Greetings and Dark Salutations!

The NC music community and the music world lost a fine musician yesterday with the death of Matt  Brown, drummer for the award-winning band John Howie, Jr. and the Rosewood Bluff.  Our heartfelt condolences go out to Matt’s family and friends.   He will be sorely missed.

Stay tuned for a review of the Darnell Woodies’ second release!  Just posted is a review of the fabulous P-90′s debut CD “Limited Edition”.   Bands such as the P-90′s, Raging Nipple, and Awesome Grey are a welcome antidote to the pseudo Pop Punk that has unfortunately infested the airwaves like some malignant species.   Be sure to  check out the review of The Black Sheep and their stunning debut CD, as well as Fetus X’s awesome, yet lamentably unpublished demo.     I had nearly forgotten what it was like to hear live Punk music until my recent trip to The Cave in Chapel Hill, NC to hear Raging Nipple and the P-90′s.   See the event review for details and pics.    Meanwhile, reviews the reviews of Eli August’s “The Bottom of the Sea” , and the Knutz’s “Ghost Dance party”.   See the previous 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. Stay tuned for an interview from LESTAT.

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 as well as other performers from the past and present:

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

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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With very versatile vocals and some fine rock guitar licks, “Surburban Nightmare” evokes images of ’70′s Glam rock, with the guitars reminding me of both early Alice Cooper and Nick Lowe, gloriously fused with a sort of epic garage band sound that seems right on the cusp of some new musical frontier.  As such, this is a fine beginning track that admirably sets the stage for what follows.

“Apathetic” is a Punk locomotive that roars straight through the walls of complacency, with  shattering guitars and Billie’s fantastic vocals.   Her drawn out “apppppathetic” drops off very viscerally at  the right moment.  She has the sheer force of Penetration’s Pauline Murray combined with the edginess of Siouxsie.    “Apathetic” may be short at just under two minutes, but it is an indubitably  powerful song.

“My Roommate {Took My Date Away}”  is a clever nod to the Ramones that is fabulously crafted, yet retains a sheer simplicity that brings to mind the dawn of the punk era with its sheer energy.  The guitars are just fabulous, with percussion driving things along .   The song ends on a superb vocal flourish  sort of reminds me of The Slits.

“Business 40″ simply  blows the listener away like a charge of musical C-4.    Layered guitars remind me of The Buzzcocks or later era Ramones, while Billie’s shouted vocals wonderfully evoke shades of Poly Styrene.  From the guitars and bass to percussion, this is powerhouse of a song.    It is also quite true in regards to the Business 40 highway loop!  “Can’t see ’round that SUV/why are you in front of me??? The song ends on a wonderfully discordant and ferocious slide into feedback that crashes to a halt, which is about the only way to stop this song.

“I Don’t Wanna Talk to You” starts a bit mellower, but then soon dispels the listener of that silly notion.  Mellow? Not here!     I love John Howie’s  pounding percussion (reminds me of The Jam), and the fine, perfectly  understated, yet wonderfully dissonant backing vocals.  The brief guitar solo midway comes at just the right time, as a  great balance to Billie’s  fabulous drawn out vocal effects.   Listen closely to the phenomenal  instrumental interplay in last segment of the song.

“Inside Your Head” changes gear, grinding into sheer punk.  Loud, with excellent guitar riffs playing off against teach other and percussion relentlessly pounding away.    At about one minute and forty seconds into the song, the guitar weaves masterfully around Billie’s vocals, which have a certain timbre that is simply gripping.  This is great music in the finest Punk tradition!

Listen to “Limited Supply” once and it will be stuck in your head for days.  This is a tight, precision crafted machine of a CD that showcases the enormous talent of this band.   To me, the P-90′s are great because they invoke the best era of Punk music.  A bit of Sex Pistols to be sure, and the Ramones of course.   But also Iggy and the Stooges,  Richard Hell, The New York Dolls, Magazine and the bands I mentioned earlier.   The P-90′s have an added level of  sophistication, along the lines of early Sonic Youth.    I hate to seem like I’m giving a who’s who rendition of early Punk, but I think it is important to differentiate the P-90′s style from Hardcore and Thrash/Metal influenced  Punk.     The P-90′s have  a totally contemporary and relevant sound that is a perfect amalgamation of early Punk sensibilities and their own musical prowess.   Even if I’m off the mark on the musical associations here, and this is not what the band intends, it doesn’t matter.    Go see the P-90′s!   Buy this CD!  Have the band autograph it, they will be glad to do so.    I predict that The P-90′s will soon pass out of the range of underground ezines like this one on their way to greater things.    Hey, Ho, lets go!

http://www.facebook.com/thep90s?sk=app_2405167945

“Ballad in Hep C”  has a steady, hypnotic bass line that drives the song nicely.  The guitar has a exquisite retro sort of sound, cool and sophisticated, reminiscent of Chris Isaak, but balanced with biting salvos that lend a contemporary, gritty feel.  The vocals are simply marvelous.  Sarah veers deftly  between a Hot Jazz ’20′s sort of sound and  a fetching rockabilly “whoa-ooah” chorus.

“Choke and Die” begins with a slow gripping,  guitar line that picks up Sarah’s sultry and evocative vocals on the way. “I don’t want your sympathy/I’ve just had too much to drink“.    Percussion is dexterous and dead on, while the bass maintains a perfect cadence.   Just under three minutes into the song, the levee breaks, no, it shatters, as the bass and guitar suddenly turn magnificently discordant, while the lead vocals take an  epic and gripping turn, like a ’49 Cadillac coupe on a dangerous Nevada curve.  The guitar solo is superb.   Her seductive, yet classy, slightly drawn out “oh-oah’s” are perfect, and she ends the song with a perfect sigh.  I have a sudden urge to put on my three piece suit and fedora, then go steal a DeSoto Firedome.

The next track, “Guns”, titled after a subject dear to me, picks up the pace, with a fine retro bass line and guitar that suddenly turns rattlesnake vicious.  I love the fullness of the guitar here,  the slight echo effect on the bass, and the backing vocal exclamations. There is a cool Noir Western feel to this song, low and mysterious, in an interesting Marty Robbins meets the Cramps way.   Sarah’s vocal range is superbly demonstrated.

The rollicking “Into the Grave” has a bit more of a traditional psychobilly style,  with hammering bass and fierce percussion.  This is balanced by buzzy, edgy guitar, which has a very gripping interlude laced with feedback.  Intemittent retro, echo-y guitar is a perfect touch.  Vocals are excellent, with catchy and expertly executed shifts and  turns, along with a backing chorus that is clearly punk-influenced.

“Zombie Box” is a fitting finish to the CD, with a sophisticated combination of distant, retro guitar and rolling percussion, laced with alternating bursts of heavy, grungy guitar.  Bass perceptibly underlays the process.  Vocals are masterfully poignant yet brazen.  The song is filled with unexpected twists, more of which emerge with each listen.

“Zombie Box”  is a great debut CD that is superbly produced.  The music is  well crafted, showcasing the skills of the band, and has a  visceral impact that is unexpected and therefore all  the more stunning.  As regular readers here know well, I have a penchant for vocals, and  the vocals here are just astounding, not only for the sound, but for the unpredictably and sheer impact.   There is no mindless bass-bashing or chord flailing here.  Everyone in the band is part of the tapestry, yet unafraid to make their own forays. Yet they know precisely when to return to the fold, which is one of the great things about this CD.

I highly recommend listening to “Zombie Box”  on the road.  Preferably back desert roads,  with abandoned gas stations, rusting signs, and secluded, inexplicably ominous diners.    The Black Sleep have created a  musical vision that magically evokes a rougher, somehow more romantic  era yet is firmly rooted in the present.  This is the Magical Mystery Tour with a Chicago typewriter and a case of moonshine in the false trunk.    With  ‘Zombie Box”, you can’t go wrong, Mac.  Now where did I put my, er,  violin case?

http://www.cdbaby.com/cd/theblacksleep

“No Mercy” is one of my absolute favorite songs of all time.  The edgy, razor sharp guitar takes me back to the early ’80s and evokes the same feeling I got when I first listened to deathrock and postpunk for the first time. I remember driving back from somewhere or other, and I randomly  tuned into a local college radio station that was playing some of the greatest music I had every heard.  (Turned out this was a late night program sort of like MTV’s much later “120 Minutes into the Future”, showcasing deathrock, postpunk, new wave, etc.)  Back home, I hurriedly found the station so as not to miss anything that night.    When I first heard “No Mercy”, I spent months trying to figure out just what band this song reminded me of.   Finally I realized that it didn’t remind me of a band, it reminded of the feeling I had, sitting in the dark that night listening to the radio.  The guitar is accompanied by some wonderful bass lines, and steady, on-target  percussion.  Vocals are edgey, almost deathrockish, before dropping to an ominous spoken interlude before the song changes back into frantic gear again.

“Fist to the Sun” starts with wonderfully fuzzy guitar  and slightly echoed vocals  that are very evocative.  Percussion and bass lend a very full sound to the ensemble.   I absolutely love the Neo-psychedelic sound encompassed here.   “Fist”  takes the best of the psychedelia, i.e.  sonorous, sense-pervading  guitar and bass, and combines it with the sheer edginess of early Goth and Deathrock.  Vocals are otherworldly and distant, as the guitar alternately roars and cuts with the precision of a samurai sword.

“Lost it to a Kiss” also  a magnificent neo-psychedelic feel, with buzzy guitar that careens like a sonic roller coaster.  I love the chord progressions here, which dramatically build up a  sense of  urgency and speed, artfully balanced by the dark vocals which sound almost stream-of-consciousness.  Imagine a synthesis of Grace Slick and Siouxsie Sioux.     The guitar  is slow, sharp, and deliberate, while the bass is determined and relentless, like an Old Western Posse on a long pursuit.   Then guitars and percussion race towards a frantic finish that ends with the abrupt finality of a hanging.   This song has a  languid, yet powerful effect that manages to sound psychedelic yet doom-ish at the same time,  reminding me somewhat of the Red Temple Spirits.

These are some truly magnificent tracks.   Alas,  the sojourn of Fetus X was all too brief.  While we may regret that they did not produce more of this fine music, we can be grateful for what they did.  After all, time marches on.  I look forward to hearing material from Karlheinz and Radio Pravda.

http://www.myspace.com/fetusxxx

Put on your body armor, because bass, percussion and guitar rake the listener like  .50 caliber machine gun fire in “Crack Meth”.   Rather strangled lead vocals are backed by a discordant cacophony, punctuated  by mad laughter and jangling noises.   A rather addictive song.    A bit of catchy bass opens “Porn Shop”.  The  fast, mesmerizing guitar and reminds me a bit of the Ramones.  Halfway through, the song slows with punctuated percussion and rock-ish guitar before heading back into the fray.  Vocals are nicely harmonized, but with a bit of dissonance that is quite fetching. “Insane”  starts with measured bursts , then erupts into rollicking guitar and furious percussion, while the vocals alternately merge and separate, effectively giving the song a spontaneous, yet, crafted song reflecting the contradictions of….insanity.

Say what you will, every girl knows that “Size Matters”.   Vocals bring the Runaways to mind, as the bass nicely reins in the rampaging percussion and sawing guitar.  At the end of the song, the percussion and bass shift into a clever flourish.     “PMS Massacre” masterfully contrasts guttural, Metal lead vocals with finely blended backing “whoa-whoa-whoa” harmonies reminiscent of the bubblegum girl groups of old.   This contrast is very artfully done,  and I love the sudden ‘drop’ of the backing vocals into a darker timbre. They are  cute, but very dangerous. 
“$”  brings to mind GBH, in tempo and lyrical content.  “Can’t even relate to this fucked society. Do what I can to escape from all this greed.“   Vocals are in perfect.  The song starts to unwind and slide like a Harley on a wet, hairpin curve, then a solid rock guitar sequence brings it back on track  brilliantly.   This a great road song.
“Bad Girls” has shades of Bad Religion in it somewhere, balanced by a smooth chorus, and wonderful hardcore guitar.  I love the chorus “Whatever , whatever we do what we want…“   Maniacal percussion  pushes the song to the outer limits.

“Sparks Attack”  is an awesome song that merges the hardest rock with punk sensibilities.  Vocals are brassy and brazen, yet cool.   Guitar is absolutely magnificent, as the bass firmly lays the foundation, while the percussion is deft and furious.    “Tighten It Up”  is a show-stopper, adrenaline fueled and high octane,  that has a roaring guitar that is momentarily almost psychobilly, then alternates with a low, vicious howl.  Percussion and bass drive at top speed, weaving underneath tight, edgy vocals.  “Oy Vey” has ominous, plodding bass and militant vocals,  buttressed by high, sharp percussion and grungy guitar that shifts into a rollicking classic 90′s Punk sound.  “Bully, Bully, push around the crowd/bully, bully you’re so fucking proud.” Carried along on gusts of  guitar, the girls shout stridently as the song ends.

This is great music!   Raging Nipple knows their Punk roots, they are all talented musicians, and they put it all together magnificently.  Though this is indeed a demo, the music is clearly well -crafted yet does not loss its visceral edge.    Raging Nipple puts their  own contemporary stamp on classic Punk, and are filled with the same energy and  grand sense of spontaneity that gave rise to Punk in the first place. This is a great thing in 2012.    Last, but certainly not least, they are very nice people.    They are presently working on a CD, and I have no doubt that it will be a joy to behold.   Until then, if you can see Raging Nipple perform, do it!   You will not be disappointed.

http://www.myspace.com/ragingnipple

http://www.facebook.com/pages/Raging-Nipple/139095162826315

MC:  What was it like to reform the band after nearly a decade?

Nave – It’s been an absolutely amazing experience. From transforming our original music to finishing our newest release in the studio this week, every step has been extremely satisfying. We’ve travelled the country, re-released our original material for the digital age through downloads, written a new release and reached out to new and old fans alike. I couldn’t be more pleased or proud. We always felt that Lestat was never really finished, and it’s nice to be proven right.

Timothy - It was exciting! Evan and I were both on the same page about wanting to try to get it started again.

MC:   Back in the day,  I remember reading that Lestat was sort of a “reclusive” band. Was that an accurate statement accurate or just a perception?

Nave – A little of both. The first time around, there was no social media to speak of, so we were able to maintain an aura of mystique by staying out of the spotlight. We also did not perform all that often, so our obscurity was well founded. I feel that some of that has changed with Facebook, Myspace, etc., but we still maintain some level of the unknown.

Timothy – We only played out one time a year and really never promoted ourselves as much as other bands did at the time. So I guess we had a reclusive side.

MC: I’m, sure everyone is looking forward to your CD release show in Cleveland.  Are there any musical surprises on the album? How will fans be able to get your CD?

Nave – Firstly, our new release, entitled “Arisen”, will be available both through downloads and physical CD’s. The distribution is still being worked out, but our release date is set for April 14th at a big show featuring Lestat with Metropolis Records’ Ego Likeness. As for surprises, well…we’re re-redoing “Red Light” with the new lineup for this. There will also be a remix of our original “Midnight Toll” by Click Click’s Adrian Smith.

Timothy - The new lineup is a pleasant surprise!  We have a bit of a new sound with the new members , yet the same Lestat sound is woven through and has matured, so to speak. The CD will be for sale on our site as well as on line stores.

MC: Speaking of albums, one of my prize possessions is a cassette “Theatre of the Vampires”.   So it’s very cool that Lestat’s albums are all available as downloads.  Some people feel strongly that downloaded music does not have the same visceral impact as owning vinyl or a CD.  I see a place for both forms of media. What are your thoughts?

Nave – I couldn’t agree more. We’re currently looking into re-releasing “Theatre of the Vampires” and “Grave Desires” on physical media, so stay tuned.

Timothy – I personally like having a real CD, but have acquired downloads as well. To me, nothing beats holding your new CD in your hands that you put your heart and soul into.

MC:  Social media has assumed a huge role in the dissemination of music. I think it especially benefits underground musicians.  Has social media made things easier for you to promote Lestat now, as compared to when the band was originally formed?  Has it really revolutionized music, or is it just a different kind of effort?

Nave – It’s funny. It makes things MUCH easier to promote, but it also adds a ton of noise to the internet. There are so many bands out there that now have the perfect vehicle to promote. Sorting through all of the music out there can be pretty daunting. It’s definitely revolutionized things, but the ramifications haven’t truly been felt yet, I imagine.

MC:  I like how Lestat always managed to have a variety of music on each of your albums, for example, X-tacy and Pray for the Living on Grave Desires; and Baptism (one of my absolute favorite songs) and The Mourning on Vision of Sorrows.  As a writer and reader of Poetry, I appreciate this kind of crafting. How do you compose your songs, do you start out with a concrete framework, or does it sort of evolve?

Nave – Thanks for the kind words! We probably have the strangest writing style there could possibly be. It starts with the electronics. Keyboards, loops, etc. After we come up with the base for the song, we turn it over to Susan, who really makes the song come to life. Bass and drums follow suit, and then, and only then, can I write the lyrics. I need to be inspired by how the song makes me feel before I can even try to write anything.

Timothy - For me, I get inspired by the sampling that I do. Just hearing a line in a movie will make me pause the DVD, sample it and then head down to my studio to start a synth-line or drum beat or loop. I will get that down and add to it later or that week. Then, I send it off to Nave who puts his unique touches on it. He more or less makes it into a Lestat song by adding or arranging it in a different ways.  I have always loved our process! We work well together. It’s not always on purpose that we have a wide variety of styles in our work. It just happens. I think Nave has done some of his best work yet with the lyrics on “Arisen” I am simply blown away by his words and vision. You could say I am a fan of his lyrics!

MC:  Have your musical inspirations changed any over the years?  How would you describe the music of Lestat?

Nave – That’s always the toughest question for me. I’m not sure I can describe our music, because we pull from so many areas. Trip-hop, Goth, Industrial, Techno and even Metal. We’ve always used the Darkwave title to describe ourselves. My inspirations are still pretty solid. I draw from bands in all of the genres I just mentioned.

Timothy - I like the darker, scary side of music, movie soundtracks and things of that sort. I have always been a big fan of the Skinny Puppy side projects, and some of my favorite bands are Click Click and Clock DVA.

MC: Lestat recently performed in South Florida, where I lived for nearly two decades, and in April  you will be returning to Florida for The Age of Decay In Jacksonville.  It will be great to see Lestat perform!   Will you be heading to other shows after this?

Nave – Yes! We actually just got booked for the Anne Rice’s Vampire Lestat Fan Club Coven Ball in October this year. We couldn’t be more excited. We’re in the middle of booking more east coast cities this year, so check lestatmusic.com for more info.

MC:  Does it ever seem to you that the word “dark” is sometimes overused in connection with music?  

Nave – I’m numb to it anymore. I think a lot of adjectives are overused, honestly. But, they help to convey a large amount of information in very little space, so I understand the need.

Timothy - It’s a damn cool word!

MC:  What does the band prefer to eat when you are on the road?  Are there certain places you look for?  (Personally, I’m a Denny’s restaurant aficionado, since they are always open!)

Nave – Anything that won’t drag me down on stage, or make me regret eating there in the first place!

Timothy - Chinese for me! I am always talking food on the road! Though, we do hit the fast food a lot.

MC: Thanks for doing this interview!  Is there anything else you would like to add?

Nave – Thanks for reaching out to us! We’re all very glad to be back, and we hope that people grow to love the new release as much as we do. As always, our fans can keep in touch with us and get to our social media sites through lestatmusic.com.

Timothy - I am glad we decided to give this another go, and am very proud of “Arisen” and all of our efforts. Thanks for the chance to talk with you.

MC: The pleasure is mine!    Can’t wait to Lestat perform at The Age of Decay!

http://www.myspace.com/thebandlestat

http://www.lestatmusic.com/the-band/

http://www.last.fm/music/Lestat

The Cave featured  not just one, but two great local Punk bands.   First up was Raging Nipple, a fireball of Punkmania hailing from Statesville.   With the energy of an out-of-control nuclear warhead, their searing music soon had the audience spontaneously erupting into a frenzied mosh pit.  Their amazing performance ended all too soon. Then the awesome P-90′s took the stage.  Well known from their other musical projects, the P-90′s delivered a blazing salvo of steady Punk that simply obliterated the senses.   And just when I thought I had weathered their sonic storm, I was amazed to hear them play my favorite Ramones song, “Bonzo Goes to Bitburg”!   Gabba, Gabba Hey, all right!  This night was living proof that Punk is alive and well in NC.  My hearing did not return for nearly 24 hours, but it was well worth it.

CD reviews for both Raging Nipple’s demo and the P-90′s “Limited Supply” will be forthcoming soon!

Raging Nipple

The P-90′s

“A Nautical Mile”is classic Eli.  From the onset, the song exudes an ominous feeling of dread, and the accordion imparts a sense of the seas, relentless and unforgiving, as seafaring men have discerned since the dawn of time.  The song picks up speed, like a doomed sloop being inexorably driven towards a jagged reef.  Eli’s vocals rise in a frantic appeal to the dark, stormy skies of   “Why can’t I be happy????“   The allusions mount, in this tale of a nautical disaster of the heart.  The end is swift, as Eli trails off plaintively, a last gasp before slipping beneath the waves of a pitiless fate.

“Dead Reckoning” changes pace, with the percussion lending an exotic Middle Eastern feel alongside the folkish, yet energetic guitar.   About two thirds of the way through the song, the song slows and the timbre suddenly drops to a tone of lonely reflections, and the listener is standing on the shore of a vast, impersonal sea, where pleas and heartbreak are meaningless against a cold eternity.

The Deep” begins with guitar that has a renaissance sort of inflection, then Eli’s vocals echo forlornly, with backing vocals by Mell Picco giving an even greater sense of icy solitude.  Mike Darnell’s bowed double bass lends the perfect touch.

“The Plunge”  marches steadily towards a grim reckoning.  The guitar has a Latin sort of feel, enhanced by the firm percussion of Nicky Sund.  ‘”A journey like the Nautilus,/ there’s only pain down here for us” , Eli intones.   Chord changes are crisp and sharp,  with backing effects like waves surging over wreckage.   “The  depths have secrets that they keep”.    Surely, they do.

The superb “Waves” is next, with Eli’s stalwart, nearly martial guitar leading the listener towards a watery Valhalla.  A touch of  cold, haunting  piano  and echoed, barely perceptible layered vocals heighten the sense of foreboding and loss.   “Sink, sing slowly down/they won’t find us now/to our hopes we are enslaved/driftwood down upon the waves” Then vocals are then shouted, as if from far away, and  echoing  off the walls of distant glaciers, who are the last imperturbable witnesses to a lonely demise.  The song aptly ends on a bit of wonderfully  piano

Just when the listener feels hopelessly adrift in Eli’s oceans of despair,  “Steady” amazingly ends the CD on a hopeful note.  “Steady as we go/there are those who stay with us through each ebb and flow”.  The sheer impact of the song belies the fact that  this is only Eli’s singing accompanied by his guitar.   This is perfect example of a comment I made in another review, that less is sometimes more.  In the song, Eli tells us that the journey’s end is still beyond our vision, and to be sure,  the limits our our endurance,, to be sure, but hold the course, and “we’ll find our own way home”.

“The Bottom of the Sea” is much like a dream, barely remembered, of battling monstrous seas and the demons of our memories and regrets.  This is yet another highly evocative, intensely personal project by Eli August.  Repeated listening will only begin to reveal the true depths of his music.  By all means, buy this CD!    Oh, and  if you get the chance to see Mr. August perform, don’t miss it.

http://www.eliaugust.com/

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

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/

“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