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Autumn Tears is a name from the 90s, synonymous with gothic music inspired by classical/traditional styles and they have married a split album, Widowing/Possessing, with the newer dark folk project, Zeresh. Ted Tringo is the man who has continuously been at the helm of the US band, Autumn Tears since 1995, which has picked up steam in the creation of new music in the last few years. Zeresh is Israeli musician, Tamar Singer, who also sings for Autumn Tears, so it seems quite natural for these two projects to share a split album. Windowing is the Autumn Tears half and it has pulled together musicians who play traditional instruments and vocalists of such a high caliber, so the tracks are rich, ethereal and romantically dark. Possessing is of course Zeresh, and it weighs more in your heart, an overwhelming sadness and torment. The instruments are often far more modern in this production but just as eerie and beautiful as Widowing. You can hear the Singer’s homeland influencing the undercurrent of the songs and the sound of the music.

So, we bring to you an interview in two acts. We we very luck to interview Ted and Tamar about their respective bands, their influences and above all the split album. If you love Dead Can Dance or remember the 90s, when Arcana, Lycia and Autumn Tears were the medieval babes of the scene, you should indulge in this offering of Widowing/Possessing and read on!

ACT 1 – AUTUMN TEARS

Greetings to Onyx’s dark side of life and the winter garden, Ted Tringo of Autumn Tears.

Thank you so much! I really appreciate the opportunity 🙂

Autumn Tears has been around in different forms since 1995, with you as the permanent founding member. Did you think Autumn Tears would still be around, creating music and the and still this popular, more than quarter of a century later?

Honestly I had always planned on it as once I began Autumn Tears in 1995, I envisioned it being around for decades. What I had not anticipated was the long 11 year hiatus that I took from 2007 until 2018. Thankfully that is in the past and I don’t plan on ever stopping again.

You released the albums “Colors Hidden Within The Gray” (2019), “The Air Below The Water” (2020) and “The Glow of Desperation” (2021) in very quick succession. Each of these were very highly involved albums as far as people contributing their talents and orchestration. What prompted this surge of creativity?

I think most of it stems from the bottled up creativity I had stored from the 11 years which I was not active. I had a lot of time to reflect and to study music, that in the event of a comeback, I would be more than prepared with ideas and the musical knowledge to give Autumn Tears all that I could.

It was the 2020 album, “The Air Below The Water”, that first saw you collaborating with Tamar Singer. How did you first come into contact Singer?

I first discovered Tamar and Zeresh when I was asked to take part in the ‘At Sea Compilations’ – “Snowflakes”. We both shared songs on the comp and as soon as I heard Zeresh, I knew Tamar had a very unique and special sound which I felt would be a wonderful addition to the Autumn Tears ever evolving sound.

Singer also performs under the name of Zeresh and this year, Autumn Tears and Zeresh released a split album together. What was the thinking behind this and who first suggested this joint operation?

I actually suggested this to Tamar a few years back. I was completely taken with Zeresh upon my first listen and have become a fan ever since. I felt a split release would be a great way to share our collective works with our respective fans and let them experience music from both of our projects. I’v always enjoyed split releases so this was a great experience to be able to be a part of one together with another music project that I love.

Autumn Tears is on the first half and it is called “Widowing” which is also the seventh track on the split, that features Singer. Why did you choose this as the title track and does it have any particular significance for you?

The significance of the title ‘Widowing” is about loss and acceptance, and I felt that having Tamar sing on the title track was important as It not only bridges the gap between the two releases, being the last song on the Autumn Tears EP, but also it flows right into the first Zeresh track having Tamar be the lead singer on both songs back to back.

You have access to all these gorgeous female and male vocals. How do you ever choose who sings what and how lucky do you feel having access to such talent?

Some of them I sought out and some I was already familiar with. Caroline and Darren Clarke from the acoustic opera duo Trovatori I discovered on Fiverr and they have been permanent members ever since, of which I am very grateful for. I also discovered Ffion Elisa on Fiverr as well. Dawn I have known for over 20 years having been the lead singer for Rain Fell Within who were signed to my label back then so my appreciation for her is a given. Of course Agnete from Madder Mortem and Ann-Mari from ex The Third and the Mortal were both long time favorites of mine so I am very thankful for their appearances.

Again, there has been many musicians you have collaborated with to create “Widowing”. I was wondering about how you ended up recording this album, as I can imagine Covid would have played havoc with your plans?

Well like many musicians nowadays, thankfully Autumn Tears has also benefited from the power of the internet and of remote recording. It of course makes everything possible with all of the different members living all over the world.

There are very heavy accents of middle eastern influence, like in “Of Sun, Sky and Rain”. Is this a style of music you particularly enjoy or find enhances the exotic flavour of your music?

It’’s actually both. I have always enjoyed Middle Eastern music, and having Soroush Abedi as a member of Autumn Tears, he is very skilled in many musical styles and able to authentically incorporate the Middle Eastern and instruments into the Autumn Tears style to create a very unique fusion which I think only helps to enhance our overall sound and diversity.

For me, “Bringer Of Balance” is just spine tingling with the entwined male and female vocals in an almost baroque style. Do you have a favourite track off this album?

Thank you so much! I am sure lead singer Darren will be very happy to read this. It is hard for me to pick a favorite as I enjoy them all very much, but I think I may still have a soft spot for the title track ‘Widowing’ as it encompasses the feel of the album as a whole. Of course if you ask me tomorrow, I may have a different favorite ;).

Even though bands like Dead Can Dance had started in the 80s, it was really in the 90s that medieval/classical gothic styled music really took off. You are still producing that style today, however to my ears, it is much more refined and cohesive. Do you feel this way about your music now as compared to the original albums?

That was always my goal with Autumn Tears. I will always appreciate the early sound we developed back in the 90s, however it was always my goal to mature Autumn Tears with real classical instruments and musical style to hopefully one day try and carve out our own sound. Hopefully we are aa little closer to doing so now 27 years later. 🙂

I am curious as to who were your inspirations in music when you first started and if there are any newer loves you have now?

Back in the 90s when I began, my influences ranged from DCD, to Stoa, Anchorage and Arcana, (Arcana’s – ‘The Song of Mourning’ actually helped to kick start my desire to write Autumn Tears music) and now I think I am more influenced by modern and traditional classical music as well as cinematic score and soundtracks. I think I will keep evolving the styles while still retaining our core sound.

If you could choose any musician to record with (alive or expired) for the next album, whom would you desire and why?

There are so many I admire that I would love to work with but if I had to choose one, I would have loved to collaborate with Icelandic composer Jóhann Jóhannsson. I actually dedicated the 2019 album ‘Colors Hidden Within the Gray’ to him.

What is next for yourself and Autumn Tears?

We are currently working on our next full length album which hopefully will be ready by the end of the year.

Thank you for the enchanting and haunting music, as well as your time Ted.

My absolute pleasure, thank you!

ACT 2 – ZERESH

Zeresh is your project and I believe it came into being around 2017/18? Also what prompted you to create Zeresh?

The name “Zeresh” came to be around 2017 but the idea and many of the songs existed long before that and were waiting for me to be able to give them some kind of an output.

In June 2017 I did my first solo concert and that’s when the need for a name became obvious.

My debut EP ‘Sigh For Sigh’ was already recorded at the time yet I struggled hard with mixing it since I had zero knowledge or experience of how to do it.. but once it was completed I embraced the name Zeresh for this project.

The name Zeresh seems highly symbolic. In Persian it means gold, in the old Testament Zeresh is a wife, as well as being linked to meaning strange or misery. Why did you choose this name?

First of all I liked how it sounds – yet it seemed a bit too “black metal” for my project.. It didn’t feel right for this purpose but I loved the name so much that I’ve decided to name my beautiful black cat ‘Zeresh’. After doing this, I got “jealous” and stole the name for my project too.

I also liked the fact that in the biblical story, even though she was a side character (Hamann’s wife) she was the smartest and most evil figure.

If you don’t mind me asking, what is the dark/gothic/metal scene like in Israel?

I’m glad you asked because I love the Israeli scene – we have a lot of wonderful bands and musicians over here. Some of them are very very special.

The local Gothic scene is tiny, almost nonexistent but the general dark scene here has some wonderful projects. 

Also, our metal scene is pretty rich and ever changing. Israel has some bigger mainstream-ish metal bands and some very ‘strange fruits’ (which are usually my favorites);.

I’m probably forgetting many other great projects but here are some of the ones (which are still active) that I love the most from the local scene:

Kadaver, Choshech, Kchörtoo, Ketoret, Zimmer Witch Night, Winterhorde, Rain Dirty Valleys, Kluvim, Prey For Nothing, Sleep’s Sister, Agnivolok, Kip, Kashaiof, Subterranean Masquerade, Seven Morgues, Obsidian Tide, Svpremacist, Bormavet, Dukatalon and more.

There is also the doom project Cruel Wonders. What drew you into the realms of neo-classical/neo-dark folk?

I’m into dark music of all different genres and kinds, both as a listener as well as a musician.

You have not only collaborated with Autumn Tears but also you did the split album with them. What was this like for you as an artist?

Amazing! Working on the split album has been an honor and also very special to me because I tried to take my songs to be’ more romantic’ while Ted took his songs to a darker place this time, so they would fit well together.

Also, Ted is really wonderful to work with, both artistically and personally.

Your half of the album is called Possessing. Could I please ask about the concept behind Possessing and how you feel it couples up with Widowing?

My half of the album is about obsession; holding on to a relationship that’s not there, not being able to get another person out of your head or to let go.

The way I see it ‘Widowing’ (the part by Autumn Tears) is about loss; but from a “healthier” perspective – sort of the other side of the same coin.

Which do you feel is your favourite track off this album and why?

I can’t really say too much about Possessing but even though it’s hard to choose – my favorite song from Widowing is “Unmaker of worlds”, simply because it’s absolutely perfect!

It’s dark, heavy and intense musically and lyrically. Plus, I just love Caroline Joy Clarke’s vocals there. 

I actually admire all the other Autumn Tears singers and musicians and I still can’t believe I’m sharing music with those extremely talented professional musicians.

If given the opportunity to do another split album, would you do it again and are there any other artists you would like to collaborate with?

I’m actually working on a short split collaboration for a local label as we speak and I would love to do more in the future.

I would gladly collaborate again with everyone I’ve worked with before so far.

The list of musicians I’d be thrilled to work with for the first time is endless but I’ll try to sum it up somehow: 

Rïcïnn, Kim Larsen (Of The Wand And The Moon), King Dude, Darkher, Darkwood, None, Les Days, Liturgy, Leya, Natural snow buildings, Ungfel, The Drows, The Devil’s Trade, A. A. Wiliams…

It really is a Never-ending list so I’ll randomly stop here.

What musicians/bands or type of music first dragged you into the scene and what ignites your soul now?

I’m not sure which scene I should refer to, but if we’re talking about ‘non-standard’ folk, the first ones I listened to as a teenager were: Current 93, Death In June and some other similar and related projects.

Nowadays I still listen to a lot of different types of neofolk, dark folk, industrial and also just plain beautiful folk.

I love it when folk music manages to somehow fit in nicely with industrial.

Anyhow, here are some examples of things I love in particular:

Of The Wand And The Moon, Sangre De Muerdago, Laura Marling, Rome, Ordo Rosarius Equilibrio, Darkher, Aggaloch, Hasta LA Victoria, Nebelung, Darkwood and many more.

I also listen to other genres – from black metal to classical music, experimental, drone and lots of other things.

Taking possession completely off the tracks here but if you could be possessed by one deceased musician for a day, to let them record one more track, who would you let use your body?

The obvious answer would be Kurt Cobain or Elliott Smith, so I’ll go with that.

What is in the future for Zeresh?

The next Zeresh album is almost 100% written but I have to produce it. It is going to be darker than anything I’ve done so far.

Nowadays I’m actually working as Zeresh on a short split collaboration for a local label. It’s a project I’m doing with one of my favorite Israeli bands – ‘Ketoret’.

Besides that, I’ve already recorded a song for the next ‘Autumn Tears’ album and we shall start writing the third ‘Cruel Wonders’ album pretty soon.

I’m also involved in a new project with my husband who is the other half of ‘Necromishka’ (and mostly known as ‘Kadaver’) plus another of my favorite local musicians – Shay Mizrahi, of ‘Choshech’. I’m not sure if it’ll be a 3-way collaboration or whether it’ll have its own name.

And lastly – we’ve been producing a split album between ‘Necromishka & Agnivolok’.

I’m planning to remain busy..

Autumn Tears (bandcamp.com)

Widowing / Possessing | Autumn Tears / Zeresh | Zeresh (bandcamp.com)

Autumn Tears | Facebook

Zeresh | Facebook

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The duo, Johnathan/Christian have released the single, “Talkin’ About The Wolf“. It is a track inspired by the Ukrainian resistance against a much larger foe, trying to take by force, their county. Johnathan/Christian is joined by The Legion Of Whom, a mixture of talented humans, whom appear in the order of Matt Vowles: Black Angel (guitar), Lee Meadows: The Glass House Museum (bass), Athan Maroulis: NOIR, Steven Archer: Ego Likeness/Stoneburner, Claus Larsen: Leæther Strip, Martin Bowes: Attrition, Alla Miroshichenko: Attrition/Alia Synesthesia (cello), Jeff Diehm: The Last Dance and Ania Tarnowska: I Ya Toyah

Verbose gothic melancholy, wrapped in this wonderfully rich guitar and complimented by the electroincs in a most symphonic manner. Sliding between vocalists is a truly interesting experience, it drags you in to listen to the the words and marvel at the mixture of styles, accents and timbre. They ask what we want to know, ‘how many Putin?’.

“Since the Donbas Invasion in 2014, Ukraine has been telling the world the wolf is coming, and what have we done to help?  As the battle continues, now is not the time to move on. Ukraine needs everyone’s help now more than ever” – Johnathan

The title of the track refers to a Ukrainian saying, ‘talking about the wolf‘, which basically means ‘speak of the devil‘. All proceeds, from the single will be donated to the Come Back Alive Foundation in Ukraine, which was created during the War in Donbas. In return, you get a darkwave track of immense proportions, catchy and chock full of some legends in the business.. Mmmmm, very tasty and remember, you think you are safe until they are at your door.

Talkin’ Bout the Wolf (ft. The Legion of Whom) | Johnathan Christian | JOHNATHAN|CHRISTIAN (bandcamp.com)

Johnathan|Christian | Facebook

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The UK’s gothic rockers, Sirens Of Light, released on May the 24th, the single with video, “Revolver“. The band has shortened the title somewhat from the original, being “That’s When I Reach For My Revolver“, which was originally written by Clinton J Conley and recorded by Conley’s band, Mission Of Burma, in 1981. A classic, from a band that was typifying a new post-punk sound coming from the US, like their fellow Americans, The Call.

The rich swell of guitar issues forth and the vocal’s gravely texture, grazes your ears. There is a wondrous force of conviction, sonorous and perfect in its execution. Guitar driven goodness with a dark gothic core.

“Revolver”, for me in this particular moment, is a very angry and political song. After the global pandemic and the constant bombardment of media nonsense, we get the feeling everyone feels like reaching for their revolver. That’s why it resonated with me at this moment and was chosen”. – Andy (Sirens Of Light)

You cannot compare this latest version to the original. While the Mission Of Burma version is slower and very much bleaker, Sirens Of Light have put a rocket under “Revolver“, and blown it up into a gothic rock anthem, with all the sparkles.

Revolver (Video Single) | Sirens Of Light (bandcamp.com)

Sirens Of Light | Facebook

Sirens Of Light – Sirens Of Light

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You might know of the project Krebs, but the Philadelphia based, Michael Haggerty, has shed this moniker, instead, using his own name to adorn the latest singles. “Into The Glow“, out on Machine Man Records, is the second single to be dropped from the soon to be released, Fire Behind The Paper Tree album.

There is something so utterly charming about the beginning of “Into The Glow“, with it’s low tones and smooth vocals. Though, this all changes with the introduction of a driving guitar. A myriad a of beautiful shards hits you all at once with the truly open and bleeding lyrics. The second backing track, “I Kinda Like It” is the kooky cousin, in an Addams Family weirdness, that all goths are known for and this tune plonks away in a darkly dazed happy joy way.

The single is really quite stunning and Haggerty could be the male, one man version of The Birthday Massacre, so I really could not recommend it more highly. I think it would take me a while to get tired of listening to “Into The Glow“, and that is the sign of a good track, especially when it coolly caresses your heart, instead of being a cyclone that rips it out. Plus, it is name your price on Bandcamp, so off you go….and you too can check out the very quirky photo there (I so wanted to use that instead!).

Into The Glow | Michael Haggerty (bandcamp.com)

Michael Haggerty | Facebook

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“Mondlicht” is German for moonlight and is also the title of the latest single from French goth/electronic act, Eleventh Fear. This is the second single, off the soon to be released album, by Ludovic Dhenry, the man behind Eleventh Fear, whose other projects have been Exponentia, Résonance magnétique and Zauber.

In true electronic style, “Mondlicht” is a mixture of insistent beats that merge with low synth tones, which stretch forth, while the vocals are whispered seductively in German. The rhythm lends itself to a near trance inducing dance beat.

I suppose this track is meant to convey a feeling of the dark, night and mystery, but for me, in the rhythms, it also speaks of strobe filled nights on the club floor, with other dancing, sweaty bodies. The lyrics tell of magic, crows and elves, as The Eleventh Fear whisper in your ear under the “Mondlicht“.

Mondlicht | Eleventh Fear (bandcamp.com)

Eleventh Fear | Facebook

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Something gothy, this way comes. Swedes, Then Comes Silence, have a new single, “Chains”, which dropped on the 27th of May, ahead of the new album, Hunger, on Metropolis Records. Alex Svenson (vocals, bass, synthesizer), Jonas Fransson (drums, backing vocals), Mattias Ruejas Jonson (guitar, backing vocals) and Hugo Zombie (guitar), make up the band and are joined on this track by Karolina Engdahl, of Vånna Inget, on backing vocals.

An eruption of guitar and synths resolves with an element of buildup of classical style, before we are introduced to the smoldering male vocals of Svenson, joined by Engdahl‘s more feminine and angelic tones. The mixture of electronics, ebbing and flowing with the wonderful guitars rocking out.

The Swedish do some pretty flawless production and this is no exception. It lends itself to the clean vocals, driving guitars and synths that slip through all the cracks the guitars cannot. The sweet words keep you on the chain and asking for more, in this goth rock track by Then Comes Silence.

Chain | THEN COMES SILENCE (bandcamp.com)

Then Comes Silence (facebook.com)

THEN COMES SILENCE – official website

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In 1996, History Of Guns started their musical adventure and now in 2022, they continue that quest to create music after a hiatus, with the release of a new single, “You Wanted To Live” on the 25th of May. The currently incarnation has original members Del Alien (vocals) and Max Rael (keyboards, programming), plus adding newest member Jamu Knight (guitars).

Fuzzed out beats meet chiming keyboards, in a building vortex of emotions, all the while Alien’s vocals taunt you with the question of if you want to live, then why don’t you live. The angst is high and the guitar goes from strained to decimated complacency, though the electronics never stray from adding an extra layer of weighted darkness.

The band were helped out in the studio by Daniel Vincent (programming), Jason Knight (drums), and Gary Hughes (additional instrumentation). It is a great starter single, for the new album, that History Of Guns is threatening us with. Gothic, deep vocals and guitars that singe the air, all the while the electronics/synths give the track that harder industrial quality. In the end, you have this one life, so you can choose how you live it because “You Wanted To Live“.

Music | History Of Guns (bandcamp.com)

History of Guns | Facebook

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Washington, DC’s own gothic dwellers, The Neuro Farm, have dropped the song “Vampyre” off the album of the same name and to compliment the track, they have also created a beautiful and dark music video.

Rebekah Feng has a glorious voice and she uses it to great effect, whilst her band mates play around her. Sombre melancholy, with rich accents of gothic foreboding, that grace the air. The music is delicate like a spiderweb, intricate and wonderfully woven.

An ode to the loss of a way of life, the transitioning from human to vampire but also the death of a relationship. A woman becomes a child of the night and her husband cannot follow her there. Such a weighted sadness, pooling in liquid drowned dreams. The Neuro Farm are painting you a tale of darkness which is rich and silky in both sound and looks, and who knows, unless you bite, you won’t know what they taste like.

Vampyre | The Neuro Farm (bandcamp.com)

Indie Rock | United States | The Neuro Farm

The Neuro Farm | Facebook

https://www.instagram.com/the.neuro.farm/

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The project, Beauty In Chaos came to fruition in 2018 with the first album, Finding Beauty In Chaos, which was an amalgamation of friends around the core instigator, Michael Ciravolo. Having been in the music business for a while, lends itself to having friends such as Wayne Hussey, Al Jourgensen and Michael Aston, to name a few, help you out in recording. Now in 2022, the latest adventure, Behind The Veil, is a full female fronted affair, with voices that that are beautiful, bold and bring a new dynamic to the project. In essence, Beauty In Chaos (BIC), has become a family of musicians which includes Ciravolo’s friend Michael Rozon, as well as his wife, Tish Ciravolo, both whom have been involved with the project since the first album. The latest single off the new album, “Afterlife“, is sung by Tish, who also wrote the lyrics, so we decided to have an interview in two parts. The first part is with the lovely Tish, while the second half is with the man behind the guitar, Michael. Excitingly, we get to find out about the up coming documentary and personally, I love that history of the scene they candidly talk about in the 80s and 90s. So, what are you waiting for?!

PART 1 – THE BEAUTY – Tish Ciravolo, welcome to the beating heart of Onyx.

Tish, you also started your musical career in the 80s as a bass player at the tender age of 16 playing in bands, though you also did a degree in journalism. Hearing stories, such as the way Joan Jett was treated, as female musician, how was were you received due to your gender in the scene back then?

Of course, horrible!  The first music store I went into in LA, I was asked if I was picking something up for my boyfriend and that was the nicest comment I got.  Girls didn’t work at music stores and most female musicians were treated like they sucked, whether they did or not.  And this was almost 10 years after The Runaways started kicking open doors.  The guys at sound check basically just had the girl bands plug in, play a note and unplug.  That was the normal reaction from men in the business but I have to say, there were guys out there who helped and understood the struggle.

Lypstik was a big hair metal band you were in Tish…. how much fun was that and is this about the time you contributed vocals to a Human Drama track?.

LYPSTIK was a blast until it wasn’t.  We were playing Battle of the Bitches type events all the time, pitting the girls against each other for a show.  The Sunset Strip was a sight to behold.  You never know what the memory is when you are living in it and you don’t think it won’t be the same in the future.  But the entire scene did change.  At the time, we had a billboard on the side of The Roxy facing The Rainbow so we really felt like we brought the “girl” side to a very dominated metal scene, along with some very cool other girl bands at that time.

Having a band like Human Drama ask for a simple vocal was a dream come true!  But my name gets misspelled during interpretations… its not Trish, but Tish 🙂

Many people might not be aware that you, Tish created the company Daisy Rock, which makes bass/acoustic/electric guitars for girls and it has been really successful. What prompted you to create guitars for girls and what makes a guitar more for girls?

Daisy Rock Guitars came about organically.  After my experience as a female musician with all the discrimination I experienced, I happened on a way to change that for my daughters and all female musicians. Our daughter, Nicole did a drawing when she was 1 1/2 years old and I turned that daisy drawing into a guitar drawing and showed it to my husband explaining that if we made guitars that girls would want to play, that maybe, just maybe, we could get more girls to play guitar.  With Michael’s expertise, we created a “girl guitar” –  lighter in weight, slimmer neck profile, in super fun designs and colors.  Daisy Rock Guitars were born.  Fast forward ten years and I’m training 600 men on how to treat women in music stores….

Tish, you play the guitar with a plectrum (pick). Why does this weird people out and who are your guitar heroes? (mine admittedly are John Taylor of Duran Duran and the late Mick Karn of Japan, both fretless players)

I love Simon Gallup of The Cure and Tim Butler of The Psychedelic Furs.  I absolutely love Mick Karn and adore what Japan did way before Duran Duran, but fretless is not my forte 🙂

What is in the works for Beauty In Chaos as well as Tish and Michael Ciravolo, for the future?

I believe my husband already touched on the 5 year retrospective album he’s started putting together.  Also, I filmed my segment for the “Unveiled” documentary that should come out later this summer.  We have some live shows coming up with Gene Loves Jezebel where I will dust off the old bass guitar and get back on stage.  And there are some rumblings of trying to put BIC on stage playing live.  The future is so bright, I gotta wear shades!

Beauty can be found in the darkest of places, so what is your beauty in chaos?

One person’s chaos is another person’s beauty.  My beauty comes from a place of being a mother, being a wife and being a creative artist.  All those things comes with its own chaos no matter what stage you are in.  Toddlers to teenagers has its own chaos and beauty.  Loving my best friend, my husband for over 30 years now carries its own beauty and chaos.  Continuing in life to create, to bring my dreams to life, to continue to dream, to not give up.  That is my Beauty.  That is my Chaos.

PART 2 – OUT OF CHAOS– Welcome Michael Ciravolo to the darkness within the heart of Onyx.

Michael, your career spans back to 1980, in New Orleans, with The Models. When the band moved to Los Angeles, in 1985, there was a name change to Human Drama. What was it like playing goth rock, in those cities, in the 80s for you and especially at the (in)famous Scream Club in LA?

Looking back, the mid to late ‘80s scene in Los Angles was truly magical. There was certainly the Hollywood’s ‘hair-meta’ scene happening in a big way. GnR, Van Halen, Motley Crue and the dozens of 2nd and third tier replicas ran rampant on the Sunset Strip. Many getting massive record deals. But there was also a cool darkwave scene, with its focal point being Scream. So many great nights playing and hanging there; especial when it was at the Park Plaza location. Not to be outdone by the strip scene, A&R types flocked there, as well as a few other clubs… not only signing Human Drama, but also Kommunity FK, Caterwaul, Jane’s Addiction to name a few. Another cool thing was there was sort of a comradery between bands… even with the goths and big hair metal kids. It was not uncommon for us to be hanging flyers on the strip besides guys from Poison and Faster Pussy Cat.

At that time, America was in the grips of hair metal. What made you take to the gothic rock style?

As a kid in New Orleans, I gravitated to glam and punk when I picked up the electric guitar. Marc Bolan, Mick Ronson and Johnny Thunders were my heroes. When we formed The Models, we were a bit more power-pop, but got heavier and darker as Johnny’s writing matured. Before we made the move to LA, we were listening to The Mission, The Cure, Joy Division and The Sister. I guess we sort of ‘absorbed’ that into our look and sound.

You are also a member of Michael Aston’s Gene Loves Jezebel. What is it like for you to be a part of this iconic band?

When I rejoined Human Drama to record the live album at The Troubadour, Michael Aston had just released his solo album on Triple-X. With that being our label too, he was opening the show. After our set, a mutual friend, who ironically booked Human Drama’s first LA show, introduced us. He told me that he and Jay (Aston) were going to reform to do a reunion tour and would I be interested in being the guitarist. I had a few of the early post House Of Dolls Gene Loves Jezebel albums, which I though were quite good. I learned a few of the songs and I hit if off well with the twins. This lead to a 20+ date USA tour. I got to witness firsthand the old wounds Michael and Jay had, had burst open… which lead to us doing the last few dates with them not speaking to each other! The attempted to record an album with some of the ‘original’ line-up… but Michael left or got booted, depending on who’s version you believe. It is truly a cluster fuck, sort of like Oasis without the fame and money!! Michael again approached me about writing an album … which lead to two. “Love Lies Bleeding” and “Exploding Girls”. I have probably played over 100 shows with Michael’s ‘version’ of GLJ and there is talk of both Tish and I joining for some shows in support of The Mission. I guess we will see. I am proud of those two albums … but it is a shame as it could and should have been so much more.

Your latest project is Beauty In Chaos, where the debut album, “Finding Beauty In Chaos” was released in 2018. When did you originally decide this was a project you wanted to take on?

After Human Drama’s ‘final show’ in October 2015, Johnny had released a few solo albums … sadly with little notice, except to hard core Human Drama fans. I guess I am credited to talking him into doing another Human Drama album, which began to take shape in early 2017. In my head, I had hoped we would return more to the darker, edgier sound of the band; but it was really not what Johnny was into. In the recording process of what became “Broken Songs For Broken People”, I grew frustrated and probably tried to force a more aggressive guitar approach than really fit these songs. Looking back, I am happy with the album and what I added on guitar. I was never a big David Gilmore / Pink Floyd fan … and that is what Johnny continually referenced for the guitar parts he envisioned. In the end, it made me delve a bit into it … and now I truly appreciate how great Gilmore is. Michael Rozon, was recording my guitar parts for the album, and certainly could sense my growing frustration … which lead to him turning to me and saying “why don’t you just do your own album?”. I quickly blurted our ‘YES’! Then the stark realization crept in that now I had to do it. Not being a real singer, I decided that I could ask some friends to sing. Luckily two few friends … Robin Zander (Cheap Trick) and Al Jourgensen (Ministry) jumped in quickly .. and thus Beauty In Chaos was born. Thankfully, what for a few moments was my ‘solo’ record (which I find most solo records by guitarists to be quite boring) quickly morphed into this revolving / evolving entity we call Beauty In Chaos.

Did you ever envision that you would create your first album with such people as Wayne Hussey (The Mission, ex-Sisters Of Mercy), Simon Gallup (The Cure) and Aston Nyte (The Awakening)….in essence an amalgamated super group?

While I never set out for this to be a ‘supergroup’, as I hate that term, as to me, it sounds a bit pompous. I am certainly blessed to have a lot of friends that also happen to makeup a big part of my record collection. I never take any of the artists that contribute to BIC for granted. Whether well-known or lesser known, each of these artists put their heart and soul into the song(s) we created together.

But the ‘kid’ in me sometimes must pinch himself when I look at who has been part of our BIC family. Even the artists that are ‘platinum’, iconic or even in the Rock and Roll Hall of Fame treat the entire concept of what BIC is with complete respect, and myself as a contemporary. Yes, still all more than a bit surreal.

Michael Rozon has been there, recording, mixing, and producing, not to mention playing instruments as well. Could you please tell us about this relationship/friendship?

Michael is one of my best friends in this world. I could not and would not do BIC without him. Far more than just suggesting I make my own album … he allows me to play my guitar while he focuses on the tech side of recording. He is also amazingly talented. Like our records or not … they do sound great and that is due to him. He has a talent to push and encourage me at the same time. He sure as hell has made me a better musician. And we have a fucking blast being in the studio together!

We met back in the mid ‘90s. I was in a post Human Drama (pre GLJ) band that was getting label attention, but our singer had a drinking issue. I could see that we had hit a dead-end. My then girlfriend and now wife, Tish, saw a ad on a telephone pole of a band, Drain The Doves, looking for a guitarist. She actually called Michael and invited him to a show, which ironically ended with me smashing my guitar against the wall on the stage out of frustration. I walked off stage, out to Sunder Blvd. and Michael walked up to me as I was probably screaming ‘fuck this I quit’ and said you are our guy. We have been great friends ever since.

Since that release, there has been the release of the album “The Storm Before The Calm” and two remix albums, which brings us to the 2022 unleashing of “Behind The Veil”. This release is a little more special as it features only female vocalists. What was the inspiration behind going in this direction for the album?

When we were finishing up ‘The Storm Before The Calm’, I was having an internal debate with myself if we should include “Stranger” (featuring Holy War’s Kat Leon) on this album or if we should write an additional gloom-rock track. While I absolutely love “Stranger”, I knew it was a bit of a departure from the rest of the album. In the end, I went with my original thought and ended the vinyl with it.

After hearing the album in its entirety, I thought it “Stranger” would be a cool lead-in to what came next for us. I do love all three female featured songs on ‘FBIC’, and what Kat and Cinthya had done with us … there is the genesis of ‘Behind The Veil’.

The latest single is the slow burning and dreamy “Afterlife” sung by your incredibly talented wife, Tish. What has it been like for both of you working together on this track for Beauty In Darkness as best friends and lovers?

“Afterlife” is a great song and a perfect opening song for this record. I could not be prouder of what my wife did. I love what she did on “Lookup” on our first record, but this tops it and is easily one of my top 5 BIC songs. When Michael and I wrote the music, I knew her voice would work well on it, but it is a bit of a different, linear song … there’s not the big obvious chorus section. She took the music and made it into a great song. Honestly, I am probably a bit more demanding on her because she is my wife and best friend … and I am sure she feels the pressure to prove she is on this because of her talent, not because she is my wife. I defy anyone to doubt her talent after what she delivered on this song … lyrically and melody , and the video. I think her ending line ‘love is all there is’ will live alongside Ashton Nyte’s ‘there is always a light (from ‘Storm’) as seminal BIC lyrics.

Having Elena Alice Fossi of the legendary Kirlian Camera sing “Kiss Of The World” must have been a bit of a coup. How did you end up getting the beautiful Italian singer to become involved?

I tried to remember how I became aware of Elena while doing press for “The Kiss Of The World” video. I think my press agent, Shauna (from Shameless Promo) was promoting something Elena was part of. No denying her beauty, but it was an interview I saw with her. Far more than a pretty face, she is extremely intelligent and I loved her courage to stand up for some social issues that plague the world. Plus she has an amazing voice. I got her email, and just introduced myself. I tuned out we had a mutual acquaintance in John Fryer, who had has done several BIC remixes and I am of Italian decent! I just straight out asked if she would be interested in working together at some point. Thankfully, she said yes and then fast-forward at least a year and we sent her a music track that she turned into “The Kiss Of The World”. I also love the video we did for this song, which she shot all her parts on a green screen in Italy. Industrialism Films, who have done most of our videos, did an amazing job of melding her into the dystopian sets we created. I must add that her Kirlian Camera fans have been so gracious towards Beauty In Chaos.

There are three more extremely talented women on the album, so were they acquaintances or professionals you felt you needed to have sing on the album?

Yes, Cinthya Hussey, Betsy Matin, along with my wife, Tish, are BIC alumi … appearing on songs on previous albums. Besides Elena, Whitney Tai and Pinky are new to our BIC Family. I knew Pinky Turzo from the early days of Human Drama; and loved what she had done vocally in Silver Ghost Shimmer. “Not Your Fault” is a different song for us … but I love everything about it. She channeled the ‘chaos in her beaut’ in the song’s lyrics, but in a way that most of us can interject something from our life into. To me, that makes a great song.

Whitney Tai was introduced to me by our mutual friend and BIC alum, Kat Leon of Holy Wars. Whitney and I immediately hit it off musically and she has become a really good friend of Tish and I. I heard some of what she had done on her albums and could hear the Bjork influence. I told her I wanted to do a song with her that fell between Bjork and Bauhaus. Wide net I know … but it rolled off the tongue nicely! What became “Orion” evolved so easily … almost effortlessly. To me, it encompasses all of the elements of BIC. Lots of ethereal guitars, but with blasts of chaos and sonic interference. Love the video too!

Remixes were a huge thing in the 80’s (hence all those wonderful 12-inch singles), though they seem to fall out of favour with the era of CDs and now there seems to be a renaissance. Half the album is remixes, so what was the reason behind this decision plus tell us about the newest remix album as well?

I was certainly a fan of the great extended 12” singles, however I never cared much for a remixer just replacing the drums with a ‘dance beat’. In BIC world, the remix concept happened really by accident … but I am a believer that things happened for a reason. When we were making our debut album, ‘finding beauty in chaos’, I had imposed a ‘no synth’ rule. Meaning every sound on that album came from manipulating my electric guitar. Wayne (Hussey, The Mission) introduced me to Tim Palmer.. who has always been one of my absolute favorite producers.

I was in Austin with he and Wayne, as Tim was mixing The Mission’s ‘Another Fall From Grace’ album. We were out having a few libations so I said what the fuck and asked Tim if he would mix a BIC song that Wayne was featured on. Amazingly Tim said yes. I sent him both “Man Of Faith” and “The Long Goodbye” to mix. In my excitement that he was doing this, I failed to tell him about the ‘no synth’ rule. See where this is going? So I get back “Man Of Faith” and is brilliant … but Tim added so cool keyboards and some nice guitar bits. So how do you tell your favorite producer “Great mix mate, but can you take those keyboards and guitars out!!!” . The answer is you don’t! Thus the idea of ‘Beauty Re-Envisioned’ was born. Thankfully, I am blessed with a lot of very talented friends that were eager to jump in and do some amazing reinterpretations of songs from ‘FBIC’. Since this worked well, at least in my opinion, we again followed up ‘The Storm Before The Calm’ was ‘Out Of Chaos Comes…’.

I really enjoyed turning the keys over and hearing how other treated these songs. When it came to ‘Behind The Veil’, I was adamant about releasing it before the end of 2021. My BIC cohort, Michael Rozon, was working on a Ministry album at the same time, so our studio time was a bit limited. We created these six songs, which worked in the confines of vinyl, both left a lot of ‘time’ remaining with the 75-minutes+ available on a compact disc. I thought it would be cool to change what we had done previously, and include remixes on the CD version of ‘Behind The Veil’. In typical BIC fashion … the idea expanded, and we had so many creative and diverse remixes that it lead to 25 tracks, and ‘Further Behind The Veil’ !!!

Who or what music inspired you to become a musician?

Watching those great late-night music shows… The Midnight Special and Don Kirscher’s Rock Concert. Seeing T. Rex and David Bowie was a life changer for me. Until then, I wanted to play pro football. I quickly realized that girls, especially cute ones liked guys in bands more that jocks! Watching Marc Bolan pout and prance and seeing Johnny Thunders with has big mane of hair and low-slung buzz saw sounding guitar sealed the deal for me. One of those surreal moments in BIC, and there have been a few, was getting to record and do a video of T, Rex’s classic, “20th Century Boy” with Marc Bolan’s son, Rolan. Yeah, doesn’t get much cooler than that.

Do you find yourself listening to new acts now and what gets your creative juices flowing?

Sadly, I don’t find a lot new or very ‘inspiring’ in new music. Maybe it’s showing my age …. but I am looking far more forward to the next Cure record than anything I have heart of late. I am sure I am missing something, but I got more inspiration from sounds, and new musical ‘toys’ as opposed new acts. I just don’t see much longevity in what I hear.

Beauty can be found in the darkest of places, so what is your beauty in chaos?

Life is indeed filled with both beauty AND chaos. Sadly our world has fallen more into the latter as of late. For me personally, my beauty is my family. My wife and two beautiful, healthy, strong-willed daughters. I am beyond blessed for them.

Now, if you were given the chance to record a track with any goth rocker from the past or present, dead or alive, who would you pick and more importantly, why?

To me, and something I carry into Beauty In Chaos is lyrics. I want our singers to write from the heart, songs that have a deeper meaning, even and especially not overly obvious. To be clear, all of the singers in our BIC write their own lyrics and melody. Michael and I don’t give any verbal-guidance, but I think the music we send them sends them down a path to turn it into a song. As for your question, I think in the goth/darkwave world … most of the great singers do write wonderful lyrics. I would love to work with Robert Smith and Peter Murphy. I do know both and have approached them both. Each was kind and did consider, but at the time, each was very deep into writing for The Cure and Bauhaus. Maybe one day! Siouxsie would certainly be someone I would love to work with. I know you question was ‘goth’ specific, but there are other amazing, influential singers I would to have had, or have the opportunity to have as part of our BIC Family.

Having the chance to work with David Bowie, Marc Bolan and Michael Hutchence would have been amazing. Shirley Manson, Bjork, along with several of fantastic ladies of shoegaze … Elizabeth Fraser, Rachell Goswell, Lisa Gerrard and Portishead’s Beth Gibbons would be on my ‘want list’. Can’t end this hypothetical list without adding The Furs Richard Butler, who has always been one of my favorite vocalists.

What is in the works for Beauty In Chaos and Michael Ciravolo, for the future?

We are working on a behind-the-scenes look at ‘Behind The Veil’, cleverly untitled ‘Unveiled’. This is being done by the great people at JammerDirect. This documentary will include some great insight from the six amazingly talented ladies that make up this album, along with some thoughts from a few of the remixers involved. This should be premiered before the end of summer.

We are also planning a video from “Open Would Heart”, which features the lovely Cinthya Hussey. I really love this song, and her lyrics are beautiful. With her in Brazil, it has some challenges, but we managed with Elena, so I am confident that we will create something special that fits this song.

With Michael Rozon currently on tour with Jerry Cantrell, our studio time is a bit hard to come by, but I think it gives me a writing break that I probably would not have! That said, we are looking at releasing sort of an anthology CD…. BIC 2017-2022 type of thing. I am going thru all of our tracks, including the remixes and trying to pick the 13 or 14 songs that give the best sonic overview of what we have done to date. I have both a title and a photo in mind … so that’s half the battle. I am thinking of adding one new song to this…. Which may indeed by a cover song that stuck in my head during my recent visit to my hometown of New Orleans. We will see.

Thank for indulging us Michael and Tish, and we can’t wait to hear what you do next.

Behind The Veil | BEAUTY IN CHAOS (bandcamp.com)

Beauty In Chaos | Facebook

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July 15th with see the release of the new Kill Shelter album, Asylum, which is a celebration of over 40 years of the dark scene, but for a taste now is in the form of the new single, “Necklace:, featuring Sweden’s Agent Side Grinder. Edinburgh’s Pete Burns (Kill Shelter) composed the music while Johan Lange (Agent Side Grinder) wrote the lyrics.

From just the beginning, you know this is going to be good, the way the guitars collide and resolve, only to be subsumed by the drum machine and electronics, that play host to the vocals. It makes you want to move and dance to the thrum of the beat and guitar, whilst caught within the vocals of Emanuel Åström. It’s simply brilliant.

Such a breathtaking use of instruments, highlighting the darkness between the light. The vocals wash over your senses, not only sonorous but also pulling at your subconscious with the lyrical content because “Necklace” is about finding solace within one’s self when faced with daily abuse, be that physical and/or mental. This all ties back to the album, Asylum, which is all about the different types of havens people seek to survive.

https://killshelter.bandcamp.com/album/asylum-us-version

https://killshelter.bandcamp.com/album/asylum-european-version

https://www.facebook.com/killshelterofficial

https://agentsidegrinder.bandcamp.com/

https://www.facebook.com/agentsidegrinder