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/