berlin : " Rituals of Surrender"

I had to go back and listen to their 2012 album "And Yet" to see if I was totally off base as remembering them as more of a post punk bank .Now they are a doom band band like a darker version of Devils Blood with more post punk influence / "Dark Days rumbles with more weight than the opener.It build up into something with the intensity of metal for sure. They back off a little on " Avalanche". The singer's voice has a pleading wail. She is more stark than soulful. You can here the goth traces of Siouxsie in her voice on this one. "Monsters" finds her declaring that she is grateful for the pain. The vocals tip the scales on "Frantic"  more towards the post-punk side. The pace moves the song out of the doom lumber. The guitars are much more metal than I remember this band being.

It's not Black Sabbath worship, but many o those bands would not be out of place sharing a stage with these guys now. They give "Temples" a little more room to breath on the verse. The fuzz stomps back on the chorus. Creepy clean guitar surface for this song as well, which pleases me. "Your Body ? My Church" is darker and more hesitation to go into the more weighty sound. Male vocals harmonize with her in place . This song is more minimal with just guitar and vocals. "Shadow Man" finds them rumbling back into their full new found doom glory. Not sure it is as catchy as the earlier forays into doom on this album, but it also might just need to grow on me.

They really lay the atmosphere on thick for "Sacred Ground" which closes out the album. It causes the song to linger and fake you out as to where it is going to go. It drones more than drives. It ebbs and loses some momentum, but over all I will give this album a 9 as it throbs in the most depressive ways possible into your ears.

Bats : "Alter Nature"

This Irish post punk band has returned after 7 years with it's 3rd album. When we say post punk in regard to these guys this is not mere Joy Division worship instead we have tense angular math rock that is dissonant . Sometimes darker than others. The lyrics a grim, leaning into sci-fi and horror. The drummer is pretty adventurous and they are prepared to bash into everything with the power of an Amp Rep band. The vocals are like a more monotone version of Brain from Placebo. They are frenetic like a punk band but bob and weave in various tempos. The vocals are often layered with yells and screams. "Christian Science " works of a sinewy groove. You can bob your head to it , but not dance. Things get darker for "the Call of Cthulhu" . The lyrics are pulled directly from Lovecraft's writing.  The melodies are often sing song chants.

I had to return to "Old Hitler" a few times before paying attention to it. There is a groove to it. The vocals are more understated. "In the Court of the K RISPR King" is not a King Crimson cover. The vocals are smooth and the frantic nature of the song is well contrasted .  There is a more aggressive tension to "Ergot".  The tempo picks up to more of a almost metal intensity.  The syncopation is very taunt as their chug carries weight.  "Dyson Sphere" runs off of it's energy generated by the momentum of an album that has not really let up since the first song. It bounces with the same force propelling a great deal of what has gone down so far and gets even more aggressive as it progresses.  This carries over into "Family Planning" that follows. It is more about the tension than the explosion.

"Current Affairs" has vocals that are more screamed going into it, thus setting the tone for something more punk. If you consider Fugazi punk then this could very well be punk too. This is not the first riff I have heard on this album and thought it was heading in a more metallic Mastodon like direction. I will give this album a 9.5, its still growing on me, there is a lot going on but I like all of it.

Blood Incantation : "Hidden History of the Human Race"

The album starts with more of a Morbid Angel groove, so I think

"ok, well another band who wants to be Morbid Angel, things could be worse"

Then they take some twists and turns . Progressive without being wankers. The song winds in a serpentine fashion while still being taunt and aggressive . I  say then lean more toward progressive death metal than technical as they do not just throw odd times at you and a bunch of jarring jerking to compromise groove. In fact it is about the groove more often than not. There is a exotic middle eastern flavored break down in the middle of " the Giza Power Plant" that is pretty amazing. The dynamics are dialed in. In other words this is how to do death metal and proves you do not have to just write in monochromatic blood red. When the more hammering technical parts come they are justified because we have already gotten some form of sonic contrast. 

Aside from a lone growl, "Inner Paths " is an instrumental. It's progressive and not. The song works off of a consistent them with layers added and nuanced playing to accent this.  Two and a half minutes into the 18 minute sprawl of " Awakening From the Dream" we get into things that are more groove inflected and not the more typical barrage of death metal. 18 minutes is way too long, so the pressure is on to keep my attention. The melodic yet heavy guitar playing helps with this cause. Six minutes in it drops all the way out into dark ambiance. Coming out of this are guitar solos and what you might expect from most technically proficient death metal bands with some thrash influence to them.  They do  find s groove or two along the way.  It slows into something with shades of doom.

 Overall perhaps not the perfect album, but an excellent death metal album that is ambitious and not afraid to strive for more. I will give this album a 9, if you like progressive death metal rooted in the classics then this album is more than worth your time. If you liked their first album you will find more of what won you over. Thius album is being released by Dark Descent in November.