Late December was the release of the single, ‘In My Dreams” by SINthetik Messiah with TheOther LA. “In My Dreams” was originally released by five piece rock band The Other LA, that boasts having Drowning Pool’s C.J. Pierce as part of their contingent. The group asked SINthetik Messiah to put an electronic spin to the number.
SINthetik Messiah are from Louisiana and for the uninitiated, delve into experimental industrial rock/ metal with a heavy accent on the artistic front. Bug Gigabyte is the man behind the project and has done so since 1996.
It is dark and heavy….. so heavy, it almost feels like the noise is weighing on you. The female vocals by ARIA are explosive, buoyed by the dense mix of booming beats and buzzing guitar. The male vocal brings an added level of angst as the music takes flight.
A bombastic piece of engineering by BugGigabyte, the sounds are grating and huge, leaving you wanting more. He has taken TheOther LA song into another realm, becoming its own entity that can devour your soul.
Added bonus points for having mixing and mastering done by, Joe Haze, ex guitarist of Lords Of Acid. Yes it’s good. On that note, you might need to go listen to The Other LA & SINthetik Messiah, “In MyDreams“.
Dissonance is the moniker for Dallas artist, Cat Hall who has been a part of the electronic scene since the early 90’s. With the start of a new year, we are being graced with the new single, “Damage” that features fellow U.S. musician, Melodywhore.
Melodywhore is the musical creator, who to great effect gives us the industrial beats while Cat Hall goes from using honey before bringing the heavier, more masculine and angrier vocals, that dominates this number.
There are no less than six remixes of “Damage” to sink your teeth into. From first to last there is ex guitarist of Lords Of Acid and current band Banishment, Joe Haze, with his futuristic, alien overlord takeover sounds, followed Adrian Halo of Machines With Human Skin with his more laid back and sexy mix.
A bit of 80s electronica arcade style vocals and funky beats with horns is the Steven OLaf mix, then it’s Jon Von Herrmann, also known as VönOn The Spectrum, giving us a swirling and thoughtful version.
Brian Carter of REVillusion does the fifth remix which feels stripped back to bare metal bones and the last remix is by Glenn Kirchner Hinkley which is pretty cool and full of clean synths with a retro feel.
“Damage 1st Assault” reminds me a lot of the classic Nine Inch Nails number, “Terrible Lie“. Cat Hall has gone for a heavier, more attacking sound for this single and has a lot of well known friends to do some great mixes for her. So check out Dissonance’s “Damage“.
Are you partial to some post punk- gothic goodness? If that’s the case, Norwegian band, Painted Romans have released a single in January that will warm the pit of your dark heart called, “The Cold Delight“.
Mats Davidsen is the original Roman who delivers lead vocals, guitar & drums programming, with Jan Ottar Nystad playing keyboards and Thomas Sejnæs on bass, joining around September of last year.
I have to say I rather enjoyed this a little too much. It’s dark and morose just like all good goth songs can be and yet full of movement and life at the same time. There are hints of The Cure, Clan of Xymox and March Violets. Could easily be played at a goth club mixed in with older classics.
This takes me back to early 80s, when bands such as Echo and the Bunnymen, Psychedelic Furs and Simple Minds were blowing us away with their wonderous guitar/synth filled, forlorn brilliance.
You can find the single on Bandcamp as well as other previous releases. Painted Romans are developing a rich, flavoursome sound and that only bodes well for the music to come. So turn down the lights, ready the candles and have a dance to “The ColdDelight“.
February will see the release of Ontario artist, Herr Nox’s second album, Where ShadowsFade. Nox explained to us about his style, “I find myself (going) into strange musical territories. Too heavy for some, too soft to others. But I try to venture into more experimental waters so I guess that’s expected“.
Welcome to “Doomsday“, which is the first track off the album and our introduction to Norwegian, Jørgen Munkeby on saxophone. Have to admit sax has never sounded so smooth to me until now. Munkeby for the record is a classically trained multi-instrumentalist as well as a singer, songwriter and producer in both the jazz and metal scenes.
“Where Shadows Fade” is not only the title track but also the first single to be released and quite deserving so. Munkeby’s saxophone delightfully duels with the guitar in the interludes, especially helping build up the tension for Nox to hit you with his vocals.
Old school new romantic synth graces us in “Black Butterfly“. Nox partners up with Lindsay Schoolcraft of Cradle Of Filth fame for a song about falling for the type of girl who is broken and yet still beautiful. The music goes between driving guitar rock and synth wave but it works so well.
Just the very title of the song, “The Art OfNoise And Silence“, struck as something Japan could have written in the 80’s and it does not disappoint, making the hairs on the back of your neck stand on end. Schoolcraft’s beautiful vocals fly above all else, almost unearthly and angelic, whilst the guitars and synths are a cacophony below. This might make the near beseeching Herr Nox, the velvet tongued devil.
It had to happen, the sleazy, sexy sax intro. “Gotta Light?” has that intro and this is an instrumental piece featuring the talent of Munkeby with the sax front and centre, making you think of Casablanca style, cocktail bars, low lit with a haze of cigarette smoke.
Would you “Kiss The Butcher’s Hand” and give them your neck? Maybe some souls would. A good high paced rock’n’roll number that makes great use of lulls for Nox to seductively whisper to you before knocking you back on your arse.
“Heads Will Roll” is a much heavier number, growled out vocals by Nox with Schoolcraft in sweet accompaniment. That line alone conjures visions of Alice in Wonderland and her nemesis the Red Queen.
The last offering is “The Burning” and it starts with a sombre cello, joined by strings which brings in the drums and wonderful jangly guitar. Herr Nox most certainly had a flare for the dramatic as this quickly graduates into an episodical that soars with emotion. There are always electronic bits popping up where you might not expect it, which is delightful.
I hear so many influences within this album. Nox’s style of singing runs the gauntlet of David Bowie, Davey Havok (AFI) and Ville Valo, yet it is still very much him singing.
There are classical leanings, rock and roll, gothic rock, 80s electronica and even a bit of glam, all stirred in to make this a rather tasty affair. Where Shadows Fade is new and yet it borrows and reshapes the past influences into something exciting and not a rehash, so I hope you find some time to indulge in HerrNox as it is worth your time.