Lurking in Sydney, Australia, is a man of musical integrity and intrigues, only known by the moniker, INfest8. He is a producer and mix master of music but also a member of other bands such as ZCluster and international act, Konqistador. However, this month he has released a solo single called, “Under“.
So new, in fact, there is no YouTube video to accompany it. “Under” is dark and foreboding in its heaviness, given weight by the purposeful industrial beat and raw crunchiness. The squealing electronics and grinding guitar in stark contrast to the laid back vocals with light synth lines.
Currently, INfest8 is working on new material for both ZCluster and Konqistador but it is really good to hear some of his independent work. Not only is “Under” a great single but it’s also free to download from Bandcamp. So what are you waiting for?
If someone was to ask me if we need a deep fake song with 80s electronic musician ThomasDolby, the unequivocal answer would be yes. J.G. And The Robots released the single “I’m Thomas Dolby (featuring Thomas Dolby)”, in July on the label eMERGENCYheARTS.
The electronic mind behind this project is J.G. or Jay Gillian, who, before he became a Robosapien cyborg, was an early proponent of electronic music in Austin, Texas, with the synthpop group T-4-2, in the 80s.
The computer generated voice of Dolby goes between sounding highly electronic and human. In the electronic vein of Daft Punk, J.G. And The Robots have picked up the mantel with not only their sound but also the incredible visuals that accompany the singles, especially with the beautiful deep fake Dolby. This is such a likeable track, very easy on the ears and worth having a small chuckle at the fate of computer generated Mr Dolby.
The name Pink Turns Blue, for many, conjures to mind guitar lead, post punk 80s music. Initially influenced by Clan Of Xymox, Joy Division and The Sounds, Pink Turns Blue in turn became a touch stone band for many others. The legendary German, three piece, released on the 30th of July their third single, “You Still Mean TooMuch To Me“, off the album, Tainted, which will be unveiled in September.
Pink Turns Blue at the W-Festival on 18.08.2019 at Expo Waregem (Belgium) – Wave Cave
As the title implies, this is melancholic with the pain of love rescinded and no longer reciprocated. A naked ballad about the inability to understand what happened and not being able to cope with that loss. This is a quieter track, full of emotion, made all the more raw with the simple guitar work and MicJogwer’s imploring vocals.
“How to overcome the grief / pain of lost love, torn between hate, very bad feelings and, at the same time, not being able to let go at all. As there is no understanding why you fall in love with someone in the first place, there is also no reason / understanding why love does end or your love of life starts to feel attracted to someone else. It all dissolves into nothingness” – Mic Jogwer.
“Still Mean Too Much To Me” will really strike a chord with anyone who has lost or been denied the love of the person they thought was their forever companion. The band is older and not the angry young men they were, now far more worldly and this translates into being able to craft music that touches the soul.
So maybe it’s time to get your goth on and revel in the debut single, “Glamour Girls” from Brisbane/Meanjin band, Sacred Hearts. The band explained in a radio interview, that they are femme fronted, LGBTQIA+ band, something that is close to their hearts, as well as their great love of retro post punk bands such as Echo And The Bunnymen, Nick Cave and The Cure.
SACRED HEARTS
Not going to lie, I don’t know much about these ladies other than that they are young and pulling on a lot of influences. There is the jingle jangle of guitar and those dark brooding bass lines, topped with delicate vocals, that swirl and lure you into the musical darkness. In true goth fashion, a la Dr Avalanche, a drum machine gives you the rhythm.
Lyrically this is a number about the dubious world of actresses and models, being beautiful doesn’t always translate to being treated well. It is melancholic and graceful. If this is a taste of what SacredHearts have for us, we might be in for a treat as they continue to create music. For now though, I hope you will enjoy “Glamour Girls“.
in 1996, I met a couple, Georgina Emery and Ken Evans, as they were looking to get their band into live gigs. Tycho Brahe were signed to the now iconic, Brisbane based and independent electronic label, Trans:Com. I have a feeling their first show may have been at the club I ran back then. They played a very catchy number called “Dreams Of Dying” that became a crowd favourite. That was 25 years ago and to mark this anniversary, Tycho Brahe have re-cut a new version that was released in May this year.
KEN EVANS & GEORGINA EMERY TYCHO BRAHE
You could always hear the New Order and Human League influence in the music. There are the bright synth lines, the danceable rhythm and the catchy hook chorus that will get stuck in your head. For me it doesn’t sound very much different, except maybe cleaner sound wise and maybe that’s the point. It was pretty good to start off with and instantly drew in the gothic crowd.
Yes this is highly nostalgic for me. It was a time when we were younger and life revolved around going to the next nightclub, the next gig and who was dating who. In saying that, it was always a stand out song that got people dancing with its strong synth pop and electronic roots.
Ken had gone on to work with his idol, PeterHook of New Order fame but it’s nice to see Tycho Brahe keeping the flame burning. You can check them out on Bandcamp and the single is for free download. I have never forgotten and I still have the original demo tape they gave me.
Brisbane based, three piece band, Killtoys today released their latest single, “Come Alive“. They come from an alt-rock based background and their music has a flare for the grimly dramatic.
KILLTOYS
The lads are bringing on a darker game here with ommious synths, lovely deep bass and 80s influenced guitar jangle that rings clear and true. Are they singing about vampires or the children of night who wear black? Oh oh, you have to listen for the oh oh. Mick Bristow’s vocals just are the icing on this ghoulishly fabulous track.
I officially love love this. It’s speaks to my dark little gothic heart and reminds me of 80s post punk bands with those fantastic riffs. The backing aaahs are just some of those little things that really make a song just a bit more spectacular. “Come Alive” from the Killtoys may just wake the living dead for a chance to bask in the moonlight.
You may have heard of Plasmata, in the goth and industrial scene, from around 2007 to 2011, when they suddenly dropped off the radar. This was due to lead, Trent Jeffries, having a brain aneurysm that interrupted everything.
We do say interrupted, as Jeffries never gave up on regaining the ability to play music, which has resulted in the release of two singles in 2020, as well as a remix of their most famous track, “Lifeblood“. Now the Chicago Glampires give you the single, “Leviathan“, off the unleashed EP, Portraits Of Pain.
TRENT JEFFRIES – PLASMATA
There is the wailing of guitars, the distorted plus clean vocals and enough high energy to light up a small city, possibly ruled by the children of the night. Something dark and ravenous wants to spill your blood in the grimy clubs and poorly lit alleys. This is the “Leviathan“.
Even Vincent Price would be proud of “The Vanishing“, with its slightly good time, gothic boogie woogie and a modern synth overlay. He can handle the gruesome but is bereft when you just disappear.
Plasmata is the preacher of terror and also the monster in “Ten Bells“. Two of Jack The Ripper’s victims were connected to the Ten Bells Pub, in East London and indeed the song reflects a drunken, slightly spinning pace. There is the unsettling, single finger piano Interlude thrown in, with Aly Jadas giving a sterling performance on backing vocals.
“The Enlightenment” has a more industrial feel and it commands your attention. A divine message of redemption by giving all your cash to the religious order. I love the sound of near heavenly hosts mixed with demonic electronics. The exquisite heavenly host vocals are by Carmen Vizin-Esquivel.
The last track of the EP is far slower, a cyber western duel waiting to happen, to see who will flinch and draw first. “Death Of Hope” is an apt name as it trudges along the dusty night road, no dawn of light at the end. Heavy, doom filled guitars heighten the whispers, sighs and angelic ah’s of Vizin-Esquivel, giving the impression that God no longer cares.
William Faith of Faith And The Muse and Christian Death fame, produced, recorded and mixed “Portraits Of Pain” at his Studio 13.Jeffries has a definite love of the vampire/horror genres, taking that visual aspect and mixing it with the musical component, giving life to the monster that is the “Leviathan” or a monsterous human in “TenBells“. The glam/ goth rock aspect fuel’s the terse, gritty industrial portions. This is a nice strong release from Plasmata and I guess we await in the dark what comes next…. with anticipation.
So do you enjoy pop influenced industrial music? Once slightly maligned by industrial purists, this hard edged and yet very melodic form has become a genuinely enjoyable style. Eric K is Unitcode:Machine from Dallas and he has been around since 2004 with several albums under his belt. There is a new album in the works, but for now you can enjoy the newly released single, “Fight“.
Yeah this is a song going to war. The start is militant in its tone and leads into the lyrics of someone pushed to their very limits, with no other option than to battle for the right to live. Such a catchy chorus and danceable beat.
ERIC K – UNITCODE:MACHINE
In some ways this reminds me of VNV Nation with their more gutsy, emotion filled numbers, if Ronan Harris was to be a bit more industrial. Yes it’s going to be thought provoking but damn, you will want to have a bit of a dance at the same time with “Fight” from Unitcode:Machine.
The 90s saw the resurgence of goth rock, with bands such as Nosferatu and Rosetta Stone at the helm. Vocalist Caroline Blind, in 1991, lent her name to what would become, the New York band, Sunshine Blind. They released all up three official albums but there was also material that wasn’t made public, other than through live performances. The single, “Tribe” is one of these tracks that Blind has re-recorded and was on the 2020 album, The Spell Between.
CAROLINE BLIND
There are three remix versions, the album track and also an original recording, live in 1992. The live version is hardly perfect and there is feedback from the guitar but holy crap, doesn’t it prove what a set of vocal chords Caroline Blind has on her. She is front and centre, crystal clear.
The album version, shows the progression of this track. It’s tight and just rings out joyously. You can’t help and smile about the wonderful guitar in the beginning that hasn’t changed from the original and was typical of the 90s in a way. It really kicks arse and Blind hasn’t lost any of that amazing range either.
Of the three remixes, the first is the extended She-Devil mix by Mark Gemini Thwaite(MGT) and Ashley Bad. MGT is an exceptional guitarist, featuring in such influential bands as The Mission and Theatre Of Tradgey plus currently in Lords Of Acid, where AshleyBad is a band mate of sorts, the latex burlesque queen on stage and MGT’s other half. There is a much more electronic edge to this version which has made it feel like a harsher mistress to the ears. Most delightful.
Andee Blacksugar of KMFDM and Black Sugar Transmission fame, is responsible for the second remix. It feels like a phantasmagorical, drug induced dream of whimsical eddies and near maniacal pursuit.
The last track goes for a far more guitar based production. Which makes complete sense with Ben Christo creating this remix who has been with the iconic, Sisters Of Mercy since 2006 as the lead guitarist. A great mixture of both acoustic and electric guitar.
The word that comes to mind is powerful. This is a link to the past and yet it exists in the here and now, sounding pretty perfect. I don’t blame Blind for resurrecting this track as it is very deserving of the revamp it has had, if not simply because we would have missed out hearing it and that would have been a great shame. “Tribe” was written in a time when they wanted to connect to others of the same ilk, to create community. That hasn’t changed and just as pertinent as ever. This is “Tribe” by Caroline Blind.
While we wait for the release of the much anticipated Attrition album, The Black Maria, Martin Bowes has given us a second single to immerse ourselves in called “The Alibi“, which was recorded, mixed and mastered at The Cage Studios in Coventry.
A child’s musical, wind-up toy, plinks away the warbly wedding march of “Here Comes TheBride“, by Wagner. The ensemble warms up before we are plunged into the warped electro world of Attrition, accompanied by violins, piano, guitar and cello. The ladies sound like angels and Bowes forever is the devil, gutterally vocalising in your left ear. A mix of soprano and spoken word with maybe some gypsy inspiration that drive home the chorus.
Cannot help but think that a woman who might not be the perfect bride but the perfect alibi, possibly is a major temptress. Bowes is always pushing his art, combining elements that clash and grate, yet also end up complimenting each other. As we await the new album from the avant-garde electro-industrial juggernaut that is Attrition, taste the forbidden fruits of “The Alibi“.
