This reviewer waits anxiously for each new Midnight Syndicate release simply because no one has yet to reach the benchmark of macabre and funereal orchestrations as Douglas and Goszka. By the time the listener hits track 3, you are fully enmeshed in this world, simply craving for more like an unbridled addiction. This duo clearly wants to give the fans the most for their money, as evident with each new release, and this one is no exception.

The cover artwork and insert graphic by Keith Parkinson and design by Mark Rakocy is delightfully macabre, that one can only hope this will be released as a poster at some future point in time. This artwork is a bonus that would make a great compliment to any gloomy style abode as well as to accompany this great ghoulish music.

It is no surprise that the vampire theme holds a great appeal for many people, particularly due to the metaphoric nature that can depict man and addiction or man as an outsider from the norm. Vampyre adds a bit more than just your garden variety of spookiness. There are clearly demarcations of bittersweet memories and forlorn emotions interwoven with some of the creepy elements. It is though we get a sense of the “life” of our undead travelers that flitter by in a subconscious way.

Without any authored prose or spoken dialogue to set the scenes as in previous releases, the macabre elements are given a three-dimensional aspect of the vampyric characters, deftly created via the utilization of sound alone. Any vocals that one hears, are simply mechanizations from the synthesizer, and not real, giving this the necessary otherworldly quality it needs.  There seems to be a bit more of a construction element delineated with this work, as the tracks are more in line with a cinematic rendition than ever before.

The opening track, "Awakening", brings the listener to the point of the nighttime, where our vampire is crawling out from the confines of his daytime slumber, sensing his hunger, urgency and need welling up within.

"Graveyard" intensifies the moonlit night, the foggy grounds and the surrounding graves. There is a bit of loneliness interspersed within confines of the dreariness,  which seems to bring the vampire to a more three dimensional level. We can identify with this metaphoric isolation that is overshadowed by years of bittersweet memory and longings that have gone unfulfilled.

"Unhallowed Ground" is bombastic, as though our vampire is fully cognizant of the eternal hell that he has been thrust into. Again, the orchestrations play with our emotions as we sense there is still that longing for the former world of love and laughter that is forever darkened by this afflicted curse, causing one to wander the night for time eternal.

"Crypt of The Forsaken" takes us to the confines with other like minds who similarly have discovered each other. This is an amalgamation of like minded vampires, some are friend while others are foes. However, it is their curse that keeps them bonded, as it is the only means for their survival.

"Winged Fury" creates the element of fleeting speed, as though our character must escape. Was there a diabolical foe in the preceding track who sought the death of our main vampire? His rush through the night is quite evident as strings highlight the elements of tension, dread, and at times excited exhilaration.

"Blackest Rose" is almost a vampires love song, if you can imagine that. There is an intonation of sweet somber sadness coupled with heartbreaking melodies and tones. Between the hissing in the night, the strains of the violin seem to beckon one forward, yet the bass line keeps a certain distance for fear of ravaging that which is too precious to violate.

"Ravages of Time" plods with booming orchestration as though one has been through centuries of damnation and accursed vitriolic barbs from the surrounding townsfolk’s and local church leaders. It seems as though one has reached the final straw just one century too long and is now at a point of anger and outrage. It is though the vampire enacts revenge on the accusers, making them just like himself so that they too can understand the curses they have wrought upon him, and now must subsequently suffer the same wrath.

"Catacombs" is a lilting dark piece with subtle decay. It is the place of solitude and peace despite the surrounding sadness. One can get a sense that the vampire surveys the life around him and must reconcile that this is indeed his fate forever more. His company is the apparitions at night, the dead and the dank cemeteries. His life is among those no longer of the corporeal realm, and it is here that he is safest from an unyielding world.

"Unseen Eyes" adds much more tension, as though something is about to jump from the lurking shadows. Thematically, one isn’t sure if it is the vampire who is about to strike, or an enemy who has been stalking and waiting for the final moment of attack.
 
"Undead Hunters" adds elements of tension and flight, as though we are privy to the vampiric midnight hunt. There is much action taking place, totally distinguished by the flux and rhythm of sound.

"Ancient Tomes" has a dark whimsical harpsichord effect with ghostly voices singing in the background. It is hard not to imagine a dark room in a haunted place, where one finds the answers secretly hidden among the discarded treasures. The tension and malevolence seem to coalesce as though the information is clarifying certain questions while also pointing out some other accursed secret that had been kept from the light of day for almost an eternity.

"Dusk" delivers wind effects in a barren landscape. One senses that another like mind is calling across the great divide, taunting the memory of our vampire who seems to have trouble connecting with these fleeting thoughts.

"Spectral Masquerade" is a macabre waltz, as though ghostly images and vampires alike seem to be in the throes of long gone entertainment and dancing. They are aware of this midnight vigil while in their departed state, yet it brings them some comfort to re-enact certain elements from a life they once knew.

"Vampyre" once again utilizes a wind-like sound effect with more chilling voices calling from the abyss. Pulsations of energy surround the vampire and then a booming, dark orchestration and vocal seem to be the harbinger of that which cannot die. He is an almighty creature of the dark, one who has withstood the test of time, death, village and church attacks as well as the loss of love and all that he holds dear. He is a strong creature with a semblance of right and wrong, but totally living in the gray area of life.

Once again, Midnight Syndicate has stepped up to the plate to deliver eerie music for those longing for those darkened tones. While the underground music scene is in a state of flux with all the disco goth, it is refreshing to hear that some hold the dark music to their hearts and are capable of delivering it back to those of us adoring this style.

The magic behind Midnight Syndicate’s music is the ability to create “soundtracks for the mind as well as the movie that has never been made.” However, all of Midnight Syndicate’s work is simply prime material waiting to be tapped for future film scores. Recently, the astute horror maestro and film director, Danny Draven, featured their music in his film score of Witchhouse 3. (Available for rental at Blockbuster or for sale at www.dannydraven.com) Hearing their work coupled with the marvel of cinema is a natural progression and transition for this work. Hopefully, more in the filmmaking industry will come to realize this as well.

If you enjoy really macabre sounds and orchestrations of a cinematic nature, you simply must seek out this release!

Midnight Syndicate is Edward Douglas and Gavin Goszka

Tracks
Awakening
Graveyard
Unhallowed Ground
Crypt of the Forsaken
Winged Fury
Blackest Rose
Ravages of Time
Catacombs
Unseen Eyes
Undead Hunters
Ancient Tomes
Dusk
Spectral Masquerade
Vampyre

Website: www.midnightsyndicate.com

Sound samples at www.mp3.com/midnightsyndicate

Neurotic Fish
Les Chansons Neurotiques
~reviewed by Mike Ventarola

If you haven’t heard of Neurotic Fish yet, in due time you will, as this is the new dance darling to hit the underground scene with a vengeance.  Right on the heels of the incredible Neurotic Fish release of Sushi, comes this new limited CD, Les Chansons Neurotiques. The talent of Sascha Mario Klein a.k.a. Neurotic Fish has been generating quite a bit of a stir and he is simply poised to be as popular as VNV Nation and Apoptygma Berzerk. I will even venture to state that his popularity could be as potentially enormous as Depeche Mode.

There is more than meets the eye with Neurotic Fish, from the double entendre of the band name, to the “EBM is dead” slogan that periodically crops up on the web page as well as in one of the tracks herein. Klein’s vocals do not have a great range, but he makes the most with what he does possess and is simply able to transport club revelers into another dance dimension. His singing style is rather comforting despite the intensity of the lyrical content. One must step back and delve into the psyche of Klein, who simply seems to be overflowing with unrequited love, heartbreak and disillusionment to also see the beauty beyond being merely a “dance” band.

"Startup" is simply what it states. 52 seconds of revving machines and gadgets that blend with music and a repeated welcoming introduction to Les Chansons Neurotique.

"Reinvent The Pain" is delivered with a similar sound to Depeche Mode. Klein manages to work the sentiment by also adding subtle background sound bytes that haunt us like a bittersweet memory. This is a highly club friendly track, yet the intent of the song and the pain with which it was crafted must have been during some rather desolate moments.

"Waste" grinds with a bit of electro-noise and blips at the opening, which then percolates with a dance floor frenzy beat. Klein’s vocals are smooth as silk and then further on are given the vocoder reverb effect. This track is an admonishment towards one who seeks the easy way of living in a world over run with complications and forestalled dreams and enchantments.

"Prostitute" is the current maxi-single seen on a multitude of playlists these days.   Prior to the thrust of this track, we are informed that “electronic body music is dead.” The title as well as the lyrics depicts a testament to selling out one’s mind. One can almost envision that Klein speaks from some personal incident where his own integrity was up on the whoring block in a less than noble world.

"Wake Me Up" was also featured on the Sushi CD with various mixes of the same song. This is still an incredible song that harkens to the listener that if this feeling of total nirvana and bliss is that which is equated to death, then don’t wake us from this perspective.

"Modulator" simply squishes electronic elements during the intro in a form of mechanical eroticism. This isn’t the strongest track lyrically, but it makes up for it by ensuring that the kinetic dance energy is maintained at a high velocity.

"Breakdown" demonstrates that before breakthrough, there must be breakdown. Klein poignantly gives a small discernment into this introspective parameter. The  high end notes shimmer around slightly compressed vocals, sounding like the voice within the inner ear, creating his “vision” of the sound of perception.

"Darkness/Influence" is a tirade against the machinations of the modern age. There is an accusation for the negligent loss of self, dignity and all that separates man from machine.

"Stop & Go" sounds as though one is simply drifting into space. A female voice calls out from the distance, though it is tough to discern what she is actually saying. It is as though her words are not as important as the feeling behind their delivery.  Just as we get comfortable with this floating sensation, some percussion is added, though it is not at a level that would be meant for a dance floor.

"It’s Not Me" is an angst ridden track. We are brought a little closer to the first person essence of the lyricist. Klein simply goes to the other side of the mirror to extract the embodiment of self as weighed against common perceptions of the “norm.”

"Inverse", as with many of the other included double entendres, takes us inward as a means of personal transition during the static movement of cognizance.

"Need" bluntly states “ I can’t move you if you are blind.” It seems as though Klein finds a great necessity with crafting songs that include a strong obligation to influence the world from within the confines of his perceptions.

"Velocity N2" questions the boundaries of a world that is speeding headlong into nowhere. In that duration, we are thrust upon the realization about “that which we want, we cannot be.”

Neurotic Fish clearly and expertly delivers dance music for the masses. Klein seems to dig deep within his own personal world to devise lyrics that are at once meaningful, yet loaded with double meaning and a slight touch of ambiguity. In some way, one cannot help but feel that in addition to entertainment, there is more substance beneath the surface of a decent dance track. Similarly, VNV Nation crafts some rather heady lyrics as well, however, theirs are more from a perspective of one viewing the world in all its madness. Neurotic Fish, on the other hand, seem to focus more on the personal madness from the uncaring and apathetic which is leached out into world.  Klein’s lyrics belie the potential that many of these elements may have been derived from a personal reference, either experientially or through observation.

As far as dance CD’s go, the majority of these tracks will fill out a night in a club rather nicely. The only shortcoming with this CD was the fact that the lyrics were not printed in the accompanying booklet. Considering there were quite a number of pages in the booklet devoted to abstract art, it would have been a bit more apropos to have also included the lyrics. Nevertheless, Klein’s vocals are clearly discernable throughout the disc, ensuring that repeated listens will have fans singing along in no time. If high intensity electronic dance music is your thing, do add Neurotic Fish on your next shopping spree.

Neurotic Fish is Sascha Mario Klein
Web site: www.ebmisdead.com
And also at www.neuroticfish.com
Dancing Ferret: http://www.ferret.com/discs/

Tracks
1. Startup
2. Reinvent The Pain
3. Waste
4. Prostitute
5. Wake Me Up
6. Modulator
7. Breakdown
8. Darkness/Influence
9. Stop & Go
10. It’s Not Me
11. Inverse
12. Need
13. Bonus: Velocity N2

Neuroticfish first came to my attention on Halloween last year. I was strolling through New York's lauded LimeLight, from one room to another. In every room, a different genre of music was playing. I finally emerged into the sanctuary of the church(club) and something stopped me dead in my tracks. But it wasn't long before it put my feet back in motion. I was later to learn that it was "Velocity," a Neuroticfish dancefloor favorite. Upon my return to Seattle, I purchased No Instruments, Sushi, and the Velocity single. I soon become an avowed fan.

So, the new album came as a surprise. My feelings about Neuroticfish Les Chansons Neurotiques are mixed. Nowadays, with decent equipment and skills, anyone can make music. There are very few that actually succeed on anything approaching a "professional" level. Crafting great dancefloor singles is almost another vocation altogether, from that of creating an albums worth of engaging material. The two aren't always mutually exclusive.

Les Chansons Neurotiques is an example of this. No Instruments was a pretty even album, where this album is not. Expectations inevitably run high when the only material you're exposed to while awaiting a follow up album, are singles that are generally of above average quality, and ep's. This album is thirteen tracks long. Two of those tracks are previously released, and the albums first single is a snore. "Prostitute" is a BIG, driving song that sounds like it should hold some kind distinction for trying so hard. Unfortunately, it ultimately disappoints for that very reason. "Reinvent the Pain" succeeds for not trying. I think the best course of action next time around, might be to just concentrate on an albums worth of original material. Sometimes the old adage less is more holds true. But, I digress. The following are my favorite moments.

"Inverse" owes a debt to Depeche Mode, and I'm not given to making comparisons. I mean that as the highest form of praise. Hell, Depeche Mode doesn't do Depeche Mode as consistently as they used to. This is Black Celebration and Music For The Masses era material here. This is my favorite song, I think. It's well written and paced. It's slow, poignant and mournful.  It's really a very beautiful song, very much so. I'm a sucker for a ballad...

"Reinvent the Pain" should have been the first single in my opinion. The intro may be too drawn out, but that shouldn't rule it out entirely. This songs pleads for a skilled remix, and if it gets it, it'll run roughshod all over "Prostitute." It's got a driving dance floor beat, lyrics and energy that any potential dancer could tap into. Dance is at its essence, a primitive release mechanism for pent up emotion. Nothing generates more emotion than the sado-masochistic returns of those involvements we love to hate.

I'm not sure why "Wake Me Up" off the Sushi ep is included here. There is nothing in the liner notes, that made mention of this being previously released material. But, that shouldn't take away from just how good this song is. With it's chorus of "Just remember what I said, don't wake me up when I am dead," this song just SOUNDS like the instant synthpop favorite it's become. The beat's there, it's interesting to listen to, and most importantly it's catchy. If you haven't heard it, this is a great first introduction, as is the new remix of Velocity.

While Les Chansons Neurotiques isn't fated to become a cornerstone of the synthpop lexicon, it does deliver as many moments of pure pleasure as one can reasonably expect from any album in the genre. It's also important to remember that experience is relative. Your enjoyment may very well outstrip my own. Thank you.

Track Listing:
1 Startup
2 Reinvent the pain
3 Waste
4 Prostitute
5 Wake Me Up
6 Modulator
7 Breakdown
8 Darkness/Influence
9 Stop & Go
10 It's not me
11 Inverse
12 Need

Neuroticfish is: Sascha Mario Klein

Web Site: Neuroticfish.Com
Dancing Ferret: http://www.ferret.com/discs/

Neuroticfish's Sascha Klein, is the same man that gave us the club thriller "Velocity," and "Wake Me Up" among others.

"Prostitute" is the first single off "Les Chansons Neurotiques." I touched on my first impressions of this song in
my recent review of the album. But, in this review we'll delve a little further into my impressions.

The single has 3 versions of "Prostitute" and the fourth song is "3 Minutes Breakdown." It left me wishing for a decent b-side. "Prostitute" isn't a bad song in and of itself. It is interchangeable with so many other songs just like it. The beats, tempo, and effects are incestuously recycled over and over again, especially in the Euro disco setting. It may be a particular styling they're partial to, I don't know. But, what makes this particular song so offensive to me, has to be the rhyming scheme. It isn't unusual, it's just more obvious and intolerable in this setting. It makes Klein sound amateurish, as this is to be expected from less experienced hands than his.

It may be just me this time around, but I have little praise for the album, and even less for this song in particular. The remixes did little to enhance this song's defects. I don't recommend the single, unless you're a diehard fan.

Track Listing:
1)Prostitute (Single Version)
2)Prostitute (NYC Club Edit)
3)Prostitute (No Pop Mix)
4)3 Minutes Breakdown

Neuroticfish is: Sascha Mario Klein

Web Site: WWW. Neuroticfish.Com
Dancing Ferret: http://www.ferret.com/discs/

Omnivoyeur
Making Cannibals of Birds
~review by Jezebel

Joe Pazo's work has been compared to Placebo and Depeche Mode and those influences are obvious. Yet - as obvious as they are - the inspiration doesn't seem to translate well into what is on the CD.

Another artist that seems to not only believe his own press, but has written it as well, there is, especially in Track 4, "Obligatory Witches", more drone and drag than there is substance and quality. Of course, this is not one of the "essential tracks," as indicated with a sticker on the front of CD, so let us go to these.

Track 1, "Purity in Pornography" is a listless start to the CD, more easy listening musak than music. As I am told that "love is masturbation" I try to listen to the music. Simple tune, with very little complex layering and this is as perhaps intended. But there is a fast difference between talented simplicity and simplicity because of emptiness. There seems to be no journey this song goes on, it is simply offered up, very simply and expected, in some way, I would guess, to intrigue me. Joe Pazo's voice is a soft whisper, which after a few bars gets tiresome and begs to be either released to actually go full voice or to be restrained. Perhaps these is a production choice, but just as when you can hear whispers and voices for a while and not make them out, this has that same eventually annoying quality.

Again - going to the "essential tracks," I click over to Track 9, "Waiting for the Hears" (oh isn't that oh so gothic?) which starts with a slight boppier sound, a dance song perhaps? But depressingly, this is a revamp of track 1, I am sure of it; the sound is so similar that I swear I could have played one right after the other without realizing it. And to me, in my opinion, although an album should have seamless transitions between tracks, they should not sound all alike. Wanting to prove myself wrong, I leave the essential ones and jump back to track 2, "This Blackened Hole".

But although ever so slightly more layered, tempo, sound, message seems to be essentially the same. No real transition. There is perhaps more of Joe Pazo whispering a bit more intensely.

Track 3, "The Last Day of the Rest of My Life", brings us a bit more electronic piano, but with one of the worst opening lyrics, "if you think that I care, well I don't, if you want me, to share, well I won't." More likely to be found in a teenager's letter to her or his sweetheart (or ex sweetheart to be)….I find this CD as trivial as it can be.

So - off to Track 4, more dismal than when I started to listen and feeling a bit sleepy from the lack of energy, focus, strength, and well, sound from the CD. It's more of the same, more of a pre-programmed (i.e. it came with the computer) drum beat, more of keyboards that are just really plunking and playing with cubase.

None of this music goes anywhere. It just keeps marching in place to rigid seemingly pre-programmed drum beats. It's hypnotic in the sense that it just drones on and on over and over again.

Here I am on Track #6 and I cannot for the life of me differentiate between the tracks. I skip to the final essential track, track 13, being "If You Bring The Night". Tick tick tick….nope, no difference. Just more of the same drivel.

Mr. Pazo should check out the artists that he, and some reviewers, have compared him to. All of these artists gave us complete and fully evolved CDs (for the most part) which gave us ebb and flow, different melodies, rhythms, sounds, effects. They lulled you to a peaceful place in one song, brought you up and dancing around your living room in another, transported you musically to a club in another, reminded you of a lost love you hate, a lost love you still love. All different, yet somehow unified.

This isn't unified, it's uniform.

Ominivoyeur is Joe Paxo

Track Listing:
1. purity in pornography
2. this blackened hole
3. the last day of the rest of my life
4. obligatory witches
5. already wet
6. torture by design
7. my last breath
8. everyone I've known
9. waiting for the hearse
10. give it up
11. portico
12. my gorgeous facsade
13. if you bring the night

Website:
www.omnivoyeur.com
 

Opium Jukebox
Never Mind the Bhangra: A Tribute to the Sex Pistols
~reviewed by Kimberly

This is not your mother's Sex Pistols; because, well, your mom was around to hear them live. Unfortunatly for those of us who were still in diapers when Sid took his final plunge, we have to be content with CD copies of Holidays and mp3s of "God Save the Queen (Symphony)". Never Mind the Bhangra is a refreshing change from all this. You just haven't lived until you've heard the Sex Pistols being covered with sitars.

Distributed by Caroline with no vocals, the album can only be described as post-modern muzak to be thrown on when one of your friends have come over with a joint and you want to impress them with your electic tastes while still being mellow. The album, produced and heavliy contributed by the legendary Martin Atkins of PiL fame, truly defies description. Inspired, interesting, deeply involving, I have to reccomend this one.

Unfortunatly, I couldn't find any information about this band online.  Not even a bio on Underground, Inc.'s website, though I could gather that Lee Fraser (Sheep on Drugs) and Bobdog (Dog Eat Dogma) are also part of the ensemble.  I did find a shopping cart through Underground for their first album, Music to Download Pornography By which covers songs like "Smells LIke Teen Spirit" and "Tainted Love" in the same vein as Never Mind. At $13 each, do yourself a favor and get both to add to your collection. This album rocks. Now scroll down to the link and buy it.

Opium Jukebox is:
Martin Atkins
Lee Fraser
Bobdog

Tracks:
1. Anarchy in the UK
2. God Save the Queen
3. Pretty Vacant
4. Bodies
5. Holidays in the Sun
6. EMI
7. My Way
8. Anarchy in the UK #2
9. New York

www.undergroundinc.com
 

Plaid
P-Brane
~reviewed by Dibrom

P-Brane opens with a Plaid-styled otherworldly melody.  Epic in nature and with implications of what's to come, it sets the stage for the rest of 4 tracks totaling 20:39 minutes of playtime.  Also present on this EP is a very nice video of the track "Eyen" off their last LP: "Double Figure".  I really enjoyed the inclusion of this because Eyen happened to be one of my favorite tracks off of that album.  Those who are curious can check out this video via the uber-cool warprecords.com website, along with loads of track samples from almost their entire catalog, including those from P-Brane.

Getting back to the music, the first track -- Coat -- follows its lovely opening with an almost funky groove compiled of rhythmic droning and buzzing sounds, blips, and some processed and instrumentalized vocals. All this trudges forward to create a nice dynamic sound as it begins to intersperse with a greater melody which is subtle, yet very mood setting.  Towards the very end of the track, the melody eventually overcomes all other aspects of the sound, only to fade away and be replaced by short-lived and minimalist glass-like tones, alternating in resonance.

Diddymousedid picks up where Coat leaves off and livens things back up a bit.  The track begins with somewhat subdued and toy-like notes which flutter in and out of the sound field.  Drums begin to build up momentum and simple repeating melody begins to form in the background, fortified by punchy bass notes and warm midbass synths.  Before you know it, the sound has become detailed and complex, all aspects colliding to create a rich and engaging experience.  At around the middle of the track, rapid drum rolls come in and out in short bursts giving a mechanical quality to the song.  Shortly following this development things begin to slow somewhat as, yet again, a strong melody rises up from amidst the mesh of activity to present a very strong and coherent feeling for the track.

Rapid clicks and beats, minimalist drums, hauntingly downtrodden melodies and various videogame-type sounds signal the start of Stills. Quickly entering the foray are short bursts of noise and sweeping tones which glide back and forth across the soundstage.  At about 1:30 minutes into the track, most of the other bits of sound subside and a single hollowed out tune begins to rise up.  This is perhaps the most beautiful sounding part of the whole album.  As this melody plays, echoes and reverberations add coloration to the sound and eventually the drums kick back in.  The sound progresses forward, creating a mood of amazement and wonder.  Other tonal arrangements join the mix and working up to the 4:30 mark, these create a complex web of sound.  Beyond this point, everything drops out into a barren, drum-driven effect which rolls back and forth with various finely detailed packets of sound as they work their way back into the track.  Ending out the track, the original melody once again presents itself before the sound stops entirely.

Swirling noise, beeps, racketing sounds, laser effects, and backwards driven tones coalesce to form Mfaus.  Before long, once again this seemingly chaotic mess of sound takes shape and presents a coherent rhythm and beat to focus on.  Organic tones, bouncy synths, and hissy cymbals take turns playing out within the track.  Bell like tones in the background rise to the forefront and give the otherwise relaxed sound a bit of seriousness and urgency.  These are quickly replaced by a rumbling and scratchy sounding overdriven noise part which displaces all other tones and leaves only it and the drums.  This effect basically builds up anticipation and anxiety until it stops abruptly, and the album ends.

This EP is incredible.  I thoroughly enjoyed every aspect of it.  The production is excellent, the presentation and composition is detailed and highly fulfilling, and even though it's short, it offers an amazing journey through its 4 tracks.  The only problem now is that I can't wait to see what comes next from Plaid.  Definitely recommended.

Track List:
1) Coat
2) Diddymousedid
3) Stills
4) Mfaus

Plaid is:
Ed Handley
Andy Turner

Warp Records:
http://www.warprecords.com
 

Rajna
The Door Of Serenity
~reviewed by Matthew Heilman

I first became acquainted with this band via a Projekt Records re-release of the band’s debut album Ishati.  The widespread success of Dead Can Dance has put this kind of dark ethnic world music on the map, but I was singularly impressed at the ritualistic and remarkably creepy approach toward Eastern music that characterized Rajna’s first CD.

I missed the second and third releases (Yahili and The Heady Wine Of Praise, respectively), and I am not entirely sure that they were even readily available in the U.S. until only recently.  But I received The Door Of Serenity, the band’s fourth effort released last month, and though only a minute change, there is a notable difference between the two albums familiar to me.

The most obvious difference is that The Door Of Serenity is not nearly as unsettling, or as dark as “Ishati.”  The music seems to have acquired a more sensual and Romantic exoticism, as well as a fuller more technically advanced production.  Where as there was something arcane and esoteric about “Ishati,” I find this album to be much more accessible, not nearly as foreboding and more akin to mainstays like Enigma and Vas in their lighter approach.  Regular readers of my reviews (if indeed there are any?) know what I will say next: I preferred the darker stuff.

With Dead Can Dance’s success, this music has been in constant reinterpretation for years, and certainly there is a surplus in this music.  While I do like this album, and recommend the  more emotionally powerful moments, as best heard in the hammer dulcimer lead tracks like “Belorbai,” “Whirling Souls,” and “Dervishing,” I was a bit disappointed in the more frequent inclusion of drum machines and synthetics.  I can’t help but feel it negates the purpose.   Perhaps Rajna were opting for a unique pairing of traditional Eastern arrangements and Western electro, but something about that just rubs me the wrong way.

The music this time around seems lighter, less profound and not nearly as passionate.  This is something you can leave on in the background and indulge in whatever quiet pleasures the moment call for.  But the band’s past work, I feel demanded much more of the listener’s attention, and the sheer density and depth of their early work was unsettling and at times pleasantly overwhelming in its intensity.

Perhaps if I never heard “Ishati” I would have been less biased toward this album.  The Door Of Serenity still offers impressive arrangements of both haunting female voice and male whispers.  The instrumentation outshines practically every current ‘dark’ music act that relies so heavily on synths and the latest beat box.   And without question, the atmosphere succeeds in summoning sun-scorched deserts, musky seraglios, and all the voluptuous delights of the Orient.  I believe this band is French, so indeed their imaginations are commendable and their research well rounded.

I can’t see why fans of dark ethereal or ethnic based music would not thoroughly enjoy this.  I personally would like to hear a return to the more sinister pastures or perhaps even more emotionally provocative realms of the band’s debut release.  But Rajna is still a noteworthy outfit contributing to this flourishing tradition, and not just another Dead Can Dance clone.  There are moments of sublime transcendence to be found in this disc, but they are not as consistent as the past and though a better produced CD and showcasing an obvious technical development, the material is not as strong and I don’t think Rajna was as attentive to the fine detail this time around.  Perhaps their moods will be a bit blacker, rhythmically aggressive, and more daring on the next release.   Despite my minor grievances, The Door Of Serenity is the perfect album to expand the CD collections of Rhea’s Obsession, Dead Can Dance, and Hagalaz Runedance fans.

Track List:
1.) Djalambo
2.) Belorbai
3.) Tore Sensuous
4.) The Door Of Serenity
5.) Elisia
6.) Whirling Souls
7.) Masati
8.) Dervishing
9.) Into The Dream
10.) Shalim Dhar
11.) Djalambo (Reprise)

Rajna is:
Gérard - Yang T'Chin
Fabrice  - Percussions, strings
Jeanne – vocals

Rajna:  http://www.rajna.net

Holy Records Contact: holyrecords@wanadoo.fr

Available through Projekt Records: http://www.projekt.com
 

Various Artists
Ramones Forever - An International Tribute (Radical Records)
~reviewed by Steph

They came from all over - Belgium, Greece, France, Hungary, Peru, The Netherlands, Germany and the USA - to pay tribute to the mighty Ramones.

Tribute albums are strange beasts, and they seem to be increasingly popular these days. A nice idea in theory, they're uneven at best in practice, often depending upon the band being paid tribute to. Some forms of music lend themselves better to creative reinterpretation than others.

Straight up rock n' roll can be swung any number of different ways, and if done correctly, so can punk. The liner notes reference a mish-mash of styles ranging from "Lo-Fi Electro-pop..to Lounge to all out wierdness". The most successful reinterpretations on this album are the ones that respect the basic three chord structure of the songs. Anything else is like trying to put a frilly pink dress on over a pair of faded jeans and a black T-shirt.

The Dirty Scums have the right idea, and they smash their way through a Ramones Medley with endearing exuberance. 5 Cent Deposit also get it right with "We want the airwaves", as do Golden Green with "I Wanna Live". Skunk's swinging ska version of "Pet Semetary" is eccentric enough to be entertaining, and De Bossen's gentle surf approach, with 50's style backing vocals, to "Little Ramona" is strangely touching.Bad Preachers take a slightly more hardcore approach to "California Sun", and Cortina gives "Danny Says" a low-key grunge spin. Incredibly, a Peruvian version of "Beat on the Brat" (Ik Stoeg Haar Half Dood) works perfectly with the original guitar chords, and is really bouncy and fun to boot.

A sweet-voiced female French version of "Ta Petite Amie (I Wanna Be Your Boyfriend)" is unrecognizable as a Ramones cover, and so completely misses the point. "Blitzkrieg Bahn", by Sherman featuring KPW, somehow mixes a Reznorized Blitzkrieg Bop in with Autobahn, and the result is downright irritating. No Bluff Energy's Devo-esque rendition of Psychotherapy strips away all the mad energy of the  original.

Of the 23 tracks on the CD, at least two-thirds are well crafted, entertaining listens. Just program out the others, and you'll have  a genuinely inspiring tribute album on your hands.

Track Listing
Ramones - 1-2-3-4
Golden Green - I Wanna Live
Neven - I Wanna Be Sedated
Sherman Featuring KPW - Blitzkrieg Bahn
Mika featuring Jah Paul II - I Man I Wanna Sniff Some Glue
The Dirty Scums - Ramones Medley
Davo Vermeersch - I Wanna Be Your Boyfriend
La Fille d'Ernest - Ta Petite Amie (I Wanna Be Your Boyfriend)
5 Cent Deposit - We Want the Airwaves
Skunk - Pet Semetary
KPW - I Wanna Be Well
Bad Preachers - California Sun
De Bossen - Little Ramona
Da Lama's - Ik Stoeg Haar Half Dood (Beat on the Brat)
Marky Ramone Group - I Don't Wanna Grow Up
Fezz - I Believe in Miracles
Club Diana featuring Neef - Here Today Gone Tomorrow
JMXW - I Don't Wanna Walk Around With You
Cortina - Danny Says
Huntingtons - Life's a Gas
Daan - Somebody Put Something in my Drink
Ramon Da Silva - 53rd and 3rd

Contact Info
http://www.radicalrecords.com/pages/ramones.html
www.radicalrecords.com
info@radicalrecords.com
 

Regan
Sellisternia
~reviewed by Jezebel

As a wiccan myself, I am always looking for good pagan inspired music for not only ritual but for just, well, just listening to.

Those that have done it well, like Inkubus Sukkubus, Rhea's Obsession, The Shroud have been able to incorporate pagan principles, mythologies and principles seamlessly into music perhaps because the ideas are so musically magickal in themselves, why shouldn't they?

But, a cynic I am when it comes to music and when this CD came in the mail from Blu, I raised an eyebrow. This was a different approach, more tribal, trance and techno; I couldn't see it working somehow. Bleep bleep and the Lord and the Lady? Um….no.

Although on a more dark (but not the dark side) side of paganism, this CD has all the makes of pagan dance music. Sexy lyrics ("I am sex personified, I am lusciousness defined" from Temptress) with strong, powerful bass beats (in I am Your Garden) are mixed in perfectly with middle eastern influences and medieval tones.

I can see myself dancing quite happily to "I am Your Garden", the second track of the CD. This is one that, without remixing, could easily be placed in a DJs hands and then into the ears of a grateful club throng. Undulating sounds, interspersed with softness and luxury, the song is a wave and a journey.

Quite a number of instrumental tracks here, and unlike some, where they are superfluous, these just keep the flow going, another reason to continue.

I love "Interrogated"….love it. Who figured out a unique way to pronounce scrutinize?? Its play of syllables gives one laugh as we get a Toni Holiday/Curve sound. Once again, completely intoxicating and danceable. "Le Secret Douloureux" is all in French and I must say, my French is limited to ballet terms. But this is another sexy offering from Regan, whispering, like a serpent going quietly and unsuspectingly up your leg, I found myself really experiencing the movement of song, the sexiness and sensuality. Don't ask me what the hell the song is about…..just listen to it.

I am not a fan of techno by any means. I would rather have my teeth plucked out one by one than listen to techno music. But this is techno done right. This is not just pre-programmed crap that is being re-looped continually while some rather uninspiring singer waxes on off key. There is thought to the music. "Angel Eyes" is amazing as it seems to have a jazz edge to it with backbeats behind. Sexy and done so well, that it seems that refreshing and welcome.

Regan has a gorgeous voice, rather siren-like which is also showcased in Angel Eyes. Actually, I would love to hear her attempt some 40's scorching ballads…she has the voice and talent for it.

Undine may not take me underwater but it does give a nice resting place to the CD, enough to catch your breath.

One thing I don't like about this album is almost silly. The liner notes and the track listing do not match. I hate scuttering back and forth trying to figure out what is what and when and where. Only complaint.

This is a sexy pagan album that will definitely appeal to non-pagans. It has grind and grit to it with a melting that is palatable.

Go get it….run around naked.

Regan is:
Chris and Regan

Track Listing:
1) Hallowed Ground
2) Opium
3) Creepy
4) I  am Your Garden
5) Interrogated
6) Le secret douloureux
7) Angel Eyes
8) Undine
9) Temptress
10) Oblivion, 1st movement
11) Oblivion, 2nd movement (instrumental)
12) Airetaina

Website:
www.high-pirestess-productions.com

Scissorkiss
I Want To Believe EP (Silent Noise)
~reviewed by Uncle Nemesis

I'm a sucker for a good slogan. Here's how Scissorkiss describe their music: 'Electronic Rock...Go Ahead...Do the Robot.' That's rather neat and witty, as slogans go, isn't it? It's the 'Do the Robot' bit that really makes it. But what does it tell us about Scissorkiss? Are they a bunch of Kraftwerkers? Well...no. They're far more organic than that.

Here comes the in-a-nutshell description: Scissorkiss mash up forceful yet economical new-wavey guitars (no gratuitous flourishes here, and definitely no solos) with bubbling electronics, and an implacable, unrepentant, drum machine sound. It's actually rather post-punk - think of early Human League: that sort of era and area. The giveaway track, as far as influences go, has to be 'Dream Of Razors', which has a beat suspiciously like the League's 'Being Boiled' (original 7" single version, naturally). The guitar sound chops and changes - the guitarist must be dancing on his effects pedals here - but eventually resolves itself to something akin the harsh slab-o-guitar of the Gang Of Four. A sudden squall of electronics blows up mid-way through, like AM radio atmospherics. Meanwhile, just to complete our 80s-alternative influences, the vocalist has that detatched, plaintive style which reminds me of Natalie Merchant. Listen to 'Hope' by Scissorkiss up against 'National Education Week' by 10,000 Maniacs, and...well, *I* can hear it. And, as it happens, I rather like it.
 
'Saliva' is the nearest thing on this EP to straightforward modern electro-dance stuff: maybe that's why it's the first track. Perhaps Scissorkiss are trying to draw in the listener with something relatively accessible before they delve into the box marked 'arcane influences' and really let themselves go. 'Believe' is all layered guitars and a wail of a vocal...and some Star Wars samples. The chorus, which is nailed to a frighteningly huge rock riff, builds and builds, before chopping off short. Scissorkiss are never less than totally in control. I get the impression that if a stray piece of feedback escaped from the guitar, they'd have an inquest to find out what went wrong.

'The Lasting Effect Of The Butterfly' wraps things up with a thoughtful instrumental, given substance by lo-end piano and a nagging, repetitive, three-note guitar figure. It's far more engaging than most bands' attempts to 'go ethereal'. Good stuff.

There's obviously a lot going on in ScissorkissWorld: a lot of ideas, a lot of influences, all of which are somehow resolved into music that'spunchy and effective. Sometimes they sound like it's 1980 all over again, but that's no bad thing. That era of post-punk innovation was an exciting time for anyone interested in music. Scissorkiss manage to capture a little of that essence, and bottle it under an Appellation Contrôlée that's distinctly their own.

The tunestack:
Saliva
Believe
Reckoning
Dream Of Razors
Hope
The Lasting Effect Of The Butterfly

The players:
Liz Amadea Nickrenz: Vocals
Matthew Fuller: Guitars, programming
jhimm:  Guitars, programming, backing vocals

Scissorkiss website:  http://www.scissorkiss.net

Reviewed by Uncle Nemesis:  http://www.nemesis.to

Electronic rock can often be either a cantankerous howling sea of enjoyable lunacy, or something which has a serious chance of commercial crossover, and when you are almost immediately greeted by the brilliant voice that appears in ‘Saliva’ you figure the latter, once you get past the fact it sounds like Orbit-era Madonna. Then you notice what a cool, clear song this is, with the music mirroring but not simply aping vocal inflections, and accept that means clever, classy, stompy stuff, which is energetic and attractive, but it’s not making the right moves, yet. They have bright ideas and good words so, sensing greatness, it jolts you upright, but we live in times which demand a full-scale vision and Scissorkiss don’t have that. They’re at an experimental stage. When ‘Believe’ turns out to be mean and moody, ultra-crunchy and sort of perky, you starts to wonder just who they are.

Well, it turns out vocalist Liz Amadea Nickrenz met guitarists/programmers Mathew Fuller and the strangely named jhimm through  the Goth scene, although they profess influences in  synth-pop and hip-hop, while Liz has a folk background. This even makes sense when you see how their songs develop.

‘Reckoning’ dips on the interest spectrum when you see the importance afforded the nicely rolling vocals, as we the listener are ushered into hushed surrounds and the music becomes calmer as she’s off on a delicate vocal path, with her pretty, prim voice, as some downwards 80’s Goth guitar can be heard. It’s either ‘Rhiannon’ turned into demon form, pulling their strings or, as the intro to ‘Dream Of Razors’ suggests, they’re turning into All About Eve! Then ‘D O R’ stops all the ooh ahh oaoaoaoa, and they don all-purpose boots for a splash through darkened sludge, with higher vocals and skinny riffs. So there’s a dilemma. It is great fun, and music to be drawn towards, but they need to develop, thicker skins, because they can clearly create great dark sculptures, and this is often a mish-mash.

(I did try to ascertain what the relevance of razors might be in dreams but the nearest I got what knives, which had a strong sexual element, or issues of inadequacy, even betrayal, but also hidden insight. Stranger though is scissors which apparently means cutting something out (ho ho) of your life, and transforming a current situation. I hope you feel all knowledgeable having learned that.)

‘Hope’ boasts a beautiful bass, and fluttering sounds, with succulent vocals, but where’s this rock element we were promised? The guitars remain polite so the vocals are fully accommodated, whereas they could at least try and make her work harder. She’s occasionally semi-strident but there’s a tendency to under-do the intensity which is infuriating. ‘The Lasting Effect Of The Butterfly’ has delightfully Goth keyboards but isn’t actually fluid enough for dance, as once more they strive to ensure the quality of voice survives to enrich the mix, by not having to compete in velocity.

Still, I’m convinced, and excited that an album is going to be with us shortly.

Liz Amadea Nickrenz – vocals
Mathew Fuller – guitars, programming
Jhimm – guitars, programming, vocals

1 Saliva
2 Believe
3 Reckoning
4/5 Dream Of Razors
6 Hope
7 The Lasting Effect Of The Butterfly

http://www.scissorkiss.net

Satellite Dub
Sessions #1: Volume is Necessary
~review by Kevin Filan

Many of yesterday's Industrial DJs are now promoting their Psytrance or Intelligent Techno collections; what was once Goth has suffered a sea change and become Worldbeat or Electro.  The Synthpop invasion was just the beginning: today the Gothic/Industrial scene finds itself facing Dance music.  Despite all the sneering "PLUR, dude"-isms you may hear among the black-clad set, much of today's Goth music is firmly rooted in Raver culture ... trance music in a minor key for "Graver kiddies" waving glowsticks and wearing baggy black vinyl pants.

Craig Brown, the man behind Satellite Dub, is a child of this era.  His Sessions #1: Volume is Necessary is heavy on Triphop and Electronica and light on the Standard Gothic/Industrial cliches... yet wouldn't seem out of place on the dancefloor of any New York Goth club circa 2002.  Like it or hate it, it's a sure sign that things ain't what they used to be in the land of lace and eyeliner.

On his website, Brown lists Krautrock and avant-garde composers among his influences.  He should give a nod to Curtis Mayfield, James Brown and the luminaries of 70s funk/soul.  On "Chemical Intervention" and "Reflecting Skin" Brown plays guitar the way Maceo Parker plays horns; he doesn't create a rhythmic line so much as slink in between the notes, firing rimshots off rimshots.  His hard, angular solos underpin the synthesizers, while the sharp syncopation keeps things moving along.  Brown started his musical adventure as a guitar player, and, indeed, the best moments on this CD are typically the ones where he brings his guitar skills to the forefront.

Brown also has a feel for slow, lush music ala Air or some of the Paris loungecore DJs.  On "No Questions," Brown's heavily treated vocals flow heavy as chocolate syrup over ice-cream synthesizers, while the synthesizer-beatbox interaction of "Juxtapose" almost qualifies as foreplay.  It has the finger-snapping easy-listening joie de vivre of the best João Gilberto CDs: music for a 21st century Girl from Ipanema.

While this CD avoids the Standard Goth Cliches, on occasion it falls prey to the New and Unimproved Electronica Cliches.  The samples of fundamentalist ranting which underpin "Jesusfreak Part 1" have been done before, and better.  (i.e. Godspeed You Black Emperor!'s eerie and heartwrenching monologue-and-violin interplay in "Hung Over as the Oven in Maida Male").  Instead of rehashing Ministry-era cliches, Brown should let his fretboard do the talking: the funky guitar line is by far the most interesting part of this song.  I'd also like to see Brown do a little more vocal training: barring that, I'd like to see him gain the self-confidence to sing without so many effects.  Still, this is a well-done CD.  It may not be Your Father's Goth ... but it's got a good beat, you can dance to it, and it includes at least two good makeout tracks.  How can you go wrong?

Tracks:
Decks N Dialogue
Jesusfreak Part 1
Chemical Intervention
No Questions
Juxtapose
Already Forgotten Your Face
Cubed Shark Buddha
Reflecting Skin

Website: www.satellitedub.com
Email: info@satellitedub.com

Satellite Dub is Craig Brown: synths, samplers, beats,vocals and guitar
 

Sound Disciples
Audio Manifesto
~reviewed by Matthew Heilman

Sound Disciples is a trio based out of England, that harvests elements of urban electronics to flesh out rather accessible dark alternative metal.  A rather odd choice to be released by Peaceville Records, long known for its contributions to the genres of Death Metal, Gothic Metal, and Doom. But there is certainly nothing wrong with expanding boundaries a bit.  One of the first things listeners will immediately notice about this band is the diversity in their overall sound.  Their style seems to be have pulled stylistic elements from Massive Attack (who lent their drummer Ian Matthews for session work on this album), newer Paradise Lost, Alice In Chains, Monster Magnet, and the more mature aspects of Korn.  I hate to rely too much on comparisons to other bands, but in all honesty, I haven’t heard such a seemingly unlikely blend of familiar musical elements brought together in a single band like this in a great while.

The Sound Disciples have enough of a metallic crunch and genuine heaviness that they still have a firm root in the underground.  But simultaneously, there are a lot of catchy pop hooks and rock radio friendly angst.  And though there is a marked techno/dance influence and use of electronics in the band’s music, the result is not a club ready dancebility, but rather just a kind of tweaking that gives the music a 21st Century feel.

Thematically speaking, the band lists “Love” as a non-musical muse – the “Fear of. Loss of. Joy of. Lack of. Pain of.”  I can dig that.  And indeed, this may be a record label first – providing a press release that actually offers insight into the band.   Apparently, throughout the recording of this album, there were numerous deaths in the band’s immediate families, one of their fathers had two severe strokes, one member’s child was born immaturely, a gang killing occurred outside of the studio, romantic relationships fell apart, the Sept 11 attacks happened, and finally, the choir slated to record for the album pulled out at the last minute as a result of the band’s explicit lyrics.   Damn – you can’t help but feel bad for these guys and of course, the label’s secret plan all along, the listener has a preconceived sympathy for the band.

So with all the misfortune these guys faced, with all of the pain and negativity that surrounded them, I can’t help but feel that this album could have been a bit more emotionally poignant?   Something is really missing here for me.

While the opening track “Deluxe Poverty” starts things off on a high note, with its upbeat organic drumming, in your face detuned guitar crunch, and gritty lyrics – it quickly fizzles out and the listener might get a little impatient.  “Daze Of Grace” is one of the highlights on the album – a slower paced tune with great full orchestral synth arrangements ghostly drifting above subdued trip hoppish electronics, and smooth male vocals which are unfortunately joined by some mediocre female back up vocals for the chorus. Aside from the accompanying female voice, the song is a chill darkwave-ish number that could probably creep it’s way into a few Goth DJ’s playlists.  It is on this track that the Paradise Lost influence is at it’s most prominent.

“Reject” was a jarring and unimpressive follow up – very nu-metal in it’s inclusion of DJ scratches and rapped vocals for the verses all atop crunchy power chords and rhythmic grooves.  My impartiality to this track is not because I’m a Goth/Metal fan that dislikes Rap, but because there was a time about a decade ago where this kind of music was interesting and cool.  (Anthrax, Rage Against The Machine, and Biohazard all spring to mind)   But then the edge of this kind of music was watered down, Limp Bizkit, Kid Rock, and Mudvayne and all those bands came along and YOU CANNOT ESCAPE this music.  It is forced down your throat and the novelty is long worn off.  The vibe of this particular Sound Disciples song basically recalls the vibe of contemporary alternative rock radio and everything that is wrong with the rock mainstream.  So I can’t just give it my thumbs up.

“Trilogy” continues the on/off pattern that characterizes this release.  A darker track, with some eerie synth effects and a head bobbing dark metal groove, well-balanced in it’s appeal to both metal kids and the mainstream.  But unlike the prior track, there is a more apparent passion and just plain interesting arrangement going on here.  Not a bad effort at all.

“End Of An Error” and Nine Days” introduce some acoustic guitars and dare I say, more ‘funky’ rhythms.  The most commercial songs on the album, they are also the two most uninteresting and the easiest to forget.

“Angel Kiss” carries on the darkly symphonic tones first explored with “Daze Of Grace.”  Given my interests, it should come as no surprise that I was more partial to these songs.  In addition to the similarities to newer Paradise Lost, there is also a bit of Massive Attack and Portishead happening here.  I would say the band should continue on in this direction, but it’s not up to me to say that.  I personally find these moments to be the band’s most intriguing and with some additional depth to the electronics, harder hitting rhythms, and a continued devotion to this kind of smoky atmosphere, they could appeal to more Goth/Darkwave/Trip Hop fans. They hit pretty close to this with the track “Phantom,” which has a more prominent beat, creepy electronics, and vocals that I can’t help but compare to Marilyn Manson in his few moments of convincing power.

I sort of feel they are shooting blanks attempting to wiggle into the crowded cesspool in the mainstream and they are hopelessly lost if they are going to try to appeal to a dark metal crowd – their moments of aggression are too sloppy and too akin to the trendy masques of suburban angst dawn by ‘troubled’ nu-metallers.  So ultimately, I can’t really see where Sound Disciples appear on the musical map and more importantly, I can’t determine what kind of audience or music fans could constitute as a fan base.

My approach to this album may have been different had I been writing for a different magazine.  Sound Disciples have obviously been through a lot this past year, which may have had a considerable impact on their writing approach.  It may have drained them creatively, rather than fuel them.  They are unquestionably a talented lot, their music is solid and exceptionally well produced despite its seeming lack of enthusiasm.  However, I can’t really imagine too many StarVox readers finding much in this album, other than the few Trip Hop elements that spring up here and there.  But for only a mere two or three songs, I regrettably have to recommend that readers avoid this album.

Track List:
1.) Deluxe Poverty
2.) Daze Of Grace
3.) Reject
4.) Trilogy
5.) End Of An Error
6.) Nine Days
7.) Angels Kiss
8.) Phantom
9.) Crantock
10.) Deluxe Poverty (Bulletproof Monk Mix)
11.) Angels Kiss (Poisonflow Mix)

Sound Disciples is:
Shaun Atkins – vocals
Rob Vaughaun – bass/arrangements
Joseph White – guitar

Rick Dowding – producer
Jo Kate Benson – vocals
Ian Matthews – drums (session – from Massive Attack)

Sound Disciples – Official Site: http://www.soundisciples.com

Peaceville Records: http://www.peaceville.com
 

A Spell Inside
Hit
~reviewed by Mike Ventarola

If you like Behind the Scenes, you will conceivably  adore A Spell Inside just as well, as this is a side project from that phenomenal band.  Unlike much of the cookie cutter dance fodder that seems to be flooding the scene as of late, A Spell Inside delivers a rich body of catchy hooks and passionate vocal harmonies. Additionally, the lyrics also depict a broad spectrum of poetic vision about the world around us as well as the impossible nature of the human fate.

Hearing either Behind The Scenes or A Spell Inside simply makes me wonder why vocals this great were never noticed at the Grammy awards, while Donald Duck sound-alike Macy Gray was their star child. Clearly, this band will confirm once and for all that those who are in the position of power in the music scene are clearly living in a bubble with their heads up their butt.

A Spell Inside scored a phenomenal reaction with their latest CD that is appropriately titled, Hit, however they are certainly not newcomers to the scene. As a matter of fact, the band also has a retrospective compilation available that delineates their work from 1995 to 2001 as well as a number of equally stimulating releases from years past.

The strength of A Spell Inside is clearly their ability to merge catchy hooks with great harmonizing choruses that simply find a way to stroke the psyche as an escape into sweet indulgence.  The resonance of the vocals seems to permeate from within the confines of ones chest region to further expand throughout the body, making their work a true testament to their brilliance.

Hit is decidedly more electronic than some of their previous works, however, they still maintain the essence of the gothic forlorn and introspective moroseness.  There is a crafting of brilliant work that is simply slated for club exposure but also positioned for a mainstream launch should anyone in the media buy a clue about this band.

From the opening strains of the track "Out Of Control" with it’s unrequited emotional pull that veers into mid-tempo rhythm and expert choral harmonies to the final track of "Rage" with it’s nod towards a futuristic nihilism coated in dark electronica, one simply cannot help but adore the quality of this project.

Arguably, many US dj’s simply are not aware of either this band or Behind The Scenes which is quite a tragedy considering the scope of these artists who simply excel with each release they make for either band. Thankfully, Dancing Ferret Discs touted their wonders some time ago while DJ Patrick from Albion-Batcave in NYC managed to put them in rotation every chance he could.

Goth purists may balk at this band because it is definitely dance club friendly. However, if we must endure electronic music infiltrating the ranks of the goth underground, it is clearly more viable to provide an impetus for quality bands who maintain the essence of the goth darkness in their work no matter how many beats per minute they add to their songs. A Spell Inside offers foot tapping music but they are so much more than just a dance band. The lyrics are not ambiguous tripe; they have something to say to those who are into considering the points of introspection in their life and the world around them.

Clearly this band merits a pick of the month for August 2002, however, there is a considerable bias as this reviewer has yet to take their other band, Behind The Scenes “Homeless” CD from the stereo player since it was received a couple of years back! More than anything, it is hoped that this bit of information indicates the longevity and brilliance of the work created by these artists in either band. For those seeking new music, do look into this band as you will most likely be very glad that you included their work in your collection for years to come.

Tracks:
1. Out of Control
2. Seconds
3. Horizon
4. The River
5. 2nd Invasion
6. Crags
7. Change Of Heart
8. Menschen
9. Revenge
10. Oneway
11. Deep Silver
12. Rage

Members:
Michael Roeder: Vocals and programming (also vocalist for Behind The Scenes)
Peter Kirchmeyer: synths, samples
Klaus Rodewig: guitar

Website: www.aspellinside.de  also an English version at www.aspellinside.com

Email:
Michael@aspellinside.com
Peter@aspellinside.com

Second Skin
Flesh Wound (EP)
~reviewed by Uncle Nemesis
(band photo credit: 'Dark Vader')

Sometimes, when I encounter a band I've never heard before, I play a little game with myself. It's called 'Guess what the band sounds like from their artwork'. This EP is packaged in a vaguely Nephilim-esque fashion: all swirly lettering on an 'old parchment' background, with assorted cryptic clues (including the number 13: whoo, spooky) scattered around. I can't decide if it's all meant to be fantastically deep and meaningful, or if it's just an exercise in goth-imagery button-pushing. The central motif looks like a pastiche of the Sisters of Mercy logo - an up-tilted face in a star. Going by all this, I was geared up for some sort of Gothic Rock outfit, all grinding guitars and grunting vocals. First And Last And Dawnrazor. You know the sort of thing.

Confusingly, the promotional info-sheet (which, under the rules of the Game, I can only look at *after* I've made my guess as to the band's sound) touts Second Skin as 'One of the most original groups to come out of the electric dance music scene.'  Electric dance? That's an odd phrase. Electric dance as opposed to acoustic dance? What have we here, then - a techno outfit in goth-band clothing? But one of the *other* rules of the Game is never to believe any publicity blurb, because experience soon teaches you that it's generally 1% pertinent information to 99% utter bollocks. We shall listen to the music and make our own assessment.

'Still My Love' commences with some electro-burbling and a splat-and-clatter drum machine sound. Hum. Presumably these are the 'electric dance' elements we've heard so much about.  Then the vocal comes in, a lugubrious spooky croon, and a guitar line which follows the vocal like a faithful servant. It sounds, frankly, like any number of 'bedroom-goth' bands we used to have in the UK during the mid-1990s. Second Skin hail from Scottdale, Arizona: I imagine they can hardly be familiar with the UK goth scene of around eight years ago, so I assume it's pure chance they've hit on this general sound and style. Still, I wonder if, by some odd connection, they ever got hold of any tapes by such mid-90s UK-scene contenders as The Sorrows Of Isis, and thought, 'Hey - *we* can do this!' ?
 
The second song, 'Kara', is billed as the 'Sea of black mix' and kicks off like an early Midnight Configuration track: all pumping synths and rawk guitar. It's one of those goth-songs-about-the-goth-scene, which aren't easy to pull off. (Frankly, I think Killing Miranda did the definitive take on this with 'Discotheque Necronomicon'). The lyrics to 'Kara' go like this: 'The dance floor pounds to the black beat sound....' Hmmm. A lyric which speaks of how the dance floor 'pounds' really should have something a little more forceful than a thumpa-clatter-thumpa-clatter drum-machine pattern driving it along. Second Skin's claim to 'come out of the Electric dance music scene' suddenly looks very flimsy indeed. *Real* dance-heads would demand something a lot more forceful than this.

'Beautiful' starts off like a slice of eighties electro: the pulsing intro actually sounds rather good. Then the voice comes in with a yelp, the guitar-line starts running after it, and it all gets a bit....Nosferatu. That mid-90s UK-scene influence again. 'I The East' (the 'Candy' remix) rattles along quite effectively, although in this case the guitar reminds me of Vendemmian. Final track, 'Voodoo Doll', is not the Banshees song of (almost) the same name: if it's anything, it's Second Skin's attempt to write a hands-in-the-air Mission-style anthem. The vocal is certainly histrionic enough, but the guitar, wandering around in the background like a kid in the school playground who can't find any friends, sounds oddly detatched from the rest of the song. Oh, and there's that clattery drum machine again.

Well. I'm left feeling weirdly nostalgic for the Sunday night goth gigs the Marquee club used to run in London, circa 1992 - 1996. Those gigs became, by default, the main showcase for the UK scene's bands of the time: typically, two or three men in black playing music which sounded a bit like every other band on the scene, with a chattering drum machine in the background providing the rhythm. This, by accident or design, is the style Second Skin seem to have claimed for their own.

Trouble is, that was then and this is now. Are we ready for the mid-90s bedroom-goth revival?

The tunestack:
Still My Love (Scissor remix)
Kara (Sea of Black mix)
Beautiful (Starstruck remix)
I The East (Candy remix)
Voodooo Doll (Remastered)

Second Skin website:  http://www.secondskin.net

Reviewed by Uncle Nemesis:  http://www.nemesis.to
 

STARCRY
Ideal Husband
~reviewed by Mick Mercer

Fairly mysterious, this Greek band of 2 Nicks and a Zoe do battle with synthpop and colour it Goth. I was particularly taken by the sleevenotes, where Starcry say they would “like to apologise to the following….including all the ex-Starcry members, and our neighbourhood.” Despite the corny ‘children of the night’ sample being trotted out yet again at the start of  ‘I LOVE U (sexy)’, which is not my idea of a good way to create interest, you don’t really notice, because it’s fast and lithe synth lines going for pop impact, with garbled vocals weighing it down somewhat. It gets you thinking even though it’s a typical result of a new-ish band, where you’re faced with plenty of good, and lots of middling, yet give them your time because you sense that when they build up they could really let go. They don’t, which is my way of spoiling the story early on, but they have a touch of class about them, which makes this debut enchanting.

‘Messiah’ reminds me of Fading Colors, with a hint of majesty, and, tellingly, the gruff scattered vocals get breathless trying to keep up with the musical pace. So the vocals aren’t natural, and quite unnecessary. ‘Messiah II’ –is another demonstration of great flair but the effects on the vocals drag the tune down horribly.  ‘I Will’ has menacing percussion and a surprise, because you expect explosions but it becomes elegant instead with mature, totally natural, Mediterranean female vocals, as ‘Litany’ is deliciously stompy, with cold atmospherics and monastic voices - like am a-z of Darkwave sleight of hand, even if it never fully breaks stride. The point is that when the voice sound human it starts to work well.

‘Ever’ crawls away, an attractive mess with cinematic aspirations that are admirable. ‘Haunter’ - opts for weird vocal spoken passages down which no-one shall walk, growing fuller and fouler the more it goes on, which shows a heightened awareness of peculiar moods. ‘Decline’ is another tricky one, beginning nicely poised, with guitars operating on the flanks of a nubile song that is improved by the vocals losing the effects and gaining affectations of a dramatic variety, then ending sombre, which shows how well they can defy expectations. ‘Moonset’ opens on bells chime, the synths stir, where attractive droning with terse beats feels good, and if it could only be done faster it would be exhilarating.

Not great, but definitely very good.

Nick Dachris
Nick Pavlis
Zoe Dachn

1. I Love You (sexy version)
2. Messiah
3. Decline
4. Ever
5. I Will
6. Litany
7. Moonset
8. Messiah II
9. Haunter
10. I Love You (sexier version)

No website, but you could fish for details at: http://www.gothic.gr
E-mail: starcry@otenet.gr
 

The Machine In The Garden
Asphodel
~reviewed by Matthew Heilman
 

The name "The Machine in the Garden" refers to the progress of technology and its relationship with nature. Each release explores this relationship between the mechanical, natural, and spiritual worlds and further elucidates the philosophy behind the band.

My fiancée has been an enthusiastic fan of the band, long attempting to assemble their discography and it was through her that I had heard some outstanding remixes of their original material.  When I finally heard an entire proper release, I was pleased with what I heard.

The first three tracks on this album are absolutely fantastic and the strongest tracks on the entire album.  “Masks” is a sprawling and genuinely creepy Darkwave track, complete with eerie processed and ebowed guitars, murky electronics, and slinky drum programs.  Summer’s voice is thick and commanding, the perfect compliment to the stark electronic yet thoroughly atmospheric backdrop.   “Outside” continues along impressively, with extremely well done drum programs, hushed trance inducing synths, and chilling interplay between the consumptive guitar swells and powerful female vocals.   The Machine In The Garden has here perfected a noteworthy kind of Darkwave that is adequately balanced between the synthetic and the organic. While the guitar is the only ‘real’ instrument played, and even it is drenched in additional effects, the feel of much of this album is one of warm, inviting substance.

“Time” is my personal favourite song – a dark track with foreboding tribal drums at its bleak and sinister nucleus.  Distant ghostly vocals converge and entwine with soft melancholic verses, subtle chimes ring out above a dreary electronic bass line, and misty minimalist synths sigh throughout, like the frosty breath of a restless ghost gliding across a barren November wasteland.  How’s that for Goth?  This song, though short, is just begging to be heard.

“Wonderland” follows next, a catchy and potentially popular track, yet it is where I start to get temporarily restless.  The song is still somewhat moody, but Summer’s voice suddenly acquires a slightly nasal quality.  Something about the song seems incomplete to me – despite its unmistakable catchiness.   To me, the song recalls Switchblade Symphony, a band that in their nursery rhyme and adolescent simplicity I have abhorred since their inception – this, however is much better, and being that I am in a relative minority with my opinion of Tina Root and co, my guess is this song will be popular.  I just did not find it to be as powerful as the previous three tracks.

“Icarus” as well seems to be lacking – something?   This song lacks the intensity of earlier tracks.  “Ghost,” though not at all an upbeat or dense track, it is a definitive improvement. A plodding, slow song with spine-chilling vocal harmonies, created by layers of whispers, vocal improv, and dreary disharmonic moans – very cool.

The slight lull is definitely broken by the time “Open” appears.  Primarily because the haunting guitars make a welcomed and much needed return.  The guitars, I believe, are that aforementioned ‘something.’  Roger is an awesome guitarist, with a fantastic variety of voices in his pedal board and I vote he use it more.  Sure, the novelty might wear off if they are used in every song, but I believe “Asphodel” could have been intensified by a more frequent appearance.

Some cool live bass guitar sneaks its way into the mix for “Clarity,” and working in unison with the guitars and dynamic drum programming, a grand sound is achieved.  Pianos lead “Dawn” into a beautifully depressive interlude.  Wow.  When I first really paid attention to this song, my heart sunk.  I missed that feeling, as it happens less and less these days.  This serves as a surprisingly nice interlude, with a very cool shift in mood at the song’s climax.

Back into the scarcely lit foggy dance floor we go for “Echo” - slow, swirling, and dark in the way that Love Is Colder Than Death and The Azoic once were. Forlorn and striking vocals, distant guitars, and more ghostly synths shape the song. Decidely more prominent electronic beeps and blips pan to and fro along with varying degrees of punch in the drums.  Well done, but probably too introspective for most dance floors as of late.  The kids that come early will dig it though.

“Cry” is a more ethereal track, descent but never really goes anywhere, and doesn’t have as captivating a mood to it.  “Seek” however, was an interesting shift – a harder hitting drumbeat emerges, part trip hop, part Lycia – cool slap bass lines, and neat guitar climaxes at the chorus.   “One” makes a return to introspective ethereal, however, cool artificial harmonic pings and bluesy, fragmented guitar leads give it a unique and suffocating feel.  A song that also stands on its own for sure.  “Photographic” brings the album to a satisfying and fulfilling finale – a stronger and more organic drum sound, acoustic strums, and another flawless performance by Summer at the mic.

Despite’s its occasional lulls Asphodel is a standout album.  There are a lot of songs here, the variation between them being dangerously delicate and subtle.  You really have to listen to the album as a whole to truly appreciate it.  Though there are fourteen tracks, things move along quickly, as most songs rarely pass the comfortable ‘radio friendly’ (ha!) three-minute mark.   The Machine In The Garden utilize synthetics and electronics in a way that is more thought-provoking and emotionally striking - they are true Darkwave at it’s finest, and if you are a devotee of the danceable gloom spun from the black hearts of acts like Malign, Wench, Attrition, and SubVersion, this will definitely tickle your neglected fancy, as well as put a fresh spin on a familiar and time-tested formula.

Track List:
1.) Masks
2.) Outside
3.) Time
4.) Wonderland
5.) Icarus
6.) Ghost
7.) Open
8.) Clarity
9.) Dawn
10.) Echo
11.) Cry
12.) Seek
13.) One
14.) Photographic

The Machine In The Garden is:
Summer Bowman and  Roger Fracé

The Machine In The Garden – Official Site:
http://www.tmitg.com

Middle Pillar Presents:
http://www.middlepillar.com/presents
 

The Trinity Project
The Subtle Movements Of The Entropy Engine
~reviewed by Matthew Heilman

The Trinity Project is comprised of a group of Baltimore musicians, who’s primarily outfit, Ego Likeness, might ring a bell with some East Coast dark music fans.   Where Ego Likeness provides an accessible blend of organic Gothic Rock and Industrial electronics, The Trinity Project is an experimental and ‘unconventional’ outlet, both in the studio and apparently on stage, where they incorporate improvisation and projection visuals. With a few limited self-produced releases under their belt, this latest CD I believe is the first collection of material that is going to be shopped around less exclusively and hopefully reach a wider audience.

I am admittedly not an enthusiastic fan of dark ambient or experimental music. As I have said in past reviews of music that could fall into this category, I often lose interest early on and get impatient waiting for ‘something to happen.’   Where there are lulls in the intensity of The Trinity Project’s music, there are also enough diverse approaches and stylistic devices utilized that it doesn’t become a monotonous drone of electronics and make them a refreshing exception to what I am used to hearing. The atmosphere is often quite dense, with some moments of striking emotion, as well as solid rhythmic grooves. Techno break beats, slinky trip hop rhythms, and spoken word appear throughout and add a pleasurable variation to the music.

The opening track clocks in at just over 20 minutes and is broken into three separate movements. The track picks up the pace once the song reaches it’s second movement, and really begins to demand the listener’s attention.  A slow sprawling build up peaks with a driving rhythm and heavy yet not overbearing electric guitars.  Definitely epic in scope, slowing for a brief ambient interlude before switching to faster techno break beats and volleying wire synths.

When the second song, “50º Longitude, 85º Latitude” appears, we are introduced to a female spoken word piece examining a rare skin disease that has afflicted her since her childhood, and after much musing, decided that it resembled a map (hence the title). At first the song is merely solo spoken word, but then gradually it acquires a subtle synth accompaniment.   “Soldiers And Tanks” picks the pace up with a steady and swayable drumbeat and dreary synth work, yielding the first truly great atmosphere where emotion finally begins to shine through.

In my opinion the most standout track is “If I’m Not Careful I’ll Start To Get Scared Of The Walls.”  The title alone is somewhat unsettling, but apparently the inspiration behind the song is based on an actual experience. Creepy and reminding me at least of the classic Lovecraft story “The Rats In The Walls,” the paranoid narrator of the song speaks in a calm monotone, while she describes a clicking and scraping sound, and other dreadful sounds that accompany the episode.   The narration is adapted from D. Lynch’s “Boiling Baths and Other Rituals.” No not David Lynch, but rather a Baltimore poet and writer who’s first name is for whatever mysterious reason not disclosed to the public eye ;) Whatever the case, her lyrics can be viewed at the band’s website, and are definitely worth checking out being that they are apparently based on factual occurrences.

“The Flock Of 1000 Sparrows” introduces more guitars and consistent rhythms into the mix, for an encompassing and beautiful soundscape.  An instrumental track, and maybe the only track on the album that shares any similarity with Ego Likeness.

After a rather drawn out beginning, “The World Below” gains momentum, with some eerie screeching ‘bird’ sounds, and dark layers of distant female vocals.  A very cool song, somewhat reminiscent of early Attrition (“In The Realm Of The Hungry Ghosts” in particular) and the like.

“Votive” is another swirling ambient track, unique for it’s sample from Kenneth Branagh’s version of “Mary Shelley’s Frankenstein,” and a playful juxtaposition of samples that sort of debate science, the supernatural, God, etc.  Creative at least, but the song also is an example as to why I get very restless listening to this kind of music.  I am too jumpy and anxious and I just was wishing for something more to happen.  The music seems like it is about to climax and then it just trails off and into the next track.

“Tornado” is characterized by moody synths, a light distant beat, and spoken word.  A nice atmosphere, trance inducing and sporting a successfully arresting feel of sadness and loss.   But again, I can’t help but feel that much more could be done with some of these potentially strong ideas.  But I will also be the first to admit that I just might not ‘get’ the purpose of this style of music.

The album’s final cut, the aptly titled “End,” particularly struck me.  It is an acapella song with slightly treated female vocals (giving it a scratchy, warped vinyl sound) singing a melancholic Scottish lullaby.  Short, sweet, minimalist, but effectively moody – a nice way to bring the entire journey to a close.

“The Subtle Movements Of The Entropy Engine” is a worthwhile release, certainly something fans of minimalist electronica and sparse dark ambient music will enjoy.   Usually, I struggle to find something of interest in this kind of music.  But there are several memorable and intriguing moments throughout this release that definitely add a greater depth and dimension to the material. Because of these scattered moments and intriguing ideas, The Trinity Project stand ahead from other bands that I have been exposed to that specialize in this kind of music.   Therefore, I would assume that aficionados already familiar with the genre and have the patience for it would enjoy this work immensely.
 

Track List:
1.) The Subtle Movements Of The Entropy Engine
a. The Engine
b. Winter
c. Genesha’s Madness
2.) 50º Longitude, 85º Latitude
3.) Soldiers And Tanks
4.) Love Gesture
5.) …And Also Afrika
6.) If I’m Not Careful I’ll Start To Get Scared Of The Walls
7.) The Flock Of 1000 Sparrows
8.) Kam Tata’akhkhar
9.) The World Below
10.) Votive
11.) Tornado
12.) End

The Trinity Project is:
Steve Archer, Donna Lynch

With live musicians:
Justin “Dingo” Sabe, Alexx Lackey

The Trinity Project – Official Site: http://www.thetrinityproject.org

Angelfall Studios: http://www.angelfallstudios.com

Ego Likeness – Official Site: http://www.egolikeness.com

Email: art@angelfallstudios.com
 

TRS-80:
Mr. Kickass
~reviewed by Uncle Nemesis

What is a TRS-80? A motorbike, a missile, a lawnmower? Nope, TRS-80 is a band. I've never heard of them before, but it seems they're Chicago-based and have been around since '97 or thereabouts. During this time they've released assorted albums, EPs, contributed songs to an independent film, and even provided music for shows on National Public Radio. In short, TRS-80 have a lot of previous, and I've obviously got some catching up to do.

Well, let's begin with this new album. It's out on Martin Atkins's Invisible label, which is a guarantee of quality...sometimes. The inlay is a quirky, minimalist design: the three members of the group are represented by photos of three flight cases. I don''t know if TRS-80 are making some sort of frightfully erudite point here - the human as servant to the hardware? - or whether they're just having a laugh, but as a concept it's witty and cool. I like it.

That reference to hardware should clue you in to what sort of noise TRS-80 make: they're an electronic outfit. Well, sort of. The e-word covers a multitude of sins these days, of course, and it has to be said that some of those sins are less easy to forg