Michigan based Lazer Station, released the album Skies Of Rust on the 25th of March, 2022 which is out on the Brutal Resonance record label. According to what is on Bandcamp, ‘all songs written, performed, produced, mixed, and mastered by Lazer Station in The Void’. Where is this Void and how do we get there plus most importantly, if you are in this Void, can anyone hear you scream?
The beginning of the title track, “Skies Of Rust“, is like floating on synths before the guitars pull you back, to something that seems a little more serious, though, it does still doesn’t feel bound to the earth. “Corruption Of Society” kicks in and now we are going somewhere, with that flow of electronics that passes though from ear to ears and makes you bob your head in time to the music. Such an 80s tone to “Watching The End” which features UFOWitness…. a bit like the original Terminator soundtrack, where not all is well in the world. There is the desolation and urgency of “Jackals” that leads into the guitar distortion of “Circuits Of Life“, that ebbs and flows.
The techno influenced “Technocracy” seems above everything and so clean, while “Population” is a track that is tenuous, with the impression it is slipping away. A seething undercurrent of guitar is the base for “No RespectFor The Deadly“, “State Of The Art” which features UFO Witness again, forges ahead in a futuristic manner and the oddly named, “Skulljacker” definitely is a track to get the blood moving. The last two tracks are bonuses with the first being “No Hope” which does have a certain desperation to it as it valiantly goes on and the original mix of “Skies Of Rust” that is more like a dream, waiting to take flight and that guitar kicks in much later.
For those not offay with Lazer Station, they are a purely instrumental project in the cyber industrial genre and they use electronic music to invoke science fiction story lines. They give the synopsis for Skies Of Rust as basically a world where greed and corruption has poisoned the planet, killing off swathes of the population and those that are left are huddled in cities, awaiting what might be their doom. A sci-fi story for now, that may become fact in the future. Even if you don’t know the premise, there is nothing stopping you from simply listening and absorbing the flow of music, admiring the musicianship and enjoying it.
Those who like their industrial, dance music, will be familiar with the name Simon Carter for his solo work and also his collaborations with Studio X. He has since left the label, Alfa Matrix and joined forces with German chanteuse, Fabsi, to create Simon Carter and Fabsi. Their first album, The Bitches Potion, was self released on March 20th, 2022.
This album has everything going for it. The single “Hex Hex (Wir Sind Die Hexen)” is dance floor candy, even at seven minutes long. In fact, most of the tracks average out at six minutes each. The single, “Beautiful Destruction” is a great track and “Pink Queen” is absolutely bombastic with its deep, pulsing techno rhythm. The amazing and creepy, “Nanobots (Are You My Mummy?)” is a little gem of industrial techno, only to followed up by the thumping “This Is Only A Test“. That is only a selection of the eleven original tracks and all could be played at a club easily.
As a lucky bonus, you get seven remixes, including the likes of Matt Hart, Moaan Exis, Teknovore and Ruinizer (Jay Ruin). The Teknovore remix of “Hex Hex (Wir Sind Die Hexen)” is brilliantly smooth and menacing at the same time, while the Moaan Exis remix of “The Witching Hour” has a wonderful, crunchy texture to it. “We Are The Witches” is given a nice helping of heavy electronics by Matt Hart, who touches them up in all the right ways and the Ruinizer version of “Pink Queen” feels like a free fall of deranged rhythmic delights. The other mixes are done by Carter, under the guise of his other projects and they are just as note worthy as the guests. For goodness sake, checkout the Narconic version of “Hex Hex” as you really need to hear it
The Bitch’s Potion will beguile you as it traverses and incorporates so many styles of dance music. Techno, industrial, rhythmic noise and trance, whilst the vocals of Fabsi entrance you. This is one magical elixir that one must imbibe to get the full heady and intoxicating taste. Talking of mystical things, Simon and Fabsi were generous in giving us some of their time to talk to us about their supernatural musical powers!
Welcome to the darkside of Onyx. where we have a no gremlins past the front door policy. So please empty your pockets of all little munchkins but feline familiars are most welcome and will get complimentary tickles.
How did Simon and Fabsi meet and become the fabulous Simon Carter & Fabsi?
Simon: It was during the beginning of Corona and we met in a few Twitch streams, we found our music tastes had a lot in common. The very first collaboration came about when Fabsi left me a rude late night voice mail and I used that as a sample at the end of a joke/comedy track called “Oh Yeah”. It wasn’t long before we thought we should try and do something a bit more serious together! The ‘Simon Carter’ bandcamp page was never meant to be serious, it was my playground for silly tracks and deliberately horrible artwork! Whilst I’d never take myself too seriously… Since (and including) the “Beautiful Destruction” EP I am taking the tracks with Fabsi more seriously and hopefully that shines through in the quality of the music and can also be heard in the later releases on that bandcamp page.
Fabsi: We played some online games together and he kept recording bits of me and made silly little songs. So we thought let’s do something proper and I recorded the vocal for “Beautiful Destruction” with my iPhone and he challenged himself to make as many different versions as possible with spawned the “Beautiful Destruction” EP. That worked out so well that I bought a proper mic and we decided to try and make a full Album together.
Congrats are in order. The album is pretty mammoth, so how long did it take to create?
Simon: I think it took around 12 months to complete, the lockdowns due to Covid allowed me a lot more studio time than I’m used to and as is often the case when a project is new and exciting I had a lot of motivation and inspiration for it from the get-go.
Fabsi: We started straight after releasing the “Beautiful Destruction” EP, which was released exactly 1 year (to the day!) before the “Bitches Potion”.
Has covid interrupted your ability to play and record or did it allow you more time to do things?
Simon: I think we can say that Covid helped launch this project! A glimmer of something good in an otherwise sad and unfortunate time for the world.
Fabsi: Was not a problem from my side as I was recording from Germany. I had time for a new project because I couldn’t go out much here due to the restrictions.
There is a witch house and witch theme throughout, why did you go with beings of the magical arts?
Simon: We can blame Fabsi for that theme, I’m fairly certain she is a witch… but it’s a great theme and a fantastic concept which I’ve really enjoyed embracing, her witchyness is a huge part of this project.
Fabsi: The witchy idea came from me. I get a monthly witchy subscription box and I was so inspired by that and I still am. So there is more to come. We both love watching series and my favorites are those with magical or supernatural backgrounds/topic. I’m also a big Harry Potter fan!
The single Hex Hex (Wir Sind Die Hexen) is this huge, trance.techno track that feels like it is looping over and over again, with Fabsi’s vocals in German over the top. Is it about spells and you must be pretty pleased the way it turned out?
Simon: I’m super pleased with this track, it was one of the first to be finished and I knew we had something special, I knew it was a bit of a banger and I think Fabsi sounds best in her native German. Even though it’s a long track, I just knew this is the one for the music video. It’s interesting you should mention Trance as I do have a bit of a background in that scene from my Narconic project but this new techno sound is something I’ve only recently started to explore.
Fabsi: It’s mostly a translation from another track on this album “We Are The Witches” and as German is my native language It was a lot easier for me to record that vocal than some of the others.
Where did you film the video as it looks like it is in the middle of nowhere?
Fabsi: The video is filmed near Frankfurt (Germany) next to a forest. It’s a 2 hour drive away from where I live.
Is someone a big Dr Who nerd? Nano Bots (Are You My Mummy) has to about the episodes where it is WW2 and there is a child walking around in a gas mask asking Are you my mummy. (And now he’s stuck in my brain again)
Fabsi: Maybe it’s me. That’s my favourite Dr. Who episode, with captain Jack Harkness and Rose, they are a perfect combo. During corona, I was reminded of those children with the gasmasks.
Simon: When Fabsi shared this idea and I hunted the sample down (in fact we watched the episode together!) I initially thought there’s no way this will work in a track, no matter what genre I try. I’m pleased to say my initial thoughts were wrong and it’s turned out to be one of the most popular tracks on the album.
Time to fess up. Three of the remixes are done by Simon projects aren’t they?
Simon: Aha yes! I think you’re the first person to realise this! Sometimes I want a break from the hard pounding techno beats and rhythms so I mess about with the vocals and often produce something entirely different, when that happens (and we deem it good enough!) I put one of my other projects down as the remixer.
The other four remixes have been done by other great musicians Matt Hatt, Tecknovore, Ruinizer and Moaan Exis. How did you get these guys onboard?
Simon: Myself and George (Teknovore) go waaaay back so that was a no brainer for me. Since he departed PES0.1 and started Teknovore I knew he was developing a really unique and special sound and I wanted him and only him to remix what I believed to be the best track on the album Hex Hex (Wir Sind Die Hexen). Matt Hart & Ruinizer are fellow Brits who were returning remix favours for me, whilst Moaan Exis was someone I approached after hearing some of their tracks and thinking they could come up with something juicy for us.
I have been watching a lot of the European and British electro/industrial scene people and you guys are so supportive of each other both in terms of helping each other out and morally there for each other. Does if feel that way to you?
Simon: We do like to put on a united front! The world has changed so drastically since Corona and that has affected the scene greatly too. Surprisingly my biggest support still comes from Australia, Canada, the US and Mexico but since this release I have been receiving a bit more interest from Europe including my homeland, the UK. It’s a small scene and I’m very much inclined to support and help out as much as possible where I can.
Fabsi: We both have our qualities and they match perfectly together. We can help each other out and support each other where necessary. It’s crazy that other people can see that and mention that about us. You really need someone you can trust 100% that has your back for doing such a project.
Simon, you are well known for your musical creations with Australians, Studio X and you were both on Alfa Matrix but recently you seem to have struck out on your own, so can you tell us a little about this?
Simon: That’s right, myself and Studio-X released 3 albums, 6 EP’s and 1 single, all on the Belgian record label Alfa Matrix and we both had respective solo projects on that label too. Those were crazy days when I think we both had more time and the creativity was just flowing like a river. We’re still good friends and who knows if they’ll be more in that direction in the future, I am certainly one to never say never. The record label discussion is an interesting one. Since releasing this album a few offers have come in for this project. I’ve never touted this, Narconic or my Humans Can’t Reboot projects to a record label. I know a record label would give us greater exposure but the world is a very different, constantly evolving place these days and I feel happy in the knowledge that I have 100% control in regards to every specific aspect of these projects, their distribution and their futures.
Have you played live yet under the guise of this project or is this going to be something you consider taking live, into the future?
Simon: We have definitely spoken about this, I think it’s fair to say I am more keen on this idea than Fabsi! I’m currently in the process of re-decorating and moving but once that’s done then who knows.
Fabsi: We haven’t played live yet or planned any concerts. But you never know what the future brings.
What music got you into the scene?
Simon: I’ve always had such an eclectic taste in music but I do recall how I first came to find out about the scene. As a youngster I was really into my cheesy harder dance music and especially the vocal tracks. I’d often go to school with my walkman playing such tracks. I heard some tracks from Force & Styles with a male vocalist (MC Junior) and it blew me away. I’d literally only ever heard female vocalists in electronic music prior to that so I did my research and I found bands like VNV Nation, Neuroticfish, Covenant etc. Ok the music was considerably slower but it was amazing to hear electronic dance music with male vocals and passion! I was hooked form then on and dived deeper and deeper into the scene and all the different offshoot genres the scene has to offer.
Fabsi: In My Teenage years I was listening to a lot of Emo and Metal, but my first gothic or industrial song was “Combichrist – Electrohead“ in about 2008 and from then on I was dragged further into the gothic music and style. I’m always open to other genres too, like Hardstyle or Trance.
Who or what do you listen to now?
Simon: A lot of scene music and I like to see what’s hot, what’s the current flavour of the month and lately I’ve been listening to a lot of Sierra, Minuit Machine, Mark Dekoda and Tecknovore to get my techno fix and then I’ll mix it up with something like a bit of Empathy Test because Isaac’s voice is fantastic and they make some really nice synthpop.
Fabsi: My favourite band is “The Birthday Massacre” and I could listen 24/7 to their music. But of course I do not, so the rest of the time I listen a lot to Simon’s music and I like to listen to female voices in the gothic scene. My favourite Podcast I listen weekly to is “Communion After Dark”.
We are trying to decide if you are a witch or a normal person by throwing you in the lake because witches float but someone says ducks also float. What do you do?
Simon: Entirely depends on if I’m wearing my armbands (water-wings) or not!
Fabsi: So no-one would think I am a witch I would turn myself into a duck!
When you look into the magic looking glass, what do you see for the future of Simon Carter & Fabsi?
Simon: a big black void of witchy goodness! I’ve really enjoyed this theme and project and would definitely like to continue with this sound in the future.
Fabsi: I see Simon and me doing a stream together on twitch, when I can visit the UK and hopefully a lot more magical tunes to create and release.
Thank you for joining our timey whimmey magical mystery tour and that enchanting things await you. Not cave fairies though as they little terrors.
Howard Gardner, Max Rael and Daniel Vincent are some very British men who are also in Decommissioned Forests and their mission is to create interesting and inventive industrial music. To this end, April the 1st is the release date for the new album, Industry, a curiously befitting title, as the previous debut was called Forestry.
From the first time you listen to any Decommissioned Forest track, you get the sense that this is definitely part of something bigger than just the music. It is electronica painting pictures, with Rael’s vocals and lyrics breathing life into them, in spoken word. The single “Ants Part 1 – Our Last Summer” is, and to quote myself, like dissonant journey that seems pleasant, yet the lyrics are the disembodied oddities of strange and disturbing sequences. Though this is not as dark as “Triggers” that drones and eats at your frailty. without a by your leave, while “Ants Part 2 – Every Trauma Ever After” is a slower refrain in a twilight, that is dimming quickly as life seemingly slips away from us. The organ style music as if is a church of pointless sadness.
Quite frankly, I love the name and concept of “Spectral Kleptomania” as it amazing to think that a spirit can be blamed for nicking everything you can’t find or seems to be missing. Another single, “Drop Brick” could be a mantra to an old Frankenstein movie, with the disturbing and repeating synths while the monster seethes from being unable to be accepted into the world. There is the space and time warping, “Dust Ashes And OtherUnimportant Ephemera” as it slowly engulfs your being. When these guys created a short movie, “AComforting Uncertainty” was the track used. A slow realisation that nothing ever turns out exactly as thought out and you feel disappointment trying to stalk the inevitable misfortune. The final track is “Ants Part 3 – TheUniverse Is Unaware” and the ants are feigning indifference.
We will keep coming back to the whole Coil thing as it is uncanny how much Max Rael sounds like JohnBalance.Howard and Vincent have created musical scores that pay homage to an older style of British industrial music, while experimenting to see how they can keep pushing this avant garde genre. Industry is like looking at a polished stone but inside you can see all the jagged, geometric structures within, that contain their own beauty. forged by immense primal forces.
Brisbane band, Daylight Ghosts have been tantalizing you with singles since 2020. Comprised of musicians Adam Dawe (vocalist/songwriter) and Karl O’Shea (guitarist/composer/programmer/shaker of reindeer bells), this duo is involved in no less that 6 other bands between them but they decided to embark on a musical route neither has traveled before. The 25th of March, 2022 marks the release of their album Urban Umbra, which is a collection of the singles and extra tracks.
I have reviewed some of the singles previously, so I was already familiar with many of the tracks. I would have to say my favourite off the album is “After The Fall“, It is simple in its delivery, with a slow intense burn that you feel to your very core. Dawe’s singing is so perfect, giving you goosebumps with the sadness and tenderness. You can be consumed by tracks like “Golden Hour” which reflects the fading of points in time which cannot be recaptured, the melancholic “No Man’s Land” (no doubt Nick Cave inspired) and the intricate “After The Flood“.
In the end Urban Umbra runs a gamut of lost and unrequited love, lost perfect moments in time and tunes that you can decide what they mean to you. There is a divine symmetry between the acoustic and the use of synths, giving each of those tracks a well of emotional depth. O’Shea composes tunes that in essence have a dark core to them and wend their way into your mortal fabric. Dawes creates lyrics that pull at your heart strings, evoke memories and sentimental ideals, while his singing paints pictures of what has been and mirages of what could have been, in colours of murky dusky hues. This is the essence of Daylight Ghost’sUrban Umbra, a shadowy world of memory and dreams, drenched in longing. To that end……bleakly exquisite.
….And talks about the new album, bad band names, our shared love of Bobby Gillespie.. . .. . and a whole bunch of other shit with Kate and Simon from Bitumen.
Ever wanted to paint and draw? Because Bitumen do. They want to paint your world dark and draw you into an electronic, shoegaze-y industrial bliss that feels like it could become the soundtrack to the best nightmare you’ve ever had at any second. I seriously can’t get enough of this new album of theirs, their sophomore effort, Cleareye Shining, which I should mention is out now [as of the 26th November 2021] on Imprint Records, who clearly have good taste if they’re signing bands like Bitumen.
Bitumen are: Kate on vocals, Simon on bass and drum programming, Bryce on guitars and Sam on guitars and synth. They’re originally all from Hobart but one by one they made the pilgrimage to the greener pastures of Melbourne. They’re good people. I know this because I got on the phone with Kate and Simon for over an hour talking about our love of Primal Scream, The Birthday Party and so much other crap because I was drunk ….More on that later. For now you have to understand that if you like any genre on the darker or heavier or more electronic side of things you should check this out.
It’s just satisfying on so many levels…or layers. You can’t get away from the layers to these songs. The mix job is fantastic, giving room for every part to do it’s thing and blend perfectly. The album starts with their second single Paint and Draw, followed by Moving Now Now Now, which is my new favourite song right now now now. There’s 7 more songs after that one, making it 9 tracks in total on the album. There’s not a single wasted second, every track could become your favourite. The last one, Luxury Auto is another stand-out in my opinion. It starts with this minor second guitar motif that kicks in the suspense and tension, and the part relentlessly weaves in and out of the rest of the track; by the end you realise that it’s been going on the whole time and the only conclusion you can draw is that it was definitely the right thing for them to do. And as a closing track, it leaves you wanting more. Always good.
So they’ve released two singles so far, and both have accompanying videos. Out of Athens was the first to drop, even before the album came out. It’s a great first single – it captures attention by simply being a banger of a tune. The video features Kate dancing in front of a flashy-starry backdrop while Sam laughs at her and she tries to keep a straight face and not trip over the microphone cable. Although you wouldn’t know about that if I hadn’t just told you – Sam’s off-screen. Being, um, supportive I guess? But their rationale for the video concept is totally on-point “The internet likes dancing girls”, as Kate tells me. She isn’t wrong, from my observations at least.
Paint and Draw is the second single, and the better song in my opinion. The band agree with me. “Drop the better single second” Kate says. This track is more complex than Out of Athens; starting with a pulsating bass line before kicking into gear with layers of guitars that build the verses to the most perfect of zeniths before crashing back down into the suspense and tension of the choruses. The video is great too. This one features Sam in the lead role, and there’s a bit of a story going on in this one, although I forgot to ask what it was all about because I was drunk. But it starts with Sam, who is sporting a very fancy leather jacket, loitering by a Telstra Payphone until he answers a call on it, 1980’s style. He tells the caller that he’s on his way. Right now. Then he jumps in the car and there’s ghost lady when he gets to what I assume is the place where he said he was on his way to. Sam seems like a bloke who knows when he’s in over his head, and he makes a bolt for it. I would have done the same. Ghost lady was asking some pretty personal questions for a ghost I’m assuming Sam has only just met. And she has an umbrella. Although how did she have his payphone number if they were strangers? It all raises more questions than it answers, so I have to go watch it again to try and make sense of it all. *watches video again* Nope, gonna have to keep trying. Let me know if you figure it out.
In a clear example of practice making perfect, the production values have increased markedly from 2019’s Discipline Reaction when compared with the new one, Cleareye Shining. Not that Discipline Reaction isn’t worth your time – it totally is. It’s just that Cleareye Shining is a massive leap forward both int terms of production values and songwriting craft. Yes, Discipline Reaction is a pun, but it’s one that both the band and myself agree holds up even after the three years that have elapsed since it’s release.
Anyway, like I said, I caught up with Kate and Simon on the blower recently. Kate and I built a rapport over Bobby Gillespie straight away as I knew she owned a Primal Scream T-shirt with the Screamadelica album cover on it, as I saw it in the promo photos the band kindly sent me.
Johnny Ryall : Kate, I notice in your pictures you’re wearing a Screamadelica T-Shirt: that is fucking awesome..
Kate: [laughs] Yeah, I got that at um, there’s this like, I don’t know if you have it in Queensland…there’s this like, discount kind of store called [inaudible] and they have like just the most random clothes, I think that like, they’re one of those shops that buys stock from other shops that are closing down…
Johnny Ryall: Oh yep.
Kate: So like a real random mix of stuff and yeah I was in there once and they had like a rack of the…I think it was like the ’94 Screamadelica Australian Tour.
Johnny Ryall: Yep…
Kate: And I was like “This is sick, I wasn’t at the show, but I can have the T-shirt!”
Johnny Ryall: So ah, you’re a bit of a Primal Scream fan I take it?
Kate: Oh absolutely, yeah.
Johnny Ryall: Oh same! How good are they?
Kate: Oh! So good! I love Bobby Gillespie…
Johnny Ryall: Same!
Kate: I love their whole trajectory as a band…
Johnny Ryall: It’s been fascinating hasn’t it?
Kate: Mmm, yeah, because they’re [sic] like transitioned into being a more dance kind of band while still being…I don’t know, still being the guitar-y kind of rock band that they’ve always been.
…..
I could have talked about Primal Scream all day, and while we did carry on that conversation a little longer, I’ll pull myself back into line in this, the editing part of the writing phase, so that we get back to concentrating on what we were supposed to talk about.
Johnny Ryall: So what are we drinking?
Kate: I’m drinking aspirin in a big glass of water because I went out last night and I’m hungover [laughs]
Johnny Ryall: [laughs] Now you know the best thing for that is to have another drink, don’t you?
Kate: Yeah, well, yeah. I’ll get there.
Johnny Ryall: Oh well, no pressure from me. I’ve been drinking since 9am, but I’m a madman.
Kate: [laughs] Truly?
…..
Of course it’s true. Then I remembered we were doing a ‘band interview’…and thought I should talk about ‘The Band’….like as in Bitumen, the band I was interviewing two members of.
Johnny Ryall: I really love your band, I just found it randomly about a month ago; I was watching RAGE….and I was like, HOLY SHIT, THIS IS REALLY FUCKING GOOD….. PEOPLE NEED TO KNOW ABOUT THIS BAND!
Kate: Oh man that’s so good. I’m glad RAGE paid off for us.
Johnny Ryall: Yeah I’ve got to ask, how did you manage to get them to play it, like is it an easy thing to do, or….?
Kate: Um, I think because we’re part of that Flash Forward program, where like the City of Melbourne gave like bands a bunch of money to make an album like, through COVID times.
Johnny Ryall: Oh really?
Kate: Yeah so we got like, like they’re pressing the album for us and they like um, yeah gave us money to make the videos and shit; it was an excellent deal for us.
Johnny Ryall: That is super cool!
Kate: Yeah! And they had like, sort of their own PR people working for all the Flash Forward bands, and I think they had a hook-up at RAGE.
Johnny Ryall: Oh ok…..
Kate: Yeah, they just sent it off and..I’m really surprised it got on but….
Johnny Ryall: Well, it did.
…..
Johnny Ryall: So how did you come up with the name Bitumen? What’s that about?
Kate: Good question; I think we were like we wanted it to be one word, we wanted it to be kind of, something industrial. I think the earlier there’s a lot of things that like…like we had a gig booked, our first show coming up, and we still hadn’t decided on a name and we just kind of like got stuck on bitumen and were like oh yeah, fuck it, Bitumen, like ….
Johnny Ryall: Yeah,
Kate: We didn’t think about it too hard. I think I even like, we were practising at Simon’s house at that time, in his shed and I think he had the like the fridge magnet letters and I think I put it on the fridge one practice.
Simon: Really?
Kate: Yeah, on the side of the fridge, and like we were….I think AstroTurf was also tossed up….Thank god we didn’t go with that!
Simon: Yeah!
Johnny Ryall: Yeah, nah I think you went with the better option there.
Kate: Yeah for sure. And oh that was the other thing: We thought it would be funny that Americans say it wrong, like they say “Bit-oo-men”
Johnny Ryall: Do they really?
Kate: Yeah cause they just call it asphalt, or whatever.
Johnny Ryall: Oh yeah they say “ASS-Fault”.
Kate: Yeah, yeah, and like “Bit-oo-men.” I’ve heard like a couple of times when we’ve got played on like American radio if you listen back they’re like “the band Bitoomen” it’s just…. I don’t know. It cracks me up every time
Johnny Ryall: Fuckin’ hell, some people, you just can’t help ’em hey?
Johnny Ryall: What is everybody’s role in the band?
Kate: I don’t play anything else [aside from singing] but we sort of are very collaborative in that we, like, write the songs together…
Johnny Ryall: Yep, yep…
Kate: Simon, you do more than it says on the piece of paper [press release]
Simon: Yeah, I guess. I mean I play bass and then do a lot of the drum programming….
Johnny Ryall: Oh yeah…
Simon: But with input from everyone else as far as drum programming…. and synths as well.
Johnny Ryall: Oh yeah cause I noticed you didn’t seem to have a drummer, um and I said to myself that’s sensible because I haven’t been able to work with a drummer in years, you know, I just can’t do it. I use drum machines…
Kate: well it makes it easier to get around
Johnny Ryall: yeah well that’s it – no lugging the shit everywhere
Kate: yeah totally
Johnny Ryall: yeah drum machines are pretty light! Yeah! So who else is in the band?
Kate: We’ve got Bryce on guitar, and Sam also on guitar
…..
Then I asked them something about getting around Australia to tour, and they said this:
Simon: Brisbane have been so nice to us, I have to say.
Kate: Yeah…
Simon: I think Brisbane is our second home in a way.
Johnny Ryall: Really? So it even beats out Hobart?
Kate: Yeah…. we’ve played some really fun shows in Brisbane, I mean..yeah..
Simon: I think that people in Brisbane get what we do a bit more maybe it’s a bit of that kind of small town, Tassie thing.
Johnny Ryall: Yeah oh we are basically an overgrown country town..it’s yeah it’s who and what we are.
Simon: Yeah well we’ll be doing some good shows up in Brisbane when we get a chance to tour I think.
Johnny Ryall: Please do! I can’t wait to see yous, I’m spewing that I missed you last time but you know, I just didn’t know that you existed then..yeah, my bad I guess.
…..
Johnny Ryall: What artists made you decide that “fuck yeah, I’m gonna be a rock n’ roller?”
Kate: I guess like ..when we first started…our tastes have changed a lot in the last..however many years we’ve been a band…how many years have we been a band? Six years?
Simon: Six or something, yeah
Johnny Ryall: Since 2016 according to your bio! So yeah you’re getting up to your sixth year now.
Kate: Yeah, so when we first started we were all absolutely like….The Birthday Party..
Johnny Ryall: The Birthday Party! I fuckin’ love The Birthday Party!
Kate: Yeah yeah all that like yeah, the Melbourne goth-y, punk shit and then like that was probably Sam and Bryce and me, were very obsessed with that.
Simon was like, you were a bit different
Simon: Yeah, maybe a bit more like Bauhaus, Sisters of Mercy, heaps of Godflesh….
Johnny Ryall: Ah yep, all good bands!
Simon: Long time Justin Broadrick fan, so anything that Justin Broadrick does I’m very into…I think personally that I feel like I follow his trajectory and like…
Johnny Ryall: Yep –
Simon: Maybe almost in reverse in terms of like getting into dub driven techno and gabber, but [in] 2016 we were very much goths.
Anyway we talked about a whole bunch of other cool shit but that will have to come in Part II, because if I don’t at least pretend that I have a deadline on this article then Bitumen will have a new album out before I’ve even told you to go and listen to this one. Anyway it’s late and I’m drunk and tired and cranky, so don’t fuck with me. Just go onto YouTube and listen to Cleareye Shining by Bitumen. And love it as much as I do. I know you want to.
George Klontzas has been in some very significant projects but the most awe inspiring, has to be his own act, Teknovore. The Greek Klontzas has been a member of Pre-Emptive Strike 0.1, Croona and Cynical Existence, but now over the last couple of years has been focusing on his solo material and remixes under the Teknovore name. The culmination has been the release of the debut album The Theseus Paradox on Infacted Recordings thia month.
Feel that base drop in “Take Me Away” which features fellow Infacted Recordings stablemate j:dead. It is utterly delicious as a starting track with the soaring vocals and cyber injections of sound. The heavenly spiral of techno beats wends its way through “Apotheosis” delightfully heavy on the rhythm and spectacularly light on the dancing synths. With a verbal warning (maybe in Greek as it is hard to tell), “The Seal Becomes The Fate” definitely feels like impending doom with the ticking of the clock while “Vox Machina” is so intense, like being over-wound and on a ride you can’t get off. In the end you don’t want to.
“Relinquish Your Flesh” features Neon Decay, almost has tendrils of traditional Greek music in the beginning but that all dissolves with the vocals. Neon Decay gives this track a sludgy and dirty feel, dragging you under the mire. We are back to the techno maelstrom again with “Make Us Whole” which gives you these perfect keyboard refrains. There is such purpose behind this track, as if on a mission. A single released before the album, “Anachronist” featuring RNZR is, of course, amazing as it pummels your senses with its cyber-tribal style whirlpool of emotion and rhythms. The calm before the storm is the perception with “Split The Sky“. Far more slow moving though no less intense, an electronic dream.
J:dead brings on the angst to wake you, with “Every Broken Bone“. All the bass with screaming vocals, only to be smashed with a wall of synth.”Olethros” in Greek mythology is a personification of destruction that will bring on renewal. It flies on the wings of the ancestors in a modern era. A bit of drum and bass mixed with piano and electronics gives you the last track “Continuity“. Deep and dark with foreboding is an excellent way to end an album like this.
If you are unaware, the title to the album refers to the ship of the mythological hero Theseus. The Athenians cared for the ship and whenever a piece was rotting, they replaced it…until there was nothing left of the original. Therefor, is it still the same ship? For the record, Klontzas is a master at this style of music. An ability wind up the music, drop and do it all over again, creating anticipation and instant gratification when the rhythms bear you away on an inspired electronic journey. There is everything from techno to harsh EBM and the choices of guest vocalists are perfect. The old tale says beware of Greeks bearing gifts but in this case let the Teknovore in.
MikePougounas (vocalist, keyboards, bass, guitar) has been in the Greek scene for quite a while, starting in 1981 with the gothic Flowers OfRomance, Nexus and New Zero God. Nexus had been on a 17 year hiatus, but Pougounas found himself without a project during the Covid lockdowns and decided to resurrect the band and through his friendships, had Greek guitarists Yiannis Drenoyiannis (Anti Troppau Council, Yeah!, Captain Nefos, Sigmatropic) and Michalis Galaios (Ερεβος, Lost Bodies, Mavres Comodies), bass player Michalis Semertzoglon (New Zero God, GAD, Atria) and trumpet player Louis Kontoulis (Stress, De Traces) help him on various tracks to create the album Ninouki, which was released February the 28th, 2022.
Mark Gemini Thwaite aka MGT (Peter Murphy, Gary Numan, Tricky, Spear of Destiny, Theatre of Hate, Mission) contributed guitar on the track “The Words That Got Away“, as well as playing and remixing “You & Me“. “Rhythm Of Life” is mixed by musician/producer John Fryer (This Mortal Coil, Depeche Mode, Nine Inch Nails, Cocteau Twins, Black Needle Noise) and “Star Thief” was mixed by producer/engineer Steve Whitfield (The Cure, The Mission UK, Terrorvision)….. that is a lot of big names on the one album.
“The Words That Got Away” contains the title for the album. It is bright and joyful with MGT’s guitar work lighting the way. The trumpet melds so well as is not intrusive but rather a warm siren while Pougounas‘ vocals lure us into his world. A hypnotic beginning to “Do You Remember” with eclectic noises and the vocals give a hint of sadness, maybe remorseful about a time long ago. Suddenly the electric guitar breaks though and you are in a sonic place where time is ticking by. I love the start to “Star Thief” with those rhythms. It is bold and has a feel to it of something ancient swelling beneath while the modern music coasts above it. The lyrics capture your imagination in a story about foolish soul. It is beautiful and breathtaking plus reminds me very much of David J (Love And Rock).
“Voyager” does have a space like quality to it, traversing the inky darkness. The spoken words tell us we are but stardust. Psychedelic touches as we become one with the universe in a constant stream of consciousness. This MGT remix of “You & Me” is surprisingly on the more electronic side and the guitar work light and non-invasive. This track pumps along, not caring if anyone else is listening. It song is just for you, a sweet sentiment that time should not weary love. Some people seem to be able convey themselves into a track and John Fryer is definitely one of those people. “Rhythm Of Life” remix just oozes his touch with the glitching fuzzy tones and plumbing depths with electronics. The organic meets the stellar cool. “Turn Me On/Turn Me Off” is the last track is probably the most conventional post punk song with it’s riotous vocals and lashings of guitar, that set a merry pace towards the end.
Ninouki is a mixture of what was, what could be and what we shall become in the future. It all seems to tie into the theme of space and time, that we mere mortals are made of the same stuff of stars and return to dust…… so enjoy it while you can. Pougounas effortless flows from singing to dramatic spoken words, giving each track a nuance and capturing a moment. There are the the more rock aspects, mixed with the electronic and verbal artistry that make this new album from Nexus so easy to listen to, so 17 years have been worth the wait.
The Neuro Farm have been in existence since 2011 with founders Rebekah Feng (vocals, violin) and Brian S Wolff (vocals, guitar), later joined by DreamrD (drums, percussion) and Tim Phillips (keyboards, textures). This gothic quartet released the concept album Vampyre in 2021, with the tale starting in a grand ancient acclaim with the father of vampires, “Cain“. It follows a woman who is tricked into becoming a creature of the night eternal but struggles with the loss of her humanity and leaving behind the husband she loves. The bloodsucker that sired her, acts as a despot, so she gathers the others like herself to over throw this King of Vampires and then ascends to become Queen. Throughout, there is drama and dark beauty. Feng’s vocals are gorgeous and really give each track such profound grace. You can hear her classical training and “Vampyre” is a perfect track to showcase not only her violin playing but the vocals. Wolff is no slouch with his singing either while Phillips abilities on the synths has enriched their sound and DreamrD is the beating heart that holds it all together. A goth rock odyssey that could only happen when you have a group of talented musicians.
I think the moral of the story is in the end there is a little bit of Cain in each and every vampire that stalks the world from the shadows. So, we decided to have a chat with these ephemeral creatures that make up The NeuroFarm before the break of dawn and find out about this latest offering and what makes their synapses spark…..
Welcome to the psych ward where we conduct aptitude tests looking for Onyx’s new Renfield!
Brian: Thanks for inviting us in. 😉
The name of the band comes from Rebekah being a neuroscientist and Brian’s interest in neuropharmacology. How did the band come together?
Brian: Rebekah and I met in grad school at Georgetown University working on PhDs in neuroscience. We both had solo music projects going, and somehow didn’t know this about each other until a couple years after we first met. But we did eventually find out, and it turned out our projects were fairly similar, so we started a band. It wasn’t very serious at first, just kind of a fun spare time thing, but we got much more serious about it in 2017 when Colin joined and we started working on our Descent album.
Rebekah: I agree, the band was more like a fun side hobby at first, and was nothing like what it is now. In a way, The Neuro Farm only became a real band when we met Colin in 2017. Colin brought our rhythm section to a whole new level. The 3 of us played shows for a few years with quite a few bassists, but we had wanted a synth player for a very long time. Tim is one of the best synth players around. We had wanted to ask him to join our band for the longest time. To our surprise, he said yes! With Tim joining the band last year, we were able to create all these new sounds for Vampyre. We are now the Neuro Farm 2.0! 😀
Neuro Farm is based in Washington DC, so can you tell us what the goth/industrial scene is like in the nation’s capital?
Rebekah: Under the polished suit-wearing facade of Washington, DC, there’s an unexpectedly active underground goth/industrial scene! I bet everyone thinks they have the best goth scene, but I really do believe ours is special. Everyone is genuinely kind and supportive of each other. We have Vanguard and Dark & Stormy, which are both amazing dance parties. If you ever visit DC, you’ll have to come to one of these! Another super cool thing that happened in DC is the emergence of Procession Magazine. It was founded by our pal, Chris Canter, and has grown into a super popular print magazine in the US. So definitely check them out!
Your music is heavily based and influenced by vampire lore. What is it about this genre that inspires your music and creativity?
Rebekah: Vampires are misunderstood. They are often portrayed as monsters to be slayed. But they have memories of humanity and are tortured by eternity. They have loved and lost, and can be a bit jaded as a result. We wanted to tell the vampire’s story from their perspective, and that became the story of the album.
Brian: Vampires are also about power. Power is something they crave, something they covet, something that sustains them, but at the same time it’s quite literally a curse, and something that estranges them from those they care about. It’s great symbolism, and fun to explore from a songwriting perspective.
Congratulations on your latest album release, Vampyre, which comes with a story-line. Can you elucidate and give us a bite of what this epic tale is about?
Brian: The album begins with “Cain”, a song about the biblical figure who was cursed by God to wander the earth for eternity as a vampire. The main story is set in modern times, and the heroine of the story is made a vampire by an evil man, an egomaniacal cult leader who is the subject of the song, “Purity”. But as she grows to hate her maker, she lures vampires away from him and makes them loyal to her. Eventually, she slays her former master in the “Midnight Massacre” and declares herself queen. Mastermind ends the album saying the kings and queens aren’t really in charge, asking, who is the real mastermind? Then in a subtle touch I’m probably a little too proud of, you hear the theme from “Cain” start to play, answering the question.
Rebekah: Right before “Midnight Massacre” there’s a pair of songs, “Vampyre” and “Mortal”. Part of the tragedy of becoming a vampire is the inevitable farewell to their mortal loved ones. “Vampyre” portrays the difficult choice of breaking the bond. And of course, “Mortal” is the story told from the mortal lover’s perspective. You sense more of a trace of humanity in “Vampyre” before she abandons her humanity in “Midnight Massacre”.
BRIAN S WOLFF
How important was it for there to be a story-line for this album and who was the one to come up with theidea?
Brian: Rebekah came up with the vampire theme by writing the song, “Vampyre”. We had a few songs already written at that time, but we realized we could easily form a story about that vampire character, so we decided to turn the whole thing into a concept/story album. The song “Cain” was actually originally written about the Norse god Loki, but we adapted it into a song about the world’s first vampire.
Rebekah: It’s more fun when an album reads like a book rather than a collection of loosely-connected songs! We first came up with the song “Vampyre” and built a whole storyline around the vampire. There’s a cult, a love story, a rebellion, and the takeover in the story. We added the origin story of the biblical Cain, the first vampire, because we do everything from start to finish. That’s how we roll! 😀
DreamrD: Fortunately, during the pandemic, we had the time available to devote to the project. Making and releasing albums is a tremendous amount of work under any circumstances, much less a concept-based undertaking that communicates a compelling story. We’re familiar with what effort is involved though, because our 2019 release “The Descent” is also a concept/story based album.
REBEKAH FENG
I believe Vampyre is your fourth studio album. How do you feel your sound has changed since that first release in 2011?
Brian: In 2011 it was really just a side project with Rebekah and me, and pretty amateurish. You can definitely hear us develop with each album, with the songwriting and production improving considerably over time. And we added Colin for “The Descent” (2018), which improved our sound pretty dramatically, and then added Tim for “Vampyre” (2021) which once again gave our sound a huge boost. I feel like we’ve found a really great lineup for the band now where we all contribute a lot to the sound, and we really like working together to make music we’re all proud of.
Rob Early of 11 Grams/Retrogram did a great job mastering Vampyre, so how do you know the fabulous Rob?
Rebekah: Haha! You know Rob too? Isn’t Rob a great guy? A few years back, we played a show at Black Cat in DC with Red This Ever (another great band from our area) and Rob was the synth player at that show. We started chatting then and have been good friends ever since.
Brian: Rob was absolutely fantastic to work with, and just a great guy as well.
DreamrD: Rob also happens to live right down the street from me so we’re neighbors as well, though we only recently discovered this fact. Knowing this, I’ll be dropping by his place often for a spare cup of baking powder or sea salt. 🙂
Rebekah, you are a trained classical violin player. Does this make it easier or harder to integrate into a rock style for you?
Rebekah: Like everyone else, I grew up playing an acoustic violin and didn’t even know about electric violins until later in life. As you know, classical violin training focuses more on techniques rather than artistic expression. I get bored easily, so perfecting my technique or playing sheet music was not as fun. I’ve always been more interested in creating new sounds and coming up with my own music. Fast forward to 2010, I bought my first electric violin and the world of effect pedals opened up to me. The rest is history. 🙂 Now I have so many effects pedals and somehow keep acquiring more. So, to answer your question, integrating violin playing into a rock style actually felt quite natural. It was meant to be! 🙂
TIM PHILLIPS
The whole band comes from a lot of different musical backgrounds. What are the bands that influenced you all in your youth?
Brian: My biggest influence growing up was Pink Floyd, who gave me a deep love for the concept album. And Dave Gilmour was probably the main reason I decided to learn guitar. Otherwise, the way Radiohead writes and arranges their songs has definitely been a big inspiration for my own songwriting over the years. And I love how Portishead had a really cinematic vibe to their music, which is something I’ve always pursued in my own music.
Rebekah: I was actually really into classical music when I was a kid. My first cassette was a piece by Schumann. I got it when I was 6 and I remember being moved by the music. String harmonies still give me goosebumps. Then there’s Bach who made me fall in love with Baroque arpeggiation patterns. Nowadays, I notice that I incorporate these influences when I write music without realizing it. If you listen to the song, Vampyre, you’ll see what I’m talking about. 🙂
DreamrD: Having come up in the 80’s (think “Freaks and Geeks”) a lot of pop music and MTV in particular were inescapable. So all of that rubbed off on my musical interests at the time, and much of which I still enjoy. The Police, Devo, Missing Persons, Duran Duran, Ministry, The Cult, Prince, and The The were all bands that really captivated my youthful ears. I recall much later seeing Cirque du Soleil for the first time and being impacted by the music, but also just the overall performance and theatrics, the creation of distinct show characters, the acrobatic and physical prowess, and the fantasy of it all. It was impressive and stuck with me as an elevated piece of artistry. The Blue Man Group show also made a similar impact from a unique live performance perspective, as did U2’s Zoo TV tour in the 90’s. Amazing productions! Unrelated to musical influences, but with additional personal insight, DreamrD is a nickname that’s been with me in some form (DreamR, Dreamer, Dreamer-D, etc.) since my teens and just never went away. It works in a musical/band/performance setting, however my dearest Mum still calls me Colin. I also answer to “schlagzeuger” for our German followers since we seem to be making inroads there. But maybe Australia is next for The Neuro Farm to really infiltrate? 😉
Tim: I became a fan of Duran Duran in the early 80’s and when I saw a live performance on MTV, I saw Nick Rhodes behind a glorious stack of synths and computers and I knew instantly that I wanted to be him. My tastes expanded when I got into Pink Floyd and early Peter Gabriel solo albums, but hearing The Cure’s ‘The Head on the Door’ was the moment I wanted to compose songs. This also led me down the college and alternative radio path and fell in love with Depeche Mode, New Order, Echo and the Bunnymen, etc. Nine Inch Nails and Radiohead then enforced the fact that writing and performing music was the path I wanted to follow.
DreamrD
What do you find yourselves listening to now?
Brian: Honestly, a lot of the same stuff I was listening to in my youth. But I’ve definitely had a recent focus on post-punk and industrial stuff like Joy Division and NIN. I like listening to all kinds of different music, though I think pretty much every genre has good stuff in it.
Rebekah: I go through phases with music. There will be weeks when I listen to Chelsea Wolfe nonstop. Then there are other weeks when I listen to a lot of German bands, Rammstein, Eisbrecher, etc. Currently, I’m in a Sigur Rós phase. They are going on tour this year and we all bought tickets to see them, so I’m quite excited about it! The ONE band I always come back to is Radiohead. They are incredibly creative and the music is both beautiful and so interesting!
DreamrD: In the “smaller band” realm, I have been enjoying Ritual Howls who are based in Detroit. They have a dark, mechanical, and minimalist quality to their sound but that is also infused with a Western twang to it. “Turkish Leather” is a good full-album starting point for their music. In the “bigger artist” category, I typically stop whatever I am doing if I hear Johnny Marr’s solo work come on or also Interpol (Antics!). Those sounds just never get old to my ears.
Tim: Other than revisiting all of the music I grew up with, I find myself listening more and more to bands like Deftones, Mew, Sigur Ros, and 65daysofstatic. Even side projects of some of those bands are in my heavy rotation such as Crosses (Deftones) and Apparatjik (Mew).
Due to the pandemic hitting us from 2020 to 2021, how has it affected the band? Did it make some things harder/impossible or other things easier?
DreamrD: The pandemic initially impacted The Neuro Farm by shutting down a planned 2020 tour and obviously separating us physically from gigging and hanging out together, etc. But we made a point of staying active and productive. The time away from performing really cleared the way for the Vampyre album to be our sole focus and brought it to completion without any particular pressure of time or imposed deadlines. It felt good to embrace flexibility and to be able to adapt to the unexpected.
What are the future plans for Neuro Farm?
Rebekah: Venues are opening back up in DC, and we recently began to play local shows somewhat regularly. When we wrote our “Vampyre” album, we had envisioned an almost movie-like storyline which warrants music videos. We are in the process of making them and hope to finish those this year. In April 2020, we were about to go on our first east coast tour, which didn’t happen for obvious reasons. So touring domestically is definitely on our agenda. Also, we’ve been gaining popularity internationally, so touring in Europe and maybe Australia is something we’ve been talking about as well.
If you were a character out of the role playing game Vampire The Masquerade, what clan would you be from and why?
Brian: My real life might most resemble Nosferatu because I’m reclusive and I spend a lot of time in front of a computer. But screw that, I want to be a Toreador because they’re much more attractive, and I want to be attractive, dammit!
Rebekah: I think I am a Tremere because of my day job. I wish I knew magic. But hey, science is like magic, but based on empirical evidence! 😀 Supposedly, Tremeres are hated by many. I hope that’s not the case. 😦
DreamrD: I would probably be part of the Ravnos. I’m often a little restless but also prefer not to fight about things when a smoother, more charmed approach can achieve the same or better result in life. 😉
Tim: I was going to say I’d lean heavily towards Ravnos, but we can’t have TWO charmers in the same band, right? I’d go with Malkavian as I can be a bit of a joker and may be prone to hallucinations when I’m hungry 😛
Thank you for being my willing thralls and giving your time to this experiment.
Brian: We have been enthralled. Get it? Because “Enthralled” is a song on our album. 😀
Mwahaha congratulations Brian, you are the new Renfield.
Honestly, there are very few people who are into post-punk music, that do not know the name David J. David JohnHaskins, a founding member of Bauhaus and a member of Love And Rockets, also known as The Bubblemen, has worked on a solo career since 1983. While being very prolific in the avant-guard music world, he has had a huge influence on many musicians with his writing style, experimentation and most definitely his bass playing. To this end, David J has released a compilation of tracks, originally only available to his Patreon fans but now available on CD, digital and vinyl. Called “What The Patrons Heard“, these are previously unreleased tracks and it all drops on March the 25th, 2022, on the label GIVE/TAKE.
There is the overly jaunty “Lay Over And Lay” and it sweeps in and takes your breath away with a joyous veracity. What a start to this venture. “(I Don’t Want To Destroy) Our Beautiful Thing” is a far more subdued affair. A slight country feel in this one as David J goes deep on the title of the song. A love song about the person that has stuck with him through the good and bad… and it really is a beautiful thing. After being associated with one of the most goth bands and having a huge amount of input into writing the most famous and possibly longest vampire song ever, maybe you do get the “Vampire Blues“. However this vampire seems to be definitely on the fuzzy pedal of undead music. Slow and deliberate, with what sounds like something being dragged across the strings of a piano, give it all a deranged quality.
“Gimme Some Truth” is almost a throw back to the Love And Rocket days, with near staccato vocals ie “BallOf Confusion” style, mixed with hurdy-gurdy fair flare and cuts of Trump in full flight absurdity. There is some backwards tape playing and Spanish inspired guitar while David J narrates a story about “His Majestiy The Executioner” while the music swirls in the background in support, trickling like a train of thought. A story of a State were there is very little tolerance -not very nice having the ice cream seller executed! There is something so very charming about “The Shadow” even if they are a creature of the night, whom has a penchant for a touch of murder, for he is Death. The near whispered tale of the shadow that has no pity for the humans who are leaving this mortal coil.
The name “The Rape Of The Rose Garden” sounds a little serious but this is almost a Pogues style piece, it feels like a Irish dittie about apple trees being planted in the White House garden by Jackie Kennedy. There is such a overwhelming feeling of loss or being lost in “Scott Walker 1996“. A drone in the background and what is presumed to be castanets, keeping the time to the spoken word. There is a certain amount of absurdness in “Down In The Tenderloin“. And yet there is also a certain amount of wistfulness in this oddity. “A Girl In Port” is the last tune and it is a sweet track, with reference to Camden Town. A gorgeous homage about a girl, done on acoustic guitar, piano, some slide guitar and violin. His voice melts into you, warm and golden.
For me personally, it is heartwarming to hear David J performing these tracks. They are quirky, symbolic and have the ability to transport you away to another place or another life. It is also nice to see that unlike other “gothic” heroes, he still enjoys the macabre and dark, mixing grim history with his tongue firmly placed in cheek. As an orator Mr J is beautifully spoken and as a singer, he calls to your soul with a voice, it seems, untouched with age. My favourites are “The Shadow” and “A Girl In Port“, so maybe you need to discover yours from “What The Patrons Heard“.
Greek gothic rockers, The Black Capes have dropped their 3rd studio album called Looks LikeDeath. Released on the 3rd of March, via the labels The Council Of Bones (USA) and Ikaros Records (Europe), and recorded at the Devasoundz Studios which also boasts working with Rotting Christ, Septic Flesh and On Thorns I Lay.
Do not be fooled by the gentle beginning with “Apokalypsis” as it soon takes off on a supernatural plane as the spirits call you to The Black Capes convergence. In “Asphxiate“, even though the music swirls, there is something cloying and suffocating within the song, along with the feeling of no hope. The drums and guitars are on the move like a train that has no stops in “Love Is Love” because there is no one who should judge what love is. Every rock band needs an anthem song and Black Capes have “The Reject Anthem” with it’s beautiful guitar work and delicate piano that peeks through, It swells and proclaims I could have been in your place, You could have been in mine, for many do not choose rejection in society.
The sad somber saxophone rings in the more serious track “Reset” with the theme of domestic violence and staying instead of running away. There is an air of Sisters Of Mercy mixed with the perfect amounts of guitar and ever pervasive saxophone. “Cruel World” reminds me a bit of Amorphis which is not a bad thing with it with the clean guitars and even vocally is reminiscent while “Forever And Ever” gives me the Vile Valo chills as they resurrect HIM from the dead. This is possibly my favourite track off the album.
Nice heavy bass propels you through “Apathy“. Little untruths never cause problems..do they? Soaring organ style keyboards are the cherry on top. Neil Gaiman’s Death was a female comic book heroine and a thousand gothic girls wanted to emulate that look. No wonder we have the brilliant “Looks Like Death“. Seems “The Beast Within” in residing in the lead singer’s mind and it is one of those devilish women in a black dress who has cast doubt and misery. Psychic vampire or a phantom of depression, we may never know but does make for a cracking tune.
There is a plethora of influences coming through such as Sisters, HIM and Amorphis but also Type O Negative and Paradise Lost to name a few more. Not that The Black Capes are imitating these other bands, not at all but rather they are using what came before them to craft new gothic rock. It is dark, occasionally foreboding and never boring.
Onyx Music Reviews 