Tag: goth

New Audio: The Faint Returns with a Goth and Industrial-Inspired Banger

Late last year, I wrote about the Omaha, NE-based cyber-punk act The Faint. The act which is currently comprised of founding members Todd Fink (vocals) and Clark Baechle (drums), along with Graham Ulicny (keys) and Michael “Dapose” Dappen (bass) can trace their origins back to the mid 1990s when the band’s founding members Fink, Baechle and Joel Petersen bounded over their mutual love of skateboarding, which they did in their free time. When Fink developed knee problems, the band’s founding trio shifted their hobbies into music. 

The band initially formed under the name Norman Bailer and briefly included Conor Oberst, who left the band shortly after their formation. After changing their name, the trio of Fink, Baechle and Petersen signed to their longtime label home Saddle Creek Records. Interestingly, after releasing a handful of singles to very little commercial attention, the band added Matt Bowen, who was with the and for the writing and recording of their full-length debut Media. After the recording of Media, the Omaha-based cyber punk outfit went through a number of lineup changes.

In late 1998, Jacob Theile joined the band, Bowen left and was replaced with Ethan Jones. And with a lineup of Fink, Baechle, Theile and Jones, the band toured across the US, playing the material that would eventually comprised their acclaimed sophomore album Blank Wave Arcade, an album found the band moving towards an electronic dance music and techno influenced sound. Before recording the album, the band went through yet another lineup change with Jones leaving the band and being replaced by Joel Petersen, who played bass and guitar during the album’s recording sessions. 

During the recording sessions for Danse Macabre, the band added Dappen, who was best known for being a member of LEAD. The band’s fifth album, 2008’s Fascination was released through the band’s own label blank.wav.  2012 saw the release of the deluxe and remastered edition of Danse Macabre, which featured bonus and unreleased tracks, a DVD of archival footage, live projections from that album’s tour and live footage. 

In 2016, the band went through another lineup change as Reptar’s Graham Ulicny replaced Thiele. Now, as you may recall, the band’s long-awaited full-length effort Egowerk is slated for release later this week, and the album, which marks a return to their longtime label home, thematically explores the Internet (specifically social media) and its impact on modern society and the ego. “Child Asleep,” the album’s first single was a thumping and twitchy, industrial house-inspired, club banger centered around layers of arpeggiated synths, rapid fire beats and vocals fed through copious amounts of vocoder. And while the song manages to recall Tour de France-era Kraftwerk and Atari Teenage Riot, the song is centered around a simple yet profound message — that “if I were wise, I would see that I’m a child still asleep.” “Quench The Flame,” the album’s latest single continues in a fairly similar vein as its predecessor — thumping, industrial and goth-inspired electro pop, centered around tweeter and woofer rocking beats, arpeggiated synths, and rousingly anthemic hooks but sonically the track manages to bear a resemblance to early 80s Depeche Mode and New Order — all while remaining dance floor friendly. 

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New Video: Detroit’s Ritual Howls Release Creepy and Unsettling Visuals for “Alone Together”

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body; in fact, the upcoming album’s latest single “Alone Together” is centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while sonically bearing a bit of a resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, set in a doomed world, much like our own. But at its core is a longing that verges on an increasingly perverse obsession. Created by Kirill Slavin, the recently released video for “Alone Together” features some incredibly creepy and unsettling footage from the short film Witch Zombies & The Lightbox Rave that helps to emphasize the obsession at the heart of the song. 

Featuring Tête‘s and Black Flamingo‘s Ammo Bankoff (vocals, bass), War Tapes‘ and Rituals’ Neil Popkin (guitar), Popkin’s War Tapes bandmate Matt Bennett (guitar) and Magic Wands‘ Pablo Amador (drums), the Los Angeles-based act Brass Box can trace their origins back to around 2006 when Bankoff booked Popkin’s first Los Angeles area show along with one of her earlier bands. And as the story goes, the duo frequently ran into each other at local galleries and warehouse shows, occasionally exchanging ideas; in fact, in press notes Popkin recalls being drawn to Bankoff’s early projects and artistic vision but the two were also frequently preoccupied by their own individual creative pursuits, making working together difficult for a number of years. 

Interestingly, a chance encounter with Popkin inspired Bankoff to share some early demos and the duo quickly realized they were more creatively like-minded than they thought. They then recruited Bennett and Amador to complete the band’s lineup and to further flesh out the band’s sound.

The band’s first singles received praise from a number of renowned publications including Post-Punk, who described their sound as “. . . a surreal reverie [having] the sonic texture of crushed velvet imbued with the lingering scent of burnt incense and clove cigarettes circa October of 1993,” and LA Record who noted the band as “. . . dedicated to making the kind of music that should soundtrack a sand-dune-to-shoreline road movie by David Lynch.” Building upon a growing profile, the band will be releasing their full-length debut The Cathedral on April 5, 2019 through Dune Alter Records.

“Bats,” the moody new single off the band’s forthcoming debut is centered around a towering, wall of sound-like sound, featuring layers of feedback and distortion pedal-fed power chords, thundering and dramatic drumming and Bankoff’s ethereal and plaintive wailing — and while evoking the sensation of being lost at sea, during a massive storm and being tossed about by the waves, the track reminds me a bit of Heaven Up Here and Ocean Rain-era Echo and the Bunnymen and Siouxsie and the Banshees, but with a cinematic flair.

 

 

 

Brad Byrd is a Los Angeles-based indie rock/indie folk singer/songwriter, who after years of suffering through alcohol addiction and depression, started his music career in earnest in 2003 and since then he’s received attention both locally and nationally with teh release of his first two full-length albums — 2005’s The Ever Changing Picture and 2011’s Mental Photograph. Building upon a growing profile, Byrd released a string of singles collaborating with Warren Huart, and he had his music appear in TV shows including  The New Girl, Happy Endings, American Housewife, Ben & Kate, and Keeping Up with the KardashiansAdditionally, he’s shared stages with Bobby Long, Mike Doughty, Son Volt‘s Jay Farrar, Jurassic 5 and others. Now, if you’ve been frequenting this site for some time, you may recall that I wrote about “1000 Pink Balloons” off Byrd’s third, full-length album Highest Mountain, a soulful and introspective that focuses on self-discovery and the strength of letting go centered around a catchy hook that sort of recalled The Church.

Interestingly, the first bit of new material from Byrd since the release of Highest Mountain is a slow-burning, atmospheric take on one of my favorite Cure songs “Lovesong” that manages to retain the song’s aching longing while giving it a subtle country vibe.

 

 

Throughout this site’s eight plus year history I’ve written a lot about the ridiculously prolific New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar, and as you’ll likely recall he has received attention for slickly produced, funky as hell, crowd-pleasing mashups and remixes of classic soul, funk, soul hip-hop, New Wave and others.  Interestingly, over the past year or so, the longtime JOVM mainstay has increasingly employed the use of live instrumentation to his remixes; in fact, his latest remix finds him taking on the Depeche Mode classic “Never Let Me Down Again.”

Featuring Jason Spillman (bass), Angus Mashgyver (guitar) and samples of Heavenly Music Corporation and Cliff Martinez, the remix retains Dave Gahan‘s imitable vocal but places it within a slightly more up-tempo setting with layers upon layers of arpeggiated synths, thumping beats, a dance floor friendly break, and ambient flute and other instrumentation to bolster the song’s melody in the song’s quieter moments. Live bass and guitar give the song a muscular and funky heft. But while pushing the song from ambient and industrial electro pop to thumping, industrial-inspired house, Rhythm Scholar manages to retain the most important quality of the song — it’s brooding, emotional quality.

Blood Blush is a rather mysterious New York-based post-punk act, and their latest single, the shimmering and moody “Demon Clout” as the band told me through email is “one on the lines of post-punk and goth but I think we are trying to blur some lines and call it ‘dreamgoth’ or something along those lines.” Interestingly enough, to my ears, Blood Blush’s latest single reminds me a bit of Chain of Flowers, Sisters of Mercy, Siouxsie and the Banshees and others.

The New York-based act will be touring throughout the summer and it includes two local dates — July 10, 2018 at Jersey City’s Pet Shop and July 13, 2018 at Bushwick Public House. Check out the rest of the tour dates below.

Tour Dates
J U L Y
07.10.18 JERSEY CITY, NJ at Pet Shop with Diap, Gherdty and Sailor Boyfriend.
07.13.18 BROOKLYN, NY at Bushwick Public House with Live Well, Leight Blumer and Keef Clan.
07.25.18 PHILADELPHIA, PA at Philamoca with NITE, The New Division and Korine.
07.26.18 PITTSBURGH, PA at Belvederes (Coven) with Death Instinct.
07.27.18 BALTIMORE, MD at The Baltimore Free Farm with Carl Gene and The Ward.
A U G U S T
08.16.18 KUTZTOWN, PA at Mind Palace with Reaches.
08.17.18 WILKES BARRE, PA at Karl Hall with Draining Youth, The Ordinals and Mr. Softee.
08.18.18 SYRACUSE, NY at The Spit Fam Haus with Siren’s Image and The Shuvits.
08.19.18 ROCHESTER, NY at Rosen Krown with Jan The Actress and Buffalo Sex Change.
08.20.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase).
O C T O B E R
10.19.18 COLUMBUS, OH at No Culture (Video Performance – 5pm).
10.19.18 COLUMBUS, OH at Tree Bar with Master Servos and Child of Night.
10.20.18 INDIANAPOLIS, IN at The Spruce Goose with Tombaugh Regio and Den Dwellers.
10.22.18 HAMMTRACK, MI at The New Dodge Lounge with TBA.
10.24.18 MONTREAL, QE at Mademoiselle with Spring Blades and TBA.
10.25.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase) with Spell Runner and Bare Mattress.

New Video: Goldfrapp Releases Gorgeous and Cinematic Visuals for the Reworked Version of “Ocean” featuring Depeche Mode’s Dave Gahan

With the release of 2013’s Tales of Us, Goldfrapp, comprised of Alison Goldfrapp and Will Gregory, released one of their most hauntingly cinematic and gorgeous efforts they’ve ever released, as the album’s material found the duo pairing Goldfrapp’s arresting vocals with classical music-inspired arrangements centered around piano and strings, acoustic guitar and occasional electronic flourishes. However, last year’s critically applauded and commercially successful Silver Eye was a striking return to form — and as you may recall Anymore,” the album’s first single featured a slick yet abrasive sound featuring  enormous, thumping 808-like beats, layers of buzzing and undulating synths. Interestingly, “Anymore” much like the rest of the material on the album buzzed with a restless, creative energy and sense of experimentation that was partially the result of the acclaimed duo working with  Grammy-wining producer John Congleton, who has worked with St. Vincent, John Grant and Wild Beasts; as well as collaborations with electronic composer Bobby Krlic, best known as The Haxan Cloak and Leo Abrahams, a guitarist, who has collaborated with Brian Eno.

Album single “Ocean” continued in a similar vein as the song centered around an abrasive and minimalist-leaning production of arpeggiated synths, thunderous beats. As the duo explained to Billboard the song was created during a morning writing and recording session and was originally built from what Goldfrapp called a “a very small improvisation.” “I remember coming into the studio one morning and I think we just had a few drums going and it was really basic,” Goldfrapp recalled. “Will said ‘Do you fancy doing some vocals this morning?’ So I was like, ‘Alright then’ and slightly reluctantly, i went into the vocal both and the words just came out.” And as a result, the song manages to bristle with a furious sense of unpredictability.

July 6, 2016 will mark the release of Silver Eye: Deluxe Edition and while the deluxe edition will include the original album material, there will be a bonus disc of remixes and alternate versions, including a re-recording of “Ocean” that features Depeche Mode‘s Dave Gahan, as well a previously unreleased Will Gregory remix of “Anymore.” Naturally, turning the original song into a duet with Gahan’s and Goldfrapp’s imitable vocals gives the song a harder, darker, moodier, goth edge while still managing to be a straightforward rendition of the song. But perhaps, more important, if you’re a fan of both, it’s the most necessary and effortless collaboration that you needed to hear.

Directed by Alison Goldfrapp, the gorgeous and cinematically shot video for “Ocean” found her returning to Fuerteventura, where the videos for “Anymore” and “Everything Is Never Enough” were shot for her scenes, while she directed Dave Gahan in Madrid during a break in Depeche Mode’s current world tour. As a photographer, the video features some scenery and cinematography that has me jealous. As Alison Goldfrapp says of the video, “I had an amazing time directing Dave in the video for the track and we couldn’t be happier with the end result.”
 

New Audio: Goldfrapp Team Up with Depeche Mode’s Dave Gahan on a Reworked Version of “Ocean”

With the release of 2013’s Tales of Us, Goldfrapp, comprised of Alison Goldfrapp and Will Gregory, released one of their most hauntingly cinematic and gorgeous efforts they’ve ever released, as the album’s material found the duo pairing Goldfrapp’s arresting vocals with classical music-inspired arrangements centered around piano and strings, acoustic guitar and occasional electronic flourishes. However, last year’s critically applauded and commercially successful Silver Eye was a striking return to form — and as you may recall Anymore,” the album’s first single featured a slick yet abrasive sound featuring  enormous, thumping 808-like beats, layers of buzzing and undulating synths. Interestingly, “Anymore” much like the rest of the material on the album buzzed with a restless, creative energy and sense of experimentation that was partially the result of the acclaimed duo working with  Grammy-wining producer John Congleton, who has worked with St. Vincent, John Grant and Wild Beasts; as well as collaborations with electronic composer Bobby Krlic, best known as The Haxan Cloak and Leo Abrahams, a guitarist, who has collaborated with Brian Eno.

Album single “Ocean” continued in a similar vein as the song centered around an abrasive and minimalist-leaning production of arpeggiated synths, thunderous beats. As the duo explained to Billboard the song was created during a morning writing and recording session and was originally built from what Goldfrapp called a “a very small improvisation.” “I remember coming into the studio one morning and I think we just had a few drums going and it was really basic,” Goldfrapp recalled. “Will said ‘Do you fancy doing some vocals this morning?’ So I was like, ‘Alright then’ and slightly reluctantly, i went into the vocal both and the words just came out.” And as a result, the song manages to bristle with a furious sense of unpredictability. 

July 6, 2016 will mark the release of Silver Eye: Deluxe Edition and while the deluxe edition will include the original album material, there will be a bonus disc of remixes and alternate versions, including a re-recording of “Ocean” that features Depeche Mode’s Dave Gahan, as well a previously unreleased Will Gregory remix of “Anymore.” Naturally, turning the original song into a duet with Gahan’s and Goldfrapp’s imitable vocals gives the song a harder, darker, moodier, goth edge while still managing to be a straightforward rendition of the song. But perhaps, more important, if you’re a fan of both, it’s the most necessary and effortless collaboration that you needed to hear. 

The Portland, OR-based multi-instrumentalist and singer/songwriter Jenny Logan may arguably be one of her hometown’s quietly kept and most talented secrets as Logan is a member of grunge of pop trio Loveboys, post-punk act Miss Rayon and guitar pop act Sunbathe, who I recently saw open for Typhoon at Music Hall of Williamsburg (more on that later). Along with that, Logan had a stint playing bass for Summer Cannibals and keyboards for a Seattle-based Rolling Stones cover band. Amazingly, the incredibly busy Logan managed to squeeze in the time to pursue her own singular musical vision with her solo recording project Deathlist, releasing her attention grabbing Deathlist debut last year, an effort which found Logan playing almost every instrument.

Slated for a March 9, 2018 release, Fun, the follow up to her Deathlist debut was written and recorded in the aftermath of the death of her best friend, and as a result, the material focuses on the grief and despair of a seemingly solitary mourner, with its narrator finding herself contending with a harrowing and impossible to answer question: how does one continue a conversation with someone, who will never be there again? And while the ironically titled Fun may feature some of the most achingly personal material that Logan may have arguably ever released, it points to one of the most universal experiences any of us will ever know: someone we love, respect and cherish will die, and we’ll brokenheartedly fumble through some portion of our lives, desperately trying to find some larger meaning to all the lingering ghosts of our pasts — or some convenient closure, when there never really is. Yet, we find a way to push on, to find some beauty and occasionally even acceptance within chaos.

Unsurprisingly with the material focusing on death and loss, Logan’s cites Christian Death, Sisters of Mercy and Suicide as inspiring aspects of the album’s sound, and while you’ll hear hints of that on album single “Charm School,” as Logan pairs buzzing and slashing guitars with throbbing, propulsive bass, forceful, industrial-like drum machines and razor sharp hooks; but I also hear hints of Sixousie and the Banshees, The Cure and Dirty Ghosts as the song manages to channel confusion, sorrow and anger — simultaneously and within a turn of a phrase.