I had to take a break from metal and dig into something different. This album certainly provides a respite from angry power chords, as it's a catchy, quirky take on electro-pop. This is the project's second album. There is more of a bouncy cold-wave feel to "Complacent" that finds vocalist Niabi uttering a simultaneously urgent and detached plea. There is a more mechanical and starker take on what they do with the song "Controlled Burn". They lay down a more dance floor-moving groove with the dense synth bass of "It's Cold In Here." Comparisons could be drawn to Boy Harsher, though she does not employ the same low breathy whisper here.
The synths sound a bit lo-fi, but not trying to overtly pay tribute to the 80s. "Quiet' does remind me of early Depeche Mode, so almost leaning in a new wave direction, but some darker synths serving as an undercurrent. The vocals are a little more emotive here. Things begin to turn towards a more modern electronic sound, while still using organic synths with "Compromised " and the second part of "Controlled Burn." Things get a little darker for "Bloom" though the synths bring other sonic colors, leaving her moaning vocal to occupy the shadow.
Things get a little more experimental when it comes to " Incapacitated." Her vocals are drab and indifferent. But it works for what they are going for. The last song is a little more upbeat but is not as catchy as the previous song. I like where they take on you this album, it's interesting, and while it holds some similarites to other indie dark electronic artists, nothing is redundant in that regard. I will give this one a 9 and see how it grows on me.
The Miami-based goth project continues their journey away from their death rock beginnings into somewhere new yet not far removed from the more new wave sound they expanded upon with 2024's "Resolution of Happiness." On the lead single for this EP, "Dry Shampoo X," there is more of an explosive rock element to contrast how the album opens with a more kaleidoscopic new wave sound that pulls from different corners of the 80s without being pinned down to any of them.
The first darker moment does not come until "Lemon Yellow Tangerine," which carries a creepy more ethereal glaze, while the verses carry more open space for the vocals to wander, then plead longingly at the chorus, making this the best song thus far. Not that I did not enjoy the previous two songs, but this is just more of what I want from this band. The reverbed ring of the guitar adds to the cold goth ache. If you miss their earlier goth days, then it delivers what you want it to.
They included a revamped version of the "Unisex Games" single released last year, so it's good to have that song included here. I like this song more in this format than when it was released as a single last year. "Miss Rain On My Parade" is more up-to-date and is another single that was released last year, being released on this album, which is good to have for the collection. It's upbeat, but not as hooky as "Unisex Games". The last song, "I Lack Nutrition," finds the band going back toward the more 80s sounded synth driven sounds. I like how his vocals are produced here, they mix the guitar further in the back so it's more of a texture, and his vocals feel more likea Gary Numan thing is going on, which is not the first time this has come to mind since it first arose on the last album. I will give this album a 9.5, putting it toward the top of the heap when it comes to goth so far this year. I like that overall the mood is darker and more melancholy than the previous album.
When was the last time I reviewed an actual goth album? Oh, it was 12 days ago when I reviewed Requiem in White. Anyways, this band outta LA, is leaning on the more post-punk sidde of the equation half the time, but are not just ripping off Siouxsie. In fact, her vocals are more punk and aggressive in the militant chant of "Epitome" that carries an electronic throb, so they are shifting genres from song to song, but keeping things dark. The more typical post-punk bass line emerges on "Fade' as the guitar uses the reverb-heavy vibrations to create the creepy atmosphere. The vocals are more whispered without trying to be Boy Harsher, though they are pointed in that direction for this one, just more organic and instrument-driven.
The problem with using the kind of drum machines they are using is how it limits your dynamic range, where a real drummer can switch it up. This leads to them riding the same groove throughout the song. There is a more new wave feel to "Consume." It is weird when they go into the more electronic parts; they are never really delving into dark wave. The vocals are more spoken than sung on these songs and are done in a manner that does not convey those emotions. I think "Astroturf" is about a machine lover, but I haven't been paying a ton of attention to the lyrics.
"Zenith" flips things into a more 80s new wave style, though the vocals sit further back in the mix than something Blondie would have done. The song references being frozen in time, so perhaps this is a self-awareness of the 80s fixation. Though, to their credit, from a production standpoint it has a more modern lo-fi punk sound. The third act of this album does lean more heavily in a punk direction. It is felt ot a greater extent on "Algo Esta Pasando." In some ways, this is a kink in their creative armor, but it still works well enough here. The reverb returns for the guitars of the last song, which finds her coming closer to singing again. The mood of the song is one of the album's darker moments. I will give this album a 9; it takes a solid stab at doing its own thing and draws blood.
Despite goth being a popular topic of Facebook groups, there is not a huge deluge of post-punk music waiting in the wings, which is why I jumped on the new album from Seattle's Jupe Jupe. The opening track is marginally moody enough, not far from the frolic of a band like Oingo Boingo, though with much less dramatic vocals. They wink in the direction of the 80s. They are quirky but care about the songwriting, as "Kill Your Darlings" is even more thoughtful. They are not as new wave pop-oriented as, say Duran Duran, but they are heading in that direction. There are greater touches of rock n roll swagger in some of the guitar licks.
"Down With the Setting Sun" has a slight Western feel, but lyrically feels like it is trying too hard. They dance back with the 80s pulse of " A Game of Wait and See". There are melancholy hints in the background, but the overall sound is not that dark. "Nothing Left to Come" carries more hooks to the vocals. "Cane" is the first song with mroe of a post-punk energy to it. "Alive Inside of You" is more of a new wave song, which is the vibe that tends to dominate the album.
The last song "Casualty of Love' is more introspective.At the end of the day it's the effort put into songwriting that wins for this band, as they are not trying to be anyone artist, nor a tribute band to an era. I will give this one a 9
These charming Canadian punkers are back. They play a melodic yet tense style of punk that flirts with post-punk, but even with the synths that crop up time to time there is more of aggression driving the songs that keeps them with their dominant foot being planted in punk. Sometimes the subtle ambiance created by the more experimental elements like synths does cast a shadow on the mood and darkens it a bit. If there are any doubter as to the merit of their punk status just listen to the guitars and vocals of " Light Sleep". It is not their fault if they are giving their songs room to breathe and using melody, the feel of the songs is more punk than many bands that get called punk these days.
This does not mean there are not moments where they do cross over into new wave as heard on songs like "Between the Waves ", which aside from the vocals sound like it could have come out in the 80s. Vocally they are too entrenched on punk. "Eulogy" finds the guitars coming back to balance out the synth experiments. The strummed guitar for "the Vanishing" is the first song that loses the more punk roots at it's core, but it's a decent 80s new wave homage. They go to the other end of the spectrum with "For the Children" which is more Oi !
"Kiss the Sky" works off a dancey vibe and solid feel for the era they are recreating here. It's weird because this was no the life skin heads were about in the 80s , but that is where we are at here and it works. "Always this Way" finds punk attitude bringing brought to a more rock context. There is a more tense post-punk tension to "Dancing with Anxiety". "Young Offender" finds them with the electronic elements in perfect balance with the punk sound that is more of who they are. The last song is the only one wehre they seem unsure the direction they want to commit to, it is not a bad song, but not on the level of the rest of the album. So over all I will give this album a 9.5, I think it's an effective step forward for this project.
This falls under the new millennial dark wave that finds murky lo-fi artists like Boy Harsher and TR/ST flourishing. The dead can vocal delivery, does not have the emotional charisma of say Gary Numan, who, along with old Depeche Mode, I hear the most in these kinds of artists. The synth layers have to do all the heavy lifting as the sing-song monotone of the vocals works more like another texture of sound that gives it a human enough feel. It is not that dark. I would have added more effects to the vocals, but the production choices here are what they are. I am not sure I hear a churning dancefloor in my mind's eye when I envision this
I think what begins to bore me with this sort of thing is that there is no heaviness involved. "Dreaming in Silver" has more motion in its synth-driven propulsion. The vocals remind me of the Pet Shop Boys more than Gary Numan at times, even when sitting back in the reverb. Three songs in, it feels like I am getting more introspective vibes than anything dark, though it is a few shades darker than new wave. "Inside" has a more frantic beat. The vocals are a little more obscured in the mix. There are some synths in the background making UFO noises. The songs are compact, never overindulging to sprawl out on their own ambiance. All under four minutes.
A more spectral atmosphere begins to haunt " Awaken" with a distant vocal chant that works more for the purpose of atmosphere. This one gives me more of a Psychic TV vibe. "Fear' is the first song that feels more darkwave to me. "Dark Matter" rides the line between dark wave and future pop as the synths move in a creepier direction. The last song floats along on its own atmosphere. There are some catch-22s with the vocals, I prefer when they are more atmospheric like Psychic TVaand less in the spotlight like the Pet Shop Boys, but it also makes things less song oriented arnd more about the mood, if you need things super beat driven for the dance floor there are moments but not the album as a whole, I will give it an 8.5 as it works for what it is.
This Brooklyn-based band BOOTBLACKS is dancing in a more dark wave direction with their new album "Paradise", with songs driven by synth pulses. The reverb-slathered guitar sits back in the mix, content haunting the backdrop. Which works for me. The opening song has a dancey groove and vocals with a purpose, so I do not ask for too much more from this sort of thing. But they also add moody dynamics. The vocals are emoted in a more breathy whisper til the chorus, to create a Love & Rockets feel. A sexy sax creeps out of the shadows to color the song with 80s neon.
The title track is more of a noticeable shift in a new wave direction. Not as poppy as what this stuff sounds like on the radio back in the 80s, but heading that way. It borders on synth wave by the time we get to "Can You Feel It." The overwrought emoting of the vocals gives more of a goth sound thanks to the impressive croon. It navigates the thin line between Dead or Alive and Duran Duran. It also has the most uptempo dance drive of the album so far. "Wilderness' is darker, still dancey in more of a goth nite way. Some of the synth lines attempt to balance this out with lighter layers.
"When You Want" is darker, more along the lines of a less dramatic Sisters of Mercy. The guitars add to the atmospheric layers rather than bringing a more rock backbone. "Leipzig" puts 80s dance floors to the forefront of its mission statement, despite the vocals keeping to their more brooding focus that has dominated this album. The chorus is more dynamic in how it hits. The vocals are layered more interestingly with a sax wailing in the background. It has an extended dance remix feel to it. "Fade Away" juggles the goth expectations with the obligations to bring more of a new wave dance feel and split the difference, creating almost a hypnotic drone in the wall of sound this song drums up.
"Melt' closes the album with a darker and more ambient wave of sound drifting over you like a wall of mist being pumped from a mountain-sized smoke machine, as the groove is buried in a bleak pulse with synth melodies trying to break the surface of the ominous mood. This is one of the best albums this year to delve into this intersection of dark-wave and more 80s-aligned dark pop sounds. Their brand of brooding is backlit with neon to showcase another facet of dark music. I will give this album an 8.5
The joke about back when Ministry sounded like Depeche Mode wore thin on Uncle Al, as he had begun to polish off the early songs for live sets even before releasing their last album. This is a re-recording of the songs from the "Twitch" and "With Sympathy" era. The vocals are more in line with how Al sings now. Sometimes the guitars are providing more heft, but on a song like "Here We Go," things are pretty much like they were back in the day, with the more new wave-leaning dance beats driving the hot rod that Jesus built. In some cases, this works just well enough.
"All Day" keeps the classic dance groove in place, and almost feels like Al of the present doing karaoke to the band of the past. It is, however, a reminder that these songs were not half bad to begin with. The new version of "Everyday is Halloween" has been out for a minute, so it is not going to be a surprise. The 80s sounds are still intact, with the guitar accents, bringing them more closely aligned to the band they became. This is clearly one of the best goth anthems ever.
"Revenge" is one of the songs that works best when adapted to this format. "I'm not an Effigy" has a more driving drum sound and sounds more organic in this context, which also makes it sound more like Killing Joke, who is obviously a huge influence on Ministry. "I'm Falling" highlights the more post-punk roots, which, when it gets to the chorus, also leans heavily toward Killing Joke. "Same Old Madness" is a more frantic take on this style. You can hear traces of the punk side of the post-punk side of the equation. Though the layered sounds give it more depth.
The more Depeche Mode brunt of the joke can be heard on "I'll Do Anything For You," which pokes fun at the conventional pop love song of the day while flowing a bastardized version of the blueprint. "Just Like You" has more punch to its synth pop groove and the lyrically bleaker tone, making it not fit in with more radio-friendly artists doing the "Reflex" at the time. "We Believe" has a droning yet more aggressive pulse that was an indicator of what was to come. This closes with "Over the Shoulder," which has always been one of Al's most bizarre vocal performances, and he stood by it with this version. Musically you can hear where Revolting Cocks would evolve from this.
The trend of rerecording your past work feels like creative entropy, and while more preferred than a greatest hits album, it's warming up leftovers. However, if this were Uncle Al's last album, it would be cool that they came full circle with this. He has been talking about hanging up his cowboy hat more often, more recently,y and it would be better for him to take a bow gracefully at 66 rather than being forced to do so in the next five years, if he lives that long. So I will around this up to a 10 as it's evident tweaking these songs a but was all that was needed to prove they stand the test of time.It makes perfecgt sense for Cleopatra Records to have rleased this.
At 67, Murphy looks older than he sounds. The album opens up with an upbeat song that would not have been out of place on his 89 classic "Deep". It carries the new wave bounce, though not as dark as Bauhaus, it is true to the era. He keeps the '80s pulse going with "Hot Roy," which captures the late '80s synth pulse perfectly. Perhaps he is paying a great deal of service to his fan base, which is wise. His pipes stay fluid even when going up into the wavering vibrato of his upper register.
Morrissey could stand to take notes here as Metropolis Records quietly dropped this album without a great deal of fanfare, and you can't tell me these guys or someone like Cleopatra would not release a new Moz album. "Sherpa" has "Cuts You Up" energy. However, the hook is not as sharp as that song. This song has a very raw, organic production sound that is interesting. The title track grooves with a little more of a smouldering slither. It rides the synth bass tone hard. Not really going to pop hooks on the choruses, but they work. Some of his later solo work has been more along the lines of Dead Can Dance, so this is a welcome return to the punk-inflected roots.
"The Artroom Wonder" has more of a disco pulse to it. If it were not for his trembling baritone, this could almost be a Depeche Mode song. Not as funky as 'Stayin' Alive" but heading in that direction. There is more of a 90s hip grinding to the tension of the pulse to "The Meaning of My Life", voice swelling to a more powerful climax on the chorus here. The song structure is often simple on this album, but dynamically effective. "Xavier New Boy" is marginally darker and more reflective as it unfolds in a dramatic build. He is back in motion for "Cohita is Lame". This perhaps feels more like Bauhaus than the songs before it, even with the synth riff
The most guitar-driven rock moment so far comes from "Soothsayer." Then things switch over to a more exotic Middle Eastern flavor tango for "Time Waits," which is more like his more recent solo efforts. The dramatic ballad "The Sailmaker's Charm" does not connect as much with me as the previous songs. The is a slight Beatles vibe to it at times. Though it might be more compelling that the ballad he does a duet with Boy George on. This is another one where I can hear a Beatles-like atmosphere in the background. Boy George's voice has not held up as well as Murphy's. Despite this, the rest of the album nails it pretty hard, and it's impressive that he found his way back to this place and delivered in this manner. I will give it a 9.5, way more impressive than Billy Idol's new one.
Cyberpunk might have been the last Billy Idol album I paid great attention to. I heard his guest spot at various points, so I was under the impression his voice had held up over the years, better than what the first few songs here are pointing towards. Though when it comes to his verse on "77," he sounds fine, so I am not sure what was going on with the mix, or on the ballad that opens the first song, where he is singing in a higher, more fragile register than what he is known for. I could care less about Avril Lavgine who duets with him on this one and don't like how far back he is mixed behind her.
Billy sounds better on "Too Much Fun" but the song is a little upbeat for my taste. I am not sure about him doing pop punk, it's a weird reversal for him, as he was a former punk rocker who made pop in the 80s. But pop punk feels like pop artists who are trying to be punk to me. Things begin to sound more like what I want from him on "John Wayne", though when he sings in this register he voice sound older than it did on the previous song, so not sure what is up with this , if he sings lower then he is on more stable footing. Allison Mosshat from the Kills joins him here.
The more introspective "People I Love" feels like some of the shakier ground Iggy Pop was on in the 90s stylistically, but his voice sounds pretty good for his age on the chorus. "Gimme the Weight" has more of an 80s feel, and his voice sounds great, so this feels like what he needs to be doing these days, as it's true to what people want from him without being encumbered by it. As it stand right now this album is at times vocally inconsistent, but there are strong songs like this one that help balance things out.
"I'm Your Hero" is a little more soulful than what you might expect from him. Then we get the more Leonard Cohen like whisper on the verses, which is not where he sounds his strongest. Thiey bring back the 80s sounds for "Still Dancing' which is where his voice needs to be when he is singing in a more reserved voice rather than belting it out, in other words it finds the smae effective dynamic formula as the song "Rebel Yell". I will give this one an 8.5, due to the un-balanced vocal performances, I think he needed some one at his shoulder to tell what works best as he proves he is still very capable of delivering the goods in this regard.
Here's a new column we are starting here, to bring you the best new song of the week, having not covered singles in the past, bands are releasing music differently these days so it seems a shame not to share this with you. It seems fitting to inaugurate this with one of my favorite bands we have been championing here for a few years Miami's Astari Nite. The single for this song will drop on the 14th, it finds the band continuing to expand their sonic horizons while retaining key elements of the sound that make them who they are. It's a dancey tune that the band made as a form of therapy to bring some levity to the looming apocalypse that continues to unravel this year. Although this song is musically upbeat the lyrics are sardonic enough to offset, making it a "feel good" song that is not too happy for my more melancholic tastes. The video accompanying this song is important as it puts the song's carefree sentiment in motion. They are on tour in support of Rosegarden Funeral Party, so keep an eye peeled for them to roll through your town as they are a live act that should not be missed.
Rygg is back on the tip of the smooth groove, making music that comes close to the 80s homage synth-wave bands are making these days. But with a dusky winter haze cast as he coasts down the beachside highway of life, these songs are cruising. Lyrically things are getting darker and more dystopian. He has been watching the news. "Locusts" drifts like a Tears For Fears b-side. Enough hook to keep you invested. After an instrumental interlude, he fires back with "Hollywood Babylon' which has more of a disco feel. Lyrically it mockingly announces "Not Fuck With America". It packs the most groove into a song thus far.
"Forgive Us" falls back into a more Tears For Fears-influenced soulful pop ballad. This is followed by another one of the atmospheric pieces. These sound nice enough, but I am not going to count them for the purpose of this review. "A City in the Skies" bounces with an 80s-like cadence, not as pronounced as perhaps some of the previous songs. Lyrically it upholds the bleak stage that was already set by the other songs. The elephant in the room might be the total lack of any heavier elements, and how this project might as well change its name, I get that but he has already covered such a wide range that if you are hanging on as a fan, then you have accepted this fact.
There are two takes on "Ghost Entry" the first being the kind of chilled synth wave with the neon colored 80s groove. The second take finds robotic effects on the vocals and it is less of a song more of an outro, but there is enough going on to count it as a song for the purpose of this review. I will give this one a 9.5, as the parts that did not grab me on the first couple of listens will grow on me and they are great at what they do.
The 2022's "Haunted Hours" took the top spot in our end-of-the-year post-punk top 10, so the bar is set high for this one. The 3rd album from this Athens, Ga, based band finds, them opening things up with the moodier title track, yet leans more into the organic post-punk side of what they do. All of this comes together with a smooth melody thanks to another great performance by Dusty Gannon. "Dead Gods " is the lead single, and it continues with a similar lyrical theme as the title track, as it's very bleak and agnostic in its outlook, which works for me. Religion is the passive-aggressive target of the dance floor-rocking anthem. To complement the lyrical shift the music is more aggressive in its drive that is empowered by some solid bass playing.
This is almost a concept album as "Sign of the Times" is only marginally less stark than the previous song. It is not as geared for the dance floor and feels more firmly rooted in post-punk. Gannon's voice seems to be soaring a little higher on this album. It's more Duran Duran sounding at times. "Balacave Kiss" is just as rooted in the sounds of the 80s, though the melodic nature reminds me more of Merchandise than anything dark wave. Keyboardist Emily Fredock lends her voice to the chorus to add a new sonic color. They get a little darker on the more Cure-like"Normalized". Which bemoans the woes of the common man. Gannon's croon is supple on this one with a tinge of vibrato.
"Living Dead" is not as Halloween-minded as you might expect. The synth melodies often being the most goth thing about the overall. In fact, the chorus is rather upbeat. "Haunt Your Dreams' almost feels more like Roxy Music than the Cure, but it's a really well-written song so that does not matter. At this point, the lyrics have shifted to a more introspective musing. This feels like it might be the album's best song. It has some of the most driving drumming. The Roxy Music comparisons gain more weight with "Let Go of Time". Then they steer things into a new wave direction for "Never Enough" which has more in common with 80s synth wave revivalists like Gunship or the Midnight. The last song is the first song that taps back into the Smiths-like jangle. His croon is more relaxed, as they take you on a casual stroll. I will give it a 9.5, so not quite measure up to the last album, but It might just need to grow on me. Though unlikely to usurp Crippling Alcoholism from the band's firm grip on the post-punk throne this year. I need to give it a few more spins, but it's still and impressive offering. This album drops on Oct 22nd.
What is goth music? And what is it supposed to do? Depending on who you ask the answers might vary. However, if we establish being dark is the most defining element, then what it does might vary with a great deal of the genre's identity hanging on being something you dress up and dance to. This band from Belarus is paving the way to the dance floor in a manner not unlike Depeche Mode at times. The guitars are a tool to summon the atmosphere and the baritone vocals and emotional texture. Thinking of them as the Eastern European take on Depeche Mode seems fitting, though they are not writing the same caliber of hooks.
The guitar plays a larger role in "Son" and it works in their favor as everything is not hanging on the shoulders of the singer or the beats being programmed. It also creates a broader range of dynamics. The more ambient electronic groove of the title track does its job though not the album's strongest song so far they did collect some cool sounds. To ask if they are as dark as Depeche Mode, then ponder what era? "Blasphemous Rumors"? No. But perhaps Depeche Mode's more middle-of-the-road stuff. Not to say these guys are poppy, the first pop-leaning song is "Ill". It is dancey and could be snuck into a 'goth nite " DJ set without clearing out the dance floor.
"Ne Vidvoem" is the most organic song so far and even then the drums are programmed. The melodic guitar works really well. The song that follows it is dramatic pop, and since they are singing in their native tongue it makes the vocals feel more like another instrument, saving them from the lyrics making things stupid. The last song has a smokier pulse that is not dark but comes from a similar urgency that is parallel to darkness. There is a sensual nature to it. Not the most original thing I've heard but this album works in a way few electronic-based projects do thanks to the effort to write songs invested in this album. I will give it a 9.
Despite its title, the new album by this Millenial duo is not disco. Instead, we are getting a deep dive into 90s pop from this duo who feels like the Tiktok version of Spinal Tap for turquoise-haired goth kids of today, It is a case of where they get the sounds right but are merely serving as a tribute band, and the execution is not as pristine as you might expect, considering their last album was decent. The vocals on the first song are pitchy, perhaps this is due to stepping out of the comfort zone they have existed up until this point, It is requiring them to try to sing in higher keys. "Corlyx helps them out on "Leave" allowing the verse vocal to stay in the mono baritone 90s new wave bridged over from post-punk. Caitlin Stokes finds her vocals sitting further back in the mix. They could have made better use of her talents.
Xorlyx also contributes backing vocals to "Sex on Drugs" which finds the lead vocal track on the verse struggling to stay in key as they reach outside of their comfort again. It reminds me of the Pet Shop Boys song "It's a Sin", though he is no Neil Tennant. This album highlights the problem of focusing on getting a sound rather than writing songs. When you focus on a sound you are betting solely on the fact that you will nail that sound, but it has to be a bullseye. However, if the production fails you, a well-written song can be played acoustic or electric, so it still holds up. They have grossly overestimated their vocal abilities on this album. Astari Nite is an example of a band that is capable of shifting sounds, but they are also good songwriters and that means they write to sound that best suits their abilities. The attempts at a more New Romantic sound on this album are just not who they are.
The album continues to be hit or miss, for every note they hit, there is one that slips between the cracks, This is not on stage but in the studio, meaning this is a collection of the best takes they had in them. This is as good as it gets for them. The problem lies in the fact they produced this album themselves, if they had a proper producer, he might not have let this performance slip, as they clearly can not hear if they were in key or not. They rip "Love My Way" on "He Want's Everything". this album becomes bad 80s karaoke at this point. "Regret for Nothing" at least finds them able to nail Talk Talk's sound. "This Party Ends in Tears" finds the synths sounding like early Madonna. The vocals don't lose it until heading toward the chorus. But it's an almost more forgivable performance than what has been heard earlier in the album. I will give this album a 7, there are decent moments, and if you have really romanced this sound and want anything that comes close then it might work better for your ears, I am disappointed and wish they stuck to what was working.
This band might have dialed up the Siouxsie influence on this album, but they did it oddly. Rather than just pay tribute they pondered what if Siouxsie fronted Roxy Music during the Brian Eno years. It's dramatic and glammed out while basking in the indulgences of cocaine-fueled art rock. It has taken them out of the post-rock revival, This is not a bad thing. Bands need to grow. When they get stagnant every album sounds the same then it feels like punching a clock and they break up. The creative fires are alive. Some of their ambitions might exceed their grasp but you can not fault them for trying.
Things get moving as the drums build the momentum of "Pillar of Salt". Though it sounds like a Kate Bush b-side. This speaks volumes to how their singer Leah Lane's voice improved, as I do not recall her belting it out like this. They are clearly inspired by Nadine Shah on "Love Like Goodbye". There is a familiar flavor of dynamic brooding on "Embers" that calls back to 90s alt-rock. This is closer to the goth tag than most of the songs on this album so far, though I would not say it makes it the album's strongest song. The gallop of the bass line keeps it pumping, but aside from that it does not grab your attention and make you beg for more. "Almost Heaven' works better as it is more brooding which this kind of thing needs. I want my goth to rock enough to feel at home on the Crow soundtrack.
The album begins to ease back into steamy midnight reflections with the first ballad"A Different Kind of Carnage" . Her vocals are interesting enough, though leaning more in the Nadine Shah direction. There is almost a trip-hop feel to the sedate groove of " Like the Rain'. There is a more rock feel to the last song, that works off a more post-punk tension thanks to the guitar. I will give this album a 9, as it is what they wanted to make, and in many ways better than their past work due to the chances they took here. Not sure how much replay value I will get from it but if you are a fan or looking for well-produced post-punk that allows itself to indulge in 80s nostalgia.
Was sorting through the newly announced lineup for the 2024 Absolution Fest line-up and this is the first project that released music this year that caught my ear. This French project makes music that is a very lo-fi and cinematic take on dark wave-leaning future pop. The synths and drum programming have a very purposefully 80s feel to them. The vocals are interesting as they are phrased in an upbeat punk manner. The first track caught my attention so let's see if they can hold my interest from here. The male and female vocals get equal spotlight. The second song sounds like it should be playing in the background at an arcade in 1985. She sings in her native tongue, which is accented in a very stark fashion. It is however more upbeat than the first song.
"Harmony Boast" is upbeat, but not in a dancey way despite its intentions. Instead, it rides a stiff post-punk tension, from the back of a coke-fueled disco. It feels almost like Nina Hagen. 'Earl Condition" finds them conforming more closely to what has already been established as the DJ-approved sounds for the genre. The make vocals are lower and more detached. "Tilda Vaast' is a darker step in a similar direction that comes across as carrying more tension. The female vocals work really well over the groove this song establishes. Later in the album they shift into a more Cure-like take on post-punk, which works well.
Fans of projects like Boy Harsher and TR/ST should find plenty of common ground with what goes down here. This project might even wink more heavily in the direction of the 80s. The dark grooves are not the typically worn-out beats that you have been dancing to at goth nite for the past two decades. When the tempo picks up it feels like you are being frantically chased through a neon maze. "Marybone" drones with her chant, despite having a more upbeat feel. The underlying intensity of "Bruxism" is more impressive though it finds them back in a more Nina Hagen-like new wave. They close the album with a more brooding atmosphere lurking under the disco sonics. I like his approach to the vocals here, as they have more emotion behind them. I will give this album a 9, it surprised me, and while I am not sure how many repeat listens I will return to it for, I enjoy the time I spent with it and think that fans of more electronic-based dark music will find plenty to celebrate with it.
These guys were bound to evolve. I am glad they are. They have expanded their sonic palette, now drawing from dark emotive genres aside from death rock. The album opens with an almost Gary Numan-like take on New Wave. The post-punk jangle of the angular groove that possesses"Necessity Meal" is even more compelling. Lyrically great imagery is thrown at you in a collage of sentiments. There is little of the Christian Death worship that marked their earlier work. More synths drape the songs, it will be interesting to see how this is pulled off live. There is a more organic post-peek approach for "Tongue Tied Galore' that requires less imagination to envision its performance.
"Bowie in Daydreams" was already released as a single, so it is not a surprise that it was included on this album, as it bridges where the band was with where the band is now. "the Inevitable Crocodile" is more decorated with more synths and carries a hazy swirl, even with it's more 80s leaning groove. The chorus has a hook that gives all the weirdness around it purpose. What I admire about this song is how original it is while borrowing from the era the whole post-punk revival pays homage to. 'Ashtray Ballet" is haunted by a dense, hazy atmosphere, yet sonically heavy in its mood. Another example of how the band is carving its own niche.
Things move in a more disco direction on "Cut Here For Dialogue". It is hard not to bob your head to it but is such an odd shift from what has been going on up til this point. The ambiance gets more reverb-drenched as they dance into "What a Rainbow Feels Like". For there they waltz with a little more whimsy into 'All Else is a Curse". Thankfully things in on a darker note with "We Are Still Siamese", which is closer to what is expected from what we call goth music. I am glad they show a wider range of what they can do on this album, as it shows them growing into their own here. I will give this album a 9.5, for now, I wait to see how some of the more unexpected moments grow on me. If this is your introduction to the band it serves as a fine welcome into their majestic melancholy that is given more freedom here.
I don't know why it takes me so long to write live reviews, I used to just bust it out the following more, but the more time that passes between me and the show the harder it is to get motivated so here it goes. I might be an even bigger fan of Shaun Lopez's other band Far than I am of Deftones, though I think Chino's first three albums with Deftones are modern rock classics, and they managed to transcend the nu-metal bandwagon they rode in on. The combination of the two musicians was never what I expected it to be when this project came out, but I like Depeche Mode, who has always been one of Chino's influences, so respect what they do, I might prefer Team Sleep due to the Pinback connection but was curious to see how Crosses translated live. The results were not far off from my expectations.
My first time at this venue which, was nice tucked back into one of the gentrified corners of the East Side. There was an abundance of Tool shirts, this was not a metal show, so not surprising this was on the periphery of a more open-minded metal fan base, Crosses is at times darker than Deftones, but not a huge "goth' crowd either. Seemed like a collection of people who are online a great deal but do not play World of Warcraft, as they were more into Bitcoin and podcasts. Sure great deal of IPAs were sold this evening. A Sacramento DJ who worked rock music into disco tracks spun at set before Crosses went on which seemed fitting enough. He worked things like the Cure into a set followed by Shabazz Places, and then maybe some Siouxsie.
Crosses had impressive stage production given the size and budget of this tour, and considering they rarely tour, carried a great deal of energy. It was mainly the Chino show. He looked healthier and was more capable of pulling off screams, though these were mainly done as accents where Deftones uses a more aggressive vocal approach. Also, the vocal cords are like rubber bands the warmer they are the more pliable, so Chino has been on stage more for the past year, whereas at the Rockville show, he had not been singing much previously. He worked the stage well, and his stage presence is more present, rather than being crouched down screaming at the floor like Defontes early days.
Much like their albums after the initial bombastic energy they took the stage with waned, they grew on me throughout their set, Most of their songs drone on one groove, due to the drum programming that was triggered by backing track more than likely run from the sound booth, as Lopez played guitar more than he lingered by the synth setups that lanked either side of the stage. But for two guys on stage, all by their lonesome they managed to create something that resembled a rock show and Chino sounded perhaps better than the last time I saw him with Deftones. If you are a fan they are certainly worth seeing when the opportunity presents and more than a placeholder for the next Deftones show.
He might be more well known for his work with sad boi hip-hop, but Gvllow is doing a pretty convincing job of working pop sensibilities in with post-punk. The first two songs owe as much to the Cure and Drab Majesty as it does to pop punk. It's catchy, with morose vocals that are more pop-inflected than say AFI's turn to similar moodiness. This is not as guitar-driven, though there are guitars present. It is mixed like a pop album in how the vocals sit at the forefront. There is more of a hazy Drab Majesty feel to the song "Forever in My Mind". The California vibes of a band like the Drums can also be heard in how this coasts along in the sunset.
The drum programming is thin, and the bass is relegated back in the mix, so there is very little in the way of balls to the overall sound, but it works in a soundtrack to a horror movie for teenagers kind of way. "Say Goodbye" is the first song that does not resonate as strongly with me, but it might need time to grow on me. it is still relatively as effective. "Die By Your Hand" tries to work off the same formula that propelled the previous song but it feels like they are going to the well too many times. "Last Dance" is more effective in its groove and the sounds that are gathered together to create it. The reverbed-out guitar tone is one of the best elements here.
There are just as many moments that are infused with retro romancing of 80s pop as there are moments that might be called goth. "Other Side" is one of the most prominent infatuations of the 80s.In fact, I am not sure he is old enough to have been alive in the 80s. Sometimes he just drones on a theme and lets the repetition have its way with the song. However, it is less than tedious as the songs rarely break the three-minute mark. He is on the more legit side of post-punk with "Fell in Love With a Ghost". The vocals follow a more Ian Curtis cadence though it feels by way of She Wants Revenge. The outro that closes the album out is dark enough, and I would have liked to have heard some of these darker sounds more prominent in the songs. I will give this album a 9 and see if it grows on me, but it is a great deal of fun as it is.Dropping on Sumerian Records.
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