Peeling Grey is a post-punk band from LA that has created quite a stir on their local club circuit.  Listening to “The Peeling Sessions”, their Demo EP, it is easy to see why.      Since it is indeed a demo, production is a bit rough around the edges.  But it is a good intro the sound of the band, and gives a tantalizing glimpse of what a fully produced album will sound like.    This sounds very much like a concert recording (without the annoying clapping, whistling, etc.)  I immediately had flashbacks to many a good show I attended back in the day.

“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

Ten years after DJ’s in a certain sun-drenched state were declaring that “Goth is dead”, we have ‘Walking to the Edge” by The Last Cry.   They are living proof that the Goth music we all know and love is still alive and well.   When I saw they have performed with Skeletal Family, I knew they would not be bad.  But “Walking to the Edge” is truly impressive.  With a very well produced and full sound, The Last Cry  easily reminds me of the best of ‘90s Goth, which had successfully incorporated the elements of classic Goth Rock sound into a new generation, without losing the foundation and spirit of their forbearers.    And yet, The Last Cry is much, much more than some sort of tribute band to an earlier day.  They show that Goth music can and has remained relevant and well, is still damn good music to listen to.

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