Should you go into the woods, you might not come out the same….or then again, maybe not at all. Californian deathrockers, BlackHeroinGallery have just released a promo video for the track “TakeThisRose“, which is off the album AFeastOfBats, that was unleashed in 2022.
“Death is seeking out her mark, trying to trick the carefree artist into taking her gift: a rose. She uses a surrogate in place of herself, who stalks the artist through the forest, trying to get him to take the rose, even using spells to will his compliance, or trick him with the poisoned rose in a gift box. Ultimately, she will take him to meet the ferryman.” – Eyajo Joseph
And indeed, the music video is like watching the black and white silent movies, with a goth rock soundtrack. There is also an air of the German Expressionist movement, which would eventually lend itself to the progression of American noir cinematography. The track, “TakeThisRose” is atmospheric and spiritually charged, as if the ghosts of the past are watching on, waiting for the inevitable fall of the unsuspecting soul, by the cold hand of Death herself.
Athenian post-punk project ReflectionBlack’s inception was in 2022, with the EP EnteringDreamtime. March of 2023, saw the debut album released on SwissDarkNights, titled ominously, LastStopToNowhere. ElisAlex is the man behind ReflectionBlack, who previously cut his musical teeth in the huge Greek black metal scene, with the bands Ravencult and Nigredo.
“With Last Stop To Nowhere I can say that I have made an album that I am truly happy with. One record, eight tracks, each one different from each other but still forming a very consistent big picture without any fillers. One should expect quite a few surprises in the album, from catchy riffs to heavily layered atmospheric synths and even guitar and saxophone solos. When it comes to the album’s lyrics, themes such as sleep, death, dreams and the occult are being explored extensively. In the end, most of the lyrical themes come down to a general context of mental and spiritual escapism with the questioning of current realities of all forms.” – Elis Alex
The first thing you notice in “Post Sleep Trauma” is the clinking sound like a hammer in a cavernous void, that is until there is a whirl of guitars to join the rhythm, along with bright synths. Alex’s vocals smoothly light up the track with their dark mourning of not wanting to see any dreams in his sleep.. The guitars chime and sparkle but there are “No Stars In The Sky” for this mesmerising and soaring apocalyptic piece, with the heavens being consumed by a black hole, but the chorus is far more riveting.
In amongst the gloom, true love always shines eternal, and this is the theme for “Under Your Shine” as it reverberates with the melting lyrics/vocals and consuming synths, entwined with the guitar. There is an 80s synthwave vibe to the title track “Last Stop To Nowhere“, bound on a ship going to a destination that is likely doomed. “Call My Name” is atmospheric and is filled with that beautiful echoing post-punk jangling guitar. The track soars with conviction and longing in Alex’s singing.
The entrancing “Let The Spirit“, delicately picks you up and bears you along on strong and gentle hands. The bursts of synths are truly magical and one could almost believe those spirits have been freed. When you sleep, there is a vividness not experienced in real life which is explored in the dreamhouse of the track “Yet Unseen Colours“, like a prayer for more than what reality can give. “Why Believe” is the final track, and what a track to finish with. Brooding, as if the angelic and devilish sit on each shoulder, pushing their agenda. Again there as the spiralling guitars that are forever drawing you in.
ElisAlex just has this voice to die for. Smooth, evocative and sensual. The music he creates takes the wonderful saturated guitar sound, made popular in the 80s with such bands as TheCure, MarchViolets and TheMission, and then it is mixed in with the modern synths, to give each track a wonderful dark velvet sumptuousness. All this is topped off by those vocals giving us some rather stunningly perfect tracks, as ReflectionBlack takes us to the LastStopToNowhere.
They say the road to ruin is paved with good intentions and maybe US band, Bellhead might know this better than many. As of May the 8th, their latest EP, aptly named GoodIntentions, was released on OppressiveSkyRecords. What makes this project a little different is the fact that there are two styles of bass being played and no lead or rhythm guitar, so you know from that fact alone that their sound is going to be something a little special. The Chicago based duo is made up of KarenRigheimer (low bass, vocals) and IvanRussia (high bass, vocals, drum programming), while they have entrusted Bellhead’s sound to regulars, audio engineer NeilStrauch (Iron and Wine / Counting Crows / Owls / Joan of Arc / Walking Bicycles / Slow Mass) and mastering engineer CarlSaff (AcidMothers Temple / Smoking Popes / Red Fang / Guided by Voices).
When you say “BadTaste“, I admit I think of the New Zealand comedy horror movie, but in the case of this song, it feels more like StevenKing’s ‘Misery‘, claustrophobic and just a tad a bit deranged in a stalkerish kind of way. The music for “IntoTheDeep” feels like really dark surf rock, that has the even darker tale of a relationship that is dragging the couple to their proverbial doom. The vocals are beautifully carried off between Righeimer and Russia. “Valentine” is both sweet and bitter at the same time. There is something poignantly timeless about this track as it wends it way through the unabashed sorrow and loss.
Oh my, Righeimer is vocally channelling KimGordon for “Apathy“. In fact, the whole song has the signature groove of SonicYouth all over it, making lassitude ever so cool. There is a cover in the track “NoBigDeal“, which was originally written and performed by LoveAndRockets, appearing on their 1989, self titled album. Honestly, I can hear why they picked this song, and I think LoveAndRockets might be a big influence on Bellhead’s overall sound. The two basses absolutely inject the funk into this cover. Last track is the delicious “DrugstoreKeri“, a raw and sleazy ditty about some bird named Keri, who can supply the drug of your choice, on the sly.
Bellhead literally rumble, causing your speakers to buzz at times, in a very good way. Having the two bass married to a drum machine makes for an ever so tight rhythm section, also giving you the melodies as well. This definitely gives the music a dirty post-punk groove to each track, and this new EP leans more into pop rock. The Good Intentions of Bellhead is fun, nostalgic and rocking… in that fabulously gloomy way.
It is cold and light doesn’t last long during the day currently in Brisbane, Australia. Creatures of the night, Killtoys have crept out, and the 31st of May tolls in the release of the new single, “Blind God“. The trio of Mick Bristow, StavTsolakides and BevanBancroft have been steadily building their own sound since 2020.
There is an amazing echoing quality and the guitar beautifully rings out, reminding me of the early 90s gothic second wave of bands. Bristow’s singing absolutely gives you the chills and in the pit of your stomach you can hear the nightmare. Yes, the terror is in the form of a night hag infecting your dreams and on another level, it is also dealing with one’s inner torment from the past..
“We’re thrilled to be releasing ‘Blind God’ to our fans around the world,” said the band in a statement. “This song is deeply personal to us, and we hope that it resonates with listeners who have experienced the same feelings of fear and helplessness that inspired it.”
The anguish is palpable and a music surges with the call and response making the track hugely anthemic, and definitely something that would go off live. Killtoys are fusing gothic rock with garage grunge, and the track “BlindGod” may just eat you alive……
I have noticed that the Germans are extremely efficient at consistently putting out great music in quick succession. AlexanderLeonardDonat is one such German. I still have to bring you the review for his new album from Assassun, but his other project Vlimmer, just brought out a new single called “Fatalidealb/wRaceForThePrize“, on the BlackjackIlluministRecords label.
There is an idealistic air of youthful golden delight in “Fatalideal“, with the ringing guitar work that is strikingly joyful. Even Donat’s vocals are light and wonderfully graceful in his native German tongue. The second track is far more electrotonic and slower than the original…yes, this is a cover. The vocals are tinged with a sense of morose as “RaceForThePrize” wends its way.
“Fatalideal” definitely holds about it, an taste of TheCure, and their more absurdly happy music. It is coated in a dreamy haze and is genuinely delightful, with the vocals absolutely in perfect form The b-side, “RaceForThePrize” was originally released in 1999, as a single by US group, TheFlamingLips and in true Vlimmer style, the lyrics have been transcribed into German. I actually had never heard the original version before, and I have to say i prefer the Vlimmer cover… so there :P. Donat is proving himself more than a capable singer and a composer of enchanting darkwave.
Credit: Image by momento mori under Creative Commons Attribution 2.0 Generic
Very few acts can say they’ve impacted the music industry for nearly 50 years, but that’s precisely what The Cure has been doing throughout their extensive career. They first emerged onto the scene in the late 1970s and quickly skyrocketed into fame in the 1980s when they enjoyed the peak of their success. They’ve inspired many artists, including notable names like Smashing Pumpkins, Depeche Mode, and Radiohead. To this day, they’re still making music and playing shows and are even set to embark on their first North American tour in seven years. Despite the ups and downs in the reception of their music, one thing has kept them iconic all these years: their sound. No matter the genre, their music and tone have remained uniquely theirs.
The Cure’s Gothic era
Throughout The Cure’s long career, the band experimented with a wide range of genres. Their first album, Three Imaginary Boys, took on a post-punk sound, perfectly showcased in the single “Boys Don’t Cry,” which was released in the American version of the album with the same name. They touched on a darker and atmospheric gothic rock edge in their early works, beginning with their second album, Seventeen Seconds, and continued with their subsequent two releases, Faith and Pornography —which all became essential records for the gothic rock and solidified their status as icons of the genre. After experimenting with more post-punk and pop tones in succeeding albums, Disintegration brought them back to their gothic sound.
A psychedelic shift
After their brief split, the group thought a tonal change could catch the public unaware, gaining them more attention. They shifted to psychedelic, dream pop-inspired tones on records like The Head on the Door and Kiss Me, Kiss Me, Kiss Me, boasting the hits “Close to Me” and “Just Like Heaven” respectively—the latter of which is one of Robert Smith’s favorite The Cure songs. Their most successful album Wish, featuring the iconic “Friday I’m in Love,” was their most pop-adjacent yet. These cheery, upbeat songs shocked old fans but gained a lot of love from new listeners. Around this time, the group achieved more success outside the UK.
Recreating the sound
Robert Smith’s role as The Cure’s guitarist shapes their sound. He used a lot of effects that are essential for achieving that atmospheric tone. Effects pedals are a simple way to enhance your guitar for a similar vibe. According to a 1996 rig diagram, Robert Smith favored pedals designed by Boss, a flexible choice across eras and genres. Flanger is crucial to The Cure sound, and the BF-3 Flanger is responsible for sweeping, jet plane-like guitar tones that lend well to the darker sound of gothic rock. Chorus is also a must-have for Robert Smith-type playing, giving the guitar a fuller, richer tone. He also uses a Boss pedal for that effect; the CH-1 Super Chorus is a prominent feature on his rig.
Amplifiers are also crucial for developing a specific tone, and Robert Smith’s runs his fairly clean. They’re used mainly as a platform for his stompboxes to shine. He also featured a similar number of both solid-state and valve amplifiers. One of the solid-state amps used by The Cure is the Line 6 Spider V 120, which was used in their Sydney Opera House residency during the 2019 Vivid Festival. It’s an excellent choice for either instant plugging and playing or tweaking your tone to perfection.
If you’re looking for bands who’ve taken a page out of The Cure’s book on musical style, tune into In a Darkened Room. The Texan band’s music is reminiscent of The Cure’s atmospheric tone with a darker spin that lends itself to the southern gothic sound. You can check out our interview with the band on Onyx Music Reviews.
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There was a stirring on the winds in New Jersey, and behold, the debut single “April” spang forth from goth rockers, TheAntoinePonceletBand. The band is made up of members, AntoinePoncelet (vocals), PeterQuilla (guitar), MarkMcClemens (bass), SantosMenendez (keys), GregBullock (keys) and JustinWright (drums).
There is the wailing and gnashing of teeth in “April“, for there does seem to be a questioning of why one has been left to fend for themselves, when the muses have fled. Is there meaning if you cannot see it? The music is boisterous, and the over all ambiance, reminds me a little of AndyPrieboy. There is also a b-side in the track, “VirginiaPlain“, originally released by RoxyMusic, back in 1972. They have retained that glam edge with the great keyboard work and lead singer Poncelet, pulls off a rather convincing modern take, of the sneering BryanFerry, though this version is more attacking.
Hearing a cover of RoxyMusic was rather delightful and a good reminder of what a great songwriter Ferry has been. The single “April” is this interesting dichotomy of 90s goth, grunginess and even honky-tonk blues at times, which is surprisingly enjoyable. It might no longer be “April“, but you can still indulge in TheAntoinePonceletBand.
VAZUM have defined their gothic rock mixed with shoegaze style as Deathgaze, and the Detroit duo of Zach Pliska and Emily Sturm have kept themselves very busy. Between 2020 – 2022 they have released approximately four full albums, a multitude of singles and even a ghoulish Christmas EP just for good measure.
Now we have V- (V negative), the greatest hits of this period. All tracks have been re-recorded to reflect their live performances, so don’t expect the usual crystal clear sound but rather, you are listening to a band recreating the live experience.
Sure enough, it feels like we are privy to a VAZUM show as we revisit some of their tracks such as the SiouxsieandtheBanshees like “RazorSmileV–” with its swirling guitars or the wonderfully bass heavy “Thief V-” and enjoy the interchange of male and female vocals. If you like yourself some VAZUM, dig really interesting gothic rock or really love the warm style of live music, then V– might be your glass of absinthe.
There are a few very highly anticipated post-punk album releases this year, and one of them is LostHymns by Brooklyn’s A Cloud Of Ravens. Out on the Nexilis label, on the 28th of April, BethNarducci and MatthewMcIntosh have written and recorded an album bound in gothic beauty and often with political and/or moral observations about this modern world. ACTORS‘ JasonCorbett, mastered the album at his JacknifeSound studio, adding to the seamless flow and rich textures. I was so very fortunate that Beth and Matthew could talk to me about this second album and what has lead them to this point of time. Not only are they making important and gorgeous music, but they are divinely lovely dark hearts to boot!
Welcome to the bowery of Onyx, Beth Narducci, and Matthew McIntosh, where the blue black bower birds have stolen every shiny and blue object to please us.
I am sure a lot of people have asked why the name, A Cloud Of Ravens, but I want to ask what is your connection to ravens?
Matthew: Beth’s connection is probably more obvious, but if I’ve got a personal connection to ravens it’s in an admiration of their inherent qualities; enigmatic, majestic, singular. They’re an iconic animal totem.
Beth: Matt came up with the name. When I was in the goth/industrial scene in New Orleans, my nickname was Raven, which I knew could get a few laughs from people who knew me then.
Both of you have your roots that are deep in this thing called music.
Beth, you are not only an alt rock/industrial musician, you are also a well respected A&R executive (a head hunter of new talent for record labels), a talent manager and importantly, the creative force behind You Plus MeEntertainment. What is it like being on both sides of industry, and has it coloured how you have approached dealing with A Cloud Of Ravens?
Beth: I appreciate the research and kind words. It’s come up from a few people, to be honest. It’s a bit wild to have always been on the other side. Having a long history in the industry is always helpful. I approach both sides with a lot of passion and excitement, but also with the knowledge of how to manage expectations, an ability to trust the process and work ethic that pushes an upward trajectory.
Has it been easy as a female making your mark in the music industry Beth?
Beth: I would say it’s been more of a marathon than a sprint. I’ve had run-ins with inequality. there’s always going to be an asshole in the room. I always try not to be one. I have always tried to lift up other women and I spend a lot of time proving myself over and over but it still remains my life long passion and career.
Matthew, you grew up in a house of music, where your mother was a professional opera singer. You then explored post-punk, deathrock and even hardcore. Did your mum ever despair at your choices or was she super supportive?
Matthew: My mom was and is supportive of what I do creatively. I’m sure there were times, especially when I was in my teens, getting in trouble and screwing up in school, where she was concerned about my future. Maybe she didn’t always understand my choices and motivations, but she never tried to discourage me from pursuing the things I was passionate about. She was musical and creative as a kid and I don’t think her parents encouraged that, coming from a depression-era upbringing— the arts were not seen as a viable life choice. So I give her a lot of credit for breaking that cycle. My mom is still very supportive, and I’m grateful for her.
Speaking as someone that grew up in a house full of classical music, I found post-punk/goth as a way to rebel but as I have gotten older, I really appreciate the exposure to an extensive palate of classic music. Would you say, Matthew, you have had a similar experience and that small bits creep into your composition?
Matthew: Definitely. Everything I love about music makes its way into our sound in some form or another. Whether it’s the aggression or primitivism of hardcore, the melody and rhythm of new wave, or any song from my early childhood that creeps out of my psyche when writing, it all influences the overall dynamic of how and what we write.
Have you both always lived in Brooklyn and how has it influenced A Cloud Of Ravens?
Beth: When I first got to NYC, I lived in Manhattan– both Hell’s Kitchen and the Lower East Side at one point, but I consider myself a Brooklynite since I’ve lived in so many neighborhoods and I own a car.
Matthew: I grew up in southwestern CT, which closely borders the Bronx, where my father was born and raised. On a clear day you can see the NYC skyline from a shore near the house I grew up in, so Manhattan was always just a short train ride for me, and a big part of my childhood. One of my earliest memories is driving around Brooklyn with my dad. It wasn’t the hipster oasis some parts are now. I remember packs of wild dogs stopping traffic, the garbage strikes, blocks of condemned buildings, etc. There’s an aura and energy to NYC that is kind of inexplicable— you can feel its history in the air. Beth and I were driving from her place in Brooklyn to the airport recently, and going around a bend on the BQE, which opens up to the downtown skyline. We’ve seen that view a thousand times but we were both just like “How is this not the best city in the world?” To have that kind of awe and reverence after so many years speaks to the weight and depth of the energy here, and it’s certainly reflected in our songs.
What is the dark alternative scene like in Brooklyn?
Beth: It’s been growing exponentially for the last 5 years. There are many more bands, live music venues, bars and clubs. At this point, even some of the more mainstream venues are promoting goth/darkwave/’80s nights, which depending on your perspective could be good or bad, but either way it’s booming. The monthly parties are great. I really enjoy turning up at places and knowing so many interesting people in the scene.
The band started in 2018, with the first album “Another Kind Of Midnight” released in the midst of the Covid pandemic in 2021. What was it like bringing forth your debut into a strange new world at the time?
Matt: The pandemic had a huge impact on the writing. There was so much political unrest going on at the same time, so you’ve got this dour sense of isolation, and essentially watching society implode everyday on TV. We tried to channel that anxiety into a creative energy, as I think a lot of bands were doing at the time. Working on that album was cathartic, gave us something positive to focus on, and really helped us come through those dark times intact. We knew other bands releasing records around the same time, and there was this whole new learning curve with how to approach the album cycle, since no one was touring. It was definitely trial by fire, and learning as you proceed.
You released the stand alone single “The Call Up”, a cover of the anti war anthem of The Clash, at the beginning of the Russian invasion of Ukraine. Who chose this particular track?
Matthew and Beth: We honestly don’t remember who chose it. We’re both huge fans of The Clash, and The Call Up seemed like the perfect song. There wasn’t ever any deliberation of how to approach it, it just worked. It didn’t solve Ukraine’s problems, but we were glad we could contribute in some small way, even if it’s just raising awareness.
Music has been used for years to protest against injustices and a lot of music you write, has a big core of political or humanitarian truth. What would you say to people who say goth should not be political?
Matthew: I’d say they’re not looking at the history. The gothic subculture has always been socially aware; anti-fascist, pro animal rights, etc. While that’s not directly political, it ties into a political bent as it relates to social conscience. I think there’s an element within the scene that flies hard to the right as well. While we’re not overtly political as a band, it’s likely pretty easy to see we align left of center. As I’ve gotten older I tend to not look at things as necessarily being left or right, but how we treat each other. There’s a universal truth that doesn’t care whose flag you wave, but how you’re treating people in your everyday life. Things are very polarized and tribal right now, and it’ll likely get worse before it gets better, but If you’re being good to people regardless of where they stand politically, and they’re doing the same, it’s a good start.
2023 sees the release of the new album, “Lost Hymns” after four wonderful singles. How hard was it to write the new album to follow up a great debut or did you find the experience a little easier?
Matthew: We started writing Lost Hymns a few weeks before the previous album was even released. Maybe it was a reaction to the doldrums and anxiety of covid lockdown, but we had tons of ideas. I was hearing new things in my head and Beth and I were throwing ideas back and forth every day. That’s the most exciting part for me. We wrote and recorded it all within about six months. It’s actually been finished since the fall of 2021. Seems crazy now that it’s been that long.
Jason Corbett of ACTORS has been doing a fabulous job with mastering and was involved in the original remix EP, so how did you end up with Corbett in the mastering seat?
Beth: We LOVED his remix of our song “The Earthen Call” and we respect his production quality so much that when we heard he was also mastering, we asked him to lend his skills yet again.
Talking of remixes, is there a remix for “Lost Hymns” in the works?
Beth: We have a few conversations happening but nothing has been created yet!
I know songs can be like children, but is there a favourite track off the new album?
Matthew: Yeah, that’s a hard one. When I got the preliminary demo fleshed out for “Requiem for the Sun” I was kind of geeking on it. It was what I heard us sounding like when it was just me recording the earliest ‘Ravens’ demos in my bedroom in 2018, before Beth and I had even met. I felt like “Requiem” finally brought it to that place sonically. That being said, “Parable” also came out pretty nifty, and it’s fun to play live.
Beth: I can agree with Matt’s sentiments on those songs. Other personal favorites for me are “The Blackest Mantra” and “Nature of Artifice”, which are also really fun to play live. But the stand-out favorite of mine has been “Fear Not”. To me it’s one of the darkest and most impactful.
As A Cloud Of Ravens, you are doing your own recording, so is it empowering to have that much control over your project?
Matthew: Yes. As Beth can tell you, likely to her aggravation— when we’re not playing shows, I can be a bit of a hermit. At this point in my life the idea of spending weeks or months in and out of someone’s studio seems untenable. It took me a while to get to a point where I could record something at the quality of “Lost Hymns”, but with Beth’s help we got there. It is liberating to be able to walk into a room any minute of any day and record an idea you’ve got for a song. That said, I don’t place a ton of importance on production. The quality of the song comes first. If the song itself is middling, the slickest production in the world won’t make it great.
Beth: This whole project is empowering to me in that we are the beginning and the end of the creative process. With both albums that I’ve been involved in, we shopped a fully mastered album to first Cleopatra and then the second to Nexilis. As an A&R person by trade I typically help people through that creative process and in this case I’m both the artist and the A&R person. It’s really meaningful to have that kind of relationship with someone as creative as Matt.
So, how do you go about the song creation process and, who is the more headstrong one and stickler for getting stuff done?
Matthew: We’re both equally headstrong as far as standing behind our opinions and perspectives. We’ve had, let’s say, ‘passionate exchanges’ as it relates to the creative process, but we always find a middle ground. Beth has such an innate musical instinct, at the end of the day, her perspective is generally the correct one. As far as writing, I’ll usually start with a chord progression I’ve come up with on guitar or piano. I’ll flesh out a rough verse and chorus, work out some phrasing, and a vocal melody. Sometimes I’ll have a very definite idea of a specific drum pattern I want to use or a rough aesthetic concept. Lyrics are always last, usually built around a phrase I’ll find coming up with the vocal melody. When I get a preliminary demo fleshed out I’ll play it for Beth, and she invariably has ideas that bring it to another level. Whether it’s her experience in the music industry, just an inherent appreciation for sonics and song craft, or both, I ultimately trust Beth’s ear more than my own.
What bands got you into the dark alt scene?
Beth: Depeche Mode, The Cure, Sister of Mercy, Tones On Tail, Ministry, New Order, Joy Division, Echo and the Bunnymen, The The, Clan of Xymox.
Matthew: Misfits, Samhain, The Damned, Siouxsie, TSOL, the Batcave scene. Those bands were the impetus for me as a kid of like 14, 15.
What new musicians light your fire now?
Beth and Matthew: We tend to listen to bands we know and have played with; Creux Lies, Bootblacks, Black Rose Burning, The Mystic Underground, Vosh, Jason Priest, Then Comes Silence, The Bellwether Syndicate, Pilgrims of Yearning. There are so many great bands out there right now.
The band is about to go on tour. Is the live thing something you really enjoy?
Matthew: It’s a two-way street for me. Yes, I absolutely love to play live. It’s what drew me into playing music as a teenager, and it’s still my go-to emotional outlet. On the other hand I’m an introvert by nature, always have been. So reconciling those two immutable truths is an ongoing and daily process.
Beth: For me it’s fairly new so it feels like a rollercoaster. I enjoy the connection with people, but the flipside is that I have a lot of emotional attachment to my home, my son, and my pets.
A Cloud Of Ravens is headlining a 3 day extravaganza, and you get to choose the other acts. Who do you choose? We are willing to rob graves and perform necromancy to get you what you want…….
Beth: ELO, INXS, Duran Duran, The Smiths, Camouflage, OMD, The Fixx.
Matthew: The Clash, Public Enemy, Fugazi, Laughing Hyenas, Siouxsie and the Banshees, and ELO.
Get out the divination ball, and can you tell us what is in the future for Beth, Matthew, and A Cloud Of Ravens?
Beth: I’ve got a lot of plates spinning; a business, a son, and personal goals. I’m finding little pockets of time for joy and recharging.
Matt: More travel, exploring creativity, and trying to be present in the moment.
Birds of a feather flock together, and your new album is dark post-punk classic. Thank you so much for talking to us today.
What is a parable? I suppose it is a story retold in order to teach a vital lesson, and it is also the latest single from US band, A Cloud Of Ravens. “Parable” is the next single off the highly anticipated new album, Lost Hymns, which is to be released on Nexilis Records, as of the 28th of April.
Ominous, brooding and dark are definitely words that come to mind. This is the most electronic song yet by the duo, almost alive and drawing heavy breaths. The vocals guide you down like velvet and build you up for the amazing chorus that pushes you sky high.
How many times does mankind have to play out the same futile scenarios without learning from them? This is the premise behind “Parable“, which has never been so obvious in this day and age where we are meant to be civilised, yet nations still act with barbaric intent. This is A Cloud Of Ravens’s last single release and like the Oracle of Delphi, they bring a warning that no good can come from this stupidity, wrapped in a gorgeous track called “Parable“.
Onyx Music Reviews 