The essence of Fado, Portugal's native folk music, is summed up in the word saudade.  This term defies easy translation, but has been described by Rodney Gallop as a " ... yearning for something so indefinite as to be indefinable; an unrestrained indulgence in yearning.  It couples the vague longings of the Celt for the unattainable with a Latin sense of reality which induces realisation that it is unattainable, and with the resultant discouragement and resignation."  Most fado songs reflect on nostalgia, strife of life, lost love, tragedy, missed opportunity and dark destiny. The female vocalist always wears black and she sings in a throaty, passionate, emotional manner that evokes anguish and despair from deep within her soul.

Is that Goth enough for ya, or what?

You can see why I awaited the arrival of Aenima's Revolutions with keen anticipation.  This Portugese darkwave/ethereal group has been garnering critical praise throughout Europe, particularly after their recent appearance at Germany's M'era Luna festival.  My anticipation was richly rewarded, as Aenima's 1999 debut Revolutions proved to be one of the most polished and tuneful platters to hit my CD player this year.

The production quality of this CD is uniformly outstanding:  Paulo Carmona and Rune create a smooth, clean sound worthy of Alan Parsons or Brian Eno.  The mix shows their obvious technical skill, but never becomes too slick or cold.  Most important, it never detracts from Carmen's considerable vocal talents.

Those talents are showcased in the beautiful multitrack counterpoint of "Haven for the Forsaken," and the high Diamanada Galas-like trills which provide an opening backdrop for "Earthlore."  The instrumental tracks "Deep Blue Larvae," "Ae" and "Frail October Sun" give the other band members a chance at the spotlight, and prove that Rune's skills with a synthesizer are at least as impressive as his talent behind a mixing board.  The surface influences are easy enough to spot: Cocteau Twins, Dead Can Dance, Sisters of Mercy, and other pop-Gothic bands.  The sensibility, however, is pure saudade.

According to Aenima's official website, the band's lineup underwent some changes in 2000.  I look forward to listening to the creations of Aenima 2000 and Aenima 2001, and to seeing more studio work from Rune and Carmona.

LINEUP [CD]:

Carmen: Vocals, Bass, Keyboards
Rune: Guitars, Bass, Programming, SoundTreatments
Miguel Do Vale: Piano, Synthesizers
Mario Nunes: Classical Guitar
Vasco Vaz: Guitar

Produced, Engineered and Mixed by Paulo Carmona and Rune.
Mastered at Sons de Mar by Paulo Carmona.

CURRENT LINEUP:
Carmen: Lead Vocals
Rune: Guitar
Nor: Guitar
Paulo: Bass
Hugo: Drums

carry this CD and ship worldwide:
http://equilibriummusic.com/aenima-uk.shtml or
http://www.nightbrd.demon.co.uk/catalogue/cat_a.htm

Official Aenima homepage.
http://www.aetherial.org/aenima/index.html
 

ARTEMIY ARTEMIEV & PHILLIP B. KLINGLER
Dreams In Moving Space
~reviewed by Michael J.

Ambient music is magical due to the fact that it can create any mood or feeling and transport the mind to any location within the imagination.  With Dreams in Moving Space, I expected to find myself within the limitless area dreamy space but instead had my subconscious picked clean of twisted thoughts and childhood nightmares.

One of the first tests I give to ambient music is the “sleep test”.  I put it in, drift off to sleep, and see where the music guides my dreams and thoughts.  At first, everything was okay.  The sleepy winds of “Dreams In Moving Space Part I” floated from my speakers and placed me adrift on the ocean.  Just as I began to enter my dream state, the music took a slight twist and I began to hear small shots of static and other weird noises placed sporadically within the music.  My dreams quickly twisted and became bizarre and I forced myself to wake up and turn it off.  That was a world I did not wish to enter because I needed a good nights rest.

Dreams In Moving Space is an album filled with this type of music.  It is the soundtrack to your nightmares.  With only five songs, it clocks in at an amazing 74:32 so you definitely get your money’s worth.  It is dreamy music, but it has been tainted and tortured with static, running water, human cries and voices, and many other sound effects.  These effects give the impression that they are all under some sort of stress and cause the listener to become anxious, nervous, and finally downright frightened.

Artemiy and Phillip have done a wonderful job of giving dreamy ambient music a set of claws.  This is not a CD to be left alone with while locked in a pitch-black room.  If you are a fan of ambient music or a writer trying to pry creepy and bizarre ideas from your brain, this is a must have.  It’s too easy to loop a sample over and over and call it music to sleep by but to find the right atmosphere for turning a dream into a nightmare takes true insight and talent.

All music composed, arranged, performed, recorded, engineered, and mixed by Artemiy Artemiev and Phillip B. Klingler.

Electroshock Records
Website: www.electroshock.com
 

Ataraxia
Lost Atlantis
~reviewed by Matthew

Subtitled ‘an album made of water and stone,’ this thought-provoking and meditative concept release is centered around the myth and legend of the Lost City of Atlantis.  Brought to us by none other than the prolific Italian trio Ataraxia, three years of research, investigation, and studies of ancient texts and mythologies were put into this release.  Like other releases in Ataraxia’s vast discography, “Lost Atlantis” is a beautiful and subtle brand of ethereal/mediaeval music, with lush finger picked acoustics, well-done synthetic adaptations of period instruments, and dramatic female operatic vocals that very few vocalists outside of the classical music world could even hope to hold a candle to.

Compared to other Ataraxia releases, this album seems more soothing, with less percussion to make way for more vocals and acoustic guitars.  As similar to Love Is Colder Than Death as to the King’s Noyse, this release is something that would appeal to ethereal fans as well as period music enthusiasts and film score buffs.  With Lisa Gerard recently earning a Golden Globe for her contributions to “Gladiator” perhaps more people will be taking an interest in ancient musics?  We can only hope...

Though ideal for background music, this is not the kind of CD that is useful only to dispel silence.  There are a lot of interesting arrangements and emotive passages, both triumphant to mark remembrance for the legendary sunken city, it’s treasures, and gifted inhabitants.  But also a greater portion of the disc is melancholic, serving as a pensive testament to the mysterious loss and tragedy of Atlantis’ disappearance and its population’s demise.   Overall, this is a great release and a worthwhile addition to your dark ambient collections; its intellectual, well-arranged, and an enthralling listen.   Check this out!
 

Track List:
1.) The Early Days
2.) Daytia
3.) Aperlae
4.) Dolphins
5.) Agharti
6.) Fountains
7.) Mu-Land
8.) Oduarpa
9.) Lost Atlantis
10.) The Land Of Sand Of Gold Of Ruin
11.) Departure

Ataraxia is:
Francesca Nicoli: vocals, flute, drum programming
Vittorio Vandelli: acoustic/electric guitars, drum programming
Giovanni Pagliari: keyboards, drum programming

Ataraxia – Official Website:
http://www.ataraxia.net

Cruel Moon Int’l / Cold Meat Industry:
http://www.coldmeat.se
 

Angels of Venice
Awake Inside A Dream
~reviewed by The Rev. A.  Strangerz

In November I had my own new artist night, and I asked my fellow staff about new music available on Mp3 format.  One of the first things sent to me was this link to Carol Tatum/Angels of Venice

I was immediately in love with the look feel, and energy of the presented artist.  I felt that this was something I should have already known about.  It is a large world though, and this Woman who rocks, is rocking from the more ethereal side of the bend than featured artist NANO.  I played a Carol Tatum track at my show, and I also played Lionheart, the opening track form this CD.  both were received greatly,  and had people asking me about the artist.  Always a good sign with new music.  So to meet Carol at Communion, and to also receive this CD to review, was very surprising.  Carol also promises to have some time for an interview, now that the Christmas season is over (she gets in high demand with her skills at the Harp. )

Awake Inside a Dream is the second release by Angles of Venice, her is my account of it.

Part I:  Exotic
1) LIONHEART
2) A CHANTAR MER
3) NANA
4) THE SINS OF SALOME

1) Lionheart is more Celtic, and upbeat in nature,  a great selection for various uses.  2) A Chanter Mer, is calm and soothing, with an undercurrent of foreboding horizons,  similar to the feel in the movie 'The Last Temptation of Christ' (Peter Gabriel), the song even dips into some Tabalas, and builds up a bit of Gaelic rhythm towards the end.  I am hooked, and I have this in my 5 disk random play often for the contrast these types of songs make to the more electronica/gothrock  types of music I generally enjoy. 3) NANA;  What do moaning females , wolves, and church bells tolling in the windy night all have in common.  They all build the opening of this classic like no other opening.  I am amazed at the lengths that have been taken to represent the various moods of this song.  NANA, is to me as a hard to explain without playing it, as is Sex is to a virgin, or LSD to a person who has never even been drunk in their life.  40 The Sins of Salome;  We find the gentle play of Spanish guitar guiding us throughout he ethereal presentation of a Gypsy in love.  Or a drunken night by the Bazaar, in a world across the dessert.  The elements are tribal, yet not contrived.  The song is great for Ethereal dance floors, and maybe even for the soundtrack to some wonderful movie with lots of veiled women, or passionate dancers of either gender.  This is my pick from this CD.  I find the Exotic to be more my flavor.  The Poetic is a bit slower, well worth the time though. ( I am a dance DJ, I get addicted to that 120 bpm arrangements. Yet this is really good use of instruments.  I once knew how to read music myself, before I picked up samplers and CD players as a way of expression. )

Part II:  The Poetic
5) Scarborough Faire
6) Three Nightingales
7) the World Beyond The Woods
8) China Moon
9) Light At The Edge of the World
10) Awake Inside A Dream
 

5) Scarborough Faire;  I am honest to a fault at times.  The flute arrangement, and familiar feel to this tune, had me thinking they has slipped in a Christmas tune.  What a brave and uncommon move I thought.  I was corrected quickly, and now I hang my head in shame.  It must have been the Flute, very overpowering, and great delivery, at least it is an older tune.  made before many Christmas classics.  6) Three Nightingales, is a quicker song in a similar key, and arrangement.  An original though, and not reminiscent of anything played during the holiday season.  Well, except maybe by Projekt records.  (Will I ever live it down.)   7) The World Beyond the Woods;  I seven slower and calmer, and a great use of ambient woodland noises.  Ethereal to the extreme.  Great owl sample at the end of this short piece.  By now the Poetry seems made of the different pieces, almost as stanza's in the same verse.  What a trick to pull off.  I am glad I decide to 'pay attention' to the details.  Great very loud.  8) China Moon,  Wakes you up with a great chime and some gongs.  Take a trip through the Orient, on the full moon, and fall in love with a China girl (no bowie reference here, sorry)  Once again,  creative , and descriptive musical elements.  No vocals, but great pan flutes. 9) Light At The Edge of the World, OK honesty time again.  I love those who can play real instruments, and make them sing, or come alive with the spirit of the animal that makes the instruments body or strings.  it is eerie, creepy, and satisfies my need for irony of life.  yet I have trouble these days with down tempo songs.  If your an industrial fan and you red this far, you must just love my reviews.  So after a quick up tempo break,  I return.  This is cool.  played loud you can really here the hits on the harp, you can hear breath drawn to play the strange Oboe sound instrument.  I would like to hear these artist arranged with an electronica artist,  Think of the oboes in Coil's famed album "Loves Secret Domain".  maybe we can get Carol to lend her talented artist here to a project like that!!!   I know, not as traditional,  yet I can feel the potential in these songs.  The poetry is very alive! 10) Awake Inside a Dream;  More bells, pan flutes, and a moaning string Vs choral type ambiance.  A nice way to say good-bye.  Come back and play us again, maybe while flirting with a beautiful girl, or coming down of an LSD trip.  We are here for you,. not to overpowering,  not to subdued.  I shall return , don't worry.  I just need a regular fix of Techno/Industrial, and non-real instruments in my current incarnation.  Yet in a past life I am sure I was like a Gypsy , who danced to music very much like this.

Angels of Venice are:
Carol Tatum - Harp
Peggy Baldwin - Cello
Suzanne Teng - Flute

Angels of Venice -  http://artists.mp3s.com/artists/90/angels_of_venicecarol_tatu.html

In the credits many other musicians, and instruments are listed.  My apologies to Suzanne for mistaking the Alto flute for a Pan flute in this review.  I let it stand as my impression of what I heard, and not a comment on instrumentation. In this day and age, for a more traditional arrangement,  be it folk, rock, or even pop, to have caught my attention with such authority is rare.  Thanks again.  Keep up the hard work.
~Rev. Alexavier S. Strangerz 23.3
 

BATHORY
Hammerheart
~reviewed by Michael J.

The whole reason for me doing this classic metal album of the month is to spotlight some of the albums that have acted as a catalyst in the development of my musical tastes.  These albums nurtured me and weaned me on their succulent teats of uniqueness and the ability to send my mindset into the very world the music was portraying.  Bathory’s Hammerheart easily goes down on my list as one of the top five albums ever recorded.

In my earlier years, comics and magazines such as The Savage Sword of Conan and the Marvel Comics version of Conan and Thor as well as books like Beowulf and J.R.R. Tolkein’s Lord of the Rings sparked my imagination.  I was intrigued by the simplicity of life portrayed in them.  Live by the sword, die by the sword, and in the meantime, raise your family from the land and pass on your legacy.

Hammerheart was recorded in the now legendary Heavenshore Studio.  To those that have never heard this recording before, it may sound quite primitive for a 1990 release but the conditions that Quorthon had to record in and hated now have added elements no studio trick could ever provide.  Heavenshore Studio was little more than an auto repair shop whenever Bathory was not recording there.  There was only room to do one instrument at a time in many cases.  At times there were car parts and hubcaps littering the place and it was so full, vocals had to be recorded while hanging on to broomsticks in the cleaning closet or in the bathroom.  Even a neighbor mowing his lawn would ruin the recording, as the studio was far from soundproof.  Back then, recording under such harsh circumstances would have broken many a band but Quorthon fought through it and, little did he know, this unique sound would add the missing piece of atmosphere his music needed to becoming as close to Viking metal as anyone has ever been.

Quorthon’s lyrics focus mainly on the thoughts and prayers before riding into battle or the inflection on oneself after battle.  Little is ever said of the actions of the actual battle.  The lyrics are scorched with legend and the rite of a child to receive the knowledge of his father.  The sampling is magnificent and actually places you in a small village on the coast.  You can hear the dogs barking and women tinkering about the village during their daily labors. The choir parts blend in perfectly to suggest the warriors praying together.  Even Quorthon’s semi off-key vocals help out because it gives it a more realistic feel.  Cleaner vocals would have certainly ruined this recording.

“Promise me my son before my corpse is turning pale,
to grab my sword, hold it to the sky, and call out my Hail”

For those of you that have a taste for majestic and epic recordings, this is a must.  It will hook you on the first listen and never let you go.  Any of Bathory’s Viking-era recordings are highly recommended and possess traits unlike any of the other recordings  If I had a hundred more albums like this one, it still would not be enough.  This album is ageless and limitless in what it can do with your imagination.  If you do not own this, do the right thing and secure your place in Valhalla by purchasing this immediately.

Track Listing
1. Shores In Flames
2. Valhalla
3. Baptised In Fire and Ice
4. Father to Son
5. Song To Hall Up High
6. Home of Once Brave
7. One Rode to Asa Bay

The Artists
Quorthon – Vocals, electric & acoustic guitar, backing
vocals, and effects
Vvornth – Drums and percussion
Kothaar – Electric bass guitar

Website:
http://www.geocities.com/SunsetStrip/Palladium/6646/twilight.htm
 

Battery
Debris
~reviewed by Wolf

Thankfully not the only female-fronted industrial act, but definitely the most succesful and prolific one, Battery has been a favorite in goth/industrial circles for years, as well as one of Cop International's earliest and most popular signings. Maria Azevedo's passionate and intense vocals combined with the powerful compositions of Shawn Brice and Evan Sornstein has always resulted in a highly distinct sound, filled with layered synths and fragile emotions. A precious gem of a sideproject, focusing on a more minimal ethereal sound, was released in 1997. This concept album titled Frozen, released under the name Ivoux, showcased the band's ability to excel in more than one genre of music, which was last year reinforced by the release of yet another sideproject, Dia. (See my review of this disc elsewhere in this month's issue.) The last full-length Battery release, Aftermath, came out about 2 years ago and the project has recently been cancelled, due to the band members going their separate ways... But, as a kind gesture to the fans, a new EP is now available for download, straight through Battery's official site. (I'm not sure if it's still available for purchase, since that option has disappeared after I ordered my copy.)

Debris features half remixes and half unreleased material. After the 11-second-long intro "Destruction" the first remix is presented in the form of Slave Unit's rendition of "Aftermath". Starting out with acoustic guitar accompanying Maria's vocals, the song eventually steers towards an aggro-industrial sound. A good remix, but Deepfatfried's version of "Strike" is more convincing and gives the original a firm drum&bass treatment. The third remix on Debris is also of "Strike", this time by Negative Impact (120 remix).

The true strength of this EP, however, are the 3 unreleased songs by Battery themselves. First off there is "Dream3", an absolutely gorgeous track of a more quiet nature. It perfectly embodies the fragile emotions which are always prominent in Maria's vocals and this track does actually sound a lot like something that could've appeared on Frozen. The slow, heavily echoing composition is the perfect compliment to Maria's warm voice and at the end of last year this was one of my favorite songs for several months. You know those goosebumps and chills down your spine? Just listen to this song.

A remixed classic off the Momentum EP, "Doppleganger [3.0]" is more in the style of Battery's dancefloor-oriented work (i.e. "Betrayal", "Pax Neurotica", etc.), complete with those trademark jumpy beats that make sitting still virtually impossible. Combined with more strong vocals and good lyrics, this one will hopefully find its way onto the dancefloors.

The cd ends with its titletrack, an experimental sidetrip with quirky beats and ambient soundscapes. Even though 3 songs seem rather insufficient when covering the scope of Battery's sound, the band's main strengths are all present. There's the irresistable dance appeal, the inventive experimenting and the emotional ethereal qualities; all facets of a band that has always been unique and made music with a mind of their own. Thankfully the band members are all still musically active, but Battery will be missed nontheless.

Thank you, Maria, Shawn and Evan, for many years of great music, and for making a difference.

Tracklisting:
01. Destruction
02. Aftermath [remix] by Slave Unit
03. Strike [remix] by Deepfatfried
04. Dream3
05. Doppleganger [3.0]
06. Strike [120 remix] by Negative Impact
07. Debris

Band members:
Maria Azevedo
Shawn Brice
Evan Sornstein

Additional info:
Official site: http://www.batteryinflux.com
Contact: Battery@Sirius.com
Former label: http://www.copint.com
 

Cult of the Psychic Fetus
She Devil
~reviewed by Kimberly

I don't really know what to say about Cult of the Psychic Fetus' "She Devil" (put out by Raven Music Group). I want ot like the band, really I do. They're making it really hard, though. I first saw them play at the club night here, Long Black Veil, and I was enchanted. I then saw them at the gothabilly show at CB's where they, quite frankly, fell flat. Now this album.

"She Devil" is far short of CPF's potential. There's a theme (or joke) that runs through the album in which the basslines are heavily borrowed "The Munsters" theme. I know that the band claims that they're only a goofy horror rock band, but it gets old quickly.  The album is also produced poorly. The levels are wildly offand at different points, the effects are louder than the music or vocals.  I'm not going to go through each song and talk about why it's lacking. That would just be too mean. All I can hope is that the band finds a better producer, and a bit more  energy to put into the next album.

Cult of the Psychic Fetus' website can be found at: www.ravenworldwide.com/cultof.htm

CPF is:
Rev. Doom- Vocals and Preaching
Ghastly- Phantom Guitar
Lord Erik- Funeral Bass
Markus Dark- Voodoo Drums

Tracks:
1. When the Blood is Ripe
2. She Devil
3. Monster
4. Don't Look in the Basement
5. Dream Speed
6. Primitive
7. Long Black Hearse
8. Cannibal Girl
9. In the Shadows
10. HateKill
11. Devil Woman on the 199
12. Cult of the Psychic Fetus
13. Zombie Waltz

Die Form
Extremum
~reviewed by Wolf

Few true legends are left in our subculture, new talent forming the majority now and most of the time succumbing to unjustified hype. Among these remaining legends even fewer are still active today, with only a scarce percentage constantly reinventing themselves instead of milking their own legacy to exhaustion. Die Form is the prime example of such a legend and each new release by them is always a special event; something to look forward to with great anticipation. It's been over 3 years since their last release, the magnificent Duality (aside from several singles and a 2 disc "best of" titled Histories), and a new offering of their dark and sensual electronics arrived a few months ago in the form of Extremum. I had to wait for quite some time to receive the elegant box set version of this release, but it was well worth the wait.

Die Form has been a unique presence within the darker music genres for almost 23 years now. Comprised of eccentric modern-day homo universalis Philippe Fichot (music, production, vocals and artwork) and the trademark voice of the band Eliane P., Die Form has a vast back catalogue of releases in its name. Much of their work is long out of print and collectors pay significant amounts to obtain Die Form's older material (of which I've been guilty myself). Then there's a wealth of side-projects to hunt for, such as D.F. Sadist School, Societe Anonyme, Elektrode and Ukiyo. Add to this videos, print material and limited edition box sets and vinyl, and it becomes quite clear that a die-hard follower of Mr. Fichot's work is never done collecting. Speaking of "die", Die Form is often pronounced and interpreted with "Die" as in "dying", which is incorrect. Their name is of German origin and simply means "the form". More specifically, Fichot named his band after a German journal from the 1920's, focusing on the Bauhaus art and architecture movement.

The music of Die Form goes hand in hand with its themes. Inventive electronics, ranging from soothing ethereal to infectiously danceable material, support words and imagery of dark sensuality. Die Form once described their sound as "music to scene to", which is very appropriate considering the many bdsm and fetish topics they address within their work. The tasteful fetish photography of Fichot and Die Form's infamous bdsm-spiked live performances (which have decreased in quantity over the years) only add to the eccentric nature of their art, but the downside to this is that they have ignorantly been dubbed nothing more than "sex industrial" by many. Die Form is much more than this, not just giving detailed descriptions of certain fetishes and the finer subtleties of bdsm
practices, but also delving into other topics, ranging from historical material to the exploration of sound itself. The song "Martyrium" (off the album L'ame Electrique, which has been one of my favorite Die Form albums to date), for instance, was composed as a tribute to the victims of Hiroshima. Quite frequently the subject of transformation returns as well. What is always present, however, is a dark beauty and the fascination with a wealth of topics that are often kept behind closed doors in our society.

And now there's Extremum, Die Form's latest offering and certainly no exception to the high level of quality and artistry we've come to expect from them. As the title suggests, this album focuses on the extremes of human nature/behavior and this makes for an exquisite collection of songs. The cd could be analyzed to no end, in regard to its music, song titles and lyrical content, therefore I will stick to highlighting some of my favorite compositions on this disc.

Opening up with "Resonant Magnetic Source" was a rather strategic move, since it's by far the catchiest and most dancefloor appropriate song on the cd. Die Form have delivered their share of club material over the years and "RMS" follows in a long line of floorfillers such as "Savage Logic", "Automatic Love" and "Doctor X", to name but a few. An atmospheric intro filled with Eliane's operatic vocals leads into a bouncing mixture of a bass melody, ghostly sound effects and straightfoward beats. It is followed by Deep Inside, the single that served as the teaser for this cd. Danceable as well, but more experimental and with Fichot's own manipulated voice describing mental state altering technical procedures.

"Glassphyxie" takes a slower, hypnotizing approach, also found on the beautiful "Operating Theatre". The latter is of an lush elegance, underlined with cryptic lyrics and Eliane's recognizable vocals surfacing throughout the song. One of Die Form's main musical strengths has always been the ability to maintain their unique sound while at the same time producing different styles of music. There's the dancefloor material, experimental weirdness, ethereal/almost classical pieces and even fairly harsh industrial tracks such as "Animal Magnetism" and both versions of "Radio Morphism".

My personal favorite on the cd is the serene yet brooding beauty of "Itopsia Atropos", in which the lyrics describe the offering of a body to the Itopsia moth. For all of you mythology fanatics, Atropos was one of the three Moirae (Fates) in Greek mythology. They observed (rather than interfered with) the lives of humans, each in charge of one aspect of the symbolic thread of life. Atropos was the one responsible for cutting the thread. The song has the same haunting beauty as two of my favorite songs off Duality; "Transvisions" and "The Missing Beauty".

"O.T.E.D." is more electro-ebm oriented, although it is, as always, first and foremost a Die Form composition. Fichot has never been one to follow popular music trends, let alone copy the sound of others. The only copying comes in the form of reusing elements of their older songs, such as the placement of Eliane's vocals throughout most compositions or yet the rhythm of the bassdrum on "Neurolepsia, which is very close to the one used on "Doctor X". However, Die Form never bluntly repeat themselves, but simply cherish what has proven to work and enhancing it with new explorations in sound, rhythm and song structure.

For someone who is just being introduced to the world of Die Form the music and visuals might seem perverse and unpleasantly disturbing. A closer look and listen will reveal that none are more skilled at portraying dark sensuality with elegance and beauty than this remarkable couple. "There is beauty in darkness" has never been more appropriate and Die Form's art can be extremely alluring to one with an open mind. Extremum isn't any less alluring than Die Form's older work and perhaps even one step closer to the perfect artistic achievement. It is definitely the band's most complete album to date, filled with amazing electronic compositions and the tasteful exploration of forbidden phenomena. Fichot reinvents himself once again, still managing to mesmerize like no other with both his music as well as his unique photography and artwork (which always deserves to be mentioned and is simply mindblowing this time around).

Incomparable, untouchable and unrivaled...that's Die Form.

Tracklisting:
01. Resonant Magnetic Source
02. Deep Inside
03. Glassphyxie
04. Radiomorphism 1+
05. Animal Magnetism
06. Operating Theater
07. Electronic Brainpan
08. Itopsia Atropos
09. Neurolepsia
10. Transgressions 1
11. O.T.E.D. [Oral Therapy for Erectile Dysfunction]
12. Transvocal Mutations
13. Suffocations
14. Radiomorphism 2

Band members:
Philippe Fichot
Eliane P.

Additional info:

Extremum is available through Metropolis Records in the US, as a regular cd
edition. Die Form's European label Trisol offers, aside from the regular
jewel case, a larger "cd box" version limited to 3000 copies.

Official site: http://dieform.assimilation.org
European label: http://www.trisol.de
US label: http://www.metropolis-records.com
 

Dia
Integration
~reviewed by Wolf

Now that Battery (and apparently Ivoux as well) are no longer, the former band members are all focusing on their own projects. While Evan Sornstein is working on Curium, Maria Azevedo and Shawn Brice have been focusing on Dia. In its sound Dia is closer to Ivoux than to Battery, but there's more percussion present than on Frozen and the overall feel is less desolate and sad. Integration seems to mainly deal with relationships and the different types of emotions they can invoke. The Dia site describes it as follows: "Emotional, sincere and full of life, the six songs on Integration bring the listener through a wide range of intense human expression." And judging from the lyrics this is also a very personal collection of songs, which only adds to their beauty.

The cd opens with "Core", a calm and serene composition of dreamy melodies and slow, rhythmic percussion. Maria's voice is stronger and more compassionate than ever before, singing about the doubts and fears that come with loving someone. "Home is where you belong" continues in the same beautiful vein, with percussion slowly increasing in volume and eventually exploding with some of the most touching words:

"here are my arms
here is my heart
thank you for falling into them both

here is my soul
here are my dreams
thank you for always staying so close

here are my tears
here are all of my fears
thank you for keeping me safe

here is my voice
everything that I am
I love you with my life"

"Lullaby" brings a quiet and peaceful end to the cd, guided by gentle melodies in the style of a true lullaby and Maria's beautiful voice singing her loved one to sleep. The perfect ending to an intimate account from these two talented musicians.

Even though Battery is gone, as long as Maria and Shawn continue to produce beautiful music such as Dia I'll never lose my faith in music. I would, however, really like to see that follow-up to Frozen some day. (hint hint)

(Integration is a self-released cd and can be ordered directly through Dia's website for only $13.00 .)

Tracklisting:
01. Core
02. Home is where you belong
03. Heat
04. Stealing the cold from your mouth
05. Elan
06. Lullaby

Band members:
Maria Azevedo
Shawn Brice

Additional info:
Official site: http://www.diamusic.com/
Contact: dia@batteryinflux.com
 

Danse Macabre
A Mix CD for Promotional use by DJ Nacht
~reviewed by The Rev. A.  Strangerz

Taken straight from the board of a set at Communion.  DJ Nacht sometimes gives this compilation to enthusiast or patrons of the Gothic/Industrial clubs in LA.  This track list shows the creative manner in which DJ Nacht mixes classics with some newer songs.  Look here for an interview with DJ Nacht soon.

1)Intro. (Club Communion Promo)              -  DJ Nacht
2)Heart of Darkness                                  - Wench
3)Sadness (Violent Mix)                              - Enigma
4) Miss Pr o Defunctis                                  -Industrial Monk
5) Ad Mortem Festinamus                   -Qntal
6) Fairytales                                         -Alice DeeJay
7)Stern                                                 -L'âme Immortelle
8)Whispering Trees                            -Soil & Eclipse
9)Drool (Mother )                                 -Switchblade Symphony
10)Blacklist                                          -Legendary Pink Dots
11)Deception                                       -The Crüxshadows
12)Christian Says                             -Tones On Tail
13)Marilyn, My Bitterness (V.2)              -The Crüxshadows
14)Everyday is Halloween                    -Ministry
15) Oh My Goth                             -Razed In Black
16) BONUS TRACK

My copy has When Bad People Kiss,  I don't remember the artist, but it is a take off of Lounge style vocal Jazz.  Very funny.  "When Bad people kiss, I am kissing you still..."

O.K. so there are a few songs here I sometimes never want to ever hear again , (that happens when you have been involved with a scene for too long though. ) Still when I throw in this mix C.D. I find the arrangement refreshing enough to just bop along even through "Everyday is Halloween".  A song I try to trick other DJ's into playing so I never have to put it on my setlist. (Whatever, I'll play any request, but you get the idea. )  My complete and utter respect goes out to Nacht for this compilation, and his setlist.

For more information contact him at nachtvnoir@aol.com

1) Cavin Bablin  (Mother)
2) Opium (NANO)
3) Dry Rice (Mother)
4) Interrogated (NANO)
5) I an your garden (NANO)
6) Le Secret Dolorous (Music; Mother, Vocals; NANO)
7) Oblivion ( NANO)
8) Temptress (music NANO, Rx by Mother)

There are two versions of the first CD demo out from NANO.  She may differ, but I think she should use this one as oft as possible.  It shows a good contrast between her direction, and the direction of DJ Uneasy of MOTHER.

The opening track , 1) Cabin Bablin,  is a great piece of Trancey Techno.  No vocals, but a nice dark mood.

The accompanied song by NANO is 2) Opium, and it works so well in contrast, that you can almost see her taking the direction from Mother, and then adding the subtle voices, the violas, and the calmer arrangement.  This makes the techno element more palpable for many gothic, industrial, and ethereal music fans.  The classical training, mixed with the Techno training is awesome.

3) 'Dry Rice' is a bit more standard as far as Techno songs go, yet very intense as well.  The answer from NANO is the completely complimentary 'Interrogated'  A dryer deliver of the vocals , spaced out, like a female Trent Reznor.  " Scru-   tin -  ized ,  demoralized , immortalized, immobilized..."       .  Combined with classical vocals you'd expect more form the likes of 'Attrition'.

4) 'Interrogated' is my favorite, and the ending is the same type of over driven Techno., but in this composition, it serves a more sever purpose, and rips up the dance floor, as the emotions from the vocals drift in and out.

5) 'I Am Your Garden',  another song from NANO, starts off with he same tabla beat, that you get form the works of TEST DEPT. or Larry Thrasher, who works with Psychic T.V. and others.  Once again, the opera voice of Regan, is intention you listening to the story.  This is a story worth following.  This DEMO, or self release, had better be reproduced someday.  you know, after NANO hits it big.

6)  'le Secret Dolorous';  A melodramatic opening, in the vein of 'Portishead' or some various 'Wumpscut' tracks. breaks into a kick back beat.  Here is the Trip-Hop that Regan speaks of in her interview (click here for that )

7) 'Oblivion',  another NANO only release.   I have inside info that Regan is in the studio making more songs.  I don't expect to get a recreation of a classic like this.  luckily this rare demo can be experienced in part via mp3.com http://artists.mp3s.com/artists/142/nanobeat.html .  It runs so smoothly into the next song

8) 'Temptress' (Rx by Mother) , that you are tranced out , until you realized the pace has picked up,  The vocals are more present, an your being tempted by miss Regan of NANO.  Temptation so sweet, you wonder why it is called that.  Like there is some doubt that you are going to dive in?  If you can?   Well this is a good start.  Until the next album, and the possible tour.

Eternia
self titled
~reviewed by Steph

I'm swaying in front of my computer right now with a smile on my face.  Eternia is in my CD player and the volume is turned up loud.

Eternia hails from Australia by way of the UK, and musician/vocalist David Quinn has assured me that he will not be offended if I compare him to Joy Division. Eternia, like Joy Division, create music that is deep, dark and beautiful, and David vocals borrow much from the dour Mancunian legend who lives still in musical mythology. Where Curtis was stark, however, Quinn is richly emotive. The instrumentation is layered and strongly melodic, a throwback to the heyday of 80's dark pop music. Guitar chords churn in and out of a sea of drum beats and sound effects, each rising and falling in accord with the other. Quinn has an unerring sense of when to turn up the intensity, and when to just let it drop away. From Dungeon's Luxury of Doubt is a truly beautiful album.

"Rain" is likely to garner Quinn the most overt comparisons to Joy Division, as his vocals on this track are eerily reminiscent of Ian Curtis. Over a steady computer-driven beat, Quinn asks "Will you ever love me?" while a lovely, mournful guitar line spirals in the background.

"Shattered" finds Quinn moving away from the basso profundo vocal style. This is a mid-tempo number that rises and swells unexpectedly and thrillingly.

"Eternal" is almost poppy, and certainly one of the tracks on this disc most likely to lure you unto a dancefloor. The steadily churning guitar line is almost trance-like, and then it spreads out, turns almost psychelic, and you feel that you could follow this music anywhere.

"Why I Hate Children" varies sparse, delicate moments with heacy grinding guitars and melancholy vocals, a more overtly goth oeuvre than the others.

"Adore" bursts into life with fuzzy layers of guitars from which the vocals gradually emerge. Just when the song threatens to become monochromatic, finely tuned harmonies kick in and hover gently in the background.

"Electric" is a low droning track that slinks along, all stealth and feedback. You won't be expecting the uplifting wash of sound that carries you away at the end. This is one of those songs that you pray to hear in a club so that you can feel like you're dancing forever.

"Drown" rises slowly, the guitar growing ever louder as the tension in the song builds. This track reminds me a lot of the Swans at their melancholy best.

"Hidden" starts off with an electro-drum beat that leads into aggressively swirling guitars. Quinn seems to be exploring his vocal range on this track, and the effects are lovely. His voice has a very appealing mid-tenor quality when he's not trying to force it into the lower registers.

From Dungeon's Luxury of Doubt is a worthy debut that gives us much to look  forward to. The passion of David Quinn and his collabarators is unmistakeable, and once again, I'm reminded of why I was drawn to goth all those years ago.

Track listing:
Rain
Shattered
Eternal
Why I Hate Children
Adore
Electric
Drown
Hidden

Contact info:
The Chapter House
Brunswick Street
Whitby, YO21 1Rb
North Yorkshire
United Kingdom

www.eternia.net/eternia
www.mp3.com/eterniauk
 

Maladie Mentale (Demo CD 3b)
~reviewed by Matthew

Over the past few months, I have been keeping an eye on this band and we at Starvox have continuously been kept abreast with this French musician’s endeavours.  I was the designated observer, and I very much enjoyed following this project through the releases “Visions” and “Après Les Chaos.”

Monsieur Gebel is quite the prolific musician, seemingly drawing from an endless well of creativity; he keeps on churning releases out in hopes of gaining attention from the underground and possibly acquire label interest.

Again, I have been enjoying Ex Nihilo’s music and I see a great deal of potential for success in these releases, however, I have to say that this current CD-R that is being shopped about doesn’t have the impact of the prior two I have heard.

Where the prior albums had their share of memorable and potentially accessible stand out tracks, “Maladie Mentale” is more of holistic sound scapes of apocalyptic electronics.  In many ways, it reminds me of early Velvet Acid Christ only without the necessary rhythmic intensity.  Where as there is an audience for more experimental electronic music, the key to success nowadays is to combine abrasive noise with a steady beat.  Sadly, if music is not deemed club friendly, it doesn’t reach as high a plain of success as other artists.  The only reason I even make the comparison and mention this is that the prior two Ex Nihilo offerings seemed to be geared more so in that direction where as this one seems to be taking a step elsewhere.  It is my opinion, frankly, that Ex Nihilo needs to continue much building where those CDs left off as those songs stood out more.  On this release, things seem to be rather had to pick out.  The latter half of the CD begins to pick up more, but again, I think to put it simply, it could be better.

If experimental electronics are the direction Ex Nihilo plans to head, stronger material needs to be composed.  I found a lot of the music here to be rather bland and missing something.  The songs are cool but they bleed into one another too much and there is a lot of momentum and build up that never really peaks.   Some of the finer moments are “Pierres De Tonnere” and “Maladie Mentale (part 2)” which by simply boosting the volume of the drums, a harsher mix on the drumming could lead both tracks to the dance floor.  This as well would have worked on the track “Philtre Of The Dead” which suffered from a weak percussive pound that could have really kicked some major ass!

Also, I think to American audiences, what would really set this band apart as I mentioned in prior reviews, was the heavily accented French vocals.  However, the vocals are very sparse on this release, and when they do appear, they are lost in the mix and often processed.  I would like to hear Laine’s voice return at the forefront of his programming.  There are hints of a mischievous darkwave feel reminiscent of the timeless act Malign from San Francisco on “Struck By Lightening” and the luscious whispers on “Psychotique” but again, I think the drums and vocals were unfortunately lost in the mix.

The music is intense, apocalyptic, and harsh in its imagery and emotive effects.  All the pieces are here, things just need to be assembled in a more solid way.  Of course, this CD is labeled as DEMO CD 3B, as Laine has several cassette releases that were only demoes as well.  Perhaps he is just experimenting and he has something else up his sleeve.  With Ex Nihilo, I think there big break could just be around the corner?

Track List:
1.) Voyage a l’interiur de cerreau
2.) Des Espoirs
3.) Ave Tenebrae
4.) Tetes mortes
5.) Pierres de tonnerre
6.) Les chambers du cerreau
7.) Maladie Mentale (part 1)
8.) Maladie Mentale (part 2)
9.) The Philter Of The Dead
10.) Struck By Lightening
11.) Psychotique
12.) Pullition interieure
13.) Vers nulle part (en la memorie de Pierre Saunier, homme de coeur)

Ex Nihilo is:
Laine Gebel

Ex Nihilo – Official Site:
http://www.sealonia.com/Ex_Nihilo

Le Projet Phenicia:
http://www.projet-phenicia.com

Ex Nihilo
Laine Gebel
Autrichiens 12
CH-1470 Estavayer-le Lac

Email:Vassago.XN@freesurf.ch

Flare
"Celebrate the Misery" 7-inch and Circa EP
~reviewed by Michael Otley

Flare's "Celebrate the Misery" 7-inch features a remix of this cut from their debut CD *Botton* with a cover of Everything But The Girl's "Another Bridge" on the b-side.  Stephin Merritt of The Magnetic Fields is credited with the shamefully dissonant and muddy "Celebrate the Misery" remix.  Merritt adds sleigh bells and reverb to an otherwise crisp band to create a claustrophobic atmosphere.  Guitars and bass warble while vocals clash in an ironic chant of the song title.  Fortunately "Another Bridge", while a cover, seems more representative of Flare melancholy.  Gentle male vocals, from LD Beghtol, combine with slow string arrangements, among other minimal instruments, for a peaceful effect.

To follow up, Flare's *Circa* EP, while short (clocking in at 22 and a half minutes) picks up where their peaceful cover of "Another Bridge" left off.  The whole CD is cohesive, and there's no bad remixes on this one.  Flare has a crisp and gentle sound that tugs at your heart strings.  They're cheesy at moments, but in a very nice way.

The first track, "Triumph of the Pig People", begins with soft vocals and rich strings.  Only 45 seconds long, this could be a They Might Be Giants ballad with it's quirky high harmonizing vocals creeping in toward the end. The title track follows beginning with slow and full piano, what could be a Rachel's piece until the voice of LD Beghtol enters.  Quiet and somehow touching banjo comes in after the first verse.  Later, guitar and banjo compliment each other with uplifting strings and vocals "I really love your paintings."

The lyrics are fairly straight forward, never pretentious.  The instrumentation is always interesting yet simple, including various string instruments, voice, toys, and a touch of synthetics for atmosphere.  My favorite track is "Anywhere (like the moon)" with piano and strings carrying the song until simple drums enter with string and synthetic swells.  Fans of Rachel's, the Black Heart Procession, and even Current 93 might take particular interest in this NYC based band (if they can keep the great Stephin Merritt away from the mixing board).

http://www.motherwest.com/flare
 

GRAVEWORM
Scourge of Malice
~reviewed by Michael J.

With little to go on but the rumor mill on the Internet, I stalked the fifth release of Graveworm with reckless abandon.  Finally, with little fanfare and beneath my inquisitive radar, Scourge of Malice finally hit the streets and, quite frankly, Graveworm may be the best band few people have ever heard.

Graveworm has subtly shown immense progression in this album by adding more string arrangements and Gregorian chants but have stayed true to the formula that has worked so well for them.  The songs are much more powerful and the music is extremely complex.  It’s almost overwhelming at times but the magic of Graveworm is the ability to create this type of music, yet keep each instrument on its own unique plateau. The drumming is outstanding as always thanks to Martin and the guitar work of Steve and Eric is intricate and heavy yet they lament beneath the spiny surface of the percussion.  The keyboards seem to be more prominent in this release and they mourn as well.  The trademark of this band is the ability to play fast and hard but yet give the listener a feeling of sadness and loss.
It’s truly amazing especially when you combine this with the angst-ridden shrieking of Stefan.

Buried at the heart of this release lies a tribute to Iron Maiden.  “Fear of the Dark” begins as the original version but then tapers off to a beautiful string interlude before punching into the heart of the song.  It’s absolutely awe-inspiring and one of the coolest covers I have ever heard.

Each song on here weighs in at an average of five and a half minutes but the songs seem much shorter and the only thing to break up speed of this wonderful ride is the short instrumentals spattered throughout.  They are mostly string and acoustic guitar arrangements and are a testament to the bands ability to cross genres and create great music no matter what they are doing.

Scourge of Malice is such a strong album that it met every expectation I could muster and then some.  It’s rich, moody, and filled with flawless musicianship.  I have held this band in high regard since the first time I heard them and now they have delivered yet another masterpiece.  I highly recommend this band to fans of Cradle of Filth and older Dimmu Borgir but don’t expect another copycat band as Graveworm are definitely in a league of their own.

Track Listing:
1.Dreaded Time
2.Unhallowed By The Infernal One
3.Abandoned By Heaven
4.Descending Into Ethereal Mist
5.Threnody
6.Demonic Dreams
7.Fear Of The Dark
8.In Vengeance Of Our Wrath
9.Ars Diaboli
10.Sanctity Within Darkness

Graveworm is:
Stefan – Vocals
Steve – Guitars
Eric – Rhythm guitars
Sabine – Keyboards
Diddi – Bass
Martin – Drums

Contact Info:
Website: www.graveworm.de
Email: stefan@graveworm.de

Last Episode Records
Email: markus@last-episode.de

Hybrid
Wide Angle
~reviewed by Wolf

Seeing as this was one of my favorite releases of 2000, I couldn't let it go without a review here on Starvox. If you avoid everything outside of the goth/industrial genre (shame on you...), then you're wasting your time reading this. This cd isn't even all that "underground", especially in the world of progressive trance, but if you have a passion for excellent electronics, then by all means do read on.

Hybrid (consisting of Mike Truman, Chris Healings and Lee Mullins) started out tearing up dancefloors worldwide by doing remixes/additional production work for big names such as DJ Rap, The Future Sound of London, BT, Alanis Morissette, Filter, Energy 52, and more recently Moby (who they've been touring with at the end of last year). An unusual rise to fame, but '99 and 2000 finally saw the release of 2 singles ("If I Survive" and "Finished Symphony"), as well as the full-length debut of this creative producers trio, Wide Angle.

The cd truly is a hybrid of styles, techniques and musicians, delivering a vast array of highly original songs. The music ranges from trance to drum&bass, taking sidetrips into more loungy material, house-flavored cuts and frequently supported by the Russian Federal Orchestra. Vocals are provided by none other than Julee Cruise and Chrissie Hynde, with a hip-hop contribution by rapper Soon E MC on "Sinequanon". Diverse? You bet.

On "Opening Credits" we are instantly introduced to the beautiful orchestral arrangements of the Russian Federal Orchestra. Subtle electronic sounds flutter about as the composition flows into "If I Survive", with Julee Cruise on vocals. The beats roll with great complexity, layered with beautiful string arrangements and delicious electronic effects.  Ms. Cruise (yes, of Twin Peaks theme fame) puts up quite a voice, as opposed to her usual singing style, while singing "If I survive, I'll learn to forget the crime...if I survive...but I swear you're going down, if I survive". Definitely a great track to open up with (and the remixes of this song on the single are great as well).

The loungy "I Know" brings more of her vocals, showing a pleasant contrast with the song's frantic beats. An almost disco-style guitar adds to the mix and makes it a rather incomparable composition. The same can be said for "Beachcoma" where a lazy saxophone delivers the set-up for awesome breaks, a featherlight piano and a nice dose of subtle scratching. Then there's the distinct sound effect that seems to be a Hybrid trademark, sounding somewhat like a very deep bass thrown through some modulation filters. Yumm.

Arrangements of highly detailed breakbeats, cut up and reworked with great talent, are Hybrid's main appeal. There's no sitting still to them, especially on a song like "Dreaming Your Dreams". Again the singing and music are of a laidback nature, but the energetic beats spice it up and push this way beyond elevator music. "Snyper" focuses almost entirely on its frantic beats, with a low threatening sound lurking underneath and a sample that sounds like a scream, surfacing at strategic points. Then, just when you think you have the song figured out, the orchestra appears, building up to a gorgeously uplifting crescendo and the beats complementing it all so perfectly that it makes you wonder why classical music and drum&bass don't meet more often.

"Theme From Wide Angle" is one of my favorites, even if the beats start out in a rather typical 4/4 fashion. But have no fear, a house-style club bass kicks in and the beats turn more complex, eventually joined by deliciously modulated sequences. This, in turn, builds up to the strangely mellow guitar part that leads into more drum&bass style beats. My only complaint is that I would've liked another build-up here, instead of having the song calm down, but I guess that shows how unpredictable this disc is.

Then there's the dreamy trip-hop of "Sinequanon", the wild and crazy "Kill City", an exercise in trancy d&b on "Altitude" and the masterful "Finished Symphony". The latter brings more of this beautiful orchestral d&b hybrid, another highlight on this diverse and innovative cd. It's amazing how the orchestra (conducted by Sascha Puttnam) so seamlessly fits its string arrangements to the beats. Or perhaps that should be vice versa. Either way, it works astonishingly well.

The cd ends with the "Red Square Reprise" version of "Altitude", which is way too good to only be 2.5 minutes long (but then again, it is a reprise) and an edit of "Kid 2000". This song features Chrissie Hynde on vocals and doesn't do much for me personally, mainly because I don't care for her singing, but the music is still grade A Hybrid material.

I love this cd. It's so refreshing and well-produced that I recommend it to anyone with an open mind and a taste for good electronic music. The diversity and talent presented here are amazing and I'm hoping to hear a lot more from Hybrid in the future. A collection of their remix and production work is out due this month, so I'll defnitely be getting my fix.

Tracklisting:
01. Opening Credits
02. If I Survive
03. I Know
04. Beachcoma
05. Dreaming Your Dreams
06. Snyper
07. Theme From Wide Angle
08. Sinequanon
09. Kill City [Edit]
10. Altitude [Edit]
11. Finished Symphony
12. Altitude [Red Square Reprise]
13. Kid 2000 [Edit]

Band members:
Mike Truman
Chris Healings
Lee Mullins

Orchestra conducted by:
Sascha Puttnam

Additional info:
Official label site: http://www.distinctiverecords.com
 

LAUNCH
Spacepop
~reviewed by Edwin Somnambulist

Spacepop is the premier work from the Atlanta based group Launch. This is a really mellow CD, and could probably be classified in the  spacerock/dreamrock category. Launch takes their influences from the early  4AD years, that magical, wonderful time for music when everything was new  and musical possibilities seemed limitless. Though time has moved us past  those years, it's wonderful to see that they're not forgotten, and many of  the musical avenues associated with those times are still being explored.

Richard Coker has been part of a number of successful bands, including Flowers for Luci (for whom he wrote the popular song "Chemical") and the Cleopatra based group Usherhouse before hooking up with Patrick. Now as Launch, the two have made themselves a familiar name to the Atlanta scene, having played numerous gigs in the city at such places as Dottie's and the Earl. Spacepop is their first self-produced CDEP, and they hope to have a full length CD out in the very near future.

I find this style of music to be very dreamy. With no drummer pounding out a rythm to keep time to, everything seems to flow together naturally. The distortion adds to this effect, topped off with Richard Coker's beautiful, tranquil vocals. This is what I picture when I think teenage angst music.

Spacepop is an all around great disc that would work well played on radio, in clubs, or just for relaxing at home with. I give it a high recommendation.

Tracks:
1. Slipstream
2. Wake
3. Stone
4. Hum
5. The Dream
6. Colony
7. Drown
8. Orchids

Band Line Up:
Richard Coker -- Guitar and Vocals
Patrick Buckley -- Bass

Website: http://royalfuzz.com/launch/
Email: pbuckley@mindspring.com

LE’RUE DELASHAY
Musick In Theory and Practice
~reviewed by Michael J.

Once in a great while, a musician will appear on the scene that is so bursting with ideas and talent that one genre of music is not enough to contain them.  Le’rue Delashay is one of those musicians.  In his latest solo CD entitled Musick In Theory and Practice, Le’rue takes up on a journey with many paths and levels and proves he’s not the “guitarist du jour”.

When Glenn Danzig recorded Bl
ack Aria in 1992, I thought that was the coolest thing ever.  This, I thought, was the best of both worlds and since then have seen very few of these.  Musick answered my nine-year craving immediately when “The Creation of Thought Divine” first spilled from my speakers.  Heavy crescendos gush forth and envelop the listener and, just as quickly, subside again.  There is no distorted guitar or vocals to be found here.  This is strictly orchestrated emotion.

“Chapel Serenades Mv. 1-3” and “Evocation of Midnight Manifests” follow behind leaving a trail of symphonic and beautiful chime compositions in their wake. ”Vanitas” Concerto in G Minor, Op. 16” stands as the last of the original work from Le’rue on this album.  The remaining two tracks are interpretations of Beethoven’s “Bagatelles, Opus 13, No. 6” and “The Conjuration”, taken from Walpurgisnacht, The Haunting.

I love it when musicians that normally practice a different style of music take hold of their roots and pay homage to those that inspired them.  Le’rue has pulled this off without becoming arrogant and remaining under control.  For those of you that would consider him an up and coming musician trying to join the ranks of the elite, beware, for he is already amongst them.

Email: theatrikil@hotmail.com
Website:
http://members.tripod.com/Theatrikil/lerue1.htm

Root of All Evil Records
Website: www.rootofallevil.com

Leslie Nuss
Action Hero Superstar
~reviewed by Michael Otley

NYC's Leslie Nuss is an example of a classic case of small town girl meets  big city.  Originally from Illinois, Nuss is a creative singer-songwriter  working with various competent musicians to fill out her catchy songs.  Her  second album, Action Hero Superstar, is on the creative side of pop rock nodding to artists like Beth Orton and Tuscadero.

The album starts with "Blake's England" acoustic guitar and quiet bass and  very quickly comes to a very catchy chorus with electric guitar, rock  drums, and multi-tracked vocals.  The song is very dynamic and an  impressive opener and mood setter for the rest of the album.  The following  track "So Easily" also contains excellent dynamics, with mid-tempo verses,  and break-out choruses reminiscent of The Pink Album Tuscadero.  Track 3 is probably my favorite, "Dynamite", with it's very quick and complex  percussion (mixture of snare, shakers, and high hat) and ambient guitars. The song has a very interesting instrumental break down with strings before a fading out repetition of the chorus section, probably the most Beth Orton like track of the album.  "Roses Red" follows, calming the quick pace set by "Dynamite" and really showcases Nuss's voice and personal voice  style.

The entire album is very strong and also rocks, so to speak.  The album is cohesive, never straying too far from itself while employing different musicians and musical flavors, never afraid to add the right sound.  One of the more notable songs from the 11 track album is the soft "Concert Boy", a seductive song where the narrator attends a Radiohead concert and has day dreams full of lead singer Thom Yorke.  If you're into catchy pop rock like Beth Orton, you might be as star struck with Leslie Nuss, who is cute to boot.

www.leslienuss.com
littleleaf@erols.com
 

lxl
Thema Ex Hiberna: Winter's End
Scissors
~reviewed by Wolf

I highly disagree with reviewers who slam electronic music for its supposed unemotional nature, the ability to create a song by simply pressing a button, or yet the lack of talent and creativity involved. They are further from the truth than they'll ever know and if anyone can prove this then it's lxl. This one-man project from Portland utilizes whatever is in his reach (including sequencing applications written by lxl), proving that the means are still the servants of the artistic vision. The result is inventive, complex and at times quite emotional.

A few years ago Doppler Effect's Undercurrent and Resurgence samplers introduced many talented new bands to me, but none were as convincing as lxl. It was mostly his track "Prophecy" that prompted me to track down his site and order both of his mp3.com cds. Again lx, brainchild of lxl, did not disappoint and presented a wide variety of musical styles on these 2 discs (assisted by guitar/bass player Duckworth McKay on the Scissors cd). Personally I like to think of lxl as the new haujobb. Not so much in style perhaps, but definitely as far as creative vision and originality are concerned.

Thema Ex Hiberna is described by lx as "a three-week Winter Solstice project to help resolve a number of lingering issues". The winter theme runs throughout the entire disc and images associated with this are brought to mind skillfully by the compositions. Industrial aspects are present, but the multitude of pianos and string parts gear these compositions more towards the dark ambient/darkwave genre.The songs flow together effectively, creating a very consistent whole of calm moments alternated with bursts of percussion, piano parts raining down upon obscure sound effects and the occasional mysterious female/male vocals (even reversed at one point). What is most admirable about lx is hist unconventional song writing, ranging from the almost-waltzing elegance of "Delicate" (I swear, it sounds like he sampled a typewriter for this song) to the rhythmic, bass-driven "Cloudsong". Listening to his music is an exploration through rich sounds and ideas, where corresponding imagery (snow, solitude, winter, the cold etc. in this case) is easily evoked.

(The original version of Thema [...] featured a cover of the Cure's "Disintegration", but that wouldn't have been allowed on mp3.com. What a shame...)

On Scissors the approach is more industrial, yet far from what one would call typical. Piano parts are still prominently featured, this time in low, threatening notes of urgency, and each version of the title track offers a new interpretation. The EpicDramaMine mix is indeed rather dramatic, filled with echoing melodies and percussion, while the UnquietRemembrance version features more aggressive beats, a fair share of distortion and McKay's guitar work. CleanStainedGlass focuses the most on the piano arrangements, seemingly combining variations on the main melodic themes of "Scissors" to create a more uplifting track with percussion that could almost be labelled as IDM.

Aside from the three versions of "Scissors" there's the dark and epic "Lost", a desolate piece expanding into a full assault of percussion, and last, but certainly not least, "Prophecy". I could probably write a 10-page essay on how amazing I think this song is, but I'll try to contain my enthusiasm a little. It's one of *those* tracks...shivers and all...on "repeat" for hours...

Low sounds of machinery provide the set-up for infectuous beats, more of those trademark low piano notes and a howling distorted guitar (or something synthesized akin to it). Add in chopped-up vocal samples (the way haujobb treated their samples on "Consciousness" and "Mediaeval"), emerging strings and a melancholy piano ending, and there you have "Prophecy". As with lxl's other work it could've benefitted from better production, but the ideas and execution are so superb that it is all forgiven.

lxl deserves to be heard and with talent like this my Prophecy is that this name won't be unknown for too much longer. Check out his official site or mp3.com for samples of his music and hear for yourself what this man is capable of.

Tracklisting:
Thema Ex Hiberna: Winter's End:
01. ice and she
02. delicate
03. no more daydreams
04. cloudsong
05. isolate
06. shattered
07. and ever

Scissors:
01. Scissors (EpicDramaMine)
02. Lost
03. Scissors (UnquietRemembrance)
04. Scissors (CleanStainedGlass)
05. Prophecy

Band members:
lx
Duckworth McKay

Additional info:
Official site: http://www.audiophonic.com/lxl/
mp3.com: http://www.mp3.com/lxl
Contact: lx@audiophonic.com
Official label site: http://www.sonic-boom.com/dfx/
 

Lycia
Compilation Appearances Vol. 1
Songs Recorded Between 1990 and 1994 - The Arizona Years
~reviewed by Michael Otley

Although Mike VanPortfleet called it quits on Lycia last year during the  recording of a new album with former collaborators John Fair, David Galas,  and Tara Vanflower leaving the album unfinished, we do get two more shots  at full-length Lycia releases.  These come in the form of compilation  appearances, compiled into two CDs, the first just released covering the years 1990 and 1994, subtitled The Arizona Years.  These are the earlier  years of Lycia's existence, though not reaching as far back as 1988, the  very beginning, or 1999 the year of that Wake was originally released.

With compilation appearances spanning the early 1990's, much of the album has a bleak and raw feel, most comparable to the Wake release as well as  the Bleak side project, though never quite as rough or aggressive as Bleak.  Three tracks are different versions of songs from The Burning Circle and Then Dust double CD album, an excellent version of "Sleepless" being the most notable of these.  The CD includes both Lycia tracks from From Across This Gray Land No. 2 as well as the= acoustic version of "Everything is Cold" from From Across This Gray Land No. 3, simply one of the most beautiful Lycia tracks recorded with Mike on vocals, acoustic guitar, and non-obtrusive drum programming and Will Welch on fretless acoustic bass. Another stand-out track is the live version of "Wake" with David Galas accompanying Mike on the synth with eerily calculated synthetics.

After Lycia's 1994 black tape for a blue girl covers, originally recorded for the Of These Reminders black tape tribute, Lycia's 1994 side-project Dust follows.  Dust, with John Fair returning on drum programs, has a particular return to the Wake sound.  Dust compilation appearances included Palace of Worms Records Palace of Worms compilation, the Silber Records Alleviation compilation, among other compilations, some never released.  The Dust sessions are more aggressive and less forgiving than other Lycia related recordings, with relentless drums (excepting the more or less drumless "Wind") and almost always continuous guitar on the all instrumental songs.

Overall, an excellent fix for any Lycia fan, I would recommend other albums to a Lycia-curious individual.  For the earlier material Ionia and A Day in the Stark Corner are good places to start, with Cold as a favorite later album. The Arizona Years is revealing some of Lycia's darker moments, and with "Everything is Cold" one of the more precious.  Front and  back cover photos are beautiful as well.  Anyone with an appreciation for Lycia already will get a lot out of this release.

www.lyciummusic.com
www.projekt.com
 

ML
Pajama Party
~reviewed by Wolf

Formerly known as Thine Eyes, ML [pronounced "m-luh"] is the new moniker of gentlemen Rian, Laird and Tanner. As Thine Eyes they already explored the intricate territories of IDM (intelligent dance music) and released 2 albums on Doppler Effect Records (Christian Sex Loops and My Knobs Taste Funny), but as they discarded the remaining bits of industrial that surfaced throughout the Thine Eyes material, the name ML was chosen to strictly pursue IDM. Last year I had the pleasure of reviewing a Thine Eyes cd-r, which already gave a glimpse of the ML sound, and now there's Pajama Party, the first ML ep, released on Toast&Jam records.

Describing IDM is as difficult as describing the music of any band in the genre. Often it seems that anything goes, as long as it's complex, unique and far away from the formulaic nature of most other forms of electronic music. Occassionally humor is part of the IDM sound, in which case Aphex Twin comes to mind of course. And the most noteworthy IDM artists are without a doubt Autechre with their meticulously detailed sound manipulation.

ML produces a soothing type of IDM, laidback and seemingly of a simple nature until you've heard it several times and start paying closer attention. It does seem more stripped down than the older Thine Eyes material, but the layering is more subtle this time around and the sounds are carefully matched up with one another to create a very consistent overall sound that is a lot more dense than it originally appears to be.

The main element of almost every track on Pajama Party are dreamy melodies, timelessly drifting nowhere, layered with quirky basslines, strange sounds and quite effective percussion. This percussion consists of careful placements of assorted bassdrums, snares, hihats and other elements. The rhythms change often, avoiding repetition and providing endlessly fascinating headphone sessions with this disc. My recommendations are "Red envelope", "Actor, Martin Donovan" and "An approach to...". The songtitles are cryptic as always and in combination with the music this often leaves you thinking that you're being left out on the story behind the songs. Or left out on a joke, in the case of "Take that, pants", where uhmm...farts become part of the song structure. (Perhaps that's all it is, a fart joke?) Well, there's a first time for everything.

Pajama Party is a great ep, provided you're into this type of music of course. And if you like IDM then you know it can't really be described, but simply has to be experienced. ML seems to be the matured version of Thine Eyes; intricate, subtle and highly fascinating. Definitely recommended for IDM enthusiasts.

And the pants song? It'll be legendary before you know it. Pajama Party is only $3 ppd, so get a copy before you miss out on all the fun!

Tracklisting:
01. Red envelope
02. Actor, Martin Donovan
03. Take that, pants
04. Hear the story, read the book
05. An approach to international business management
06. Pawtucket, RI
07. Bottleneck
08. Let's be Japanese girls together

Band members:
Rian Callahan
Laird Sheldahl
Tanner Volz

Additional info:
Official site: http://www.thineeyes.com/
Contact: thineyes@teleport.com
Official label site: http://members.nbci.com/headphone/

MURDER OF CROWS
Under the Flesh
~reviewed by Michael J.

Formed in 1996, this Seattle band has been quickly turning heads in the goth-rock scene.  Their debut album, Under the Flesh, will surely be welcomes by fans of this genre.

I have to admit that the first time I listened to this, I did not like it at all.  The opening drumming sounded so hollow to me, like something was missing.  It took me a few listens to figure out that the drums were so natural sounding that I had mistaken the sound for poor production when in reality, they sounded like they were performing in my living room.  I am not one to judge on one listen, however, and I kept spinning the disc.  What I noticed was that the music seems to fill itself in the more you listen to it.  It gains a little complexity and grows on you.  The moody “Confession” has turned out to me my favorite song on this album simply because of the tempo and the spacey guitars.  The vocals of Winter Jaye have also grown on me.  Some of the other standout songs are “Little Bloodmaker”, “Saint of Killers”, and “Sentimental Killer”.

Although Murder of Crows is still an underground band, I can tell they are making their mark simply by the uniqueness of their music.  I can hear spatters of Fields of the Nephilim, the Doors, and Tool mixed in but it is impossible to categorize this band.  Fans of goth-rock who realize that the world isn’t the prettiest place will welcome this release with open arms.

Murder of Crows is:
Winter Jaye – Vocals
The Deuce – Guitars
G. Williams  -Drums
James Murray – Bass

Website: www.murderofcrows.net
Email: Winter – jaye@murderofcrows.net
Deuce – deuce@murderofcrows.net
Genevieve – geneviev@murderofcrows.net
James – james@murderofcrows.net

Blood and Bone Music
Snail Mail
PMB 174
4742 42nd Ave. SW
Seattle, WA  98116

Website: www.bloodandbone.com
 

MORGENSTERN
Feuertaufe
~reviewed by Michael J.

February marks the three-year anniversary since this now six-piece band was formed.  Feuertaufe stands as their official debut following two demos.  Signed under Napalm Records, Morgenstern stands as one of the“happier” sounding bands the label has released. Within seconds, you know what this band is trying to do.  With tambourines, flutes, and a clarinet thrown into the mixture of percussion, bass, and guitars, you can help but feel the medieval atmosphere coming from your speakers.  This differs in what I have heard before in that it is just more upbeat.  Due to the language barrier, I cannot tell what they are singing about but I would warrant it’s mostly peacetime, legend, and love.  The music never seems to take an angry tone.  I love the intro to this disc and although I don’t know what the instrument is called, I adore the sound of it and wish it had been used in more than one track.

A couple bands that jumped to mind when I listened to this were Skyclad and In Extremo.  Feuertaufe is taken more seriously than Skyclad and it’s not as scattered-sounding as In Extremo, if that makes any sense.  The songs are more straightforward and the use of the clarinet and flutes is more prominent but they  do not take away from the recording.  Occasional
female vocals grace the listener like in the song “Jerusalem” and they harmonize very well with theirtraditional clean male vocals.

This is a strong debut album for this German band and although the more jovial music usually isn’t for me, I enjoyed this recording more than I thought I would.  This is a band that does a wonderful job of being complex and simple at the same time while not losing sight of what they are portraying.  Fans of Skyclad and In Extremo will definitely enjoy this one and I would recommend it to anyone looking for a change of pace if, like me, you subject your ears to a constant blistering attack.

Morgenstern is:
Steffen – Vocals, bass
Jens – Guitar
Susanne – Flute, clarinet
Ulli – Vocals, drums
Dirk – Flute, krummhorn, schalmei
Manuel – Guitar

Website: http://morgenstern-on-napalmrecords.com

Napalm Records: www.napalmrecords.com

mp3 Communion Compilation : CD Two
~reviewed by The Rev. A.  Strangerz

Cinema Strange,
01: Aboriginal Anemia   4:38
02: Lindsay's Trachea   5:17

I wish the production was a little bit 'brighter', yet these two songs show the promise of an up and coming act.  We can only hope that as their name suggest, they might produce some visual effects to go with the haunting noises.  01: like a combination of 'Trance to The Sun' and Switchblade Symphony.  02:  More of a synth-pop meets Darkwave approach.  A true piece of 'Goth-wave'.

Cinema Strange - http://members.theglobe.com/nardugan/index.html &
http://artists.mp3s.com/artists/9/cinema_strange.html

Autumn
03: Desert Winds of Jezebel  04:53
04: Still Breathing   04:11

03: More female vocalizations, coupled with a strong band background.  Some truly wonderful moments in this song.  Could work very well in the 'Gothic' club mix.  Drums remind you of a creatures composition.  Moving emotions, and spirited guitar work.  A nice continuation of theme here for CD two.

04:Slower rhythm, haunting guitars.  Not as catchy as the first track, yet showing more of the 'style' of this band.  Especially the lead vocals.  This one does fall into a more 'Delirium' type feel, at times, but then also gets a harder guitar edge going too.  Not a bad combination really.

Autumn- http://artists.mp3s.com/artists/13/autumn.html

This Ascension
05: Love Last Years

There is better examples of this bands 'prowess' available.  Don't hold that against this track. It is still a very moving and symphonic composition.  'This Ascension' one to look for, wherever you can!

This Ascension - http://thisascension.com/ &
http://artists.mp3s.com/artists/103/this_ascension.html
 

Angels of Venice
06: The Sins of Salome

How do you review perfection.  With something better than words. (I am trying now to gesture to you the beauty of this track, too bad it is also not very possible.)

Angels of Venice - http://www.angelsofvenice.com/ &
http://artists.mp3s.com/artists/90/angels_of_venicecarol_tatu.html

Catharsist
07: Oblivious   05:23

Trip-hop monks?  I hope this trend continues.  Along the path of Enigma.  Yet more mood, and less reliant on sample's.

Catharsist- http://artists.mp3s.com/artists/55/catharsist.html

Clan of Xymox
08: Your Vice    04:37
09: Out of The Rain 04:08

Both of these releases are actually came out in 1997.  'Clan of Xymox' is not a 'new band' really.  Yet they are taking advantage of the Mp3 craze to bring there not quite Gothic, not quite New Wave sound to more listeners.  Goth-wave again?  Why not.  Your Vice is a well crafted story.  'Out of the Rain' is a must.  Look for more information about Clan of Xymox, here in Starvox.

Clan of Xymox - http://www.clanofxymox.com/

Die My Darling

10: Pain #13  04:35

Another band that was present at the show.  This song comes out of the gate stronger than any before it.  'Pain#13' should be subtitled 'Domination by Die My Darling.'
full EP review.... Click here

Die My Darling - http://www.diemydarling.com
http://artists.mp3s.com/artists/171/die_my_darling.html

Doppelganger
11: Sanctuary  03:01

Some more Gothic-Rock.  Yet there is a hint of fiddle, and Gypsy stylings.  The female voices overlay in a very inviting way.  Worth the journey, as if you have a choice to go once the sirens call has started by the lovely ladies in the band.
"The parties over,  no sanctuary!"

Museum
12: Passing Time 05:27

I know I place much emphasis on the rhythmic value of a song.  So many of these start of with great drums, of machines, or even various percussive devices.  This track is no exception.  To fallow the flow, there is violins, and other instruments here too.  The voice though belongs more to a figure you could imagine from the hillside of Carpathia, and a taller dark brooding character.  The male side of the Gypsy ID.  Hats off again to the ear of DJ Xian,  for giving these compilations a grand flow.  More music from 'Museum' is necessary.  Very necessary.

The Museum - http://www.ourmuseum.com/ &
http://artists.mp3s.com/artists/105/museum.html

The Machine in the Garden
13: Final Form

'Final Form' has some elements of 'The Cocteau Twins',  especially the guitar work (think earlier stuff by Cocteau Twins, not later. )  The female vocals are different, yet very inspiring.  The song has a composition that is not rock, and not Goth.  I am at a loss for a good label for it.  Good work though , worth a listen.

The Machine in the Garden - http://www.tmitg.com/ &
http://artists.mp3s.com/artists/93/the_machine_in_the_garden.html

Pseudocipher
14:  Frozen

'Frozen' is more Rock beat orientated song.  Male vocals this time, cutting into the mix in a very different manner.  I would be inclined to think this act is a good live one to catch.  I could see them working well with 'The Machine in the Garden' actually.  Once again similar elements with different approaches to the song compositions.  It is a large world of music, and it is easy to see how overwhelming it can be.  I actually think this band has some better cuts.  This one works very well within the compilation though!

Pseudocipher - http://www.pseudocipher.com/ &
http://artists.mp3s.com/artists/44/pseudocipher.html

The Sleeping Prophet
15:  The Queen of Small Dark Places

With a name that is reminiscent of Edgar Cayce, you might expect all kinds of 'occult' overtones in the musical content of 'The Sleeping Prophet'.  I found the movements and backwards whispering intro of 'The Queen of Small Dark Places' to deliver just that.  Maybe not a club hit waiting to happen, but I say spin this one out anyway.  Good to move songs like 'Worlock' by Skinny Puppy, or 'Windowpane' by Coil into a different direction, without compromising that spooky feel!

The Sleeping Prophet - http://www.crosswinds.net/~sleepingprophet/evil.htm &  http://artists.mp3s.com/artists/55/the_sleeping_prophet.html
 

CD Two, overall a different direction.  Still worth the journey.  DJ Xian may need to contact these acts, and see if she can't distribute these comps!  Until then you can recreate them for yourself via Mp3.com.  Since taste vary, you can always add or substitute artist or songs.  Still I think this is a great way to exchange music.  I will be making Mp3.comps for my friends as late X-mas gifts myself.

01: Soy Futura  "Priest Prayer"
02: Soy Futura  "Withering Silence"

I have seen much about 'Soy futura' on Mp3.com. I don't know much about the actual band, yet they do pop up quite a bit on the different radio stations.  "Priest Prayer' is a solemn song that seems to speak of much experience.  A whisper to a scream, and a spooky reflection of life, death and religion.

"Withering Silence" at first seems like a happy go lucky song (compared to 'Priest Prayer' especially. )  It has a haunting overtones though, and a brilliant use of female vocalization.  Both of these stand on their own, highly recommended.

03: Tapping the Vein  "Butterfly"
04: Tapping the Vein            "Numb"

At first I was not sure about 'Butterfly' , yet like a good song should, it has grown on me, and not turned me away after a few listens.  'Tapping the Vein' is another act I expect to see make it past the first few years of being a band.  "Numb" is more story like, and the style of this band is very apparent by comparing these two tracks.  Strong lead female character, full band with varied degrees of pop/rock structure.  Darker background noises separate them from the pack, and lead you to a point where they generally insist on rockin' out for a bit, and then back into the moodier ambiance and sub-content.  I must for live venues, for sure.

http://www.tappingthevein.com/
http://artists.mp3s.com/artists/64/tapping_the_vein.html

05: The Strand                   "Shake Me"
06: The Strand                   "I Hate My Fucking Job (Bastani Rx)

An act that could easily steal the show.  The Strand hails from the dessert land of Phoenix, AZ.  They sent along many items of promotion, and seem to really be reaching to break out of easy categorization.  You never know where these guys are going next.  Heavy synths, dark vocals, and strong material.  The feel is that of a nomadic tribe trapped in a recording studio, and willing to wander in textures along the same path's that they have wandered the planet.  Take no prisoners, and all is fair in love an war, here is "The Strand."

Special note about 'I Hate My Fucking Job"  here is song with the 'balls' to just say how we all feel about or corporate slave day jobs.  If I saw this song live, I'd try to dance away my day job blues, and let The Strand sing my frustration for me!  "NO MORE BILLS! NO MORE LIES! NO MORE MONEY! I HATE MY FUCKING JOB!"

The Strand -  http://www.strandland.com/ &
http://artists.mp3s.com/artists/53/the_strand.html

07: Xorcist                            "Spider (8 Legged Mix)"
08: Xorcist                            " Bad Mojo"

Two older selections from Xorcist.  I was surprised by this, and the fact that the 'Cyberden sampler' that was given away at the show, was older material.  I do not know who handles some of the promotion of newer Xorcist tracks, but these classics d not compare to the strength of albums like 'Nomad', and 'Soul Reflection'.  I double checked Mp3.com and this was all that was available, and they had the right band.  Well, I say listen with the knowledge that there is much more out there.  Equivalent of hearing the first tapes of Skinny Puppy , while much better produced albums are commercially available! Still, very talented tracks.  No surprise they have gone farther.

Xorcist - http://www.cyberden.com/ &
http://artists.mp3s.com/artists/39/xorcist.html

09: NANO                               "Le Secret"
10: NANO                               "I Am Your Garden"

I am biased.  Regan of Nano (NANOBEAT when searching Mp3.com ) won me over in personality and in music.  both of these songs give a great slice of her prowess with musical compositions.  'Le Secret' a seduction in French.  'I Am Your Garden' being a seduction on English.  Be sure to check out 'Interrogated' at the website.  Currently my personal favorite.  I did an interview with Regan of NANO.  Click here, and go see it now!

http://artists.mp3s.com/artists/142/nanobeat.html

11: Odor of Pears                     "Invocation"
12: Odor of Pears                     "Fuck Christianity"

From the multicultural, and multileveled San Francisco scene.  Comes the divers and vibrant 'Odor of Pears'.  This bands ideas are sometimes taken in the best content when viewed live, or via the full album experience.  Past review available here.  I prefer 'Invocation' over 'Fuck Christianity', although I look forward to seeing both live soon.  I hope to see a tour from this act soon, and I am sure they are playing in the SF area from time to time already.   'Invocation' has that Indian dance feel that is not as common lately in music.  The tonality is very spiritual.  'Fuck Christianity' ha some of the same punk rock honesty, that I enjoyed in 'The Strand'.  Yet I feel less compelled to scream at Christians, even if my personal beliefs are kind of the same here.

http://www.odorofpears.com
http://artists.mp3s.com/artists/58/odor_of_pears.html

13: Rakit                                 " No Pain"
14: Rakit                                  "M.I.A.B."

With a mixture of Alternative rock, and industrial dance.  Rakit seems to come from nowhere 9 I can't even find them on mp3.com right now.)  Yet I hope they continue to come around with these strong songs.  'No Pain' does not mean no gain, and Man In A Box (M.I.A.B.) is  as quirky and creative as they get.  Leave it to Xian to find this rarity.  Also leave it to her to end us with the following sample excerpt from the movie 'From Dusk Till Dawn."  This is a great way to get everyone out of your bar/club at the end of the night!  Girls first >grin<.

15: Dusk Till Dawn                     "Chet's Speech : p "

After hanging at PSP/Aemyrinthe Studios, I am sure that DJ Nacht helped with the selection of many tracks ,and also made this possible.  XIAN, and NACHT are a great team, and I hope that Los Angeles continues to embrace them, and new music.  I already plan to return and get more info on the scene.  Xian has been enlisted as a reviewer for Starvox recently.  So it is eminent that we will be reviewing the Scene together soon.

Next Mission.  San Francisco.

Mephisto Walz
Early Recordings: 1985 – 1988
~reviewed by Matthew

It is my distinct pleasure and honour to present this release to our readers.  This band, by far, is one of the most underrated staples of Gothic music and this recording is a flawless example of Mephisto Walz’s inspirational greatness.  Housed on this collection for the first time on CD in the US is the bands earliest and darkest material.   Most of the songs on here appeared on the German release “Crocosmia” but this release has long since gone out of print and always was relatively difficult to obtain in the first place.  But Cleopatra records and Mephisto Walz founder Bari-Bari have thankfully resurrected these long lost gems for this exquisite compilation, which chronicles the band’s initial incarnation from 1985 to 1988.

Long before the sultry vocals of Christiana fronted the band, Mephisto Walz were fronted by Jorque, an exceptionally angst ridden and violently moody male vocalist who perfectly complimented the abrasive eeriness of Bari-Bari’s distinctive processed guitar waves and Johanne Schumann’s punk influenced bass playing.  For trivia purposes, as many know, it was during this time (1985-86) that both Bari and Johanne were involved with Valor’s inception of Christian Death.  Both musicians appear on the debut EP of Valor’s “The Wind Kissed Pictures” and on the first full-length “Atrocities.”  Both of which are without a doubt Valor’s best and most focused works of his Christian Death.  It was here, and also the work of Mephisto Walz, which I humbly believe, erected the foundations of modern Gothic rock guitar and drum styles as we hear and revere them today.

These recordings are essential.  This was Mephisto Walz at their darkest, most raw, and as many geri-Goths and uber Goths tend to cite, Goth sprung from the debauched lap of punk and that post-punk energy and drive is bombastically apparent in Mephisto Walz.  From the rhythmic danse macabre of “Eternal Deep” and its explosive and frightening chorus, the melancholic desperation of “Spoken Word” to the mischievous eroticism of “Porcelain Gods,” Mephisto Walz took their themes of Paganism and delivered death-rock and Goth rock that is unparalleled.  Their classic interpretation of the Rolling Stones’ “Paint It Black” also appears here in its original frantic and male vocalled form.  What better song truly exemplifies the point of view of the misanthropic outcast?

Many of these songs were re-recorded on the band’s first Cleopatra release “The Eternal Deep,” which is now hailed a modern classic and also introduces the female vocals of Christiana.  Though that album is an important and monumental release, and Christiana’s voice was the final piece of the puzzle for the band’s unique sound, I do feel that the original versions of these songs were superior in that they were tighter, denser, and had a more biting attack to them.  Christiana and that incarnation of Mephisto Walz found their niche, became more comfortable with and perfected their sound with her on the releases “Terra-Regina” and “Thalia,” but if you enjoyed those albums, you simply must get your hands on this compilation.

Besides the tracks culled from the “Crocosmia” collection, there are additional songs that have never before been release.   “Masse,” “Dissey” and “Forest Dying” never saw the light of day, and admittedly though not as strong as the ones that did surface, it would have been a crime for them to be neglected forever.  As well, despite very poor quality, the final three  tracks of this new release have never been heard before.  The production is excusable being that they are 4 track demos from over 15 years ago and for the fan of Mephisto Walz, there is indeed something personal and special about having them.

Overall, this is a concise compilation for the death rock enthusiast and it would be my dream to see these tracks receive extensive club play and help keep the dying flame of true Gothic rock music alive.

Track List:
1.) Eternal Deep
2.) Tribal Conflicts
3.) Porcelain Gods
4.) Oh Fallen Angel
5.) Spoken Word
6.) Painted Black
7.) Aborigine Requiem
8.) Der Sack
9.) Masse
10.) Dissey
11.) Forest Dying
12.) Great Slave Lake
13.) Vendetta
14.) Vampyres Of The Day

MEPHISTO WALZ was:
Bari-Bari: guitars, bass, vocals
Jorgue: vocals
Johanne: bass (except 8,9, 10 – Bari Bari)
Arndt: drums

Mephisto Walz - Official Site:
http://www.mephistowalz.com

Mephisto Walz – Mp3 Site:
http://www.mp3.com/mephistowalz

Cleopatra Records:
http://www.cleorecs.com

V/A: A Tribute To Nine Inch Nails: Re-Covered In Nails
~reviewed by Matthew

I have a few problems with this release, most notably because NIN is still currently active and I think it is in rather poor taste to present a CD of cover songs when the band is still releasing material.  Granted, the majority of the songs on this release are culled from the 1989 NIN debut “Pretty Hate Machine,” but there are a few rather recent tracks such as “Burn” and “We’re In This Together.”  Secondly, I think a lot of these songs were very personal to their composer and I can imagine how in some ways, the private catharsis that made these songs a success is somewhat cheapened and mocked by young and somewhat inexperienced bands weaving less than fantastic renditions of them.

With that said, I begin my review.  The CD opens with two extremely strong and club friendly songs.  The first is “Terrible Lie” regurgitated by ex-members of KMFDM and it is a more mid-paced and fluid song, a nice groove oriented track that would be good to drop on club audiences when the night is growing late and they are fatigued from dancing, and need something to catch their breath with.  The song is familiar obviously, but this is a positive and fresh take on it.  If only all the tracks on the CD could be of this quality.

The second, Razed In Black’s “Sin” reinforces my believe that this just might be a helluva tribute CD.  This track is probably the most danceable and club friendly song here.  In no way am I trying to discredit RIB’s sound, but I always regarded them as a respectable NIN clone, both vocally and with their distinctive rhythmic guitar assault.  I think this track will bring Razed In Black a considerable amount of club play and it is perhaps the only track on this CD that even comes across as an honourable tribute.

The good news ends here.  I could go on in more detail about the rest of the CD, but if you have nothing positive to say, its better not to foster negativity and just remain silent.  With all due respect to Cleopatra records, these tribute CDs have gone out of control.  No band is safe, no band untainted.  It just doesn’t seem to end, and this CD in my opinion is just utterly unnecessary.  Just listen to the original NIN songs as they were intended to be, where they are backed with the talent to deliver them.  Listen to the original releases from the bands appearing on this disc.  Its not as if these bands are incapable of writing their own quality material.  The material presented here is just not up to par and much of it is just plain mediocre.  There are moments that stand out, besides the Razed In Black and KMFDM, such as Inertia’s “Sanctified” and Necromantik Sunshine’s “Hurt,” but even these songs sound somewhat strained and tired.

Overall, I can’t recommend this in good conscience.  If you are a die hard NIN fan, you may appreciate these alternate versions of these songs, but then again, you may be offended at the same time.  The late bell is ringing; time to go back to the drawing board in Creativity 101 because there are still many lessons to be learned it seems.

Track List:
1.) GUENTER SCHULZ & EN ESCH (ex-KMFDM) – Terrible Lie
2.) RAZED IN BLACK – Sin
3.) THE ELECTIC HELLFIRE CLUB – Heresy
4.) SYNICAL – Burn
5.) INERTIA – Sanctified
6.) THE FILMSTRIP – We’re In This Together
7.) THE LUCIFER SCALE – Last
8.) NECROMANTIK SUNSHINE (w/ Oko Jumu) – Hurt
9.) NOVA MORTUBA – Ringfinger
10.) STUN GUN – Gave Up
11.) GODBOX – The Only Time
12.) PORCUPINE DEFENSE – Reptile
13.) GOTEKI – Suck

Cleopatra Records:
http://www.cleorecs.com

Nine Inch Nails – Official Site:
http://www.nin.com

And One
9.9.99
~reviewed by Digital Angel
 

The first time I heard about And One was in a conversation with a friend of mine. She was talking about how Christa took Rob’s head off for saying he liked older And One better than the latest CD, 9.9.99. While friends ranted about Christa’s attitude, I’m thinking…who the hell is And One? It was quite some time before I had heard anything by them. Several months, in fact. I’ll continue on with that story, just as soon as I mention that And One doesn’t have a U.S. record deal, and there are very few web sites revealing much information about them at all. But I did find one site (user.tninet.se/~lrv954a/andone) which has pictures, discograpy, and lyrics, but no biography. Anything you might find in record stores by And One will no doubt be priced as an import, but it is so worth it.

It was late on a Sunday afternoon. The sun was just setting, and the weather was perfect. I was relieved to be off the plane. I had taken that trip to Florida in winter for my own personal reasons. Little did I know I was about to be introduced to an amazing new band. Well, not new, but new to me.

“You have to hear this, it’s so sick, it’s so German.” He said.  He knows I’m a sucker for intense synthesizing, and boy oh boy, did he deliver the goods. He joked about how the first word in every line is a name…Dave, Douglas, and Richard, making the
metal sign with his hand at his car stereo.

“Technoman”(which isn’t on 9.9.99) is infectious, to say the very least. It was stuck in my head for days, and listening to it repeatedly didn’t remedy the situation at all. It only fed it. Totally fun and danceable, it made me wish I knew how to play the keyboards. Before I knew it I was walking around in my pajamas, singing “two sounds are better than one, do the technoman” in between the swishing noises of brushing my teeth in the morning.

The reason why And One is so damn cool is due to their ability to create completely different sounds.  They can be frighteningly German with tracks like, "Technoman", "Deutschmaschine", and "Natternalarm".  It’s a task to get through these songs without making an awful facial expression, despite the shear pleasure my ears are experiencing.

They can be moody as well, with songs like "Recover You" (where he so graciously promotes himself…the first line being “C’mon sweetie, do you remember me? I was the boy from the band And One”), and “Sometimes”.

In a recent conversation about if (band name) opened up for Depeche Mode, I think I’d die, And One came up time and time again. I think that the two tracks listed above are just about as moody and dark as Black Celebration. Much of And One’s songs
are reminiscent of early Depeche Mode.  Ok, ok. On with the CD review…I know.

The first track, “Get You Closer” is an excellent opener to 9.9.99. Front man Steve Naghavi sings in that sexy voice of his “If I could save the love I found, every move and every sound, to get you closer.” All the restraints in your local correctional facility couldn’t keep you from sitting still in your seat.  Not quite as light and bubbly as some of the other tracks, but one of my favorites. The song becomes more layered as it progresses, with female back up vocals, and a string arrangement that grows to be the prominent feature of the song.

The second track, “Michael Caine” is bouncy and fun, with more strings and “la la la’s” provided by some nameless female, though the lyrics are kind of sad. It doesn’t hold a candle to “Evil Boys”. With a sample of an irate Latino man, exercising his fantastic ability to say, “fuck” as much and as fast as humanly possible within only a few sentences, samples of car horns and hand claps, it isn’t meant to be taken seriously, I’m sure.  “Pimmelmann” and “Und Weider” are sung entirely in German, as well as “Der Erste Schritt”.

“Pimmelmann” being the more easy going of the three,  “Und Weider” being a bit darker, but still classic And One pop. With classical guitar strums, and an operatic choir of voices rises toward the end of the track, tubular bells, and more strings (can’t get enough of those strings) bring it from not just plain old dark, but dark with a religious undertone. “Der Erste Schritt” has even more strings in the background, in the foreground is simply a computer generated voice speaking.  Definitely the creepiest sounding track.

Things lighten considerably come the 6th track, “Love and Fingers”. Steve Naghavi’s voice returns to it’s throaty, velvety self, the driving synth bass line returns, making this the song I can imagine most being played in a club. Provided the DJ was lucky enough to have stumbled upon And One.

After being lifted considerably by “Love and Fingers” you’ll quickly be ripped right down by the seat of your pants by “Pray” and ‘Men in Uniform”. In “Pray” he sings “Maybe we should realize religion is a leap in the dark.” It has a simple, but catchy drum beat and sad pianos. “Men in Uniform”, the song I enjoy raving about the most.  A track that stands tall and strong. The verses are whisper-spoken, the chorus sung deep, a heavy slap bass line, which is a deviation from their usual sound, a much-approved sample of Depeche Mode’s “Halo”, and yes, you guessed it, more strings! It’s subdued, but stands out remarkably.

To sum things up, 9.9.99 is a great album. I would recommend it to anyone with a passion for German synth pop, or any die-hard fan of Depeche Mode.  It is orchestrated very well, and has a really clean sound. There are tracks I like more than others.  Even skip over a few depending on my mood, but can easily be listened to as a whole. I can most definitely see it
being played in clubs, not so much on the radio. In fact, I think I’d be disappointed if I heard And One on the radio. I think it is a rare, not so well known gem that should be left to their loyal fan base (But definitely deserves recognition). To quote Steve
Naghavi…”Two sounds are better than one. Why don’t you buy another And One?”

Track Listing:
1.Get You Closer
2. Michael Caine
3. Evil Boys
4. Pimmelmann
5. Und Weider
6. Love and Fingers
7. Pray
8. Men In Uniform
9.Hypnotize
10.Der Erste Schritt

And One is: Steve Naghavi, Joke, and Alex

And One Contact Info: www.andone.com,
email: next_level.jor@T-online.de
fax: +49 (0)3886-2234

POLTERCHRIST
The Unity of Blackened Souls
~reviewed by Michael J

Originally formed in 1995, Polterchrist is one of those bands that should have an episode of VH1’s Behind the Music done in honor of them.  They released a great demo, and then everything started to fall apart.  The band has been through a ton of lineup changes and fought hard for the sound they have created.  At last, after four years of trying to build the right foundation, this quartet from Philadelphia
has released The Unity of Blackened Souls.  Polterchrist pride themselves in having their own original sound.  Having only four tracks, The Unity of Blackened Souls takes us on a brief tour of what this band can do.  “Visions” kicks off the CD and wastes no time getting to the point.  In many places, I am reminded of Deicide as the blast beats and time changes whip through my skull.  It’s easy to point out how tight these guys are and the technicality of the songs is outstanding.

“Shadow of a Soul” starts out kind of jazzy but again returns to the realm of brutality.  I love the way the vocals are layered on this song.  It just sounds so perfectly evil and I think this is the best track on the album.  “The Dark Side” starts out a bit slower than the others but does launch into probably the heaviest stuff on the CD.  It sounds like Slayer, Morbid Angel, Crytopsy, and Deicide thrown into a blender.  The title track takes us out with a bang and shows Polterchrist has pulled no punches with this EP.

This is a CD warmly welcomed by my collection.  The production is superb and just bottom heavy enough to make the subwoofers work without drowning everything else out. I really do hope to see more of these guys in the future.  If they can stick together and put out another solid release like this one, they will have no problem making it into the ranks of the elite.

POLTERCHRIST IS:
Kevin McClintock – Vocals/guitars/keyboards
Monty Mukerji – Bass
Brian Deal – Drums

Website: www.polterchrist.net
Email: Kevin – polterchrist666@yahoo.com
Monty – mmukerji@erols.com
Brian – polterdeal@iwon.com

PRIMAL FEAR
Nuclear Fire
~reviewed by Michael J.

I really love this retro sounding power metal when it’s done right.  The roots of my metal past are dug in deep and only the good stuff can shake my branches and form them into a fist to shake at the sky.  Primal Fear has done a great job with their latest release, Nuclear Fire.

When I first listened to this CD, I though that they sounded a lot like Judas Priest circa the Painkiller years.  Oddly enough, I found out that a few members were in a Judas Priest cover band called Just Priest. This is straightforward power metal the way it was played then and the way it still should be played. The riffs are tight, the production is crystal clear, and damn it, it just sounds good.

Although Primal Fear does sound a bit like Judas Priest, they should be careful about how close they do tread to Priest.  The song “Kiss of Death” sounds EXACTLY like “Hell Patrol” when it starts and the metallic eagles on the cover are very retro-Priest.

Aside from my nitpicking, Primal Fear is still fresh and it’s not hard to find a great song you want to hear over and over on this disc.  “Angel In Black”, “Now Or Never”, Nuclear Fire”, and “Fire On The Horizon” are some of the more catchy tracks but everyone will find their own thing.  Power metal is starting to make its comeback and I’m not talking about those old hair bands that no one liked to begin
with.  When this stuff is done correctly and with the heart necessary to compose anthems that pay tribute to those who led the way, you have yourself a very unique and CD that is very easy to listen to.

PRIMAL FEAR IS:
Ralf Scheepers: Vocals
Mat Sinner: Bass
Henny Wolte: Guitars
Klaus Sperling: Drums
Stefan Leibing: Guitars

Website: http://primalfear.rocks.de
Nuclear Blast Records: www.nuclearblast-usa.com
 

SAINTS OF EDEN
Proteus
~reviewed by Edwin Somnambulist

The newest CD from UK based industrial group Saints of Eden, Proteus is the followup to the 1996 release The Other Side. Saints of Eden is a guitar driven industrial band with a heavy dark side to it, crossing over to the realm of gothic industrial music.

Cian's no stranger to the music scene. He started out many years ago playing bass for Nefilim. While playing with that band, he began to experiment with programming for their albums. From this came the seeds for his own side project with Grant Sullivan called Psyco-9. Taking influences from many different genres including goth, metal, and techno, Cian started working under the name of Saints of Eden.

The music on this album has a very dark flavour to it. Due to the many different genres overlapping together, it would be appropriate for a number of different styles of programming, including gothic, industrial, metal, and dark techno. Often in this style of music, there's a tendency to go overboard with one thing or another (be it synths or guitars or whatnot), but the programming on the disc is really well done, as the mixdown is very balanced, with no element outweighing any other. Well thought out and well crafted dark music.

Tracks:
1. Lost Raiders
2. Crushed
3. Lightscape
4. Millenium Dawn
5. Zero
6. Barbed Wire
7. Technochrist
8. Scent
9. Another Dark Day

Live Band Line Up:
Cian Houchin -- Vocals
Andy Kendie -- Bass
Nick Evans -- Guitar
Grant Sullivan -- Keys

Band Email: soe@saintsofeden.com
Band Website: http://www.metech-recordings.com/proteus/proteusintro.html
Label Website: http://www.metech-recordings.com/
Label Email: info@metech-recordings.com
Label Smail: Metech Recordings, PO Box 132 Bedford, MK40 3ZJ, UK
 

SCHEMA
Exorage
~reviewed by Edwin Somnambulist

Based in Toronto, Canada, Schema is part of a growing movement of musicians that are creating music entirely through digital means. Schema's sound combines industrial, techno, and speed metal with no vocals, opting instead for vocal samples and the music's own complexity to create the songs.

Leif is definitely experimenting with a number of different sounds and mediums. One way that Schema achieves this goal is through the use of some interesting samples in his works. "The City that Never Wakes" begins with one of my favourite lines: 'Another visitor. Stay a while, stay forever!' culled straight from the classic video game, Impossible Mission. The strange samples combined with the music give the disc a dark electronic feel to it.

The first track, "The Process of Life" starts out with random noise, and quickly turns into a fast pounding beat, combining speed metal and industrial aspects.

The "Bonus Data Track" at the end of the disc isn't accually a data track at all, but a cool noise piece featuring some data stream sort of sounds. A very minimal track, it's a journey through digital signal processing.

The sheer variety of sounds on this disc makes it great for radio and club play. If you're interested in any of the genres that this disc combines, then you'll enjoy Schema.

Tracks:
1. The Process of Life
2. Digital Embryo
3. The City that Never Wakes
4. Blink and You Miss It
5. Harr*ssment
6. Apathetic
7. Oppression
8. Paroxysm
9. To The Edge of the Universe
10. Malformed
11. Disintegration
12. Beware the Light
13. Relativity
14. Exorage
15. Devastation
16. Bonus Data Track

Schema is Leif Bloomquist

Website: http://listen.to/schema
Email: schema@null.net
 

Various Artisits:
A Gothic/Industrial Tribute To Smashing Pumpkins
~revviewed by Matthew

Admittedly, I am a selective fan of the Smashing Pumpkins.  Though  having a slight aversion to Billy Corgan’s delicate whine, over time I grew to really appreciate many of their songs, as a genuinely dark and depressive tone encompassed a great portion of their material, both the singles and the non-radio tracks.  Therefore, even though the band officially called it quits only a month or so ago, it comes as no surprise that someone somewhere came up with the idea to compile a ‘gothic/industrial’ tribute to this seminal Chicago alternative rock band.

When it comes to tribute CDs, my usual complaints are as valid here as they have been elsewhere, so I am not even going to expound upon my proposal of ‘quality control.’  Instead, I will just cut to the chase and point out the highlights of this thirteen-track release. The opener, featuring former members of KMFDM is not a bad track at all, though somewhat frazzled and frantic, it makes for a good aggressively ambient opener.  Being that I have always despised Switchblade Symphony, primarily due to Tina Roots ‘vocals,’ I will say only that it is not a bad track if you are a SS fan.  This song may actually be a treat for fans as the band has been defunct for a few years now and not much in the way of new material has seen the light of day for some time.

This CD really begins to pick up and hook you by the fifth track, a strong rendition of the mopey FM radio classic “Disarm” by 16 Volt and Spahn Ranch.  Spahn Ranch seems to be the tribute album saviours, as nearly everything I have ever heard them do has kicked major ass.  This is no exception, as a sensual darkwave beat slithers behind the dark ambience of the song, which thankfully, was not altered much from the celebratory gloom of the original.  Razed In Black follow with an equally rousing take on “Cherub Rock,” and with his nasal Reznor-esque vocals, Rommell does Mr. Corgan justice, with both his vocals and his guitar style.

The Hellfire Club always seem to find some satanic or anti-religious sentiment in anyone’s music, and thus they did again with “God,” however, I mention this song only in passing as it was not one of the better tracks in my humble opinion.  Pig’s “1979” is almost funny in a way, and knowing what I know about the band, I am sure perhaps only a small portion of this song was meant to be taken seriously.  A nice western slide guitar feel sneaks around in the backdrop as low tongue in cheek vocals cap things off.  A fun track, if anything.

Godbox is ok, not too bad.  I preferred their track on the Cocteau Twins tribute much more.  Julian Beeston of the late great Nitzer Ebb join in the chant with a surprisingly cool version of “Today,” a song that used to get on my last nerve in junior high, but in my disparate depression have learned to appreciate over the years!  This song seemed to accentuate the melodies of the song and thwart the commercial slickness of the original with an angsty static Industrial rawness.

My two favourite tracks appear back to back at the end of the disc, first with Rosetta Stone’s interpretation of “Eye,” a song which appeared on the “Adore” release, and was actually one of the songs that inspired me to give Smashing Pumpkins a more open minded listen.  The original was basically, a strong darkwave track and Porl King has taken it to even higher levels.  Rosetta Stone’s take is truly a dark, sensuous song with a beautiful melancholy to it.  The ‘infinite sadness’ to follow the ‘mellon collie’ is delivered by Bella Morte with their gorgeous version of “Soma.”  After being one of the first cities exposed to Bella Morte, I admittedly was a little fatigued by the band after seeing them so many times in the Pittsburgh area just as they began to break in other cities.  But this song was a perfect track for them to cover, as it originally was a very dark and sad ballad about lost love and loneliness.  This track reminded me of how truly wonderful Bella Morte can be when the gloom strikes them, and it is reminiscent of such bleak masterpieces as “Nevere” and “Silver Crosses” from their debut CD “Remains.”  I felt ashamed for ever dismissing these guys, for despite the obvious upbeat direction they moved with their last album, they still are well acquainted with the depressive style I originally adored them for.  I still love you guys, don’t fret.

Overall, I would say this CD is worth it alone for the Bella Morte, Rosetta Stone, Razed In Black, and Spahn Ranch/16 Volt.  Many of the other tracks do not rise above mediocrity and frankly, the versions by the Smashing Pumpkins were more genuine and ‘Goth’ to be honest than these interpretations.  But as with all compilations, there is the good and there is the bad, and there is always at least a few gems gleaming amidst the track list.  Here there are definitely some worthwhile treasures, so keep your expectations open.

Track List:
1.) GUENTER SCHULZ & EN ESCH (ex- KMFDM) – Rhinoceros
2.) CANDYMACHINE 88 w/ TINA ROOT (Switchblade Symphony) – Ava Adore
3.) SIGUE SIGUE SPUTNIK – Bullet With Butterfly Wings
4.) DARK CORRIDOR – The End Is The Beginning Is The End
5.) 16 VOLT vs. SPAHN RANCH – Disarm
6.) RAZED IN BLACK – Cherub Rock
7.) ELECTRIC HELLFIRE CLUB – God
8.) PIG – 1979
9.) GODBOX – Frail And Bedazzled
10.) SHINING (Julian Beeston ex NITZER EBB) – Today
11.) ROSETTA STONE – Eye
12.) BELLA MORTE – Soma
13.) SYNICAL – Zero

Cleopatra Records:
http://www.cleorecs.com

Smashing Pumpkins – Official Site:
http://www.smashingpumpkins.com

Various Artists
Summon Room
a compilation of spoken word artists
~reviewed by Michael Otley

Imagine an underground network of musicians, poets, and other artistic individuals trading letters, zines, tapes, and other art through the good old U.S. Postal Service.  Snail mail arriving at your door or in your post office box in full vivid color, personal handwriting, tape-hiss and all.  There are people out there trading their own artifacts as we go about our digital world, and some of them put a CD together to share just a bit of their work with the rest of us.

Summon Room, subtitled "a compilation of spoken word artists" is indeed that, though I wouldn't say all of the contributors limit themselves to words.  There are quite a few songs here, most of which have vocals in a spoken word style to match the intent of the release, however, many of the tracks are simple interpretive readings of poems or stories.  Works on the album are philosophical, depressing, grotesque, lovely, and even funny.  Some fall into the "bad gothic poetry" category, while others are quite inspired lyrically and musically.  I find it difficult to listen to the CD as a whole, but do have my favorite tracks, and with the variety presented here, expect anyone to discover some tracks they really like.

Chris Bentley, founder of the harsh Plastik Acid and gentle Crescendo, contributes two tracks including the lengthy "Journal Entries of the Reverend H.G. Mortimer (deceased)", which is an effective and explicit reading with sound effects describing some disgusting thoughts of the fictitious Reverend.  H.M. Taite's lengthy track "Doppelganger" is another I couldn't stomach more than once, but for the deranged sadistic goth in everyone, it's pure pleasure I suppose.  Jarboe of the Swans reads a brief story, moments on a train near a suicide scene which is quite effective and not overly dramatic like some of the pieces here.  Chrystena reads the coming into being of a human life born into an unloving family quite effectively, again without dramatics.

Funeral Girl (Alicia of the long-running hard-copy Funeral zine) uses voice and tape manipulation to create one very beautiful piece ("Kids Eat Free") and one very humorous one, both inspiring.  Cpt. Nemo is something you might hear at a jazz poetry reading at a local coffee shop, with female voice reading over jazz drums, bass, and guitar.  You might find the hippie and humorous Laz at a coffee shop as well with male voice, bongos, and other instruments.  Lastly Full Blown Kirk's "Swinging at Night in a Schoolyard in October" is simply beautiful, with female voice and singing, tasteful drums, piano and flowing synthetics with bass, wow.

Tracks:
Tim Pak- Telephony
Ben Grmm- Crimson Sunset
Funeral Girl- Kids Eat Free/Spoken Word
Ericka Dearman- Sailing
C. Bentley- Journal Entries of the Reverend H.G. Mortimer (deceased)
Ben Grimm- Distorted Enlightenment
Nik Popa- In the Shadows of Light
Laz- Your Alligators
The Living Jarboe- Brain on the Tracks
Funeral Girl- Spoken Word (w/ Simon)
Cpt. Nemo- And in the End...
Ben Grimm- Crystal Clear
Aaron Geis- Ruins
Crowmaster- Circle of Insanity
Chrystena- Untitled
Cpt. Nemo- Nothing She Said
Laz- This Endless Stream
Aaron Geis- Gates
C. Bentley- Sweet Aries
H.M. Taite- Doppelganger
Ericka Dearman- Memorial Day
Full Blown Kirk- Swinging at Night in a Schoolyard in October

www.internaldeparture.com

related links:
Funeral Girl:  www.onlinerock.com/fans/funeralgirl/
The Living Jarboe:  www.thelivingjarboe.com
Full Blown Kirk:  www.fullblownkirk.com
 
 

Thorns Of The Carrion
The Scarlet Tapestry
~reviewed by Matthew

One of the oddest little ‘quirks’ about my personality is that I tend to grow animated and a great deal livelier the more depressive and sinister my atmosphere.  The darker, the bleaker, the better.   Hence, why my love of  apocalyptic folk, darkwave, and doom metal, as all three seem to capture a  part of my soul otherwise neglected.  But it’s the later of those genres  that truly silences my want of comfort.  Therefore, with manic glee I am  proud to present Thorns Of The Carrion’s two releases “The Scarlet Tapestry”  and “Eve Songs” as my picks of the month for February.

If you recall my “Hand Of Doom” article from a few issues back, this  Cincinnati outfit needs no introduction.  However, for those still curious,  Thorns Of The Carrion have been no strangers to the underground, and have  stuck to their burial shrouds in consistently unveiling earnest, elitist  doom metal since their debut demo release “The Gardens Of Dead Winter.”   With a sound then more akin to an icier “As The Flower Withers” era My Dying  Bride, TOTC gradually developed a bleaker sound which though still honouring  the expectant novelties of the doom metal genre, new ideas and subtle  infusions of other dark forms of art helped create a sound and atmosphere that can affectionately be called their own and took nearly four years in  the making.

The first result of their efforts and nocturnal reflections yielded  1997’s “The Scarlet Tapestry,” one of the most engrossing and articulate doom releases of the new genre.   Though released quite sometime ago, I wanted to revisit the album, as it is a release that I feel fans of doom simply must have in their catalogues.   “The Scarlet Tapestry” is a concept album, about 72 minutes in length with nine songs divided into three chapters.  The lyrical content is somewhat vague, yet by no means should the imagery and emotion behind them be misjudged.  The elusiveness of the lyrics help the listener and reader’s imagination to formulate their own interpretation of what these words mean.  Originally, lyricist and founding member Allen Scott planned to release a short novella along with this album, but both finances and the desire not to ‘tell’ their fans how to listen to their album prevented what could have been an eloquent rarity.  This tale is coloured by the morose motifs of Gothic literature, as well as late Renaissance battle hymns.  There are images of war, as the opening track seem to hint of and then a pining, macabre romance weaves its way in – a romance that transcends the earthly but has no more a divine result than what the Romantic failure could expect.  I dare say a vampyric element appears, though crafted with a surreal class and an eerie metaphorical subtlety, akin to the best of late 18th Century horror tales.

Thorns Of The Carrion’s brilliance stems from far more than just their archaic, beautifully decayed verse; the very same intellect and effort went into the composition and piecing of the music as well, which as the extensive liner notes reveal, some songs’ were turned inside out to be re-approached and assembled several times over the four years the album took to complete.  It seems that almost every minute detail of this album’s arrangement was heavily brooded upon so that when it did eventually see the light of day, it would be recognized as the masterpiece it is.

The formula was right, and I, like many, have been in awe of this album since the day it first graced my ears.  A minimalist, frigid production certainly lent its aid in creating the atmosphere of the CD.  Though some may profess that it could have been cleaned up a bit, the raw cavernous edge is integral to the mood.   The drums act as a silent thunder against a blackened tapestry of melody. The weighty detuned guitars ring out despairingly and the keyboards blanket the entire CD with ghostly breaths of synth, piano, and eerie church organs, paired often with Leslie Thomas’ Celtic harps and solemn flute passages.  Sound effects play a key role as well, as the distinctive sounds of gusting winds, storms, the crunch of winter snow, bleak chimes, and both the hushed sobbings and laughter of the female make their way to press upon the heart.

There are occasional passages that pick up in their intensity, punctuated by black metallish rasps and abrasive screams atop cacophonic death metal attacks – but these occur only when the emotion calls for it.  The majority of the CD plods along like a lost warrior in search of the perfect grave to find rest. With miserable guttural vocals broken by hopeless yet heavenly clean passages, unsettling Gothic grumblings and chilling whispers the tale is told with a storyteller’s majesty, its grip never waning for a moment.  Though three of the tracks exceed ten minutes in length, the monumental “Memories Forever Unadorned” nearly doubling that length, the album’s grip never lessens and your attention does stray too far.

This music elicits such an overwhelming and powerful melancholy within the listener, a reflective and warm sadness that conjures up personal thoughts that inquire into all matters of things, from the past, the future, everything.  It is a pensive and lulling release that not only spirits you through the memory-tombs of its authors, but it ushers you down into your own private mental catacombs as well.  This is not an unpleasant quality, it doesn’t at least in my case, summon bad memories, just distant ones, peaceful ones.  It’s difficult to explain it, but a dream-like paralysis overtakes you if you are willing to allow this music to master you.

The stronger the emotion and the more genuine its power, the greater a success it is to fans of doom.  I found myself moved close to blissful tears on several of the album’s highest points, most notably on “Bleak Thorn Laurels.”  Clean vocal leads seem to beg for an embrace, yet the very notes are riddled with the knowledge that such an embrace will be denied.  It’s utterly gorgeous and haunting, backed by dense guitar chords and cold, grey keyboards.  The acoustic ballad “Beautiful Thorns To Caress The Girl” has a wholesome warm tone that is crowned by heartfelt clean vocals and was easily another favourite of mine.

I was impressed on a multitude of levels with Thorns Of The Carrion – most importantly for their provocative music and eloquent lyrics, but also for the manner in which they present themselves.  Their detailed lyric booklets, amazing album covers, the informative press portfolio, and the fact that they are an unsigned band that handles all of their business and distribution duties themselves assures me that they take themselves and their art very seriously.  This is not a band that just tries to be depressing or dark in order to fit into a certain mold or comply to trend.  Instead they truly live and breathe their music, as these are their Romantic fantasies, the products of antiquated and enlightened minds that find a solace for the intensity of their emotions through music, and in the end, grant others with similar afflictions of the heart and soul something to comfort them as they traverse throughout this world.  This superior art form is as pure as it can get, and this release is but one of the best examples of its potential.

“There is no happiness or joy that is forever.  Everyone is touched by
sadness.  Within this context we create the sounds of our torment…though
faces and names change, we are all driven my mortality to mark our passage
in time.  In the only way we know how.”
     -- Allen Scott (April 1996)

The Scarlet Tapestry:
1.) Cry The Everstill Dream
2.) Tears For The Raven Muse
3.) The Tragedy Of Melpomene
4.) Bleak Thorn Laurels
5.) The Drifting Snow
6.) Beautiful Thorns To Caress The Girl
7.) By The Brilliance Of Candlelight
8.) Memories Forever Unadorned
9.) The Ashen Embrace

Thorns Of The Carrion (1997 line-up):
Matt Chapman: lead vocals
Adam Moses: rhythm guitar, backing vocals
Allen Scott: rhythm and lead guitar, acoustic guitar, and vocals
Ash Thomas: drums, bass, vocals, acoustic guitar
Leslie Thomas: flute, sopranino/soprano/tenor recorders, folk harp, and keyboards
Marquis Thomas: keyboards, vocals, rhythm, lead, and acoustic guitar
 

Thorns Of The Carrion
Eve Songs
~reviewed by Matthew

Having just left you with a heavy and lengthy exaltation of “The Scarlet Tapestry,” I wish not to burden the reader with more sympathetic rambling of another of this band’s masterpieces.  However, the EP that serves as a bridge between the band’s last epic release and the forthcoming full-length “The Shadow Masque” is an equal testament to this band’s exclusive position
as leaders of the current Gothic/Doom metal genre.

The five-track opus “Eve Songs” finds Thorns Of The Carrion expanding on its sound, with a crisper, sharper production and a greater frequency to indulge in faster, energetic moments.   Some hardcore doom fans have recently criticized the band for ‘giving in’ to playing fast, however, the band had always lapsed into more aggressive double-bass driven passages since their earliest releases, though now due to the production the intensity is more emphasized.  Though make no mistake, the mood of the CD is still one of doom to the core, as five songs alone tally up to nearly forty minutes and there is a plethora of brooding mid and slow tempoed dirges and frequent acoustic lead laments.  The clean vocals have improved significantly and are both stronger and emotionally assertive.  The riffs are memorable, the melodies divine, and the lyrical integrity still intact.  The track “Carmilla” is directly inspired by the ashen eroticism of Sheridan Le Fanu’s moody classic, and with its catchy chorus and blistering guitar riffing stands as the most memorable track on the album.  Closely on its tails is “Song For Lucretia,” a track that stands out for its mock ending.  Acoustic strums fade and as you wait for the track indicator to change from three to four, a pummeling tribal drum thunders through your speakers, and the song explodes, whipping the listener along a thrashy, black metal-esque climax, highlighted by a twin guitar harmony duel with a mischievous Mozartian flute passage.

The five songs comprised here fit snuggly together, creating a solid and satisfying listen.  Though I do not doubt this band’s appeal to doom fans, the more lively moments on the CD are reminiscent of Opeth for example, and I think that this would be the one release that fans of death or black metal would definitely toss a few coins to, as the sluggish doom paces are definitely offset and complimented by the surprising turns on the CD, not to mention the raspy vocals are quite blacker than ever before.

Though certainly not as oppressive or involved conceptually as “The Scarlet Tapestry,” “Eve Songs” is definitely a step forward for the band in terms of their sound and appeal to a wider audience.  The emotionally devastating melodies and moods are this time graced with an altogether different magick, yet not at all fallible.  This is another masterpiece of Gothic Doom Metal and I am in anxious anticipation for the band’s next full-length, which promises to be another in-depth release.

Eve Songs:
1.) Naomi’s Waters
2.) Carmilla
3.) Song For Lucretia
4.) To Covet The Dancing Wind
5.) Eve Of The Emerald Sun

Thorns Of The Carrion (2000 line-up)
Allen Scott: rhythm/lead guitar and backing vocals
Ash Thomas: drums and vocals
Leslie Thomas: keyboards, flute, and harp
Brad Howard: bass
Marquis Thomas: rhythm/lead guitar and vocals

Thorns Of The Carrion – Official Homepage:
http://www.geocities.com/carrionthorn

Thorns Of The Carrion – Mp3 Site:
http://www.mp3.com/thornsofthecarrion

Email:
bloodthorn@mailexcite.com

Thorns Of The Carrion
P.O. Box 3537
Cincinnati, OH 45201
USA

* Both the “The Scarlet Tapestry” ($12) and “Eve Songs” ($8) are available
directly from the band.  Inquire at the email address or web sites above!

Temple Of Misery
Misery Becomes You
~reviewed by Matthew

Next month will mark the year anniversary of the formation of this Dayton, OH outfit.  In that short time, Temple Of Misery has achieved for themselves a solid local fan base, a reputation for high energy and high quality performances, and they have released their debut recording “Misery Becomes You.”  Most newly formed bands do not make it this far along at all, let alone this rapidly, but due to a unique blending of style and a passionate conviction, Temple Of Misery are quickly climbing upward with no hint of slowing up.

Hoping to expand their energetic live show beyond the Southwest Ohio region, Temple of Misery has been shopping their six song ‘demo’ release to whoever will listen.  The release itself, despite a rather muffled sophomore production, is an impressive debut, for several reasons.  For one, the lead vocals of Lygia soar with a restrained operatic sentiment and instantly require the listener’s attention.  Exhibiting a wide vocal range and talent, she sheds the soprano for a darker angst-ridden alto that is comparable to the earliest days of Siouxsie Sioux paired with kArin of Collide.

Behind Lygia are five musicians responsible for catchy melodies, memorable rhythms, and an irresistible metallic groove.  Fusing ritualistic tribal percussion with live drumming, apocalyptic Industrial guitar assaults, and dashes of playful punk rock, a new breed of dark music is being produced.  This music is fresh, fun, and highly enveloping. All six tracks clock in at over six minutes, with the average being somewhere between six or nine minutes!  In no way is this music repetitive or boring, as the time flies by and its hard to believe the songs aren’t three minute radio friendly singles.  Such a lengthy epic quality is akin to European black and doom metal, but here it is conveyed through an entirely different medium and genre yet it is able to yield the same high brow and engrossing effect.    Temple Of Misery manage to outshine a mediocre production on this CD with music that is powerful enough to stir the imagination and pull you into their world and it only takes a few successive listens until you are completely hooked.

All six tracks have their own special qualities and are memorable in their own way.  “Invitation/Immortality” is a great track to lead the CD off with its intense and crushing intro that segues into a sly and slinky anthem.  “Killing Jar” houses some of the catchiest guitar riffs and harmonics on the entire album, as well as a good glimpse at Lygia’s dueling vocal styles, delivered through the manic volleying between mischievous operatic tones to a more aggressive chanted chorus.  “Symmetrical Devotion” utilizes clean guitar arpeggios and symphonic synths, and is at first somewhat reminiscent of The Gathering or perhaps a more lethargic Theatre Of Tragedy.  It’s quite cool, bordering upon Gothic metal but still retaining the rawness of Gothic rock, ending up a safe distance between the two.  “Blade Of Suffocation” picks things back up, a better example of the band’s fluid rhythmic abilities, capped by another snide punkish vibe.  Some great guitar riffing occurs here, but some of the harmonics are lost in the mix and excessive fuzz effect serving for distortion.  Not a large drawback, but something that will hopefully be fine tuned for the next release.  “Violet Dimension,” in my opinion the weakest song of the bunch, is reminiscent of Switchblade Symphony and has a slight darkwave vibe to it.  Something about the song just didn’t gel as much as others.

But “Misery Becomes You” closes on a resonant note, and if the prior songs didn’t offer an adequate claim for this band’s potential success, it is all summed up in the brilliance of “Without,” the closing track on the release.  Again, a loud “Juju”-era Siouxsie & The Banshees influence rings through not only Lygia’s vocals and the simple accentual 80’s chimes, but in Odd’s Budgie influenced tribal drumming, culled from the best Siouxsie & Creatures material.  The lyrics on this track as well shine bright, with a desperate plea from a doting lover to her indifferent object of desire.

“I could be your sanctuary/I could be the One you run to…but you won’t let her go” Lygia pleads, ending the song in a climactic outpouring of emotion “If you would just leave her/ We could be together/If you would just leave her.”  Simplistic certainly; able to speak volumes, there is no doubt.   This track alone recalls the best of early 80’s female led post punk outfits, and for that I am grateful for Temple Of Misery.

I think it is most likely imperative to see this band live, as a first-time studio experience seems to have limited their true capabilities.  This release serves as a sneak preview of what will arise from this band in the near future.  Keep an eye out for them and if you are a reader anywhere remotely near the Dayton, Columbus or Cincinnati area, check these guys out!

Track List:
1.) Invitation : Immortality
2.) Killing Jar
3.) Symmetrical Devotion (The Rayn Song)
4.) Blade Of Suffocation
5.) The Violet Dimension
6.) Without

Temple Of Misery is:
Lygia Travesty: Vocals
Rayn Maudlin: Keyboards, programming, sequencing, sampling
Razor: Guitar
Merydyan Moore: Guitar
Odd: Drums & visual effects
Cro: Bass

Temple Of Misery – Official Site:
http://www.templeofmisery.com

Temple Of Misery – Mp3.com Site:
http://www.mp3.com/templeofmisery

Torch
Gravida
~reviewed by Wolf

I miss being excited about new music. Sure, I purchase and receive my share of great new cds, all charming in their own way and displaying great talent and songwriting. There are many that deserve admiration and a constructive review, yet few evoke those spinal cord shivers. Do you know that feeling of discovering a new cd and loving it so much that you want to grab the nearest person and force them to sit down and share this discovery with you? I'm lucky, I've got the audience of an entire magazine within my reach. So I'm pulling your shirt, handing you my Sennheisers as I tell you, "This is Torch. Please listen to it...".

Torch is the solo-effort of Joshua Rowan. Not much else can be learned from the booklet of Gravida, except that he's apparently from St. Louis and signed to a label named Locuna. Well, I like enigmatic musicians, especially when they start off their cd with a monster of a track like "pillar song" and make it the unspoken statement that this is about music, and music only. The song starts off with a severely distorted melody of hypnotizing quality, soon enough joined by a dark, rich underlying sound, more distortion and what sounds like a thoroughly filtered guitar (a little like the sound in haujobb's Solid State Logic). Gentle piano parts join in, eventually exchanged for more straightforward percussion and the one line of singing in the entire song. Then a set of rich strings, the "guitar" returns, and you're pleasantly lost in this gorgeous 11-minute-long composition. It's one of those songs that's worth getting the entire cd for, even if the rest if filler. No filler here though.

"perfect skin" is mainly built around firm, distorted percussion and almost classical melodies surfacing at critical points. Twinkling bells give it a very surreal and paradoxal feel, pushing this beyond typical industrial classification. The trend of this track is continued on "new religion test drive", almost a crossover between powernoise and techno. The melody towards the end has a trance-like quality to it and dazzling pianos make this song equally unclassifiable. As far as the distortion goes, this cd definitely has its share, but Torch keeps things melodious and clear, making sure nothing is lost within an overdose of amplified filters.

On "lacuna" and "the ritual of putting on shoes" we find another side of Torch. The first song consists mainly of almost soundtrack-like piano melodies, delivered with great virtuosity and warmth. "the ritual..." starts out in almost similar fashion, but builds up to a powerful majesty of slow distorted percussion and tragic string arrangements. Amazing stuff.

"hopewell" brings more of this awkward yet elusive combination of distorted percussion and crystal clear piano work, while "grey and glowing" is one long hypnotizing melody of what seems a manipulated organ sample. Variation enough, especially with the raw "neptune drowning" kicking in right afterwards. Here Torch again balances quite aggressive elements with moments of serene melodies and underlying layers of electronic wizardry.

The untitled song number 9 is probably the most focused on sole distortion, yet guiding itself through discernable patterns and melodies at the same time. "blueline" puts things back on track, once again hypnotizing, filled with unusual percussion elements and distorted tastefully. The album couldn't end any better than with "we stain like grass", a slow piano piece of humble beauty.

What can I say? Please try this cd out. I'm feverishly in love with it (and at the time of writing I've only had it in my possession for half a day) and Torch is the prime example of why I write for Starvox. A talented musician like this needs to be heard, placed up there with the likes of Gridlock, haujobb and Index. The music has so many elements to it that anyone with a taste for great, innovative electronic music will find something in it. For samples, check out Locuna's web site.

I'll shut up now. But please, you've got to hear this. It's Torch. It's amazing.

Tracklisting:
01. pillar song
02. perfect skin
03. new religion test drive
04. lacuna
05. the ritual of putting on shoes
06. hopewell
07. grey and glowing
08. neptune drowning
09. [untitled]
10. blueline
11. we stain like grass

Band members:
Joshua Rowan

Additional info:
Label site: http://www.locuna.com
Contact: shawn@locuna.com
Torch: http://www.locuna.com/torch/
Contact: torch@locuna.com
 

Trail Of Tears
Profoundemonium
~reviewed by Matthew

Gothic Metal certainly doesn’t seem to be going away, and for that I for one am thankful.  Napalm Records has introduced another band to their roster, perfectly complimenting label leaders Tristania and Sins Of Thy Beloved and that ilk.  Trail Of Tears, an upbeat symphonic Gothic metal act out of Norway continue this popular genre’s forge ahead into the annals of metallic history.

Having come from the prestigious Dutch label DSFA Records (home to Within Temptation and Orphanage) this septet presents an interesting blend of mid-paced icy aggression with warm progressive atmospheres on their sophomore release, “Profoundemonium.”  Heavier, faster, and more avant-garde when compared to their debut release, 1998’s “Disclosure In Red,” this latest offering further expounds upon the elements of their debut, but with a more polished and focused musicianship and more advanced song writing craft.

It is becoming increasingly harder to review this music, as there is such an abundance of it.  To put it simply, without purposely insulting Trail Of Tears or their creativity, they easily fit into the mold of Gothic metal and are right at home on Napalm Records, as Napalm seems to be solidifying its own unique style of Gothic metal with its heavy weight bands.  Fans of this genre can count on what to expect from this, and new curious fans will quickly discover what is becoming known as the ‘Napalm’ sound.  Raspy daemonic growls are paired alongside deep and extremely strong operatic female vocals, withthe occasional clean vocaled narrative to cap off a backdrop of mid-paced power metal riffing, sneaky watery guitar interludes, and highbrow keyboard playing.  The female vocal performances on this release are not your run of the mill angelic coos, this is some serious operatic intensity, not high and piercing, but rather of a mid-range which boasts of a confident sincerity.

Trail Of Tears are a band I have kept an eye on since their debut, and I am excited they are now marketed by Napalm, as fans and collectors of Gothic Metal music will be able to add this to their collections much easier.  While not groundbreaking or that much different than other leading bands, Trail Of Tears still contribute their own unique flair to this style.  Definitely worth checking out.

Track List:
1.) Countdown To Ruin
2.) Driven Through The Ruins
3.) Fragile Emotional Disorder
4.) Profoundemonium
5.) Sign Of The Shameless
6.) In Frustration’s Preludium
7.) In Frustration’s Web
8.) Released At Last
9.) Image Of Hope
10.) Disappointment’s True Face
11.) The Haunted

Trail of Tears are:
Ronny Thorsen - vocals
Cathrine Paulsen - vocals
Runar Hansen - lead and acoustic guitars
Terje Heiseldal - guitars
Kjell Rune Hagen - bassguitar
Frank Roald Hagen - synths
Jonathan Perez - drums

Lead female vocals performed by: Helena I. Michaelsen

Trail Of Tears – Official Homepage:
http://www.redheaven.com

Trail Of Tears – Fan Page:
http://members.xoom.com/tot666/

Napalm Records:
http://www.napalmrecords.com

DSFA Records:
http://www.dsfa.nl/
 

Various Artists
Transcendence - a dark culture sampler
~reviewed by Wolf

A few years ago the first two Doppler Effect Records compilations (Undercurrent & Resurgence) brought several excellent artists to my attention. Undercurrent focused on electronic artists from the Portland area, while Resurgence brought two discs with music from both Oregon and Washington based musicians. If it hadn't been for these discs I could've missed out on the talents of lxl, Pet of the Future and Thine Eyes, to name but a few of my favorites. So of course I was quite pleased to learn that a new DFX compilation had been released, this time covering a larger part of the Pacific Northwest and filled with more tracks by my favorites off the previous compilations, as well as many other bands worthy of more exposure. For those of you unfamiliar with Doppler Effect, they're an Oregon based label dedicated to giving innovative electro & industrial artists more exposure.

Aggro-industrial veterans SMP start off the cd with "Finished", followed by Noxious Emotion who are approaching veteran status by now as well. The Tweek Mix of "Inertia" is a good example of their stripped-down ebm sound. "Antifreeze" is basically a whole lot of noise, produced by Alaska's Parallax1, but Pet of the Future definitely impressed me again, this time with the diverse composition "Torchlight". Great electronics, cool samples, nice piano parts and an awesome breakdown all add up to an excellent contribution by this one-man project. Speaking of those, Triple Point contributes the winter-mix of "Stolen", proving once more to possess a lot of talent. Time to track down some more stuff by this guy.

Lateral Tension present a high level of production with their dark and danceable "Pressure Device". Definitely one to try out in the club next time, which also goes for OMNIbOX, who show off with "Mediator". The singing could be improved on, but top-notch electronics here.

A calm and moody "Chance" by Tri-State Killing Spree (now known as 3SKS...good move, everyone kept expecting some harsh industrial band) brings a pleasant bit of darkwave to this compilation, almost Cure or Xymox-like. In the same vein is "Please", a slow and melancholy effort by Written in Ashes. It doesn't make the same impact as "Chance" though. 3SKS is definitely the one to keep an eye on.

Up next is the genius of lxl. The Unquiet Remembrance mix of "Scissors" already appeared on his Scissors ep, but it's nice to find it on here again. I've never made a secret of my admiration for this project (also see my lxl reviews elsewhere in this issue) and I would even go so far as to calling lxl the new haujobb, if a little more raw and unpolished. The vocals even sound a bit like Daniel's and that's never a bad thing. Other bands provide us with enough growling and screaming already. lxl makes another appearance on Transcendence as well, remixing "Altruist" by Fiercen with great skill and precision. Fiercen is Veronica Jayne, who also did the graphic design for this cd. Keep an eye on her as well...Fiercen's own material is pretty damn good.

I already had the pleasure of reviewing "-oend" by Thine Eyes/ml when I received a cdr of theirs last year. Excellent loungy track with frantic beats and a complex song structure. More variation to the already diverse mix on this cd. Another addition to this is Landscape Body Machine, delivering a good ebm track with "Subterranean 2", which could use better production but sounds very promising nonetheless. The rather strange "Throw Me a Line" by Diao left me unimpressed, but strange in a better way is "Sordid Illusion" by Attenuated Euphoria. Bizarre electronics and synthpop style vocals make for a unique contribution. Closing off the cd is mfd with "helplessrmx", a minimal composition of solemn pianos, eventually bursting into a chaos of percussion. Could be another Gridlock perhaps? Awesome track.

There's obviously a wealth of variation on this comp, even if most of the artists are mainly rooted within the industrial/electronic genre. This diversity is a plus for anyone looking to discover new/lesser known talent, but it also gives the cd a scattered overall feel. Production tends to be a little inconsistent throughout the disc, most of the time done nicely, here and there even of very high quality, but a handful of bands could use some improvement in this area. Luckily most of them make up for this with good compositions.

If you're tired of always hearing the same old bands, check out this cd (or Undercurrent/Resurgence), because it has several rising stars in the making on it. Cool stuff...definitely worth my $13.

Tracklisting:
01. SMP - Finished
02. Noxious Emotion - Inertia (Tweek Mix)
03. Parallax1 - Antifreeze
04. Pet of the Future - Torchlight
05. Triple Point - Stolen (winter-mix)
06. Lateral Tension - Pressure Device
07. OMNIbOX - Mediator
08. Tri-State Killing Spree - Chance
09. Written in Ashes - Please
10. lxl - Scissors (Unquiet Remembrance)
11. Fiercen - Altruist (HorrorsOfConscience) [remixed by lxl]
12. Thine Eyes / ml - -oend
13. Landscape Body Machine - Subterranean 2 (The Terraforming)
14. Diao - Throw Me a Line (Remixed by Generation Excuse)
15. Attenuated Euphoria - Sordid Illusion
16. mfd - helpessrmx

Additional info:
Official Doppler Effect Records site: http://www.sonic-boom.com/dfx/
Contact: dfx@sonic-boom.com

Band sites:
SMP: http://www.smphq.com
Noxious Emotion: http://www.noxious.com/
Parallax1: http://www.parallax1.com/
Pet of the Future: http://www.petofthefuture.com/
Triple Point: http://pw1.netcom.com/~dhinds/triple.htm
Lateral Tension: http://www.lateral-tension.com/
OMNIbOX: http://www.omniboxnet.com/
3SKS: http://www.3sks.com/
Written in Ashes: http://www.writteninashes.com/
lxl: http://www.audiophonic.com/lxl/
Fiercen: http://www.jayne.net/fiercen/
Thine Eyes / ml: http://www.thineeyes.com/
Landscape Body Machine: http://listen.to/lbm/
Diao: http://www.diaomusic.com/
Attentuated Euphoria: http://www.teleport.com/~synthboy/ae/
mfd: http://homestead.juno.com/a22151/

Translucence, Whisper Diminish
Tharsis
~reviewed by Wolf

Last year I wrote a feature on Nepenthacea, a Massachusetts based dark ambient/experimental/noise label. Their excellent cassette releases opened my eyes to some truly impressive music by a versatile line-up of talented musicians, on par with the likes of CMI. At the time their releases were all cassette-only, but this is now changing, with several tapes being re-issued on cd and new releases coming out in cd-format right away. All cds are cdrs, quite understandable since the label is independent and run by artists themselves.

Among the most impressive artists on Nepenthacea's sampler was Translucence, Whisper Diminish, a newcomer contributing to the cassette with the forlorn "3:09". A full-length release was to follow shortly and Tharsis is now finally available. Described as being thematically based around the element of water, the cd brings 7 atmospheric, instrumental tracks, all simply titled by their duration. This release is the first in a series of four, each focusing on one of the elements. Translucence, Whisper Diminish consists of Brian Goodhue (Line/Collision Sect) and Elysia David (Dreams of Abrasion).

[On a side note: the name Tharsis itself provides an interesting link between the elements. In 1972 geological mapping of Mars revealed an enormous lava plain, which was named Tharsis. It contains the largest known volcanoes in the solar system and it is speculated that the lava channels were formed by flowing water under different climatic conditions on the planet. Water manipulating earth and subsequently providing ways for fire to travel...]

The forlorn synths on Tharsis are produced with an almost liquid quality to them, quite fitting to the album's theme. The sensation of being submerged in water is conveyed through dense strings, echoing background textures and, on "5:41" for instance, hypnotizing electronic bass sequences. The water isn't always soothing however, its majestic power lurking on more urgent tracks such as "5:16" and "4:02". And on "4:01" it sounds mystical almost, a mind of its own at depths beyond our reach. The water is graceful and proud on "5:32", playful and kind on "4:41", but always with superiority. Of course this is all open for individual interpretation, but if invoking these sensations was the intention of the composers then they were highly succesful. Translucence avoids the pitfalls of the dark ambient genre by bringing structure and subtle melody to its compositions, as opposed to simply spewing forth a random outburst of sound and noise (which might be someone else's cup of tea, but I feel that there's more talent behind a release such as this). The music is enjoyable at many levels, open for wide interpretation and challenging to the imagination, evoking emotion within purely synthetic compositions.

Releases such as this present the finer subtleties of individuality, on the absolute opposite side of the spectrum when compared to the commercially infested and mass hysteria invoking insult to music called mainstream. On Tharsis there is true exploration, providing music that lasts and does not suffer from repetition or copycat antics. It is these humble musicians that
deserve our support the most, most importantly in the form of recognition. A label that barely charges more than production costs for their artists' releases can only have one agenda: bring the music out there, to mesmerize and inspire. Tharsis is the prime example of this, as well as Nepenthacea's finest release to date. If you have any interest in discovering this label's music, then by all means start with Translucence, Whisper Diminish.

Tracklisting:
01. 5:41
02. 6:18
03. 5:16
04. 5:32
05. 4:02
06. 4:01
07. 4:41

Members:
B. Goodhue
E. David

Additional info:
Official site: http://www.angelfire.com/music/nepenthacea/trans.html
Official label site: http://www.angelfire.com/music/nepenthacea/index.html
Contact: nepenthe@javanet.com
 

Vampire Nation
The Craft
~reviewed by Matthew

After a long hard road, it seems that at last, Vampire Nation, a dark ambient act central to Pittsburgh PA has begun to develop a style that will conjure some positive attention.  With last years “Wise Ta-Nech,” VN began to present itself as a more focused act, delivering memorable compositions with stronger beats, catchier melodies, and rhythmic hooks.  Upon the stage as well, VN were harder to dismiss and presented more solid performances, animated with a passion and intensity that was truly impossible to ignore.

With the latest endeavour, the Mp3 D.A.M. release “The Craft,” this prolific outfit is deep within the process of carving its own unique niche in the dark club music underground.  With a sound akin to Delirium, Enigma, and at times Lycia, newer Collide, and perhaps the darker more serene moments of Switchblade Symphony, Vampire Nation have without a doubt at least one bonafide club hit in the way of “Craft Of The Union” and another close on its heals, entitled “Trancision.”  The former, a sensuous darkwave swirl-fest is carried by the addition of the smoky alto vocals of Isis, who was recently welcomed into the band.  A good move, as her voice stirs up the music and keeps things from getting too ambient and ethereally engrossing.  However, the percussive attacks and electronic programming make the majority of this short concept album very accessible to club play.  But admittedly, the latter half of the CD veers off into more of a contemplative direction with less vocals and more instrumentals.

Fusing gothic moods, darkwave club sensibility, and ambient new age percussion, Vampire Nation’s newest release will easily appeal to the new school of dark music fans.  Where as many of the songs are rather short, it makes for an easy and enjoyable listen that is not too hard to absorb or take in.   If VN continues along in this direction, I see a very bright future ahead for the project.

   Check out the Mp3 page at the link below to hear the newer work of VN.

Track List:
1.) Adoration Unto Nuit
2.) Craft Of The Union
3.) Trancision
4.) Drawing Down The Moon
5.) Yaqui Tears
6.) Five Pointed Star
7.) Invokation
8.) Alchemy
9.) Spellbook
10.) The Crown
11.) Star Sapphire
12.) Tarot
13.) The Banishing

Vampire Nation is:
Frederik Von Hamilton: programming, keyboards
Isis: vocals

Vampire Nation:
http://www.vampirenation.com

Vampire Nation – Mp3 Site:
http://www.mp3.com/vampirenation

Vampire Nation will perform this March at GothCon in New Orleans
www.gothcon.com

Projekt's Winter 2000 sampler
~reviewed by Michael Otley

This Projekt sampler, available from the Projekt site for a mere dollar, is a good way to become introduced to some of the more recent material coming out of Projekt.  While Projekt's sound has vastly evolved over the years,  the material is consistently of high quality, and even if you don't love every new Projekt release, they're invariably worth a listen.

This CD begins with a track from Unto Ashes from the second Excelsis (Projekt's Christmas compilation) CD.  The song is simple, "Lord of the Dance" with acoustic guitars and quiet synth, very pleasant untreated female vocals with complimenting male voice on the chorus.  Audra follows with a song from their debut, "In Hollywood".  The song begins with an unobtrusive drum loop layered with acoustic guitars followed with a Peter Murphy type vocalist highlighted by synthetic stings.  Voltaire follows with "Anastasia" with his usual organic Human Drama-esque approach.  Faith & Disease's "Rubina Verde" from their Beneath the Trees, is one of the stand out tracks on the sampler, with Dara's beautiful gentle vocals and Eric's gentle and fluid electric guitar with complimenting cello and paced Low-style percussion.  black tape for a blue girl's contribution "Denouement" reminds me of chaos of desire era Black Tape electronics with piano, female voice, and electric strings.  Judgement of Paris follow with a track from their Archive re-release.  "More" is fairly representative (if one can represent their eclectic approach) with some sequencing of electronics, sensitive but strong vocals, and a touch of organics.  Area, probably my favorite of the Archive re-releases, contributes "Anyway".  Shimmery and wavy shoe-gazer guitars with almost yet reluctant 80's drums and beautiful female vocals gives me chills.  Mira's track "Alone" is another strong track with rising strings and following, more child-like, female voice, filling guitars and almost militant snare use.  A track from the Roach/Metcalf collaboration is of usual Roach style, reminiscent of his Kiva release with Michael Stearns and Ron Sunsinger, with more use of rhythm and less chaos.  The Fayman & Fripp sample, from "A Temple in the Clouds" on the album of the same name, represents well the thick sonic soundscape of the album once the track really gets underway.  And lastly is another of Projekt's new comers (though not new to the industry), Forrest Fang with "Some Unfinished Business" from his first Projekt release, utilizing sweeping synthetics behind almost awkward wind instruments; somehow appropriate.
 

www.projekt.com