Greetings and Dark Salutations!

Welcome to 2012!   More reviews coming soon, including  the new CD from Eli August.   Check out out review of Siiiii’s re-release of their  fine compilation of their classic tracks, check out the review!   A review of Nightchild’s latest CD is up as well.      New readers should check out the reviews of  Mr. August’s EP  “I Was Already Too Late” and Isolation Division’s fine CD  “Sotto Voce”  as well.    Midnight Calling is a proud supporter of The Age of Decay,  the largest Deathrock festival in the Southern US, scheduled for April 2012.  More info, interviews, etc.  are in the works.

On Oct. 7th I was privileged to once again see Eli August on the stage at Davenport and Winkleperry in Pittsboro NC.   The homey and relaxed atmosphere was perfect for Mr. August’s fine acoustic performance, once again demonstrating his uncanny ability to evoke a mad range of feelings from forlorn nostalgia to just plain fun.  He is a delightful conversationalist as well.   You can see videos of his performance at the Midnight Calling Ezine page on Youtube:

http://www.youtube.com/user/midnightcallingezine

I would like to welcome Miss Hannah, our newest contributor.  Her debut review is now up.

We are having some glitches on the website.  The content buttons at the top of the page do not work (except for the Issue and Staff pages.)  However, you can access all of our reviews and articles by on “The Issue” button at the top, clicking “next” at the bottom, and then scrolling through all back content from there.  Or  if you are only interested in reviews, culture, etc.  you can click on the category headings on the right, then click on “next page” at the bottom.   Not long ago I added much of our material from our original website back in 2003, some interesting stuff that well worth perusing!

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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The “Intro” is a little over a minute of strange ambient sounds, swirls of electronic layers, rat-like squeaks, and more.    “Ghost Dance Party” is sheer Deathrock joy in the vein of .45 Grave, which could be a virtual anthem for  Goth and Deathrock of the 21st century.

“Just be You” is a bit more post-punk, with a dark, yet fun, twist.  Fine guitar, with a very rousing chorus, and nice little electro twists.

“You Are the Wonder” is sort of Horror-punkish, but not quite as raucous.  I love the layered, spooky chorus, and the horror-film electro effects.

“Ice” is one of my favorites here.  This song has an edge that is addictive.   The chorus is fantastic, sort of punkish with synth loops that area very catchy and guitar that balances things quite well.

“Heaven Outside the Mirror”  is slower and more reflective, alternating with bursts of energy.   It has an indie kind of impact, that is rather charming.

Next, “Fishing Day” blows the dance-floor wide open with a punk flavor.

“Red Sound” has an electro intro that brings Devo to mind, then segues into a fast paced, but with Cure-ish guitar and vocals that are quite exuberant.  Keyboards have a rather carnival tone, that gallops the song along.

“The Hanging Man” reminds me somewhat of the Cure.  Slow, with funereal percussion and edgy feedback, the bass is simply ominous.    Then the song suddenly shifts into a higher gear, with shouted vocals that brim with frustration and anger.  There is a touch of grungy guitar and buzz in the background, then the song slides into a calmer, yet fervent vocal mode before grinding to halt.

“Where Are You Now” is a slow, poignant ballad.  Keyboards and measured percussion carry the song, with guitar being low-key but crucial.  The vocals are slightly layered, regretful and sincere.

“Bern Depois” is another  one of my favorites.  With an eerie sort of intro, it has a New Wave feel.  I can’t understand the lyrics, heh, but the guitar is visceral and  hard hitting.   A great song!

The Knutz  one of the new breed of bands with Gothic sensibilities, yet with all sorts of diverse elements that come together superbly.  “Ghost Dance Party” will satisfy your craving for Deathrock, then turn on the Goth Rock, and add a few twists that will keep the listener coming back for more.

http://www.theknutz.com/

“Split” is classic deathrock/postpunk, with plodding percussion, edgy guitar, and dark compelling vocals, and doom-laden bass hovering in the background.  The song is  visceral, and apocalyptic .  “Concentration”   has a distant  sort of sound, with very evocative guitar, and echoed vocals.  Staccato percussion is masterfully light, and the song is wistful yet with very dark undertones, somewhat reminiscent of Joy Division.   “Overgrown Eyes” is more ominous, with a slow funereal cadence.  Icy guitar, and moody vocals are enhanced by a wind sound-effect, that adds a sense of bleakness to this very atmospheric song.

“Dust” is  stylistically broadly similar to Bauhaus.  Fine bass lines, with strident vocals are accompanied by fast percussion and inexorable guitar.  I like the way the bass changes gears, so to speak.   Before the listener grows too complacent, “Still Waters” erupts with powerful bass  and forceful vocals that could almost be neo-swing,  while deathrock guitar saws eerily in the background.   Percussion is harsh and relentless.  At about two minutes, the guitar careens wonderfully off the rails, but is edged back by the steady bass. This would be a great song for a modern Film Noir soundtrack!    “Speaking in Tongues”  has a slow, choir-like intro, with discordant guitar and echoes that grow into a rumble, while spoken vocals emerge, sinister and  cryptic.

“Statue” is simply magnificent.   Slow and languid, with layered echoes that resonate with the edgy, aloof guitar and understated bass.  The measured vocals are deeply reflective and dreamlike.    Imagine a cross between The Doors and early U2.   The pace changes abruptly with “Rictus”.  Frantic, tribal drumming and galloping bass combine with the racing vocals    “Equator” has always fascinated me.  The guitar and bass are very reminiscent of ‘70’s Funk and Soul, very artfully combined with eerie atmospherics and sophisticated vocals.

“Is Still” charges along with rhythmic percussion and bass, razor sharp guitar, and howling, growling, vocals.   The awesome “Fixing” changes direction yet again, with slow,  growling, Bluesy vocals; distorted harmonica effects;  plodding cabaret-style percussion and bass, surrounded by swirling, disjointed  guitar.  Another fine Noir piece that  has evokes images of a smokey ‘40’s cabaret in some sort of alternate universe and has me looking around for Bogart and Jill Tracy. Being an aficionado of the Victorian era, I was immediately taken with “Springheel’d Jack”.  The song has an infectious, short bass line with a punch  overlaid with oddly disquieting and echoing  guitar.  Percussion is abrupt yet constant, and the vocals are remote yet strangely aggressive.   “Over”  features strong bass,  with a piercing, buzzing guitar that becomes a cacophony before the strident, layered vocals reemerge.  Crashing percussion accentuates the last half of the song.  Overall there is a “wall of sound” feel that echoes nicely at the finish.    Next is a fine  alternative version of “Dust”,  before the album finishes with a very moving piano rendition of ‘Statue”.

“Ancient” is a true joy to behold, showing that this music is just as relevant and visceral now as it was when it was first released.   Indeed, Siiiii epitomizes the qualities that first drew me to Postpunk, Goth, and Deathrock many years ago.   Before this,  I found no music that really resonated with me.  The alternative  music that emerged in the late ’70′s and early ’80s had a gripping, otherworldly sound that was different  from anything else I had heard before.   It echoed the disenchantment and alienation of that era but which held out the promise of a new horizon.  The production of “Ancient” is excellent.  Whether you are a new or old listener of Siiiii, this album is a classic that no fan of Goth and its related genres should do without.   Their  upcoming album is most eagerly awaited!

http://www.facebook.com/siiiiimusic

“Away”, which   begins with a  sort of ’80s pop flavor that is suddenly belied by the cutting vocals that are reminiscent of deathrock.   I love the guttural chorus  on this excellent song.  “Questions”  transfixes the listener like a relentless interrogation.  The stern vocals give way to firm guitar before the song resumes its course.  A spoken segment echoes from the background over thudding bass and electro swirls before a sawing guitar throws you back under the glaring lights.  “With Me”  has exquisite  guitar and female backing vocals that give this hard-hitting song even more depth.    With its edgy guitar and bursts of staccato percussion, ‘Sleepwalker” has a fervent chorus that pushes the song to a rising crest, then suddenly drops,  only to swell  upward again.

“Why Would You Wait”   invokes  a dark sense of regret  that is heightened by the echoes on the vocals, and the steady drumming, offset by sharp guitar interludes.   Fast and quirky, “It is Time”  is an anthem that both beseeches and demands.  I particularly like the way the guitar “drops” in contrast with the speed-of-light percussion.  “Shadows of the Past”  has deeper vocals that are very catchy, with faint echoes.  This song reminds me vaguely of Fear Cult.

“”Through the Night”  is another very powerful song, enhanced by deeper guitar, and percussion that reminds me of a horses’ hooves pounding across the desert bearing its rider to an unknown destination.  “Whispers in the Night” is  faster, with an almost frantic pace  that is underscored by slashes of guitar, but drops to a low urgency before erupting with a guitar solo that flashes like a cavalry saber.   The song grinds to an eerie halt, then leaps back into life.

‘Vampire and Witch”  is a simply  awesome song, with a catchy guitar hook and subtle organ-like electronics in the background.  The vocals give the song its bite, with the fast percussion and a great guitar solo pushing  the track  to its  conclusion.     “Will”  opens with  tribal drumming and well, tribal guitar, if there is such a thing.   The razor sharp guitar in the middle is a fine touch.   The ending is unexpectedly poignant and dreamlike.   This is a  very compelling song that is a fitting end to a fine album.  “Love under will….”   ( That sounds familiar!)

“Some Stories and Thoughts”  is a fine, evocative album, and the production is excellent.    I look forward to hearing more from Alexey and Olga!   “Some Stories and Thoughts” is a worthy addition for anyone who truly appreciates Gothic Rock or music with Gothic sensibilities.

http://www.myspace.com/thenightchildband

http://thenightchild.at.ua/web/homeenglish.htm

Excellently produced, “The Black Album” has  superbly accessible sensibilities that harken back to the best of New Wave, yet darker, edgy undertones that bring to mind classic Post punk and Goth, with a bit of Rock thrown in.    While this album is definitely guitar driven in the vein of bands like the Cure,  electronics are masterfully used to buttress the foundations in a way that reminds me of Nik Kershaw or Joe Jackson.   Vocals are addictive, whether distant and evocative, or layered and energetic.  Eminently danceable, yet emotionally visceral at the same time, “The Black Album” will keep the listener coming back for more.   This CD is on permanent rotation in my auto and home stereos.

Some of my favorite tracks include “Torn”, with awesome buzzsaw guitar;   “I Am Truth”, a perfect freeway song;  the  amazing anthem “Sweet Little Lies”, that will keep the dance floor going; “Get Out of My Head” with its shades of Joy Division; and “Here Comes The Rain”, with fantastic guitar hooks  that remind me of The Cult.   “The Black Album” is highly recommended for Goth, New Wave,  and Post punk music fans, or anyone who appreciates fine music.

WWW.MYSPACE.COM/THEEXPLODINGBOYSE

WWW.FACEBOOK.COM/THEEXPLODINGBOYSWEDEN

“Mississippi Ghost Rag”  is a love song of the most macabre, compelling  sort.  This  brass-driven shotgun blast  of a song admirably sets the tone of the album.   The theme of water as a dark release will be revisited more than once during the course of this musical journey.   “Ghost ships are swaying in the river they’re talking to me….” “Tomorrow“  starts out with a bit of violin and quickly turns into a rousing heavy Klezmer stomp, as the violin weaves though like a Spad fighter in the clouds.  The  male/female vocals evoke the Roaring Twenties.  The female vocals are magical:  grainy, alluring, distant, and distorted like a radio station from era.   Eminently danceable, the song ends on a bit of harmony. The next tune  “Addicted to You”  is catchy, and deceptively smooth.    Seemingly simple alternating vocals suddenly emerge into rather complex near-harmonies that are simply superb.

Plaintive gypsy violin combine with rather muted brass  on “Love Life”, backed by ticking percussion and rising horns.  The pace picks up, with evocative  female vocals over a foundation of cadenced male vocals.   I can sense a hint of Swing here, and interestingly enough, even a touch of Soul!   The song ends with a bit of poignant violin. “Broken Chair Waltz” starts out as, the name suggests, a traditional waltz.  Yet the astute listener will quickly discern that this belies the sheer complexity contained here.    “Have you come to stay, my love?” Very moving arrangements include very visceral segments of quiet banjo and violin.  The vocals are magnificent,  with rather epic sounding harmonies and counterpoints.  The song rises to a flourish, then fades to a n almost operatic vocal finish.  ‘Fire It Burns” is a bit slower, a languid journey along summer roads of yesteryear.  Wandering violin and layered vocals are accompanied by steady brass, with  banjo and ukulele cleverly providing sort of a percussion effect. ‘Dance Floor” starts with a bit of vintage radio sounding violin and trumpet, then suddenly bursts into a rousing romp.   Very fetching female vocals pair up with powerful brass and percussion.  The violin reminds me of Stephane Grappelli.

“Surface of the Sand”  is another blast of brass-driven energy.  Vocals and arrangements evoke a careening, no-brakes dash to the nearest speakeasy,  filled with flappers and illicit pleasures.   I particular like the jaunty violin and percussion, with banjo and jazzy horns.   Oh, and be sure to avoid the Coppers.   “Broken Hearted” is an adrenaline fueled love song, with incredible vocals and backing horns that remind me a bit of ska, believe it or not.  Very forceful, with a dramatic ending. With a rhythm  reminiscent  of a marching band, “Do It Again” is another song that hides a complexity beneath a charming veneer.   I love the choppy banjo or ukelele interspersed amid the  strident horns.  Even with the abrupt end, the song is not quite over.   Listen carefully for an alluring  “Yes” at the very end.    One of my favorite tracks, “Only Yours” begins with very cool ukelele and violin before the brass kicks in.  Then rollicking banjo and catchy, yet edgy vocals merge into a fabulous romp that includes unexpected and wonderful breaks and interludes.  Absolute brilliance.  This song somehow manages to evoke a plaintive longing and a sense of raucous abandon at the same time.

Next we have  something totally unexpected, a cover of Justin Timberlake’s “My Love”.  The band pulls this off fantastically.   The fast female vocals have a little bit o soul, and when the song slows down midway through, the sparing  sax is perfect.   Then, everything slows down to an almost reggae sway, before the sultry vocals end.  “Let Me Go”  is another river-themed song, with an ominous beginning that shortly erupt into a Dixieland sort of romp  I love the stark, edgy, yet anarchistic violin, ably assisted by the whole ensemble.   The male and female vocals are magnificent, alternating between counterpoint and a harsh, yet engaging harmony.     “The take me down to the river / and let me go wrap my body tight / so it won’t ever show” The dark imagery of water continues with “Category of Lullaby”, which  resonates with loss and losing.    Starting slow and languid,  the vocals are sultry with a touch of despair.    At about four minutes,  the song rises to a familiar  spirited and dynamic crescendo  and   then subsides.    “you’re gone and nothing matters  alone under the water” “You”  is plaintive and very moving.    Harmonies are exquisite, and the slow-plucking banjo brings to my mind visions of abandoned fields and buildings from along deserted and forgotten byways.      “And you, well you never loved me true“

I feel that I haven’t quite done justice to the music itself.  Listen to this CD  with headphones to fully appreciate the  pure artistry of the arrangements.  As the reader may surmise, I am very partial to violins and vocals, but everything about this CD is excellent.  For a dark yet stirring musical foray into a past as it should have been, and which perhaps actually does exist somewhere within us,  “Ballads for the End Times” is just the ticket.   Hey, Apocalypse Five and Dime,  I’ll be waiting at the station….

http://www.apocalypsefiveanddime.com/

The vocals on “Hide and Seek” are  indescribably poignant.   The slow, languid piano imparts a pleasantly  anachronistic, before suddenly dropping to a lower, more strident level, accompanied by  fierce, rolling percussion.  This lends a great sense of emotional depth,  conveying the roller-coaster of feelings that inevitable accompanies any tragic (or even not so tragic) loss.

‘Atmosphere”  has the typically heartfelt vocals that fans of Eli August have come to appreciate, direct and simple, yet filled with a myriad of conflicting nuances.  There is regret and pain, along with an unflagging hope that we instinctively realize is futile.  But buried deep within lies  a faint glimmer of possibility.    The ukelele is fabulous, with a very evocative Americana/Folk feel that turns into a nearly rollicking, travel ling cadence, enhanced by a faint “whip” in the background.    Meanwhile, the upright bass provides a dark , melancholic undercurrent that is a perfect counterpoint.  “How can I get up again without you here/there’s no dividing lines anywhere in the atmosphere“

“Vanish” changes the pace, with a more ‘contemporary’ sort of stride.  Eli’s vocals are faster, but very visceral and gripping  in their progression.  The echoed soaring vocal in the background is a very nice touch.  The upright bass edgily balances the   guitar, while percussion is steady and sets the pace.  “Let me vanish in the still night/there’s no reprise or reconciliation in your eyes…”

‘I Did Not Leave the Door Ajar”  begins with quiet  riffs that, incredibly, could easily be Punk.  Then they shift into Eli’s very compelling vocals, buttressed by a high, militaristic percussion.  the vocals drop, then reemerge stridently.  ‘Why is there someone in my house?/There are secrets I cannot let out”. The whole song rises to a magnificent percussion-driven cacophony, then suddenly subsides to a low strumming guitar that  ends on a chord change that somehow reminds me of Early Music.

“Lost Control”  is another song of loss.   “And that look in your eyes/I know there is some else on your mind“   The catchy ukelele and the timbre of Eli’s vocals have a tone of resigned acceptance.  They are filled with regret for what might have been, but deep down is the knowledge that it could never have been so.  I love the “chop” of the ukelele on this song.  The clarinet sets the song apart, and is just fantastic, magically weaving along with the vocals and uke, alternately evoking a klezmer an then jazzy air, before the song ends on the final, lingering notes of the ukelele.

“I Was Already Too Late” is a must-have for fans of Eli August and anyone who appreciates well crafted, evocative music that is deeply personal yet not contrived.   To paraphrase a  newspaperman of the late 1800′s, “By all means, get it!”

http://www.eliaugust.com/

As readers know, this is not my preferred genre, and I generally have little affinity for it.  Well, OK, even “little” might be an exaggeration.    (Fans of electro/Industrial should keep this in mind when reading here, and  you will perhaps not be as offended.  Make no mistake, you  will be offended.    But, hey, you know me… ) Since this is a comp, I will list both the artist and the track in the review.

“C-lekktor – Living Dead” is pretty standard electro fare.    But the 4X beat is nice and understated compared to a lot of “club” electro, and it’s not quite as bleepy.    The spoken background vocals are dark and interesting.   I do like the sort of futuristic ending.

“D-ToX – No Sympathy”  is bit bleepy for my taste,  but the synth progressions are sort of edgy.

I actually like  “ES23 feat Project Rotten – This is anarchy”  for some reason.    There is kind of a galloping effect that I find mesmerizing , along with a “computer” type sequence that reminds me of the Terminator.   Then a segment of  dark computerized vocals are  cool.

I can do without the spoken intro and samples  for “Sadiztik Injektion – Realize the suicide (Aggrotrance remix)” .  But into the song, there is a hard synth foundation that is catchy.  Then towards the end, the experimental effects are interesting.

“Diversant 13 – Silent Night 2010″  reminds me of horror movie soundtracks.   Definitely a dance-floor track.  At about three minutes, the ambient sort of vocalizations are interesting.

Being a history buff, the quotation of Gen. Bernard “Monty” Montgomery from before the Second battle of El Alamein in  “Uberbyte – Hell Alamein” caught my interest. The song is a bit too synthy for me in places, but has a  cleaner, tighter sound than most, including  the vocals.  There is some nice under-layering,  and the synth does in fact vary, moving along with  the very compelling undercurrent of the song.   Just for academic purposes, I’d like to add that El Alamein would be more appropriately “hellish” from the German point of view.  Outnumbered in every category,  no reserves, little fuel, under relentless Allied air superiority, and ordered to stand fast while his forces  were ground down,  only a skeleton force got out of the maelstrom, with the bulk of the Italian  infantry left in place to die or go “into the bag”.

As the reader may have picked up on, I’m not real big on spoken intros.  Once you get past this on “Diverje – Suffer this world – (Centhron rmx)”, it goes into aggro vocals, a driving 4X beat and dance synth.  Underneath this somewhere there is a discordant sort of keyboard sequence that I like.

“Suicidal Romance – S.H.R” is just too bleepy for my taste, and the beat is too overpowering. Of course, as an electro dance track, this is the ticket.    At about one minute into the song, there is are some ethereal female vocals that I like, these recur a couple of times.   Then later, evens out with some very “sharp” synth that is  interesting.

“Say just words – Abandonment of God”  has typical distorted, unintelligible vocals, and a fast dance synth.   There are some operatic background vocals or vocal effects that I enjoy., especially how they slowly rise in intensity    This song also has a particular  sort of rough electronic effect that I first heard on an album by MissFD which I like.  The song fades on the soaring operatic, most effectively.

“Electric Breathing-Zerfall”  I initially did not like this song at all, due to the initial  “skree” type synth, which I tend to despise.   However, once the song began, I found that this is sot of submerged in heavier electronics which I sort of enjoy.  And then there are some  higher electro sequences which remind me of Kraftwerk’s “Pocket Calculator”.   Then, even the vocals are weaved into a heaver, complex sequence with orchestral synth arrangements and the sharp keyboard that is very rosining.

For some twisted reason that I can’t even hope to explain,  I love “Suono – Jungle”.    There is a kind of trumpeting dinosaur-like sound that grabs me.  I also like  the  military-cadence vocals.  Then a synth sequence that reminds me vaguely of the Far East, somewhere on the Road to Mandalay perhaps.  The beat and the snth loops are expertly covered by layer effects so that they are not overbearing.   If I were to dance to any electro/aggro it would be this.  (Heaven knows what THAT would look like!)

“Syndrome X209 – Sexuality”  has an industrial, mechanical foundation that varies in time, and I found it to be somewhat addictive.  It slows to a stop, and then starts up again, which admirably served to break up the track and make ti more interesting.

“Angel Theory – Memories of you [touched by Stahlnebel & Black Selket]“  also has a heavy mechanical repetition that I find far preferable to the annoying “doosh-doosh-doosh” of most dance music.  The vocals are ominous and darkly pleasing, as well as being intelligible.   There is some”skree” synth that starts at about three minutes. But this ends and the song gets back on track.   ‘The further we do/the deeper we sink/come take my hand…” the vocals get more strident and nicely layered,   and the song ends on an” electric” note after an echoed vocal sample.

“Menschdefekt – The End”  has a some “skree”, but this has a slight echo which is mitigating.  The track has a very heavy, measured, militaristic tread which I like.   I enjoy how the song grinds to a stop and then resumes the “march”.  Despite various layers of effects, there is a very clean sound here.

There you have it.    For whatever it may be worth.  If nothing else, it’s the journey that matters. (Especially if there is a Denny’s along the way.)   Whatever your preferred genre of music,  It is sad to see the demise of  Twisted Flesh Productions.  Putting out a free sampler of new underground music was very commendable. This was in keeping with the highest tradition of community that was always a hallmark of the old school. This helps the bands and fans alike.  Like we say, “It’s all about the music…”

Each of the bands appears to have their own Myspace profiles, where readers can find more information.  This comp may still be available for free download on the following page, look for a link at  the very bottom.

http://novafuture-blog.com/2011/02/10/out-now-various-face-the-darkness-twisted-flesh-recordings/

The short, somewhat eerie l introduction of “Sotto Voice”  leads directly into   “Merry Go Round (My Spring Will Come)” which is perhaps my favorite song on the CD.  With wall-of-sound jangly post-punk guitars and subtle tribal percussion that hovers right under the impeccably layered vocals, this is a phenomenal song that simply grips the listener before ending with a spate of drumming and appropriate carnival effects.   This song has run through my head for days at a time.

“Cross My Heart” is a bit heavier.  Quite edgy, nearly deathrock guitar and frantic drumming support the superb vocals. Unexpectedly, sharp guitar riffs jar the listener out of their comfort zone , and then the sond fades on an disquieting note.   “Valentine” has lower, ominous vocals, complimented by the darker tone of the guitars.  A guitar solo mid-way through the song strikes at exactly the right moment.  This is a very visceral song, tinged with regret, yet powerful a the same time.

Next is a fine cover of “Tears” by the Chameleons.  Jaunty and soaring,  yet profound at the same tine, the song is driven by steady percussion and layered guitars.  A bit more dramatic, “Triad”  has some rather epic sounding riffs interspersed among nearly spoken vocals.  “Mr. Magpie”  is more bass driven, with very cool slide  effects and vocals that are intense without being strident.

“Winter Walking”  is very evocative, with swirling electro effects and understated guitar that suddenly emerges from out from under the intense vocals.   The song ends with  the evocative echo of footsteps.     “I can feel your heartbeat pounding…“        Next, “Mother” begins with wonderfully slow guitar, and slightly distorted vocals. The echoey effect of the vocals and the slow, yet razor sharp guitar lend a disquieting air, which is then  heightened by whispered vocals and the eerie sounds of a baby crying.

“Sotto Voce” is an incredible CD that becomes more profound with each listen.  The arrangements are masterfully done,  and each song is mesmerizing in it’s own way.  This CD is highly recommended for fans of post-punk, Indie, and anyone who appreciates well crafted music.

http://www.myspace.com/echotestband

http://www.facebook.com/IsolationDivision

I certainly don’t fall into the common trap of calling something “Goth” just because  I feel some affinity with it, but I do  believe that the same principles  that led to the creation of the Goth Culture are shared by other people, too, and this makes us all sort of comrades-in-arms.   I first discovered the music of Outlaw Country when I was a teen.   A good friend of mine named Farley Howard introduced me to singers like Waylon, Willie, and David Allen Coe. I’ll probably lose what few Goth points I have left, but the first concert I ever attended was when Farley and I went to see Willie and Emmylou Harris perform at the Greensboro Coliseum.   (Farley later got a full scholarship from Harvard.   I got a bus ticket to basic training at Fort Sill, OK.)

The Outlaws gave me the first intimation that there were alternatives to the pop mainstream.   This was probably why going even further was easier when I discovered Punk and, later, Goth.     You will seldom hear singers like Waylon Jennings or Johnny Cash on today’s watered down, pop-country radio.    Yet they packed venues to the very last, and their album sales roll on today, regardless.

Jennings played bass for his childhood friend Buddy Holly during 1958-59.  Jennings had a close brush with fate in 1959, when he was scheduled to be on a plane chartered by Buddy Holly.   J.P. ‘The Big Bopper” Richardson was ill, and Jennings willingly let Richardson have his seat.   The plane crashed, taking the lives of all aboard.  Later, he roomed with fellow nonconformist Johnny cash.  Refusing to change his style from Country to Pop as the owner wished, Jennings left A&M records for RCA.  In the 1970′s, Jennings finally broke completely with traditional country music. Instead of the usual boring, weepy strings, Jennings added the electric bass with blues and rock rhythms, creating a sound that later became known as country-rock, embodied by performers such as the Allman Brothers, Lynyrd Skynyrd, and Steve Earl.  Kicking a cocaine habit in the eighties, Jennings founded the Waylon G.D. Jennings Production Company.

Wearing a black cowboy hand and leather vest, Jennings looked and sounded like no one else.   Fiercely independent, Jennings steadfastly battled the record companies for control of his music.  He refused to record with the usual session musicians, and was highly critical of the Country Music Association.   A champion for lesser known song writers, Jennings embraced the Outlaw movement created by people  like Willie Nelson, who had fled Nashville for the freedom of Austin, Texas.

Typically, Jennings was the first to call fellow performers to task when the scene got out of hand, condemning their excesses and posturing in songs like “Luckenback, Texas”, and “Are You Sure Hank Done It This Way?”  Jennings felt  a strong sense of community, refusing to attend award ceremonies because he felt that country musicians should not compete with other.   True to form,  when he was inducted into the Country Music Hall of Fame,  Jennings sent his son to pick up the award, joking that the audience wouldn’t want to hear what he had to say anyway.

Johnny Cash was known as “The Man in Black”, and there has been no one else quite like him.  Like Jennings, Cash was a maverick who openly disdained the conventions of Nashville music.   Along with Jerry Lee Lewis, Carl Perkins, and Elvis Presley, Cash signed on with Sun Records, home of the original Rockabilly sound.  In the early ’60′s, Cash collaborated with Bob Dylan and even appeared on Dylan’s album “Nashville Skyline”.    He wore a long black coat, in stark contrast to the gaudiness of most Country performers.   In 1979-80, Rockabilly emerged again from the ranks of Punk, eventually spawning Psychobilly.  Punks were trekking down to stores like Rock On Records in Camden Town to snap up records by Lewis, Perkins, Presley (especially the  “Sun Sessions” LP), and of course, Johnny Cash.  “Brand New Cadillac” from the Clash’s “London Calling” LP, was nothing less than classic Rockabilly.  From there it was a straight line of descent down to the Cramps’  “Sheena’s in a Goth Gang” of 1997.

In 1985,  Cash and Jennings formed The Highwaymen along with fellow Outlaws Willie Nelson and Kris Kristofferson.   From 1985-1995, they released three albums: Highwayman, Highwayman 2, and The Road Goes on Forever.    Cash’s “American Recordings”, released in 1994, has a cover that is more “gothic” in a purely American way than any other album cover.   Accompanied by only his guitar, Cash’s voice rolls out of the darkness like the approaching Apocalypse, not the special-effects laden razzle-dazzle Apocalypse of today’s cyber world, but the Apocalypse of old-time preachers, mountain bards, and nightmares of our childhood.  Scorned by  country radio,  “American Recordings” impressed fans old and new, as did the follow-up album “Unchained” in 1996.  Cash’s albums included covers of songs by such diverse artists as Soundgarden and U2. In 2000, Cash included an impressive rendition of Nick Cave’s “Mercy Seat” on the album “Solitary Man”.    Later, he evocatively covered Nine Inch Nails “The Hurt”.

I’ll never forget standing on a street corner in Camden Town in 2002, listening to Cash’s rendition of “The Hurt” coming from a nearby store.   When I was in High School, I was in a very short-lived band and sang “Folsom Prison Blues” in the school talent show and later during an appearance on the local radio station.   Never in my wildest, most demented  dreams did I ever imagine that nearly thirty years later I would be in the UK, dressed in black, listening to Johnny Cash.   But somehow it was fitting.

According to Cash, his dark clothes and stark music were symbolic of the poor, the dispossessed, and the unfortunate.  Over 50 years after the release of his first single, the enigmatic Cash remains an original who has never been copied.  Musically, he has influenced scores of artists across a broad spectrum of musical styles.   On the liner notes for ‘The Essential Johnny Cash”, Cash is praised by such diverse figures as Leonard Cohen and   Goth-poet Nick Cave.

To paraphrase David Allen Coe, if that ain’t Goth, you can kiss my….

EA:  I just feel that most songs should be able to be stripped from all the production and layers that we find in the recorded version or a large scale performance and distilled down to just their bare bones, and if the song doesn’t hold up, then, perhaps there wasn’t much to it after all.  I recognize that there are still exceptions to the rule.  Techno for example, cannot, nor should not be played on an acoustic guitar, and its still a valid form of music, but for most songs, if you can’t take all the razzle dazzle away and still have something of worth, then perhaps its not worth much to begin with.

MC:  One of the first things that strikes people about your music is how intensely personal it can be.  With some bands this sounds contrived, but certainly not in your case!  Emma, for example, said that it was as if you are  on a dissecting table in front of the world, and it almost makes the listener feel as if they are intruding somehow.  In another interview you mentioned that you have tried to capture the “the tiny personal deaths that happen to everyone”.  I think you have succeeded admirably,  I think that one of the mistakes many artists make is that they try to capture the most shattering emotional events in their songs, which frequently sounds contrived.  What are your thoughts?

EA:  The small events are where the most interesting things happen.  There are nuances therein that can lend themselves greatly toward creating poetry out of the ordinary, “so much depends upon a red wheel barrow…”
I recently wrote he lyrics to a song a friend of mine wrote.  He plays under the name Escape the Clouds.  The concept for the song was a walk on the beach as the sun rose.  This is just one example of turning something simple into a song.

MC:  One of the things I vastly admire about your material is that you have the uncanny ability to pierce strike right at the listener’s soul, as it were.    As I mentioned in the review, I simply love “An Abandoned Building”. I feel as though I am standing right there, amid the decaying walls.  It’s not always the deep emotional hurts that make us the most pensive and reflective.  Was this a conscious direction on your part, or did it simply evolve?  By the way, are you a history buff?

EA:  I cannot be so bold as to say that It’s a conscience decision.  The things that strike you, just strike you.  My parents were selling the house that I grew up in and it got me to thinking about how I saw a house and what the time spent at that one meant to me.  I got a chance to go back to the house when it was still empty and it made me a bit sad to think of all the events that had taken place in every room, rooms I would never get the chance to be in again.  They are someone else’s  rooms now.  I wouldn’t say that I’m a history buff, but I do enjoy learning about the past.  Almost all things that once were intrigue me more than those things that might someday be.

MC:  We had discussed via email the difference between songs that are simply stories, with no real connection to the listener, and songs that resonate with the listener.  For me, a clever story may be entertaining for a few listens, but if something about the song doesn’t speak to me, it won’t be on my personal playlist, no matter how competent the musicians are.   Do you think that the more evocative a song may be for some people, that it may be less accessible to other people?   Or am I just over-analyzing?

EA:  There’s no way to tell what’s going to hit with a person, or an audience.  It even depends on how that individual is feeling at that particular moment in time.  I even had a girl ask me during a performance why I didn’t play more upbeat songs.  After the performance she apologized and to a degree retracted her question.  There are as many ways to connect with a listener as there are directions to walk in an open field of grass.

MC:  Your CD is marvelous proof that the old adage of “less is more” can be absolutely true. With some bands I get the feeling that they try too hard to fill up all available space.  What do you think?

EA:  To touch on the earlier question of a song standing up with just its bare bones, I would say that adding more instruments is like adding layers of clothing to an outfit.  If its summertime, then if your throwing on layers and layers of instruments, you might end up suffocating the song.  Ya gotta know which songs fit with what seasons.  Some tunes need those layers to add to the drama, some function better alone.  The trick is figuring out which need it and which don’t.  …and then sometimes you’re broke and can’t afford that marimba player, so you say screw it.

MC:  Who are some of your favorite musicians?   Does anyone in particular inspire you from the past?

EA:  These are my go to guys/gals  Lyle Lovett, John Denver, Dolly Parton, Tom Waits, Crystal Gayle, Willie Nelson.

MC:   I understand you have a project going on with Davenport and Winkelperry’s. Can you tell us a bit about this?    What else are you up to?

EA:  The Davenports and I are working on completing the Victorian Dead kickstarter project that reached its goal this past  April. I’ve written 8 songs about famous Victorians and the gals are going to record introductions to each of the subjects.  I also have a 6 song e.p. coming out of all nautical themed songs in early November.

MC:   I like your anachronistic  fashion sense. it seems like many clothing companies have jumped on the Steampunk bandwagon, sort of sullying the waters.    How did you acquire your wardrobe?  Do you have any fashion tips for fashion challenged males like myself?

EA:  Thrift stores, online, and wherever you can find a good buy.  I would suggest to any fashion challenged males that they keep it simple, stick to basics, and classic colors.  One should not add more pieces than they feel comfortable with wearing.

MC:   You mentioned elsewhere that it was sort of challenging producing ‘Let This House Burn Slowly” as a solo project. You certainly did a great job.  The production is superb.  What do you consider the most positive aspects of doing this solo?

EA:  It was easier than projects I’ve done in bands because I was the only one who needed to be happy at the end of the day.  There were no late night band meetings discussing the mix of a particular song.  Each song came out the way I wanted it.  I hope no one gets me wrong, I do enjoy working within the band dynamic, but its an entirely different route to take towards completing a project.  It was challenging in the sense that so much more does fall on just one persons decision and pocketbook.

MC:   Is there anything else you would like to add?  I look forward to catching you in Pittsboro in a month or so.  Thanks for the interview!

EA:  I recently went to a one day punk festival for a bunch of bands from the 80′s and 90′s.  These bands and the fans are from the last generation that really embraced all things tangible. CD’s, vinyl, stickers, t-shirts.  These little items are the lifeblood of a musician.  They are mementos of the occasion and items to pass down or wear proudly.  I hope fans don’t ever completely lose that “need” to get the album on vinyl, even though they already have it downloaded.  You cannot beat actually having something to hold onto or put in your stereo.

http://www.eliaugust.com/

http://www.facebook.com/pages/Eli-August/127927807072

I will be the first to admit that I certainly have many faults as a reviewer.  Nevertheless, I try to adhere to a few basic rules when writing a review.   I research the band to gain some insight on where they are coming from, so to speak.  I will often listen to a CD for an absurd amount of time (my apologies to the bands), to get a comfortable understanding and appreciation for the music.  Only then can I deliver an informed, relevant review.  Sometimes, the mundane world doth intrude, as we used to say in the Renaissance faires.  I may be painfully  slow to complete a review or an interview.  This is my fault entirely.

Some people may be forgiven for believing  that I suck up to bands, because my reviews are almost always laudatory.  The reason for this is that I do not do negative reviews.    If I truly do not like a CD, I  do not  review it.     Regretfully, I  hear many more albums than I review.   But  if I feel no affinity for the music, it would be a disservice to the bands and fans  for me to review it.   On a few occasions I have had to do quite a bit of soul-searching over this.   Some reviewers seem to think they must tear a CD apart every once in awhile to show they have “teeth”.  Oh please.  I want to turn people on to to good music, not discuss music  I  get nothing out of.  After all, to paraphrase Lawrence of Arabia, my time is limited.   Regardless of what I think of a band’s music, I have no desire to trash them out. At least they are doing something.  I might not like their music, but others may. I will leave it to an appreciative fan to review them.  Fortunately, this has created very few awkward moments for me.  I will not pretend to like someone when I do not; or pretend to like music that I do not.  I am sure that this comes with a price, but it is a price I am more than willing to pay.

In the past, I have reviewed music available in the mainstream because they originated in the underground, or they have connections to the Goth scene.    These days, I don’t waste my time. I only review underground music.   If an band is available in major music outlets, information on them is easily found in the mainstream media. They don’t need underground support, and they usually couldn’t care less about it.   It’s sad when bands forget or move past their underground roots, but it happens.  I prefer to concentrate on bands that support the underground and are part of it.

Midnight calling is cfree, and I derive no income whatsoever from the ezine whatsoever.  I do it simply for love of the Music and the Underground.  I am more than happy to support a band by buying a CD or merch, but since my funds are limited  I am very appreciative when a band gives me a CD to review, and on the rare occasion when I am given free entry into an event.  (Thanks, Emma!)    I also deeply appreciate it when a band provides a link to an interview or mentions it on their website.  Much like in the underground poetry scene, the only acknowledgement many of us receive is from our fellow travelers.   However,  if a band or artist is unpleasant to deal with, I will spend my time and efforts elsewhere.    Life is too short.   Those who are more concerned with scene politics than their music do not need me.  I’m sure Rolling Stone has them  on speed-dial, anyway.

Unfortunately, not everyone who frequents the Underground is there for the music or culture. Some promoters and DJ’s who tout themselves as leaders of the underground have the attitude of :  “Just shut up and buy our tickets/pay our cover.”    They exhort us all to “support the scene”, but these Bottom-Feeders are in it for profit and ego, not love of the music.   Gee, if our only role is to throw money at someone, we can just run into to the mall.  At least it has a food court.    Personally, I will not support anyone who abuses or takes advantage of bands.    I don’t care what their “status” is.  I once heard that a friend of mine, who is also very involved in the underground, and  I have  “bad reputations” because we don’t kowtow to the “right” people.   Oh yeah?    I have a novel idea for these types.  Try treating people decently and keeping your word.

There are too many DJ’s who do not support new music.  Refusing to introduce new music  is doing both the bands, the fans, and the subculture a grave disservice.  This also gives casual club-goers the erroneous impression that “there is no new Goth music” and contributes to the vicious cycle of ignorance.   If it’s on your flyer: play it.  If not, don’t say it.   Enough with the latex clad girls wearing Nazi-looking hats on the flyers.   Leave that for the Fetish Nights.  And please, don’t put Siouxsie, Robert Smith, or some model with a mohawk  on your flier if all you play is Electro-Dance.

I extend a heartfelt thank you to all the bands who make the music that has made our scene what it is today.    Sometime in the early ’80′s this music  changed my life forever.   And thank you to all the DJ’s, promoters who support them.  Thank you to all the fans who have made it a part of their lives.  And thank you to all the readers of Midnight Calling Ezine. Without you, MCE would not exist.

On that note, I will close this somewhat rambling monologue.  Don’t mind me.  Halloween is fast approaching.

After a deceptively smooth beginning, “Ptakha” (“Bird”)  dives on the listener like a ferocious bird of prey, with sledgehammer guitar blasting the senses, accompanied by steady,  percussion which plods like a mailed warrior.  A bit of ’80s sounding bell effects add a nice touch.   Lead guitar fiendishly spirals around the utterly wondrous vocals, which feature excellent  layered harmonies, dissonant and sporadic with masterful split second timing.   Electro loops and effects hover in the background, and at about two and a half minutes the lead guitar erupts    amid the pounding soundscape.    Suddenly the song drops ominously, with the vocals becoming rather forlorn, then the grim tide of sound  surges to a finish.

“Maslenitsa” has a bit different dynamics, but the same majestic interplay between the nearly brutal metal/industrial sounds and the  pure, captivating vocals.   There is virtually a call-and-response pattern between the vocals and guitar that is mesmerizing.  After  swirls of synth the vocals  suddenly fall silent.  The percussion abrupt changes tempo,  with New Wave-ish synth loops in the background as the guitar strides forth in full grandeur.    Sudden split second harmonies are absolutely soul-catching and alluring.    Right  before the song finishes, the harmonies rise, then slow  into a very fetching “hey-hey-hey-hey” and the song ends on a nice touch of slide guitar.

“Golubka” (“Dove”) has a ominous, dark into, edgy guitar, and a hint of dance-style electro.  Then the hammer comes down with  metal thunder, along with inexorable percussion, and striking, crystal harmonies glittering among the vocals like diamonds. Suddenly the vocals are only backed by echoes, pensive, and then followed by excellent layers of harmony and counterpoint.    A heavy onslaught of sound ensues in reply,  as dissonant vocals gleam.  Some stunning guitar work emerges, and then the song ends with descending synth.

The remarkable thing about these three songs is that they have a variety of style without going outside the basic components of Folk and Metal.   The listener dares not sink into complacency.  Other bands use sheer volume to batter at the senses, but Risha inexplicably wields their heaviness of sound like a rapier, that transfixes the listener.    I absolutely love the vocals.  The intricacy, beauty,  and pinpoint precision of Irina’s  vocals are pure magic that gives a keen edge to the blood and iron of Andsy’s guitars and Alesandr’s percussion.    Eastern European Folk songs,  particularly Bulgarian and Russian, send a chill down my spine when when done well.   “Ptakha” passes this test like a snowstorm roaring across the steppes at midnight.   Risha’s fusion of Folk and Metal  is pure art, and I fervently await a full length album.

http://www.myspace.com/risha.band

http://www.risha.su/

The guitar on “Puppet (In Secret)”  begins with  a Latin sort of flavor, and the accordion gives an archaic counterpoint that paints a vivid backdrop to the edgy lyrics.  Suddenly, the guitar reminds me of Pink Floyd.”Nothing Is Eternal” begins with deathrock guitar followed by accordion, and supported by steady percussion and bass.   The song does have a very Post-punk feel, that is heightened by the guitar about two minutes into the song.  The bass becomes a driving force, and the guitar gets more strident, then a touch of  xylophone or keyboards gives a momentary lull before the guitar erupts and virtually grabs the listener.   ” My Boyfriend Alien”  is simply marvelous.  The lyrics are humorous, yet remarkably sincere.  The guitar is catchy, and sometimes dissonant, providing an infectious edge that keeps the song running though your head long afterwards.  “Is he sleeping with another man….no, no, no NO!” This sort of reminds me of  the quirky genius of Devo.  At four minutes, you think the song is over, but wait, there is a very cool finale with subtle piano that provides the perfect touch.  “Love Song” is one of my  favorites.   The accordion has a wonderful Old World feel.  “This is a song for my dog/a love song for my dog…/I am lonesome for my dog.” The bass and percussion combine with evocative piano to turn the song practically into a waltz.     Bass and staccato percussion this awesome song.   Next up is a melancholic and very introspective cover of “In Heaven”.  At a little under two minutes, the song erupts into a wall of sound, with a catchy woodwind effect in the background, weaving amidst the militaristic  percussion.   “Mr. Dream” turns on the energy, with very edgy, deathrockish  guitar and rapid-fire  percussion backed by steady bass. This takes a discordant, eerie turn right before the finale. “Is it a dream???“  The harmonica lends sort of a Western touch to “The Tangible Tension”.  The galloping guitar and steady percussion are like a bounty hunter riding out of the desert.  About three quarters of the way through an  unexpected flamingo flourish, and echoes in the refrain are very effective.   “We are only children of the silence…“

Carnival sound effects precede “Elements of a Love Affair”, which is an absolutely stunning song.  Big Band meets Cabaret, while piano meanders hauntingly and sometimes discordantly through the forceful basslines as   percussion pushes like a deranged drill sergeant.   The vocals are magnificently arranged with a razor edge appeal, dangerous and sleek.    “My Picture” is poignant, yet amazingly compelling at the same time.  I really like the percussion on  this, and the sudden disconcerting shift at  the refrain.   An excellent cover of Tuxedomoon’s “In a Manner of Speaking” follows.  This has the cadence of a hot jazz speakeasy number, and the arrangements evoke shades of Aladdin Sane era David Bowie. Layered vocals add a nice touch.   The last song is appropriately titled “This is the End”.   A funky sort of beginning combines with a touch of 70′s soul juxtaposed with rather evil electro effects in the background, and the song ends with a sound of thunder in the distance.  Thus ends a marvelous musical journey.

The production of “Pink Narcissus” is excellent, both musically and lyrically, and will appeal to fans of everything from Post-punk to Steampunk.    Imaginative and masterful, ‘Pink Narcissus” is simply a great CD.  Don’t miss it!

http://www.myspace.com/plasticpeoplefr

The excellence continues with  “Freedom Fighters” .  This song is a bit more complex, but has the same hard-driving pace and crafted vocals.  At one point I herd something that sounded very familiar, and I wracked my brain trying to think of what I was reminded of.  Then it hit me: the Ramones in their later days!  The similarity is very subtle, but after I began to listen closely it was discernible.   “Life is Not” is another song that reminded me a bit of AFI, but don’t take the analogy too far.   There is a bit more weight here, and the guitar part at about three minutes is superb.  the chanted refrain “Life is not” is at the perfect place.  “Shortly Before” juxtaposes slower, almost regal lead guitar with the mailed fist of the bass and backing guitar.  “Shortly before/nevertheless“.  The nearly counterpoint vocals in the second half of the song are masterful.  “Bad King” begins low and ominous, almost like a spaghetti western, then roars into full throttle.  Heavy, metal-ish guitar roars like a 40mm Bofors gun  around the cutting vocals and speed-of-light percussion.  Very cool.    “College Wars” is another one of my favorites.  The solo vocals are joined by harmonies that reach a crescendo.  Then they rise like an anthem, backed by a catchy guitar hook,  and the inevitable, irrepressible  percussion. The song ends with  a visceral jolt of sheer electricity.

Awesome Grey admirably succeeds in walking  the line between  Hardcore and more melodic elements , without compromising on the power that characterizes great Punk.   This is not an easy thing to do.   Many bands make very good attempts but don’t quite bring it off.   I must admit that I generally do not like the vocal  harmonizing in many Punk bands because it is overdone, but Awesome Grey again achieves a fine balance and I  like the result.  It works.     “Do You have Friends” is excellently  produced, with well crafted lyrics and arrangements, and yet, it delivers a solid musical  punch.  “Do You Have Friends?” clearly establishes Awesome Grey among the leading contenders of of new millennium Punk.   I can’t wait to hear more.

http://www.awesomegrey.de/

http://www.myspace.com/awesomegreyband