The end of June saw the new single from the UK’s ParisAlexander and Eirene called “BloodLine” released. The duo often collaborate creating dark synth music and the best place to find their music is on Bandcamp.
There is no disappointment with “BloodLines,” from the pulsating synths that revolve building up the tension, spilling into Eirene’s exquisite vocals. There is even delicate vocal play between Eirene and Alexander and if you listen carefully a guitar also subtly creeps into your subconscious.
You could say there is tension in this track and maybe it is from the knowledge that even though we live, we are also in the process of dying. Eirene and Alexander are very good at creating sensuous music that can hypnotise the listener into moving involuntarily to the rhythm. “BloodLines” is yet another example of this prowess.
For us kids, of a certain age, 1984 was a time of huge musical hits, and the Summer filled with the sound of LauraBranigan’s “SelfControl.” Toronto’s JayDraper& the Subterraneans have revived the single, that was incidentally originally released in ’84 by Italy’s Raf, and now has been included in the soundtrack for the new horror movie MaxXxine. I guess this guarantees something a bit dark……
The original (Branigan) version was kind of a rock anthem with these big punctuations, followed by aahhhs, and this is something you should not expect from Draper. Draper has drawn on the electronic side of the force, while his singing is delicate and spidery, ramping up the creep factor during the verses. Do not mistake the delicate for weak as there is steel beneath, cold as the looped winds that sweep through “SelfControl,” and it feels like there is a grieving lament in the powerful chorus. There is also a bonus b-side “Ascending to the Moonlight City” and this perfectly fits the mood as an instrumental piece, darkly lit by synths, casting their gloom on grim streets.
Hearing this track with Draper’s vocals is a bit of a spin-out being so used to Branigan’s, as I am not sure if I have ever heard a male cover, so that is pretty cool. He has created an attention grabbing atmosphere , which one might even say wavers between euphoric and claustrophobic, and this seems to be enough to cause shivers down the spine in complete delight. Yeah I can still hear the aahhs, but this is such a great choice for a horror movie and I have to say that I listened to this one too many times….addiction is a terrible thing *happy le sigh*.
LokiLockwood has been a constant in the Melbourne music scene since the 80s, involved in both gothic and electronic genres. This has led to his creation of the label SpookyRecords, as well as starting the CreepyHollow studio. On top of all this, his most current project is the goth, electronic Velatine, where Lockwood has guest female vocalists join him on tracks. I can tell you now, Loki is one of the most genuine and unaffected people who loves what he does, so join us as we pick his succulent brains about his career, of course Velatine and why they are saying “FCKYOUALL.”
Salutations Loki Lockwood and welcome to the hallowed halls of Onyx.
Thanks Adele, I’m honoured to be invited.
Loki, you have been based a long time in the Melbourne gothic/post-punk scene, Can you tell us about your early years and the bands you have been involved in?
I was consistently playing in bands from my late teens to my late 20s. I have nothing really to show from this era, most has been lost in time, very different to now where every event is tracked. One band I had was called Blackburn. Someone sent me a link of us playing on a RMIT-TV show or something like that, I think might be still floating around. I did a stint playing with Ollie Olsen for his Orchestra of Skin and Bone album alongside John Murphy [Drummer, later in Death In June]. Even this is a hard one to find, it was pre CD days so it came out on vinyl, it’s still the only format you can hear it on, fortunately I still have my copy. I was in my mid 20’s and a huge admirer of their music. I know there’s a big part of this music in Velatine, the electronics of Ollie and John’s work, the noise, discordance, percussive elements. When Ollie became the music director for Dogs in Space we all got dragged into that. Quite the experience. You’ll find me in there somewhere. After that I played guitar in another band Practical Folk Music, we played a lot of shows in Melbourne and Sydney with bands like Box The Jesuit and Lubricated Goat, there’s a split single with Hugo Race that came out in Germany and a track on a compilation. But as I said, most of these bands are lost to time which is a bit of a shame, some of it was quite fucking cool. After all that and more I was pretty much over playing in bands by the end of my 20s as they often imploded just as they were starting to get going.
Melbourne has always had a fairly strong alternative scene, so how has this impacted on you socially but more importantly, artistically?
The Melbourne scene, it’s incredibly strong artistically. It always has been. It’s always morphed from place to place to survive. All I ever wanted was to be around music in this life and as I had a fascination with sound I started mixing bands to make money, later this became studio work as well. I worked with a lot of really, really great people for a long time and so that was sort of why I stopped playing as well. I exposed myself to so much different stuff by mixing. I was always attracted to the dark side, and it seemed to be there for the finding. I worked with Rowland S Howard for many years doing his live sound, that angular guitar thing and lyrics is one influence. Ollie, for that electronic / noise stuff and merging genres. Spencer P. Jones for that garage sound and what a songwriter. Well they all wrote great songs. I guess I was also influenced by the ones combining electronic elements with conventional instruments that were on the periphery in Melbourne, I still get called up to do live sound for Snog. Any music I was doing was behind closed doors and I never really got it together to get anything out until recently. Largely because I was doing all this stuff for a lot of other people.
As an audio engineer, you have your own studio called Creepy Hollow, so who have you worked with in this capacity and is it really that creepy?
It was named Creepy Hollow when we moved into this place 10 or so years ago. The studio is in the attic rooms of the house, the walls are painted blood red, there’s paintings and posters and stuff on the wall that are special to me, the rest of the house has taxidermy, antique furniture and cats. When we got the place I was really hoping it was haunted, so the name sprang from that. It was built in 1929 and has a bit of The Amityville about it. We’re the second owners and I so wanted to be entertained by their spirits. No luck there I have to say. The studio was really built to do Velatine so it’s largely a private studio. But I mix records here and do a lot of mastering so it at least pays for itself. There’s a section of it that’s soundproofed so I can do guitars here and yeah it’s an awesome vibe. People really enjoy coming over and working here [if they’re allowed] and singers especially love working in this space.
In that vein, you also run the label Spooky Records. Why did you start up Spooky Records and tell us about the label?
I started the label with my partner Jasmine in 1999. At the time I think it was the impact of the grunge / Nirvana era. A lot of the independent labels got absorbed by the major labels hoping to find the next big grunge hit. There just seems to be a huge lack for much smaller artists who needed help to get their music out. We started putting the feelers out and really it was Spencer P Jones that got it all going. We found out he had a record that was unfinished. Tony Cohen was the engineer so we decided to take it on and this was our first release The Last Gasp. So I guess we were one of the forerunners of the new generation of independent labels. We did albums for Spencer P Jones, Drones, Six Ft Hick, Gentle Ben, Digger and the Pussycats, Link Meanies side project bands Bakelite Age, Sun God Replica, the list goes on.
How hard is it finding balance and time for all these different roles that includes creating music?
It’s hard to say no to things but I’ve been lucky in that I have a part time job where I mentor students in the studios at RMIT, that helps handle the money side of life and allows more creative time these days, but I love writing so I just lock myself away most weekends and create.
Your most current project is the darkwave Velatine. How did you start up Velatine and who you have been working with?
It was something I always wanted to do, and as I said, I was doing it behind closed doors for so long. I discovered Ableton in 2018 after struggling with various modern programs for ages and I had an instant connection with it. It just opened up everything for me. It was like I could get the creativity out of my brain for the first time in years because of its fluency. When lockdown hit I’d been looking for women to work with, initially wanting them to do lyrics and and write vocal lines. As that became impossible I used the space to just get better at what I did, so I went down the road of making cinematic, gaming music which was the first record. Just hoping to build some sort of profile I guess while I was waiting for a singer to come along. That stretched into a second album and then after working with a few different women I came across Maggie Alley. By now I was writing the lyrics as well so we recorded a song together and it clicked. That expanded out into an album but then she wanted to concentrate on her own music so we played a show last year to celebrate it all and off she went. Late last year I was working on a song and for a second time reached out to Inga Liljeström, the first time I’d asked her, she was interested but not available. It just felt like she was the perfect voice for “Nothing To Do With You” and indeed she was, I’m immensely proud of that collaboration, and she’s so talented, I still feel the stars aligned.
Have to say that the last two singles have been pretty forthright in attitude. Can you talk us through the story behind “Nothing To Do With You?”
With “Nothing To Do With You” It’s about a friend I know, isolated at school by so- called friends, even put down by her family who told her women were not smart enough to run a business. But she always knew what she wanted to do in life but no one would give her a chance. Over the years I’ve seen her work hard, save her money harder and then become that successful business woman she wanted to be. Years ago I remember her taking classes at Circus Oz, that’s where the imagery came from to create the narrative, there’s so much colour in a circus to draw from. As I write this I think back to all the so called outcasts that were hanging around the Seaview Ballroom. I can think of so many that continue to make their mark on the world in their chosen, mostly creative fields. Maybe that era taught us a lot about self belief, a punk rock attitude. I’m sure there’s a lot of that era in there as well. So I write with the idea that the listener might see themselves in that story and make the story about them succeeding against all odds.
I had a little giggle at the new single “FCK YOU ALL,” especially with the death nell bells chiming and all this is actually about the mental health of artists such as musicians. What brought you to the point of writing this track?
A lot of my songs are really about optimism I guess. They’re often positioned within a negative context like with “Fck You All”. I thought I should explain it a bit when it was released. It was one song that developed quickly and the lyrics were really abstract. It’s the importance of self belief again, a reminder to myself this time, or maybe more for my friends, like Barb who helped on vocals. For those who go into battle with their own creativity. That whole “why bother” it’s a tough thing we play with.
I know it sounds like I’ve cracked it!! I’ve been looking at a lot of ways of how musicians can break through the noise. There’s just such an immense amount of music getting released and so I’ve focused a lot of energy on finding my audience. You can’t just put it out and expect people to find it, but then of course you release something, then you feel like no one has noticed it after putting in hours of work so you have to be resilient. In a way it’s a mantra to myself to hold fast believing in what I do, because I think if you deviate from being yourself, and copy music that has success you just become like everything else that’s around. Then you’re just some sort of phoney. So I’m creating music that I like, regardless of how much it’s noticed, I have to firmly believe in it and that’s the essence of the song. So yeah I’m telling myself to do this.
How would you describe your style of music and does composing come naturally?
I don’t even know what my style of music is. You said Darkwave, I guess elements from there, it’s a cross genre thing, there’s influences coming in from all directions. Post-Punk, Gothic, especially surrounding the darkness of the lyrics. Industrial Music, Industrial Noise, Orchestral, Electronica. It’s those genres I’m most keen on and so I smash them together and mess with them. Composing is a very natural thing for me, I’ve written hundreds of pieces of music in the last five years but of course not many will ever see the light of day. I’ve learnt that inspiration is actually hard fucking work. Then you have the lyrics to deal with. Once again, hard work, it’s lots of writing for me to get a song really expressing what it should be and I’m still learning the art. But I love that I’m always learning, always discovering the new.
I am always interested in what bands and acts influenced artists, so who influenced you, Loki?
The big influence is gotta be when I was young seeing a lot of bands at the Seaview Ballroom and other venues around Melbourne. Bands like The Cure, New Order, Gun Club, Birthday Party, The Creatures. All very raw music at its heart. Most weren’t great musicians when they started, but they made great music and became accomplished over time. I think it is probably the biggest influence. I wouldn’t say I’m a great player but I’m a good composer and of course your youth is a huge influence, so it sort of reflects back on the earlier question about what Melbourne is to an artist. These influences really map out the rest of your life in a way.
Who do you find yourself listening to these days?
Right now I’m listening to a lot of music on Spotify, I’m a new convert and that really feeds back to the rising above the noise thing that I’ve been looking at. Many of my peers gave out the message to hate Spotify, how it doesn’t pay artists so it was something I had no idea about. I finally set up my artist profile at the start of the year. They gave me a free trial and I just totally loved it. It’s the new radio, new discoveries, a place where musicians can own their own product and share it with the world and use that power to benefit their art. It’s something we really can’t challenge, you know, how much is paid out, but there’s artists who are totally using it to make an impact and even become self-sufficient. If you look at it in a different light it’s not as bad as people say. Fuck, it’s always been hard to make a living from music but the old school gatekeepers have lost their power because of this, that’s got to be a good thing. So I’m really trying to find a lot of new stuff in the sort of area where Velatine might fit. You find this stuff, you reach out to the artists and make connections and build community. I’ve got a playlist I’ve just started with lots of these finds and hope that I can engage people, to not only listen to what I do, but others making similar music. So it’s mostly electronic stuff, all of the darker genres, and heavy with female artists whose voices and composition blow my mind. Otherwise I’ll smash out an old favourite like some Laibach, Ministry or Siouxsie and the Banshees, that sort of stuff.
If money was no issue, what sort of video would you make for the track “FCK YOU ALL” and is there anyone you would have in it?
Probably some sort of parody of the “I’m Rich” hip hop clip, why is this a thing to aspire to? I just don’t get it? And I’m sure most of these artists are going into debt with their record labels to portray this shit!!! In mine we’d be travelling in beautiful old black Mercedes Limos. My friends and I, dressed to the nines partying by the pool of some amazing manor house, and women treated with respect, not as objects.
What is next for Loki Lockwood and Velatine?
The plan is to release a single every 2 – 3 months for the time being, most likely with a different singer each time. I’ve got 2 tracks done and these also have re-mixes that take the song in a different direction. I’ve also got a lot of material written ready to record so hopefully you’ll start to see more from Velatine.
On that note, spoilers sweetie… the next single is called “OrangeToBlack,” and you can’t get more Halloween than that!
Minneapolis based band, autumn, have been honing their post-punk music since their three member inception back in 1994. JuliePlante (vocals), NeilMcKay (guitars/programming) and JeffLeyda (bass) released their new single “catacombs,” in May, with WilliamFaith (BellwetherSyndicate) recording, mixing, mastering and producing at 13Studio. This track is off the new soon to be released album, songs about dying, out on SettRecords.
There is something warm and inviting in the tone of the guitars, rich and deep. JuliePlante is quite mesmerising as their lead singer and she sings you a song of love but in the end everything dies, and it all feels so fleeting. Sometimes memory is all we have and that we live on in the memories of others..
“This song really hits on many of the big themes still circulating in our lives right now, but it really came together during the COVID lockdown time. I knew my dad was nearing the end of his life, and I was finding myself really trying to make my peace with this fragile world and my own limited time in it. I was also really dealing with solitude in a way I hadn’t ever before: recognizing that we are each born alone and will ultimately die alone, and yet we are never alone… Much of the video footage was shot up north in the woods in the coldest part of winter, and that too felt right to me. The starkness of a northern winter landscape has always spoken volumes to me of the thin line between life and death.” – Plante
The music video is beautifully shot by Faith, between a snow laden forest and the group playing together. Bones might reside in “catacombs,” but those remains hold stories of lives with great loves and this track is genuinely a lovely gothic ode to life from autumn.
When creating music, is the artist doing it for themselves to induce joy or for the audience, who may not be so receptive or critical? The latest track from Melbourne’s Velatine delves into this quagmire, delightfully called “FCKYOUALL,” out on the SpookyRecords label.
This is not some punk song, as this is doom coming to get you with death tolling bells and Lockwood is joined on vocals by BarbDwyer. There is a more industrial tone to the electronics and indeed the chorus is a resounding ‘fuckyouall.’
The commentary of the lyrics is about the toll of being an artistic type in the alternative genre, where it can be a thankless slog to gain recognition, often leading to mental health issues, then relying on substances like alcohol and drugs to get that kick. This is a much darker and harsher sound for Velatine, if that is possible for a goth project, and it is accompanied by a music video, shot in black and white by MarkBakaitis , as the duo stalk through the night-time streets of Melbourne with no fucks given. And honestly, I think we all need to occasionally let off steam and say “FCKYOUALL.”
Late at night, when all are asleep, and yet slumber escapes you…. do you hear it? Noises from under the bed, or is it the cupboard or down the hall? Maybe, you are about to “MeetMrScratch,” which coincidently is the new video for the single from SinisterFate, the shock rock five piece unit, based in Chicago.
Häxan, the Swedish silent horror movie from 1922, is the setting for the video, where the band has been grafted into the the story of medieval witchcraft and terror. Band members, DavidBates (vocals), NoelDivad (guitar), LeoGarcia (guitar), TheOmen (bass), and DK (drums) seem to play the roles of ghastly beings who are watching and taunting the religious protagonists, while the music heightens the paranormal tension, in that sassy theatrical way.
In the milieu of such artists as RobZombie and Wednesday13, it has to be said that horror inspired rock is very appealing, especially with its tongue in cheek sense of humour, which definitely is there in spades when watching the music video. Basically it is good old fashioned fun, enhanced by a guitar fuelled track, where one must be careful or encounter the SinisterFate and “MeetMisterScratch.”
Swedish label ProgressProductions have dropped the new ABUNEIN single “Unwanted.” This is the darkwave band’s first single off their soon to be released third album.
The quick build up to the guitar and vocals, is like a release of dopamine to the system. The guitar work is darker and oppressive, especially when joined by the swirling winter soundscape synths, painting a bleak picture, with the vocals as the focal. Those vocals are beautiful and yet ooze a icy quality.
The beginning of this track became well ensconced in my head for quite a while, and in the back of your brain you can hear those sultry vocals just making your day a little more sexier. ABUNEIN have definitely make “Unwanted” a track to dance your little dark hearts out.
Those Norwegian lads Mayflower Madame are back with a new single “A Foretold Ecstasy,” out on the label NightCultRecords. Even better is the fact that this single heralds the release of their third album. Things to look forward to from Trond Fagernes (vocals, guitars, bass), Ola J. Kyrkjeeide (drums) and Kenneth Eknes (synth).
Bring on the post-punk goodness with those deep bass lines, while the synths sweep through like a cold breeze across a lost soul, with the warmth only found in the chiming guitar. The vocals are smoothly aloof and lost in the distress of the character portrayed.
“AForetoldEcstasy” could be about the act of sex being the only thing that brings the main character any modicum of pleasure which seems to be very fleeting, while everything else in grey and pointless. Whatever it is about, the music is beautifully elegant and atmospheric, and ultimately, MayflowerMadame are wonderful to listen to.
A hex is a spell or a charm, bestowed by a person that might otherwise be called a witch. MargotDay is Metamorph and March saw the release of the new album HEX on DistortionRecords. Day has been in the New York gothic scene since the 80s, which means the lady has a wealth of experience and as a practising witch, imbues her songs with the spellbinding heart and soul of her craft. If this wasn’t bewitching enough, May 31st sees Metamorph drop the EP WastelandWitchRMX, with re-imaginings by SilverWalks and Vetica in order to get your woo woo on. So, we played our tarot cards right and managed to conjure up a link to the enchantress known as MargotDay in order to ask her a few pressing questions about herself and HEX.
Where night nor day ever meet, welcome Margot Day to the ritual grounds that is Onyx.
Margot, you play the flute, so are we to gather you are classically trained and if so how do you think this drew you into the gothic scene?
Yes I am classically trained in flute, and my voice in opera. I drew a lot from this classical background in the arts. My mom was a dancer and theater person who put me on the stage as a 2-year-old, and my dad a artist who played the piano – I joined him on the flute when I was 7 years old – playing classical music as a child. Gothic literature. High-art with its deep meaningful themes of darkness, life and the hereafter, immortals, the supernatural, all these elements of haunting beauty—it was a natural bridge. I wanted to create music with layers of depth, timelessness, enhanced by a mystical witchy vibe – gothic is the perfect genre for me.
You have been a fixture of the New York post-punk scene since the early 80s, playing with bands such as The Plaque and Slow Walk 13. What was it like back then, and do you look back with great nostalgia or is it all a bit of a blurr?
More of a blurr! A glorious wild blurr… But honestly maybe because I am always creating something – I kinda naturally live in a blurr anyways.
Since that time, you have gone on to create the project Metamorph, where you are the lead singer. Could you give us a little background on how the band started and also members please?
I had a profound healing experience. I had lived with chronic pain for many years and then went through what I consider both a psychic and medical miracle. Its chronicled in the “Metamorph Healing Documentary” On YouTube. I had temporarily given up on making music because of the pain – during the healing process I reconnected with my life destiny and the promise I made to the powers that be that I would make music in this life-time. The Metamorph line-up is me, Thaliana on back vox and keys. My twin flame and partner Kurtis Knight sings and plays soundscapes. Our daughter Julifer Day sings on some of the Metamorph albums and contributes lyrics.
2024 has seen the new album “HEX” drop. Coming out of covid, etc, how long have you been working on this album and was it an easy or laborious task?
Covid stopped me in my tracks – I went into a deep funk grieving for all the shows that were cancelled. Everything fell apart. A time of re-evaluating who I am and what I wanted. Facing myself and my pain ALONE. It took about a year of curling up weeping – and then… I realized how much I wanted to create new songs in a way that was my own – isolation was key.
The songs poured out of me – nothing laborious about it – like a waterfall that just keeps flowing – I reached out producer Erik Gustafson of Adoration Destroyed and Eva X, and with his musical talent and production skills this phase of Metamorph was born. Erik is the Metamorph Alchemist and an integral part of the current Metamorph projects. First album after Covid was “Kiss of the Witch”. Then came HEX. We are deep in it with the new songs for the next album.
The album drips in subjects of witchcraft, occultism and walking between two worlds, spiritual and physical. Is this a subject that has always fascinated you?
Absolutely – Metamorph drips with Witchcraft. I am a Witch. Nature magic. Vortexes and altered dimensions. Pure healing magic.
For me, I see a lot of your music as an expression of feminine power and resilience, especially as witches are often thought of as being female. Do you think this a true statement and what are your thoughts?
My parents never made me feel like “being a girl” was some kind of handicap. So I don’t really think about myself in terms of feminine power. However, power and resilience are my mantra. It is my hope that Metamorph encourages by example for others to find their own power and resilience. Are Witches only women? I don’t know. But I doubt it.
We have to ask…what do you mean by “Woo Woo,” does it have the same connotations as the more British version of getting up to a certain type of mischief and what has this all to do with cats?
Woo Woo – I mean sexy witchy magical fun. To me black cats are the emblem of witchyness….
Here at Onyx, we are most appreciative of the title track “HEX”, and delight in the lyrics ‘Your eyes, like onyx stones, A power source deep and dark.’ You got that right baby! Do you have any favorite tracks off the new album?
No favorites. Each track has its own life. Each song is its own multidimensional jewel.
You have excellent taste in who you work with as far as remixes go including Adoration Destroyed and SPANKTHENUN. This album has some stonkingly good remixes by Assemblage 23, Grendel and MORIS BLAK. How did you get these guys involved?
Shout out to William Zimmerman of Moon Coil Media for connecting me with some of them. Having my music remixed by these brilliant successful remixers is one of the greatest joys for me. Gratitude. LOVE IT!! Just got a HEX remix done by Chris Hall of Stabbing Westward – out now all platforms. AMAZING!! My intention is to honor the Metamorph HEX album with various remixes over the next few months. Wasteland Witch remixes drop May 31 featuring Silver Walks. HEXPLAY – THE HEX CD REMIXES EP” drops July 12 with a remix from Leaether Strip and a surprise witchy chant from me – and an intense version of Red Roses from Third Realm plus a few other surprises from my label Distortion Production.
Metamorph is definitely electronic influenced but within you hear the classical music influence, and you still play the flute. How would you describe the sound of Metamorph?
Goth Pop – meaningful, deep, danceable, witchy, catchy and fun.
What music and acts drew you into the gothic genre?
It’s all a blurrrrrr lol…
Who do you get a kick out of listening to now?
I have Metamorph on repeat in my head 24/7 – songs I am writing they haunt me. Sadly not much airspace for other music….
If you were granted the ability to have one extraordinary witchy power, what would you choose and why?
The superpower to inspire others to be creative – opening their hearts and minds. I want to be the ripple in the ocean that spreads into infinity leaving a trail of fairy dust, sparkles and love.
What is next for Margot Day and Metamorph?
The next single drops at the end of the summer – this is first single for the Metamorph 2025 album…..
DollyDagger is an ex-pat Australian, living in the USA, creating her own style of dark pop music. Her new single is called “Tower,” on which she has collaborated with guitarist JesseMcInturff and producer LouieDiller.
Photo by Kim Peterson
The slow burn start builds the tension, and when we reach the chorus, there is the iteration of I’m not your prey. A call to arms amidst growling guitar work and shrieking synths, about the power of the female character.
There is also a lush video saturated in a fantasy vision of history directed by Dagger that accompanies the single. “Tower” is DollyDagger’s ode to never giving in no matter the odds, or how much people tell you that you shall never succeed by being your own tower of strength.
Onyx Music Reviews 