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Some of us have been hearing about The Bellwether Syndicate for quite a few years, and now, we, and many others, finally are able to indulge in the debut, Vestige & Vigil, an album that has been six years in the making……. It has been absolutely worth the wait. We were tantalized by the singles, which eluded to a mammoth goth rock/glam beast. The core members are William Faith (Faith And The Muse, Mephisto Walz, Shadow Project and ex-Christian Death), and Sarah-Rose Faith, whom is more regularly known as Scary Lady Sarah, gothic DJ.

I remember in the 90s, being in the city on a Friday night, on a regular trawl of the alternative music stores. Skinny’s (RIP) was one such such store, below the street level, dark and inviting. It was here that we first came across a CD copy of Elyria, with its beautiful cover by Faith And The Muse, in the goth section. Without listening to it, the album was purchased and has become a treasured part of the collection. Faith has been involved with some monumental American groups and musicians, since the 80s, and still he has the creative fire burning full blast. Running the 13 Recording Studio, collaborations, playing live and writing fabulous music that is filled with truths and insights, with Scary Lady Sarah. This album, Vestige & Vigil is an intoxicating mixture of beautiful guitars, sonorous vocals, fluid electronics and most of all, a beating post-punk heart. Scary Lady Sarah and William were gracious in talking to Onyx about themselves. their truths and of course, the debut album for The Bellwether Syndicate. All I have to add is, woohoo Scary Lady Sarah has magnificent taste…NMA rule!!!

Welcome to the Church of Onyx, William and Sarah-Rose Faith (Scary Lady Sarah). We love the night life, we’ve got to boogie, on the disco ’round, as long as it is nice and dark, with cool coloured lights.

William, many associate you with Christian Death but for me, truthfully, Faith & The Muse, Mephisto Walz and Shadow Project are the bands that really caught my ear. What was that period of time like for you and how do you feel it has coloured your music career up to this point?

William: All these experiences are ultimately additive, in that they were all different — creating with and learning from different people — but the end result is that it all becomes a part of you. Faith and the Muse would never have happened had Mephisto Walz and Shadow Project not happened first. I learned so very much during a very concentrated period of time (between Mephisto Walz and Shadow Project, we’re talking a span of 3 years), and those experiences informed my process going into Faith and the Muse. It certainly didn’t hurt having that pedigree.

Originally you were based in California, which was the beating heart of the gothic/deathrock scene and from what I have been told by others, the 80s/90s were a pretty wild time, so how did this shape you musically?

William: It was a fertile and open time. People were free to experiment, and often did. The results speak for themselves, really. I’ve carried that sensibility forward and , hopefully, that ethic and aesthetic still shows in my work. I love art that pushes the envelope, that broadens the boundaries of genre and style, and I actively avoid anything that panders to stereotypes, which was and is the whole point of it, ultimately.

Sarah-Rose, you are the well-loved DJ Scary Lady Sarah. For those of us that are not so familiar with the start of your music journey, how did you end up becoming a goth spinning the dark tracks?

Scary Lady Sarah: Music has always been the most important element in my life, even as a child. I found punk rock in the very early 1980’s and that music scene became where I spent practically all my social life and time. My taste in music gravitated more towards the “darker side” of punk and alternative music in the mid- late 80’s and I dove in head first, attending as many gigs as I could, purchasing records and zines, and also exploring the other artistic disciplines and interests that inspired the musicians I enjoyed, such as poetry, visual art, fashion.

As much as punk inspired me as a younger teen, the proto-goth / darker postpunk music of those years was like fresh oxygen. It just immediately resonated with me and still does. I felt so passionate about the music, art, and style which I was into that I wanted to be more than just a punter- I wanted to bring all that to people and help grow the community of fellow enthusiasts. It was first my love of the music and second my love of the subculture that drove me to become a professional nightclub DJ and impresario for the goth scene.

I frequented a nightclub in Chicago called neo (lower case “n”) and became friends with one of the bartenders who also would DJ there on occasion. We discovered that we had a mutual love of dark music, especially the more ethereal side of it, and so we collaborated and pitched the idea to the manager of the club at the time – 1988- and thus, Nocturna was born and still continues, though it has been my sole “baby” since 1996.

Is Bellwether your first foray into playing music Scary Lady Sarah?

Scary Lady Sarah: I was in one other band, semi-playing keyboards (I say “semi” because I really just triggered some cues and was hired to look spooky on stage!) That was right around 1990 and the band was called The Dark Theater. I only took up playing guitar in 2011, in anticipation of starting a band (The Bellwether Syndicate) with William.

Photo by David Staudacher

Since William moved to Chicago, you been involved in created the 13 Recording Studio, also the label Sett Records and featured on quite a few tracks for other artists, as well as doing the odd bit of remixing. Where do you find the time and do you like being crazy busy?

William: I rarely sleep. When I do, it’s in a chair.

You both are the nucleus of The Bellwether Syndicate, which began around 6 years ago, but it has really been in the last year and a bit that this project has taken flight. What was the impetus to create The Bellwether Syndicate?

Scary Lady Sarah: The band actually began in 2011, so 12 years ago. I had been seriously contemplating taking up guitar for about a year before I moved back to Chicago from Berlin, in 2010. It was a desire that had been brewing in my mind for a while, after having been on the “other side” of music as a DJ for so long. When William moved to Chicago, there was no question that he would continue creating music; it’s just what he does. I am fortunate that he is not only an incredibly talented player himself but also an excellent teacher, so my first guitar lessons from him began in 2011.

William: Coming out of Faith and the Muse, I knew I wanted to get back to playing rock ’n roll. Sarah was interested in learning to play guitar, and explicitly said she didn’t want to be in a goth band, which both delighted and surprised me. We discussed the kind of bands that were turning us on at the time, and we decided to give it a go. This is the result.

Since the inception, you have been joined by three more incredible musicians in Corey Gorey, Philly Peroxide and Steyn Grey for your live shows. Could you please tell us about them and how they came into the fold?

Scary Lady Sarah: I first met Philly Peroxide when he started attending my club night Nocturna at the tender age of 18 in 2005. We became friends and eventually began DJing together at various parties and also for what is now our monthly shoegaze & dream pop music night, Shimmer. When William and I started TBS, we wanted live members who we kindred spirits not just good musicians, and as Phil is someone we both loved as a friend already, who also had piano ability, it made perfect sense to invite him to join the band. He has really emerged as an amazing force when we play live- he really gives it his all and is a joy to perform with and watch!

William: We are truly blessed to have some of the best musicians and performers in this band that I know. Sarah mentioned Philly, a dear friend and great performer. Stevyn Grey has been my right arm both as a brother and in nearly all of the same bands I’m known for (Mephisto Walz, Christian Death, Shadow Project, Sex Gang Children, Faith and the Muse, Frankenstein, etc.), and his contribution to Bellwether cannot be overstated. The arrival of Corey Gorey was the missing piece of the puzzle: I’d been a long-time fan of The Brickbats, and getting him in Bellwether was a boon indeed. From our first show with this line-up, we finally became the band I’d always dreamt of.

Photo by Clovis IV

The debut album is titled “Vestige & Vigil”. Vestige refers to the last traces, while a vigil is when one watches for signs. Is there a particular reason for this title and why did you decide to bring out the album now?

William: It’s a view of the world from two perspectives, definitely informed, at least in part, by the Covid experience: Vestige – a celebration of what remains, and Vigil: an acknowledgement of what’s been lost. As this album was our first to be released on vinyl, we were forced to think in album sides for the first time in decades. As such, the songs, which evolved over the years, seemed to fall conveniently into one of the two aforementioned categories. So side 1 is Vestige, and side 2 is Vigil.

How good does it feel to know that the album is finally getting out there?

William: After a six year arc, and an absolute comedy of errors along the way, it is truly a great feeling.

Scary Lady Sarah: It’s like finally exhaling. Such a relief and at the same time, a rush! It’s very gratifying to hear so many positive and happy comments about the songs.

We have been delighted to be able to hear singles before the album release, so I would like to talk about the significance of three.

“Dystopian Mirror” was written primarily about someone William knew in his past. I think a lot of us from the 80s and 90s, lost friends to excessive drinking and drug use. So is the track a catharsis, a gentle warning or tribute to a lost soul?

William: Very much a tribute to a lost soul. We lost a friend to the ravages of mental illness, brought about by isolation during a grieving process, which led to a concentrated period of extreme drug and alcohol abuse. In the end, he took his own life, and the resulting anger and grief we felt about the loss resulted in this song. The lyrics are meant to be the voices in his head as he descends into the realm of the unwell. The song was our way of dealing with it, as the feelings just hadn’t gone away, even years after the fact.

Feeding into this theme is “Beacons”, which are the people in our lives that guide us to safer shores. Can you tell us a little more about the song?

William: A love letter to our fans — our friends, our family. Connecting with them at live shows is what makes life worth living, and they’re the ones who guide us home every night. Their light never dims.

Your rousing anthem “We All Rise”, is kind of a war cry to the dark alternative community. It is about being proud of who you are, never changing for ‘popular’ opinion and never let the bastards get you down. Is some of this driven by the draconian ideals and laws being driven by the zealot far right in the US?

William: It’s a universal problem — it really doesn’t matter where you live, you are always subject to the prevailing order. It’s meant to rally our people and provide a word of support, while reminding never to lose yourself in the anger, which is always a danger. Never stop kicking against it, but never lose sight of yourself and your tribe — the ones who keep you alive, who provide laughter and support when it all gets too much.

Music has always been used to protest and make social/political observations, especially in the punk/post-punk genre. How important do you feel it is to use this voice and not let it be diminished?

William: It is all important. Having come up through the eighties punk movement, both Sarah and I know that your voice is all you have. You can use it for escapism which, while I begrudge no one the option, never really appealed to me; or you can use it to agitate and push back. My lyrics have almost always opted for the latter.

Scary Lady Sarah: It’s essential, especially in these times when some of the media platforms with the biggest reach are so skewed. Music reaches people’s minds in different ways than news outlets. The politics in lyrics of the punk rock I grew up with were integral to me developing a curiosity about the state of things in government and policy. Not all songs need to be of this nature, but is important that they exist.

William, you have done quite a few collaborations, such as the stunning track “Cover Me” on the “Asylum” album for Kill Shelter. What do you enjoy about working with other artists and do you have any favourite tracks from these collaborations?

William: I love collaborating with other artists. It takes me out of my comfort zone and forces me to stretch and grow as an artist, which I really enjoy doing. Pete from Kill Shelter was a joy to work with. I also did a track for our dear friends and tour mates Then Comes Silence right around the same time I did the Kill Shelter track, a song called “Dias,” which was my first time singing in Spanish, despite the fact that it was my first language. I really enjoyed getting to do that.

Photo by David Staudacher

Do you have a favourite track off “Vestige & Vigil” and if so why?

William: You’ll get a different answer out of me almost every day. Today I’ll say “Noir Thing.”

Scary Lady Sarah: Like William, my fave can change daily, but I have to admit to being a bit partial to “Clarion.” I love the all, though.

Will there be any little cheeky remixes of the album?

William: Maaaaaybe. 😉

What is the Chicago dark alt/goth/industrial scene like and has it further influenced your music?

Scary Lady Sarah: We have the most friendly goth scene that I’ve ever experienced. Maybe because it’s Chicago and though we’re the third largest city in the States, we still have a more relaxed, Midwestern vibe. There are at least five other people or groups of people who produce “dark alternative” club nights in town aside from myself, touring bands generally make Chicago one of their stops, and a few festivals are hosted here. It has changed a lot over the years, like everywhere, and now when I get 700 or 900 people attending Nocturna, it feels very different from when there were 200 and literally everyone knew each other, but the growth has felt organic and everyone seems to just really enjoy the atmosphere and music. I don’t know if it has influenced our music, per se, but there may be something connecting the face that I’ve always showcased some of the more ethereal and shoegaze bands at my club events and the two songs by The Bellwether Syndicate which I have solely written & sing on (“You Can See Through Me” and “Clarion”) are the most aligned with those styles.

How much do you like to play live and has it been good to be set free after 2 years of not really being able to?

William: For me, it was like being able to breathe for the first time in 2 years… Playing live is what I live to do, and being cut off from it for that time was absolute torture for me. Coming out of it with this line-up of the band was the true silver lining to the whole thing, though. We’re positively on fire now, and I think it shows live.

Scary Lady Sarah: It’s my favourite thing about being in a band, especially now with the line up we have. Our on stage dynamics are fun and exciting and energetic and I can’t help but smile pretty much the whole way through a set. Being on stage and seeing people in the audience dancing or singing along is joyous. The connection is unlike anything else.

It is incredible how many married couples make music together in the darkwave scene? Is it easier or harder creating, recording and playing music with a spouse?

Scary Lady Sarah: I don’t have another experience to compare it to, but I do know that aside from any personal relationship, it has always been an honour and humbling to be in a band with William Faith, a musician whose work I have admired before we ever met. I often feel undeserving as a relatively “new” musician myself- but grateful!

We do like ‘Aargh Like A Pirate Day’ here at Onyx and as they say, loose lips sink ships, so do the both of you go under the pseudonym, The Pirate Twins and how much of a kick is it to DJ together?

Scary Lady Sarah: When we DJ together we go under the name ‘The Pirate Twins” which is a reference to the Thomas Dolby song “Europa and the Pirate Twins.” It doesn’t happen with as much frequency now but it’s always fun.

What are your musical influences? The bands and singers that drew you into the dark side?

William: I could fill volumes with this answer, but I’ll try and limit myself: It all started with KISS, but soon followed by Bowie, Alice Cooper, Black Sabbath, Phantom of the Paradise (film), Rocky Horror Picture Show (film), all of which led to the discovery of punk rock, which made the impossible possible for so many of us. Bands like Plasmatics, Germs, Dead Kennedys, The Damned brought the darkness forward in their style and sound, and then the “Hell Comes to Your House” compilation (1981) had tracks by Christian Death, 45 Grave and Social Distortion that set the groundwork for so much of what was to follow. If I had to hang the whole thing on two albums, though, they would have to be Christian Death’s “Only Theatre of Pain,” closely followed by T.S.O.L.’S “Dance With Me.’ Those albums created me, essentially.

Scary Lady Sarah: Some will come as no surprise: Siouxsie & the Banshees, Cocteau Twins, New Model Army, Dead Can Dance, Bel Canto, Curve, The Cure…and many more.

Photo by George Grant

What bands catch your ears these days and set your hearts pumping?

William: Fortunately, there are many: Then Comes Silence, VOSH, Actors, The Soft Moon, Drab Majesty, Bootblacks, Algiers, VOWWS, IDLES, Nyx Division, Kite, Blacklist, Bestial Mouths, True Moon, The Feral Ghosts, Bloody Knives, Bob Vylan, IAMX, Wovenhand, the list goes on…

Scary Lady Sarah: Literally, all the ones that William mentioned, and dozens more- it’s such a great time for music- but so this doesn’t run on too long, I’ll just add Gvllow, Casual Worker, Autumn, Ash Code, Topographies, Haunt Me, Yves Tumor, Male Tears, Urban Heat, Nox Novacula, Cold Cave, Cerulean Veins, Ultra Sunn, the new material coming from The March Violets, Fever Ray, Softcult, Violentene, Linea Aspera, Whimsical, The City Gates, Pink Frost, Alvvays, Noktva… (I am forcing myself to stop here but one just has to look at my DJ playlists to see which bands keep popping up!)

You have been asked to create a compilation of your favourite gothic/glam tracks and record them with the original artists, which songs/artists do you pick? (Of course, they can be 6 feet under as all necromancy is on the house and we will get the witch doctors straight onto it…no mucking around here)

William: I’ve been blessed to play and record in a few of my own favorite bands already! This may seem like an absolute cop out, but the fact is I’m not one for looking backward (as the song “Golden Age” suggests) — I’d be much more interested in recording NEW songs with these artists, which would likely include: Bowie, David Sylvian, Stiv Bators, Peter Gabriel, Marc Bolan, Kate Bush, Einstürzende Neubauten, Lou Reed, Jim Thirlwell/Foetus, Paul Williams, Nick Cave, Gary Numan, Diamanda, Galás, and, if they could ever be found, Crash Worship.

If you will, please look into the crystal ball. What do you see in the future of The Bellwether Syndicate as well as William and Scary Lady Sarah?

William: For me personally: Record. Tour. Repeat. Never stop. ∞

Scary Lady Sarah: I’m trying to live more “in the moment” but of course, I hope our music reaches everyone who would love it and that they all come out to see us play live!

You heard the Scary Lady…..go out there and hear the music live, because it is all too good to miss out.

Vestige & Vigil | The Bellwether Syndicate (bandcamp.com)

https://www.facebook.com/thebellwethersyndicate/?mibextid=ZbWKwL

http://thebellwethersyndicate.com/

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Image: https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/The_Cure_Live_in_Singapore_2-_1st_August_2007.jpg/800px-The_Cure_Live_in_Singapore_2-_1st_August_2007.jpg

Credit: Image by momento mori under Creative Commons Attribution 2.0 Generic

Very few acts can say they’ve impacted the music industry for nearly 50 years, but that’s precisely what The Cure has been doing throughout their extensive career. They first emerged onto the scene in the late 1970s and quickly skyrocketed into fame in the 1980s when they enjoyed the peak of their success. They’ve inspired many artists, including notable names like Smashing Pumpkins, Depeche Mode, and Radiohead. To this day, they’re still making music and playing shows and are even set to embark on their first North American tour in seven years. Despite the ups and downs in the reception of their music, one thing has kept them iconic all these years: their sound. No matter the genre, their music and tone have remained uniquely theirs.

The Cure’s Gothic era

Throughout The Cure’s long career, the band experimented with a wide range of genres. Their first album, Three Imaginary Boys, took on a post-punk sound, perfectly showcased in the single “Boys Don’t Cry,” which was released in the American version of the album with the same name. They touched on a darker and atmospheric gothic rock edge in their early works, beginning with their second album, Seventeen Seconds, and continued with their subsequent two releases, Faith and Pornography —which all became essential records for the gothic rock and solidified their status as icons of the genre. After experimenting with more post-punk and pop tones in succeeding albums, Disintegration brought them back to their gothic sound.

A psychedelic shift

After their brief split, the group thought a tonal change could catch the public unaware, gaining them more attention. They shifted to psychedelic, dream pop-inspired tones on records like The Head on the Door and Kiss Me, Kiss Me, Kiss Me, boasting the hits “Close to Me” and “Just Like Heaven” respectively—the latter of which is one of Robert Smith’s favorite The Cure songs. Their most successful album Wish, featuring the iconic “Friday I’m in Love,” was their most pop-adjacent yet. These cheery, upbeat songs shocked old fans but gained a lot of love from new listeners. Around this time, the group achieved more success outside the UK.

Recreating the sound

Robert Smith’s role as The Cure’s guitarist shapes their sound. He used a lot of effects that are essential for achieving that atmospheric tone. Effects pedals are a simple way to enhance your guitar for a similar vibe. According to a 1996 rig diagram, Robert Smith favored pedals designed by Boss, a flexible choice across eras and genres. Flanger is crucial to The Cure sound, and the BF-3 Flanger is responsible for sweeping, jet plane-like guitar tones that lend well to the darker sound of gothic rock. Chorus is also a must-have for Robert Smith-type playing, giving the guitar a fuller, richer tone. He also uses a Boss pedal for that effect; the CH-1 Super Chorus is a prominent feature on his rig.

Amplifiers are also crucial for developing a specific tone, and Robert Smith’s runs his fairly clean. They’re used mainly as a platform for his stompboxes to shine. He also featured a similar number of both solid-state and valve amplifiers. One of the solid-state amps used by The Cure is the Line 6 Spider V 120, which was used in their Sydney Opera House residency during the 2019 Vivid Festival. It’s an excellent choice for either instant plugging and playing or tweaking your tone to perfection.

If you’re looking for bands who’ve taken a page out of The Cure’s book on musical style, tune into In a Darkened Room. The Texan band’s music is reminiscent of The Cure’s atmospheric tone with a darker spin that lends itself to the southern gothic sound. You can check out our interview with the band on Onyx Music Reviews.

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May the 4th was with you, and it most definitely was with Agent Side Grinder, with their brand spanking new album, Jack Vegas, Out on Progress Productions, the Swedish provocateurs of post-punk, doused in dark electronics, is composed of members, Johan Lange (synthesizer, keyboard, programming, percussion, backing vocals) and Peter Fristedt (modular synthesizer, tape loops), with Emanuel Åström (vocals).

Photo by Haris Mlivic

The not so gentle thrumming pushes into your ears, stirring your senses in the “Waiting Room“, a sensation of anticipation and nervous energy surging forth from this first track. “Number By Number” ramps on the building synths and crashing guitar, while the vocals chant, and “Bloodless” definitely has the air of dark crystalline beauty, as well as show casing the singing of lead vocalist, Emanuel Åström, in the spine tingling, swirling chorus.

There is most certainly an early 80’s, post-punk feel to the maudlin “Madeleine“, as the drum machine rattles and the synths drone, making key changes very noticeable. There is something so very profound in what sounds like wild winds blowing frigid into your soul. “Flaws And Flame” wavers between grimy and angelic remorse, as the electronics screech in the background, before we get a bit funky with the title track, “Jack Vegas“. In Sweden, Jack Vegas refers to cheap slot machines, and the chiming keyboard riff has taken on the edge of a tune of a one arm bandit, after another loss, and the pressure builds, as the machines lull the addicted players.

It is so nice to hear the voices of Åström and Lange together in “Decipher“. You could swear you can hear a harpsicord creating an elegance over the drone and supporting the heart melting vocals. We come to the final track, “The Unravelling“, and honestly, the atmosphere could be described as oppressive and yet sensual, as the electronica caress your nerves.

Jack Vegas has been a very anticipated album, especially after hearing the guys last year, featuring on the Kill Shelter track “The Necklace“. So, after hearing Jack Vegas, I am not disappointed. In fact, it is a bloody amazing darkwave album, and in many ways, Agent Side Grinder are reminiscent of Joy Division, creating beautiful music within the shadowy sphere of human limits and emotions. Perfection.

Jack Vegas | Agent Side Grinder (bandcamp.com)

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https://instagram.com/agentsidegrinder

https://agentsidegrinder.com/

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There was a stirring on the winds in New Jersey, and behold, the debut single “April” spang forth from goth rockers, The Antoine Poncelet Band. The band is made up of members, Antoine Poncelet (vocals), Peter Quilla (guitar), Mark McClemens (bass), Santos Menendez (keys), Greg Bullock (keys) and Justin Wright (drums).

There is the wailing and gnashing of teeth in “April“, for there does seem to be a questioning of why one has been left to fend for themselves, when the muses have fled. Is there meaning if you cannot see it? The music is boisterous, and the over all ambiance, reminds me a little of Andy Prieboy. There is also a b-side in the track, “Virginia Plain“, originally released by Roxy Music, back in 1972. They have retained that glam edge with the great keyboard work and lead singer Poncelet, pulls off a rather convincing modern take, of the sneering Bryan Ferry, though this version is more attacking.

Hearing a cover of Roxy Music was rather delightful and a good reminder of what a great songwriter Ferry has been. The single “April” is this interesting dichotomy of 90s goth, grunginess and even honky-tonk blues at times, which is surprisingly enjoyable. It might no longer be “April“, but you can still indulge in The Antoine Poncelet Band.

April | The Antoine Poncelet Band (bandcamp.com)

http://www.facebook.com/theantoineponceletband

http://www.theantoineponceletband.com/

http://www.theantoineponceletband.com/

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The second Girls Under Glass single has been released with video, called “Dream Yourself Away“, in anticipation for the new album Backdraft, out on Dependant Records. Original singer, Tom Lücke, re-joined the band in 2016, after leaving back in 1989, which has brought back those wonderful vocals that greeted us on the first Girls Under Glass releases and this track can be found on the Deluxe Version of Backdraft.

“It is a positive outlook on life in the present and in future. The text asks to deal with the important issues now and with confidence. The song is directly linked to my time with GIRLS UNDER GLASS back in the days, but it is also connected through the 1980s vibes within me to the present. To me, it nearly appears as if the days in between have never existed. I regard this song highly as a present and it moves me very much to see it being released as a single.” – Tom Lücke

There is a thrill that goes down my spine and I can’t decide if it is from the ringing guitars, the thumping bass or the succulent keyboards, but Lücke’s vocals definitely lend themselves to creating a mesmerising track. So builds the hunger for the new album from Girls Under Glass.

Backdraft (Deluxe Edition) | Girls Under Glass (bandcamp.com)

https://www.facebook.com/GirlsUnderGlassEst1986?mibextid=ZbWKwL

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In 2020, ABU NEIN released their first album, Secular Psalms, and now the band, hailing for Malmö, Sweden, are about to drop their next called II, on Progress Productions. But before that happens, there is a new single, “Kissing The Glove“.

From the first electronic beats, “Kissing The Glove” simply oozes dance floor killer, with buckets of seduction drawing you in. The track pulsates and causes a quickening of your heart. The vocals send a shiver of pure joy down your spine while the synths darkly rumble.

This is an impossibly wonderful darkwave track that is gorgeously drenched in eroticism. So what is the mystery of the left hand? Maybe all will be revealed in II, but for now, we have “Kissing The Glove” by ABU NEIN.

▶︎ Kissing the Glove | ABU NEIN (bandcamp.com)

https://www.facebook.com/profile.php?id=100063707343343

https://www.facebook.com/ProgressPro

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VAZUM have defined their gothic rock mixed with shoegaze style as Deathgaze, and the Detroit duo of Zach Pliska and Emily Sturm have kept themselves very busy. Between 2020 – 2022 they have released approximately four full albums, a multitude of singles and even a ghoulish Christmas EP just for good measure.

Now we have V- (V negative), the greatest hits of this period. All tracks have been re-recorded to reflect their live performances, so don’t expect the usual crystal clear sound but rather, you are listening to a band recreating the live experience.

Sure enough, it feels like we are privy to a VAZUM show as we revisit some of their tracks such as the Siouxsie and the Banshees like “Razor Smile V–” with its swirling guitars or the wonderfully bass heavy “Thief V-” and enjoy the interchange of male and female vocals. If you like yourself some VAZUM, dig really interesting gothic rock or really love the warm style of live music, then V– might be your glass of absinthe.

V- | VAZUM (bandcamp.com)

https://www.facebook.com/VAZUMROCKS/

https://www.instagram.com/vazum_

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Texan band, In A Darkened Room, came together in 2020 during the pandemic lockdown, made up of CJ Duron, Svia Svenlava and Kandi Hardee. After releasing a few singles, 2023 has seen them drop the debut album Sorrows. The album is a very gothic affair with Duron’s deep and smooth vocals, together with the jangle of his guitar, Hardee’s indispensable synths that colour the music and Svenlava’s fabulous post-punk saturated bass.

There is a languid tone to the music, together with maudlin topics, lending itself to the southern gothic sound with hints of The Cure and very missed Roland S Howard. As we are ever curious, we found ourselves lucky enough to talk to lead singer CJ to talk about the band, the creation of Sorrows, videos and even about the Texan scene.

Welcome denizen CJ of In A Darkened Room, to Onyx, where we are very familiar with our favourite places being night lit spaces.

You are all involved in other bands –  you, CJ, in Cursus (doom sludge) and Sick City Daggers (psychobilly.) Svia in Shadow Fashion (darkwave) and Kandee in Love Hate Affair (electro darkwave.) How different has it been for you playing together in this new project?

Well, I can only answer for myself there. Working with Svia and Kandee is pretty organic. We are all close friends and navigate each other fairly well, I think. The process has been similar to other musical projects, but this music is much more personal. The songs have been a sort of reckoning for me. I revealed a lot of personal loss and tragedy on Sorrows that I had to learn how to express.

My previous bands have all been heavier and more aggressive with screaming and indecipherable lyrics for the most part. It’s easy to hide behind that anger and angst vocally. But with this project, I had to reach down and be more real with myself than I had ever been because I wanted my lyrics to be clear and articulate and honest. It felt very vulnerable.

How did CJ Duron, Svia Svenlava and Kandi Hardee find themselves all In a Darkened Room?

I played with Svia in projects for over 10 years. We share a lot of the same musical upbringing, so to speak. We became friends through music years ago playing in a punk band together. And it doesn’t hurt that he rents a room in my house, and our studio is in the basement. It makes it easy to get together to write and work out the music. And after working through a few songs, we both agreed adding synth to the melodies would create more of the lush sound we were trying to create. Our close friend and keyboard player, Kandi was the obvious choice. She has been with us since early 2020.

Were you aware that you share your name with a Skid Row track?  

We were not aware of that at the time. We found out only recently when we googled our band name and Skid Row stuff came up. What a odd surprise! I’m realizing that finding a name without association can be more difficult than it seems. In a Darkened Room fit the atmosphere of our moody studio, and also the kind of place we envision people listening to the music – a seedy night club, or their own darkened room.

Do you all originate from Texas and what is the alternative/darkwave/industrial scene like?

All born and raised on the south side San Antonio, Texas.  Our studio is in a small rural town south of the city in what local elders call “pueblo viejo”. It was considered its own town in the early 1900s because it had a doctor, a butcher, a blacksmith, and a small post office.  So that was basically enough to make it a town. I bought one of the first houses built in there, and it had a basement – unheard-of in Texas. Naturally, it became our studio and is where we record all our music. The dark alternative music scenes here are extremely varied, but they all overlap. We have a large extended family of bands and fans in those genres. San Antonio is a big city, but it has, as of yet, maintined it’s small town feel. We have the best fans in the world here. We love the music with an abiding passion. Local musicians, DJs, artists, and venues all work to support each other as best we can.  We are fortunate to know a lot of like-minded folks here. It’s really a scene unlike any other I’ve known.

How do you feel that the scene has influenced your music?

We are surrounded by amazingly talented and creative people in our scene. We are lucky to call many of them friends. Musicians, writers, visual artists, DJs, photographers, stage performers, the list goes on. It’s safe to say we are influenced by all of them to some degree. Our more recent songs are directly influenced and inspired by the local dance scene and the DJs who keep them moving. They have been incredibly supportive all along, but especially with the new more driving, upbeat songs. The newer songs are driven by the response we’ve received. People are dancing at our shows, and it’s a great feeling to make people want to dance. And we’re completely stoked to hear DJs, local and otherwise, spinning our music. People seem to be resonating  with the pulsing, dark, building momentum of the newer songs. We love it.

This project began in the throes of the world pandemic, so was it something you had been thinking about doing or was it more so, a venture out of necessity?

It was a little of both. We had a lot of time on our hands and, like the rest of the world, were in isolation. My roomate, Svia, was the only one I got to make music with for a while. So the initial songs definitely carried some of that weight with them. It brought this kind of naturally slower more spacious sound to the fore, music with room to breath.

Now we are in 2023 and your debut album “Sorrows” has been released. Why did you go for the title “Sorrows” instead of using a title track?

The name Sorrows seemed to fit well with underlying theme of these tracks.  The thread that weaves together all of the songs on the debut is love and loss. It’s a collection of stories, really, with no one story more important than another, and Sorrows speaks to all of them. These songs helped us in a lot of ways, you can hear the lament and longing in each piece. It was very cathartic for me writing these. I held back tears hearing us play these on stage for the first time. Slowly, I have been able to release the emotions that inspired them. Now they belong to everyone. 

We wrote other songs but they didn’t quite fit the tone and purpose we wanted to give this particular group of songs. They have a different energy that is evolving our sound for future setlists. The final song on the album “Water Under the Bridge” is about letting go of all the burden we had taken on ourselves and about finding healing.  We briefly discussed what we were going to go for before the session, and to our astonishment came out with the full 8 minute song in one take, playing it for the first time.  We were glad we recorded it and soon we realized it had all the energy and resolution we needed for our final track on the album.

The band name, In a Darkened Room, alludes to the fact that you spent time writing and rehearsing in a basement. Do you think this bunkering down also adds to the ambience of the album?

Definitely. Our basement studio is a reflection of who we are. We surround ourselves with records, music, and instruments. Several amps and a few drum kits line the walls. There is moody ambient colored light and brocade tapestries covering every wall. I always find inspiration in that space.

“Wall Of Sadness” was your first single, setting a goth rock tone for future releases. There is that beautiful rich guitar that permeates the track and deep vocals. Was this the ideal sound for you from the outset?

Thank you. Yes, that song helped to set the template of what we would become. The guitars, vocals, bass, and keys are all very distinct to me, and it does serve as a sort of blueprint for our sound. The elements are simple, and the songs have so much space to expand within themselves. They are almost trance-like, and while the album is decidedly dark, we would to think this kind of meditative wave of sound can be for everyone, not just us black-clad few.

Texas is kind of renowned for its country music, which in turn has had an influence on rockabilly etc. For me there is that air of southern gothic in the album and was that something you were hoping to incorporate of was it just a natural thing?

That is a great compliment, thank you. I don’t know that we consciously try to incorporate that sound. It’s just a part of who we are and where we come from. I love the acoustic, and am a fan of old folk and older country, so we come by that influence honestly, I suppose. Living in a rural ranch community might have rubbed off on me. The area has a lot of history. I live right next to a river which was near the Battle of Medina 1813 – the bloodiest known battle in Texas history. 1400 Mexican freedom fighters were slain by the Spanish army. 9 years later, a Mexican general ordered troops back to the area where they purportedly buried the remains of the defeated army under the largest oak tree they could find. The tree has yet to be located. History, tales, and superstitions have always permeated South Texas, so I’m sure those things influence us and our music.

Do you have a favourite track off the album and if so, which one and why?

Probably Doom and Gloom. To me, the mood of that song seems to curl throughout the rest of the album like smoke. The ashy, breathy approach I was trying to affect in the vocals and the almost opium induced tumbling of the piano melody takes me back to when we first wrote it. I’m glad we captured that correctly. I also remember the lyrics of that one just coming out as if I had always known them.  Svia went upstairs for a drink, and by the time he got back, I had finished it. We didn’t want to change a thing. When a song comes out like that it’s best to leave it as it is, I’ve learned.

How do you guys approach song writing and who is the main instigator, and is there one band member who would rather check out what is in the fridge?  

I write the main melody on guitar or keys then think about the way it makes me feel. I tend to create the lyrics around that feeling. Svia and Kandi help me arrange the length of parts and particular sounds. We are pretty good at figuring out if it’s something we can work with or not. We have gotten pretty adept at smoothing out the process and making it relatively easy.

Have you been playing live gigs and if so, is it something you like to do?

Oh, yes, as much as possible. We have been lucky enough to open for some hot touring acts right now coming through Texas, as well as some legendary bands that we have admired and loved for years.  It has been a real privilege to share the stage with these bands. We look forward to more shows. We know it’s hard starting a new band and taking on all that is necessary to promote it, but we come into it with experience. I feel like the music is bigger than any one of us. It’s the one driving the bus, we’re just the passengers. We’ve come to a place where we need to give back to music what it  gave to us, hope. So it doesn’t matter what happens as long as we stay true to ourselves, respect the music, and be open to where it might take us.

Are you just a bunch of dark romantics?

I’d like to think so. I am a lot more empathic these days. We’ve all been through some very hard times  in the recent past, and have had to find out where we stand in the world these days. I’d like to think we are all trying to find a better version of ourselves.

What bands/acts got you into the dark alternative scene?

I grew up listening to early metal. It was huge growing up in San Antonio, and still is, really. From that background, industrial was a natural progression for me and piqued my interest in electronic sound. Pretty Hate Machine had just been released. It was a game-changer. It was an incredible album from start to finish, and it sounded nothing like anything else I was hearing at that time. Then I heard Skinny Puppy’s “Too Dark Park.”  It simultaneously fascinated me and scared the hell out of me. It was like witnessing something forbidden, the equivalent of sonic porn.

What new acts do you listen to now?

I really like a lot of the bands that are making moves right now. Soft Kill, The KVB, Glass Spells, to name just a few.  We tend toward a more traditional goth/dark wave sound with a bit of contemporary style, but our musical tastes are varied and many.

If you had an unlimited video budget, which track off the album would you choose to use, where would you set it, director/actors (dead or alive as we will generously revive) etc?

We are heavy into videos. We have a blast making them. Our plan is to release a video for every one of the 8 songs on this debut. I shoot and edit all of our videos with the help of the band and sometimes friends who volunteer to help. We like to create a vision and look for the video and keep them a little different style wise. We just released the 6th video for “Descend” which features a slow, twisted cruise through a nearby cemetery. We would go there when wanted to clear our heads and it seemed a perfect place for this song and video. The scenery and the quiet there always puts me in a creative mind. 

We’ve almost finished the video for “Hollow” as well, that makes 7 videos so far. But, hm. If budget wasn’t an issue, I would choose “Water Under the Bridge” since we haven’t started it. We have some ideas but it needs more time and space to work out how to translate the depth of that song.

What is in the future for In A Darkened Room?

We love meeting new people and experiencing new places,  so we hope to do more road shows, touring, festivals, and touring Europe. Writing the music and creating the videos is our focus in the meantime. Hope to see all of you soon.  We sincerely appreciate your support, listens, and shares! Please visit our bandcamp for all upcoming music and merch, thank you! ~ IN A DARKENED ROOM

Thank you for enlightening us and for your time! 

Sorrows | In a Darkened Room (bandcamp.com)

https://www.facebook.com/inadarkenedroomband/

https://www.instagram.com/inadarkenedroomband/?hl=en

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October in 2022, was the month we saw Reaper On Red bring out their debut darkwave album, Zodiac Lights. The title refers to the false dawn before true daylight, which is the time things in the darkness transition and melt away. Robert Berry and Carla Berry are Reaper On Red, with the album mixed & mastered by Mike Montgomery at Candyland Studio, containing ten tracks for your listening pleasure.

Photo by Nikita Gross

They kicked off with the title track, “The Zodiac Lights“, which also happened to be a single, and even from the beginning of the album, you can hear the British 80s influence of bands such as Jesus And The Mary Chain or Spiritualized, with the jangle guitar that also seconds as a incoming wall of impending sonic sound.

What happens when the light comes?… we have the swirling “Mourning Nights” that reverberates like a wire pulled too tight. Other tracks, the perception changes when you realise the electronics are not secondary to the guitar work or vocals. The shamanistic “Way Beyond The Waves” is an excellent example, as the synths and programming take you away to another plane of reality.

There is the cover of the Love And Rockets track, “No Big Deal“, that was off their 1989 self-titled album. They have kept that sass of the original and the swaggering guitar. “The Conjuring” is delicate like the first rays of light with its looping programming, unearthly and untouchable.

For those that love a bit of vinyl (mmmm, that sexy physical record smell….), the album is being released as a limited edition for you collectors. Psychedelic post-punk, not over dressed but elegantly understated, is Reaper On Red’s mix of heady guitar, often experimental electronics and tandem vocals, that make The Zodiac Lights a joy to listen to.

https://reaperonred.bandcamp.com/album/the-zodiac-lights

https://linktr.ee/reaperonred

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There are a few very highly anticipated post-punk album releases this year, and one of them is Lost Hymns by Brooklyn’s A Cloud Of Ravens. Out on the Nexilis label, on the 28th of April, Beth Narducci and Matthew McIntosh have written and recorded an album bound in gothic beauty and often with political and/or moral observations about this modern world. ACTORS‘ Jason Corbett, mastered the album at his Jacknife Sound studio, adding to the seamless flow and rich textures. I was so very fortunate that Beth and Matthew could talk to me about this second album and what has lead them to this point of time. Not only are they making important and gorgeous music, but they are divinely lovely dark hearts to boot!

Welcome to the bowery of Onyx, Beth Narducci, and Matthew McIntosh, where the blue black bower birds have stolen every shiny and blue object to please us.

I am sure a lot of people have asked why the name, A Cloud Of Ravens, but I want to ask what is your connection to ravens?

Matthew: Beth’s connection is probably more obvious, but if I’ve got a personal connection to ravens it’s in an admiration of their inherent qualities; enigmatic, majestic, singular. They’re an iconic animal totem.

Beth: Matt came up with the name. When I was in the goth/industrial scene in New Orleans, my nickname was Raven, which I knew could get a few laughs from people who knew me then.

Both of you have your roots that are deep in this thing called music.

Beth, you are not only an alt rock/industrial musician, you are also a well respected A&R executive (a head hunter of new talent for record labels), a talent manager and importantly, the creative force behind You Plus Me Entertainment. What is it like being on both sides of industry, and has it coloured how you have approached dealing with A Cloud Of Ravens?

Beth: I appreciate the research and kind words. It’s come up from a few people, to be honest. It’s a bit wild to have always been on the other side. Having a long history in the industry is always helpful. I approach both sides with a lot of passion and excitement, but also with the knowledge of how to manage expectations, an ability to trust the process and work ethic that pushes an upward trajectory.

Has it been easy as a female making your mark in the music industry Beth?

Beth: I would say it’s been more of a marathon than a sprint. I’ve had run-ins with inequality. there’s always going to be an asshole in the room. I always try not to be one. I have always tried to lift up other women and I spend a lot of time proving myself over and over but it still remains my life long passion and career.

Matthew, you grew up in a house of music, where your mother was a professional opera singer. You then explored post-punk, deathrock and even hardcore. Did your mum ever despair at your choices or was she super supportive?

Matthew: My mom was and is supportive of what I do creatively. I’m sure there were times, especially when I was in my teens, getting in trouble and screwing up in school, where she was concerned about my future. Maybe she didn’t always understand my choices and motivations, but she never tried to discourage me from pursuing the things I was passionate about. She was musical and creative as a kid and I don’t think her parents encouraged that, coming from a depression-era upbringing— the arts were not seen as a viable life choice. So I give her a lot of credit for breaking that cycle. My mom is still very supportive, and I’m grateful for her.

Speaking as someone that grew up in a house full of classical music, I found post-punk/goth as a way to rebel but as I have gotten older, I really appreciate the exposure to an extensive palate of classic music. Would you say, Matthew, you have had a similar experience and that small bits creep into your composition?

Matthew: Definitely. Everything I love about music makes its way into our sound in some form or another. Whether it’s the aggression or primitivism of hardcore, the melody and rhythm of new wave, or any song from my early childhood that creeps out of my psyche when writing, it all influences the overall dynamic of how and what we write.

Have you both always lived in Brooklyn and how has it influenced A Cloud Of Ravens?

Beth: When I first got to NYC, I lived in Manhattan– both Hell’s Kitchen and the Lower East Side at one point, but I consider myself a Brooklynite since I’ve lived in so many neighborhoods and I own a car.

Matthew: I grew up in southwestern CT, which closely borders the Bronx, where my father was born and raised. On a clear day you can see the NYC skyline from a shore near the house I grew up in, so Manhattan was always just a short train ride for me, and a big part of my childhood. One of my earliest memories is driving around Brooklyn with my dad. It wasn’t the hipster oasis some parts are now. I remember packs of wild dogs stopping traffic, the garbage strikes, blocks of condemned buildings, etc. There’s an aura and energy to NYC that is kind of inexplicable— you can feel its history in the air. Beth and I were driving from her place in Brooklyn to the airport recently, and going around a bend on the BQE, which opens up to the downtown skyline. We’ve seen that view a thousand times but we were both just like “How is this not the best city in the world?” To have that kind of awe and reverence after so many years speaks to the weight and depth of the energy here, and it’s certainly reflected in our songs.

What is the dark alternative scene like in Brooklyn?

Beth: It’s been growing exponentially for the last 5 years. There are many more bands, live
music venues, bars and clubs. At this point, even some of the more mainstream venues are promoting goth/darkwave/’80s nights, which depending on your perspective could be good or bad, but either way it’s booming. The monthly parties are great. I really enjoy turning up at places and knowing so many interesting people in the scene.

The band started in 2018, with the first album “Another Kind Of Midnight” released in the midst of the Covid pandemic in 2021. What was it like bringing forth your debut into a strange new world at the time?

Matt: The pandemic had a huge impact on the writing. There was so much political unrest going on at the same time, so you’ve got this dour sense of isolation, and essentially watching society implode everyday on TV. We tried to channel that anxiety into a creative energy, as I think a lot of bands were doing at the time. Working on that album was cathartic, gave us something positive to focus on, and really helped us come through those dark times intact. We knew other bands releasing records around the same time, and there was this whole new learning curve with how to approach the album cycle, since no one was touring. It was definitely trial by fire, and learning as you proceed.

You released the stand alone single “The Call Up”, a cover of the anti war anthem of The Clash, at the beginning of the Russian invasion of Ukraine. Who chose this particular track?

Matthew and Beth: We honestly don’t remember who chose it. We’re both huge fans of The Clash, and The Call Up seemed like the perfect song. There wasn’t ever any deliberation of how to approach it, it just worked. It didn’t solve Ukraine’s problems, but we were glad we could contribute in some small way, even if it’s just raising awareness.

Music has been used for years to protest against injustices and a lot of music you write, has a big core of political or humanitarian truth. What would you say to people who say goth should not be political?

Matthew: I’d say they’re not looking at the history. The gothic subculture has always been
socially aware; anti-fascist, pro animal rights, etc. While that’s not directly political, it ties into a political bent as it relates to social conscience. I think there’s an element within the scene that flies hard to the right as well. While we’re not overtly political as a band, it’s likely pretty easy to see we align left of center. As I’ve gotten older I tend to not look at things as necessarily being left or right, but how we treat each other. There’s a universal truth that doesn’t care whose flag you wave, but how you’re treating people in your everyday life. Things are very polarized and tribal right now, and it’ll likely get worse before it gets better, but If you’re being good to people regardless of where they stand politically, and they’re doing the same, it’s a good start.

2023 sees the release of the new album, “Lost Hymns” after four wonderful singles. How hard was it to write the new album to follow up a great debut or did you find the experience a little easier?

Matthew: We started writing Lost Hymns a few weeks before the previous album was even released. Maybe it was a reaction to the doldrums and anxiety of covid lockdown, but we had tons of ideas. I was hearing new things in my head and Beth and I were throwing ideas back and forth every day. That’s the most exciting part for me. We wrote and recorded it all within about six months. It’s actually been finished since the fall of 2021. Seems crazy now that it’s been that long.

Jason Corbett of ACTORS has been doing a fabulous job with mastering and was involved in the original remix EP, so how did you end up with Corbett in the mastering seat?

Beth: We LOVED his remix of our song “The Earthen Call” and we respect his production quality so much that when we heard he was also mastering, we asked him to lend his skills yet again.

Talking of remixes, is there a remix for “Lost Hymns” in the works?

Beth: We have a few conversations happening but nothing has been created yet!

I know songs can be like children, but is there a favourite track off the new album?

Matthew: Yeah, that’s a hard one. When I got the preliminary demo fleshed out for “Requiem for the Sun” I was kind of geeking on it. It was what I heard us sounding like when it was just me recording the earliest ‘Ravens’ demos in my bedroom in 2018, before Beth and I had even met. I felt like “Requiem” finally brought it to that place sonically. That being said, “Parable” also came out pretty nifty, and it’s fun to play live.

Beth: I can agree with Matt’s sentiments on those songs. Other personal favorites for me are “The Blackest Mantra” and “Nature of Artifice”, which are also really fun to play live. But the stand-out favorite of mine has been “Fear Not”. To me it’s one of the darkest and most impactful.

As A Cloud Of Ravens, you are doing your own recording, so is it empowering to have that much control over your project?

Matthew: Yes. As Beth can tell you, likely to her aggravation— when we’re not playing shows, I can be a bit of a hermit. At this point in my life the idea of spending weeks or months in and out of someone’s studio seems untenable. It took me a while to get to a point where I could record something at the quality of “Lost Hymns”, but with Beth’s help we got there. It is liberating to be able to walk into a room any minute of any day and record an idea you’ve got for a song. That said, I don’t place a ton of importance on production. The quality of the song comes first. If the song itself is middling, the slickest production in the world won’t make it great.

Beth: This whole project is empowering to me in that we are the beginning and the end of the creative process. With both albums that I’ve been involved in, we shopped a fully mastered album to first Cleopatra and then the second to Nexilis. As an A&R person by trade I typically help people through that creative process and in this case I’m both the artist and the A&R person. It’s really meaningful to have that kind of relationship with someone as creative as Matt.

So, how do you go about the song creation process and, who is the more headstrong one and stickler for getting stuff done?

Matthew: We’re both equally headstrong as far as standing behind our opinions and
perspectives. We’ve had, let’s say, ‘passionate exchanges’ as it relates to the creative process, but we always find a middle ground. Beth has such an innate musical instinct, at the end of the day, her perspective is generally the correct one. As far as writing, I’ll usually start with a chord progression I’ve come up with on guitar or piano. I’ll flesh out a rough verse and chorus, work out some phrasing, and a vocal melody. Sometimes
I’ll have a very definite idea of a specific drum pattern I want to use or a rough aesthetic concept. Lyrics are always last, usually built around a phrase I’ll find coming up with the vocal melody. When I get a preliminary demo fleshed out I’ll play it for Beth, and she invariably has ideas that bring it to another level. Whether it’s her experience in the music industry, just an inherent appreciation for sonics and song craft, or both, I ultimately trust Beth’s ear more than my own.

What bands got you into the dark alt scene?

Beth: Depeche Mode, The Cure, Sister of Mercy, Tones On Tail, Ministry, New Order, Joy Division, Echo and the Bunnymen, The The, Clan of Xymox.

Matthew: Misfits, Samhain, The Damned, Siouxsie, TSOL, the Batcave scene. Those bands were the impetus for me as a kid of like 14, 15.

What new musicians light your fire now?

Beth and Matthew: We tend to listen to bands we know and have played with; Creux Lies, Bootblacks, Black Rose Burning, The Mystic Underground, Vosh, Jason Priest, Then Comes Silence, The Bellwether Syndicate, Pilgrims of Yearning. There are so many great bands out there right now.

The band is about to go on tour. Is the live thing something you really enjoy?

Matthew: It’s a two-way street for me. Yes, I absolutely love to play live. It’s what drew me into playing music as a teenager, and it’s still my go-to emotional outlet. On the other hand I’m an introvert by nature, always have been. So reconciling those two immutable truths is an ongoing and daily process.

Beth: For me it’s fairly new so it feels like a rollercoaster. I enjoy the connection with people, but the flipside is that I have a lot of emotional attachment to my home, my son, and my pets.

A Cloud Of Ravens is headlining a 3 day extravaganza, and you get to choose the other acts. Who do you choose? We are willing to rob graves and perform necromancy to get you what you
want…….

Beth: ELO, INXS, Duran Duran, The Smiths, Camouflage, OMD, The Fixx.

Matthew: The Clash, Public Enemy, Fugazi, Laughing Hyenas, Siouxsie and the Banshees, and ELO.

Get out the divination ball, and can you tell us what is in the future for Beth, Matthew, and A Cloud Of Ravens?

Beth: I’ve got a lot of plates spinning; a business, a son, and personal goals. I’m finding little pockets of time for joy and recharging.

Matt: More travel, exploring creativity, and trying to be present in the moment.

Birds of a feather flock together, and your new album is dark post-punk classic. Thank you so much for talking to us today.

Matthew: Thank you, Adele!

Beth: Much appreciated Adele x

‘LOST HYMNS’ | A Cloud of Ravens (bandcamp.com)

https://www.facebook.com/acloudofravens/

https://www.instagram.com/acloudofravens