With their adept combination of postpunk, rock, and a dash of Goth/Deathrock,  Joy Disaster has been at the forefront of the new music underground since their inception in 2005 .   I was privileged to interview them back in those days, and though their talent was evident from the beginning,  I was not quite ready for the impact of this new album.

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

“Monsters in the Industry” is a logical progression of this artist’s music, and yet it is quite different.   While veering off  in a distinctly pop direction, “Monsters…” retains the industrial and dark  elements that have been the best of her works thus far.  The CD reaches a new level of excellent production and technical dexterity which admirably showcases Miss FD’s growing talent.  The CD is very attractively packaged, with an inner foldout containing the lyrics.

“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

From the creators of decadent and dark short films, music videos and commercials – Masque Films is putting on a production you don’t want to miss. Hosted at the ASTO Museum of Art and in association with Mayfield Brewing Co. – Masque Films is at last ready to introduce themselves formally to the public. “THE INEVITABLE UNVEILING: A MASQUE FILMS PRODUCTION” will be on April 3, 2010 at 8pm at the ASTO Museum of Art located at 4505 Huntington Drive South, Los Angeles CA 90032.

“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 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