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Andy J. Davies and James P. Quinn are the men behind the British goth band, Sirens Of Light, a project that they had originally started in the early 2000’s, when they released the album Nullus Margis Gothica, in 2004. Sadly, the album didn’t really gain the attention it deserved at the time, sinking into obscurity. Fast forward to 2021, where the guys have resurrected not only Sirens Of Light, but also revisited their debut album, revamping it with the original recordings and renaming it Nullus Margis Gothica MMXXI. The album is a cornucopia of gothic rock, with its roots firmly planted in the 80s and 90s but with a modern edge. This is where I tell you that I was lucky enough to speak to Andy, who is not only the lead singer, but also had classical training, was a member of the popular punk glam Soho Roses and is the founder, and current owner of The Analogue Room and Damage Recordings, involved in recording and production. If you want to know what bands Andy would choose to headline a festival with…..then you better keep reading… though honestly, I would give him at least a three day run!

Welcome Andy J. Davies of Sirens Of Light, to the hallowed hall of Onyx, where even the shadows are inky pools where no light shall touch.

Andy, you were involved in the band Soho Roses and James, I believe was in Last Rites. Have you been involved in any other projects other than these?

I’ve been in many bands over the years and worked with loads in the studio as a producer. James and I have been in several bands together over the years, Bombchild, Gilla Bruja, and most recently Delany.

The band, Sirens Of Light came together in the early 2000s, in the UK. How did this come about and what roles do you play within the band?

I’d had the idea of doing a traditional Goth rock project for several years as I seemed to me at the time no one was really doing that kind of style . I was spending some time at my parents home and started working on a couple of tracks, Maria and Prayer. A short time later I asked James if he’d like to come do some, and that’s how it happened…

The band was situated in London, so what was the gothic scene like then as compared to now?

It was kind of dying off by then, that’s kinda why I liked the idea of doing a more traditional style….mostly, Goth seemed to have turned into metal by the late 90’s and I remembered how great it was back in the late 80’s and early 90’s and wanted to bring that style back into play.

In 2004, the album “Nullus Margis Gothica” was recorded and in 2005, it was released on Bad Head Records. In your bio, it says the album had limited release, so what happened?

We did a very short run of CDs of the original version of the album. At the time, we didn’t do any PR around it or promote it in any way as we both had other projects that we had to prioritise so, apart from that initial release, the album was left alone.

So, in 2021, the both of you are back together and release the single “Justine” which was your debut single. What happened at this point in time that made you decide to give Sirens Of Light another go and why did you pick “Justine” as your single?

Ever since we left the album years ago, we had both said we should really do something with it many times. I thought I had lost all of the original multitracks from 2004 but found them, completely by accident, in early 2021 on an old hard drive in a draw in my studio….finding the original recording gave us the opportunity to update the album to be more currently relevant and so it seemed the time was ripe to do it.

The end of 2022 sees the unveiling of “Nullus Margis Gothica MMXXI”, where a lot of the original recording was used? What changes or additions were made this time around?

The original recordings were mostly complete but there were a few parts missing here and there. These obviously had to be replaced anyway. The biggest update was with new vocals on most, but not all, tracks and making the sounds in general richer and more modern……all this was done with the intention of not loosing the original atmosphere of the album, but the original has a charm all of its own!

You have electronic musician, Kandinski Noir, as a guest vocalist on the track “Siren Of Light”. How do you know Noir and how did he end up on this track?

By chance Kandinski released a single called Justine around the same time we did. He messaged me on social media and we started chatting here and there. When reworking Siren of Light, the idea came up for a new chorus part and the idea of having it in German worked for the track. I asked him to translate for us into German and it seemed a natural and interesting idea to me to see how our voices and styles would stack up, so asked him to do a vocal on the pre chorus and chorus…worked out great!

The album was designed as thematic concept from the start. Can you please tell us more about this?

Well, we originally set out to make a Gothic rock album that reflected the roots of the genre and, as the record developed, that would take the listener on a sonic journey. The subject matter of the songs were all treated from the same emotive standpoint and the material and lyrical content is meant to be thought provoking and create an atmosphere. Conceptually speaking, it’s a reflection on some of the more interesting aspects of the human condition, the emotions we all feel, the experiences we have…some more unusual than others…the questions we all ask. There are various sub concepts within the record as well, but on the whole, the record is meant to resonate with listeners on their level…there’s a lot of layers in it!!’

What is it about the power of femininity that drew you in to explore it?

The power of the feminine has been ever present throughout history. I’ve always found it interesting and I think it is an important subject that deserves exploration.

Do you have a favourite track off the album?

That’s a difficult question to answer….I like them all for different reasons….If I had to pick one, Rearrange….always really liked the vibes it gives off!

There are definitely tell tale time signatures and riffs, that speak of your goth rock influences, but I also feel there are sounds within of glam rock and synthwave? What are your musical influences?

What I’m really influenced by is great songs, films, books, ideas and people from all eras. I love music that’s evocative and impactful so anything really, regardless of genre or era. If I had to pick one big influence, I guess it would have to be David Bowie, one of my favourite all time artists…timeless!

Who do you listen to now?

I listen to more or less anything that comes along that catches my attention…I’m very much a song and sound head so, if it catches my ear, I’ll listen and enjoy….I still listen to my favourite music from over the years but the catalogue seems to be constantly expanding!’

What are your thoughts about the state of the gothic music scene at present?

To me it seems that the scene has continued as it did coming into the early 2000’s…goth seems for the most part to have become metal or EDM, any bands doing a more traditional style are very few and far between or are the actual bands reforming and performing their back catalogue. There are a couple of exceptions but very few as far as I’m aware….I may be way wrong about this….

Has this new found fan base inspired you to think about a new album in the future?

Well yes, were planning a new album for later in the year and an ep sometime spring or early summer with a very limited vinyl release of MMXXI in spring as well.

Sirens Of Light are going to headline a one day festival and the best bit is that you get to choose the other acts and we can even time travel to a certain era to steal them away. Whom are you choosing and from which part of their career?

Wow…what a question…David Bowie – Aladdin Sane period, AC/DC – Powerage period, Sisters of Mercy any period, Leonard Cohen – I’m Your Man era, Hanoi Rocks – Saigon Shakes period, Hüsker Dü – Flip you Wig period, Pink Floyd from the 70’s, The Stranglers IV – ’77 to ’79, Sex Pistols – ’77, Iron Maiden – Di’Anno era, Blue Oyster Cult – Agents of Fortune, Fire of Unknown Origin era, The Cult – Love/Sonic Temple eras…….I could go in like this for hours…how many days is the festival???

Is there anything else in store for Sirens Of Light?

As I said before, we have the vinyl version of the album out in spring and a new e.p. to go with it, and a new album later in the year. I’m sure other things will come up as we go, there will be videos etc for example….watch this space!

Thank you sir for your time!

Nullus Margis Gothica MMXXI | Sirens Of Light (bandcamp.com)

https://www.facebook.com/profile.php?id=100071607476006&mibextid=ZbWKwL

Sirens Of Light

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Diane Dubois and Kevin Hunter are Lunar Paths, an experimental darkwave transatlantic project and the 10th of February, saw the release of their newest single “Yeraz“. Yeraz is the Armenian word for ‘dream’ and the track itself features the Armenian wind instrument called a duduk.

There is a mix and flow of both traditional and modern drone in the form of drums which could mimic the dhol (Armenian Drum) and modern percussion, that creates a hypnotic undertow, giving a platform to the vocals, piano snippets and the duduk. The duduk is an exotic inclusion that paints a picture of faraway places in the Middle East.

The duduk is the a star of the track, with its low and warm tones that conjure visions of ancient peoples and meandering waterways. It is mesmerising while the even lower tones beneath, take on the sound of deep prayers in a temple. The vocals snake through the ethereal dreamtime. Join the the Lunar Paths new world order with “Yeraz“.

Yeraz | Lunar Paths (bandcamp.com)

https://www.lunarpaths.com/

https://www.facebook.com/LunarPathsMusic/

https://www.instagram.com/lunar.paths/

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40 Octaves Below is the industrial project for Canadian Drake Moore and the newest album is MetaVerUs, released in January of 2023. This is the third studio album from 40 Octaves Below and is packed with a whooping fifteen tracks. The theme that ties this together is that the global network of media are creating mass misinformation, which in turn creates mass hysteria and hysterical populations are easier to control, never thinking to question why their rights are dwindling. The music itself is intense, with driving rhythms that you can easily lose yourself in, and dance to. So, we thought we better talk to Drake about MetaVerUs, that is about everything versus us, the average humans, and ask him all the important questions about this album, his collaborators and why it took thirteen years for 40 Octaves Below to release the first album….

Welcome Drake Moore to the desolate isle that is Onyx.

Hi Onyx. Pleasure to connect.

Your first album, “Digital Fracture” came out in 2019, but on the Bandcamp blurb, you mention that it was 13 years in the making. Can you please explain what you meant by this and what the culmination was leading up to the first release for 40 Octaves Below?

It’s a long story that pre-dates the current technology that allows most people with a decent workstation and DAW to produce music. It began with Propellerheads’s Rebirth software and lead into Reason later which resulted in a very nasty little release entitled “Sick Machine” under the name “Gore-Tek”. The ability to evolve beyond this was hampered by perceptual roadblocks, denial and a steady downward spiral into addiction. A lot of music was produced in that period. Some half finished, a lot of it just not very good. It was an ongoing mess of consumption and composition. The trick was the trap of thinking the substances were providing an expansion of mind which would result in brilliant musical output. And we were very dedicated and productive with the amount of garbage produced. A new awakening and sobriety came around 2010. It took seven years of stone cold sober before we could begin composing again. Around the end of that seven year period, the move into physical hardware made all the difference and things were really flowing.

Are you a native of Vancouver, in British Columbia and how do you think this has influenced your musical sound as well as the way you view the world?

We are from the Toronto area originally and have been on the west coast (on and off) for over 20 years. The earth magnetics are different out here and it has an effect on the people. Time elapses and is perceived in a slower manner. It had that effect on us and was where the love affair with electronic sound began. In a creative sense and also through community gatherings like live shows and raves. Music was huge on the west coast in the 90’s. Compared to then, today is a bit of a dead scene for live music. It is a challenge to optimistically perceive the world post global tyranny which tends to overshadow. Screaming at the top of one’s lungs is a release but is hard to gauge the spread. Love seems like a good answer but most days we just want blood.

Is there much of an Industrial scene in Vancouver and how do you find yourself relating to the scene?

The industrial scene here is largely a small group of DJs who keep the dance going. It’s a goth, fetish, dance type thing with not much in terms of local industrial bands. We’ve been trying to crack into the local DJ sphere and have found little to no response. The DJs in Toronto like Dwight Hybrid, Live Evil, DI Auger, Anthony (H) and others have been very supportive and are all about elevating Canadian talent.

“MetaVersUs” is your 3rd studio album, which came out this year. Did you find this album easier to write than the previous two, especially with the world starting to emerge from the Covid cocoon?

Our eyes opened wide when the evidential truth of 9/11 hit home. That was a great veil un-lifting and like taking that dreaded “red” pill. Since then, we’re constantly looking over our shoulder and striving to keep our own mind free from the programming. “MetaVersUs” is a lot more blatant in its message but is still harping at the same themes from the previous two albums. At this point, it’s all been said ad nauseam. We perceive the logic in the evil. Logic however has failed us as has science. We are now staring into the face of madness and the new physics. The production was a little slower as we share a single vessel and are forever honing new knowledge into practice. What comes next will be of a new skin entirely.

I have to say the title is a rather clever. Was it always going to be “MetaVersUs”?

Since Meta’s inception (under any previous name), is has always been against the people.

There are 15 tracks in all, so was it a conscientious decision or did you just find that those tracks just worked together?

We work mostly with Elektron gear these days (a trio of the Analog Four, Octatrak and Analog Rhythm). The first two albums were eight core tracks and that was primarily because the Octatrak (which is used as the master sequencer) has the capacity for eight songs in a given project. In a live scenario, it seemed optimal to have the tracks within one project per grouping to address the time lag of load time in switching projects. In approaching “MetaVersUs”, we wanted to create something larger and ended up chaining arrangements together within the same song and later breaking things apart for production in the DAW. This was a strategy used to create some sense of continuity as well. The number of tracks in the end was not entirely planned. At least not consciously.

Do you have a favourite track or tracks, off the album that you are proud of?

Not sure that there is a favourite. Each track expresses a deep feeling. Although it may appear there is a lot of anger in the expression, it comes from a tremendous love and want for humanity to do better. “Echoes” features a selection of samples taken from YouTube posts by our very dear late friend Raven Rowanchilde (Love and the Muse). That track is special. Raven had a lot of wisdom to share with the world and we wanted to present a sample while honouring her. Our collaboration with our good friend DI Auger on the track “MthrFckr” was a collaboration first and was a lot of fun to work on. “What If” was a last minute track and also a collaboration with EKaterina from Passion For Hypnosis. Both DI Auger and Ekaterina are a pleasure to work with and those tracks are unique in their own ways.

This latest album is a commentary on the current state of the world. What were the major ideas and statements you are making in “MetaVersUs”?

Our largest point of vulnerability is the media and the palm sized super computers we are addicted to. Our movements are tracked and our minds manipulated. We are all vulnerable no matter how clever or cautious we think we are. Denial runs thick with addiction. Very little is what it appears coming through the screen. The screens and platforms do not connect us. They are used to disconnect and divide. Who is responsible? We guess that a very small number actually know where the top is. We don’t but it is real and it is happening. We must claim back our minds if we are to survive. We must not divide.

You are definitely making political statements in your music, so do you feel that music is an important platform to create awareness and start conversations?

There is so much division and suppression of truth. It is nearly impossible to convince a robot that it is a robot if that information is not part of its programming. Music is the only platform where we can communicate ideas currently without immediate censorship. That could change but here we are. Anyone who listens closely and disagrees can turn it off. Perhaps through that experience, we have planted a seed. In the end creating music is what is keeping us relatively sane.

Chris Lefort is a classically trained pianist and his project is the gothic/industrial Di Auger from Ontario. He has appeared on most releases, so can you tell us about his contribution to current album but also the relationship you have with Lefort?

We connected with Chris shortly after “Digital Fracture” was released. We immediately clicked and were invited to play a show in Toronto opening for Trick Casket, Phantom High and DI Auger. That was a good show and opened the door for some remix collaborations with new friends. Chris has done a number of remixes for us and they are always killer. It was his idea originally to collaborate on “MthrFckr” which was going to be a single. It ended up on “MetaVersUs” because we thought the subject matter in line with the overall theme. “MthrFckr” is going to be released as a single separately in a couple months with remixes by DI Auger, Anthony (H), Live Evil Productions and 40 Octaves Below. Chris is just an all round great person. He does a lot to support industrial music in and around Toronto. It is a pleasure to know him.

You had guest artists do remixes of your two previous albums, that became their own releases in album form, so is there a plan in the future to go this way with “MetaVersUs” as well?

Yes this is already in the works. A couple surprises in store with this one.

Drake, you also have another electro-industrial project called Mesmer’s Ghost, which seems to have kicked off around 2020, so can you tell us what compelled you to start this separate journey?

Mesmer’s Ghost is a collaboration project with our friend James Seaborne (Innanfrá). We connected with James shortly after “Digital Fracture” and James immediately wanted to collaborate on something. He had this “Mesmer’s Ghost” name concept tucked away for the right time and so we set out to create some tracks. James comes up with these weird little musical journeys which served as the tone for each composition. This was inspiring. James wanted to handle the vocal side of things and leave most of the arranging to us. It is a nice palate cleanser after coming out of the 40 Octaves Below noise tunnel.

How would you say the styles differ from 40 Octaves Below and Mesmer’s Ghost?

Mesmer’s Ghost goes into a little more experimental territory and later works more into the gothic realm. There’s less anger expressed in Mesmer’s Ghost composition and more moodiness. We are a good way into a third Mesmer’s Ghost release that should be ready later this year.

How do you decide which songs you write are for 40 Octaves Below or Mesmer’s Ghost?

Each Mesmer’s Ghost track starts with some derangement of James’s. Anywhere from there ends up ghosty. There’s very little overlap in terms of production. We’re either working on 40 Octaves Below or Mesmer’s Ghost so there is definitely a switch that goes off in the head.

Are there plans to do live shows for “MetaVersUs” and is playing live something you like to do?

We love live. What is most likely to happen (working on the concept currently) is more of a DJ performance. We want to present something that is less structured, more improvised and in response to the audience. The idea involves the construction of a massive library encapsulating all our projects. You will hear little bit of this and a little bit of that and it’s going to absolutely slam. The challenge has been how to vocalize whilst presenting something dynamic instrumentally as a single entity. As the music has become more involved and complex, the live version has honestly suffered. This new approach will address all that.

Who are the bands/acts that really got you into this style/scene?

Music exposure was so limited as a young person prior to the explosion of the internet.  It was all word of mouth or what one picked up randomly on college radio or television video shows that catered to the “unusual” like “City Limits” on Much Music in Canada.  Nine Inch Nails was a welcome punch in the face the first time we heard “Head Like a Hole”. Then there as the “Land of Rape and Honey” Ministry release.  Things were not quite the same after experiencing these artists.  Life seemed more exciting.  Here was something that felt so personal and invigorating.  It was just so exciting to drive around blasting this music that no one else seemed to understand and was just so goddamn good at the same time.  It was validating and left the feeling of not being so alone in a world so different and lack lustre.  Skinny Puppy also played a huge influencing role but was another world that would open up later on.

Now for the fun bit…. you are gearing up to put out the remix version of “MetaVersUs” and you can choose anyone you want to do the mixes, living or or dead, whom would you choose?

Oh shit. Straight off let’s say this list does not include any past remixers. We are blessed to have worked with them ALL and would love to work with them again. Future remixers include Skinny Puppy, Combichrist, Omniflux, Ladytron, Massive Attack, Jimi La Mort, Trent Reznor, Ken Marshall, Jimmy Urine, MXMS and Gothsicles to name a few. A couple of these mentioned are happening…

What is on the horizon for Drake Moore?

More music is certain. Industrial Trip Hop? If we are hit by technology crippling solar flares, tribal drum jams in the forest. Come find us…

Thank you Drake for giving us your time.

https://40octavesbelow.com/album/metaversus

https://www.facebook.com/40octavesbelow?mibextid=ZbWKwL

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You are walking down a Victorian alley at night. There is drizzling rain, a fog rolling in and an eerie feeling you are being followed. This could be the setting for a Hammer Horror movie, but how about a song from Plasmata and Ben Christo with Aly Jados, named “You Call Him The Devil“. This track originally was released on the Plasmata EP, Portraits Of Pain, under the name “Ten Bells“. The glampire behind Plasmata is Trent Jeffries, while guitarist/vocalist, Ben Christo is best known for being a member of The Sisters Of Mercy and his latest band Diamond Black, and Aly Jados is the lead singer and guitarist for her heavy rock group, Blood People.

You are greeted by the ringing guitar work of Christo, which takes on its own life, soaring and racing to meet up with vocals of Jeffries and Jados, that smoothly intertwine, each picking up the tale of the Ripper through his eyes. The guitar work is glorious and simply takes this track to another level, along with the rising chorus of vocals. The urgency is palpable, for soon we will meet our doom.

Jados was also the female vocals in the original “Ten Bells” and she nails this again with her seriously brooding singing, which is gritty and sensual, a foil for Jeffries‘ smoother killer tones. The original version definitely had a harder electronic edge and grungier guitar to it, but the new version now has this epic goth rock opus quality. Jack the Ripper is lurking in the dark and he has become the grandiose figure of death himself, enjoying the hunt before the butchery in the squalid lanes of White Chapel. “You Call Him The Devil“, the Christo version, giving you the amazing combination of Plasmata and Ben Christo, with Aly Jados, and you can’t really get much better than this.

https://plasmataband.bandcamp.com/track/you-call-him-the-devil-plasmata-and-ben-christo-with-aly-jados

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

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

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

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Alexander Leonard Donat, I do believe, might be the crazed mad scientist of the German post-punk world. He always seems to have many experiments on the go and putting out a plethora of music. while he stirs the cauldron with his music label Blackjack Illuminist Records. His main music project is Vlimmer and the last album, Menschenleere, was out in November of 2022, and now he is back with the single “Platzwort” with the backing track “Out Of Sight“, and neither of these were on that album.

The translation of “Platzwort” is something like this place. The synths don’t ready you for the shifting drum rhythms that enhance the vocals, building in in waves as those same synths trickle in starlight. Donat’s vocals exude a certain longing within the musical magnificence. The b-side is actually a cover of “Out Of Sight” by the British 90s band, Spiritualized with the Donat twist of being translated into German. That isn’t the only difference. Spiritualized are well known for their love of the psychedelic guitars, while this new cover is kind of introspective and even is imbued with an electro dusty spaghetti western style, in the midday shadow of Ennio Morricone.

Vlimmer is a project that never fails to surprise and delight. Alexander has the knack of melding darkwave with that experimental edge, ever evolving his sound. It always makes me happy to hear his clean vocals as they hold a myriad of emotions. “Platzwort” is definitely not an empty place, but rather a sanctuary where you can lose yourself in the music.

https://blackjackilluministrecords.bandcamp.com/album/platzwort-b-w-out-of-sight

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

https://www.facebook.com/Blackjack.Illuminist/?mibextid=ZbWKwL

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A new year has brought us a shiny gift, in the form of the single, “Love You Like The Ocean” by the mercurial gothic trio, Ariel Maniki And The Black Halos. In further good news, there is a studio album slated for this year, so we are told by a little birdie. This track, by the band, was recorded at their home studio, in San Jose, Costa Rica, and will appear on the next album..

The synths are ephemeral and delicate as wisps of smoke, yet there is a heavy rumble below all, the bass set so low, creating almost, a pressure in your chest. The vocals are cocooned within this tumbling kaleidoscope of sounds, topped off by exquisite lyrics of a promise for unconditional adoration.

I have it on good authority that a bass VI was used, the instrument that Robert Smith, of The Cure, favoured for albums, such as Disintegration, and it is neither a bass, nor a guitar. This has imbued “Love You Like The Ocean” with that Cure like dreaminess, synths painting a vastness, a bass so low that holds the depth of that ocean… and a love of all loves.

https://arielmaniki.bandcamp.com/track/love-you-like-the-ocean

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

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Oh, the children of the night, do you remember the 90s? *insert wolves howling here* It was definitely a time when the goth rock scene embraced the whole vampiric theme, and it seems that Czechs, Cathedral In Flames, also can reminisce on this time with their single and video, rather aptly titled “Not Another Vampire Song“. Auspiciously, they have John Fryer (Field of the Nephlim, Nine Inch Nails) doing the production.

It harkens back to a period when bands like The Awakening, Corpus Delicti, Two Witches, Faithful Dawn, Inkubus Sukkubus, and many others were regulars on compilations about the toothy blood suckers. This track takes me back to that time with its guitar lines, deep guttural vocals, and thunderous drumming. I guess this is just “Not Another Vampire Song” but rather a poke at the past, encapsulated in a great song by Cathedral In Flames. Yes, the 90s were a very silly time, and by gods, so much fun….

https://cathedralinflamesprague.bandcamp.com/track/not-another-vampire-song

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

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I am going to tell you something for nothing…the new album, LOST HYMNS, from A Cloud Of Ravens, is going to blow you away. Yes, I have had the privilege of already hearing it but it isn’t going to be much longer before everyone will be able to behold it’s gothic magnificence. However, to tide you over, the lovely Beth and Matt have dropped a new single as of the 3rd of February, called “Requiem For The Sun“.

The drum machine takes hold and I will say, an uncanny likeness to the one in “Lucretia My Reflection” by The Sisters Of Mercy, so you know this is going to sound big. Unlike the forementioned song, “Requiem For The Sun” takes a more sinister turn, for what happens in the dark, when exposed to the light of day, shows an ugly truth. The low vocals are offset by the lighter keyboard, while the guitar drops in to follow the ever in motion and relentless rhythm. If you think this sounds good, wait until the vocals open right up for the intense chorus.

There is something very wonderful about A Cloud Of Ravens. Gothic rock done right might be the way to coin a phrase. Nods to the past post-punk bands before them, but they never lose sight of being their own project rather than shadowing others. The beauty is that they don’t try to sound the same twice and this is very heartening. Come and join the dirge supreme, before the “Requiem Of The Sun” turns all to ashes.

https://acloudofravens.bandcamp.com/track/requiem-for-the-sun-4

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

https://www.instagram.com/acloudofravens

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Do you do Visual Kei? I have long loved bands like X Japan, D’espairsRay and Dir En Grey for both their look and that certain key sound that Japanese Visual Kei bands have. So you might imagine my excitement and delight when I found the single “Pretend To Pray” by Psycho Sonic Boom in my in box. Psycho Sonic Boom is the brain child of Californian born Kairu, whom now resides in Japan and began this project back in 2010.

The clean vocals are entrancing from the first, full of flirtatious promises that will probably never be fulfilled, A light touch with the drums until the track hits the chorus. The guitars almost float gracefully over the top of all, ringing out to call you in like sirens to the sailors.

I truly love the attention to detail from the melodies and delicate guitar work to the video with the beautiful makeup and clothing. It is hard to tell if Visual Kei borrowed from deathrock or vice versa but they do share many similar elements and there is definitely an air of dark seduction and lingering fingers down the spine appeal. Let Psycho Sonic Boom show you how to “Pretend To Pray“.

https://xavak.bandcamp.com/music

https://vk.gy/labels/night-child-productions/

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Peter Endall is Suburban Spell and last year he dropped his second album, Split Levels. 1st of February, 2023 sees the Melbourne musician handing five, 80s inspired, synthwave tracks off the forementioned album, to five other musicians to invoke their style and magic on each.

The first of the tracks is “The Lonely Man” remixed by the goth meister himself, William Faith (Faith & The Muse, Christian Death, Mephisto Walz, The Bellwether Syndicate). Faith has added his signature guitar to the mix which gives this song a completely goth rock flavour. You aren’t wrong if you pick me for a big Faith fan and lets face it, the mix does not prove me wrong. Robots In Love is Elenor Rayner, whom has definitely made a splash with her emotional electronic mixes, has taken on the song, “Feel No More” creating an electronic piece that glitches and pops, yet having this dazzling spinning quality.

Andrew Dun remixes “Driving at Night” under the project name Ontic. The Ontic mix is trance like, smooth and silken molten dripping golden synths with electro vocals. Staying with the electronic vocalisation is the “I Take Exception” mix by Tragic Impulse, aka Paul Graham, that buzzes like the synapses of the nervous system, firing away. Fifth and last is from Valerio Rivieccio and his project Kurs, but in no way is this the least, merging his cyber industrial into “Control” creating an magnificent urgency and need that soars above the mundane world.

Actually, this EP is rather breath taking. Each track has been imbued with the talent of the mixer and taken them to a new level. These are all Endall’s songs and so that seed does not change, but definitely music has been given new wings to spread, and what glorious wings they are. A global collaboration for a brilliant EP. Get caught in the Suburban Spell and enjoy Split Levels Remixes.

https://suburbanspell.bandcamp.com/album/split-levels-remixes

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

https://thebellwethersyndicate.bandcamp.com/music

https://robotsinlove.bandcamp.com/

https://onticquity.bandcamp.com/

https://tragicimpulse.bandcamp.com/

https://swissdarknights.bandcamp.com/album/muter