It is probably fitting that the birth of a gothic track starts with a nightmare, and so this is how the LunarPaths‘ track “Halo,” came into being. Drummer KevinHunter awoke from his sleep and proceeded to record the rhythm section before handing it onto his musical partner in crime, DianeDubois, to add the extra magic.
The drum lines that the track are based on, are at the fore, with Dubois bringing to life this phantasm with the disturbing echoing synths and her breathy vocals haunting the very air, thick with disquiet. A song about those friends who are only there when they need something from you and are in the habit of asking until you bleed dry.
I have said this before, but Dubois‘ vocals are eerily reminiscent of SiouxsieSioux and the experimental quality often leave me feeling that this is what TheCreatures could have sounded like if they had pursued that creative well. Hunter’s rhythms are the foundation and beautifully move the track along. LunarPaths might just be dark angels, especially with a perfect track like “Halo.”
Leeds goth rock band, ZeitgeistZero, released their debut self titled album back in 2005, and since then have dropped albums very regularly. 2023 brought forth the current offering of Meddling With The Forces for this trio on the label Bat-Core. Mixing was conducted by CorinZero and StevenWhitfield (TheCure), while the mastering is by TimHay at AutumnGiantMastering and the whole shebang recorded at InnerSanctumStudios.
There is something quite delightful in the slightly chaotic disjointedness of “NightPeople,” as it is almost teeters on industrial ground both musically and for repressed aggression. Those children of the night is what we are all about. Continuing on the harsher side of electronics, the beginning of “Scream” greets your ears with grating noise, before rocking you with the outbursts of guitar and lulls of anticipation. The single “ToxicTwist” is designed to whip you up with its punk attitude and play between synths and guitar, about a relationship with a less than desirable toxic human. “PlasticDiamonds” look flashy but are worth nothing and the same can be said for people who act like fake jewels, where not everything that glitters is worthy, unlike this song. Final track is the lower, slower and heavier “TheUnwantedOne,” that smacks slightly of ConcreteBlonde.
ZeitgeistZero might be MeddlingWithTheForces, but you know this is not the first time they have travelled this gothic road. They are accomplished musicians with a back catalogue that I would highly suggest you check out. The album is full of ghoulish delights, whether they be musical textures or supernatural subjects. Witches, monsters and goths…oh my.
French industrial-darkwave project, DivineShade are ending a successful year, with the release of the single “Heaven.” This track, as well as previous single “Oublier,” will be included on the album Fragments Vol.1, which will be dropping April, 2024.
Instantly attention grabbing, within the very first bars, and when the electronic drums thunder in along with the vocals, you are not disappointed. Wavering between the sweet beseeching and writhing angst, backed up by thrumming fuzzed out tones, it all courses through your veins, infecting your senses with the sheer vehemence of conviction.
“Heaven” is indeed a glorious track, magnetic in the way it calls out to the listener and utterly enjoyable. It brings together aspects of industrial and darkwave, with a sprinkle of coldwave nuances, which the French have always been so good at, blending them into something very special. “Heaven” is waiting with Divine Shade.
Creepy creepy, in Melbourne city, where gothic delights pervade in the form of Velatine and their new single, “Nothing To Do With You.” LokiLockwood is the man with the plan, with IngaLiljeström, the siren, and it is out on the label SpookyRecords.
The electronics have the air of unquelled domination and Liljeström launches into a story of a woman maligned by many, but, it seems, through her own volution, found herself in order to make her life better. The vocals are languid like molasses and just as rich.
Liljeström’s singing, in both tempo and sound, reminds me very much of JonetteNapolitano of ConcreteBlonde (a personal favourite), combined with the ringing guitar and synth/programming of Lockwood, framing the story and focusing us on the tale at hand. Maybe it has “Nothing To Do With You,” but everything to do with Velatine and this really strong darkwave track.
Since the 2007 inception of Vancouver band, The Silence Industry has revolved around lynch-pin member GrahamJackson, with other musicians joining him when they are available. The single “As The Walls Close In,” is part of an ongoing project where singles will be released with art work, and each will have two exclusive ‘b-side’ tracks.
The beginning of the title track has that all-encompassing heavy bass, which I associate with early Tool, bubbling with latent tendrils of misgivings, leaning itself to a progressive rock feel. The vocals, crisp and clear, combined with that guitar work, definitely harken back to the roots of 90s gothic rock. The two ‘b-sides’ consist of unreleased versions of “Bags of Clay (Lofi Piano Version)“, which is full of slow burn longing, and “These Long Sunset Shadows ( A Dark Ambient Noise Jam),” that clocks in at just over twelve minutes and the description tells no lies. This is a melancholy at its ambient best.
Fluid and engrossing is how I would describe “As The Walls Close In,” as it beautifully mixes gothic rock with something a little more modern, and with that open door policy with other artists, that only piques my interest more. The single/EP is on Bandcamp for nameyourprice, so you have nothing to lose and the real possibility of gaining some damn fine tracks from The Silence Industry.
From Louisville, Kentucky, the duo of StephenBeasey and BrianCain are the darkwave band WhoSaw Her DIe?, and have released in December, the EP, Ignoring The Serpent.
Oh dear, “Emma” it seems is a stalker, who doesn’t understand the word no, looking to control the subject of her misplaced affection. The vocals deep and foreboding, as they tell of Emma’s indiscretions and unhealthy obsession. Angels can be found in many religions and not all are the light bringers which many pray to now. Rather, they are often avenging beings and this is the premise of “Angel Of Old.” There is a beautiful mix of synths and guitar, that play and intertwine throughout the track, all set to a spritely dance rhythm.
The last track is “Ignoring The Serpent,” slower and far more introspective. The serpent is the metaphor for evil and the premise is that no matter what happens to a person, we can hold onto that which makes us a decent human. The guitar sprinkles this lament with light while the synths and vocals are the grave warning of the loss of this humanity.
Who Saw Her Die? delves into the synth based sound of the 80s and marry it to the far more modern darkwave drone with sparkling guitar work. It really works for them, as they write about the human psyche, the paranormal and how they feed into each other. Don’t be ignoring this serpent, because the bite is quite intoxicating.
As promised, Killtoys are back with “Departed,” the final instalment of the trilogy release of connected singles that includes, in order, “BlindGod” and “AnotherRealm“. The Brisbane/Meanjin three piece, comprised of Mick Bristow, StavTsolakides and BevanBancroft, seem to be building up steam… so we are hopeful for an album release.
The guitar work, as always, is glorious, haunted by a whiff of horror inspired uncertainty, with deep sliding riffs, offset by the thrashing drums. The echoing and pained, or is it beseeching(?), vocals leave you with no doubt that the end is nigh, and Bristow welcomes the creeping shadows to come and take him.
Garry and Jess of Obscure Medium Art, have again created evocative cover art, mastered at 301 by SteveSmart in Sydney, and recorded at KingStreetStudio in Brisbane. ‘We arethe dead,’ is the climax to the trilogy and that in the end, as humans, we come into existence, have free will to create our own destiny and that for all of us is the eventual passing into the veil, hopefully to be greeted by those loved ones that went before us. You are never alone with the “Departed” and Killtoys.
Finnish musician Amanda Aalto dropped the single “Vampira” on December 1st. This independent singer, songwriter, and producer has been releasing music for the last ten years.
The electronics are almost in lament, with an innocence in the lightness, which is further enforced by the vocals. An ode to a female creature of the night, whom has had to accept her fate, never able to go back to her previous life.
I would almost say that “Vampira” wants you to feel remorse for the prejudice the main character has to endure, through no fault of her own. Simple synth lines, coupled with lilting vocals and you too can dance the blood bond with AmandaAalto and her “Vampira.”
In the early 90s, we were experiencing the second wave of goth, and one band to grab our attention was the French group CorpusDelicti, with the album Sylphes, instantly becoming a classic. After five years CorpusDelicti disbanded, and now, twenty eight years later, they are finally back with the single “Chaos,” which has WilliamFaith (Faith & The Muse, Shadow Project) in the role of producer.
Just the vocals alone make you know that this is CorpusDelicti, as Sebastian’s singing style has not really changed. Serpentine guitar coils around your senses and the bass guitar is truly gorgeous. The chorus sends shivers down my spine with the breath taking soaring quality, that becomes almost attacking in its veracity, and the synths build the underlaying tension.
They are no longer those youngsters, but that has been replaced by a maturity and a conviction to the music. Everything about “Chaos” screams that this is the same band even down to those guitar flourishes, and I am transported back in time to when I picked up a purple covered CD, with a black and white art piece, discovering songs that became a part of who I am today. Oh how I have missed you CorpusDelicti, for now you have released the “Chaos” and we want more…..
It is always lovely to hear the guitar artistry of KarlMortenDahl, aka Antipole, and he has joined forces with German based DeusExLumina, the darkwave project of GonzaloSchwindt, for the single “Destroy.”
Dahl’s guitar is ghostly and ephemeral, a presence in the background and melding into synths which glimmer star like from the murky memories that are uttered on the lips of Schwindt. The vocals weighted, sonorously deep and smooth as liquid black velvet.
It is undeniable that there is an 80s electronic, almost coldwave electronics sound to “Destroy.” There is a gentle fragility within the music though the lyrics more than hint to some sort of violence. “Destroy” is a beautiful act of dancefloor tragedy by DeusExLumina & Antipole.
Onyx Music Reviews 