Greetings and Dark Salutations!

We have some great new stuff up!  Check out the  fabulous interview with LA’s own Peeling Grey, as well as a review of their new demo!  Be sure to read the reviews of Skeletal Family’s “Love, Hope, and Despair”; The Last Cry’s “‘Walking to the Edge”;  and The Extraordinary Contraption’s “Inappropriate on Purpose”.   Also check out our event review of Elvisfest 2010.  

Our interview with the outspoken and authentic Hick’ry Hawkins has been a bit hit! MissFD has a new song “Together Forever”.  See http://www.myspace.com/missfd for more information.

If you haven’t already, be sure to also check out my review of the Kominas Wild Nights in Guantanamo Bay and Frightdoll’s Assimilation Illusion. And  I finally  posted our interview with the wonderful Mather Louth and Radio Noir! We hope you will stay with us.  Check out reviews of the outstanding Darnell Woodies, Adam’s Evil, and more.

ZORCH FACTORY RECORDS has free downloads of many excellent bands at http://www.zorchfactoryrecords.com/index.html   This is the real underground spirit! 

Note: (Our site is best viewed with Firefox.  The links to our archives are currently not working, but you can acess some of our great past articles and reviews by scrolling down through each category.  We hope to have our links working soon.)

We experienced a long hiatus of about a year, so it is truly good to be back online. We lost our webmaster due to a serious medical condition, and I didn’t have the tech skills to keep everything up. I would like to extend my heartfelt thanks to everyone who followed us to our temporary site and gave us their moral support, especially Lucas Lanthier, Karlheinz, and the bands who graciously interviewed with us and sent materials for review. Most of all, though, I’d like to thank our readers. My deepest appreciation and thanks goes to DJ Delicti. Without his help this new incarnation of Midnight Calling would not be possible. DJ Delicti embodies the principles of community that the Goth/Deathrock scene was always really about.

I hope everyone enjoys the reviews, interviews, and articles!

“It’s not about the ’scene’.”

It’s all about the music!“

“Peeling Grey” has a very early Goth/Deathrock sound.  Not the original deathrock, mind you, but very much in keeping with the new generation of DR.  It’s a quite stripped down sound, with steady percussion, a sort of fuzzy guitar, and keyboards which play a prominent part.  The song is dominated by Andy’s vocals, which are probably a bit more on the Gothic end of the spectrum.   The song is not complicated, yet hooks the listener quite firmly.

“The Strip” starts with a spooky ‘siren’ kind of sound, then percussion and keyboards kick in.  The keyboards have a very cool melody that reminds me of the hurdy gurdy sounds of medieval music.  Go figure!  Combined with eerie guitar and echo-ey vocals, it is dark, yet very catchy.  A nice guitar slide finished up the song.

“James Quarterly” has a very ‘80’s feel, with has guitar that vaguely brings the Cure to mind, and the keyboards remind me of something I just can’t put my finger on.   I love the vocals, evocative and edgy.   In the middle, percussion drops to a heartbeat, and the keyboards have a spooky drone, which augments the guitar which drops into the lower ranges.   Everything speeds up right at the end.

“Faith in Forever” is perhaps my favorite song on this EP.  Layered Gothic vocals,  almost tribal percussion, distant keyboards, and raspy muted guitar  are backed by an electronic drone. The song slows, and the percussion sounds rhythmic like a train for a bit, with an accent provided by high hat percussion. Everything stops, and the vocals echo into oblivion.

I simply cannot wait to hear a full-production CD from Peeling Grey.  This is one of the times I wish I lived on the West Coast instead of the East, since I would love to hear them perform.  Their stripped down, yet effective music is reminiscent of ‘80’s post-punk, and early Goth, and yet manages to sound new at the same time.   Just when I was starting to get bored with some of the stuff in my collection, Peeling Grey has provided me with a new fix!  Check them out,  You won’t regret it.

http://www.myspace.com/peelinggrey



Sadly, Skeletal Family is no more (at least for now, though I do keep my  fingers crossed).  But they certainly have gone out like the proverbial lion, at the height of their creativity.  Songs of Love, Hope, and Despair is a musical masterpiece that will please old and new Skels fans alike.  Much like the concepts of Zen, this CD simple, yet very complex.  This is the reason it has taken me so long to review it.  Each time I have listened to it I heard something new.

“Love Hope Despair” begins with an ominous keyboard progression, and then ranges full blown with driving percussion and guitar. Claire’s vocals are alternately smooth and then forceful.  There is an astounding ‘bridge’ between each verse that yanks the listener into the middle of the song. But about the time you think you have fallen into the groove of the song, Karlheinz blows you away with a bit of keyboard like a missile strike out of the night.  I could spend the entire review on this fast-paced and glorious song.

“Make It Alright” is crisp, tight, and fantastic.  Guitar is sharp, percussion and bass are steady.  Claire’s voice is silky and alluring, and Karlheinz provides the perfect accent with keyboards that really come into their own in the last half with a very edgy segment that propels the song into the final stretch.  The end of the song has an ‘80’s feel to it, with furious percussion and guitar.

“Peripheral Vision” changes direction, veering wildly down a Deathrock path, twisting and dangerous.  Claire is strident and defiant on vocals, riding a crest of mad percussion and guitar bursts.  Keyboards and bass are the dark swell surging with Claire’s shouts of “…darkness and pain…”  Near the end, guitar and keyboards suddenly slash like a rapier  in a dark Elizabethan alley.

“Monkey See” launches off with a psychobilly style guitar that turns surf/spaghetti western, paired with rollicking percussion and spooky layers of keyboards hovering just within your perception.   Claire manages to sounds sultry and even a bit punkish as the song rolls onward into a corning rhythm that is nearly hypnotic.   “I said Monkey See and Monkey Do/ but I’m not gonna get fooled by you”   Yep, I dedicate this song  to the scenesters!

Then we move into the exquisite ‘80s sounds of “Perfect Day”.  For me, this song is very evocative of that era. After a slow, languid start, bursts of guitar grow louder and the song bursts into Claire’s very evocative, sort of dark vocals. Stan is simply phenomenal, with very edgy guitar.  Karlheinz’s keyboards are somewhat disquieting, an effect reinforced Martin’s distant percussion and Johnny’s bass running through the song like an artery.

“Voices” has a rather heavy metallic start, then Karlheinz’s keyboards, which subtly bring horror soundtracks to mind, are like a roller coaster prequel to Claire’s  spooky, demanding vocals. Suddenly, the song shifts into a Ska beat, then morphs into pure metal before retuning to the spookiness.   The pace quickens to a sheer cacophony that ends like the fall of an axe.

Speaking of axes, the next song is “Chop Chop”.  Over four minutes of pure scariness: a bit deathrockish, a bit metal, and all magnificence.    Claire’s demented vocals are overlaid by throbbing bass and Stan’s fierce, biting guitar.   Dark, tribal-type percussion resonates with eerie keyboards.  Suddenly the  song hits  a wall of layered discordance that is pure art, prog-rock gone mad.  Claire’s vocals echo off into into the darkness.

Johnny’s Reggae bassline dominates “I Said Run”, effectively complimented by Stan’s stepping razor guitar, which shapeshifts into a bit of hard rock that reminds me a of Neil Young in spots.  Martin’s percussion rattles underneath.  The mood turns mellow, then  Karlheinz suddenly lends a touch of superb spaciness to the whole thing. Claire’c voice ranges from nightclub smooth to a touch of Debbie Harry.  “I Said Run” definitely makes you want to Get Up, Stand Up.

An organ flourish heralds “Banker Man”, a wonderful neo-psychedelic protest song     Hard psychedelic guitar and mad, calliope keyboards combine with angry percussion and Claire’s chanted, punkish vocals to fan the fires of discontent. “Banker man/you broke our world” pretty much sums up the last two years, doesn’t it?    If punk vampires had hosted Woodstock, this is what it would have sounded like.  “This is the start of the revolution/lift up your voice and make it heard”.   Che would have approved.

“Killing Time” is an interesting mix of Byrd’s type guitar and Cure-esque gloomy-ness on the keyboards. Rolling bass and percussion round out the pessimistic tone of Claire’s vocals.  At one point she inexplicably reminds me of Wendy James of Transvison Vamp.   There is a terrific piece of guitar right before the end that had me breaking out my ‘70s stuff trying to figure out what it reminded me of.  Eric Burdon?  No, that’s not it.  Well, anyway, this is a damn good song.

“Desire” kicks off with eastern sounding Keyboards.  A wall-of-sound erupts behind Claire’s layered vocals, which are slow, seductive, and spooky.  Stan’s guitar ushers in a somewhat gothy atmosphere, while Johnny’s bass charges into the fray alongside Matin’s crisp percussion.   Claire waxes onwards in operatic splendor, as the song slowly, poignantly winds down.

“Never There” is perhaps the most “goth” song on the CD, with dark keyboards and guitar that harkens back to the heyday of Goth Rock.  Vocals are soaring, yet shadowy.  “Desire” is eminently danceable in a gothy sort of way.  But don’t expect anything the Skels do to be stereotypical: right in the middle, frantic drums push the song to an apex of classic guitar riffs and a moment of chaos.   Then the ride continues to a dramatic close.

But wait…there is more!  A hidden track, no less.   Karlheinz’s baroque keyboards resonate pleasingly with Stan’s nearly arpeggio guitar, counterbalanced by Martin’s machine-gun percussion.   And then….a discordant cacophony erupts.  Frenzied percussion begins to dominates, with  electronic eeriness stepping back a bit.   In all, six minutes of sonic splendor.

“Songs of Love, Hope, and Despair” is simply a great CD, incorporating many disparate elements into a finely produced album that continually reveals more to the listener.  Play it often, and play it loud.   Skeletal Family has superbly demonstrated their musical versatility and craftsmanship, in what is perhaps their finest album of all.  It’s shame to see them go, but, what a splendid swan song.  (Hopefully not…)    Buy it.  Be amazed.  Be a Skel-head!

http://www.skeletalfamily.co.uk/

http://www.myspace.com/skeletalfamily

A bit electronics herald “Devastate” which is a sort of apocalyptic epic dominated by doomy, atmospheric synth and Andrew’s ominous vocals that sound like a prophet delivering a final warning.  Synth  turns powerfully orchestral, and suddenly Tim’s guitar bursts into an eerie dirge.  Percussion inexorably plods on, like an inhuman army on the march under black skies.

“Punishment” breaks into a run, fueled by Cure-sque guitar and strident vocals.  Very danceable, with synth rising up at the right moments.  Percussion is tight, but not boring.   Suddenly, the song drops to a drum beat, with very moving layered vocals and guitar.  Then the pace quickens, until staccato percussion and a synth flourish signals the end.

“Haunting Me” reminds me very much of early Ikon.   It has the same combination of urgent vocals, visceral guitar, and driving percussion.  This is the first song where bass is an important element of the foundation, augmenting waves of synth.

“Cross of Hope” has a different sound.  Electronics embellishments are prominent, especially in the intro, which has a section of filtered, “radio” distorted vocals.  Edgy guitar is paired with steady bass, with a rhythmic constant percussion alongside.  The song swells to a wall of reverberating depth, augmented with more electronic snippets and echoed vocals.

“Nowhere” is much, much heavier.  A complex edifice of sound, with exceptionally strong vocals and percussion supported by monolithic synth and backed by guitar that weaves deftly through the song.

“Out of the Sky” has a dark, moody synth backdrop that is very reminiscent of Lycia.  Superbly layered guitar and prominent percussion accompany very heartrending vocals that rise with the synth into a tide of anguish.  “You look in my face and what do you see/you see the pain that is burning me.”

A ticking clock aptly heralds “Seconds”, which manages to be upbeat, yet inexplicably dark at the same time.  Anchored in the consistent, yet not overbearing percussion and bass, this is another song that brings Ikon to mind.  Another fine combination of synth and evocative guitar, with beseeching vocals that resonate with echoes.  “Don’t try, don’t try, don’t try/to talk me out of this”.

“Cry” is very, very heavy, with ferocious guitar that sounds nearly Metal and powerhouse percussion.  Strident vocals and spiraling synth heighten the sense of an imminently looming Apocalypse.

“Prison of Dreams”  is a fast paced, with a strong electronic base and vigorous percussion.  The electronics are not overpowering,  but well balanced within the    The guitar adds a sense of urgency, as percussion suddenly thrashes out almost whiplike.  Desperation tinges the vocals, which suddenly end as the song fades out.

“No Resistance” has forceful, militaristic percussion.  Electronics lend a futuristic touch, while menacing bass heightens the sense foreboding.  “Do as you’re told, question nothing/become everything they would want you to be, no resistance.”  (Hmm… sounds like the “scene”)  Then Andrew exhorts the listener to have a bit of backbone.     “Suspect everything, believe in no one/you still have the voice to question them.”  Now that’s what I’m talking about!    Sinister guitar and strident vocals take us to the bitter end.

“Rebekka” is simply a great song.  Layers of acoustic and electric guitar, emotionally charged synth, and distressful lyrics are underlaid by strong bass and muted percussion.  A guitar segment towards the end is very compelling, and the total effect is very visceral, reaching into your soul.  I had to stop writing and dance, while my cats watched in fascination.

The title track of the album, “Walking to the Edge” waxes sad and regretful, with vocals full of distress and sorrow.  Muted bass and symphonic synth suddenly give way to racing guitar and percussion, which rise dramatically to an ending like a nervous breakdown.   “I’m walking to the edge…”

“Walking to the Edge” is indispensable for fans of Goth and related genres.  The Last Cry have done a fine job,  and I look forward to hearing more.  Goth DJ’s need to be playing this.

http://www.myspace.com/thelastcryuk/

MC: How did you guys get together to form Peeling Grey?  Was there a precipitating event, so to speak?

PG: I met our former guitarist Mike at a club I was running in 2007. We use to jam, just the two of us in his Hollywood apartment starting in the summer of 2008. I brought in our first two songs “Faith In Forever” and “Peeling Grey”. Months down the road my friends Richard Nielsen and Naren Renz came in to complete the line-up. I had a musical past with the both of them…..especially Naren. After some changes last year my longtime friend Karla Blume took over on guitar.

Everyone I have played with in this project has been a friend, prior to Peeling Grey finally becoming a reality. We even had another friend James Hazley produce & engineer our demo EP. He also was a session guitarist until Karla stepped in. I suppose the band is a family affair of sorts. I’m fortunate to personally know great talent that makes this thing fly.

MC:  What sort of music were you listening to in your formative years?  Was this a major influence on your music now?

PG: First wave Punk, New Wave, and early Goth music paved the way for me ever since I was in my early teens. I always felt I borrowed from various influences and was inspired by very particular characteristics from each group or artist. The Cure has always been a tremendous source of ideas both musically and stylistically. I feel some of our songs reflect a degree of “Cure-esque” emotion if I dare say so. I feel our song “The World’s Not Sorry” is one of them.

The spirit of The Clash always spoke to me on many levels. I think that compelled me to write (lyrically) a few songs geared away from emotional distress and heartache and address bigger issues. “The Strip” is so far our most political song as it is a reflection of everyday life in the Gaza Strip. “James Quarterly” is a track where I’m reaching for my inner Mick Jones, lol. But, it is a serious song about friendship and witnessing someones drug addiction and close brushes with death.

I do hear some touches of more current bands from Rich’s end on drums and I think that is a great thing. Furthermore, some of his drumming reminds me of Joy Division and early New order as well. Naren has similar tastes as I, but his trained background in music gives us an edge over how I personally approach writing, and it works really well. Karla and I see eye to eye on The Cure, and she too comes from a rich musical background. Her mother was a folk singer that used to hang out with Bob Dylan! How’s that for band DNA?

But, back to your question, yes, those very influences from my formative years play a vital role in our sound. I think that goes for all of us. In the end though those influences are simply just that. We’re not here to imitate anyone.

MC:  The internet is a great thing that allows people more access than ever to new music (after all, it’s how I found Peeling Grey!).  But sometimes I think a down side is that access can be too easy.  Let me explain:  back in the day, if someone even knew about certain bands, they were more than likely a kindred spirit.   But now it doesn’t necessarily mean much at all. You can reach a vastly larger audience, but do you think this results in a correspondingly larger number of “real” fans?    Or do you have to pick and choose your target audience?

PG: We pick who we feel is most likely to understand, appreciate and of course like our music. But, we welcome everyone to enjoy it. I personally do not have a problem with your average teenie-bopper tapping their foot to our songs. Maybe that’s their gateway to better music!

The internet is over-saturated so it’s kind of a miracle that we’re having this conversation. Yes, back in the day things seem to be more sacred. You had to take your chances with some random junk you would find in the discount bin at a music store. That or it was simply word of mouth that got you interested in a band. It’s been so long since the radio did anyone any favors so I won’t go there.  Those things still exist but the internet has made people both impatient and dismissive of lots of things….especially music……Attention span? What’s that?

Hence this calls for bands and promoters to figure out ways to use the internet more effectively. Our way of reaching out to new potential fans through the internet is to actually speak to them one at a time. I like to add a personal touch and remind people that we really do exist! Getting them to your shows is key so that they can make that connection. I think that’s one of the challenges of the internet; The world is condensed down to neutrons and lacks being three dimensional. Still, I would never want the plug pulled on the internet especially in the case of music. Despite the disadvantages anything can happen with billions of people out there. It boggles the mind indeed.

MC: It seems like today’s youth culture is rapidly turning into an amorphous thing where everything has a sort of disturbing sameness, from music to fashion.  That is, what used to be fairly distinct subcultures now have many elements that are almost identical.     I think is largely due to the efficiency of modern communications globalization of mass media.  What are your thoughts?  Can subcultures still retain their identity in the 21st century?   What do think are some of the important factors with this?

PG: I think a new phenomenon may arise. By then who’s to say music will play a significant role. We can only hope so. We call it “subculture” now. It’s so difficult to predict where things will end up in this century. In the long run it’s anyone’s guess. I mean, who in the 19th century would fathom an underground youth movement fueled by music, fashion, and sometimes politics known as Punk Rock in the 20th century?

I think you’re right about technology having its effects on subcultures. The main thing for “subculture” to thrive as we know it in 2010 is passion and rebellion. When people, especially the younger generation cease to revolt or express themselves that is the death of any counter/sub culture. What worries me is that people in general seem to be more complacent these days. That’s what most governments want…if not all of them.

The homogenization of subcultures you speak of has been going on for years now. It’s hard to pinpoint what the causes of that are. But I see this “absorption”  effect in many areas outside of music. I see it in our foreign policy with how we claim to want to spread democracy to other parts of the world while under the table contracts are being awarded to companies that don’t care about American ideals. Instead it’s corporate American homogenization. I see it in globalization as well. It’s also apparent in the media when huge broadcasting companies absorb smaller stations. That’s what happened to KROQ out here in L.A. That was our subculture’s outlet for good music. Now it’s all crap.

As mentioned it’s always about passion. But with passion which can be a fashion as well, comes purpose. Too many people do not have that. Maybe it’s more convenient that way. We use to call out the people who didn’t have a purpose or understanding for their scene or subculture.  They were called poseurs! Now, I don’t intend on going off on an elitist tangent but that is part of the problem; More and more people get into something because it has become accepted. It’s safer nowadays, but I know I can’t turn back the clock….And that’s not what Peeling Grey is all about. We wish to look forward.

At any rate subculture can be the symptom of an ill society. It can also be a wonderful forum for creativity nonetheless. But it seems a lot of art is also the product of social strife and upheaval. I think that’s what made the original London Punk scene real. Bands like The Clash provided a social commentary. It would be interesting what the youth in Iran have to say these days. Maybe that’s where Goth and Punk need to regroup!

MC:  How is the LA scene doing these days?  What are some of your favorite venues and events?

PG: Los Angeles is vast and diverse much like any big city. There are many facets of the Goth scene here. To simplify I would boil it down to two factions, but not really opposing ones: Hollywood is one with its establishments and promoters that seemingly have the financial backing. This comes after years of doing it I suppose. Most events that relate to that side of town or its entrepreneurs cater mostly to dancing…..which I do enjoy…..when the music is decent.

Then there’s the rest of us that throw our own clubs, and more or less stay true to the original aesthetic. I think there’s more of a grassroots feel with the independent promoters and DJ’s that really try to promote not only new and obscure music, but local bands. That’s currently our nitch in L.A. and everyday I do appreciate more what we still have in this town.

My favorite club is Release the Bats…..period. That’s in Long Beach at the Que Sera and was integral to bringing Deathrock into the 21st century. We play there in March and it is a good feeling. I hate the Sunset Strip and never had a good experience at The Knitting Factory in Hollywood…oh that’s gone now, good!

MC:  What are some of the good things about the music “underground?   What are some of the bad?

PG: The good thing is there are no limits. I have seen a few artists really push them. In my opinion it doesn’t always translate into good art or music, but I appreciate anything out of the ordinary.

One of the bad things is depriving the rest of the world of what you want to share. Usually when it’s “underground” it’s relatively unknown. That can also be a good thing, but I think after a while that can get old. I don’t care what anyone says. 99% of art is created with the intent of exhibition……and there usually isn’t a set limit on how many people are allowed to appreciate your craft. Of course I am aware of the stigma of success beyond underground approval. I think I may have touched on that in a previous question. However, as long as the artist remains sincere I do not see a problem.

I suppose what can get annoying is when people’s interest in “underground” scenes is either to be seen or relishment in being among those that pioneer a movement for the sake of it. The most important thing is to really like something, to care for it, and understand it.

MC:  How do you get that cool “fuzzy” sort of sound on the guitar on your demo?

PG: That was our original guitarist (Mike O’Hare) sound. He would just sit there and tinker with his processor during practice. It use to drive us mad because we took 10 minutes between songs! He was very particular. I think the fuzz was partially our collective brainwaves being processed and amplified too. I heard that’s how The Jesus and Mary Chain do it

MC:   When do you anticipate your full length CD coming out?  Can you tell us anything
about it?

PG: Initially we had our sights set on another E.P. Then it dawned on us that a full length is really what we want. It’s difficult to gauge what type of release would get people on board. I figure we’ve already done an EP (even if it was a demo) so now it’s time to properly record our songs for a full length album.

I anticipate the album will be ready for the masses in June or July. In my line of thinking the sooner the better as no one waits for anything these days……so I won’t either. Afterall we’re competing with instant gratification all around!

We’re going to feature at least 10 tracks on the album. We have more songs than that, but anything leftover can be released as a b-side I suppose. I don’t even know if b-sides are still relevant….To hell with the rules, we’ll still have them!

We begin recording on Feb 6th. Our reworked and final version of “Peeling Grey” will be submitted to a German compilation titled “Darkness before Dawn” that will be distributed at this year’s WGT Festival in Leipzig in May. All I can say at this point is I am confident that our album will do justice to all our music. It will sound real, and have some raw nerve yet still hold up to today’s standards of recording.

MC:  Where will Peeling Grey be performing next?   Do you have any plans for a national tour? (hint, hint!)

PG: We’re booked through April. We actually play this weekend at Club Vicious in Rosemead. After our Release the Bats show we’ll be opening for Fangs On Fur and The Deep Eynde in April….Exciting stuff.

We will tour eventually. No matter how much more accessible music is online, it can never replicate playing out. And that is one of our goals; To be a touring band around the world and break some hearts while we’re at it! I wouldn’t be surprised if we were invited over to Europe before the rest of America. We’ve been getting some great feedback from NME Radio in the UK and as mentioned we will also be featured on the German compilation.

I have a feeling there will be a long road (no pun intended) ahead. I think gigging is half the fun…..Could be chaotic and memorable at the same time. Tell us if anyone is willing to sponsor or help us reach that goal One way or another we’re coming to your town.

MC:  Thanks so much for doing the interview!  Is there anything else you would like to add?

PG: Yes, we will be playing your daughter’s next birthday party drunk. Just kidding…..I’m known for bad jokes. Actually we don’t really drink until after the show….At least that’s how I handle it.    Thank you for the interview and we will see you in 2010 and beyond! Stay tuned for our debut album as we’ll be landing in your neck of the woods someday soon. Goodnight!

http://www.myspace.com/peelinggrey

http://www.facebook.com/pages/Peeling-Grey/343472150136

The crowd was a bit different from Heavy Rebel, but everyone seemed friendly and the focus was clearly on just having a good time.   The crowd seemed to about an even mix of Rockabilly types, Elvis fans, and regulars.At unfamiliar events, I tend to hang back a bit and observe for awhile, and I found a nice spot right beside the jukebox.   Coming down the steps, a rather cute girl stumbled and nearly fell on top of me.   When I asked her if she were OK, she appeared to think it was a come-on, but really it wasn’t, and fortunately she seemed none the worse for her near fall, so I thought That’s All Right Mama.   Richard of the Bo-Stevens came by and said hello.  Greg admired my T-shirt, which incidentally happened to be a B0-Steven’s shirt!

When The Straight 8’s great set ended I immediately  headed to  the stage to make sure I had a front row spot.  A few minutes later the Bo-Stevens began setting up, and when they began playing it was hard not to Shout It  Out. First,  they did Homage to the King with  a rousing cover of “Blue Moon”, followed by “Burning Love”, and “That’s All Right/Mystery Train”.    To my delight, they soon launched into one of my favorite songs of all time,  the Bo-Steven’s own “My Baby Got Gone”.    Performing songs from both “Can’t Never Could” and “A Little More Road” such as “12 Ounces”,  “One More Town”, “Stop” and “Saturday Night”, as well as  classic ’50’s  numbers like “Little Sister”, the Bo-Stevens proved once more that with  this kind of music, Any Place is Paradise.  Richard played with his usual flair and energy, while Greg’s guitar strings were  smoking with blistering chords.  The versatile Jeff  added harmony, and put the pedal to the metal of his steel guitar.  Can you really have this kind of music without a little mandolin?  Nope.  Meanwhile, the Reverend slammed the drums like Judgement Day was dawning, while Daniel slapped the double bass with serious aplomb.  It was time to seriously Rock- A-Hula, baby.    Just when you thought it couldn’t get any better,   Richard invited the talented John Howie, Jr. to the stage.  The Bo-Stevens set ended all too soon.

Between bands the DJ  put on a 50’s extravaganza while several couples began swing dancing, and everyone had a generally good time.  Next up was Killer Filler, with their roaring mix of Surf, Soul, and Rock N’ Roll.   How Can You Lose when add a little Cha-Cha to the mix?  Soon Killer Filler had he audience dancing like we were in trh tropics instead of the middle of the coldest spell of the year.

I wandered out to the Jungle Room, where the immediate drop in temperature reminded me that we were indeed far from the tropics, but with the incomparable John Howie, Jr, and the Rosewood Bluff on stage, the chill was soon forgotten.   Everyone was putting some serious mileage on their Blue Suede Shoes, while John Howie and his crew laid down some serious high octane country, underground style.  The crowd was very forgiving when I weaved my way to the stage to take some pictures. On the way I ran into Dave Quick, who was as solicitous and  affable as usual.    John Howie Jr and the Rosewood Bluff have some of the most energetic fans around, who were clearly thrilled to see the band.  I thought I recognized one of the girls who was right in front of the stage, but I was not sure, until John called some special guests to the stage, none other Richard Boyd and Billie Feather.   The girl was indeed the talented Billie Feathe, lately of the Bo-Stevens and currently a member of the simply amazing Darnell Woodies.  John Howie and friends brought the set to a rip-roaring finale that insured no one in the audience was standing still.

Afterwards, I spoke at length with Billie, who is certainly one of the nicest pople in the local music scene as well one of the most talented.  She introduced me to John Howie, Jr.  who is also very friendly.  I look foward to seeing them both on stage again.

Afterwards I made by way to the even more frigid parking lot, and the thirty something odd miles home.   David Quick kas once again put on a truly enjoyable  event. Even is Elvis isn’t your Teddy Bear, you are sure to have a good time at Elvisfest.  Due to a malfunction I was regretfully unable to get any video footage, but I hope that the pictures give some idea of this fine event.

I was there! (Thanks, Billie.)

“Breathe” is a thrilling combination of rollicking guitar and fine vocal harmonies which are just discordant enough to be interesting. There is a great bit of falsetto here somewhere too.   If you want to chill out, listen to Simon and Garfunkel.  If you want to groove, play this.  Strong keyboards give a wonderful counterbalance to the whole piece.

‘Kiss from a Girl” begins with an excellent sort of chopping retro-guitar.  The song has some hard guitar riffs which are just awesome, giving a hint of early Jethro Tull.   Mesmerizing Keyboards weave wonderfully through the spaces between, over, and underneath,  like a serpent winding through the branches.  The bass holds steady throughout the song.  The lead vocals careen between the extremes of short, punkish bursts, and  old R & B.  “Just tell me Baby, how to win a kiss!”

“Light Feet Do First Impressions Make” has a very ‘full’ sound that surrounds the listener.   The guitar pounds along like a freight train on a decline, with keyboards and percussion stoking the fires.   The whole thing desperately spirals  towards a dramatic vocal and instrumental cacophony, only to brake and then pick up steam again.  Right when you think it’s finished, the song roars into life again.  I love the guitar.

“The Lights” begins very poignantly, with light keyboards and percussion. Dimitri’s bass has a cool funky groove, then Aelus adds faintly grungy guitar in a combination that works admirably well. But wait, this song features the captivating Sephora on vocals. She is soulful, yet sultry, and tinged with melancholy.  Her keyboards keep a steady, moody pace, while the supporting vocals soar soulfully in a gripping counterpoint.  Aelus has a nice, rock-style solo, and Dimitri’s bass emerges from where it has been hovering just under the surface.   The song rises to a climax of swirling, wrenching vocals.  The Extraordinary Contraptions show that a little bit of Motown goes a long way!

“Fine” hits the listener very viscerally. The vocals are deceptively smooth, and the guitar riffs are addictive and edgy.  Keyboard and backing vocals add delicious layers and then the song rises to an anthem-like chorus. Corbin’s jazzy percussion adds emphasis at just the right times. Then Sephora adds a harmony that strikes the listener like a silver bullet.   The song races, with each element in superb interplay, to a sudden finale (of seem, worthy of  the Emperor of Ice Cream).

“This Kind of Love” has a catchy Metal-style opening, rolling into tight vocals and  harmonies  that bring early Queen to mind. High keyboards add a harpsichord-ish air, with Corbin’s percussion riding herd.   Dimitri’s  bassline leads a sudden heavy charge, with everyone churning furiously, before descending to a harmonic close.

I simply love the opening keyboards on “Policy of Honesty”, which have an almost Latin flavor.  Aelus’s vocals are a bit harsher than usual, a perfect math for the absolutely blistering guitar.   A metallic guitar solo puts on the heat.  The last segment of the song is a rousing sonic blast,   with backing vocals that don’t just soar, but skyrocket  magnificently into a Gotterdammerung chorus.  Great song. Play it loud!

Rapid fire guitar riffs herald the beginning of “Ms. Intangible”, setting the pace for very energetic staccato vocals, which alternate with a speaker-type vocal embellishment,   and well integrated background harmonies.  Aelus wields a mean guitar that sounds positively punk and then suddenly grunge, while Dimitri’ s bass is subtle power behind the throne.  Likewise, Corbin’s percussion is very strong, charging into the finish as the song ends on a riveting keyboard flourish and then a few random guitar notes that fire like the final shots of an ambush.

“Burn” continues with a fast paced Deathrock guitar riff and a bit of echoing diabolic laughter.  This song again highlights the dynamic vocal arrangements of the Extraordinary Contraption.   Everything is face paced, with the guitar suddenly sounding very ‘90’s-ish.  The pace slows with a bit of solo guitar, and then shifts back into gear.  There is a very edgy bit of keyboard in the middle somewhere, along with a bassline that reaches out and grabs he listener unexpectedly.  Vocals reach a crescendo and then suddenly the song stops.

“Smote” has another wonderful Latin-esque tone, down to the percussion.  There is a interlude of spaghetti western guitar, and then silence, like the seconds before a gunfight.  The song suddenly resurrects with keyboards and the tone drops to a deadly growl, held by melodic and militaristic percussion, before the song surges into a  strong Latin-esque keyboard sequence, and finally  a thrilling grungy guitar burst reminiscent of Neil Young and Crazy Horse. The ending is as fast and dramatic as the OK Corral.

The CD aptly closes with “Never Halfway Only”.  Heralded by a touch of percussion, this is a very moving number with Sephora’s vocals flowing smooth as Sade, smoky and magnificent.  The percussion is very integral to this song, yet is masterfully understated.  Both guitar and bass manage some very evocative chord changes, and the backing vocals add to the sense of utter poignancy of the song.   Keyboards are a firm foundation of the song, slow and dirge like, as the bass shadows them like a memory, before emerging into its own right.   Sephora’s vocals also bring to mind both Joni Mitchell, particularly on the like “I hear things are changing now…” and invoke the sad expressiveness of Roberta Flack.   “I will be there for you ‘til my dying day….”    The song ends with a striking acoustic flourish. Simply a phenomenal song.

I could say much, much more about “Inappropriate on Purpose”, but would still not give the reader an adequate appreciation of the CD.   For me, some of the most extraordinary qualities of The Extraordinary Contraptions are the brilliance of the arrangements, both vocal and instrumental.  The discordance which I have already mentioned works admirably to heighten the effects upon the listener.  The band are all very, very talented and compliment each other exquisitely, performing both fast and slow numbers with equal ease.   They combine many diverse elements into a unique sound, and the diversity insures that the CD is never monotonous.  This is the hallmark of bands that play in the Steampunk scene, not all clanking and horns.  They combine elements that may seem disconcerting to a casual ear conditioned to the superfluous, momentary catchiness of the mainstream into something far more creative with infinitely more staying power.   Oh, and The Extraordinary Contraptions have excellent fashion sense, too.

For the discerning listener of all sorts of music, “Inappropriate on Purpose” is simply a must-have.   If you can catch The Extraordinary Contraptions in concert, by all means, do so!  Not only are they talented, they are also very nice people.

http://www.theextraordinarycontraptions.com/

http://www.myspace.com/theextraordinarycontraptions

On that particular forum, the primary complaint against Steampunk seemed to be concerning the music.  Steampunk was  derided as somehow not being a valid subculture, because its music  “is already covered under other genres”.   These  critics of  Steamkpunk apparently do not  understand that Steampunk is not a music subculture.  Unlike the Goth and Deathrock “scenes”, music is not the definitive factor of Steampunk.   Steampunk is a visual subculture.  Music is strictly secondary, being simply something to add to the mood at social events.  As Joshua Phieffer of Vernian Process says,

“…[T]here is no defining element to Steampunk music. Steampunk music is different to every individuals interpretation of it. The only true definition could be; ‘Music created by Steampunk fans, or music that Steampunk fans find invokes the atmosphere they expect from a Steampunk setting or aesthetic‘.”

To the Deathrockers who recently sneered that Steampunk music is already covered by existing genres, yes indeed!   It’s covered by everything from Ragtime to Goth. And therein lies the beauty.  While a few bands do call themselves Steampunk bands, this is usually in more of an aesthetic and philosophical sense more than an attempt to create a new musical genre.  An analogy might the way that  different bands toured with the Grateful Dead and became part of Deadhead culture, but were nothing musically like the Grateful Dead.  DJs  at Steampunk nights spin songs that simply that fit in with the atmosphere.  Personally, I find Frightdoll’s “Endings” and the Darnell Woodies’ “Booger” eminently suitable for a Steampunk event.  But these  are certainly not “Steampunk” bands,  and might even be horrified at the suggestion.   At The Clockwork Ball, hosted by the talented Davenport Sisters, of course you will probably hear hear Vernian Process and The Unextraordinary Gentlemen.  You might hear Rasputina, The Squirrel Nut Zippers, the Decembrists, and Jill Tracy.    You might hear Classical, Jazz, or Darkwave.    But it is the song that is important, or rather, the feeling that the song invokes, not the “genre” of the artist.   Indeed, someone can be a Steampunk aficianado and not listen to any particular music at all.    This is where Steampunk differs from music subcultures.    It is especially ironic to hear Deathrockers bash the Steampunk subculture on musical grounds, when a couple of the most prominent Deathrock “models” are not fans of  Deathrock music!

Apparently, people are trying to make Steampunk fit their own notions of their own scene.   A couple of years ago on the same forum, one  Deathrocker sniffed something to he effect that Steampunkers are just LARPERS in top hats and goggles.    Well, I’ve known far more Goths who are LARPERS than I’ve ever met in the Steampunk scene.  So what?  The implication that Steampunk is somehow contrived and devoid of real substance is a charge that was leveled at most burgeoning subcultures.  Let’s be real: Steampunk is no more “silly” than  than Goth or Deathrock.  This is the pot calling the kettle black, so to speak.  It is truly ludicrous for one such subculture to be bashing another.

Steampunk is not Goth. It is not Deathrock.  It does not try to be.   So what is the problem?  All three of these have far more in common with each other than they will ever have with the Mainstream.  Instead of bashing people who are trying to be different, why not show a little of the same tolerance that you want the rest of the world to show you?   Or at the very least, bother to find out a few facts before you trash something out. A few places to start might be here:

http://steampunkscholar.blogspot.com/2009/06/steampunk-pastiche-elements.html

http://www.tor.com/index.php?option=com_content&view=blog&id=58014

http://brassgoggles.co.uk/blog/

On Friday Oct. 30th, I arrived on Franklin Street, the main cultural artery of Chapel Hill and nearby UNC, shortly after Mansion 462 opened its doors. As always, the staff of Eccentrik and mansion 462 were friendly and welcoming. As it was sometime before the bands began, I spent some time talking with Emmett and Klaude Davenport, the energetic and eminently capable organizers of Eccentrik.  To my surprise, Brad, the congenial owner of Mansion 462 recognized me, welcoming me back to the establishment.  Wandering through the crowd unwinding a bit after my journey (traffic on I-40 on a Friday night brought back shades of Miami),  Soon the dashing host and MC, Mister Kantrip, officially began the evening’s musical festivities with his own inimitable brand of humor.  The lights dimmed, and The Extraordinary Contraptions took the stage.  I had never seen The Extraordinary Contraptions before, and was truly astonished at the musical mastery and stage present of the band.   Any band with a double bass automatically gets a few points in my book,  but this was a mere premonition to what was soon to transpire.  With Aelus Kristof von Stadberg on guitar, Dimitri von Stadberg on bass, Corbin Able Welch on percussion, and the most lovely Sephora Bostwick on keyboards, The Extraordinary Contraptions performed material from their future classic “Inappropriate On Purpose”, as well as their upcoming CD.   Not only are they musically adept, but they are very friendly.  I must have annoyed the band mightily after their performance, but they took it in good grace and we had several very conversations about the band, and music in general.   Their fashion sense is superb, too. Sort of like the Wild West meets Dr. Who.

Then Lemming Malloy took the stage.  As you may have deduced from my reviews, I consider Lemming Malloy one of the key bands, and perhaps THE key band,  of the talented musical scene centered around the Triangle area.   They are amazingly versatile, and as usual their set was fantastic.   The Two Man gentleman band from NYC was next, straight out of the Roaring Twenties, or at least, how it should have been.  Andy Bean and Fuller “the Councilman” Condon delivered a rousing, rip-roaring performance of demented dixie-land, hot jazz, and a non-stop repartee that was as entertaining as the music.  They are not afraid to veer into the risque, or actually, crash and burn into the risque.   Oh, did I mention they play kazoos?   After the bands finished, I spoke briefly with Unwoman and various others in attendance.  All agreed it was a wonderfully entertaining evening.

I was afraid that the trek to downtown Chapel Hill on Halloween would be rather traumatic with Franklin Street closed to traffic , but this was not the case.  It was a short walk from Carrboro, which was rather pleasant and a nice way to see the Halloween crowds.  I again arrived somewhat early at Mansion 462, and spent some time observed the clientele.  Fashion ranged from the the expected Steampunk attire to elaborate Halloween costumes,and some people were in street clothes.  All mingled freely and there were not visible boundaries, as in so many clubs and events.  I chatted pleasantly with Emmett before she turned her attention to the turntables.  Between the bands, she and her DJ’s kept the crowd moving.  At one point during the night I was thrilled to hear my favorite song by the Squirrel Nut Zippers, “Suits Are Picking Up the Bill”.   The evening began with none other than Roberto Cofresi (of the New Town Drunks), a one Pirate act of pure nautical intensity.  With ballads, sea chanteys, and songs of undetermined origin, Roberto unflinchingly steered the good ship Eccentrik out of port and  into the wild unknown.  Towards the end of his set, I was itching to request “Spanish Ladies” or “Health to the Company”, but I could see he was in dire need of a dram or three after his musical exertions.  There appeared to be a small technical difficulty setting up the stage, but this turned out to be an unexpected blessing.   None other than The Extraordinary Contraptions quickly set up near the front for an impromptu second performance and completely acoustic set!   The lines between audience and band were blurred as they played nearly among the audience, with passersby peering in the door and windows , as Eccentrik-ites wandering freely about.  One of the extraordinary things about The Extraordinary Contraptions is that not only are they most proficient with their instruments of choice, but they are fine vocalists as well.  Aelus, Dimitri, and Sephora all took the lead vocals during the set, as they had done the night before, seamlessly moving through their excellent repertoire.   Sephora’s melodica lent an enchanting, and vaguely nautical air  to the festive set Too soon, the Extraordinary Contraptions, finished.  If the evening had ended right there, it would have been a memorable Halloween.  And yet, there was more to come!

None other than cellist extraordinaire Unwoman was next.  With exquiste vocals and cello backed by occasional electronics, Unwoman gave a mesmerizing performance.  I was very pleased to see, or actually, to hear, that her electronic backings are usually very minimal. They do add depth on some tracks, but are not overpowering.      This is in stark contrast to some other bands who, while they are skillful string musicians, their music ends up being mainly Industrial/Dance with some classical elements thrown in.  Unwoman, on the other hand, showcases her  superb cello and voice.   She played a range of pieces from throughout her career, including her marvelous cover of Chris Isaacs‘ “Wicker Game”; “haunted”; “Survivial“, and the intriguing “Witchwife“.  “Witchwife” is the the poetry of Edna st. Vincent Millay set to music, from Unwoman’s album “Blossoms”.)   Unwoman left the stage all too soon.  Next was Durham’s own “Veronica Diabolique“.  Looking dashingly deathrock, Veronica Diabolique gave a smashing performance that soon had the audience dancing.  With a strong post-punk sound that also incorporates deathrock and gothic elements, Veronica Diabolique fittingly performed The Cure’s “Three Imaginary Boys” in a manner that was much more than a mere cover. They also performed “Breathe” from their 2007 EP “Cafe Solitude”.  Dark, yet energetic at the same time the music of Veronica Diabolique is laced with allusions and references to literature, which I enjoyed immensely.  If the Symbolists had formed a Goth band, they would probably have sounded a bit like this!  The evening concluded with the inimitable Vernian Process, fronted by Josh Pfeiffer, who needs no introduction in these quarters!  Ranging up and down the musical spectrum like aural marauders, Vernian Process gave an exciting, blistering, performance that the audience will not soon forget!  They were  joined on stage by Unwoman, who lent an added sense of grandeur to the  occasion.  Joshua ran amok with his empassioned vocals, while bassist Janus literally leapt among the audience. For a moment, he  actually disappeared.    Ash left the audience Dazed and Confused with his versatile guitar work and bawdy bowmanship.  Vernian Process gave their all, and were visibly exhausted as they left the stage much too soon.

Coming from as far away as South Florida, attendees generally agreed that one of the great things about Eccentrik is the sense of camaraderie.  Apparently the laid back attitude of DJ Mouse, her staff, and her regular patrons, rubs off.   “I’m not really into the Steampunk thing”, admitted one patron, “but everyone is always friendly.”  His girlfriend added that whenever she attended Eccentrik and the Clockwork Ball, people would always speak and be sociable, but sometimes she would see the same people at Goth events in the area, and they would appear not to recognize her.   I did run into a couple of people who seemed to be migrants from the regular club scene.  They were not exactly unfriendly, but did exude a rather frsoty and condescending air that I know well from certain Goth/Industrial clubs. Their offhand comment that they had never been to “anything like this” explained it.  Hopefully they will return, and join us on the…Steamside.

People who assume that a Steampunk themed event will feature little more than  boring  music based on stale Victorian affectations could not be more wrong.  (I seriously wonder if some of  these critics have ever actually attended a Steampunk night.)  The music at Eccentrik was richly varied.  Fans of such diverse genres as Deathrock, Industrial and Classical can find something to enjoy. (See my article on Steampunk and music.)   Eccentrick is  about attitude, not affectations. An attitude is of simply having fun.  Patrons who were dressed to the nines mingled freely with others in their street clothes.  I have seen small Goth shows were the bands played and left immediately, but such was not the case at Eccentrik. The bands were as accessible as the DJ’s, who did not sequester themselves in the DJ booth like some DJ’s,  but spun right alongside the dance floor.  DIY is the order of the day, and no preconceptions or judgements are visible.

Even if nothing else, Eccentrik is a welcome change from the usual club fare.  From Chicago to Miami, it’s easy to find weekly Goth/Industrial nights that play pretty much the same music,down to the BPM.  DJ Mouse and her tireless entourage have  worked very hard to produce an alternative, and a fine one it is.     Everyone enjoyed the music and company at one of the most unique events in the US.  DJ Mouse has deliberately kept Eccentrik at a level that is conducive to the true underground spirit.  I am greatly looking forward to Eccentrik VII.  Hopefully, by then I’ll a decent camera that can capture even more of the fun and excitement that is Eccentrik. After all, you can’t go wrong with Mouse in the House!

“While You Were Sleeping” is absolute musical brilliance. I was blown away at the very first listen.  The guitar and vocals are both very edgy, recalling the  early ‘80s.    The song pulls you in like a dark undertow, very effectively accentuated by scything guitar hooks, an eerie drone in the background, and Maple Bee’s visceral “Huh Oh” in the chorus.   It is also quite danceable, but certainly not in any boring BPM-driven sort of way at all.  When you think that the apex of the song is reached, the closing vocals deliver an added punch that will leave the song running through your head, if you can resist the urge to replay it, that is.  “Quiet the Silent World” has a very ‘80s sort of sound, with parts reminding me of Big Country.  The song goes from a very upbeat vide, reminiscent of the Go-Go’s, down into a  more introspective avenue.  Layered vocals and sharp guitar add to the effect, especially at the end.  “Me and Rose” is slower and more reflective.  Cello and accordion provide the perfect compliment to the dreamy vocals.   In “Mirror”, Indie Rock meets the Sixties in a seamless blend.  The recorder and cello arrangements remind me vaguely of the Beatles,  Simon and Garfunkel and the like.   Much like Irish whiskey, the vocals are deceptively smooth, only to sink their hooks into you when you least expect.    The glockenspiel is a nice touch, with a bit of U-2ish guitar during the last part of the song.  Out of nowhere, the ending turns a bit disquieting.  “No Place” has vocals are very evocative, nearly like standing on a precipice, filled with longing tinged with desperation.    The piano is a poignant counterpart to the guitar, which has an almost renaissance flavor for a fleeting minute.  “Queen 23” is absolutely masterful.  The guitar and vocals resonate with a sense of something irrevocably lost,  and the percussion is very catchy and intriguing.  “I Want it All” begins languidly and breathless, like listening to a singer in a near empty cabaret at closing.  The current suddenly shifts, with a 60’s sort of riff, then morphs into ominous electronic effects with nearly gothic undertones.  Cello and echoed vocals heighten the dark ambiance at  the very end.   “Sweetness in Your Light” is lighter, optimistic, and has a wonderfully understated accordion and cello.   “Somebody Take Me Home” returns to a melancholic mood, heightened by the almost mechanical sound of mini-drums.  The cello rises with the chorus, weaving around the recorder and Maple Bee’s mournful vocals, which drop to a whisper.   “So Far from Lost” is very moving, with a feeling of something irrevocably lost.  “Nobody told me it was this hard…I’m finding out last….” All too soon, the CD ends with “This Face This Name”.  This song  is a bit harder, with brasher electronics and percussion.   Driving and   forceful, with hypnotic hooks that pull the listener into the shadows, the song ends with frantic, discordant vocals.

“Home” is very well produced, with arrangements that are phenomenal.   The packaging is very attractive, and lyrics are provided.  Accessible, yet with an edge, more will be discovered with each listen. The first time, play it loud.  Preferably driving down a deserted freeway at night.  Then play it softly, by candlelight.   Carefully crafted musical subtleties are the true hallmark of this CD.  “Home”  will appeal to musical aficionados of all persuasions who seek something exceptional.  I look forward to hearing more from Maple Bee.

http://www.myspace.com/maplebee

“Lost” begins with poignant, reflective keyboards.  Filtered vocals have a distant, pensive feel, which is enhanced with a trace of echo.  An ominous background drone emerges, lending an even darker aura to the song, which rises and then fades like a wistful memory.   “Alone in This” is dancefloor friendly with heavy synth and a pounding beat, yet is does not fall prey to those old familiar beasts, Monotony and Mindless Repetition.  Far from it.  Skillfully layered vocals and organ-like synth weave together with whip like percussion that evokes mid ‘90’s electro-goth rather well.  The song has a definite edge to it.   One of my favorites, “Caused” has a very dark, suspenseful intro with whispered, shadowy vocals that become increasingly sinister.  Pounding percussion kicks in, along with a fast paced, though cadenced, futuristic synth foundation.  The ominous beginning of “Evolution” reminds me a bit of early Gary Numan.   Rolling percussion and a choppy, almost calliopic synth flow into a faster very, mechanical tableau that becomes increasingly discordant.  Echoed, distorted vocals carry the song to the end.  “Controverse (Assimilation Illusion Version)” opens with an eerie deep synth and tubular bell effect, and then distorted vampiric vocals emerge.  Layers of electronics and staccato military percussion are buttressed by a doom-laden drone.  The vocals on “Indecision” have a very ‘80’s feel, accentuated by the staccato percussion and energetic synth, that borders  on the chaotic.  “Distant” is slow and forlorn, with wistful vocals that are not quite as distorted as on previous songs.  With a background of percussion, forbidding electronics, darkly classical effects, and the song becomes more brooding as it progresses to the end. “Leaving You” is another dance-friendly number, but it is artfully balanced by gloomy background effects and animated vocals.  The up-tempo “Generate” aptly features rhythmic, mechanical electronics, and a catchy synth sequence. Vocals are robotic, yet still forceful.    “Endings” is another one of my favorites,   with reflective and sorrowful keyboards and very industrial background effects. The combination of these disparate elements in very effective.   Plaintive vocals are filled with yearning and regret.   Reminding me vaguely of Emilie Autumn, This song would fit in well on a Steampunk playlist. “Sweet Serenity” is a wonderful song, with the same poignant, edgy keyboards paired with pensive, yet powerful vocals.  Cello-like synth, and a dark electronic drone which rises and falls in the background add to the dark, mournful atmosphere of the song.  A Victorian elegance  blends with a sort of stygian minimalism to evoke a evoke a sense of pensive futility.     Suddenly the song ceases on a discordant note, which will echo in the listeners mind long afterwards, like a half-forgotten dream.   “Sweet Serenity” highlights Frightdoll’s considerable vocal talents more than perhaps any other song on the CD.

“Assimilation Illusion” is truly a fine CD, which will appeal to fans of Goth, Industrial/EBM, and dark music in general.   If Edward Lee’s fine novel “Infernal Angels” or Gaiman’s “Neuromancer” are ever made into films, Frightdoll would be the perfect choice to write and perform the soundtrack.

And by the way, Frightdoll has released a new single “Cackling ’round the Cauldron”. Just in time for Halloween!  Check out her website for more information.

http://www.frightdoll.com/

http://www.myspace.com/frightdoll

Randall Keith: Anything and everything from the early Chess records catalog.  Later on, artists such as Duke Ellington, Thelonius Monk and Charles Mingus really changed my concepts of harmony and composition.

Mather Louth: Personally, my musical influences run the proverbial gamut. Growing up, I was raised on music spanning from Vivaldi to The Cars, and I suppose that eclectic tradition has continued throughout my life. As far as who I would be able to classify as constant musical touchstones, I am always mystified by music bolstered by a voice that instantly seems able to turn your insides out and shake you like a revival meeting. Some of those voices…Mark Lanegan, Nick Cave, Tom Waits, Patsy Cline, Howlin’ Wolf, Etta James, Billie Holiday, Screamin’ Jay Hawkins…all iconic in their own right, and always in my regular rotation.

Jon Nilsen: Not to be repetitive, but the whole gamut. I could be twit and boast that it’s broader than Mather’s because I’m older than she and have had more time to listen to music. But someday I’ll be old and senile, while she’s still sprightly and able to hear new music; so I won’t go there. Being a sax player, a jazz influence is almost an unspoken given. Especially the tenor giants, Ben Webster, Lester Young and Dexter Gordon. The power and breadth of sound they could get out of the horn definitely set the overall tonal quality of the bands when they played.  With the more modern horn players, I’ve been drawn to bands such as Oingo Boingo and Fishbone that used the horn sections to add a chaotic layer of harmonics that blended with the rest of the instrumentation.  Listening to Dana Colley of Morphine showed me how approaching the sax as a replacement for the rhythm guitar, rather than a lead, can add this same sort of textural layering to the songs as a lone horn player without sounding like a weak, anemic R&B band missing a few members or resorting to derivative fills that have dominated much of the post-bop playing styles.

Adam Bankhead: Before I was a “musician,” it was the Cure, L&R, PIL, the Smiths, Suicidal Tendencies, Pixies, Minor Threat…  Then at the age of 10, I started playing music as though it was a sport.  Very into the technical aspect of it.  I played in drum corps, listened to Yes, Rush, King Crimson, Tower of Power, Mahavishnu Orchestra, etc.  Math rock, I call it now.  All those time changes were soothing to my ADD. Also, not having to bear the terrible burden of looking cool, as evidenced by greasy mullets and guitar straps cinched short enough to choke a poodle.  That’s a plus. Luckily, my appreciation for acrobatics and technical prowess eventually led me to straight-ahead jazz- Miles, Coltrane, Wayne Shorter, Bird, Coleman, etc.  And the annoying snobbery of music school led to an appreciation of the other side of the

guitar-strap-length spectrum, like Supergrass, Madness, Bowie, Nirvana just to name a few… you get the idea.

MC: Many current cabaret performers sort of harken back to the 20’s and 30’s.  The vibe I get from your music is more of a ‘40’s-early ‘60s mix of swing, jazz, beat-poets, blues, and even rockabilly.  Instead of the frantic lets-party-before-the-storm attitude, you exude an attitude of “we-ARE-the-storm, baby”!  Your sound is BIG.   Was this something you consciously aim for, or did it just occur naturally?

Randall: Well. if you think about it – we are essentially an acoustic band with an electric guitar. The combination of an upright bass, sax and drums could just as easily is comfortable playing unobtrusive background music to the dinner crowd.  There is a risk of getting lost in the din of a rock club and we have to arrange the instrument parts so that they compliment each other and maximize the sonic and harmonic possibilities. That’s what gives us our sound. There’s a huge difference between what we do and just playing loud, which is what many bands seem to think constitutes a big sound.  Mather also puts a lot of thought into the tonal characteristics of her guitar playing for each song, giving each tune its own sonic landscape.  Riding on top of all that is Mather’s lung power.  So yes, I would definitely say our sound is deliberate, intentional and focused. At times, some of the creative aspects occur quite naturally and some songs have a momentum of their own in the birthing process, but again, the final outcome will always have a large measure of control.

Mather: Agreed. Relating back to my musical influences, I have always been fascinated by the shoegaze scene and the otherworldly guitar tones that play such an integral role within that specific genre. As Randall mentioned, I love creating “landscapes” for each song, not unlike how a film composer will integrate specific sounds and textures into a scene to enhance the story’s momentum. In fact, as a band we’re often described as “cinematic”, so it’s flattering to hear that the music conjures the vision of a storm for you, Aiden. J

MC: A lot of Goths see absolutely no connection with Swing, Jazz, and even Blues, but I see a lot of common elements.  For example, both were considered to be subversive in their heyday. Like Goth, both became watered-down and co-opted by the mainstream. They were very innovative and unlike anything that came before them.   There was definitely a dark side to many of the famous figures in these genres. What do you think?  Am I too far off the mark?

Randall: An excellent point. I would go as far to say that this is (unfortunately) common to many, if not all, styles of music.  Early rock and roll, punk, rap, hip-hop, soul, metal, etc.  The originators and innovators of these styles were tired of hearing the co-opted versions of whatever was once fresh-sounding and exciting from the prior generation’s musical achievements. There is a measure of anger and intolerance in the need to break away from mediocrity and the unmotivated masses.  These individuals had passion – that “artistic temperament” if you will.  So if, in referring to the “dark side” of human nature, you are referring to the visceral, raw, emotion-fueled side of the human psyche, then yes, you’re on the mark.

Mather: Certainly there is an element of darkness in the blues. I feel that blues, folk, and country (which could all be considered forms of “folk”, really) started out as the musical expression of the long-suffering working class. All of those unintentional pioneers sublimated their sadness, loss, and personal demons into a musical form that helped them to cope with the difficulties they faced. Over time, those genres birthed new genres, and so on and so forth through the present. Gothic music often utilizes blue notes or progressions, and the subject matter often delves into themes of sadness, loss, and personal demons present in the blues- not to mention the Devil himself (who was always a popular subject with one of the greats, Robert Johnson!) I think there has always been a thread of darkness running through the musical bloodline, as human suffering is a universal theme in music, regardless of genre.

MC: You started out as a one-woman show, so to speak, and then you enlisted Randall, Adam, and Jon.  Did having a band influence the processes of how you developed your music at all?

Mather: Oh, absolutely. When I started composing, I had a very experimental and primitive approach to songwriting. However, I have never been a fan of the stereotypical “singer/songwriter” type that runs their band with an iron fist and expects their bandmates to carry out their mad visions without the slightest bit of creative collaboration. Adam, Jon, and Randall each add such distinctive musical viewpoints along with excellent musicianship, so it would be incredibly dense and foolish not to foster a collaborative environment. Besides, oftentimes the “refining process” during rehearsals results in a stronger song than I ever could have written on my own. Nowadays, I find myself able to focus on building the skeleton of a song, because I am confident that the guys will be able to build the connective tissue, so to speak. From time to time, I will revisit original recordings of some of my earliest work (Desert Woman and Marisela included) as a means of witnessing the evolution of the music. It never fails to fascinate me how far the songs have come.

MC: You recently moved to the desert.  How did your move go?  What are some of the things that made you decide to move to where you are now?

Mather: Indeed I did, though it’s more of a pit stop than anything! Until recently, I have called various neighborhoods of Hollywood home since first moving out to California. The move itself was mostly for a personal reason, but provided an additional opportunity to escape the undesirable self-absorbed culture so closely associated with Hollywood. I guess you could call it my “five-year itch”!

MC: How is your touring going? Do you have any plans to come to the East Coast? (Hint, Hint!)

Mather: Well, we have been submitting to a number of prestigious festivals both in and out of state. Touring does require a considerable amount of planning with regards to finances, so it’s in our best interest to be very selective about booking shows outside of our usual radius. However, I know we would love to come to the East Coast (as all of us have lived there at one point or another), and certainly when the right opportunity presents itself, we will be eager to travel there!

MC: This one is for Randall:  are there any advantages that a double-bass lends over an electric bass in your particular style of music?

Randall: The double-bass has many advantages over the electric bass…..except for ease of transportation!  The electric bass is fun and in the hands of the right player, quite versatile, BUT, the upright is capable of many more subtleties of expression. It also makes you work harder at your craft. The upright can be an uncooperative, defiant (and at times, violent) lover. But in the end it’s always worth the extra effort.

MC: Have you ever felt any pressure to compromise on your music to make it more “accessible” (cough*cough) to the mainstream?   What would you say if someone were to suggest this?

Mather: Oh good lord, no! Firstly, the mainstream does not even truly have an opinion as to what it wants. Creating that opinion is the job of advertisers, PR sharks, and other “tastemakers”. Top 40 music receives its ranking oftentimes solely due to how much money a label will pump into their artist, not by the actual validity of the talent being spoon-fed to the masses. Besides, most of the performers that we love and respect as a band are considered to be cult favorites, and oftentimes, cult fans tend to be much more loyal to the band, and not so easily swayed by the fickle pendulum that is the pop music business.

Randall: Never. Period. I would not be capable of having a conversation with such an individual.  It is impossible to explain what integrity is to someone who thinks that way.  Also, such an individual would never have the facility to comprehend what it means to have a complete lack of interest in pleasing mainstream tastes for the sole purpose of attaining “success” (read: MONEY) and “fame”.

Adam: If a sexy front-woman in fishnets and a corset isn’t enough mainstream appeal, then it’s pretty safe to say that we will never have mainstream appeal.

MC: Who are some of your musical heroes? (This can be present as well as past.)   Who do you see as kindred spirits in underground music today?

Randall: Lester Young. Dexter Gordon. Howlin’ Wolf. Muddy Waters. Charles Mingus. Count Basie. Astor Piazzolla. Tom Waits. The New York Dolls. Metallica. Judas Priest. Lydia Lunch (and all of her early collaborations). X. Beethoven.  Can’t say I know much of anything about any contemporary music from the last decade – underground or otherwise.

Mather: I don’t know if I would call them “heroes”, but certainly some musicians I would count among my favorites (other than those mentioned initially) include The Velvet Underground, Cab Calloway, Jesus and Mary Chain, Hank Williams, My Bloody Valentine. The kindred spirits that I see from more recent times are Mark Lanegan, Gallon Drunk, Morphine, Black Rebel Motorcycle Club, and Mazzy Star. Sadly, some of those bands are now defunct due to various reasons, but perhaps we are meant to carry the torch for them.

Jon: To the above lists I’ll add Love and Rockets, Dramarama, Jane’s Addiction, Nine Inch Nails, Catherine Wheel, Madness, English Beat, Gershwin, Ozomatli as bands consistently in rotation. For more nascent bands, I’m finding Last Shadow Puppets, Silversun Pickups and Shiny Toy Guns creeping into the playlist on a more regular basis.

Adam: Elvin Jones, while in the studio, when questioned on liberties taken while trading 4’s, responded with “well, sometimes my 4’s take a little longer.”  He is my hero.

MC: Do you have any plans to release another CD anytime soon?   What sort of plans are in the works for Mather Louth and radio Noir?  Is there anything else you would like to add?

Mather: Honestly, I know I would love to release a full-length CD in the next year or so. For now, we do have our EP, “The Swamp Jazz Sessions” available for download on both iTunes as well as Amazon, and physical copies are always for sale at our shows. We have also started talks to film a music video, most likely for our song “Damned Lady”. As always, fans can stay posted on our performances and other announcements by visiting our MySpace page at www.myspace.com/matherlouth. In addition, we are located on Facebook, ReverbNation, and many other sites reachable via a simple Google search. Finally, I’d like to thank you for a lovely interview!

However, this was not to be.    The weeks rolled by and I did not receive the CD.  I contacted the distributor, and he made a very vague statement about recently mailing a lot of CD’s out, but he did not know the specifics of my order.   He promised to “check on it”.   I heard nothing.  My subsequent emails were ignored, and I realized that I was simply not going to receive the CD, much less a refund.  Fortunately, I had paid with Paypal, so I opened a dispute. The distributor failed to respond to the dispute, and a few weeks later I was reimbursed by Paypal.  I had my money back, but I still didn’t have the CD!

I contacted the band to see if I could obtain one directly from them.   I received a quick reply from Basim, but at the time they were scattered out in different locations, and preparing to tour, I think, so I didn’t want to hassle them.   Last fall I moved from Florida to North Carolina, so many things were placed on the back burner, so to speak.  Recently I remembered “Wild Nights…”, and searched for the CD. I located a distributor that carried it, but they were on backorder.  On an impulse I checked Amazon.com  and to my surprise they sell the download!  I typically do not like downloads.  I like to hold the actual CD, see the inserts, and glean more of a “feel” for the CD.  But in the absence of the CD, at least I finally have the music. And that’s the most important thing of all.

And what music it is!  “Wild Nights in Guantanamo Bay” will destroy most preconceived notions about Taqwacore.  “Sharia Law in the USA” deftly merges Neo-swing and punk, with biting sound clips that are a staple of the CD.   “Chaku!” slams into the next gear, a roaring wave of Hardcore.  “Ayesha” is punk/pop with rather catchy choruses.  The surf-ish  intro of “Disrhoom Bebe” morphs into a sort of prog-rock sound with rolling percussion and punk vocals.   “Par Desi” is bass-driven, with neo-swing vocals and very edgy guitar.    “9000 Miles” shifts gears with strong regae/ska elements.  The vocals sound very ’80s, punctuated  by fierce guitar riffs.   “WalQueda Superstore” is a scathing social commentary that holds back nothing.  Very catchy discordant harmonies with a hot-jazz chorus are masterfully done.   “Blow Shit Up” is one of my favorites!  Heavy bass delivers in a punkish style, then roaring guitar with machinegun bursts that turns into a catchy ska beat. 
“Layla” is another cool song, with intricate guitar work.  Vocals have a Latin flavor. Crisp percussion, and then the guitar turns heavy, reinforced by by edgy bass and a punk-ish chorus.   “Rabya” grabs you with a progressive bassline.  Keyboards give us a flashback to the ’90s, and spacey, but fast, pecussion lends an eerie aura to the song.

“I Want a Handjob” is reminiscent of early rock ‘n roll, with great guitar.  The refrain ‘Everyday is Karbala’ probably refers to the Battle of Karbala in 680,  where Husain ibn Ali was slain. After a about a minute and a half, the song explodes, then turns into a ska inspired beat, with a deftly layered background chorus.   “Suicide Bomb the Gap” is pure funk, with a pounding bassline that George Clinton would be proud of, and very ’70’s vocals and background chorus.  Helicopter and news broadcast sound effects ensue, then the song breaks into hip-hop type vocals anchored by the funky bass and guitar.   This CD is  highly crafted with loops and sound bites that enhance the music, instead of simply providing filler like on so many albums these days. Wild Nights in Guantanamo Bay is a musical masterpiece that defies stereotypes and displays a versatility which is more enjoyable with each listening.  Now available from CD Baby as well as Amazon, you can get this great CD much faster than I did.  It was truly worth the wait.  I look forward to hearing more from the Kominas!

http://www.myspace.com/thekominas