Italian band, Codice EGO,are back with a new single, “Errors And Repairs“, which is off their soon to be released EP, Rainbow’s End.
A whirlwind of guitars and shifting drum rhythms greet us. The vocals are an island, constant amongst the rolling instrumentation, telling a story of how something happened to them without any known reason, weaving her spell, drawing you into the musical web.
The EP is based around a sudden and unexplained illness, experienced by one of the band members. “Errors And Repairs” is part of this story, a disconnect between the sickness and struggling to comprehend why and how. This is a deeply personal journey, laid bare for the listener by Codice EGO in a raw and yet stunning track.
Spanish 80s retro synthwave project, Darkways, has released the EP Neon Lights, which is their first new work since the Dioses por la fuerza EP in 2017.
The title track of “Neon Lights” starts off beautifully, smooth as silk, and the vocals just take you away as it goes on. The term that comes to mind is utterly joyous. The next track title made me smile, called “I Like The Night (and the night likes me)” and it has a charming chiming guitar, while the high energy rhythm drives it on as there is nothing scary about the dark hours.
“Dark & Light” has that more 80s feel in the electronics which is quaint until the vocals and more modern synths change the overall feeling, that leads into the soulful “Young Again“, a beseeching to a memory of what was and a longing to return to that time. Final track, “More Than Dreams” is a culmination of love, wanting, and dreaming that has taken flight, and it is simple and gorgeous, rousing the sleepers to awaken.
If you had asked me to listen to these guys before telling me they are Spanish, I might have guessed they were German. The title track is probably my favourite, but in essence, the whole EP has a wonderful flow to it. If you want to hear synthwave done right, check out Darkways with NeonLights.
October in 2022, was the month we saw Reaper On Red bring out their debut darkwave album, Zodiac Lights. The title refers to the false dawn before true daylight, which is the time things in the darkness transition and melt away. Robert Berry and Carla Berry are Reaper On Red, with the album mixed & mastered by MikeMontgomery at Candyland Studio, containing ten tracks for your listening pleasure.
Photo by Nikita Gross
They kicked off with the title track, “The Zodiac Lights“, which also happened to be a single, and even from the beginning of the album, you can hear the British 80s influence of bands such as Jesus And The Mary Chain or Spiritualized, with the jangle guitar that also seconds as a incoming wall of impending sonic sound.
What happens when the light comes?… we have the swirling “Mourning Nights” that reverberates like a wire pulled too tight. Other tracks, the perception changes when you realise the electronics are not secondary to the guitar work or vocals. The shamanistic “Way Beyond The Waves” is an excellent example, as the synths and programming take you away to another plane of reality.
There is the cover of the Love And Rockets track, “No Big Deal“, that was off their 1989 self-titled album. They have kept that sass of the original and the swaggering guitar. “The Conjuring” is delicate like the first rays of light with its looping programming, unearthly and untouchable.
For those that love a bit of vinyl (mmmm, that sexy physical record smell….), the album is being released as a limited edition for you collectors. Psychedelic post-punk, not over dressed but elegantly understated, is Reaper On Red’s mix of heady guitar, often experimental electronics and tandem vocals, that make The Zodiac Lights a joy to listen to.
Out on the rather impressively named Culture Vomit Production, is the new album from London’s Pillars Of Golden Misery, called Turbo Necropolis. Another experimental noise project of the very busy Howard Gardner, who is also Non-Bio and a member of Decommissioned Forests.
The lethargy of “The Demon Ray” turns your way, low wave pulsing which continues into the stalking “Ultimate Fighting Claw Death“. The ominous “Big-Time Blade Trader” lumbers with reverberation causing rising internal tensions and this is built on with “Temple Of Catastrophe” as Gardner adds his intonations to the track that is forever doomed to haunt that mystical abode, and this is just a few of the pieces.
For the most part, Turbo Necropolis is an instrumental affair, and as I always say, it is never good to pull apart instrumental albums as they are crafted often to create a mood. Gardner has put together eleven tracks, that paint a picture in sonics of an ancient city inhabited by the dead. The oppressive dark spaces, wind swept halls, temples where possible sacrifices were made and the people that never left.
The chanting in the title track makes me think of the Indiana Jones movie, Temple Of Doom, and the imagery fits so well. A place tainted by blood sprays and screams of the unfortunate, now rendered in shadowy electronic creepiness, as you make your way through the establishment. Pillars Of Golden Misery are inviting you to visit their Turbo Necropolis…..it’s a nice place to visit but you wouldn’t want to live there.
There are a few very highly anticipated post-punk album releases this year, and one of them is LostHymns by Brooklyn’s A Cloud Of Ravens. Out on the Nexilis label, on the 28th of April, BethNarducci and MatthewMcIntosh have written and recorded an album bound in gothic beauty and often with political and/or moral observations about this modern world. ACTORS‘ JasonCorbett, mastered the album at his JacknifeSound studio, adding to the seamless flow and rich textures. I was so very fortunate that Beth and Matthew could talk to me about this second album and what has lead them to this point of time. Not only are they making important and gorgeous music, but they are divinely lovely dark hearts to boot!
Welcome to the bowery of Onyx, Beth Narducci, and Matthew McIntosh, where the blue black bower birds have stolen every shiny and blue object to please us.
I am sure a lot of people have asked why the name, A Cloud Of Ravens, but I want to ask what is your connection to ravens?
Matthew: Beth’s connection is probably more obvious, but if I’ve got a personal connection to ravens it’s in an admiration of their inherent qualities; enigmatic, majestic, singular. They’re an iconic animal totem.
Beth: Matt came up with the name. When I was in the goth/industrial scene in New Orleans, my nickname was Raven, which I knew could get a few laughs from people who knew me then.
Both of you have your roots that are deep in this thing called music.
Beth, you are not only an alt rock/industrial musician, you are also a well respected A&R executive (a head hunter of new talent for record labels), a talent manager and importantly, the creative force behind You Plus MeEntertainment. What is it like being on both sides of industry, and has it coloured how you have approached dealing with A Cloud Of Ravens?
Beth: I appreciate the research and kind words. It’s come up from a few people, to be honest. It’s a bit wild to have always been on the other side. Having a long history in the industry is always helpful. I approach both sides with a lot of passion and excitement, but also with the knowledge of how to manage expectations, an ability to trust the process and work ethic that pushes an upward trajectory.
Has it been easy as a female making your mark in the music industry Beth?
Beth: I would say it’s been more of a marathon than a sprint. I’ve had run-ins with inequality. there’s always going to be an asshole in the room. I always try not to be one. I have always tried to lift up other women and I spend a lot of time proving myself over and over but it still remains my life long passion and career.
Matthew, you grew up in a house of music, where your mother was a professional opera singer. You then explored post-punk, deathrock and even hardcore. Did your mum ever despair at your choices or was she super supportive?
Matthew: My mom was and is supportive of what I do creatively. I’m sure there were times, especially when I was in my teens, getting in trouble and screwing up in school, where she was concerned about my future. Maybe she didn’t always understand my choices and motivations, but she never tried to discourage me from pursuing the things I was passionate about. She was musical and creative as a kid and I don’t think her parents encouraged that, coming from a depression-era upbringing— the arts were not seen as a viable life choice. So I give her a lot of credit for breaking that cycle. My mom is still very supportive, and I’m grateful for her.
Speaking as someone that grew up in a house full of classical music, I found post-punk/goth as a way to rebel but as I have gotten older, I really appreciate the exposure to an extensive palate of classic music. Would you say, Matthew, you have had a similar experience and that small bits creep into your composition?
Matthew: Definitely. Everything I love about music makes its way into our sound in some form or another. Whether it’s the aggression or primitivism of hardcore, the melody and rhythm of new wave, or any song from my early childhood that creeps out of my psyche when writing, it all influences the overall dynamic of how and what we write.
Have you both always lived in Brooklyn and how has it influenced A Cloud Of Ravens?
Beth: When I first got to NYC, I lived in Manhattan– both Hell’s Kitchen and the Lower East Side at one point, but I consider myself a Brooklynite since I’ve lived in so many neighborhoods and I own a car.
Matthew: I grew up in southwestern CT, which closely borders the Bronx, where my father was born and raised. On a clear day you can see the NYC skyline from a shore near the house I grew up in, so Manhattan was always just a short train ride for me, and a big part of my childhood. One of my earliest memories is driving around Brooklyn with my dad. It wasn’t the hipster oasis some parts are now. I remember packs of wild dogs stopping traffic, the garbage strikes, blocks of condemned buildings, etc. There’s an aura and energy to NYC that is kind of inexplicable— you can feel its history in the air. Beth and I were driving from her place in Brooklyn to the airport recently, and going around a bend on the BQE, which opens up to the downtown skyline. We’ve seen that view a thousand times but we were both just like “How is this not the best city in the world?” To have that kind of awe and reverence after so many years speaks to the weight and depth of the energy here, and it’s certainly reflected in our songs.
What is the dark alternative scene like in Brooklyn?
Beth: It’s been growing exponentially for the last 5 years. There are many more bands, live music venues, bars and clubs. At this point, even some of the more mainstream venues are promoting goth/darkwave/’80s nights, which depending on your perspective could be good or bad, but either way it’s booming. The monthly parties are great. I really enjoy turning up at places and knowing so many interesting people in the scene.
The band started in 2018, with the first album “Another Kind Of Midnight” released in the midst of the Covid pandemic in 2021. What was it like bringing forth your debut into a strange new world at the time?
Matt: The pandemic had a huge impact on the writing. There was so much political unrest going on at the same time, so you’ve got this dour sense of isolation, and essentially watching society implode everyday on TV. We tried to channel that anxiety into a creative energy, as I think a lot of bands were doing at the time. Working on that album was cathartic, gave us something positive to focus on, and really helped us come through those dark times intact. We knew other bands releasing records around the same time, and there was this whole new learning curve with how to approach the album cycle, since no one was touring. It was definitely trial by fire, and learning as you proceed.
You released the stand alone single “The Call Up”, a cover of the anti war anthem of The Clash, at the beginning of the Russian invasion of Ukraine. Who chose this particular track?
Matthew and Beth: We honestly don’t remember who chose it. We’re both huge fans of The Clash, and The Call Up seemed like the perfect song. There wasn’t ever any deliberation of how to approach it, it just worked. It didn’t solve Ukraine’s problems, but we were glad we could contribute in some small way, even if it’s just raising awareness.
Music has been used for years to protest against injustices and a lot of music you write, has a big core of political or humanitarian truth. What would you say to people who say goth should not be political?
Matthew: I’d say they’re not looking at the history. The gothic subculture has always been socially aware; anti-fascist, pro animal rights, etc. While that’s not directly political, it ties into a political bent as it relates to social conscience. I think there’s an element within the scene that flies hard to the right as well. While we’re not overtly political as a band, it’s likely pretty easy to see we align left of center. As I’ve gotten older I tend to not look at things as necessarily being left or right, but how we treat each other. There’s a universal truth that doesn’t care whose flag you wave, but how you’re treating people in your everyday life. Things are very polarized and tribal right now, and it’ll likely get worse before it gets better, but If you’re being good to people regardless of where they stand politically, and they’re doing the same, it’s a good start.
2023 sees the release of the new album, “Lost Hymns” after four wonderful singles. How hard was it to write the new album to follow up a great debut or did you find the experience a little easier?
Matthew: We started writing Lost Hymns a few weeks before the previous album was even released. Maybe it was a reaction to the doldrums and anxiety of covid lockdown, but we had tons of ideas. I was hearing new things in my head and Beth and I were throwing ideas back and forth every day. That’s the most exciting part for me. We wrote and recorded it all within about six months. It’s actually been finished since the fall of 2021. Seems crazy now that it’s been that long.
Jason Corbett of ACTORS has been doing a fabulous job with mastering and was involved in the original remix EP, so how did you end up with Corbett in the mastering seat?
Beth: We LOVED his remix of our song “The Earthen Call” and we respect his production quality so much that when we heard he was also mastering, we asked him to lend his skills yet again.
Talking of remixes, is there a remix for “Lost Hymns” in the works?
Beth: We have a few conversations happening but nothing has been created yet!
I know songs can be like children, but is there a favourite track off the new album?
Matthew: Yeah, that’s a hard one. When I got the preliminary demo fleshed out for “Requiem for the Sun” I was kind of geeking on it. It was what I heard us sounding like when it was just me recording the earliest ‘Ravens’ demos in my bedroom in 2018, before Beth and I had even met. I felt like “Requiem” finally brought it to that place sonically. That being said, “Parable” also came out pretty nifty, and it’s fun to play live.
Beth: I can agree with Matt’s sentiments on those songs. Other personal favorites for me are “The Blackest Mantra” and “Nature of Artifice”, which are also really fun to play live. But the stand-out favorite of mine has been “Fear Not”. To me it’s one of the darkest and most impactful.
As A Cloud Of Ravens, you are doing your own recording, so is it empowering to have that much control over your project?
Matthew: Yes. As Beth can tell you, likely to her aggravation— when we’re not playing shows, I can be a bit of a hermit. At this point in my life the idea of spending weeks or months in and out of someone’s studio seems untenable. It took me a while to get to a point where I could record something at the quality of “Lost Hymns”, but with Beth’s help we got there. It is liberating to be able to walk into a room any minute of any day and record an idea you’ve got for a song. That said, I don’t place a ton of importance on production. The quality of the song comes first. If the song itself is middling, the slickest production in the world won’t make it great.
Beth: This whole project is empowering to me in that we are the beginning and the end of the creative process. With both albums that I’ve been involved in, we shopped a fully mastered album to first Cleopatra and then the second to Nexilis. As an A&R person by trade I typically help people through that creative process and in this case I’m both the artist and the A&R person. It’s really meaningful to have that kind of relationship with someone as creative as Matt.
So, how do you go about the song creation process and, who is the more headstrong one and stickler for getting stuff done?
Matthew: We’re both equally headstrong as far as standing behind our opinions and perspectives. We’ve had, let’s say, ‘passionate exchanges’ as it relates to the creative process, but we always find a middle ground. Beth has such an innate musical instinct, at the end of the day, her perspective is generally the correct one. As far as writing, I’ll usually start with a chord progression I’ve come up with on guitar or piano. I’ll flesh out a rough verse and chorus, work out some phrasing, and a vocal melody. Sometimes I’ll have a very definite idea of a specific drum pattern I want to use or a rough aesthetic concept. Lyrics are always last, usually built around a phrase I’ll find coming up with the vocal melody. When I get a preliminary demo fleshed out I’ll play it for Beth, and she invariably has ideas that bring it to another level. Whether it’s her experience in the music industry, just an inherent appreciation for sonics and song craft, or both, I ultimately trust Beth’s ear more than my own.
What bands got you into the dark alt scene?
Beth: Depeche Mode, The Cure, Sister of Mercy, Tones On Tail, Ministry, New Order, Joy Division, Echo and the Bunnymen, The The, Clan of Xymox.
Matthew: Misfits, Samhain, The Damned, Siouxsie, TSOL, the Batcave scene. Those bands were the impetus for me as a kid of like 14, 15.
What new musicians light your fire now?
Beth and Matthew: We tend to listen to bands we know and have played with; Creux Lies, Bootblacks, Black Rose Burning, The Mystic Underground, Vosh, Jason Priest, Then Comes Silence, The Bellwether Syndicate, Pilgrims of Yearning. There are so many great bands out there right now.
The band is about to go on tour. Is the live thing something you really enjoy?
Matthew: It’s a two-way street for me. Yes, I absolutely love to play live. It’s what drew me into playing music as a teenager, and it’s still my go-to emotional outlet. On the other hand I’m an introvert by nature, always have been. So reconciling those two immutable truths is an ongoing and daily process.
Beth: For me it’s fairly new so it feels like a rollercoaster. I enjoy the connection with people, but the flipside is that I have a lot of emotional attachment to my home, my son, and my pets.
A Cloud Of Ravens is headlining a 3 day extravaganza, and you get to choose the other acts. Who do you choose? We are willing to rob graves and perform necromancy to get you what you want…….
Beth: ELO, INXS, Duran Duran, The Smiths, Camouflage, OMD, The Fixx.
Matthew: The Clash, Public Enemy, Fugazi, Laughing Hyenas, Siouxsie and the Banshees, and ELO.
Get out the divination ball, and can you tell us what is in the future for Beth, Matthew, and A Cloud Of Ravens?
Beth: I’ve got a lot of plates spinning; a business, a son, and personal goals. I’m finding little pockets of time for joy and recharging.
Matt: More travel, exploring creativity, and trying to be present in the moment.
Birds of a feather flock together, and your new album is dark post-punk classic. Thank you so much for talking to us today.
Jarrad Robertson is the captain of the scurrilous pack Sea Lungs, with Andi Lennon as the vocal navigator and linguist, while Robertson and first mate Micheal Johnson steer the musical course. “Parlour Tricks” is the latest single which has magically appeared on Bandcamp for your listening pleasure. (Ignore the 12th of April date, because it is available NOW!!)
If you haven’t guessed from the cover photo, it is about those that dabble in the occult for an audience, deceitfully conjuring up the dead, using smoke and mirrors, for fame and money. “Parlour Tricks“is decidedly heavier than previous tracks, with a more deathrock drone of guitars. Lennon never misses a beat, which is amazing with his wordy lyrics that would be tricky for less nimble tongues. The lumbering death march for those passed, and a message for the living that no amount of incantations from charlatans can communicate with the dead. Sea Lungs are here to say. It’s all a “ParlourTrick” but rock on anyway.
Antipole & Paris Alexander are hitting us hard and fast with the singles, giving us the release of their next in the form of “Midnight Shadows“. This is the second single off the album Crystalline, which is slated to be out on Young And ColdRecords as of May 12th.
Echoing sexy whispers, hang between the electronics. The guitar filters through, caressing the synths as they proceed forwards, shrouded in moonlit monochrome. It almost feels like the spirits of the past are crying out in the electronics, trying to hold you between worlds where time stands still.
Dreams, reality, or something in between? A trick of the light has given us this gorgeous darkwave track that is letting us peer through a gauzy, rhythm driven other world created by Karl Morten Dahl (Antipole) and Alexander. Beware of “Midnight Shadows” or you might fall under the spell of Antipole& Paris Alexander.
For myself, the name Girls Under Glass is heavily entwined with my memories of the 90s. The German gothic industrial icons are back baby, on the label Dependant Records, with a new single “We Feel Alright“. Even more exciting is the fact that on June the 2nd, the album Backdraft is being released, and this is the first album for Girls Under Glass in eighteen years.
The first strains of electronics made the hairs of the back of my neck tingle, before we are plunged into a maelstrom lead by guitars, which yet again morphs into synths, melding with those very guitars. The vocals break through with lyrics of finding hope and enduring companionship.
Verdict is… it’s so, so good. I feel ultra nostalgic, and I admit that my eyes teared up with pure delight hearing this track. Girls Under Glass have lost none of what made them so great, and it seems time has tempered them into an even more powerful force. Not only do “We Feel Alright” but Girls Under Glass sound pretty great after all these years.
Nothing says goth more than a story of maudlin, and that was something the Greeks excelled in. Illinois goth rock act, The Funeral March have touched the tale of “Persephone,” released as an EP on March 15th. The daughter of Demeter (Goddess of Seasons), Persephone (Goddess of Agriculture) is stolen to the underworld by Hades (God of Hell), which causes Demeter to throw the world into a constant winter. Hades finally agrees to return Persephone to her mother for six months of the year while the other half of the year is with him. And so we have the changing seasons…. Spring and Summer are full of life, which changes into Autumn/Fall and Winter when the living world becomes dormant, hibernates, or dies. However, this is a modern gothic tale on the tale.
The drums bear a striking resemblance to The Cure’s “Hanging Gardens” in the first track “Figured“. Echoing and bass heavy, there is the slow descent into a form of madness from being in a world that they never chose to be in and can not leave.
“Nite Nite” is the realisation that things may never go back to the way they were, as the world crumbles under the weight of that revelation. Graduating tones swathe the senses in a sombre atmosphere.The drone of “Two As One” is a modern take on a dark love that dances on the edge of lunacy. The music consumes the senses just as the lust and adoration devour the storyteller.
There is nothing more memorable than a last embrace and lip lock. So we have “Kiss Me (with your last breath)“, a gothic love song, with electronics swelling beneath. A final twist of the knife into madness comes with “Wasted Moon“. A cry to the universe joined by the howling guitar work as they swirl into murky abyss.
People that love The Cure era of Pornography, 17 Seconds and Faith are going to get a kick out of Persephone. Heavily imbued with the sonics of Robert Smith’s crew, the EP is full of lament and the lost visions of dreamers, wrapped in chiming guitar strains.
Someone told me they were going to have a rest from creating music. They so lied!!! STAHLSCHLAG released in February, the EP Avalanche. German, Sebastian Sünkler has been busy, tinkering up a storm and he even brought along some friends for the ride.
“Mental Machines” is a bit of a treat because you get to hear the man himself, Sünkler, providing the vocals in this track of amalgamated power noise and techno. The machine, through Sünkler, speaks to you in its metal voice about loss of control, slamming against the electronic cage.
Non-Bio’sHoward Gardner is the guest vocalist/lyricist on ” Do You Think?“. Grand internal reverberations punch around Gardner’s monologue, threatening to overwhelm and consume.
There is yet another guest vocalist/lyricist on the track, “Before I Was Broken” in the form of Kimberley of Bow Ever Down. With a slower and more synth lead sound, Kimberley’s singing flows above the spike barbed beats that attempt to puncture the sincerity of the vocals, telling of a time of happiness that no longer exists.
The final track is the instrumental “Burn“. The glitching and crunchy rhythm is over laid with an eerily tinkling keyboard, like the embers starting to ignite, fuelled by the music and taking hold. It can’t be stopped as it hungrily bursts forth, those synth lines feeding into the blaze.
Honestly, I don’t think Sebastian can help himself, and the winner is us, the listeners. Each time he puts out new music, you hear him changing things up or reinventing his sound, plus having great vocalists is just the cherry on top. Maybe Avalanche refers to the onslaught of rhythmic noise, but I like to think it’s because STAHLSCHLAG is just like a force of nature.
Onyx Music Reviews 