Greetings and Dark Salutations!

We have a simply great interview with the UK’s Martin Oldgoth, as he celebrates his 25th year of involvement in the Gothic scene.

Everyone may remember Sophie, the young goth/alternative girl who was beaten to death back in 2007 for looking different.  There is a charity in her name at:

http://www.sophielancasterfoundation.com

As the website states, their goal is “to focus on creating respect for and understanding of subcultures in our communities.  It will also work in conjunction with politicians and police forces  to ensure individuals who a part of subcultures are protected by the  law.“   Over the past year, Andi Sexgang and Martin Oldgoth have worked with  some of the bigger names from our scene to produce an album  free of charge as well as  royalties so that the album could be sold to raise funds.

That album is called “Hope” and it can be purchased here:   http://www.stayindie.com/hope
It is a wonderful album, and I’ll be shortly writing a review of it soon.  Meanwhile,  you can check it out on stayindie, and I urge everyone to help out a great cause.  See my review of this fine download.

Check out my reviews of Miss FD’s fabulous “Monsters in the Industry”, and Joy Disaster’s magnificent “StaygatoW”.  (Even my cats got into the act, with my girl kitty insisting on participating while I reviewed MissFD; and my boy cat being enthralled by Joy Disaster.)Check out the  fabulous interview with LA’s own Peeling Grey,  who is predictably doing quite well these days,  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”.

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

We experienced a long hiatus of about a year, so it is truly good to be back online. 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!“

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“Red Dirt”  is a Leonard Cohen-esque, biographical ballad set somewhere on that “fine line between heaven and hell”.  The guitar reminds me a little bit of Chris Isaak. “You’re Gonna Drive me to Drinkin’ “  is in bit of a heavier country tone,  with prominent percussion as Christophe relates a relationship gone bad.  “Misery Road” reminds me of something that should have been on the soundtrack of Natural Born Killers.  Deft guitar rides along with steady percussion to that “fork in the road” that can mean a journey down “Misery Road”.  “The Life of an Outlaw” is a cowboy epic in the vein of Marty Robbins with a bit of Waylon.  The sharp guitar gives a very updated, edgy touch.

For the vinyl junkies out there, Christophe has produced a fine single with “Fear the Dead” backed with “If the Don’t Shine”.   Paying homage to “Night of the Living Dead”, this rollicking song will please the Horrorpunk in us all.  The guitar is just awesome, and backing vocals are somewhat reminiscent of Social Distortion. Superbly packaged, this single is zombie-defying dynamite!

Check Christophe out at:

http://www.myspace.com/hardcoreokieboy

http://www.reverbnation.com/hardcoreokieboy

Superbly produced, each listening of “Inert” will reveal more musical pathways and nuances than are at first apparent.  Higly recommended for fans of Darkwave and related genres, or anyone who savors the dark tides of a starless night.

http://www.myspace.com/nightdead

http://www.facebook.com/pages/The-Dead-of-Night-PT/127268617293667

Martin:  The past 25 years have been a lot of fun. I think the only thing I miss about the ‘old days’ is the commitment to music and the fact that it was a ‘proper’ underground scene. No designer clothes, just gigs in small venues from bands that were happy to play them and not complain about how they weren’t playing huge gigs and selling thousands of records. There was camaraderie then amongst people, and they helped each other. These days it seems that music takes a second place to image and the scene has been both infiltrated and diluted by a dozen other genres, but mostly industrial, metal and EBM.

MC:  On your website, I see that you don’t spin EBM,  Futurepop, Industrial or Metal.  Some people claim that you can’t possibly have a successful Goth event without spinning those genres.  DJ’s like yourself are living proof that this is not necessarily so. What do you think is the root behind this conception?

Martin:  I find that most of the people that say that are the ones that really only discovered the scene fairly late, after the late eighties explosion of bands making it ‘big’, I still have no idea how that happened and I’m fairly confident, and happy, that it won’t happen again. Too many people came into the scene and tried to adapt it to fit themselves rather than the other way round, and that’s just lazy. I also see no reason for a ‘goth’ DJ to have to incorporate things like industrial, metal or EBM into a set, especially when there is so much music being produced by new bands from the goth and post punk scenes. If you look for it then the scene is as strong today as it ever was. There is an argument that goes “if we don’t play these other styles then we won’t get enough people”, I don’t buy that, and you really have to ask yourself which came first, DJ’s playing this music back from the late nineties because they saw it as the ‘future’ or only playing it because people started asking for it. If DJ’s refused and stayed with the scene that inspired them originally then we wouldn’t be in this mess, but too many caved in, and in my mind are responsible for the slow demise of the idea of what became acceptable as ‘goth’. Its not that I have anything against these other genres, its just that, well, they don’t really fit into what goth is to me, being neither subtle, nor dark.

MC:   This is sort of related to the above question:  many, many people in the modern Gothic community seem to have no knowledge of the many new bands that are keeping the original sounds and inspirations of Gothic music alive.  They claim that this music is “dead”, and the “new” Gothic sound is Metal, EBM, etc.   But there are many, many bands that belie that notion.  It seems to me that maybe the traditional Gothic sound has gone back underground; while the Metal/Industrial dominated sound is the new “mainstream” Goth.  What are your thoughts?

Martin:  I think you have a point, its as if there are two separate camps these days, a mainstream one that sees itself as ‘new’ and ‘gothic’ and a more dedicated one, that some call ‘trad’ that is sticking closely to its roots in post punk and the earlier bands. For me you can’t change a scene that drastically and expect it to still be ‘goth’ when it quite clearly isn’t. How are Rammstein anything to do with the scene, or VNV Nation, or any of these so called ‘gothic’ metal bands. I urge people to listen to them and bands like them and ask themselves a simple question, “Where are these bands roots?”, “What are their influences?”, if the answer is not directly linked to the early eighties dark alternative or post punk then they simply don’t belong in a scene that is so firmly based in that era. I don’t care how ‘dark’ the lyrics are, the music is too far removed. Those claiming that the scene is ‘dead’ are not looking in the right places, or possibly. as I said above, bringing too many of their own influences into the equation seem desperate to be called ‘gothic’, Why? whats so embarrassing about being a rivethead or metaller that you need to add the goth tag to justify your tastes? I listen to a lot of psychobilly bands too, but I wouldn’t dream of calling myself one or demanding that what I like belongs in that genre, so why does goth have to suffer from it? It’s an argument that will rage for some time I fear.

MC:  How did you get involved with the Sophie Lancaster Foundation?  How are the album sales coming along?

Martin:   first became involved shortly after Sophies death in August 2007 when I heard about it via the Whitby Goth Weekend message board, and took it upon myself to try to raise money for some kind of memorial based in Whitby and we decided on a memorial bench. I raised almost £3000 over a four week period, most of it at the October Goth weekend and the bench was installed in January 2008. There has not been a day since where there has not been flowers or ribbons attached to it, she became a symbol almost of the dark alternative scenes’ struggle for the simple right to dress how we wanted to. In August last year I was talking to Andi Sex Gang who suggested I compile a CD release to raise more money, and after a few months of hassling bands I got 15 tracks together and put the album together, called ‘Hope’. This was released on World Goth Day (May 22nd) and has so far raised almost £1500. Small plug here, you can buy it from http://www.stayindie.com/hope – 100% of the money paid goes to the Sophie Lancaster Foundation, the charity set up in her memory to try to change people perceptions of different subcultures.

MC: In the wake of the Sophie Lancaster’s death, I thought it was ironic that such a terrible tragedy happened when Goth culture has really gone mainstream.  For example, top fashion designers openly base their clothes on Gothic elements; Gothic fashions and products are available at the mall; Goth themes are wildly popular in films and television; etc.   25 years ago I would not have been as shocked, but today…..  What do you think is happening?

Martin:  That’s what was so strange, at the time when it would appear that the world had accepted us something like happens, and in such a barbaric way. I wish I understood the minds of such people, it as if they see us as taking things far too seriously, that our influences should remain as entertainment and not be allowed to influence our dress or musical taste. I once thought that the average person maybe saw us a threat, and believed our influences made us one. Maybe they just feel that we are inferior because of that, or that that somehow by deliberately placing ourselves outside of the normal mainstream that we see ourselves as better than them. I remember the same attitude when I was a punk back in 77/78, it’s easier for people to hate something they don’t understand.

MC:  How is Thirteen13 radio doing?  I know you are looking forward to Nostalgia this year, is anything new on the agenda?

Martin:  We’re going through some changes with the radio station right now, after a disastrous couple of months where, if anything could go wrong, it did, wrong shows playing, or at the wrong time. We’ve sorted this out now and at the time of writing are preparing to relaunch the station. Thirteen13 will still be a big part of the new look station, for me it’s a great chance to be able to play tracks that might not normally get the chance to, and to a much bigger audience. Since the start of May I’ve been recording the shows weekly, its been a challenge but one I’ve enjoyed and shortly will also be sending the shows to another station to broadcast a week later, all part of my masterplan to get new music to the masses!

MC:  You have participated in pretty much the “Whos Who” of the international Gothic community. What do you consider to be the seminal events in the world?

Martin: Thank you. 25 years is a pretty long while to still be aiming for world domination I suppose..  Over that time I’ve seen bands come and go, and then come again, I’ve seen the scene grow massively to the point where we have something like WGT with 25,000 people attending, and I’ve been lucky to DJ there as well as some pretty prestigious clubs both in the UK and LA. The goth scene has spread worldwide now and is now probably one of the largest and longest running underground scenes there are. I consider myself lucky to have been at the right place at the right time on many occasions, but none more so when it comes down to music. I’ve worked events like Bats Day, anniversary shows for Alien Sex Fiend and The Batcave, clubs like Release the Bats and Dead and Buried, I’ve DJ’s the Whitby Goth Weekend five times, and in doing all this have met some fantastic people, so yeah, I consider myself very fortunate.

MC:   I see that you are a big fan of New Model Army, one of my favorite bands!  What are some of your favorite NMA songs?  They’ve been called everything from punk to metal, what do you think is the most concise description of them?

Martin:  I think it’s fair to say that NMA are probably my all time favorite bands, it’s hard to pick favorite songs as they change over time, but The Charge would always make my top five. When I first started asking bands for songs for the Sophie album a lot just ignored the email, others took ages and asked loads of questions and demanded contracts. Justin Sullivan answered my email within hours, personally and just attached a bunch of songs letting me choose. I chose ‘Dawn’ from the album ‘High’ as it seemed to fit the mood of the album perfectly. They’re a hard band to categorize, which has probably been a blessing as its not pinned them to any particular following, but I consider ‘dark alternative’ to be the closest, if I had to choose. Justin Sullivan is probably the greatest songwriter of the past 30 years, and a lot better in my mind that some of the so called greats, you can keep your Lennon’s and Dylan’s, he writes about real things, and with a passion that shows he means every word, meeting him this year at Whitby and spending time chatting was definitely a special moment for me.

MC:  What are some of the new bands that you are currently listening to?

Martin: At the moment as far as new bands go, Luxury Stranger are high on the list, a great example of a band taking the post punk sound and running with it, I predict far bigger things for them. Also Beryl Beloved seem to be doing great things in that genre too, as do Principe Valiente and (((S))). The New Mission Creeps album ‘Dark Cells’ is really good too. I’ve also been listening to lot more psychobilly than I used to, I love The Creepshow and Kitty in a Casket.

MC: What are some of the projects you are involved in?

Martin:  I help out at the Whitby Goth Weekend twice a year, handling what is termed as ‘band liaison’ which basically means I’m there to make sure they looked after from when they turn up until after they play, organising the backstage area and making sure they’re on stage on time, as well as helping out with any problems that might occur. I have a club night that I run over the course of that weekend called ‘Nostalgia’ which is a ‘proper’ goth night, working with two really good female DJanes, Velouria and Rae Vinloon and usually one special guest. We operate a strictly no EBM/Metal Industrial rule and cover anything from the early days right up to the newer bands, and try to play the less obvious tracks. So we’ll play Rosetta Stone for instance, but not ‘Adrenaline’ or well slip in some Flesh for Lulu perhaps, with the aim of making it a club night like they used to me, with a modern twist.

MC:  Is there anything else you would like to add?  Congratulations on 25 years in the ‘scene’!

Martin:  Thanks, its been a good quarter decade, and I’m not stopping yet, I have a few things in the pipeline for next year that might be very special if they come off. Thanks to Midnight Calling for the opportunity to sound off, and to anyone that made it all the way through reading it. My biggest thanks as always go to my wife, Brigitte, her tolerance of my ‘hobby’ is legendary!

Cheers!

martin oldgoth
http://www.martinoldgoth.co.uk

And what an album it is!   The phenomenal music is eminently worthy of the cause. I am usually not a fan of the spoken word on music albums, but ‘The Prophet of Calgary” by Joolz turned out to be  notable exception.  Atmospheric and compelling, the imagery of this prose-poetry of this piece will stay with the listener long after wards.   The musical brilliance of Andi Sexgang is next with “Salarnum Child”.   Autumn Cannibals wrote the moving “Monument to Shame” especially for this album.   “One less color in the sky/one more name to be remembered…”

Gene Loves Jezebel’s “Who Wants to Go to Heaven” is a pure Goth  classic, followed by the dark and languid “All My Love” from The Eden House.   “Collide” from Euphoria is breathless and icy.   The mechanically minded among us will thrill to the characteristic fury of Alien Sex Fiend’s “Gotta Have It (Sliced and Dice Mix)” .   “The Hungry Years” by Andi Sex Gang and Marc Almond vividly evokes those glory days of the early ’80′s whenever I hear it.  And to add icing to those echoes of the past, UK Decay is next with “Battle of the Elements (club mix)” a gem which was unreleased until now.  I was thrilled to see “Cages” from The Last Dance included here. The Last Dance is one of my favorite bands to see perform with their fun and energy, and they are also some of the nicest people in the scene.

“I Have Changed”  by the renowned Anne Marie Hurst is another previously unreleased musical jewel, driving and intense.   New Model Army, one of my all time favorite bands, follows with “Dawn”,  a track hand-picked by Martin Oldgoth.  The Mission, another band from the Gothic  pantheon, launches into “She’s Gone Away”, also previously unreleased.  The haunting and elegant  “Death of An Angel”, by Uninvited Guest was written specifically for the album.  “It felt like the death  of an angel/…we were all moved to tears.” The incomparable Faith and the Muse appropriately end the album with their soaring and majestic “To Be Continued”.

At only $8 (US) for the downoad, “Hope”  is truly a bargain.  Not only do you get 14 tracks of fine music, you also help support a great cause.    Not only for our Gothic subculture, but for all those everywhere who dare to be different from the mainstream.   Remember Sophie Lancaster, and help prevent such a senseless tragedy from happening again.

For more information on the Sophie Lancaster Foundation:

http://www.sophielancasterfoundation.com/

To purchase “Hope”:

http://www.martinoldgoth.co.uk/hope.htm

Released in January of this year, the masterfully produced “StaygartoW” firmly establishes them in the pantheon of bands that are a direct descendant of ‘80s Postpunk and Batcave.  In no way derivative, yet in the same spirit, Joy Disaster proves that this sort of music is fully relevant for the 21^st century.

“Pressure” starts out dark and shadowy, then revs into Joy Disaster’s signature sound of sharp guitar and edgy vocals, all supported by a gloomy electronic undertow and powerful percussion.  “Inside” is fast, and very danceable.  Punctuated by guitar bursts and a frantic chorus, this is a great song that should be on everyone’s playlist.   “The Light” strikes right at the listener’s soul, evocative and somehow nostalgic.  Vocals are fervent with a very effective spoken interlude.  The guitar is sharp as a samurai sword, balanced by solid, yet flexible percussion.  A tribal sort of percussion heralds “Dory”, with guitar that reminds me a bit of Big Country.  Vocals are layered perfectly, with a cadenced percussion keeping time.  The trademark diamond-sharp guitar skillfully weaves on a path of it’s own, with the whole effect of the song being much more than the mere sum of its parts.

“Vision 98”  begins with deliciously ominous bass and percussion. Vocals are addictively dark, along with the incisive guitar.  “Damage Addiction” is strident and compelling,  reined in by the deft bass, with vocals and guitar simply straining at the leash.    “Primitive Agent” is reminiscent of ‘80’s New Wave with a dash of ‘90s Alternative. Balanced and full, the chorus resonates like an anthem.  “Today” is a bit different.  The opening has an acoustic feel, followed by male/female vocals that mesh just right.  Right when you think the song has revealed itself fully, an incredible guitar segment drops like a grenade, then the song goes into it’s final moment before fading.

“Cold Sequence” is heavier, with a richness that is nearly orchestral.  Slightly distorted vocals are gripping and pervasive, as the song drops like a runaway locomotive over a precipice.  “White Attraction: is slower and dramatic.  Distant vocals, with driving guitar that contains a hint of early U2, are tethered by foreboding bass and eerie electronics.  The album wraps up with the magnificently Gothic “Remember the Time”.  Vocals remind me of Corpus Delecti and a certain artist who is definitely not goth, while the guitar and powerful arrangements  fully recall the glory days of Gothic Rock.  The song rises like the spires of a Medieval cathedral,  soaring operatically, then subsiding into to a poignant close.  Any DJ who considers themselves to be even remotely Goth should be playing this.

“StaygartoW” is a great album that will be welcomed by anyone who appreciates Postpunk, Goth, and dark underground music.    “Joy Disaster” clearly has a lot to offer, and I look forward to their future releases.

http://www.myspace.com/joydisaster

http://www.joy-disaster.com/

http://www.facebook.com/pages/Joy-Disaster/105172082853438

“Break Your Control” begins with poignant keyboards, then launches into edgy electro that swiftly builds up to pop-driven, catchy vocals that lower to a fetching growl and then assert “I’ll never be yours”.   Backing effects are deftly done, with a siren-like loop that particularly stands out.  The chorus is visceral and sharp, leading the way to a dark ending.   “Disgrace” emerges with a slightly more industrial tone, robotic vocals, and a machine-rhythmic background.  I detect some hip-hop influences on the vocals, but with a very smooth bridge with complex vocal layers.  Harsh electronics kick in, with a scathing lyrical commentary that takes no prisoners.  Echo effects heighten the overall mood. “Monsters in the Industry” is a dancey sort of electro that reminds me a bit of Devo and other ‘80s bands.  The vocals are simply exquisite, with masterful layers and a spacey sort of effect that lends an ominous tone to the song.  Give the girl back her damned digitech, or else!     “Wanderer” starts with heavy, dancey electro combined with superb vocal layers that are transposed on each other.  Electronic flourishes mesh perfectly, then subside into a funeral sort of interlude that is quickly revived by soaring vocals only to eventually subside into a dark finish.     “Elements of Time” has hard electronics and smooth vocals, linked with experimental sounding bridges “Rebel Apprentice” starts dramatically.  The vocals rise to an anthem, and then alternate with very rhythmic, electronics.  A harpsichord-ish segment is followed by perhaps my favorite vocal tracks on the entire CD.  “Dream Door” has an opening that is reminiscent of Siouxsie, then stalks into a firm electro beat.  Somehow darkish and poppy at the same time, the vampish vocals are balanced by the instrumentation. “Enter the Void” is zappy at first, with dancey, yet not overpowering electro. Quite catchy vocals combine with deft electronic loops, then suddenly a harsher chorus changes pace.  Very mesmerizing pop vocals return, then the song subsides.   “Realigned” is one of my favorites, dance oriented, yet with an undeniable sharpness.  The steady beat is accentuated by an interesting keyboard progression.  Buzzy and bell effects add a sense of depth, with traces of industrial elements.  For me, the phenomenal vocals make this song.  An operatic flourish heralds “Thunder in the Blood”, then charges into industrial type vocals and a militaristic cadence.  A rather captivating chorus shifts gears, then the march resumes.  Vocals become melodic, while the backing electronics paradoxically become more strident.  In contrast to the Sturm und Drang height of the song, the ending is light, and anticlimactic.  The last track is aptly titled “When the Sun Sets”, and is ironically my favorite track of all.  Poignant and atmospheric, the vocals evoke a sense of longing and nostalgia.   Keyboards are very moving, and the background manages to lend a sense of emptiness, yet is lush at the same time.  A symphonic interlude builds up to layered soaring vocals which fade away, then the song subtly ends with a girlish… “that all”

From beginning to end, “Monsters in the Industry” is a magnificent CD that will please fans of electro and many more.     As I said a long time ago, she has a very fine voice that fully deserves the center stage and “Monsters…” proves this admirably.   I look forward to hearing MissFD’s  next project!

http://www.missfd.com/

http://www.facebook.com/MissFDMusic

http://www.myspace.com/missfd

“THE INEVITABLE UNVEILING: A MASQUE FILMS PRODUCTION”  will be a night coveted with music by “Machinery of Nature” described as D.E.A.D (Desirable Electronic Ambient Dance). The atmosphere will be set with smoke, mirrors and dark corners and hosted by Masque’s resident vampire Bobby Webstar, with a monologue or two. After guests have enjoyed a glass or two of the fine and exquisitely hand-crafted “Iconoclast Beer” sponsored by Mayfield Brewing Co. they will be delighted to watch “The Masque’s Meow.” Choreographed by Natalie Metzger, the Masque’s Meow is a burlesque trio that will tastefully unveil themselves to the audience.

Masque Films is a team of four professionals with diverse artistic and analytical backgrounds – ranging from fine arts, fashion, experimental cinema and biology, all of which result in rich and inspiring visuals outside the industry norm. Masque Films has created several works that have been screened and exhibited to audiences worldwide, including LACMA and EXIS in Seoul, Korea. Most recently they have been receiving photography commissions and new media proposals, and have submitted work to Cannes Independent, Dance Camera West, Chicago Underground, Los Angeles and the Milano International Film Festival.

Websites of Artists Involved:
• Dubstep music by Machinery of Nature: http://www.reverbnation.com/doornick
•    Mayfield Brewing Company: http://www.mayfieldbrewing.com
•    Burlesque Troupe: The Masque’s Meow: http://www.metzart.org
•    Film Screening by Masque Films: http://www.masquefilms.com

“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