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/

I must convey my profoundest  apologies to The Extraordinary  Contraptions for the lateness of this review.    To be honest, this has been a very difficult review to write.  Not due to any deficiency of the music, mind you, far from it.  Indeed, the exact opposite is the case.  My difficulties in reviewing this superb CD stemmed from the fact that I could not find a way to adequately explain exactly what the music evoked in me.  For some time, I listened to the CD with a stirring of nostalgia.  But I could not identify exactly what this nostalgic feeling was for, since the music herein is decidedly unlike anything musically in my past.   Finally, after much introspection, it dawned on me that this was how music on ‘70s radio should have sounded.  (Don’t get me wrong: there was talent, but in the end it had nowhere to go except into the maw of the  music industry, which imposed mediocrity in the name of accessibility.  Then Punk showed it was possible to circumvent the assembly lines.)   Instead of the sappy, (but earnest) guitar singers, the swirling,  muddled “art” albums,  and boring gut-bucket boogie, this is what ‘70’s music should have sounded like.   With  Aelus Kristof von Stadberg on guitar,  Dimitri von Stadberg on bass, Corbin Able Welch’s percussion, and the lovely Sephora Bostwick on keyboards,  the Extraordinary Contraptions have produced a fine CD.  I’ll add that  “Inappropriate on Purpose”  is appropriately produced by Gilded Age records, a music consortium founded by Joshua Pfeiffer and Evelyn Kriete where the DIY spirit is alive and well.

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

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

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

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

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

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

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

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

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

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

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

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

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

http://www.theextraordinarycontraptions.com/

http://www.myspace.com/theextraordinarycontraptions

Those who only know Maple Bee as one of the award-winning Mediaeval Baebes will be in for a surprise upon listening to “Home”.  Even those familiar with her many musical talents may be a be impressed as well.  When I ordered this CD, I must admit that while I was definitely expecting something very good, I was not prepared for the sheer depth and versatility of “Home”.

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

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

http://www.myspace.com/maplebee