We seem to ending the year with an explosion of great gothic fare and New York’s Crimson Brûlée released their debut EP onto the world on December the 7th. Gustavo Lapis Ahumada explained how the band came about…
It was early 2019, Billy Keith and I were sitting around in the studio listening to tracks from our new EP at the time, “Don’t Let Go”. As we listened, the idea of incorporating keyboards into our band “The Witch-Kings” came up. There was only one person that came to mind and that was Nicole Eres from my first band “Bitter Grace”.
Sadly, halfway into the night it had become obvious that the chemistry wasn’t there. Out of respect for our brothers in “The Witch-Kings” we decided just to assemble another project keeping the Kings intact along with its dark, heavy-handed guitar-only vibe.
Nicole, Billy, and I got together to play and it was magic. We then chose Crimson Brûlée as the official name. After the departure of our bassist, Johan, we picked up Jaime Filomio on bass and then Oscar Arias on guitars later on.
The synergy and the tunes were fantastic – more melodic and brighter, yet painfully melancholic. Then in early 2021, we got word that Johan had passed away. A real tough loss, as he was a brilliant musician and one of the coolest cats ever.
We spent the latter half of 2020 through 2021 recording our EP “Tragica” which was released in December. The EP is dedicated to Johan. It is important to us to play live shows in 2022.
“I Came Back To You” is the first single to be lifted from the EP and it is has one of those really joyous choruses that belies the actual horrifying reality that someone forgave the person that they love of any misdemeanor. Talk about a suffering for love. But this really is a jewel of a song with the female backing vocals and wonderful guitars. The ominous electronics bring in the monstrous “Nothing Dies Forever“. This is goth and roll with all the trimmings of horror references and undying love.
There is the brooding darkness of what has been in “Restrained” while you will endeavour to find “Where Tarantulas Roam” which is yet another corker of song. The rhythm section is heavy and fluid while there is is a sublime mix of synths and vocals, an unholy religious experience. “Why I Wear Black” is probably the most electronic heavy of all the tracks as the synths duel with the guitars. It reminds me a lot of the movie The Lost Boys with the vampire references and the struggles of a vampire hunter.
The rest of the EP contains four radio friendly edited versions of the first four songs or in other words shortened versions. In a way it is a shame to cut these tracks back as they are good the way they stand. After all no one told Bauhaus “Bela Lugosi’s Dead” was too long and Andrew Eldritch decided “Temple of Love” should get a twelve minute remix and both always fill dance floors. I can hear why there is the comparison to The Awakening both vocally and musically. The combination of electronics with solid guitars and those strong vocals just ticks all the boxes. This is a really strong debut and gothic rock is undead and doing it with style.