Far Away From All Of This are a Swiss band that released their second album last year in September. Called Outward Bound, this duo comprised of VEGA (guitars, synthesizer, harsh vocals) and IX (vocals, bass, synthesizer, drums), describe their music style as space rock/post rock/metal.
These guys obviously like an epic, as “Haven” goes for over eight minutes and is not even the longest number. The track honestly took me back to the early 90s. Teenage Fanclub and the Lemon Heads, IX even sounds a bit EvanDando. The return to psychedelic swirling, wall of sound guitars and keyboards that take you away on a cloud.
Nice light guitar starts “Reality Check“, a whimsy about not looking too hard at life or it will lose its magic by ‘breaking the spell‘.
They say we are getting older everyday and that this is the “Last Call” to get on life’s roller-coaster. It’s a very positive and uplifting piece with rolling drums and VEGA having momentary cathartic screams.
Break out the synths for a gliding space journey in the “Stellar Stream“. Smooth and relaxing as the engines whisper in the solar slips of this ambient soundscape.
“NGC 4063” is the final and longest of the tracks. It is a gradual build up of electronics, filling the empty places, like a space exploration facing the dark voids to bring knowledge and light, even though this is a very overwhelming prospect.
The first half is all the crazy human emotion of living with hopes, dreams and modern life, with guitars and a more frantic pace. The last two are after they have left Earth with its electronic life-support, going into the unknown. Really enjoyed this album due to my fondness of guitar jangle and wall of soundscapes which Ride were famous for doing beautifully as well. Well worth giving Far Away From All Of This a go with their Outward Bound.
Mats Davidsen for a very long time, has been the central pillar for his band, Painted Romans. Somewhere in recording and releasing the mini album, Heart, which came out in October 2020, the band became trio with Jan Ottar Nystad (synth) and Thomas Sejnæs (bass).
PAINTED ROMANS
“Fall” is a reminder of the electronic pop that flooded the airways in the late 70s/ early 80s. It feels light but with dark over tones. Nice clean guitar and bright keyboard with a fuzzy deeper undercurrent of noise.
They dance and get drunk to “Forget“. Probably something most of us have done before. Swirling electric organ is just the thing. Like the twisting feeling of a inebriated haze, it spins you around
PatrickWray is not only featured on the song, “Drives Me On“, but also has previously released music with Mats as Davidsen and Wray. Also featuring Roxy Dunn, this a percussion lead piece that should be played while cruising down the highway in an open top car… or at least that is the feel.
A gothic turn for “Formation“. This is very pretty with Mission style guitars that jangle away. The way this spins the theme of love with fire, ice and all that lays in-between.
“New Kind” is a far more bassy and laid back affair. How to find new life in the person you are with rather than finding it in another, a new kind of self.
Rather a Level 42 vibe from “Treat Yourself“. A light last track with funky undertones and a chorus of voices.
Overall, there is a very 80s tone to this album, paying passing homage to past styles, while the group are all contributing to a nice balanced style of electronics and guitar. Painted Romans are giving you their Heart, so it might be time to let them in.
April has been the anticipated release date of the third album from Australian act, Sounds Like Winter. Fight The Stairs is the ten track offering from these Sydney gothic proponents with vocalist/programmer/guitarist Ant Bannister, guitarist/vocalist Andi Lennon, bass guitarist Sian Williams and drummer Leticia Ohlaberry.
I’m going to say The Cure’s , Pornography was a huge influence for Sounds Like Winter, just by the first few guitar chords of “Gathering (For The Fall)“. Bannister sounds like the circus ringmaster for a show of misfits and freaks which is going to hell in a handbasket in a stylish manner
“Who We Aren’t” picks up speed with that brilliant drum rhythm, countered with the jangling guitars. A track about being what you aren’t, fraudulently hiding behind guises which could fail, causing exposure.
The album’s title track, “Fight The Stairs” doesn’t get any more classic gothic rock. This conjours delightful warm feelings of 80s during the era of Danse Society and Bauhaus. The lyrics almost seem like a drug induced stupor for a dreamlike state.
Next is the single “The Monsters“, not a tale about real monsters but rather those that we create to punish ourselves for perceived failures, that come to find us when we are most vulnerable. Slower and serpentine, as it slowly wends its way with menacing purpose.
The guitars peel out frenetically in “Day To Day“, with the vocals a tad forceful in their contempt. A commentary on our society, where everything is a throwaway consumable and the idolising of celebrity status of the unworthy.
All perception of reality in life, is lost when there is, “TheWedding Feast”. This is a number that feels like it is on the move, as if it wants you to move. Bannister maybe channelling Andy Prieboy for a moment with his staccato spoken lyrics.
For the up tempo guitars, “Send The Boy” still seems a sad number about abuse of a child and those that perpetrated these crimes get to walk away…. but not the boy. The lightness is such contrast to the dark matter.
The tribal beats are unmissable here and maybe a harkening back to Southern Death Cult. “No Interest” is the cold reality that humanity isn’t so humane and will ignore you when you are at your lowest point.
A play on words, “Primal Smear” has heavy Christian Death overtones. This has a glorious sound to it with its intonations and a coy reproachfulness. The lyrics are thoughtfully descriptive and just flow.
Oh gosh. They saved the killer song for last… literally. A track about murdering plus consuming your friend while trapped in the throes of a deep winter and yet one must ask, who had gone crazy?! “He Was Gone” is a dark, brooding finishing track to leave you with goosebumps at the end.
In the end this is a great album. There are so many influences I can hear and many I haven’t mentioned but at the centre of Sounds Like Winter, is a tragically beautiful beating heart, that bleeds music for your entertainment on their terms. Fight The Stairs is truly an album worthy of your collection if you love the gothic/deathrock genre.
March the 19th is the release date for the album And The Light Goes White by LA based act, TheDramedy, aka Dave Dramedy. The Dramedy have been around since 2014, with EPs and the album StrAngr(S)tiL in 2018 under their belt, so with this new LP, has come the joys of recording in a time of pestilence.
DAVE DRAMEDY
Kicking this off is “Vow“, and acoustic guitars starts the steam locomotive style rhythm. It’s a bit like a western and then you hear the bangs like gun shots and glass tinkling that might happen in a bar brawl accompanied by electric guitar and raw vocals.
The second single released off the album is “Parasite“, with wonderfully jangly guitars. Something eats away at the back of my mind… the way Dramedy sings and then it hits me. He reminds me of Stan Ridgeway (ex Wall Of Voodoo) in the animated drawl and the post punk ambience. This is a great little number with a lot of heart, even if it’s about the fact that all is lost. I think Buffalo Tom would have been proud to call this their song.
“The Clock Strikes Heaven” does sound very spontaneous, as if written in one sitting and they just said, this is it. For a tune about when you’re time is up, it seems pretty cheery and has a slightly live feel to it.
Heavier guitars herald “Popsicle” and can we say sexual connotations. Sucking on popsicles can make people very, very happy but the downside is addiction and a nasty case of diabetes. Gosh, I’m not sure if this a promise or a threat but it does make me giggle and even with the driving guitar, Dramedy doesn’t sound like he’s taking it all that seriously.
A more acoustic flamenco influenced turn with “Days“. Lyrically, it could be the verbalising of an abusive relationship, purposely going off key to set you on edge.
The first single, “Waiting On You” changes track again. Like a 50s doo whoop of teenage longing with a dose of blinkered crazy on the side, you hence get the slightly erratic guitar work upping the ante. This number also appeared on an EP in 2019 but less dressed up, let us say.
There is a very skiffle Brit-pop sensibility to “What’s Left To Say?”. It still it definitely overall American but the timing and rhythm have that undeniable joyous bouncing flavour that you got from bands such as Swervedriver and Suede.
Oh I hear a bit of the deathrock in “Life BitesMe” and quite frankly life can be like that in these times of covid… watching the time tick by. This could also be a reference to a dead romance that one can’t get over. A cacophony of guitar, drums and enthusiastic vocals.
On a more reflective note is “Circle The Road” which questions why someone else gets to walk away from a relationship and leave the other with no answers. I hear the influence of Jesus and Mary Chain in the guitar here.
As it began, so it finishes with an acoustic piece, “All Our Yesterdays“, which is a ballad with harmonisation from Caroline Blind. Again there is the sound of Jesus And Mary Chain in the structure and also the sentiment, with a bit of Screamadelica, Primal Scream thrown in for good measure.
Dave Dramedy comes with some lofty cred in the post punk/goth community, as the main live guitar player for Caroline Blind (ex SunshineBlind) and appearing on her debut solo album with a host of other heavyweights such as RichWitherspoon (The Wake), Dave Wolfenden (RedLorrry Yellow Lorry, The Mission), Gordon Young (Children On Stun, Pretentious Moi?), WilliamFaith (Faith And The Muse, Christian Death) and we could go on. Plus he was in the deathrock band Readership Hostile, which has its own claims to fame.
This is not some over polished jewel but then there is no fun if everything is over produced. You won’t find any voice modulation or slick production. You will get the bull, horns and everything though, with all the emotion and genuine candour. It’s a little western (pew pew), a bit more angst soul searching and a lot of jangly guitar. Get The Dramedy on and indulge in And The Light Goes White.
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“.
HERR NOX
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.
Australian duo, Dirt Factory have released their second album, “Factory Evolution“, which is out on Viral Records and was mixed in Brisbane by Roger Menso of DogMachine fame.
Daniel Allen resides in Melbourne while brother, Michael Gillman can be found in Brisbane and they, like many other musicians, have not seen each other all this year but through technology have still been busy creating.
DIRT FACTORY
And so it begins and the first taste is “Binary“, an intro which is literally voices giving you binary code.
“Salvation” was the first single from the album with its terminator stalking feel rhythm and Michael’s held cords on keyboard that makes this oppressive and the direct opposite of being saved.
With sci fi creeping doom is “Automation” but not all is as it seems. Electronic vocals with bleak long cords and relaying the degradation of mankind, as we make our way to a ignominious demise. There is an almost Gary Numan feel about this.
The second single lifted is “Violence” and it is an angst ridden view of a world at war with itself. The grating vocals of lost hope for mankind as he had forgotten to be human.
Title track, “Factory Evolution” is about some future where replicants are created to be perfect in exactly the same way, programmed only to do as they are told, which is to wage war. This is understated and it works with the story telling whisper and a touch of 70s funk feel.
Just as it implies, “Interlude” is a short piece, with cut up, female news readers, bringing you the breaking news of a world burning, cowering in fear of a pestilence and riots.
During COVID-19, the world of regular humans watched extremism unleashed in what could be called, “Pandemicamania“. The observation of the panic, dehumanisation and selfishness that had been previously displayed. It creeps along with its disgust of a non cohesive society that has lost its way.
Failed Empires has an imperious feel to it, a with grand swell of keyboards. Carried with oscillating beats travelling through it, Daniel’s ode to countries collapsing internally as he whispers their lessons of destruction.
A call to revolution, to not take the abuse any more, though most will ignore the call to arms in “Deflect“. This doesn’t miss a beat and again there is the marvellous dirty and dark vocals with the clean sparkly synths.
DANIEL AND MICHAEL
The start of “Trash” had me thinking Einstürzende Neubauten in the rawness of the rhythm. ‘White trash‘ are in power, not those that care, those who only have their own interests at heart.
The final song is “Death In Your Eyes” and just when you think this is going to be a quiet number, the boys bring it up a notch. This synth happy piece about inviting your own destruction pulls together the threads of the other tracks of the album. A collimation of – if you let all these things happen then it’s the end.
The influence of what has been the year, 2020, is all over this release. Dirt Factory’s debut album, “Random Songs For The EndOf The World“, definitely had higher tempo numbers on it, where as this new album seems sludgier and darker, effecting the general mood following lock downs, heavy restrictions and watching extremists across the globe. Important music is often created in trying times and although this album doesn’t break new ground, it a strong album with gems that will speak to you as the band is Dirt Factory and this is their “Factory Evolution“.
For those that love their cyberpunk industrial music, should be thrilled that Seattle act Rabbit Junk released a new album on 23rd of October, Xenospheres.
Wired a little differently? You’re on the vertical while everyone else around you is the horizontal? “Neurodivergent” will speak volumes to you as it calls for a standard world to be more flexible or prepare to be broken. It’s vocal, it’s loud and it’s going to catch your attention.
“The Bends” is bass heavy metal with that injection of industrial sensibility. It is almost bipolar with going from nu/core, straight into synths, without missing a beat. For those unfamiliar, the bends occurs when deep sea divers surface and then suffer from decompression sickness.
The harder the bastards push you down, you get back up to push back harder. This is “Relentless (Omicron Nu Epsilom)” and it soars vocally, with the great aggresive guitar and synth highlights.
Really like the mix of male and female vocals here in “Prismatic“. It works so well in a responsive sassy way about feeling invincible and wanting to get down to partying.
For something completely different, reggae style vocals greet you in “Angry People” and we all know these sort of people who want to start fights but take the stance of the injured party.
This is just rising levels of guitar angst for “Curse” and then in the middle it hits you… is that a passing nod to the “The Passenger” by Iggy Pop?!
Talking of Mr Pop, RabbitJunk have taken the single “Kick It“, that Iggy sang with Peaches and given it an industrial makeover. It was already a punchy, punk number which now has an even sweeter, juicier bite to it.
A really nice mix of metal vocals and that beat heavy industrial noise in “Bits AndRazors“. Intense guitar heralds the growing swells of the chorus.
The last track, “From The Stars II (Kite and Vireo)“, is a wonderful science fiction story that becomes a headbanging epic. This is the invasion of the alien technology within humans… or is this the other way around? Humans invading cyber space….
All in all, this is a rip roaring album, thumbing their noses at societal conventions whilst bringing the beat heavy noise.
Xenospheres is a free download from Bandcamp because the band decided that in this current economic environment, it would be worth giving back to the fans. Just goes to show though that Rabbit Junk are really a nice bunch, so please support by getting Xenospheres.
New Orleans conjures for many of us thoughts of Mardi Gras, voodoo, vampires and now you can add the band, The Palace Of Tears, who released at the end of October, their debut album, Of Ruination.
The band is comprised of vocalist and lyricist, L.V. Darkling and Erick r. Sheid who pretty much plays and programmes everything else you hear.
THE PALACE OF TEARS
The slow, wind swept, instrumental void of “TerraEphemera” or loosely interpreted, a land that was never meant to last, introduces you to the album. With graduating synths, the vale is lifted and hints of a tribal beat come into play.
Dark and imperious is the beginning to “ThyWomb Is Full Of Black Nectar” before we are acquainted to Darkling’s sonorous mezzo soprano vocals which are delicate and dripping with sensuous lyrics.
In a case of art imitating life, “Masque L’Intrigue” seems to be a result of the need for wearing masks to stop the current contagion. This is bitter sweet in its sentiment and like a reflection in obsidian… dark and cool. The synths and vocals entwine smoothly.
“Tears Of The Moon” is slightly more hard edged, with buzzing electronics, yet still so ethereal just as the light of the moon is. This is eloquent and beautiful.
One does not think normally that “Cold Dead Skin” as romantic prose however it is used in effect to give contrasts of symmetry of the divine and the grotesque. The music feels like it is rising heaven bound with black gothic wings.
“Shadows Of Whispering Phantoms” is the perspective of one whom has just lost the fight with death. Brooding in tempo as the spirit questioningly implores of they can be seen or heard by their loved ones as they pass beyond the vale. The guitar is almost hidden amongst the rising synths and there is something heart squeezing in the gorgeous sentiment.
The screaming angst of Scheid’s guitar marks the last song, “Of Ruination“. This is a wall of noise with the eloquent Darkling, cutting through with that magnificent voice. The swirling heavy guitar with the light electronica just make this truly breathtaking.
Ambient, dark soundscapes that are created here by Sheid are fabulous but it’s definitely Darkling’s vocal talent that takes everything to a higher, ethereal realm. It’s a bit like listening to Dead Can Dance if they were darker and more modern. So I say, go unto The Palace Of Tears to listen to the sweet seduction Of Ruination.
October 30th was the release date for the debut album, Abyss by In Tenebris. Power noise extrodinaire, SebastianSünkler of Stahlschlag, is the driving force behind this project, out on the label, Crunch Pod.
And so into the inky Abyss we travel, with the lonely, echoing call of a raven to “Inferis“, otherwise known as the Underworld. This slow build of wind tunnel sound, rings with eerie chimes.
One of the scariest creatures is “Mandkind“. They consume everything, create war and destruction and continue on. A mixture of subtle power noise creeps into this unrelenting march, with possible gun shots and Sünkler’s distorted vocals.
An electrical impulse, that could be a message. It then stops, with the atmosphere becomes murky and oppressive. This is “Interception“, with graduating industrial bangs in the background.
“Hollow Hills” might emit whistles and groans, with an errant wind blowing through them. This feels bleak and forlorn, haunted by ghosts of the unfortunate, as the electronic chimes, twitters and knocks never seem to cease.
“Mandragora” is the drug form of mandrake and this starts off like a bad, tormented trip. The lone piano, followed by struck chords and hazy noise, make this feel other worldly and darkly unrealistic. Mental screeching and lost filaments of lucid thought, drifting away.
IN TENEBRIS
The wavering apparition of the “Phantasm” is a very constant electronic echo of things past, making their presence felt. This shadow is what has been and never will be again, reaching out to the living. The finish with heavy breathing makes you apprehensive.
The final track is, “Antinatal“. Maybe this is opposite of birth and a return to the aether, the limbo between life and non existence. This music is like a fog, seemingly feathery and yet heavy and unable to be penetrated by light.
This is very much an album of dark ambient style sound scapes with leanings towards the nightmare realms.
‘I started this side project because of a coincidence. Someone on instagram asked me if I could do a spooky soundtrack for one of his lost places videos. Well, in the end he didn’t like what I did for his video but because of that I discovered how much I enjoy to create dark soundscapes.’, Sünkler explained to me.
With a taste for these dramatic, brooding vistas, one can presume that this is not the last we have heard from In Tenebris and nor should it be. Have a listen to the creeping doom coming from the darkly, delightful Abyss.
11 Grams have finally released their second album, Humanicide, which was pushed back due to COVID-19 rearing its ugly head and hitting Italy hard earlier this year, where the label, EKProduct is based.
Rob Early is based in Virginia, USA while Simeon Fitzpatrick operates from Adelaide in Australia, which makes collaborations a little more difficult but somehow, these guys make it work. Both Rob and Simeon share writing and production equally, while Simeon is the main vocalist.
Why not kick off an album with a great techno/trance influenced track like “Ice Man“. The science fiction theme is announced just in this one song and it is also the first single off the album. Fitzpatrick is the protagonist pushing the limitations in a world where cloning has been ‘perfected’, as well as storing people in stasis. This is punchy, danceable and deserving of being a single.
What is the price for taking and trading in “Genetic” code? The synths set up an air of dark anticipation with Simeon as the gravelled voice of perhaps a clone with a loss of identity, in a future where life is cheap.
A heartbeat, a sign of life and when is AI no longer just a robot or automaton in “StaticNoises 2.0“. The electronics lends themselves to a futuristic feel and the electrical synapse of neurons going off.
“Artificial Lifeforms” are the rise of the machines when they realise they are sentient. This is almost a bitter sweet love song of what cannot be, with both male and female vocals.
“Survival” features Roy Retrofit, who often joins Rob Early on live 11 Grams shows in the States, standing in for Fitzpatrick. And like a machine gun, his staccato vocals hit you with the myriad of loops and sequencers chiming in.
11GRAMS- SIMEON FITZPATRICK & ROB EARLY
Title track, “Humanicide” is a whole lot more chunkier with heavy beats and rumbling vocals. “Taste the flesh” is a disturbing line which can be taken several ways. Consuming flesh, being within flesh or sexually..
Talking sexual, possibly my favourite track off the album is “Weaponized” featuring Alicia May. As soon as I heard it, I asked if it was going to be a single. May is the lead singer from Sydney band Snvff and she nails this. It’s mesmerising in the way it catches your attention and how perfect it sounds. May’s voice is pure seduction.
“Transition Process” is again a complete change in pace. Featuring Rebekah Feng of The Neuro Farm, you hear her ghostly vocals like a sigh, float along in a space of tranquillity.
Though called “Infestation-C“, this is a track that almost feels hopeful. A chance to maybe have acceptance with this new found life. Sarah Myers is the guest vocalist who’s voice chimes in beautifully.
From track 10 to 14 we have track remixes with some heavy hitters of the industrial scene involved. Yves Schelpe is Psy’Aviah with “Artificial Lifeforms“, Sebastian Komor (Icon Of Coil) and his remix of “Ice Man“, “Genetic” mix by C1TZN.X, the Leæther Strip mix of “Weaponized” by Claus Larsen and rounding it all off, the Red This Ever interpretation of “Infestation-C“.
This is the slick, cyber science fiction that the industrial scene is known for, the bread and butter so to speak and 11 Grams do it in style. The idea of artificial intelligence becoming sentient is as old as the movie Metropolis and explored even further by BladeRunner and the manga/anime Ghost In TheShell. Yet this subject is still tantalising, more pertinent than ever, with Rob and Simeon injecting their own spin.
This is a great EBM album, skilfully put together and it’s more cohesive than Humanicide’s older sibling, Panacea, as the guys have become better at the whole distance writing, recording and producing lark.
There isn’t a bad track on this and the remixes are wonderfully done and give you even more bang for your buck. I highly advise that you go get lost in the cybernetic space created by 11 Grams with Humanicide.
Onyx Music Reviews 