Portland, Oregon seems to be a hive of darkwave activity and one of the latest acts is Luscious Apparatus and as of the 27th of May, they dropped their second single, “Bricks & Bones“. This four piece is made up of members, Sandi Leeper (vocals, bass, synths), Cate Hukle (guitars), Jack Norton (synth, programming, guitar), and Daniel Henderson (drums). The inception of the band was 2019 with Norton and then gathering other members to the project.
There is definitely a shoegaze air to this track with those swirling guitars and lilting vocals in a Cocteau Twins fashion. The guitars strengthen as the drums propel them forward. Leeper’s vocals entwine with the synths, gracing the air with a lightness that belies the monster that has been disturbed from it’s slumber, so no amount of sticks will stop it and then it will grind your bones.
There is a pervading lightness in the whirling spirals of sound that harken back to bands like Cocteau Twins or Lush with those lovely female vocals but especially the sonic electronic noise of Curve. Beautiful, strong and downright bestial is “Bricks & Bones” by that Luscious Apparatus.
Miss FD released the single “Summoning” on the 22nd of May, from the EP, As Above, So Below on Quantum Release Records. With a music video shot by Storyteller, at Joshua Tree, Miss FD is both the witch/sorceress and the vixen demon, that the crone has conjured up in this video and are the perfect subjects to entrance you .
A fusion of Middle Eastern and India instrumentation that curls around your ears, causing your hips to swerve inexplicably, all the while Miss FD woos you with her singing that would enchant the most critical of djinn (never rub a genie up the wrong way).
The princess of gothic pop and chanteuse of making that butt wiggle, Miss FD certainly makes music as gorgeous as her demonic self. I can still hear her chanting long after the music has finished, imbuing your senses with ancient culture and mystical intensity. Lovely….. so invoke the “Summoning“.
Going to put it on the table now…. you have to have balls to cover the track “Fame” and the group, She 1-Him2 released it as a single, no less, on April 19th. On guitar they have Steven Seibold of Test Dept and Pigface helping them out. If you are old enough, you know that this song has pedigree lineage. Written by John Lennon, Carlos Alomar and David Bowie for Bowie’s album, Young Americans in 1975 and was the first single to be released off it. Since, has been covered multiple times, however, Duran Duran recorded “Fame” and it appeared as a b-side on their 1981 single “Careless Memory“, and for me is one of my favourite versions (John Taylor on fretless bass *le sigh*)..
You are never going to get a version of this that doesn’t incorporate that funky bass and guitar, as that is very much the foundation of the track. The intro is heavier, with a more industrial feel while the vocals are cool with the inferred disinterest of someone who is popular and has no time for insects. There are those sweet guitar breaks between verses and electronic swells.
It is a bit hard not to dance to this, as the beat and the strut are infectious, just as the original. The dual, female/male vocals bring a new dimension, as does the more prominent guitar from Seibold. The Ohio duo of Cassie Bishop and Evan Nave also known as She 1-Him 2 seems to flow along very nicely and I think the Starman would appreciate this version of his “Fame“.
July 15th with see the release of the new Kill Shelter album, Asylum, which is a celebration of over 40 years of the dark scene, but for a taste now is in the form of the new single, “Necklace:, featuring Sweden’s Agent Side Grinder. Edinburgh’s Pete Burns (Kill Shelter) composed the music while Johan Lange (Agent Side Grinder) wrote the lyrics.
From just the beginning, you know this is going to be good, the way the guitars collide and resolve, only to be subsumed by the drum machine and electronics, that play host to the vocals. It makes you want to move and dance to the thrum of the beat and guitar, whilst caught within the vocals of Emanuel Åström. It’s simply brilliant.
Such a breathtaking use of instruments, highlighting the darkness between the light. The vocals wash over your senses, not only sonorous but also pulling at your subconscious with the lyrical content because “Necklace” is about finding solace within one’s self when faced with daily abuse, be that physical and/or mental. This all ties back to the album, Asylum, which is all about the different types of havens people seek to survive.
In our recent interview with X-MARKS THE PEDWALK, in regards to their latest album, New / End, I happened to mention that I was rather drawn to the magical quality of the track, “Sacred Ground“. To my surprise and delight, it has been released as the latest single, out on the band’s own label, Meshwork Music.
There is something unearthly from the first strands of music, while the lyrics that leave ESTEFANIA’s lips are enough to give you goose bumps. The synths create a mood that both draws you in and also leaves you feeling there are things unspoken that need never be said.
SEVREN NI-ARB wrote this track for his wife, after she lost her father and it is about the bonds we have with those whom we think we have lost forever, yet they will always be a part of us. Memories sustain the presence and it is an act of love, which I think can be felt keenly in the vocals. The music is beautiful, slightly sorrowful and yet there is hope. The video is quite stunning as well, set in a forest, with a girl and a gorgeous white dog, set to some equally brilliant synthpop.
At The Heart Of The World are a duo from Portland, Oregon dealing up electronic, industrial music and February 18th saw the release of the EP, Inosculate. Seven tracks makes this a solidly packed EP with everything written, recorded and produced by the band, mixed by Derek Moree at Diamond Drive and mastered by Brad Boatright at Audiosiege. Special mention goes to Andrew Gomez IV for the wonderfully ghoulish artwork.
From the beginning of “Retroject” you can tell this is going to be a great ride. Screaming aggrotech to transcendental vocals as the electronics lurch forward to ensnare your senses. The low-key swirling synths of “Synchrony“, match the feeling of disjointed dreams and reality never meshing and playing tricks on your mind. The music with its beats is near trance inducing. “Etheric Visions” is slow to start with off sync beats echoing vocals, that grow with angst, then drop away to build again, over and over. It is a sonically wonderful piece.
The manic rhythms feels like it is heralding the dogs of war in “Pain Demands Attention“. Between the booming fuzz tones and synth crunchiness, there are these delightful twittering sounds. When it comes to “Multiply The Stillness“, it is oppressive and cloying, lyrically castrating the living. The beginning of “Reflect/Reveal” could be an industrial homage to Bjork’s, “Army Of Me” but then the only similarity is probably the sentiment of inner struggle. When people judge their worth on being loved and without it, they feel they cease to be them. What better way to finish than being “Mocked By Death” and the vocals skim along the cyber synths, which is joined by some lovely glitching and crunchy electronics. It is absolutely brilliant.
Though the music can be harsh. with pounding beats and growling vocals, the lyrical content is beautifully written, a little like descriptive poetry. It paints feelings and internal torment with a fine brush, all the while using electronics to get you moving to the infectious rhythms. At The Heart Of The World have a mother load of talent so check out Inosculate.
X-MARKS THE PEDWALK for some of us was the music on the dance floor in the early 90s, that was so very attention grabbing. The band has come a long way since then, with their sound changing and maturing, going through future pop, becoming the synthpop power house we have today and with that talent and touch for electronic music, has culminated in the album, New / End. This husband and wife team of SEVREN NI-ARB and the lovely ESTEFANIA, so very graciously gave us a chance to talk to them about family, the music industry and of course the latest album.
Welcome to the dark side of our world, here at Onyx, dear ESTEFANIA and SEVREN NI-ARB of X-MARKS THE PEDWALK.
Estefanía: Hello Adele, thank you for inviting us to Onyx.
The band has in essence been around since around 1987 and seen changes in personnel, style and even been on hiatus. Did you ever think you would still be so well received and still going well over 30 years later?
Sevren Ni-Arb: Until the longer hiatus we had released 5 albums with XMTP. Since the comeback in 2009, 6 more have been added to date. I released another album of my side project (SN-A) and created the soundtrack series “MUSIC.FOR.BOOKS”. I also founded my own label meshwork music and in addition to a few remixes I also produced the two albums of my son Luis Maximilian (LMX). Another one is in preparation. To be honest, no – I didn’t think it would be that extensive. But what we are overwhelmed that we still have such a great fan base and that so many new fans have joined XMTP over the last few years. This is a huge motivating factor.
Your last album, “Transformation”, was released in 2020 and now you have followed it up with the fabulous “New / End”. What has it been like creating and releasing albums during a pandemic?
Estefanía: Especially in the times of lockdown, music was of course a wonderful energy booster and a welcome “refuge”.
Sevren Ni-Arb: Otherwise the production processes have remained the same. With “NEW / END” I was extremely disciplined and efficient with my resources this time.
What is behind the title “New / End”?
Sevren Ni-Arb: “NEW / END” closes the conceptual framework of our last three albums. While “Secrets” is primarily a look inside, something closed and reserved, “Transformation” deals with barriers, people and behaviors that constrict us emotionally. It´s about recognizing one’s own weaknesses in order to convert them into new energy. In “NEW / END” this energy is the core. It´s about determination and personal strength, to make conscious decisions, to shape your life differently. “NEW / END” marks the end of a process of change, to take new directions.
It has been stated that the themes are determination and strength through hardship and loss but would you say, that the common theme throughout this latest album is having faith, whether that is in one’s self or in others?
Sevren Ni-Arb: Yes, above all trust in yourself and your own feelings. Expressing and acknowledging these feelings clearly. This allows you to realign yourself emotionally. Accordingly, there are also melancholic moments of pain and loss on the album.
“Firestorm” is definitely a standout track but I also really like “Sacred Ground” for its sweetness and a slightly magical quality. Are there any standout tracks that you particularly love?
Estefanía: I’m glad you like “SACRED GROUND”. Next to “Yesterdays” and “I’m on your side” it’s a song that’s very personal and touches me deeply. It’s about the death of my father, who passed away last year. When Sevren finished the composition and lyrics, I was surprised. I didn’t expect him to confront my feelings in this way. I wasn’t sure if I would be able to freely sing the song in the studio. But in a way, it’s also part of my grief.
What would be the major influence in writing this album?
Sevren Ni-Arb: I’ve been making music for so long now, I don’t have much time to listen extensively to other artists. So I always go my own way. But sure, we are unconsciously influenced by many things that touch us, move us or leave a mark in some way that is also reflected in the music.
On Facebook, I was reading a thread, where they were talking about how people are still saying that they are surprised your sound is now electro synthpop. Why do you think this is?
Sevren Ni-Arb: We were very successful as an EBM industrial band. We were one of the first bands with this style on Zoth Ommog, the then still young, but later extremely groundbreaking label in Germany. “Abattoir” from 1992 is still extremely popular in clubs. And it’s not the only hit from the past that’s still being played a lot today. We also did provocative live shows that fit the image of a “hard” and “aggressive” band. But I’ve always changed the sound of XMTP. Change is part of XMTP’s DNA. I implemented that in my music sometimes more radically, sometimes more nuanced. If you look at our discography, you will see that from album no. 4 (“Meshwork”) onwards the sound was already extremely different from the Industrial/EBM of the early days. With the releases “Facer” and “Meshwork” I’m considered the founder of so-called future pop – that was back in 1994/1995. That was almost 30 years ago. At that time there were already different reactions. Some were excited, others disappointed. And so the disappointed fans “wake up” every time we release a new album. And that’s fine with me. Luckily, taste in music vary and are allowed to change. I understand that fans would rather hear the early works and wish we would come back to that style again. We’ve definitely lost some fans that way. But on the other hand, we gained a lot of new fans and there are so many that have stayed with us over the years. So many have also gotten carried away by all these changes, by the always new and surprising changes in the sound. It’s the very unique spirit of X MARKS THE PEDWALK.
X-MARKS THE PEDWALK is on Meshwork Music, which is your own label, catering to electronic musicians. Before Meshwork Music, you were also signed to some huge labels such as the now defunct Zoth Ommog, Cleopatra, Metropolis and Infacted Recordings that rose from the ashes of Zoth Ommog. What did you learn along the way that inspired you to create a record label?
Sevren Ni-Arb: When founding Meshwork Music, the main motivation was to work completely independently – not only musically – also to make your own organizational and financial decisions, when and how to invest in production and marketing. It is now my personal money that is used. But I am still in regular contact with Torben from Infacted Recordings in particular. He still has our back catalogue in the program. The time with him was really great! He’s one of those people in the music business that’s really on the artist side. Just a great guy!
Do you do much live touring now and would this be something you would like to do with the new album?
Sevren Ni-Arb: We played our last concert at the Wave Gothic Treffen in Leipzig – 2009. We invested a lot back then and produced very complex stage projections for this show, because we produced a live DVD. Since then there have always been thoughts about a tour or individual shows. We are often asked when we’ll be back on stage. But it is an enormous challenge for us – especially in terms of time. We’re not full-time musicians. I am the managing partner of a digital communications agency, and I have also founded another company in which Estefania is the managing director. I also have my label meshwork music. We have to plan the remaining time very carefully.
Estefanía: There’s our family, our dog, friends… Sometimes we just have to recharge our batteries and we want to spend and enjoy our time as a couple. Not to mention my fear of flying…
Sevren Ni-Arb: … so, there are no plans yet. But there are thoughts again…
I am in awe of your relationship. You are a couple whom have created music together, had a family, chosen to put music on the back-burner to raise that family and then come back to it. What is it like having that other person in your life and not just music plus are you each other’s best friend?
Estefanía: We both known each other for so long – we’ve been together for nearly 35 years now. Before we got together, Sevren was already making music and it quickly became his profession. So I took part in and accompanied all these developments, we made decisions together on how we would like to shape our lives. My involvement in XMTP has grown over time. After so many years we are lovers and best friends at the same time. We have so much in common and are still making new plans for our future together. It’s great and a wonderful feeling that the music has now also become a common part. Even if Sevren can be quite strict in the studio sometimes 😉
Sevren Ni-Arb: But only a little 😉 We have a lot of fun in the studio and when a song is finished and we hear the result together, it’s a great feeling to share this moment with the most important person in life.
I always like to ask about people’s influences, so what do you guys into the industrial/electronic scene?
Sevren Ni-Arb: In the beginning, before I finally launched my first own EBM project (“Scarecrow”) in 1988, there were a few bands and artists who absolutely moved me and played a major role in my wish to make electronic music myself. For example: FAD GADGET – especially “Back to Nature”, KRAFTWERK – especially “Computerwelt”, DEPECHE MODE – “Some Great Reward” – still my absolute favorite album by DM, THE KLINIK (“Memories”), FRONT 242 (“Geography”) , CLICK CLICK (“She´s chewing them”), TWICE A MAN, GARY NUMAN, ALIEN SEX FIEND (“Ignore the Machine”) and of course SKINNY PUPPY.
What or whom do you enjoy listening to these days?
Estefanía: Today we mostly listen to music on the side, while cooking (Sevren’s passion), at dinner, with family and friends… We listen to so many different kinds of music: pop, jazz, classical, swing, electro, dance, soundtracks…
Sevren Ni-Arb: Yes, the soundtrack to “Interstellar” by Hans Zimmer is outstanding! In general, we like to discover music in films.
If you both had to write a lyric or two, for a love song, dedicated to the other, what would be in those lyrics? (It can be anything from you make my day, to you keep my feet warm in bed)
Sevren Ni-Arb: Oh there are love songs on our new album – not that obvious. But “Yesterdays” is dedicated to my sons and my wife. When you listen to the second verse you have the lyrics 😉
Estefanía: … and these could also have come from me. That’s why I was touched from two perspectives when I heard the song and lyrics for the first time.
What is coming up next for X-MARKS THE PEDWALK?
Sevren Ni-Arb: “NEW / END” is on the market for a short time now. The reviews are great. We’re really glad. I’ll think about how to proceed with XMTP later. Now it’s time for my son’s third album. We’re soon in my studio to produce it. But I can tell you this: It’s going to be a great album!
Thank you for giving us your time and the new album is exquisite!
April, 8th was the release date for the single “Montreal (Watch Me Bending)” by UK act Sean Grant And The Wolfgang, on the label Vandalism Begins At Home in conjunction with VBAH-Recordings. The single heralds the release of the new album, 333, on the 9th of July.
Maybe it is the low, ground out electronics that give this a dirty feel, which is not in complete contrast to the vocals, that purr out to you, invading your senses. It culminates in vortex of guitar fury and synths, only to become peaceful once again.
Grant has said that this track was inspired, by his being able to conquer self destructive bad habits. This has translated into a song about find yourself, rather than going along with everyone else. It is a post-punk, darkwave, synth/guitar affair, with some seriously good vocals that will creep up your spine and having you play this on repeat.
A new single from Vermont band Metamorph featuring Margot Day, called “Dream Curve” was released May 1st. The band is comprised of Margot Day (vocals, flute), Kurtis Knight (guitar/beats/keys), Anomaly (Bass) and Joe Netzel (Drum) There are bonus points for the fact that the single was produced by Erik Gustafson of Adoration Destroyed.
Dream weaver and dream keepers of the cyber synth kind. They paint a picture of a modern world trying to reconnect to the spiritual world with a dance inspired beat, joined by a subtle flute and witchy vocals.
There is the imagery of things like the triple goddess. which things like trefoils have huge symbolism for pagans, so the track is full of this style of mysticism and magical intonations. Metamorph are weaving a new chapter of gothic synth rock, meshed with their own vision of new horizons born in dreams.
Madre Teresa have seemingly, burst out of the Italian dark electro scene. We do not know who they are, other than a duo and that the EP, Dentro Sono Cremisi, released on April 22nd, could be their debut….maybe. Dentro, Sono, Cremisi basically translates to Inside, I am, Crimson. I would also like to point out, the EP cover picture is a booby-licious demon lady who is waving around a keyboard, a skull, a chalice and a mother loving lightsabre, so it does not get too much cooler than that.
“Dentro” most definitely has a serpentine flow to it, as it seems to be about snakes, rapid temperatures, storms and six, six, six. There are changes in tempo that throw you slightly off kilter as the female vocals prettily keep you off guard and the synths happily twitter away. The way the electronics hit you like looped waved is quite wonderful in “Sono“. Madre Teresa might be the Antichrist or a projectile but really they are poison and death the only antidote. The groove through this very catchy.
“Dentro” has such lines as Dal silenzio oltre il nero penetra nella mia carne or From the silence before the black penetrates my flesh (or about that) and you have to the embrace the techno bleats and delightful self duet within. A hypnotic affair. There is also a bonus instrumental version “Cremisi” that creeps its way along in a space odyssey way.
The lyrics, if my Italian was a lot better, seem to be full of symbolism and written for descriptive effect, rather than a narrative but that is only the half of it. The music jumps out at you for not being typical synthwave, engulfing you in the (en)chanting vocals, the synths going from melodic to sexy dark with extraordinary little, added jangle bits. Really there is something quite breathtaking in the way they compose and play music… so now you have the opportunity to go have a listen to Madre Teresa.
Onyx Music Reviews 