The Waning Moon : "A Dream or a Vision"

 

The opening track has an atmosphere that sets a cool, mood, but the song itself drones to the point of dragging. Feels like a cool idea that never developed into a song. The drums have more purpose on "Quiet Room". They could have stood to have taken notes from Bauhaus, on how to let the bass line drive the song, as the elements are in place, the chorus even has purpose, but things are being weighed down with melodrama and no clear direction. "Scars" proves they can pick up the pace and do it when they need to. The singer's voice feels like he is just doing the obligatory goth baritone, I am not sure he is selling me on it. His knack for melody could use more inspiration. 

"Another Bit, Another Bite" feels more like a Billy Idol. This works better than what went down on the first three songs, as I found myself having to power through and force myself through the previous. That is a problem if you are a goth band, as I am devoted to searching out new goth music, so I am your target audience. I am still not sold on the singer, but this is heading in a better direction. "Die Caroline" is a little awkward, it feels like they are trying too hard rather than this being the music that comes from them organically. 

The way the vocals are produced on 'Annabel' feels better. They need to juice this guy's voice up in post-production. The song has more of a punk drive that works way better for them. The guitar is going for more of a Sisters of Mercy thing. The rest of the band attempts to fall in line with this style, and have varying levels of success. "Babel" works better than the tedious "Towards the Night". They gain some momentum and bang out a more commanding chord progression. "Nada" has a functioning chorus, but the rest of the song kind of wanders. Arrangements are not their strong suit. I will give this album a 7.5, I appreciate the mood they set, but the songwriting could have a better flow. The fact they play actual instruments rather than clicking a mouse, puts them ahead of most darkwave bands these days. They generally get the sounds right, this album could use more momentum, though if you are someone who likes to languish in melodrama when it comes to goth, this might be more your thing. 

Gothtober- the Top 10 Goth Albums of 2023

 

Having already started the End of the Year List season of with the Top 10 Post-Punk Albums of 2023, it's time to move in a darker direction with the Top 10 Goth Albums of 2023. If this seems premature,  record labels have already sent me most of what this year has to offer. After I sort through sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year. 2023. Perhaps it was marginally better than the previous year, though given the current climate of the world, we are progressing on a downward spiral, making dark music more important as a soundtrack for this.   As far as 2023 goes for Goth, a lot of great music came out forcing me to make hard choices. The very fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. Perhaps you can find your next favorite on this list; and have included links to reviews of these albums if you want to check out the audio on these guys. Anyway here are the top 10 Goth albums of 2023.

10- Bosco Sacro-"Gem" 

This quartet out of Italy plays a very dark and atmospheric kind of music that is hard to pin down. . There is more in common with neo-folk or goth. The spectacular job of creating this can not be denied and a must for those into dark atmospheric folk.

https://abysmalhymns.blogspot.com/2023/02/bosco-sacro-gem.html

 

9-Skeletal Family-"Light From the Dark" 

These guys are an old-school goth band from the 80s who reformed with a new singer. They came out shortly after Siouxsie so it's not like these guys are a new band trying for a retro sound that is just how it's going to come out,.Anneka Latta employs a broader range of influences. a wonderfully written album that touches so many sonic colors I enjoy.

https://abysmalhymns.blogspot.com/2023/10/gothtober-skeletal-family-light-from.html

  

8- Male Tears-"Krypt" 

It reminds me a great deal of Drab Majesty and perhaps this is what happens when millennials grow up listening to Drab Majesty rather than Bauhaus. It is very dance-oriented, so I can see young kids requesting this on goth night. Everything is draped in a haze of reverb aside from the retro jazzercise beats. It grows on you, if you have a high threshold for synths. 

https://abysmalhymns.blogspot.com/2023/10/gothtober-male-tears-krypt.html

                          

7-Naut -"Hunt" 

It is hard to believe at times this is not a long-lost album from the early 90s I somehow missed back in the day. In many ways this is defined by the sum of it's parts and the influences that make those up but this album is also a great deal of fun.

https://abysmalhymns.blogspot.com/2023/02/naut-hunt.html

 

6- Ville Valo -"Neon Noir"

Better than the last HIM album, aside from the happy moments and weak bass tone, it is surprisingly well written, not that I was not already clued into the fact he is more than capable of cranking out slapper, it is just good to hear that he still has it. while the production is not as dark as I might like the vocals are really dialed in.   

https://abysmalhymns.blogspot.com/2023/01/ville-valo-neon-noir.html

5-Night Goat - "Totem" 

This band from Portland is kicking up an interesting blend of sonic abrasion that takes Death Rock in a heavier direction.  Imagine L7 jamming with 45 Grave and you are pretty close to what is happening here. The vocals are tortured screams and moaning. It darkly broods like a storm closing in.

https://abysmalhymns.blogspot.com/2023/02/night-goat-totem.html

4-Troller- "Into Dust"

 Troller's Relapse debut opens with the Texas trio droning through a thick atmosphere that is coupled with haunting vocals. Adam Jones of the band SURVIVE is working the synths of this album, so these kids did not just pop out of nowhere. They have a sound they are very focused on but make things interesting enough to tell a story with the mood.

https://abysmalhymns.blogspot.com/2023/05/troller-drain.html

 

 3-VOSH- "Vessel"

This album's strength is how it splits the difference between the guitar-driven goth and dark wave. Their singer throws her voice around in an interesting manner, as they capture  a wonderful balance of old and new goth sounds

https://abysmalhymns.blogspot.com/2023/10/gothtober-vosh-vessel.html

2- Myrkur - "Spine" 

The refinement on this album finds her on the more ethereal side and blending post-rock with goth rock, since it has more drive, it is poppy in terms of melody but not in the saccharine manner of dream pop and feels like waking from a depressive episode in the woods, rather than a fey wonderland. She edges out VOSH due to the more organic way she achieved this. 

https://abysmalhymns.blogspot.com/2023/10/gothtober-myrkur-spine.html

1- Temple of Angels - "Endless Pursuit" 

I sat down with this album and weighed the dream pop shoegazing moments versus those that owe more to romantic darkness, and came to the conclusion that this album leans into the shadows at least 60 percent of the time, and even when it lightens up a bit their songs are still haunted by a melancholy longing that still earns their place here.  They might not dress the songs up for Halloween in the way other bands on this list do but they are better songwriters, which is why they take the number one spot. These songs are passed by plenty of heart-gripping moments.

https://abysmalhymns.blogspot.com/2023/04/temple-of-angels-endless-pursuit.html

Dream Wife : "Social Lubrication"

In looking for what punk albums I might have missed out on this year, I came across this band. It's not punk, though that is an influence. It feels like a more aggressive take on 90s alt-rock. Like it Elastica had more balls to their sound. This is the band's third album, and this one came out back in June. Their singer Rakel, who is of Icelandic descent, projects a great deal of attitude mixed with a Lolita-like sneer. Sometimes her lyrics are tongue in cheek, like on "Hot (Don't Date a Musician) " which is explosive. She talks her way through the verses. She name drops the Yeah, Yeah, Yeahs. which is obviously one of their influences. 

The title track finds the formula established in the first three songs firmly in place, though with a slight disco touch to the drums. It still works for this song, but I am going to need more dynamics from them or I am going to get bored with this. They do this by cranking out a more grunge-like ambling. She sings more than speaks here. There is a more rock n roll feel to the drone of the riff. "Leech' does fall back onto the formula of the spoken verses with a more explosive chorus, that Rakel screams out. Her demands for empathy feel a little one-sided. 

The first real punk moment is not until "I Want You" which fires off with a charged chorus. 'Curious' feels more like a Pixies song, though lyrically its exploration of sexuality is more interesting than some of the raging against the patriarchy. "Honestly " is one of the dynamic shifts this album, has needed as it is more introspective and melodic. "Orbit" is another example of how well-produced this album is. The songwriting is equally slick and thankfully ends the album in a manner that deviates from the formula that dominates it. Even with some of the heavy-handed agenda in the lyrics, it is still a fun album, I will give it a 9, despite some of the songwriting tropes they default to, as the energy and attitude compensate for this. 

Gothtober -Wil’s 9th Annual Halloween Playlist

Here is my 9th annual Halloween Playlist. The world holds as many distractions and diversions as the previous years, I am just making a more concerted and intentional effort to focus on celebrations of the Halloween season around me since my soundtrack pretty much remains constant year. I believe if we forget the things that brought us joy as children, we will become miserable adults buried in anxiety over bills and the stock market. This makes a proper soundtrack dedicated to darkness even more needed to capture the magical excitement of Halloween. . Perhaps these songs might bring some sonic horror to ears and carry Halloween into the rest of the year for you. . This year all but one song are from new releases. I am continuing the tradition of not repeating artists from previous years. Goth and all its various sub-genres are the most obvious tombs to plunder, I am including a few artists that lean in a more rock or metal direction. Lyrically, the songs are at least metaphors for things that go bump in the night or are related to the season. This year’s theme seems to be death. As the veil between the living and the dead thins, may you be happily haunted and continue to play this loudly in dark places.

 

 Male Tears-"Domin8"

 

 Snow Ghosts - Curse

 

Still Patient - "All Dead"

   

VOSH- "Superstition"

   

                               

Orphans of Dusk- "Victim of a Vampire"

   

 Temple of Angels - "Torment"

   

Troller - "Gore"

   

Shores of Null- "A New Death is Born"

   

Night Goat - "Death Crow Dance" 

Gothtober- 40 Years of Mercyful Fate's Melissa

 I am not big on remastered album. It seems like an attempt to sell you the same album twice. However there are times when it makes more sense. The production value of  Mercyful Fate's 1983 debut album, was good for the time. Producer Henrik Lund who also mixed the album, had never worked with a metal band before. King Diamond has later said this was because they assumed he did not want a bunch of amateurs  looking over his shoulder, so they only gave him notes. How could you really know how to dial in something that had never really been done before with bands like Iron Maiden and Judas Priest as the only reference points at the time. 

A common problem when trying to turn your younger friends onto a classic album is to their ears something like this does not sound as heavy, due to have the guitars sit back in the reverb. This remaster takes the already great songs and elevates the sound quality so that it stands shoulder to shoulder with the dynamic range. This was originally done by Ted Jensen in 2005, and is being re-issued for the album's 40th anniversary. I listened to it at high volume through a pair of studio quality head phones, and found the guitar have more punch to them, as this now has the sonic kick you would expect of an album released today rather than making do with the best 1983 had to offer. 

You can feel the double kick on "At the Sound of the Demon Bell" in your chest where it should be. King's vocal layers are clearer, the over all guitar and bass sound brings the levels up to a place where the shrillness of his falsetto is balanced out by the punch of guitar, thanks to the improved compression. In some ways the brighter fuller sounds , take some of the darker tones out , but the overall sound has more attack so this works for the recording. I  think there is little reason for me to talk about the songs, here because this is just an improvement to an already perfect album, while I can talk about King Diamond for days on end, the album speaks for itself when it comes to songs. Sure if you have never heard it before it is a must, especially if you are a fan of a band like Ghost, you ripped off Mercyful Fate in many regards, sure King Diamond plays nice and respects the politics of the music business, so has never called  bands out in this regard. But this version makes those things more apparent as well as allows you to hear that this was not just heavy for 1983, but holds up against all the black metal bands that came after. One of the best metal album ever made period.

Spiritual Cramp : "S/t"

 As a Christian Death fan I was hung up on the fact these guys are not a death rock, so I never gave them much of a chance. The San Francisco band is a highly energetic punk band that leans more toward the Mod side of things. This is not a raw-sounding punk album, but one where they clearly spent some time in the studio to get things dialed in. The songs are assembled in a catchy enough fashion. They tend to make fun of society, which I can appreciate. They might have come out of the hard-core scene, but they are no longer a hard-core band, when they are writing songs like "Talkin on the Internet" does it really matter? It is just good music. 

"Herbert's On Holiday" is more laid back, in it's new wave-tinged shuffle. The vocals are more crooned than the previous song. There is a ska influenced bounce to "City on Fire". It is moments like these where you have to consider the Clash punk, in order to consider what these guys are doing as punk. I think the attitude the chorus exudes crosses the line into punk. "Better Off This Way" is clearly punk with it's more commanding strut.  "Clashing at the Party" is upbeat in a way that finds the groove having more a new wave feel. 

"Catch a Hot 1" is a smooth dancey reggae-influenced punk grooving machine. The staccato guitar riff works well, and there are some great guitar tones dialed in on this hot one.  "Can I Barrow Your Lighter" works as a song but I feel they have already raised the bar higher for themselves with the first eight songs so it feels more like filler. "Addict" finds the band locked in a more garage rock ramble that is convincing, especially when it comes to the croon of the vocals. I will give this one a 9.5 , it was very enjoyable, these guys are giving a new spin to old sounds, which equates to one of the best punk albums this year. 

Gothtober- The Top 10 Post-Punk Albums of 2023

 It's that time of year again. It might seem a little early to begin sorting through the year's best post-punk albums, but record labels have already sent me most of what this year has to offer. After I sort through sorting through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of the year. 2023. Perhaps it was marginally better than the previous year, though given the current climate of the world, we are progressing on a downward spiral, making dark music more important as a soundtrack for this.   As far as 2023 goes for post-punk, a lot of great music came out forcing me to make hard choices. The very fact these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album, there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day what makes an album the best is that it makes you want more, you look forward to listening to it again. Perhaps you can find your next favorite on this list; and have included links to reviews of these albums if you want to check out the audio on these guys. Anyway here are the top 10 post-punk albums of 2023.

10--Protomartyr- "Formal Growth in the Desert" 

Protomartyr is expanding the definition of what post-punk can be. This time around there is more of a Western feel, that reminds me more of Nick Cave when it comes to the baritone croon of the vocals, rather than anything more based on punk. The guitars sound great. The reverb rings out into the desert night, which might explain the album title. They go from this very organic, almost rustic feel to something that owes more to the 80s on "

https://abysmalhymns.blogspot.com/2023/08/protomartyr-formal-growth-in-desert.html

 

9-Corker -"Falser Truths" 

 They are leaning toward the more punk side of the equation. Their dark experimental edge creates an unnerving feel to the tension that separates the genre from punk. The aggressive vocals, carry a tinge of death rock to the creepy underpinnings of the otherwise stiff militant jerking of the staccato riffs. This carries an abrasive punch to the angular attack. 

https://abysmalhymns.blogspot.com/2023/10/gothtober-corker-falser-truths.html

  8-Ritual Howls - "Virtue Falters" 

What unfolds is not unexpected, though the guitars feel like they are playing a larger role in the overall sound. This creates a swagger that lends itself to the band's ever-increasing cow-punk groove. At times the songs remind you of 90s alt-rock that you might have found playing in the background of any horror movie.

https://abysmalhymns.blogspot.com/2023/10/gothtober-ritual-howls-virtue-falters.html

7-Darkplace-"About the End of the World"

This Swedish band sets themselves out from the pack by the glaring malice of vocals that are not sung in the typical morose baritone, but a reedy tenor, that floats up into a falsetto to accent parts of the melody. This vocal color contrasts the otherwise darker background behind it, as they wander from the typical rock formula. 

 https://abysmalhymns.blogspot.com/2023/10/gothtober-darkplace-about-end-of-world.html

6-False Fed - "Let Them Eat Fake" 

Compromised of current Discharge vocalist Jeff Janiak, Stig C. Miller of Amebix, and Ministry drummer Roy Mayorga, finds themselves set apart from the typical Joy Division worship haunting many of the bands resurrecting this sound over the past decade, allowing Janiak to indulge himself in the full roar to brings more balls to the proceedings, as the songs are driven by a stormy tension that conjures images of stark gray skies. This makes for a fitting soundtrack for the stark fall to fade into a darker winter. 

https://abysmalhymns.blogspot.com/2023/09/false-fed-let-them-eat-fake.html

5-Throat -" We Must Leave You" 

This Finnish band claims their 2023 album is a break-up album with the world. Based on the darker impulses they indulge in here, you can only assume this is true. What stands out about these guys is the dark and foreboding mood that hangs over their otherwise melodic musings. The deadpan baritone of the vocals retains it's brooding narrative that reminds you of the punk rock in its intentions. 

https://abysmalhymns.blogspot.com/2023/08/throat-we-must-leave-you.html

 4- Dreamwheel- "Redeemer" 

Driven by a post-punk tension that is counterbalanced by the delicate croon of Julia Gaeta. She carries,  some power in her pipes which keeps the songs grounded. She is joined by Skeletonwitch bassist Evan Linger, whose penchant for faster tempos with Skeletonwitch, has kept him on his feet to remind you of the punk side of the post-punk equation.

https://abysmalhymns.blogspot.com/2023/10/gothtober-dreamwheel-redeemer.html

 3-Healthyliving-"Songs of Abundance, Psalms of Grief"

Bringing together musicians from Scotland, Germany, and Spain, this trio kicks up an impressive melancholic brand of driving rock that is at times as sonically heavy as metal borders on metal. There is a great deal of explosive punk jangle. but the expressive alto of Amaya commands the album's keen sense of dynamics, which is what I listen for in music from all genres. This band takes those dynamics a step further than most into the melancholy. 

https://abysmalhymns.blogspot.com/2023/03/healthyliving-songs-of-abundance-psalms.html

2-Bad Pelicans-"ETERNAL LIFE NOW" 

This French band deviates from the norm in the best way possible. Their hooky songs oozes with attitude. The vocals shift from a low baritone croak to a pop-punk croon in the span of the same song. They manage to be both melodic and explosive on the same track. The hooky nature of what they do secured their spot at the top.

https://abysmalhymns.blogspot.com/2023/07/bad-pelicans-eternal-life-now.html

1-Grave Pleasures -"Plagueboys"

This year's release by My favorite Finnish post-punk revivalists grew on me with each listen. The songwriting trades bombast for subtlety for the sake of greater melodic value.  They took their tried and true sound, echoing all the way back to their Beastmilk days, and polished it into something even catchier. The sheer replay value of this album solidifies their place at the top.   

https://abysmalhymns.blogspot.com/2023/04/grave-pleasures-plagueboys.html

Full of Hell & Nothing : "When No Birds Sing"

 

The first song in this collaborative effort between Full of Hell and Nothing, finds Full of Hell the overpowering force, that leans the song in their favor. Screamed vocals gnash their teeth as the jagged riffs slice at your ears. In the last couple of minutes the song drones off into samples., strummed guitar and kind of ambient experimentation you could see Nothing getting into. "Like Stars in the Firmament" leans as vigorously in the other direction. If you know what Nothing does, then it's on the more dream-like shoegazing and less of the grungey 90s-flavored alt-rock that colored their most recent output. This song is a fair introduction to the band, but drifts and never really explores the full range of what they do, but we are only on the second song so it's too soon to tell. 

"Forever Well" is comprised of an atmosphere so intangible, that it is barely a shimmer in the waves of sound, until the drums come in.  That is not until the halfway point, but when the dynamic shifts Full of Hell does what they do. This is the first song where it felt like the two bands were blending what they do with one another. We get both the airy shoe gaze singing, and the throat wrenching screams toward the end of the song. I waited to cast dispersion on "Wild Blue" since the previous song took its time before the dynamic shift got to the point. There are only six songs on this album, so everyone should count, and that track feels like a wasted opportunity.

The title track takes less time ebbing into motion. A choir of surreal vocal layers chimes in. It feels more like another instrument joining in rather than a verse being established. I can appreciate the experiment here, as it pays off. Full of Hell drummer Dave Bland , is behind the kit for the duration of the album, as Nothing's drummer is touring with his other band Night Sins. Bland brings an interesting energy to the title track, that counterbalances the pulse of the guitar. 

It is hard for expectations to not be high for the last song, as if they are going to make some magic like they did on "Forever Well" then it has got to happen here. It takes almost two minutes for things to darken before a metallic explosion. There are both screamed and sung vocals, and the atmosphere takes the place of where a distorted guitar might normally sit.  I will around this up to an 8.5, which means it's a cool album, that is better than most of the new shit you are going to hear today, my expectations were a little high, but there are moments where it comes together better than I hoped. 

Gothtober- Psyclon Nine : "More to Hell"

 

This album is the companion piece to the previous album "Less to Heaven". It features new songs and remixes. The first track is a droning crunch that carries the brand of industrial this project is known for with the screeching scream of Nero taking a chanted feel. Not new ground, but effective and true to what you would expect from these guys. The Pitch Black remix of " See You All in Hell" is another step in a darker direction as it feels like each song is taking you deeper into a hyperrealistic hellscape. The vocals are at times mixed behind the crunching layers of sound which on this song makes it hard to tell if it is a guitar or a synth. 

"Money and Sex and Death" makes it very apparent the influence that Ghostemane has had in recent years on the genre. The vocals are layered, one is a whisper, the other a low more rapped vocal . The latter is the part that has the more Ghostemane feel. The chorus is screamed but does not relent into the kind of metallic punch you brace for. The lyrics hold enough of a punch as they say "Fuck your god/ we worship suffering" There are some interesting sounds here that feel like they are progressing, rather than just staying in their comfort zone.

The Snakes of Russia remix of "See You All in Hell" is more interesting than the previous re-mixed version of this song, as it is darker, and carries a more haunting echo to it that sounds like something from the soundtrack of a horror movie where the main character is losing their mind.  Suicide Commando remixes "Money and Sex and Death". The vocal layering sits differently and does not make it sound as much like Ghostemane. The chorus still hits harder, but has a synth melody in the background that makes it feel like late 90s EBM. The last track "Bleeding Out" is a delicate piece of atmosphere that feels more like a memory that is fading than a song, though it serves it's purpose as an outro. 

"Give Your Love to the Devil" is creepy. It's progression is subtle and by the end, I thought it was just my gummie kicking in. Skold adds a great deal of melody and a more organic sense of musicality. The vocals are sung in a fragile manner. The effects used on them, work well. it is one of this album's strongest pieces.  I will give this album a 9, not their best, but better than most other band's , and brings some interesting apocalyptic visions of hell to your ears. 

To this German band's credit, they sound like they are an actual band playing their instruments. This goes a long way with me. The first song "Night Kiss" is a little too upbeat for its own good, making it not feel as dark as it should have. They know what to do as they show us with"Tainted". Granted they have Mortiis helping them out with vocals. It's not until "We Feel Alright" that I begin to consider how this sounds more 90s than 80s. It is the industrial touch to the drums. But this is fine as I think the post-punk revival kids have done the 80s to death at this point. 

"No Hope, No Fear' is not as dark, but there is a thoughtful introspection to the melody that creates a melancholy laced with a touch of optimism. It's the first song I have heard from these guys that has a hint of the 80s, and it's an odd mix of the Cure and Killing Joke.  "Sunburst" has a heavier synth feel, that might induce dancing. It feels more cold wave than dark wave, which might sound like splitting hairs unless you too know it when you hear it. They continue on this path for another song that is more electronic and aimed at churning booty on the dance floor. 

"Everything Will Die" is headed in the same direction, but with a different intent. It is not trying to force you to dance, but has something to say, and more of a sense of melody to get this point across. "Endless Nights" is an anthemic dancefloor banger that could have come from 1999. There is an almost Gary Numan-like feel to "Everything Will Die" . This more melodic touch elevates it from just being a backdrop for a dark club. "Endless Nights" takes off in the direction of most post-90s dark wave. A creepy synth line leads to an upbeat pulse and the vocal accents are more of an afterthought. The chorus saves the song as it works really well. There is a bridge that breaks down a little but, most of the songs are pretty straightforward when it comes to the arrangements. 

I am not sure it needs a minute and a half to get the last song really started. It is a slow electro-power ballad. The distortion kicks in as the chant of the chorus gets more anthemic. I will give this album an 8.5, as it's effective at creating the mood it is going for, and while things follow a formula it works for the genre, as it has more substance than your average , dance under the smoke machine goth nite soundtrack. 

Gothtober- Dreamwheel : "Redeemer"

 I went into this album expecting shoe-gaze and instead got the drive of post-punk with the delicate croon of Julia Gaeta, who carries some power in her pipes that keeps the song grounded. She is joined by Skeletonwitch bassist Evan Linger. The second song "'Chain of Fear" maintains the established momentum. Not sure if this is due to Linger's penchant for faster tempos with Skeletonwittch, though this is far from that kind of trashing, but enough to keep the drummer on their feet, and remind you of the punk side of the post-punk equation.

 I think this also helps the band retain their sense of identity, as bands like Temple of Angels and Healthyliving are not far removed from this sonic zip code. "Promised Land" is darker in the vocal delivery, as well as the more rock direction. It finds them slowing down but feels heavier. Her voice works well in the smoky alto she purrs this one out with. The melodies are their hookiest yet. "Bayou Ridge' is less nuanced, and feels like a collision of jangling 90s alt-rock. There is nothing wrong with it, but they raised the bar for them on the previous song, making it hard to match without the fine-tuned hooks. 

Though those return to some extent with "Wild Days", The tempo picks up. The vocals drop down to a more sultry alto. The mix for this song is different from the version they released as a single two years ago, as the vocals are not mixed as low. This benefits the song, as the subtle vocal melodies on this one really give it the needed push over the edge into greatness.  I will round this album up to a 10, not as goth-leaning as the Temples of Angels album, but a solid piece of forward-thinking classic sounds to guide the melodies.  

Duran Duran : "Danse Macabre"

 It's so weird to me that at this stage of their career, they decided to release a Halloween-themed album. They remind you that they could be dark as they reworked "Night Boat" from their first album which did have a creepy video with zombies in it when it came out in 1981. They went back to opening up with this one on their most recent tour, so I guess it makes sense for them to re-record it. In all honesty, these guys are better musicians than they get credit for. "Black Moonlight" is a new song and is more disco than the new romantic new wave style of old. Simon Le Bon sounds great for 65, though judging from live footage earlier in the year, he is getting a little help in post-production. 

They resurrection "Love Voodoo" from the Wedding album. It gets a darker grooving treatment. The vocals are more layered, and the bass line funkier. I think it stands up against the original version well. I am not sure how necessary a cover of Billie Eilish's "Bury a Friend". It always sounded like the original was ripping off the melody to "People are Strange" during the verses, and it is not as pronounced in this version, though this feels unnecessary. They cover the 1970s disco classic "Supernature" but it manages to sound less disco than "Black Moonlight".

The title track sounds like something you might hear playing at Spirit Halloween. Not their best writing, it feels a little silly to me. The ballad "Secret Oktober 31st" works better than the previous song. In fact, it grows on me. They cover "Ghost Town" by the Specials, and steer it away from being SKA, which I can appreciate. Ska is my least favorite genre. They perhaps take too many liberties with the Stones' classic "Paint it Black" , but adhere more closely to what Rick James laid down on "Super Freak" 

They capture the feel of Siouxsie's "Spellbound", but it is too upbeat to make goth night anytime soon. They do a pretty decent job with the Talking Head's "Psycho Killer". They close the album with another new "Confessions in the Afterlife" which is another ballad. It feels like it's at the top of Simon's current head register. I will give this a 7.5, it has it's moments and is pretty decent for what it is, but does not really measure up against their more classic work. 

Give Up to Failure : "COCOON"

Here is another album that was never on my radar for the year, and no clue why it was not.  I was unsure what to expect going into this album, I just pressed play and was hit by a wonderful mix of dark sounds. This Polish band takes the ambiance of shoe-gaze and pumps it full of post-sludge muscle. The vocals are a depressive moan that is more often than not swallowed by reverb and mixed behind the guitars. The second song is even darker than the first, with a rock dynamic that punches the point home when they step on the gain. The bulk of the song lays back in a Cure-like bliss. The album is really well produced with a variety of alluring guitar tones captured. As with most elements of their sound, the mix captures balance. This serves their songwriting style as things drone just enough to be hypnotic and not enough to become boring or allow the song to fade into the background.

The vocals are more breathy and shoe gaze-like going into "Wide Awake". It captures the feel of dream pop without being whisked away into whimsy. The bass goes into "Damages" giving it more of a spine. The deeper into the album you get the more it sinks into shoe-gaze. I like how they take the genre into a darker more despondent place. Their bass player leans into taking more of a post-punk role by anchoring the song from its own ambiance. 'Sleepwalk" lives up to it's name when it comes to creating a surreal dream-like quality. The vocals are once again in almost a hushed whisper.  There is more of a slow-core malaise to the song. It slowly unfolds, building with each note like a storm cloud in the distance.  It maintains a purposeful detachment.

"the Husk" has enough subtle brooding to separate itself from floating into the same haze many of the other songs are drawn to. "Weakness" lives up to its name by exposing the band's tendency to give into the delicate nature of their sound and float off. The bass returns to grant more heft to "Slow Collapse". Its slightly fuzzed-out tone provides the structure for the song to form around. The vocals are less whispered and muster a slight attitude in the manner they are moaned. The title track builds off a more epic shoe-gaze cascade and ebbs down for the verses to breathe. The lyric announcing he is falling asleep in his cocoon brings narcotic connotations.

The track fades out with piano and the last song. The vocals are more defined, and a more prominent instrument in a song that lingers in its own ambiance past the point of when the drugs should have kicked in. But it captures a raw honest mood so you can not fault them for that., I will give this album a 9.5. It is one of the year's best shoe gaze albums and I wish I discovered it earlier in the year. 

Gothtober- In This Moment : "GODMODE"

In This Moment has shifted through a few stylistic personas throughout their career. My favorite was the hyper-sexualized industrial grooves they dug into for their latex-clad "Blood" album. At 45 Maria Brink seems to be aware that dishing out the kind of aggressively erotic purring of the past, might have a more limited shelf life.  That is not to say she is ready to settle down onto the stages of  Vegas. She leans into the nu-metal resurgence. There is a Ghostemane-like rapped verse on "The Purge". She has learned to really become comfortable with her voice allowing her to nail their cover of Bjork's "Army of Me". 

"Sacrifice" slightly calls back to their previous work, while using a techno undercurrent to the verses. The big festival-ready hook works well. "Skyburner" almost feels like a Deftones song in the chorus. They are taking a bigger step into nu-metal here. She goes back into the vocal fry croak for "Sanctify Me" which builds into her actually screaming in pretty short order. It has another Deftones-like pulse. Though they are typically heading in a darker direction. Spencer from Ice Nine Kills is ready for his Adidas jumpsuit as he joins Maria in the pseudo rap of "Damaged". I mean if we are going to do nu-metal this is the way to do it as it is really dialed in. 

The vocals were given lots of love in the studio. Not that she is hiding behind any smoke and mirrors,     Maria's voice sounds better than ever. Earlier today I reviewed the new Poppy, so it's interesting to hear how Maria does what Poppy at times aspires to do but significantly better. There is however less pop, and a harder direction to this album. At times a slightly industrial feel, but never goes full-on KMFDM like they did on "Blood". The album closes more of an atmospheric power ballad, that builds enough for Maria to take a bow and scream. I will give this a 9.5, as despite wearing it's influences on their sleeves this is a pristine album. 

Gama Bomb : "BATS"

 

Going into this album you might assume Gama Bomb is just another band trying to dig back into the 80s and resurrect the glory days of thrash. They prove themselves students of the era, but make attempts to establish themselves as a band that walks in the present day. "Egyptron" does this by going into an exotic breakdown that features a verse from rapper The Egyptian Lover. Though that song might mislead you thinking they are more along the lines of Avenged Sevenfold. This is corrected on the more street-wise "Living Dead in Beverly Hills". If there is one band in the Big Four of Thrash these guys take inspiration from it would be Anthrax.  Much like Anthrax there is a more fun-loving spirit about what they are doing. 

Though by the time the album arrives at "Rusted Gold" it is evident they take more inspiration from the less stadium-packing pedigree of the genre, and take more cues from a band like Overkill. Melodic vocals that are rapid-fire as needed provide a commanding narrative for the songs, even venturing up into falsetto shrieks. It takes a few listens for these songs to settle in. They are not immediate headbangers. The frantic pace of "Materialize" does not feel as effective as the more deliberate gallops found in the first few songs. The guitarist produced this album, so all the solos sound pristine and this is a very guitar-dominant album.

They could convince you they are from Jersey rather than Ireland when things lock into a speed metal frenzy for "Mask of Anarchy" which puts the gang vocal chorus to good use. It is surprising that halfway into the album they have not tried to milk the half-time mosh groove. They add a slight touch of rock n roll to " Don't Get Your Hair Cut". "Dreamstealer" is driven by a tight palm-muted tension that almost feels more power-metal. Some of the melodies are more cumbersome than others on this one, even with its more Van Halen-like party vibe. 

"Speed Funeral" is the first song that conforms more to the hyper-aggressive razor-riffed brand of thrash that Slayer made famous. The vocal delivery falls in line with what their singer has already brought to the table earlier in the album. This is also the song where there are noticeably pitchy points when goes up into his falsetto.  "Secular Saw" takes a joking look at religion. The riffs match up to the lyrics well. The gang vocals are really the only thing keeping "Bats in Your Hair" from sounding like the more free-wheel-burning proto-thrash of Judas Priest. I will give this album a 9, as it's a fun listen that exceeded my expectations, and finds these guys in the rare position of not being a tribute band, but a thrash band in and of themselves. 

Poppy : "Zig"

 

The last album I heard from her was 2020's "I Disagree" so the transition is more dramatic of a jump. Her fifth album opens with the moody groove of  "Church Outfit", which finds her stepping more solidly into pop. Is it more quirky and darker than most mainstream pop? Yes. "Knock Off" is almost mainstream pop except for her lyrics going sideways at times and she sings about trailer parks. Her vocal performance has smoothed way down since the last album. For what this is it still works, but if you want the jarring experimental wildness she has captured in the past, well two songs in it's too soon to say.  "Hard" has an interesting atmosphere that toys with noise at the periphery, but it is very controlled in the mix. She goes in more aggressive vocals but this outburst is very brief for her. 

Strings lead into "What it Becomes". She continues to use the short hip-hop-influenced pop phrasing here, creating a melody that is more rhythmic than melodic. She keeps things in a single lane when it comes to the stylistic scope of the album so far. Musically "Flicker" is more interesting, but the lyrics are about her car and other vapid materialistic shit. The first guitar I hear is on "1s 0s". It's another song where the musical backdrop for her to play with is more complex than what she chooses to do with her melodies. Lyrically this song is less conforming than some of the previous tracks. 

The title track is one of the album's strongest songs, as it incorporates beefy rock guitar and her vocal melody does not try to adhere to the pop rule book. "Linger" is more of a ballad, with some weird synth sounds coloring the odd-timed beat. Her melodies could be more supported by a less minimalist bass line. "the Attic" would be another pop ballad if it was not for the break-beat drums that come in and keep things moving. To her credit, she does not require an entire assembly line of producers and songwriters to pull this off like most pop artists these days,. "Motorbike" has a funkier futuristic groove. Perhaps not as hooky as the pop artists who are whoring for the labels, it's still pretty damn catchy. 

The jarring bipolar twist of the last song is what this album needs more of as it is what made "I Disagree" stand out. I will give this album a 9, it's really well-done radio-ready pop music, runs through her eccentric filter to a lesser extent than previous releases, but that is still more than enough to set her apart from the TikTok pandering artists your kids are listening to. 

Gothtober- Still Patient ? : "Love and Rites of Rage"

 

The German band does a great job of setting the mood with the opening track that carries a creepy tribal feel. The death-rock feel of the bass line brings it all together. This album came out in June and fell below my radar. I am not sure why as we hunt inner webs in search of stuff like this. I like that real instruments are being employed and this is not just a bunch of button pushing and mouse clicking. The resonant baritone vocals are not a direct imitation of any one singer, which is an accomplishment at this point in time for the genre. The key is can this band continue to keep things as melodic and varied? 

My first thoughts are these guys are more goth than they are post-punk, as there is a romantic emoting of darkness, rather than a stark static tension, but we shall see where they go from here. They support my initial theory by expanding upon the mood with an elegant brooding, contrasted by the strum of the guitar adding to the aching ambiance. The vocals might be the sticking as they are delivered in pretty much an identical manner as they did in the previous song, but this is not yet a deal breaker. There is a folk feel to the swing of the guitars here. The arrangements are really well done as there is a great deal of room for ebb and flow. 

"Looking Glass" is the first song that does not feel as inspired to me. I prefer the steamier brooding of "Sacrifice in Paradise" as it carries more of a Fields of the Nephilim feel.  "Rites of Rage" finds them moving in a more metallic direction, not unlike Woods of Ypres final album. The gritty baritone of the singer earns this comparison. It is still in play when it comes to the moody musing of "Bitter Sweet". I think when they are in this more straightforward rock mode, fans of the 69 Eyes could appreciate what they do. These guys are more goth and devoid of the LA-tinged cock leanings the 69  Eyes picked up during their time on the west coast.  

"Trees Falling" lands solidly in the middle ground of what these guys do. Dancey enough for goth night, but not devoid of organic rock elements.  The pace picks up for "Wherever" it captures a slight dark country undertone to the guitars. This brings the chorus to a place where it might be the album's most upbeat moment. I was surprised that "Heartshaped Box" was not a Nirvana cover. Instead, we get a song that sounds like the Cure aside from the bellowed bravado of the vocals. It works well, but a Nirvana cover might have been more interesting. His voice drops to a lower more Sisters of Mercy-like place for "After Glow" . They are joined by female vocals that add another dynamic layer. There is a rock sense of jamming to how the song unfolds. 

The last song is a dramatic outro that comes close to being a song on its own. I will give this album a 9. It is well written and does not find the band painting themselves into any stylistic corner aside from the fact they are making goth-flavored music. Its done with actual instruments in an organic fashion which puts the at the head of the game in that regard. 

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Mouth For War : "Bleed Yourself"

 With their name, I was expecting more Pantera influence. Instead, it is the kind of metalcore I like that places the emphasis on the hardcore side of the equation and has little to do with Myspace. The first song hits very solidly, making the challenge ...can they keep this kind of hammering momentum? The second song has an even more powerful chug. The production is great on this album when it comes to the vocals as they sit right where they need to be, and just the right amount of effects are used to provide more vocal colors. Most of the time they sit in a layered midrange. With this doubling up you get a few frequencies.

"Captivated" is a dense assault that stays in your face. The breakdown feel is used wisely. They hit you with varied tempos to prove they care about songs. "No Grace" feels a little darker. The dissonant guitar helps with this. Not that they get into their feelings much in this regard as it stays in your face. There is a thrashing feel to "Taste of Steel" which is fitting enough. I like how this band does not hit you with the same blunt-force trauma twice. The vocals feel more rapped in their cadence in a few places here. The first song that feels like it is kinda dialed into what everyone else is doing in this regard is "The Devil". 

By "Saturate Me" the chugs begin to take on a marginally more uniform sound. On closer listen I can pick out the nuances, but if you left this on and let it play, I can hear where it might begin to sound the same. "Under the Gun" picks up momentum, but chugs with a razor-sharp head-banging groove. "Talking to God" is two minutes of nail-stomping chaos. Normally sheer heaviness does not impress me but they continue to outdo themselves. Wirthing from one crushing riff to the next. This feral enthusiasm they throw themselves into this with does not always account for great songwriting as "The Rush of Seeing Red " can attest to since it recycles most breakdown cliches. The title track closes the album as it rides in on a flurry of double bass. The eerie guitar melody that rings out amid the beating they give your ears is the most impressive part.  I will give this album a 9, it might be the heaviest hardcore album of the year giving Harms Way a run for their money in the heaviness department. 

 

Shabazz Palaces : "Robed in Rareness"

 2020's "The Don of Diamonds" was more of a psychedelic funk exploration. With "Robed in Rareness" things are darker, and rooted more in the current state of hip-hop. However,  Ishmel Butler emerged from the 90s as a member of Digable Planets, an era when the genre had more quality control as MCs would call out rappers who were not bringing it like they thought they should. Now rappers settle beef with passive-aggressive tweets, rather than working it into their mumbled verses. Butler is not as aggressive as those types of old-school 90s rappers, but he is a by-product of that time, as he makes his tracks pristine from every angle giving no one room to attack him. 

The first track "Binoculars" finds Royce the Choice, handling the second verse, and blending his voice like a hype man earlier in the track. Ishmel produces rap vocals like no one else in the game, his use of effects gives a surreal feel to the song,  Lil Tracy joins his dad on "Woke Up in a Dream". The vocals sit back into an ocean of reverb, to give the vocal booth a more cosmic feel. The song has an atmospheric drone that is more experimental than most hip-hop today. He continues to foster Seattle's up-and-coming rappers by bringing Porter Ray on for "P Kicking G". Lyrically the first three songs might as well be strip club anthems as their bitches are the focus. 

Lavarr the Star helps Ishmel to break away from his fixation with females on "Cinnamon Bun". The backing track is a smooth flourish of futuristic synths that helps to guide their minds elsewhere. Though the mood is a little detached from the urgency that came with rapping into some girl's ear at the club. The vibe changes to accommodate the more street-wise musing of O Finess. The minimalist beats feel like it's different from the backdrops O Finess is accustomed to.   Bronx rapper Geechi Suede's fits better with the more surreal ambiance this project conjures. He has more attack to his delivery which provides more backbone to the song. Where "The Don of Diamonds" felt like tapping into realms on mushrooms, this album is more about kicking back Hennessey.

"Hustle Crossers" feels more like spoken word than rap, since the beat is so faint it's almost not even there. This makes things seem more stream of consciousness than hip-hop as there is not the same pulse for the words to dance off. I will give this one a 9 as it takes more risks than most hip-hop today, despite this album being more accessible to urban audiences. 

Gothtober - Iress : " Solace"

 I was a big fan of the band's 2020 album "Flaw".  This ep carries the kind of raw empty longing that album did, but finds them drifting in a more shoe gazing direction. The guitar lays back rather than really attacking. Which I am fine with if it is giving Michelle Malley more room to flex her pipes in this manner. Two of the songs on this EP were released as singles, but they are new to me, as this fell off my radar for some reason. "Vanish" is a little more delicate with her voice shifting into a more ethereal breathiness. In the song's final minutes the rest of the band converges to pack a sonic punch, but not enough crunch to pull them from their shoegazing, which I am fine with. 

Her lyrics stand out on "Ricochet" as she asks someone about how they are drinking their life away. A subject most band's who just alcohol sales men between songs, do not seem to want to acknowledge. This song has a heavier dynamic, perhaps heavy in an emotional way more than it is metal. "Soft" hovers in an atmosphere so intangible, it floats but never lands. Which would work better in the context of a full album where the following song could provide more of a dynamic response.If they ended a full length with this then it would feel more like an outro, but when you are releasing an ep, then every song has to count. 

Then main problem with this is that there are only four songs, so it leaves you wanting more. The first three songs find the band stepping from doom into a more shoe-gazing direction which feels like a natural prgression. The last song also adhere's to it but as stated earlier could use more of a backbone rather than just coating on clouds. That said this is still wonderful music, even the last song is great, but given the context it's being released in could have stood to waited for the full length. This came out in May with zero fanfar so glad I am able to catch up with this one. It's dark enough for the fall fading into winter for sure. I will give it a 9. 

Nebulae Come Sweet : "De Lumi​è​re"

This band out of Belarus caught me by surprise, as they go above and beyond to take things in a different direction. This album came out in March and sadly flew under the radar. They feel more European than American in the almost classical manner they go about this. They blend dark melodic brooding with big grandiose choruses. They prove just because you are singing it does not mean you can not do so in a commanding fashion that has balls to it. There is a progressive current to their songwriting, though perhaps at their core they are a doom band. 

They are not afraid to use saxophones to lead into "Candor". The song has a dark progressive slither as the notes swirl around before the more Opeth-like riff kicks in. The way they use atmosphere is more recent Tool than say Electric Wizard or even Pallbearer. They ride the line between doom and progressive. The vocals come closer to Pink Floyd than Black Sabbath. Rather than get heavier for the climax the guitars build the sonic dynamics. "Splendor" is even more romantic in its introspection. It moves almost more like a shoe-gaze song until the drums pick up the pace. It is not until the final moments of the song that the guitars crunch down in a metallic manner. 

"Claritas" finds things gaining momentum to build into a stomping metallic throb. The vocals are belted more aggressively. It builds impressively to ebb down to a fragile piano melody. "Fulgor" is a dramatic shift into tormented darkness. Some spoken musings fill in the gaps, but the screamed vocals are full of pain, in a manner that excedes black metal when it comes to sounding unhinged. It however sounds cool,. but feels more like an interlude than a song. 

The songs flow really well on this album. Melancholy strings lead out from the wash of ambient synths that closed the previous song when "Lux" stirs to life. It builds into a more sludge-like pound. With the vocals erupting into a coarse roar. The range they cover is impressive. This makes both ends of the spectrum more effective. The last song is an instrumental that serves as more of an extended outro, that feels like a real song in the light of the compositions this album has already displayed. But as it stands I will give this album a 9.5, and see how it grows on me even if I am unsure what exactly I am listening to.