In the last few months no debut album has impressed me as much as "Here Lies One Whose Name Was Written In Water". The Minneapolis based formation Aesma Daeva (a Persian angel whose name means "shining one") delivers a set of heavenly songs, combining the best of several musical styles in a profoundly mature and professional way. Originally named 162, the band reached its current line-up when guitarist/composer John Prassas and producer Nick Copernicus disbanded their original projects (162 and 0dark:30) to combine their efforts. Classically trained vocalist Rebecca Cords was chosen to lend her voice to their music and thus Aesma Daeva was born.

The first chapter of the cd, "A Quiet Chamber Kept For Thee", shows instantly what these talented musicians are capable of. "O Death (Rock Me Asleep)" is an amalgamation of crisp electronics, powerful guitars and Rebecca's competent voice. Normally I'm not too fond of heavy guitars, but John delivers them with such verve that I can't help but appreciate them. The second track, "Downvain", is an excellent example of this (even though it's a bit too loud for my personal taste), providing aggressive assaults interrupted by moments of quiet, synthesized sections and of course Rebecca's soothing vocals.

"Stay" is by far my favorite song on this disc. An atmospheric introduction, followed by a stunning electronic melody and heavenly vocals lead to a beautifully layered crescendo. A highly original mating of styles, executed flawlessly. "Disdain" completes the first chapter, a mid-tempo song with many changes and Rebecca's singing carried by the composition in an effective way.  Chapter II, "Here Lies One Whose Name Was Written In Water", is more atmospheric and ethereal than the first four songs, with the most impressive and very dark "Introit II" as my personal favorite.

These songs are in ways reminiscent of The Third and The Mortal during their "Painting On Glass" period, but with the addition of Aesma Daeva's further incorporation of more prominent electronics and synthesized percussion. Another name that could possibly help describe Aesma Daeva's sound is Die Form, although there is still a fair difference between the two. It's more the overall feel and especially the same excellent female vocals that make this a valid comparison. It's those vocals that are also explored more intensely during the second chapter, with beautiful acapella parts and songs only filled with minimal piano and string arrangements. Good examples of this are "Communion" and "Sanctus".

Completing the cd are two different versions of "Darkness", a song very suitable for the dancefloors. This track reminds me a little of Delerium's "Prophecy" (from their Syrophenikan album), mainly due to the way the electronics flow along, as well as the obscure sample that surfaces occassionally.

If you're not afraid of other styles invading the sound of a (sub)genre you appreciate, be it goth, metal, ethereal or electronics, then Aesma Daeva is definitely worth checking out. A well-produced, mature and simply gorgeous album, which can be sampled in mp3 format at their web site.

Hopefully they're here to Stay. They deserve it.
Official web site: http://www.pmcmgmt.com/aesmadaeva/
Label site: http://www.accession-records.com
The cd is available through Isolation Tank, as well as Metropolis distribution.

AKIRA YAMAMICHI "Pulse Beats" 3" miniCD
~reviewed by Kirin
People have asked me why I listen to experimental noise. I've been accused of having a "fascination with the pointless." Being an oddly optimistic nihilist, I find the accusation flattering. Especially in cases like this CD. Yes, it's "just" a collection of pulse tones and sifting noises, but ah, how cleansing it is to let oneself fall into them. How pleasant to let each journey through this disc be a new one- letting in outside sounds, inner emotions, and observing it all flow into a constantly original experience. This CD will never feel like the same piece twice. It somehow accentuates the perception of one's own moods and thoughts, and makes one aware of other small sounds; for example, while I listened on this particular occasion, I noticed the sound of someone sawing wood outside; I noticed the sounds of my dog drinking from the water bowl; I noticed the slight rocking of my trailer, from the wind blowing outside. It's amazing the meditative state this disc inspires. Truly! Ultimately, I would suggest you approach this disc as you would a meditation, or as you would a psychedelic journey. Lay down in a quiet, safe place, dim the lights, and make yourself comfortable; now, close your eyes, and let yourself be drawn into the secret world that begins where "Music For A Reason" ends.

No Track Listing Available: (CD consists of 3 pulse variation pieces.)
Label:
FIRE Inc.:fire@fire-inc.demon.nl;www.fire-inc.demon.nl
Distribution: Staalplaat/Soleilmoon www.staalplaat.com; www.soleilmoon.com
PO Box 83296; Portland, OR 97283
PO Box 11453, 1001 GL, Amsterdam, The Netherlands
(Kirin's Pick of the Month)

ALLERSEELEN "Stirb und Werde" CD
~reviewed by Kirin
When I got this CD, and was opening it, I noticed that my mouth was actually dry, my heart was beating faster, and my hands were shaking just a little. An Allerseelen CD is an event. A ritual. An experience to be savoured completely. I have never been disappointed.

In case you are not familiar yet with Allerseelen, here's a bit of history. Allerseelen was founded in 1989, and is basically one man (Gerhard Petak,) who goes by the name of Kadmon. He's quite handsome. Oh yes, well, of course that doesn't matter, but it's still *true*.

He lives in Austria. Kadmon has also written a journal called Aorta for a number of years, and is now writing one called Ahnstern. At the end of this review, I'll list the address where you can write to him for subscription and back issue information. I encourage the study of these journals to anyone of open heart and open mind. They are an education unto themselves. The name "Allerseelen" is German for "All Souls." I highly recommend every single Allerseelen album, and every compilation on which Allerseelen songs appear. No, I'm not just saying that. Every single album, 7", and compilation that contains this mans work is worth your money and your time. I have *never* heard an Allerseelen piece that sounded weak, poorly done, or uncared for. Kadmon and Allerseelen represent a standard of excellence that is almost unheard of in the world today- be that the music world, the writing world, or the world in general.

On to the album at hand. Kadmon's music is, by intent and effect, a spiritual experience, in the sense that each album is a ritual journey of sound, or of "art as life ritual". Stirb und Werde is no exception. Stirb und Werde refers to the journey of death and rebirth- of pain and death followed by transcendence and illumination. (The title means, literally, "Die and Become".) Perhaps it would be better to say, this album expresses the actualising of what death and illumination represent in the old Solar cults such as Mithraism. Yes, I know it might sound a bit confusing, but trust me, if you're going to let Allerseelen into your life, you might want to do some reading. Julius Evola's books "The Mystery of the Grail", and "The Hermetic Tradition" wouldn't be bad places to start.

The artwork in Sturb und Werde is taken both from photographs of the sanctuary Externsteine in Westphalia Germany, and from stills of Kenneth Anger's film "Lucifer Rising" (part of which was also filmed at Externsteine.) Externsteine is significant in the "death and illumination/rebirth" concept, because the natural sandstones at Externsteine were turned into a "solar temple" by the early Celts, and the sanctuary-as-ritual site is alleged to be as old as Stonehenge.

Some say it was even the same "solar cult" that used both sites. The cover of "Stirb und Werde" is a picture of a hole in the rock at Externsteine where, every year, on June 21st, the sun shines on what seems to be an altar.

The music on Stirm und Werde follows a progression, beginning softly, and almost tentatively, like the first rays of sunlight on the horizon; and, like the sun, a few minutes after this CD has begun to arise, it becomes almost overwhelmingly brilliant. Track two, called "Glacial Light" is one of *the* most powerful pieces of music I have ever heard in my life. Track three is a haunting and melancholy beginning to this musical process of dying; track 3 is called "Hibernation," and is followed by the caustic and surreal death knell called "Fire Bird". Fire Bird reminds me very much of the dark fury heard on Allerseelen's last album, titled "Sturmlieder". Track 5 is a piece of Nietzsche's poetry set to music. The track is called "All Lust Wants Eternity," and is a ferociously elegant bit of pure Allerseelen magick. Track 6 is "Baptism of Fire," and I don't suggest you listen to it on repeat for very long. Then again... the results could be fascinating especially when combined with darkness and flashing lights.

Track 7 seems to be the turning point of the album- still in darkness, but turning toward where the light will come; moving toward the Golden Age, but still shackled in Iron. It's an almost whimsical arrangement, and very physically exciting and inspiring to hear. It's a track full of hope and desire; it seems to articulate the very heart and soul of Icarus. (The movie "Wings of Desire" comes to mind. If you haven't seen it, do so. Don't ever see that disgusting piece of trash that America turned Wim Wenders' masterpiece into. City of Angels, or whatever the hell it was.)

Track 8 is titled simply "The Return." Fragile, and tentative, the effect of this song is somehow disturbing, unsettling, and wrought with life-affirming fear. Track 9 is "Siberian Symphony", and it reminds me of crossing a long stretch of desert, with the heat bearing down, no one to love, and nothing left to live for but life itself. Siberian Symphony is as refined and stately as it is despairing. This album is no Disnified version (thanks Clive, for that great new word in my vocabulary,) of the process of transcendence and illumination. If you've ever had the gift of watching a spider moult, "Stirm und Welde" is more like that. It's a nail-biting, gut-wrenching, fist-clenching process, right up until the very end.

Track 10, "Blaze of the Dead" is a bit like having a very bad hangover, falling asleep with your head near the phone, and then having the bloody thing ring at about 5am. (The phone, not your head. That will ring later.) Blaze of the Dead could wake the dead. No kidding.

Track 11, "Flame" is the piece that also appears on Athanor's recent "Lucifer Rising" compilation. It is a song of primitive virility and timeless radiance. The poetry used in "Flame" is also from Nietzsche, and is truly exhilarating when set to this music.

Track 12, titled "Die and Become" reminds me very much of the scenes in Lucifer Rising where there is a woman laying in what seems to be a sarcophagus, carved into the side of a rock. Her hands are folded across her chest, and, as I recall, there is water running near her. It is a very powerful and poignant image- this woman lying peacefully within the substance and strength of the rock, and the current moving swiftly alongside her.

Track 13, "Deadly Pale Twilight" also reminds me very much of the film Lucifer Rising in its tone and atmosphere. It even reminds me, in some ways, of Bobby Beausoleil's soundtrack... it has that strange, awesome, unnerving effect of being both resplendent and horrifying at the same time. The beauty of all three artists, Anger, Beausoleil, and Kadmon, is that they take that resplendent horror, and use it as a tool for spiritual awakening.

The final track is titled, as was the first, simply, "Light". The fragile timidity of the first Light is replaced by a light more focused, a light more full and more bright, and more sure of itself. The passion, and the power, and the absolute beauty contained in this final arrangement, is spectacular. This final track is two minutes and twenty-two seconds of pure, unmitigated rapture.

The only other creative majesty I could even begin to compare this album to, would be the experience of standing before one of Anselm Kiefer's expansive, devastating, and regenerative paintings. If you have ever doubted art's ability to destroy and re-create those who will let themselves be touched by it, pick any ONE artist I have mentioned in this review, immerse yourelf obsessively in his work, and see who you are when you come out the other side. Succinctly, Stirm und Werde is a masterpiece of the 20th century, and a sentinel of the Golden Age that must surely follow this modern world of darkness.
Websites about the writings of Julius Evola: http://darc.occult.net/bkwyrm/evola.htm, http://www.geocities.com/CapitolHill/1404/wolf.html
An online source for purchasing Evola books: http://www.buy.com/books/searchresults.asp?qu=Julius+Evola
Artcyclopedia of works by Anselm Kiefer: http://artcyclopedia.com/artists/kiefer_anselm.htm
A few interesting sites regarding the films of Wim Wenders (esp. "Wings of Desire"): http://castle.uvic.ca/german/439/wings.html, http://www.panix.com/userdirs/bfrazer/flicker/wingsofd.html
Regarding Bobby Beausoleil, and his recordings: http://www.beausoleil.net/bobby.html, http://whitedogmusic.com/
Websites about Kenneth Anger's work: http://victorian.fortunecity.com/updike/723/index.html, http://www.sci.fi/~phinnweb/links/cinema/underground/anger/
Two online sources for purchasing Kenneth Anger films: www.buy.com, www.bigstar.com
Website regarding Kadmon's work as Allerseelen, and his journals, Aorta and Ahnstern. (Site includes information on how to order both the music and the journals.) http://www.geocities.com/SunsetStrip/Amphitheatre/6522/
Stirm und Werde Credits: Kadmon: Music, vocals, arrangements and mixing. Sabine: Vocals Salt: Arranging and mixing. Allerseelen's Label: Aorta c/o: Petak Postfach778, A-1011, WIEN, AUSTRIA
Storm Records: (U.S. Distribution) http://home7.swipnet.se/~w-78038/blood/storm.html
P.O. Box 3527, Portland, OR, 97208-3527 USA blood@teleport.com

Marc Almond "Open All Night"
~reviewed by ::CyBeRiNa FLuX::
In the very early 80s, Soft Cell set forth as one of the very first electronic bands. Along with Kraftwerk and Depeche Mode, they changed the face of music forever. Having influenced countless bands, Marc Almond's thirst for performing didn't die with the disbanding of Soft Cell. After a few other short-lived projects, he embarked on a solo career in 1987, and hasn't stopped since. With his characteristic sexually charged lyrics and new romantic style, Marc Almond has released a new, more mature album called "Open All Night."

Setting the mood for the release is the first track, "Night and Dark," with a very Latin feel. The haunting violin and minor key induce visions of candlelit romance, quite contradictory to the love gone wrong lyrics.

In the second track, "Bedroom Shrine", the music style shifts to a more modern electronic feel. The lyrics lean towards the obsessive side as he sings of a shrine setup for an object of lust that he's kept a secret, but he's certain he will never have.

"Black Kiss," listed fourth, is a song written about a love hate relationship. In between lyrics of the desire to be hurt by a "beautifully evil" woman are samples of a voodoo priest. With backing vocals of a soulful choir, bluesy vocals, and the magick chanting, this song is a hodge podge of the darker style of the real New Orleans with hardly any of the New Orleans sound.

A duet with Kelly Ali, the singer of The Sneaker Pimps, can be found on the fifth track. The song, "Almost Diamonds," is an ode to love lost due to infidelity. Singing of the pain of the shattering discovery that what's too good to be true always is, the duet carries on with beautiful violin solos intertwined within clever lyrics.

The sixth track is the deliciously swanky "Scarlet Bedroom." In this devilish song, Marc Almond invites the listener to join him for an evening of debauchery. Seductively purring "Call me cruel and call me heartless, but please call me tonight," it's hard to resist the spell that is placed with the provocative lyrics and smooth brass backing. In the Sinatra-esque ending, he queries you to take part in his couture film and to perform a strip tease for him in the back seat of his luxury car as quick last words before leaving.

The tenth song is a particularly special surprise. Working with The Creatures with Budgie's percussion and Siouxsie Sioux's famous velvety vox, Marc Almond quite proudly presents "The Threat of Love." Starting out with Marc's chilling solo voice, Siouxsie stands by providing clever insertions of operatic backing. Not too long into it, she comes in full force singing back and forth with him about the folly of falling in love despite its difficulty to avoid the inevitable.

Next up is the highly jazzy "Bad People Kiss." Infused with the beautiful blues of the upright bass, this song is classically cool. Followed up appropriately with the dozenth track, "Sleepwalker," a clever remake of Raymond Scott's 1949 swing hit.

For the United States release, there were three bonus tracks. The first of which, fourteenth on the list, is "Satan's Child." Singing for someone "who always likes to dress in black to mourn the feelings that they lack," he calls out towards a person who lives on the shameful side of law and morality. With a slightly rockabilly guitar line matched with swingish lyrics and modern keyboards, this is another favorite from this release.

I must admit that this CD is nothing of what I was expecting when I saw Marc Almond's name adorning the cover. However, as an avid jazz and electronics fan it was a great find, as it blends the two genres smoothly along with many others.
Marc Almond: http://www.marcalmond.co.uk, enquiries@eastcentralone.com
Marc Almond Management: Take Out Productions NYC 212-977-3170
Think Management Europe 44-171-771-8854
Instinct Records Under license from Blue Star Music Ltd 26 W. 17th St #502, NY, NY 10011, 212-727-1360
instinct@compuserve.com

ALP "At Home With Alp" CD
~reviewed by Kirin
Albums like this are what fascinate me so about noise-music. Roger Horberry, (also of O Yuki Conjugate,) went all 'round his flat in Amsterdam, in 1997, putting microphones on things. His disc drive. His tea kettle, toilet, refrigerator, fax machine- you name it, he recorded it. He says, "I used to sit in my flat at night and listen to all the little noises around me- the heating, the washing machine, a kettle boiling, etc., I wondered if there was any beauty in all this sonic loose change." This "sonic loose change" he recorded in '97, was then taken back to England in 1998, where Roger did what noise musicians do to the source material they collect. I will not pretend to know what that is. I love what they do. I have very little understanding of how they do it. Anyone wishing to fill me in and explain these mysteries, feel free to do so. I'm so all-ears I look like Ross Perot.

Anyhow, Roger's "At Home With Alp" is as delightful as the first smell of morning coffee. I think perhaps because these are the sounds of home, (however manipulated and changed,) they give off a definite warmth and familiarity. It is truly stunning how comforting these sounds are, and what happiness they exude. One of the complaints people often have about this kind of music is how "inhuman" it is. What could be more human than the sound of the waterpipes, boiling water, the washing machine, and yes, even the disc drive? Are these things not a part of us now, even as much as we may claim we wish them not to be?

Are we not simply foolish Pavlovs and Luddites who long for the Good Old Days, and yet cannot bear the "Port-a-Potties" at music festivals? We drool when we hear the modem dial, and yet we claim disdain for the technological world we live in. Sometimes it's nice, I think, to stop complaining for just a moment, and see the small beauties in the things around us; yes, even the sound of the microwave, and the whistle of the kettle. If we're dying of technology, at least let it be a poetic death. Let it be with a sense of awe and wonder for the sleek and efficient world of machines, and for the myriad of subtle and fantastic sounds they make. They have always been art.
http://www.alp-audio.co.uk
Soleilmoon Recordings: PO Box 83296, Portland, OR 97283 www.soleilmoon.com

AUBE Richochentrance (Limited Edition of 1,000)
~reviewed by Kirin
These pieces remind me, in spirit, of Jean-Michel Jarre's "Calypso." (Which, by the way, if you can ever find, is a treasure.) The ability to make electronic sounds feel soaking wet, is one that has forever intrigued me. "Richochentrance" may be the pinnacle of just how delightfully submerged sound can become. This music is a journey; the physical experience of which is akin to noticing the sound of a bubbling brook, and then of somehow becoming the brook, rushing madly to the sea, and falling deeper and deeper into the mysteries of the ocean; this music is the act of becoming water, of expanding from the sea to the sky, of falling back to earth, becoming the brook, and into one's body again. Such remarkable, esoteric journeys are gifts, and, wonderful to find, hidden in the soft, salt folds of modern technology. This is why I remain eternally in awe of the power and the effect of sound, upon the human mind, body, and soul. "Richochentrance" is a gem. Find it, and let it own you.
contact: gross@pop11.odn.ne.jp
Label: Lunar/Amplexus (Italy): amplexus@tin.it
Distribution: Staalplaat/Soleilmoon www.staalplaat.com, www.soleilmoon.com
PO Box 83296, Portland, OR 97283
PO Box 11453, 1001 GL, Amsterdam, The Netherlands

The Azoic Where Broken Angels Lie
~reviewed by Jett Black
In listening to music on this cd over and over and over again... I feel like an FBI Profiler. Serial Killer and Slasher-horror vid flick saturate musical themes found here.

"Nilaihah" opens this 69 minute 48 second collection of 13 tracks which have already become popular adds both to radio program and hyper-dance club formats all across northern America and abroad.

Kristy Venrick steps into the pulsating mix, "Drown", with decisive pace and formality. Kristy also makes guest vocalist appearances on several Oneiroid Psychosis song recordings fouind on Garden of Remembrance. Kristy's vocals find their wings in "the Summoning". Oneiroid Psychosis slip inside "Terrible Space" with an influx of eerie sophistication and haunting disintegration, tradmarks of their style. Throughout this collection, samples from dramatic horror films infuse the original lyrics and programming. hallowed and twisted vocals haunt every track with great variety, and horrific grace and beauty.

Try this one. I am certain you will agree that no Dark Dj playlist will ever be complete without featuring at least one track from this album. Avid fans of The Azoic, and club goers everywhere should insist upon it. All 13 tracks work their way into playlists everywhere. I recommend "The Sad Word", "Drown", "Nilaihah", and "Suffocation".
The Azoic http://www.nilaihah.com
Nilaihah Records P.O. Box 82614, Columbus, OH 43202 nilaihah@nilaihah.com

(Anthony's Pick of the Month)
Bare Wire Delicatessen
~reviewed By: Black Orpheus (AKA AF)
Bare Wire, is Simone grey. She is an extraordinary find, amidst a sea of unoriginal convention. Her intensely poignant "Delicatessen," arrived in my mailbox with no fanfare. It should have. This album heralds another opportunity, to connect with the self we forget about. Other music lulls, and dulls the senses.

This does quite the contrary, it sharpens them. Every time I listen to this album, I am shaken by it's appeal to that part of myself that is most vulnerable.

The format of this album, is refreshingly original. I haven't really encountered anything like it. Each song is a short vignette that leads into the other. Simon gray's voice, has been compared to that of Jewel, Tore Amos, Sarah McLachlan, etc., among others.

These weren't the choices that occurred to me. I thought of Jazz great Nina Simone. There is an intensity, and a rawness present that is seldom achieved by w.a.s.p's. Delicatessen is the story of a woman in love. It is that desperate love, born of CO-dependence.

It begs requital, with it's great, weeping eyes. The object of her affection, is unmoved by her love, or entreaty. It ends with her resignation to the beloved's indifference. "Gridlock," is one of the songs that moved me most. "I can't seem to get myself there. I can't seem to get myself, across your threshold and into your room, across your floorboards and into your bed, across your sheets-like this ocean wide, like this canyon deep, I can't get inside, cannot even see." The stark bass supports the mood of depressed obsession throughout the album, as do the keys, and percussion. There can be no mistake it is the haunting, plaintive refrains of suffering that stand, superimposed across this landscape. This is easily one of the best albums, I've heard in a long time.

If I impress nothing else upon my readers, let it be this...Please, for your own hearts sake, seek this album out. This is that rare work of art that can, and will move you irrevocably. This is the music, we find ourselves longing for. It is substantial, and fit to feed ones soul.
ERISTIKOS home  Eristikos multi.media, P.O. Box 61113, Phoenix, Arizona, 85082

Birmingham 6 "Resurrection"
~reviewed By: Black Orpheus (AKA A.F.)
Birmingham 6 take their name from a group of men accused of IRA sponsored terrorism, and imprisoned under false evidence. You likely saw the story popularized in "In the Name of the Father," with Daniel Day-Lewis. The band's inception began in late 1991, when the Danes  Kim Lohde Peterson, and Michael hillerup got together. You will no doubt recognize the social, and political criticism in the music. In less capable hands, this might become boring. Birmingham 6, has been anything but boring to me. I first heard their cover of KMFDM's "Godlike," and have been a committed listener ever since. Resurrection, is a retrospective of sorts. It includes it's share of rarities, and hard to finds. It is my hope, you'll enjoy this most excellent band, as much as I.

"Radicals" was one of the plethora of great songs on this album, that I enjoyed immensely. It opens with a great religious sample, of some tent preacher lambasting people he doesn't know. The lyrics are not to be taken too literally, I believe. They have all the makings for some future scapegoating. "If I had a shotgun I'd shoot myself to hell, And if you really loved me, You would do the same as well"...Kids, do NOT attempt this at home. The programming is well done here. The distorted vocals, add to the mood of angry depression. This is my new Friday night, time to get ready music.

"Israel," was one of the best songs I've heard by B6. It opens with the narration, of a series of bombings in Israel. The beats kick in, almost immediately. There is a sample of traditional music, that lends itself to to the emerging whole. The vocals are intermittently whispered and spoken. I was impressed with the arrangement of the song. The keys, and programming are well done. I really like the use of sampling by B6. I don't think a great many bands employ the use of samples, with the measure of success that they do.

"Policestate"(mutual blade), is a high energy dance track. There is a lot of musical texture to this song. More importantly, it all works. B6 has been compared to KMFDM, but let there be no mistake; they are no clone. I can hear the influence, but this band stands on it's own legs. The lyrics are concerned with the escalation of police powers, and the resultant abuses, due to the absence of stringent checks and balances.

I loved the sample, it was appropriate to the song, and it's mood. There are few bands that can avoid wearying the listener, when addressing such weighty topics. I give B6, a lot of credit for this aptitude.

My recommendation is buy, buy, buy. The potential returns on this investment, are limitless. If you enjoy techno, and industrial in the least; I'm assured you'll embrace this band.
Web Site: cop int'l  COP INTERNATIONAL, 981 AILEEN ST. ,OAKLAND, CA 94608

Blue and Holding "Hell"
~reviewed by ::CyBeRiNa FLuX::
From the high glamour and urban dire of Hollywood, California, allow me to introduce Blue and Holding. Formed in 1994, they have been playing the Hollywood club circuit for quite some time. Now with "Hell," they are debuting on a national level. The vocals, provided by Monika Khoury, lull the listener in a college alterna-pop meets heady lounge jazz style. The music itself is a very modern, urban blend of jazz with laid back, funky bass drums, combined with hip-hop influenced keyboards, and distorted guitar lines that dig in or float along in just the right amounts for the mood of the music.

The first track, "Alright," starts the CD out wonderfully with one of my favorites of the bunch. With dreamily distorted guitar lines and sultry vocals, this song should come with a warning label that states that it will make your head swim. Do not operate heavy machinery while enjoying this song.

Another captivating track is found in the third title, "Sleep." With appropriately lazy vocals, slow pulsating keyboards, and distant guitar lines, Blue and Holding displays their ability to match the musical mood with the lyrics presented.

With keyboards throughout reminiscent of the abaragoney digaradoo, the tenth selection, "Christina's Arms," provides a unique contrast to the poppy guitar lines. Finally, I'd like to make mention of the twelfth track, the version of "Nicole" that they recorded with Slope. Strongly electronic compared to many of the previous tracks, the song is composed with an ultra-smooth jazzy style.

The lyrical content of the album could be improved upon, but the musical ability throughout the band makes up for it. "Hell" is a decent debut album that promises more great releases in the future!
Blue and Holding: http://www.tonecasualties.com/data/CT/BH/BH.html
Casual Tonalities (A Division of Klasky Csupo Inc) 1258 North Highland Ave, Hollywood, CA 90038 http://www.tonecasualties.com

BRUME & TOY BIZARRE
~reviewed by Kirin
"Brume" is French soundpainter Christian Renou, and "Toy Bizarre" is electromagician Cedric Peyronnet. The first part of the CD is Brume working on sounds provided by Toy Bizarre, and the second part of the CD is Toy Bizarre working on sounds provided by Brume. Most of these sounds are very organic in nature, lending themselves easily to the "electro-organic" nature of both these artists. Everything from the human voice, to the sounds of chickens clucking is used; delicate birdsongs, and looming voodoo ambience fill the spaces in between. This would be perfect music for reading, say, William Hope Hodgson's "The House On The Borderland." That is, if you can bear to read by candlelight, to music that is ever as haunting and perversely exciting as any classically suspenseful story could ever hope to be. This is also the sort of music that I am fond of using for alternative soundtracks to movies like Pumpkinhead and Hellraiser. Oh yes. Movie in, sound off, stereo on, sound loud, lights out, candles lit; heaven.

By saying these things, I don't mean to lead anyone to think that this is "haunted house music" in the traditional vein. This is definitely not the soundtrack to "Carnival of Souls." These sounds are the sounds of life, distorted. They are haunting because they are possessed, because they are changed, because they are unpredictable, and shocking, and alluring, all at once. If this is the sound of a haunted house, it is a haunted house that has been put in a blender, and then set free upon the shifting sands of hell.
Soleilmoon: PO Box 83296, Portland, OR 97283 www.soleilmoon.com
Staalplaat: PO Box 11453 1001 GL Amsterdam, The Netherlands www.staalplaat.com

Cleen "Second Path"
~reviewed by Wolf
If you're an avid club visitor and your DJ has a clue then you have most likely heard Cleen's "Believe", a track from their debut mcd "Designed Memories". Or maybe you're, just like yours truly, simply a dedicated follower of a certain gentleman by the name of Daniel Myer and have already had the pleasure of listening to both their releases.

For those still in the dark, Cleen is yet another haujobb sideproject, mostly a product of electronic genius Daniel Myer. After projects together with Forma Tadre, his haujobb co-conspirator Dejan Samardzic and many solo releases, he has now joined forces with vocalist/composer Thorsten Meier (DJ at the Jolly Joker club in Germany) . Whereas haujobb continues to push the boundaries of experimental electronics, Cleen delivers yet another disc for the dancefloors, reinventing pop and techno with irresistable high-energy songs. Compared to "Designed Memories" this release will probably appeal to a larger audience and it also marks a step forward in the development of their own sound. An interesting example of this is the new mix of "Did You Forget", which appeared on "Designed Memories" as a demo version.

As I said, a disc for the dancefloors, but definitely not your typical ebm/industrial-dance project. Cleen puts bands like Apoptygma Berzerk and the like to shame, delivering material that's just as danceable, but infinitely more interesting when it comes to innovative song writing. High on my list of the best releases of '99 in this particular genre.

The disc starts off with "Sunburst", a stomping dance track with high club potential. It's not my personal favorite, but I wouldn't be surprised if this will be played a lot on the dancefloors. "Freak", the second song, brings out the one flaw on this album: the vocals. Frequently they're a bit flat and almost off, conflicting a little with the otherwise flawless compositions. This might irk the vocal purists, so beware if you're picky in that area. But "Freak" is still an excellent track with interesting lyrics and the skillful utilisation of a *gasp* Dune sample (the German euro- ravers, not the movie). And it's not the only interesting sample on the cd, because "Cutting the..." features a section borrowed from Glen Danzig.

And it works amazingly well, giving the song a powerful orchestral opening which is shortly joined by again highly danceable electronics. More excellent club material.

And thus Second Path guides us through an intelligent landscape of different styles of electronic music. The trancey "North", the dark and irresistable new version of "Did You Forget", the pleasantly strange "Seperate Live" and the happy "Transparent". That last one has, together with "Freak", a distinct New Order/ Pet Shop Boys feel to it, yet more intricate and updated in its sound. These songs might very well be a hint at the sound of Daniel's upcoming project HMB, which has been described as music in the vein of New Order, OMD and the Pet Shop Boys.

"Stronger" is interesting, but one of the lesser songs on the cd, in my opinion. "Nightflight" reminds us that Cleen does not just crank out dancey techno-pop, whereas "Can't See", the album's seven-and-a-half minute long gem, is a slow and moody trance trip, reminiscent of "Believe". And in songs like this the whispery vocals work extremely well, which is why I think Cleen should stick to that rather than make attempts at actual vocalisations. Personally I do not have have a problem with the few occassions on which the singing is a bit sub-standard, but it should nonetheless be pointed out. Still, this album is too good to pass by for that sole point of minor criticism, due to both its original diversity as well as the outstanding overall production.

From floorfillers to headphone explorations, shameless synthpop to highly intelligent techno...it's all on there and "Second Path" can be seen as a sign of even better things to come, with a remix album and a new full length, "Solaris", already in the works. However, one question remains: where does Daniel Myer find the time to sleep?
Additional info: Official web site: coming soon Label site: http://www.metropolis-records.com  For Europe: http://www.zothommog.com

Creeping Myrtle Ode to the Urchin
~reviewed By: BlackOrpheus(aka A. F)
I've heard it said "There's not a string attuned to mirth, but has its chord in melancholy." With that, I'd like to introduce you to Seattle band Creeping Myrtle. You would be well advised to set aside any stereotypes you might have about Seattle bands. Grunge notwithstanding, Creeping Myrtle turns the smirks to surprised smiles. I hadn't heard of this band until recently. They are one of those bands in the old tradition, a band that is largely carried on the merits of their talent alone. Believe me when I say, this band has no shortage of talent. I 'll wager "Ode to the Urchin," is as fine a calling card as any band could hope to pro-offer.

"The Shy Reserve," starts out with quiet, delicate guitar work. The vocals are delivered in an intimate manner. There is a change up in the tempo, just after the intro. This is when the percussion, adds its licks.

The "shy reserve," is a thing of beauty. It imparts that sense of near taciturn self-expression, and yet holds nothing back. When Prater sings "I follow shadows through nights of my splendor, I follow shadows, Things that I saw when I was in the light," you follow his journey through his "Shy Reserve," and more importantly; you identify with it.

"Step In the Sun," was a song that I enjoyed particularly. The writing is sublime. The poetry in the lyrics, makes this the kind of song that you have a strong emotional response to. "I'm searching the cloud coat for my calico bride, Step in the sun, Are you the one that I need, Lay here with me, I'll make you sigh, as we float down the stream," is a great example. I notice that at least on this album, the opening guitar really lays the foundation of mood. The vocals are the predestined accompaniment, to the melancholy voice of the guitar. They are mated by nature of their resonance. The piano entrance on this track, was like encountering an old friend. There is a lot of passion here. The feeling ranges from quiet contentment, to bursts of euphoria.

This really wouldn't be complete, without mentioning "Of What May Be." The intro on this song, is decidedly more energetic. It is an invitation, joined to a more upbeat guitar,"Come take my hand in a magickal union, And fly with me to what may be, A web of our freshly unraveled love, and wonder." The writing is consistent throughout the album, this track is outstanding, however. Valentine's Day is coming up, I'm sure Prater wouldn't mind anyone quoting him.

Creeping Myrtle was well worth my time. The first thing I thought of when I heard them, was how British they sounded. "Ode to the Urchin," reminded me of The beattles, and The Verve. This is plainly speaking, music with legs. It has a very 'live' feel to it. It isn't overproduced, and it doesn't rely on effects. There was a time when the only way you "made it," was if you could really sing, and play. Creeping Myrtle harkens back to such a time. I hope to catch a live show soon. As for you, I challenge you to treat your ears. They'll thank you...
Web Site: Creeping Myrtle - New CD on Doldrum Records: "Ode to the Urchin"
Label: Doldrum Records Official Website  doldrum records - p.o. box 21689 - seattle, wa 98111-3689 - u.s.a.

Deadsy  "Commencement"
~reviewed by ::CyBeRiNa FLuX::
Deadsy is the latest major-label band in the gothic genre with their debut album, Commencement, put out by Sire for a release date of Spring 2000. The band has quite an interesting bio with their singer, Elijah Blue, being the son of diva Cher and rock legend Greg Allman. Not to mention their old bass player, Jay Gordon, also happens to be the singer for Orgy. Finally, the CD almost never was! Apparently, after sending out just a few promotional copies, Electra decided not to release it after all, and Sire picked it up. The heavy and distorted guitar lines combined with Dr Nner with his retro-synth style make for a sound so unique that I can honestly say I’ve never encountered it before.

With noticeable influences by bands as diverse as Gary Numan, Type O Negative, and Korn, the CD carries out a wide variety of styles from alternative rock to synth pop to metal and everything in between. Talent that can touch on more than one musical groove really pushes my buttons, but there are a couple of tracks that pushed the wrong ones. There were three songs in particular, though, that are very promising.

The first of those tacks that really took hold of my attention was “She Likes Big Words” with its early 80s retro synth-pop feel. Starting out with some great analog synthesizer programming, and a funky bass line, the song progresses into some very upbeat and catchy lyrics.

The very next song, “The Elements”, has distorted and heavy guitar lines and a lyrical style that makes for a combination that rivals the darker alternative rock bands like Smashing Pumpkins or The Toadies. I can easily see this track charting well on College Music charts, or even top 40.

“The Mansion World” is my absolute favorite. Dr Nner shows off an analog synth mastery that hasn’t been found in new artists in a very long time. Like wizardry, he mixes a potion of great effects throughout the song including particularly clean vocoded lyrics that are very strategically placed. The guitar lines add to it giving the song a heavier and more modern feel. I can guarantee you that this track will gain plenty of radio play as well.

Elijah’s catchy lyrics really make each one their songs stick in one’s head for days. That’s a really good thing to have going for a band. One particular song, “Fox on the Run” had a style that I didn’t particularly care for. Yet still I found myself singing it throughout my entire day.

Considering that was a song that was low on my list, you can just imagine the impact that “The Mansion World” must have made on my whistling repertoire! With the ingenious lyrical composition, and spellbinding analog synth work, this CD is a must have for all fans of Goth rock and that antiquated synth sound.
Currently there is no official web page yet, but check here for more info on Deadsy: http://home.talkcity.com/InfiniteLoop/elijah-blue/deadsy.html Email: deadsy9@aol.com
Label: Sire/Warner Brothers Sire - http://sire.ear1.com/ Warner Brothers - http://www.wbr.com/
Newsflash (11/05/99) It said in this weeks issue of Kerrang that Deadsy have been dropped by Warner Bros. Deadsy are currently shopping for a new label.

Decoded Feedback  "EVOLution"
~reviewed by ::CyBeRiNa FLuX::
The duo that makes up the Electro-industrial outfit Decoded  Feedback is an ultimate example of the newer style of industrial. In  1998, they took their rank on Germany's alternative music charts with their  album Bio-Vital. With their newest release, EVOLution, they prove that  they have no intention of slowing down.

EVOLution is broken down into three separate sections. The first  section, entitled D.N.A., contains all of the previously unreleased  titles. Starting out is the title track, "EVOLution", providing an  excellent introduction to the CD. It blends beat loops and sequencing typical of Electro-industrial with samples of English horns and strings  with such precision that you would never think it to be an out of the  ordinary combination. The lyrics portray apocalyptic premonitions with  lines that paint a chilling picture for the listener. "I've seen the world in its creation. Oceans blue shining in perfection. Time will destroy this illusion. Atomic bombs in waves of mutilation". Another favorite  track from this section would be the highly danceable third track, "Infect Me."

In the second section, cleverly titled Genetically Altered, Decoded Feedback has included songs from their past releases remixed by other popular industrial artists. The first of these remixes that struck my attention Breathe on the ninth track, remixed by In Strict Confidence, another Zoth Ommog Industrial Dance duo that has done quite a bit of work in the past with Decoded Feedback. The Funker Vogt remix of "Bio-Vital" however, steals the show for the remixed portion of the CD. Funker Vogt has infused their militaristic style in this Decoded Feedback staple. Taking what was a hard beat, and making it yet harder and a little bit more upbeat, this track is certain to become a dancefloor hit in Industrial clubs in the U.S., in Europe, and around the world.

The final part of the disc, also wittily labeled, is called Cloned, and contains only the final track of the release. Here you will find a cover of Bio-Vital done by another German chart topper by the name of Frozen Autumn who successfully mutates the track into a catchy synth-pop tune.

Decoded Feedback is a gem made of radium in the Industrial genre. With infectious beats, and message giving lyrics, the band attempts to blur stereotypes. Their greatest triumph is their ability to break down the walls of gender stereotypes. The band is composed of vocalist Marco Biagotti, and a female keyboardist named Yone Dudas that presents quite a rarity in Industrial music. Be sure to check them out on their upcoming tours with Haujobb and the Zoth Ommog Festival during the Spring of 2000!
Decoded Feedback: http://www.interlog.com/~defcode/
Released and marketed by Metropolis Records PO Box 54307 Piladelphia, PA 19105
http://www.metropolis-records.com/label@metropolis-records.com
Under exclusive license from Zoth Ommog http://www.zothommog.com/

DotFash Self-titled CD
~reviewed by Admortem
DotFash. An unusual name, but a name that will sure to be heard on every alternative radio station in the near future. This up and coming band out of Florida has just released their first full length CD. This self titled CD is chock full of potential radio hits, including the song "When all is said and done", which was released on a soundtrack of the motion picture "Raging Hormones". DotFash originated in 1996 under the name "Pheromones," and since then experienced many ups and downs ranging from technical difficulties that delayed releasing their debut album by eight months to opening for national acts like Hate Dept. and Orbit.

DotFash regard themselves as being "a modern euro-goth pop rock band," however, after listening to their self titled CD I did not hear all of those different influences that are suggested in their self labeling. What I did hear is a pop rock band that hasn't developed a sound uniquely their own. Each song on the CD is similar to the others, both in sound and in energy. Their music is reminiscent of popular radio bands such as Big Head Todd and the Monsters, Dishwalla, Matchbox 20, Tonic, etc. etc. This being the case, it is no surprise that DotFash's CD fails to grab my attention.

DotFash has a sound that does however appeal to the masses. The lyrics and style generate that same sort of angry, youthful essence that has been the rage throughout the 90's. It is not surprising that many teen/college aged fans identify so completely with the band. Tousled hair, sideburns, with hands shoved in loosely fitting pants pockets, DotFash serves as an outstanding representative of what the early alternative scene has evolved in to today.
Band's website: www.dotfash.com E-mail address: Jsin7@aol.com
Dotfash PO Box 10181 Pompano Beach, Fl 33061
Label's website: www.soularise.com

DEATH IN VEGAS "The Contino Sessions" CD
~reviewed by Kirin
One of 1999's hands-down gems. If you buy only one CD in the next six months, make it this one. Beyond the fences and boxes of genres and styles, Death In Vegas took the worst of everything beautiful in the world and made it hideously sensual. What, you don't believe me? "The Contino Sessions" is full of Nick Cave swagger, Polly Jean swing, and everything sacred and irreverent and strung out in heaven. Shades of Portishead, threads of Sneaker Pimps, screams of darkwave techno, bone shards of promises that other bands have been making for years, but Death In Vegas delivers, lock, stock, and smoking barrel.

From the first seconds of this disc, my chin was on the floor. And then I got to "Aisha." Katie bar the door- what have they done? I can't get this song out of me, and I don't just mean my head. It's in all my hands and my feet and my blood and my bowels. Mean and lewd and feral and sweet, ONLY Iggy Pop could have done this song. There could be no other. The combination of Death In Vegas and Iggy Pop seems almost apopalyptical, inevitable, and proof that yes, for every Iron Age, a Golden Age must follow. Welcome to the light at the end of the tunnel.

If I sound a bit like I'm raving, I am. I'm downright rabid. I'm foaming at the mouth. I'm jumping up and down BEGGING you to go buy this CD. I'm putting up a tent, I'm setting out benches. It's time to spread the good news. Death In Vegas are here. Let them drop you in the water. Let the dove come down upon you. Rise up, go forth, and tell the people- Death In Vegas are the bees knees, the cat's pajamas, and the best damned thing since plasma physics.

The gods all suck!
On this recording, Death In Vegas are the following people:
Writers, producers, and mixers; Richard Fearless and Tim Holmes.
(Various lyricists.)
Bass: Matt Flint
Guitars: Ian Button
Vocals: (Vary from song to song;) include Bobby Gillespie, Jim Reid,
Dot Allison, and Iggy Pop, and the London Community Gospel Choir.
Drums: Matt Flint, Will Blanchard, Simon Hanson.
Keyboards: Spencer Bewley, Seamus Beaghen, Gary Burns.
Double Bass: Ali Friend.
Handclaps: Spencer Bewley
Concrete/Time Bomb Recordings/BMG info@concrete-recordings.co.ukdeathinvegas@timebombrecordings.com
www.timebombrecordings.comwww.bmg-backstage.co.uk

DIARY OF DREAMS   "Moments of Bloom"
~reviewed by Blu
"Moments of Bloom" is Diary of Dreams first U.S. release and boy has it been a long time coming. Although previously available only in Europe, they have a small following here in the US that have been lucky enough to be exposed to this German darkwave band through excellent DJ's, word of mouth, tape swaps and reviews. Those of us owning any of their previous CD's went to great lengths to get them. Why you ask? Because this band is simply phenomenal. They've got a nice web page up at that chronicles their history thus far listing lyrics and a complete discography. Here we go with my obsession with lyrics again these are great, go check them out. Thanks to the band and webmaster for making them available to us. (Sidenote: the snobby artist in me loves that they've kept a running theme on their CD covers too).

This particular CD is a terrific introduction to Diary of Dreams with 8 tracks spanning their previous bodies of work plus 3 previously unreleased tracks. Its hard to describe the sound of this CD as Diary of Dreams is well known for covering many spectrums of "goth" music - from almost ethereal ballads, strong neo-goth, darkwave, to electronica and industrial. There's something for everyone on here and Adrian's deep vocals are black liquid icing on the technically sound and competent cake.

"Cholymelan" starts out softly with an innocent piano melody that evolves into a more complicated sythn string with a heavy beat and ends with melancholy spoken vocals (mandatory girl stuff: love that accent!). "False affection, False creation III" is a heavy, brooding song with a good dance beat similar to Clan of Xymox stuff. "End of Flowers" is one of my favorites with its haunting introduction and bitter lyrics encased in Adrian's outstanding vocals that will be sure hit among the "swirly goths" for dramatic dancing purposes. This song is also accented with an occasional guitar and a female voice. "But the wind was stronger" is another favorite of mine with a driving melody that always makes me want to go dance. "Ex-ile" moves into an even more aggressive stance with alarming, strong vocals, "Retailiation" is another one that I predict will be popular at the clubs, while "End(giftet)?" is slower but sticks in my head with its catchy melody and features, yet again, some nice spoken vocals. And finally with the three new songs- while "Moments of Bloom" and "Touch II" are seductive in their slow winding rhythms; "Predictions" is my favorite (its a dancing thing again...taptaptap). <cough>... and don' t forget the hidden track...

Enough of my babble, point is, this CD is awesome.  I for one am happy they finally have a US release. Hopefully they'll get the recognition they deserve now. Go buy it before everyone else does.
WebPage:http://www.diaryofdreams.com
Label: Metropolis, PO Box 54307, Philadelphia, PA 19105 www.metropolis-records.com
Management: Cest La Mort

Diet Of Worms "To Thine Own Self"
~reviewed by: Black Orpheus(A.F.)
Diet of Worms is a very talented Florida export. You like o.j., Disney World, South Beach culture? Forget that, this is what's making Florida known. It's the music. Their sound is unusual, not particularly common. They embody elements of industrial, electronic, even metal. This would hardly begin to define them however. I can only tell you, it works. They opened for Christian Death a few weeks ago. I thought their set was an unusually strong one. I approached their vocalist Damond, and told him I'd love to review their cd. He graciously offered me one on the spot. I can't be the only one who saw something in this band. It's not their first tour with Christian Death. They've also done a Drac Fest and toured with Switchblade Symphony. They're still unsigned! The line starts to the left, no pushing...

"Deceive," has a Led Zepp feel. It has that slow, sexy groove. The vocal delivery supports the tempo of the song. There is an intermittent piano part, crisp drumming and a great supporting sample. The keys shouldn't be overlooked either. "What is there left to believe, you are who you deceive," this is the question posed by the song. I like the song writing, it has moments of brilliance.

"Stripped Down," has a quick uptempo intro. Punchy delivers an ever fierce onslaught of guitar lashes. The vocal track is layered over an angrier supporting track that howls in it's anger and pain:"My eyes guide my swollen disease; I'll inject you with the decay that stripped me clean." The song is carried on the back of outrage. Distorted vocals, lend themselves to the overall feel impending eruption. The song is only a precursor to the already palpable simmering emotions.

"To Thine Own Self," rounds out my discoveries on this disc. It is also the title song. The intro is electronic/vocal. Damond has got one hell of a voice. It lends itself to the material, wonderfully well. "My hands press you into a place your conscience never went," is a great commentary on the dysfunction of sex without consequences. The electronics continue throughout the song with the lauded guitar of Punchy, again. There is great sampling here as well. I really like this song. Hell, I like the whole album.

In conclusion, I hope you'll join me in my discovery. Diet of Worms is not by the purest definition a gothic band, Type 'O' Negative wasn't either. It isn't technically a rock/metal band either. It is some kind of extraordinary hybrid. It's subject matter and experimentation musically; make it a band of interest. They are well worth checking out. If you ever catch them on tour with a gothic favorite, sit up and take notice. I think you'll be surprised.
Web Site: Diet of Worms

DNA LE DRAW D-KEE CD
~reviewed by Kirin
Anagram: Edward and Elke/DNA Le Draw D-Kee. Now the Dots fans are awake. For the rest of you, Edward ka-Spel is vocalist, keyboard player, and much, much more, to the Legendary Pink Dots, and Elke Puecker, his wife, is also an accomplished musician, appearing on many Dots side projects and musical meanderings. Ryan Moore plays drums and bass for the LPDs, and plays drums, percussion, guitar, and bass on this album. Calyxx is Edward and Elke's son.

This album was inspired when Frans de Waard, of the Korm Plastics label, called "The Legendary Pink Dots Household" and suggested they take part in the Korm ambient series. Edward relates, in the promo material, that he felt the project was a challenge, because his experience of ambience was that it was music which was intended to be ignored as much as enjoyed. I, of course, do not agree with this assertion, having become rather fond of Brian Eno's work, myself, but, nevertheless, this album reaches Edward's goal of being more enjoyable than ignorable.

The only thing I do not like about this album is that I am very irritated by samples of baby sounds. I loathe them. van Gelis has even found himself on Kirin's "Skip This Track Due To Baby Sounds" list.

It's not that I don't like children, truthfully. It's that their sounds, sampled, disgusts me. I have no idea why I find baby samples repulsive, but one whole part of this CD was a vulgar experience for me, because of just such sampling. Other than that, it's a glorious ambient CD, bursting with depth and breadth of sound. 'Tis the clicks and the glitches and the drones and the drips that make ambience so lovely, and

"DNA Le Draw D-Kee" is a small universe of sounds to be explored. Don't let my anti-baby-sound thing get in your way; (unless, of course, that bothers you too,) because this is a truly resplendent collection of sounds, and well worth owning. The cost of the CD is worth the first minute and 13 seconds of track 2 alone. Okay, the first 2 minutes and, okay, the first 3 minutes. Oi. You get the idea.
Pink Dots Website, with DNA info: http://www.brainwashed.com/lpd/
Soleilmoon Recordings: PO Box 83296 Portland, OR 97283 www.soleilmoon.com

DRUMATIC "Reactions"
~reviewed by Kirin
A mesmerising combination of Nicole Blackman-type spoken incantations, This Mortal Coil-like whispered furies, and the technical brilliance and heresy of Doubting Thomas and Leaether Strip. A CD like this could easily fall into a treacherous world of overly-sugared vocals and oversimplified philosamplical meanderings, but not so with Drumatic.

The female vocals never reach the place beyond elegance which becomes insipidness, and the music slithers gracefully and tauntingly around the vocals in a way so provocative as to be downright lascivious.

Furthermore, may the gods bless Betsy Martin for the moments she sounds deliciously like Chrissie Amphlett. (You know, the DiVinyls...) The lyrics are beautiful both as intonations, and as thought processes- a rarity, and a phenomenon to be treasured. Some tracks on this CD, such as "Blister," and "Endorphin's Ache," are seriously, frighteningly beautiful. This is definitely "Best-heard-in-the-dark-with-many-candles-burning" music. I'm not sure it's actually possible to recommend this CD highly enough, without grabbing you by your collar and begging you to go find it. Unless, of course, you're the type that responds better to commands. Let me just put it to you like this. Now that I've heard this music, I can't imagine life without it.
http://www.tonecasualties.com/data/TC/Drumatic.html
Tone Casualties 1258 North Highland Ave. Hollywood, CA 90038 www.tonecasualties.com

EVERLAST "Whitey Ford Sings The Blues" CD
~reviewed by Kirin
Yeah. I see that look on your face. But have you ever actually *heard* this album? Well? Have you? Yes, I know he once rapped as an Italian, and then as an Irishman, and now he's a bluesman. A lot of people in America are Irish and Italian and proud of both aspects of their heritage. A lot of people in America, yes, even white people, hurt, and hurt badly. Some white people even live in the same hard parts of town that black people and brown people live in. Pain is equal opportunity.

Death and hardship and sadness come to us all. So why *shouldn't* Whitey Ford be able to sing the blues?

There are a few goofy rap songs on here that made me roll my eyes, but they're short, and jeez, I can always press "skip." The rest of the album gives me goosebumps every single time I hear it. Just listen to the song "Ends." The depth of feeling and emotion that flows through Whitey Ford Sings The Blues is breathtaking- this album is the concrete foundation that Kid Rock built his castle on. Kid Rock will do well to live through his fame and come out the other side as well as Everlast has.

And did you know that Everlast almost died last year? Seriously, the man had a heart attack, and nearly died in the hospital with a torn aorta. 29 is pretty young to almost die of a heart attack. Open heart surgery before 30. That's deep. Funny thing is, he wrote this album before he had the heart attack. 'Seems to me the boy's roots run much deeper than people give him credit for. He was spiritually alive and well BEFORE he got sick. How many of us can honestly make *that* claim? I can't. Everlast has also converted to Islam (I think it was 3 years ago now,) and 'been tryin' to live the clean life required by that system of belief. He's a better man that I, Gunga Din, 'cause I sure ain't up to all that. Face it, it takes guts in this life to follow your heart, even as people point and laugh. It takes a pretty strong person to keep growing in public, and saying, "Here I am, take it or leave it."

Oh, you say, but like Kid Rock, Everlast was born and raised in the suburbs, not the ghetto. To which I can only ask you, why is that if black kids from the suburbs make techno music, it's all good, but if white kids from the suburbs make rap music, it's a joke? Easy now, let's not be pointing fingers! If white boys like Kid Rock and Everlast put some good music out into the world, and somehow even learn about Life along the way, who are we to say, "It ain't real"? Listen to "Ends" "Money (Dollar Bill)" "What It's Like," "Get Down," "Pain Killers," "Today(Watch Me Shine)" "Death Comes Callin'" and "7 Years," and tell me it's not "real." It's freakin' real, and if you can get past all the "It Ain't Cool To Like Everlast" b.s., you'll hear the soul of the Neville Brothers echoing loud and true through this music.

Listen to the words of say, "Next Man" and tell me that Everlast hasn't been around the block enough to know what conscious people always feel- profound anguish.

Just give the disc a spin. You don't have to tell your friends.

You can always hide it when they come over. Or, you could "get real" and say, "You know what, that Everlast disc is pretty amazing, you should hear it!" If you won't chance it just because those so-called friends might laugh at you, you wouldn't be able to really hear the music anyway.
http://www.tommyboy.com/artists/artistsframe.html
Executive Producers: Carl Stubner, Everlast and Dante Ross
Tommy Boy Music www.tommyboy.com 902 Broadway New York, NY 10010

Fallen Tear The Drowned World
~reviewed by Mike Ventarola

THE DROWNED WORLD is a project initially conceived by Giorgio and Jean Paul. At the outset, this was a three track demo that was created for their own amusement. The songs were somehow passed around and they were contacted for more songs by newly acquired fans. The overwhelming response led to new ambitions and the current CD was spawned.

From the shores of Italy, this music was placed on www.riffage.com where this reviewer sampled the songs through a playlist another listener had compiled.

The first striking concept is the Italian grave yard cover photo. It depicts a head shot of a statue in what appears to be the throes of ecstasy.

Many writers have pondered the orgasmic release upon the soul when exiting the corporeal body. It is only fitting that these songs have such an image as these songs mesh a conglomeration of human emotion through their English lyrics and stimulating musical arrangements.

"Bliss" opens the disc with swirling white noise and tinkles, progressing towards a march like drum beat that opens upon a vista of minor guitar chords very reminiscent to Faith and The Muse. It is a darkly sensuous piece to center you for the tracks that follow.

"Dark Again" slams us out of our reverie with classic guitar licks and tenor vocals lamenting about "watching the road that brings no one back / hearing the grass that grows upon their graves."

"Buried Under The Sea" has a classic road house blues type of drum beat groove that makes this song exceedingly erotic. The percussion entwined with the minor guitar chords and symphonic harmonies of the synthesizer sent chills down my spine. The lyric, " I lay outstretched upon the dusky wave" croons and elicits our voyeuristic tendency with other lyrics that are highly suggestive and fraught with double entendres. This song is also making a lot of college air play and after hearing it, have no doubt as to the rationale why.

"Teenage Queen" is a light romp reminiscent of the Go-Gos classic Vacation at the opening bars. This is a light poppy Gothic/New Wave tune that naturally deals with young lust of a teen queen in all her beauty.

"Broken Toy "becomes more serious with simple acoustic guitar chords opening this and segueing into a gentle tambourine and percussive beat with chant like hushed singing. The opening chords progress into the more electric and synthesized version to further complete the tune, adding " our love is nothing but broken toys."

"Charming You" further delivers the expert handling of this material with New Wave like percussion and a healthy marriage of guitar and synthesizer to make this a danceable and fun romp. All the right minor chord swirls are in the background with deep groaning vocals wistfully singing in the ether part of the expanse as a backup to the tenor vocals in the foreground.

"Burden In My Hands" is naturally a double entendre that does not fail to smile at itself while delivering a heart wrenching lyric. It is about giving the object of ones affection everything. Ultimately this amasses into lies, deceptions and loneliness which in turn leaves one alone with "this burden in my hands." This is a harder edged song than the rest of the showcase, which sounds like hybrids of Field of the Nephilim, Faith and the Muse and a pinch of Rosetta Stone. The vocals are taken to new heights with the utilization of echoes and loops at various parts of the song.

"Car Crash" is an instrumental composition which begins with a snare and the increasing synthesizer coming from the void. It is accompanied by the ever present minor guitar chords that I am totally fond of in this style of music. It cascades in gentle rivulets against a back drop of dark luscious velvet, seducing and enticing. It is a night time drive where the only company is the white lines of the road and the swirling landscape from the sides. It stops abruptly to give rise to more frenetic minor guitar chords, distinctly detailing via audio that the crash has impacted with a slow motion plummet. The music ascends into more frantic and anxious guitar licks and ends in what can be interpreted as the final impact.

"Shots and Echoes" opens to a swirl of sound and quarter drum beats to make this very danceable while remaining faithful to the Gothic sound. Descriptive of a the noise of silence as a drop of rain is watched "as it bleeds on the ground." A sound that it is "too loud , echoes a shot with following echoes." Nice poetry to depict the ripples on the water of ones emotional pool.

"Time Lapse" encapsulates how "everything last just for stolen hours...made of a second." The split second between being with the one you love and the moment of melancholy that waits, lurking in the "dark shadows" to take them away. This song is accompanied with mournful guitar work and a slow steady single drum beat. This could easily be confused as something from the annuls of The Cure. Intensity builds and the rhythm progresses, indicative of how that split second can immediately change everything. They creatively stress the instruments to imitate pelting rain between the swirls of sound.

"Land" begins with what could be interpreted as industrial. Droning guitars that are reminiscent of a buzz saw cutting away the acreage of ones life. Again, the classic Gothic guitar riffs are evident while expert implants of exotic sounds are layered within the fabric to "take you to feel what I have felt through these lands of desolation wastelands of burned ground wilderness."

"Till The End of Night" more classic The Cure like homage on a song that has us "wandering through this moonless night searching for a life." A soul, blocked from transmutation, must go through the wanderlust and is forced to "travel till the end of night."

"These Dark Skies" repeats slightly the success of Buried Under The Sea with a very similar road house type of beat only the guitar work is more mournful and pronounced. We see that we are "living under these dark skies withblind eyes enclouded by your vanished smile." The eroticism plays a secondary role where we are forced to confront the memory of tears, emptiness and the loss "while everything fades in these dark skies."

"The Drowned World" is ambitious and successfully crafted. The depiction of death in its many guises are blended beautifully in some of the most original work.

The band members, just like death itself, remain and enigma on their web page photos.

The composed lyrics provide excellent insight of mourning and loss without ever becoming trite.

This is a highly recommended body of work for those who like the classic Gothic genre sound. I am quite sure it will be some time before it is removed from my CD player.
Fallen Tears Web Site : http://members.tripod.it/falllen_tears Fallen Tears E-mail : i__s97@hotmail.com

Kay Gardner "Ocean Moon"
~reviewed by Michael Ventarola
If I was forced to grab CDs out of my collection to rescue from a burning fire, this is among them. Ocean Moon is actually 2 albums in one. It comprises the instrumental portions of Mooncircles and the majority of Emerging, minus one track, by Ms. Gardner. This CD is a re-release of a classic and is readily available from one of my favorite music shops, Ladyslipper (http://www.ladyslipper.org).

Back in the days as a baby witchling, there was very little in the way of recorded music for Pagans. What was available was generally a poor cassette recording of really lame music. We supported the music though because it was the beginning of what now has become quite an art form that is usually heralded as New Age.

I happened to stumble upon Mooncircles during its vinyl incarnation and discovered an expanse of sound unlike any that had been recorded up to that point. The notes deftly transported me back to a time of our Pagan ancestors. Within each track you will hear some of the most melodic flute and guitar compositions to ever truly evoke magic in your life. Ms. Gardner skillfully weaves notes that can only be described as sheer ecstasy and boundless joy.

Over the years, that vinyl album received a lot of repeated plays and did ultimately wear down. Luckily, the brilliant ladies who run Ladyslipper brought this classic into the new era by releasing it on CD format.

What makes this the music so special is that it can be utilized for craft working, meditating, or even during those long intimate nights with that special someone. This is sound that fits anywhere in your life without being overpowering and never boring. I am still playing this music 19 years after I initially purchased it if that should indicate its longevity for you.

These tones speak to our spirit in multifaceted levels, guiding us along the path of enlightenment by focusing our minds eye onto our chakras. It harmonizes the anima/animus within us, helping to compliment that which makes us the embodiment of light spirit in Her presence. This recording remains a hallmark that should be in every pagan household.

Ms. Gardner has continued to record many other landmark albums which in time shall also be reviewed. If you are unfamiliar with her body of work, go to the Ladyslipper link and listen to the many sound samples that are available. Familiarize yourself with one of the most gifted musicians in the womens music movement and know that the God and Goddess speak to us through her gift of music.
Kay Gardner
Ladyslipper, Inc. www.ladyslipper.org P.O. Box 3124-R Durham, NC 27715 USA orders@ladyslipper.org

Grace Overthrone "The Grimm Masquerade"
~reviewed by Mike
When Gothic and non-Gothic friends try to convince me to lend them a CD that is up for review, I know I have a hit on my hands. Such is the case with Grace Overthrones latest work, The Grimm Masquerade.

This band has been around for about 5 years and in that time has managed to sell out of everything from the artwork of their covers to the CDs themselves. This music is so broad in style that it leaves me wanting to classify it as Modern Gothic/ Dark Rock. Reviews of their live shows have been nothing less than spectacular.

The lead singer, Lena Grimm, is a blonde beauty who breaks with the tradition of dark hair for dark music. This should not in any way deter you from sampling this music. Ms. Grimm has a power house vocal style that leaves many competitors in the dust.

Tony Mac, the music maestro and wizard behind the various sounds, has swarthy good looks and an easy going style. Again, this should in no way fool you into thinking this music is pabulum drummed up by nice looking people. This duo works our everyday angst into musical compositions that we can identify with because what is written is true in nature and based upon circumstances in their lives.

"Stop" opens up with a dark background, rich with drum beat and guitar work. Lena is warning us that we are f* ing with the wrong person. This song is appealing because it addresses those times when we encounter someone who tries to get over on us and we have to get a bit ugly and stop them in their tracks. This song is expressed in a lower register that makes it almost anthemic.

"Fight" takes a harder, dark rock edge while still being danceable. A song that deals with having to fight in our significant relationships with someone who has clearly been oblivious to our needs. To listen to this work you would think and entire band lineup of at least 5 was creating all this music.

"Father" is the type of song that gives just enough to let you come to your own conclusion. It could be about incest, a priest or God. The lyrical ambiguity is what makes this song work well due to the many levels it can be interpreted as. The lovely drum beats open this song, while the guitar work gives the traditional Gothic chords. Lena continues to sing with fiery passion and multi-layered emotion that is inescapable. The range of her vocals are very evident and show cased strongly in this song.

"Tripping With God" uses dark ambient sound coupled with trip hop drums that segue into guitar work that continue to unfurl. Lena asks us if the light that is coming through is a hole in the wall or is it God?

"My Insanity" further intensifies the emotional boundaries declaring, "my blood is poisoned from the bed I've made." Self recrimination never sounded so good. The vocal over sampling gives rise to the multi- faceted personalities within each of us.

"Porcelain God "is that place we have all been to at least once in our lives. Lyrically, this can be either an homage to the porcelain toilet we have retched into from a bout of drinking or a hopeless declaration to that eyeless statue of a religious image. The vocals echo and are compressed, bouncing off the walls of sound. The dark elements weave a hidden clock like sound, ticking away moments of our deep despair while we wonder if the one who drove us to this place is watching our inner torment and turmoil.

"Rolled Into One" opens with brooding sound effects and whispers. We then are taunted with Lenas vocals to a background of drum and guitar work. She lets us know that she is "the pain of your birth, the blood of your cuts and the lust of your pleasure." She is the dark degradation of our humanity that smacks us in the face with the reality of our pain and pleasure rolled into one.

"As Good As It Gets" is not to be mistaken with the movie of the same name. This song further demonstrates how commercially viable this band is. It is a dark tune yet retains some elements of something that would likely end up on regular radio in a top 40 category. This song really appealed to the non-Goths in my crowd as well. With these lyrics, we are confronted with realization that "this" is all we have and we question if this is as good as it gets. Definitely a worker's anthem for busting their butts in a 40 hour week and surveying their turf to realize, they still dont have a thing to show for it. It also extrapolates upon the emotional void of self doubt that we retain in relationships. It is a reminder to stop and listen to the silence in our own heads to question where we are in our lives.

"Run", not to be confused with the Gossamer tune of the same name. This song is the awakened angst from listening to the above mentioned silence. It is the overwhelming pervasive fear we fight in an attempt to block the voices in our head. We run into the shadows of our psyche to escape ourselves only to have to confront them again.

"Radio Garbage" is a tongue in cheek slap to commercial radio. The song opens with compressed and drifting vocals into something that would pass for top 40. Lena and Tony then kick into overdrive with the guitar and vocal work about corporation warfare and suburban posers. Every style of music is incorporated into this song to make this a truly brilliant track. Lena guides us on this tour of "full sonic suicide" with cynical lamentation similar to Deborah Harry during her early Blondie years. The samples used could not have been any more perfect for a song.

"Inversity" leads us to that point of total self absorption. This reflects being with someone who assisted during our time of adversity. It is not love or affection that keeps us bound but the usefulness one can provide us. Lena becomes the black widow spider with lyrics that engage, "you sold your soul for me, you took my pain away, I think Ill keep you." She also lets us know that if you rely or place demands on her she will leave and forget of your existence.

"Monotony" wraps up the CD, allowing us to see the sweet with the aforementioned bitter. This is not a song of a cruel person, just someone who cries at the deceptions we have to deal with a world gone mad. It expounds upon the realm that the pain we see in others and experience ourselves is just another day to someone else. It darkly broods and guides us to question if we stop and notice the sorrow around us or do we just dream about being taken away from all this insanity. Are we to play the game of bravado as a means of survival?

Grace Overthrone presents us with a dalliance of a new age of dark rock music that is continuously bringing them more fans with each outing they undertake. Lena Grimm throws us into a myriad world of pain, ecstasy, and disillusionment. The talents of Tony Mac at the arrangement helm make a duo sound like a full orchestra.

Lenas lyrics allow us a peek inside her world but at times she will turn the mirror back on us to reflect if these type of things happen to us as well. She purges her demons vocally while maintaining an animated and beautifully toned singing style. The episodic vocal compression and over layering work to highlight her sumptuous voice.

I will contend that this is a CD you must rush to get if this even remotely interests you. They do sell out quickly and this reviewer was forced to go without their last CD due to this fact. Luckily I joined their news list that accompanies their web page and was able to get advance notice of this release.

If you are looking for something that remains true to the dark music form but provides a wealth of new sound, this is the music to get.
www.darkmusic.com/graceoverthrone.asp  suisonic@primenet.com
Dark Music.com 1245 W. Guadalupe Rd. Ste b6-290 Mesa, AZ 85202

GOSSAMER EP's: "Sweetest Misery" & "Memoirs: A Premonition"
~reviewed by Mike Ventarola
By the time you read this you may have heard something about the sensational band Gossamer from Ohio. These young artists have single handedly been on top of the Gothic charts at Mp3.com for the last few months. Their two EPs Sweetest Misery and Memoirs: A Premonition have been staying within the top ten spot for sales for the same length of time, usually holding the top two spots. Their web page is at www.idrecords.com.

A major coup for this band came about when they were placed on the Cleopatra compilation The Unquiet Grave in which their song Run is featured. Run was re-mixed by Wayne Hussey of Sisters of Mercy fame and a commendable job it is. The original darker version of this song is featured on the Memoirs EP.

Despite the band being placed within the gothic category, their sound could be best described as dark pop.

They blend a style of gothic and trip hop on some songs while also utilizing more classical Celtic sounds for some of their ballads. I have heard comparisons to the Sisters of Mercy, however I would state that Gossamers sound is much better.

It is not often that a total marriage of vocals and instrumentals come together to draw the listener in with the degree that this band has. The first noticeable thing that stands out is the lead vocalist, Chris Gray, who has a deep, seductive and masculine sound that would make anyone swoon. Mr. Gray manages to transform lyrics into realms of subtle passion and pain. The lyrics themselves are at times, wrist slashers and among some of the more mournful that I have heard in quite some time. A whole new genre of Erotic Existentialism could actually be built around their entire sound. Despite the stark lyrics, one cannot come away from listening to this music without feeling they have been totally seduced by the voice from the speaker. This is truly auditory sex if ever there was such a thing.

The irony is that those who are not gothic music fans have also been enraptured by these songs. I tested the songs out on many people from all backgrounds both at work and at home. The age ranges were from the early twenties to the mid fifties. Amazingly, everyone that heard them really got into their sound whether their major form of musical preference was rap, hip hop, techno or heavy metal.
Gossamer web page: www.idrecords.com

haujobb "ninetynine remixes"
~reviewed by Wolf
Long gone are the days of Homes & Gardens and Freeze Frame Reality. Even Solutions for a Small Planet is a thing of the past and, as important as each of these releases were at the time, haujobb is only looking forward. Earlier this year Daniel Myer and Dejan Samardzic released ninetynine, which received its share of mixed reviews; too obscure, too far from their original sound vs. excellent electronics, the best they've ever done. Personally I think it's more than anything what haujobb stands for: constantly reinventing their own sound and pushing the boundaries of electronic music.

ninetynine remixes is (obviously) the follow-up ep to ninetynine. In the tradition of Frames and Matrix the latest album is given the ever-popular remix treatment and if anyone's music is suited for this purpose then it's haujobb's. Most remix albums tend to sell like candy because of the big names that provide the remixes. Just look at Headhunter 2000 and :Wumpscut:'s Totmacher (Deadmaker). And that's why haujobb have gained even more of my already massive respect for them, giving lesser known musicians and newcomers such as Photic Sonar and For a Space the chance to show their skills. Aside from that Daniel and Dejan probably figured that they're qualified to remix their own work with just as much style as anyone else, which is why more than half the tracks have been reworked by their own hand, be it under the names of some of their side-projects such as s'apex and Architect. In comparison to ninetynine this cd is slightly more danceable (but it all depends on what you prefer to dance to, doesn't it?) and could therefore possibly appeal a bit more to those who were disappointed by ninetynine. But don't expect anything radically different, the general sound of ninetynine is still there. Some of the tracks aren't even all that far from their original versions, especially the two mixes of "doubleyou". On the other hand, Daniel's monikers s'apex and Architect provide a more four-to-the-floor take on respectively "ninetynine" and "cutedge" with straightforward beats that were certainly nowhere to be found on ninetynine.

Surprising to me was the remix of "overflow" by Infam. Andre Geissler's music has always been more of a cold EBM style with apparent Front 242, Depeche and Kraftwerk influences, but his take on "overflow" resulted in a very clubby disco track. Nonetheless interesting material and it makes me curious to see what's up next for Infam.

Even though every remix is good in its own way there's one that definitely takes the cake for me: the "red sparrow mix" of "overflow". Remixed by newcomer Matthias Spittler this version is much more darker and atmospheric than anything else on the cd, with hypnotizing bells, a well-placed sample from "Psycho" and Vanessa Briggs' loungy vocals placed at strategic points throughout the song. I hope we'll hear a lot more from this talented musician in the future.

ninetynine remixes is a safe bet for die-hard haujobb fans, especially the ones that are still around after ninetynine. And for everyone else it's certainly worth checking out, if only for the "red sparrow mix" of "overflow". Speaking of that particular track, it's quite obvious that "overflow" is a popular one among the remixers. And it does have a lot of potential, but my only criticism towards this ep is that I would have liked to see some of the other tracks off ninetynine on here. Then again, there were already enough mixes of "less" on the single and various compilations and "x-flow" was in itself essentially a mix of "overflow".

Damn, can't even find one bad point about this cd...except that I fear that it'll mark the beginning of another long waiting period for new material.

But there's always a ton of side-projects to look forward to and in the meantime I'll be playing ninetynine remixes a lot, that's for sure.

It's intelligent, it's innovative...it's simply haujobb.
Official web site: http://www.accession-records.com/haujobb/  Label sites: http://www.metropolis-records.com [us]
http://www.accession-records.com [europe]

Intra-Venus "Pray Silence"
~reviewed by Mike Ventarola
For those not aware, the group Suspiria disbanded in 1997 due to differing creative visions. Like a phoenix from the ashes, Mark Tansley, the electronic genius behind the band, teamed with a new vocalist, Apollos , and formed Intra-Venus. Pray Silence is the result of this musical union. Mark Tansley is credited for writing and arranging the music and Apollos credited with vocals and lyrics.

The graphics on this CD utilize computer enhanced photos reminiscent of Fritz Langs film Metropolis. There is a stark and cold component in these graphics, meant to lead the listener down the road of the vision that Mr. Tansley set out to accomplish. Overall there is a fetid emotional dissociation that overshadows the body of this 8 song work. The lyrics to all the songs are included, which to this elder goth is always a welcome addition. Vocally, the songs reflect the man as machine ideation without the tonality of any impassioned provocation hinted through the songs delivery. This at first was quite disconcerting because it would lead one to think that this is emotionless music when in fact it is a testament towards the nihilistic view of searing away the emotional component towards personal and spiritual interaction.

The music is very much in keeping with the current trend of electronic dance music. Every cut on the CD could actually work for a dance club with 3 stand out tracks that should not be missed.

The disc opens with (Welcome to) Paradise, a mid-tempo dance track wrought with existential lyric reflecting upon societies disenchantment and laissez-faire attitude, a hell in paradise if you will. The second cut, Last Chance is a "shake yo ass" song that is sure to be a dance club favorite, and is one of the three songs mentioned. The elements of the music utilized current electronics but borrowed some late "disco" synth grooves with a very subtle undertone of goth minor chord elements that actually made the entirety of the song work well. The song deals with internal resolution to break away from a situation that was previously controlled by another. It is left intentionally ambiguous as to who or what was in control. Celestial Sin continues with the mechanized dance sound with a subtle house beat underneath ethereal style high notes. This is probably the closest to an homage to the dark Goddess while castigating man for playing into "her" hands due to our distorted views. Unclean with compressed vocals, is a much harder driving pulsating beat than the other tracks. It elaborates upon the introspection of our isolation while rebuking "us" for our auto-pilot like thought processes where we have bought into the false dreams of modern man. Feature Length is my second favorite on this disc in terms of club dance. Keeping with the spirit of forlorn separateness, this track poses the question "are you all you hoped to be" while also highlighting the sound byte element indicative of living in the spot light of todays artistic environment. We are each a player in the dark comedy of life hunting for the next angle that would bring us the comfort from a performer living on the edge. The performer willingly obliges to shatter their existence and can only hope it was "worth" it. Deathwish slows down the groove a bit to declare forthrightly the total disgust upon surveying the landscape of ones reality and the hindrances imposed upon ones will. This is very straight forward "I wash my hands of you" and "I am sick of this".

Force Invisible depicts a vista of a darkened world where we are have turned our backs on the light, wandering lost and alone in a world of decimated values and suspended belief.

Lastly, Paradise (dark life) brings us full circle to the opening track. This is my third not to be missed cut especially if you are a fan of the group KLF. Using the same lyrics as track one while mixing in the KLFs What Time Is Love basic track layering works flawlessly here. I could fathom the intention being the body of this entire work may be too cerebral for many. Hence, if this song is mixed in with the KLF song in the clubs, the vision of Intra-Venus can be ascertained in a digest version of what the album set out to do.

Overall, the message lends toward our comprehension that despite our mechanized society, we must not fall victim to thinking like machines without the utter and dire consequence to our lives and our spirit. To continue to do so would find us plummeting down the abyss of an emotionless void with no hope of returning.
website: http://www.nightbrd.demon.co.uk E-mail: nb@nightbrd.demon.co.uk Nightbreed Records 2nd Floor 177 Wollaton St. Nottingham, NG1 5ge, UK

Kismet Wake up Gods
~reviewed by ::CyBeRiNa FLuX::
Kismet is a Macedonian offering. The band, residing in Australia, has had several releases to date. "Wake Up Gods" is their debut American release on the Californian label Tone Casualties. Their combination of traditional Balkan instrumentation with modern rock and electronic staples give way to a vastly unique combination of world and electronic styles. From danceable beat loops to spine tingling chants, wailing guitar solos to bizarre experimental keyboard lines Kismet has it all! Their ability to blend such a wide array of genres into something truly pleasing to the ear shows exceptional musicianship as well as a high level of creativity.

The first selection, "Wake Up Gods," is also the title track. Within it one can find progressive electronic melodies and beats combined with vocals that have a cultural flare. Sometimes choral chanting and sometimes a solo vocalist with a beautifully bass timbre, the vocals present plenty of variety to keep this track exhilarating. By the end, you will be certain that they have successfully awoken the Gods.

The third track of the release is "Until the Next War," and begins as fondue of Eastern European stringed and wind instruments with a modern keyboard base. Just as your aural sensations begin to bubble, they slowly stir in entrancing mantra and yet more ethnic instrumentation for spice. Slowly building to a boiling point, they finally introduce softly spoken word. This is a track that beckons you to break out your rubinas (Macedonian smocks), and dance the Ekiskisko Oro.

With a cover of The Velvet Underground's "Venus in Furs" on track six, one should be prepared for something entirely different. The keyboards, guitars, and vocals are slightly demented from the original key signature of the song. An oddity of a song, it gives a refreshing outlook on Lou Reed's compositional ability. Truly this remake is a creatively original and inspiring tribute to one of the bands that have most greatly influenced the gothic movement.

Finishing out this exceptional collection is "Leison." Truly a collage of all that is Kismet, it tantalizes the ear with a medley of haunting winds, driving electro beats, spiritually cleansing incantations, harsh electronic feedback, wailing guitar solos, wicked vox, and tribal drums. Slowly winding down with a background of flowing electronic noise with lazy wind and drum solos you are left with a perfect example of the beauty of this wonderful world.

"Wake Up Gods" is truly a CD for those who enjoy discovering the mysteries of other worlds. A gem for the open minded and culturally eclectic, it is an embodiment of the world that is slowly growing smaller as our technology advances.
Web Page: http://www.unet.com.mk/kismet/ Tone Casualties Records (A division of Klasky Csupo, Inc.)
1258 North Highland Ave Hollywood, CA 90038 http://www.tonecasualties.com

LAMINAR "Ante-chamber" CD
~reviewed by Kirin
Laminar is, I believe, "The Thin White Duke of Noise," Fred Szymanski. "Thin White Duke?" you say, "What's that supposed to mean?" Well, Fred is to noise music, what David Bowie had been to, well, all the different kinds of music he's influenced. Now, to be fair, Fred is no Ziggy.

He's not pushing the envelope so far as the way he looks, (unless he secretly looks like a Smurf, and he's just pretending to look like Fred.) Fred pushes a whole new kind of envelope; an envelope of terrorsound and hatesound and fearsound, and many other sounds that no one else wants, and sounds that most people would happily throw away or never even notice. For example; 'Track 6, Disc 2, on the "A Storm of

Drones" trilogy; (which, by the way, I highly recommend:) the tracks leading up to Fred's track are ghastly, yet lively, and almost playful- the haunting is felt fully, openly, and without question. Then, Track 6 appears. Fred's horror or the Drone disc is like Lovecraft's horror.

Like Hodgson's horror. And maybe, even, like Kiernan's horror. You don't even know you're in it, until it's gone. It is the after-effect that leaves you staring at the ceiling, late into the night. What did it mean? What did it do to me? Why am I laying here, feeling this way? It all started out so harmlessly, and look at me now.

Fred's work as Laminar, however, is downright Hellraiser. The work on Drones was just a foreshadowing of the electrical disembowelment that would be released as "Ante-chamber." No wonder no one out there in

ShinyHappyLand wants these sounds. No wonder the CD art on "Ante-chamber" is a photograph of miles and miles of discarded things.

These sounds go straight to the gut and TWIST. I think only Daniel Menche has attacked my inner chemistries with this sort of fury. No one in their right mind would subject themselves to this. But ah, we of wrong mind, how we love this sort of terror. How we love this sort of cleansing. How we crave the power of the pain, and the aching clarity that comes afterwards.

This CD is ritual. It is criminal. It is war upon war, steel upon flesh, grief upon grief. The devastation of this recording becomes surreal by the time you're in the middle of it. By the end of the thing, I took off the headphones, leaned my head in my hands, and nearly wept. I have been taken apart, sonically; I have been shredded by wheels, levers, hacksaws, and blades. I have been torched, whipped, chopped, diced, and utterly eviscerated. I feel empty, alone, and inhumanly clean. (If this is the ante-chamber, god help us when we reach the chamber itself.) It simply is not possible to recommend this album highly enough.
Soleilmoon Recordings: PO Box 83296 Portland, OR 97283 www.soleilmoon.com

LE FORBICI DI MANITU "Play and Remix Lieutenant Murnau (1980-1984)" CD
~reviewed by Kirin
I suppose we should start with some history. First, there is the Murnau Castle in Germany. I have no idea what its connections might be to Friedrich Wilhelm Plumpe (aka Murnau,) except that he saw fit to name himself after the town the castle is in. (Here's the website for the castle, just for fun: http://www.lrz-muenchen.de/~kl921aa/WWW/index2.html.) For more information about the cinematic genius known as F.W. Murnau, go to the "Web of Murnau," found here: http://home.earthlink.net/~jakre/murnau/index.html. Now, on to the Murnau currently in question:

For all intents and purposes, Lieutenant Murnau was, from 1980 to 1984, a Plagiarist Project masterminded by Vittore Baroni. (For more information on who the Plagiarists were, and what they hoped to achieve, see links below.) From 1980 to 1984, Vittore put out several cassettes, records, and other assemblages, all made of found sounds and images, distorted and welded together with the passion of a modern Dr. Frankenstein. The world was not yet ready.

In 1994, Nigel Ayers, (Nocturnal Emissions, etc.,) felt that maybe the world was ready. He asked Vittore if he would assemble an anthology of the Lt. Murnau work, as a retrospective. Vittore agreed, and was, by then, working with a project called "Le Forbici di Manitu;" he asked his comrades in sound if they would assist with the retrospective- they agreed, and so, the groundwork was laid for the CD that will hopefully soon be sitting before you. (This is a subliminal message: GO BUY THIS CD, AND QUICKLY!)

October, 1999. The perfect release date for a project named "Murnau," don't you think? Finally, the monster is completed, animated, and loosed upon the world. I believe you will be impressed. The sounds are wicked and dense and perverse and illuminated. They are giddy and silly and wanton and brave. Track 26 is one of the most frighteningly hideous pieces of work I've ever heard in my life. The sources of it will astound you. Who would have thought, in a world where motherhood and reproduction are valued so highly, that the sounds of a Mother and Child could be so sickeningly vulgar? Or, maybe it's just me. I've gone back and listened to it several times now, and the effect is the same; abject horror. This is, perhaps, why I seem to have forgotten to have human children somewhere along the way. Track 2 should be dedicated to Poppy Z. Brite, Neo-Surrealist and Mail (Male?) Artist in her own right. (Write?)

For another bit of fun, program your CD player to play the following tracks in the following order: 22, 9, 3, 17, 19, 14, 1 (or 33,) 7, 30, 27, and 33, (or 1.) You will find that you have the Backstreet Boys' next hit, all wrapped up and ready to be consumed in full by an American audience famished for true pop genius. Plus, it beats the hell out of the Monster Mash!
Links about the Plagiarists, the Mail Artists, and Vittore Baroni:
-Vittore Barorni biography: http://enea.sapienza.it/magam/inglese/museum/baroni/baroni.html
-Essays regarding the "Mail Artists" and "Plagiarists": http://enea.sapienza.it/magam/inglese/library.html
Soleilmoon Recordings: PO Box 83296 Portland, OR 97283 www.soleilmoon.com

FRANCISCO LOPEZ Untitled (1993)
~reviewed by Kirin
No promo material arrived with this CD, no liner notes, no jewel case info., and so, this review is based on what I could glean from the internet, and from the information on the face of the CD. Consider that a disclaimer. It's not that I don't want to tell you anything about Francisco Lopez, it's just that there isn't much information floating around about him.

One, he is not a former South American president from the late 1800s. He is, however, apparently a Spanish sound artist, fond of live performances as art installations. There seems to have been a series of these "Untitled" albums during the 90s; I don't know if all of them were recorded live, but the entirety of this particular CD was recorded live at several locations.

Francisco Lopez seems to work mostly in the medium of "drone." You know, Picasso had his oils, Duchamp had his found objects, Burden had his guns and his fires, Lopez has drone. If you can dance to this CD, I'd like to have tea with you. "Untitled (1993)" is a very subtle collection of sounds, probably only enjoyable to those who really like experimental noise music, or who are adventurous enough to completely leave behind the world of music you can hum along to, or sing to the guy at the record store when you can't find the song you want. To the average music fan, Lopez's music will likely be challenging. Most people would probably scoffingly call it background music. I can hear it now. "What is this crap? It's just one long sound? What's the point of it?" Yes, well, true, it quite often is "just one long sound," but think, someone had to sit there and create that sound.

Someone loved that sound. Someone put their body and soul into that sound.

Honestly, when I first heard noise music, I had much the same reaction. But, I kept putting it on the turntable, or in the CD player, and slowly, it started to grow on me. I started to realize how sound-art, more than any other medium, is able to draw you into it, and draw itself into you, and it is probably the most highly interactive form of art there is. Sure, you can touch a sculpture, or a painting, but you'll almost certainly get kicked out of the museum for it, let alone the fact that most pieces would be seriously damaged if we were all allowed to touch them regularly. This music though, is like looking at a sculpture, or a painting, and instead of having the red velvet rope always there between you, the sculpture oozes in. The curves and the colours become you. Overwhelm you. The cold floor. The stare of the security guard. The smell of the always-new and very sanitary art-museum carpet. It's all here, in this "one long sound."

I would not recommend this disc to someone who wants a beat, a beginning, a middle, and an end to their music. I highly recommend it to the playful and curious soul who says, "Hm, I have a 'bit o' money. I'd like to have a new experience I've never had before. Kirin says Francisco Lopez is a sound artist. I wonder what that's like?" If you approach it with that attitude, I don't think you'll be disappointed. I think you'll be pleasantly surprised, and, be careful, you might even find yourself addicted.
Soleilmoon: PO Box 83296 Portland, OR 97283 www.soleilmoon.com
Staalplaat: PO Box 11453 1001 GL Amsterdam The Netherlands www.staalplaat.com

LUSTMORD "Paradise Disowned" CD
~reviewed by Kirin
There are films, and moments in film history that will haunt me forever. The scenes down in the well, in Silence of the Lambs; the sick and seething voice that echoed down those deathly walls. The movie Seven, almost in its entirety. Apocalypse Now. This disc exists at the heart of those horrors. Literally, and figuratively. The darkness that permeates this masterpiece is in no way contrived. The album was literally recorded in places like the crypt beneath Chartres Cathedral, the nuclear fallout shelter at Crewe, the cave at Craig-Y-Ddinas in Wales, a slaughterhouse in Bangor, and at the site of the original Bedlam (mental) Hospital. It is difficult to describe the physical effect of this album; it's overwhelming, nearly to the point of suffocation, and it is almost unbearably beautiful.

If you're reading this, and thinking, "Yes, that's all good and well, but I don't like experimental noise music," please, I beg you, give this album a listen. If you enjoy Skinny Puppy at all, I think you'll find yourself in awe of Lustmord in general, and this album specifically. Coil fan? You'll adore Lustmord. Really, if I had the money, I'd offer a personal guarantee. I'd say, "If you don't like this album after you've bought it, I'll give you your money back." Yes. It's really that good. Dark. Terrible. Sickening. And profoundly, deliciously elegant. This could very well be the soundtrack to Poppy Z. Brite's "Exquisite Corpse," if you have the guts to take on both monstrously beautiful magnum opi at the same time. I dare you. Come on. You know you want to.
Lustmord: www.lustmord.com
Soleilmoon Recordings:www.soleilmoon.com PO Box 83296 Portland, OR 97283

MUSLIMGAUZE   "Hand of Fatima" CD (Limited Edition of 1,000)
~reviewed by Kirin
Christ how I hated to open this CD. As if, somehow, by not opening it, Bryn Jones would not really be dead, and it would be just a fluke, and he would be okay, and I could count on another 30,000 new Muslimgauze releases this year.

I put the headphones on, and pressed play. Immediately, the lush sounds and splatterbeats that I've come to know as Muslimgauze, began.

Tears came to my eyes. I look back over Bryn's amazing discography and think, "He must have known. He must have known he only had such a short time, and he had to get it all done." I don't know if he knew. I've known other people who worked like mad, died too soon, and left a long lifetime's worth of work behind- maybe it's not just coincidence.

I can't pretend I liked everything he did. Some of it gave me the worst headaches! He always pushed the envelope, and sometimes he pushed it in ways that made me uncomfortable; which was, I'm convinced, in those instances, the desired effect- to be disturbing, and to awaken fear, rage, sorrow, and pain in his listeners. Even when I didn't care for what he was doing, it affected me profoundly.  "Hand of Fatima" is one of the more tender Muslimgauze pieces, and yet, I hesitate to use the word "tender." Tender in the context of war. Tender in the context of extreme distress. Tender in the midst of chaos. Intensely beautiful, but not serene. Stirred, but not shaken.

Passionately aggressive, but not violent. This album is full of my favourite things about Bryn's work; the smattering of beats, the hot, exotically-spiced, fly-ridden textures, so humid and so dense they're breathtaking; the shocking intrusions that startle one from the trance, and back into ones surroundings, only to be charmed back into the world of Muslimgauze again and again- a willing enchantment, no doubt, but nevertheless the result of a brilliant enchanter.

Bryn Jones, wherever you have gone, you are missed. Thank you.

You made my life a better place. You traumatized me awake. You brought me joy in times of sadness. You soothed me when I was full of pain.

The desperation in your music wailed for my heart when I would not let it wail. Ironically enough, I listened to your music most, when a friend of mine died suddenly, last year, much too young, and very unexpectedly. Little did I know that you would be gone a month later.

If you see, her, share tea. You had a lot in common; 'love of unwonted beauty, fascination with violence, passion for life, and an exhausting work ethic. Your music continues to touch us. I only hope that as we are touched, you are touched too, and that the caress brings you joy.

MUSLIMGAUZE  Azad  (Limited Edition of 1,000)
~reviewed by Kirin
Yes. Two Muslimgauze reviews in one month. If you are unfamiliar with the work of Bryn Jones, aka Muslimgauze, or new to it, you will soon find that the body of work he left behind in his short life, was staggering. Had he lived past January of last year, I assure you I would not have just two Muslimgauze pieces to review, I would likely have about seven. A slight exaggeration, but not by much.

"Azad" begins softly, with brain-tickling beats, deep bass grooves, birdsongs, and various electrical noisefunk variations- the cumulation of which is the masterful blend of sights, smells, sounds, and emotions we've come to call Muslimgauze. This album is more playful and adventurous feeling than some of the others- the dervish is not whirling quite so desperately.

Where some Muslimgauze albums feel to me like being strapped to the back of a jet-propelled camel, racing through a sandstorm across a long lonely desert floor, "Azad," is more like being on the camel by choice, and just loping through the oasis. This one doesn't peel the skin of your face back. (Not that such an effect is ever a bad thing!)

If you've never heard Muslimgauze before, and these reviews have made you curious, this album wouldn't be a bad place to start. It's accessible to those not quite acclimated to more intense noise music, and it's complex enough to be interesting and invigorating even to the most jaded audio-psychonaut. If you do choose to purchase this piece, no, nothing is wrong with your stereo. It really does cut out and flutter like that. It really does make all those strange stops and starts amidst the funk and the clatter and the chatter and the joy.

Don't adjust your monitors, it's only the spirit of Muslimgauze, saying, "Wake up, wake up, wake up..." (And by the way. "Azad" means "free.")
http://www.pretentious.net/Muslimgauze/
Soleilmoon Recordings www.soleilmoon.com PO Box 83296 Portland, OR 97283

My Scarlet Life "InfraRed"
~reviewed by Wolf
Since 1995, the year of the band's creation, My Scarlet Life has released 4 full-length albums (5 if you include Reliquaries, even though they prefer to distance themselves from that particular disc), started their own label (DivaNation) and went through a line-up change which resulted in the current quintet that makes up this very active band from Chicago. Preston Klik, who has worked with bands such as Big Hat, Ministry and Smashing Pumpkins, is in charge of sampling, electronica and production, Julie Axis and Christy Cameron Smith both take care of the vocals and lyrics and completing the line-up are Amy Spina and Paul Infiniti, sharing guitar, bass and percussion duties.

The sound of My Scarlet Life on InfraRed is rich and diverse, bringing the listener intelligent pop infused with trip-hop rhythms and a well-balanced live instruments vs. electronica ratio. After listening to the first few tracks it certainly becomes clear that My Scarlet Life are skilled musicians with a clear view of what they're trying to achieve. On occassion the vocals during the verses don't seem to be as crisp and inspired as they certainly are during the chorus of each song, but it's in the band's favor that they have two vocalists. This provides a different feel for each track and both Julie and Christy deliver their lyrics with conviction.

Preston Klik's electronics are certainly a very important part of My Scarlet Life's music. Every track has an irresistable groove to it (also credited to Paul and Amy's bass, guitar and percussion work of course) and I found myself humming along to songs that I wasn't even very impressed with. The swirling sequences and effects that float throughout each song reminded me somewhat of Cause and Effect, a band I've always enjoyed greatly. I'll be very careful with making the next comparison, but My Scarlet Life do on occassion also sound a little like Garbage, be it a sweeter and more mellow version of that particular band. But all comparisons aside, MSL definitely have their own sound and aren't a cheap rip-off of any big names.

With all honesty I have to say that InfraRed contains a few songs that I don't much care for, but the songs I do like are reason enough for me to check out their past and especially their future releases. Absolutely my favorite is "Garden of Love", one of those songs that (for me) justifies the purchase of a cd, regardless of anything else that's on it. It's a slow, sweet and intensely beautiful track, over 8 minutes long, yet seemingly over in a scarlet heartbeat.

Other recommendations are the excellent opening track "Don't Make Me", a song with a slight Portishead feel to it, "Promise", "Rainy Sundays" (the chorus of which reminded me quite a bit of Madonna) and "Silent Screams". Every song is different from the next and that keeps InfraRed fresh and interesting, even though some don't grab me as much as others.

To give a short and accurate description of the music of My Scarlet Life isn't the easiest task, but the title of one of their previous releases, "Trypnotica", captures their sound pretty well. It seems that the band's main power stems from the skill to take bits and pieces from several styles and mix it all together to shape their own unique sound. It might take more than one listen to discover the quality of their work, but I'm, for one, glad that I gave myself the time to discover InfraRed. The vocals could be improved on slightly and some songs are compositionally not as strong as others, but one thing is certain: My Scarlet Life are talented, driven and inevitably headed for even bigger things.
Official web site: http://www.mcs.net/~msl/ E-mail: msl@mcs.net Official label site: http://www.divanation.com E-mail: Divanation@aol.comBooking/contact/info: Preston Klik My Scarlet Life 5602 Ridge, Chicago, IL 60660

My Scarlet Life Infrared
~reviewed by Jett Black
Strong female vocals by Julie Axis and Christy Smith woo and seduce from the foreground, reminding me of Portishead, at first. Preston Klik's electronic stimulations embellish vocals to provide for more dance club sensibilities. The moody love groove is jazzy, rocking and sweetly intoned. Vocals here stand well all on their own, too. Meaning, beauty, and the attitude of each track would still appear confident were the tracks sung acapella.

An unmistakable Madonna-influence enters quickly and then takes a back seat to sophisticated arrangements and passionate vocals. The vocal tomes offer innocence and pure fidelity as an ideal quality.

"Rainy Sundays" presents sexy, flirtatious vocals. "Garden of Love," is absolutely intoxicating. Midway into the arrangement of tracks, "Angel's Whisper" introduces a more somber tone. "Love's out of Fashion," comes across easily as a radio smash hit. When it's My Scarlet Life, choosing a favourite track becomes elusive. What I would give to have My Scarlet Life serenade a small audience at my wedding! Completely enchanting Live, My Scarlet Life continues to record crystal clear, exceptionally charming music fit for both mainstream and alternative radio. Gothy club venues, too, will have crowds swooning to My Scarlet Life tracks like "Pure Denial".
My Scarlet Life http://www.MyScarletLife.com DivaNation@aol.com
MSL/DivaNation 5602 North Ridge Chicago, Illinois 60660 USA

NIGEL AYERS, JOHN EVERALL, MICK HARRIS "Mesmeric Enabling Device Parts 1-7" CD
~review by Kirin
The names Nigel Ayers, John Everall, and Mick Harris together, are like the ingredients of a spell. Dust off the old grimoire, open the pages, and turn to "Mesmeric Enabling Device, Parts 1-7". First, you will undoubtedly see the list of ingredients:

Nigel Ayers is an institution unto himself. A whorlwind of thought and talent, Nigel is also known to many of you as one of the genii behind "Nocturnal Emissions;" (many of his other collaborators are disembodied spirits, and simply cannot be named.) If you doubt my assertion of genius, talent, and whorl, just take a peek 'round Nigel's websites. Then get your hands on the lot of his music. There will be no further doubt.

Mick Harris will be known to fans of extreme metal as the second drummer for Napalm Death, and as the driving force behind projects like Scorn and Lull. He's also worked with masters in the world of sound and fury, from Bill Laswell to John Zorn, and many more. The man must have a mind like a depth charge, and obviously, the creative talent to match.

John Everall. Christ. Do these men ever sleep? His personal projects include Multicide and Tactile; he has also worked with Mick Harris in a project called Trace Decay, and has collaborated, written about, and thought deeply with, Coil, Current93, and Crass, to name just a few. Are you now beginning to feel the weight of these three names, and a sense of awe and perhaps distress that they're appearing together? Are your hands beginning to shake a little? Are you sure you're ready for a spell like this? Do you even want to know what a "Mesmeric Enabling Device" is?

For that, I think we will need to take a small tangent here, into the worlds of David Woodard, (Supreme Ruler of the Universe,) William S. Burroughs, and Brion Gysin. Each of these men delved deeply into the netherworlds of the human psyche, and sought infinitely diverse ways of knowing and being. One of the projects they seemed to share in common through the years, was the idea of a Dream Machine, a trance inductor- a Mesmer Enabling Device. A picture of one of these machines can be found on the David Woodard website. Here is the address: http://www.davidwoodard.com/dream-index.html.

Bearing all this in mind, it is my guess that what Nigel, Mick, and John have set out to do with this piece of work, is to create a collection sounds, the effect of which would be to induce the same deep trance states attempted by the Dream Machine. Thus my notion of this CD being the ingredients of a spell, an invitation to entrancement, an encouragement to visit places in the mind that one does not usually get to spend much time in, (what with the bills and the bus transfers and the goats to be fed and the clothes to be washed and the... well, I think you get the idea.)

Now, if you've decided to go ahead with this thing, and the grimoire is just too tempting to walk away from, get out your headphones. Prepare for audiosoma. Turn off the lights. Lay down. Close your eyes. If you want to give yourself a seizure along with your mesmerisation, turn on an external fluttering lightsource, say, a strobe light, or a violent animé movie on the telly. Before you go accusing me of trying to kill people, don't you know that most "religious visions" and "prophetic knowings" can be classified by the mundane medics as being nothing more than seizures? Oh ye of little faith! One word of caution though, don't set the CD player on repeat if you live alone and have no external origins for awakening, other than say, an alarm clock you won't be able to hear. They just might find you, months later, desiccated and grinning, still laying there, trapped willingly forever, in the Mesmeric Enabling Device.
Soleilmoon Recordings: PO Box 83296 Portland, OR 97283 www.soleilmoon.com
Staalplaat: PO Box 11453 1001 GL Amsterdam The Netherlands www.staalplaat.com

Oneiroid Psychosis  "Garden Of Rememberance"
~reviewed by Jett Black
Like a horrific film score for your favourite Halloween film, Oneiroid Psychosis begins by opening the first of 13 tracks with "Dark Day". Eerie, haunting, and clearly magnificent. The vocals of Lars and Leif Hansen throughout are absolutely spine chilling like that of a sudden premonition of impending disaster and doom. Add to this the under-currents of nails scratching along a spherical chalk board in perpetual motion and the mood is then captured. Garden of Remembrance is further spiced with guest vocalists to include the voices of Kristy Venrick of The Azoic, Shikee of Android Lust, and Tom Muschitz. A special introduction of Lisa Sparacino (track 4). Galatea (T-4) happens to be one of my favourites, in fact. I have yet to decide if my choice of favouritism rests with the beautiful vocalists or for the images my mind conjures in response to how these vocals are together joined. Listen to this track closely. Oneiroid Psychosis draws upon the mind's ability to entertain horrific fears and social taboos in conjunction with one another.

Effortless ingenuity, talent, and skill cunningly draws the mind beyond the cliff of consciousness and let's you spin in terror and mental quandry for more than an hour. All of this is done in such subtlety that you may barely be conscious of it at all. The quality of the music itself is both exquisite and mesmerizing.
Nilaihah Records : http://www.nilaihah.com

PIANO MAGIC "Mort Aux Vaches" CD
~reviewed by Kirin
Piano Magic was formed as a sort of revolving door collective, where musicians could come and go as they pleased. The effect on the music is stunning. One might think the music would be scattered and incohesive between tracks, but this is far from the case. As if somehow each musician understood his or her place in the melee, the music weaves together seamlessly and with a obvious joy.

The sound is electronic and organic, relying on both the crisp nature of electronic sound, and the depth that only an acoustic guitar, (at least that's what it sounds like to me,) can bring to such a recording.

Added in are the sounds of furious winds, broken dreams, wordscapes, bleeps, rattles, clicks, and electrical storms; a vertiable universe of sound and emotion, to be unlocked and enjoyed.

This is the sort of album I love to listen to on a Sunday afternoon, when I'm a little sad, and feeling trapped in colourless and inane world. Music like this lifts the chemistry in my brain, and whispers, "Hope, hope, hope..."
This disc is limited to a pressing of 1,000, and is available through:
Soleilmoon Recordings in the United States; (Soleilmoon Recordings, PO Box 83296, Portland, OR 97283,) or, in Europe, through Staalplaat; (Staalplaat, PO Box 11453, 1001 GL, Amsterdam, The Netherlands.)
Soleilmoon: www.soleilmoon.com Staalplaat: www.staalplaat.com

PLAID "Rest Proof Clockwork" CD
~reviewed by Kirin
Seeing as how I loathe labels, and yet agree that they are helpful when you're trying to buy soup, I'll go as far as to say that this album would most likely be considered either "downtempo" or "drum and bass."

But let's leave the labels behind now, shall we?

I've heard this album compared to Plone's new "For Beginner Piano." I think it's an unfair comparison. It's a bit like comparing Frank Sinatra or Tony Bennett to Morrissey, or like comparing oranges to tangerines. Yes, both albums are electronic, and both are on Warp Records. The similarities end there. Plone's album, for the most part, is modern-day lounge music, intended to be so giddy and unintrusive that it's confused with being insipid. Give the album 30 years, and it'll be like classic Martin Denny is now. Plaid's album, on the other hand, has the illusion of being lighthearted at first, but like the Morrissey and tangerine analogies, Plaid is for people who're willing to go to places that are a bit queer to the average listener; Plaid has a taste that is cheerful, delightful, and almost frighteningly unique. Plone is for parties, long-drives-when-you're-getting-tired, and lighthearted good times. Plaid is for time spent alone, when you can really hear everything that's going on in the music.

There are songs on this album, such as "Ralome" and "Gel Lab" that are so wondrously Grateful-Dead in atmosphere and spirit, it makes me think I'm back at Laguna Seca again, staring at the sun, and feeling the beautiful, terrible nature of all things. Other songs, like "Dang Spot", "Pino Pomo", and "Last Remembered Thing" remind me of too many nights in the 80s, when I was stuck in danceclubs full of mirrors and neon lights, feeling way too high, and manic, and depressed, all at the same time. The entire album is instilled to the gills, with this inspired yet melancholy sort of knowing; these sounds are like the feelings one has when one first leaves home for good, and is very far away from everything comforting and familiar. The sounds of "Rest Proof Clockwork" are exciting sounds, sounds of freedom, sounds of longing, sounds of regret, and, as Caitlin Kiernan so succinctly puts it, these are the sounds of "Pain and Wonder™."

I'd also just like to add that I adore the artwork in, on, and around this album. Credits for these happy strokes of genius are given to "Kid Acne." Raise a pint to the Kid, because this sort of elegant frivolity just can't be taught in art school; it's got to come from the inside, and it's a gift only some people get. I'm just thankful as all hell when they share it.
http://nothing.smashedupsanity.com/bands/plaid/
Warp Records www.warprecords.com
PO Box 474 Sheffield S1 3BW United Kingdom
Manufactured & distributed in the U.S. by: Nothing/Interscope(Universal)
http://nothing.smashedupsanity.comhttp://www.interscoperecords.com 10900 Wilshire Blvd., Suite 1230 Los Angeles, CA 90024

Platform one Self titled 8 song EP
~reviewed by: Mike Ventarola
Platform one currently provides an 8 track EP of songs that will be featured on their full CD "Confessions of The Sorrow Tree." The release is scheduled for later this year.

Listening to this band brings back feelings of nostalgia. The compositions contained herein do in fact take into account all that was good during the early Synthpop/Gothic/New Wave eras. All the elements are mixed up in a musical cauldron to render some enjoyable and unique songs.

If you can imagine taking the following artists: The Cure, Duran Duran, Talk Talk, Japan/David Sylvian, Depeche Mode, Barry Manilow, The Psychedelic Furs, and Ultravox only then will you truly understand the breadth of musical expanse this group converged into one sound.

Founded in 1992, Platform one has undergone a few line up changes and is now a duo of V. Nigel Taylor and Amadea Nickrenz..

This band is Rhode Islands best kept secret about to be revealed. The lush musical compositions and textures really make this a worthwhile outing.

"Standing" opens with dark orchestral synthesizers that weave a mid-tempo dance rhythm underneath.

"Encantra" further extrapolates early gothic, spooky minor chords, which I absolutely adore. I only wished that this song was much longer. This is the only track without any vocals and is a stand out piece that could yield well on a dark ambient compilation somewhere down the road.

"Scared" is more atmospheric initially. It is haunting with a subtle layer of synthesizer work carefully woven into the texture of the song.

"Naked" continues with a dark wave, synth-pop hybrid that is somewhat reminiscent to Chris Rhea but is a standout track that could become the major hit for this band in terms of cross-over appeal.

"A Time Without Decay" is another fantastic song with elements of playful eerie Goth, synth-dance rhythms and phenomenal foreground and background vocals and harmonies.

"The Haunting of Your Love" incorporates subtle electronic/industrial fusion with gothic layering over synth dance, making this yet another midnight club cut.

"Cant Go Back" is reminiscent of Switchblade Symphony during their Serpentine Gallery era. It is a great song with a driving, infectious mid tempo dance beat. I found myself rocking in my seat every time I listened to it. This song could also be earmarked as a hit.

"The Ending" is a moody, atmospheric and gentle body of work incorporating Ambient and Gothic orchestrations. It gives rise to a vision of floating on a dark fluffy cloud during a somnolent moment.

Overall, Platform one harvested a delightful blend of songs for this EP that should win them many admirers. This music gallery contains some of the most ambitious cross over appeal that should delight fans of Pop, Dance and Gothic cultures.

I would hope that this band features more foreground vocal work of the backup vocalists who seem to have the strength to carry the music to another level.

As a new enthusiast of this band, I am anticipating their full release since this EP only served to whet my appetite for their industrious body of work.
Platform one web page: www.Platform-one.com E-mail: Platformi@aol.com

PLONE "For Beginner Piano" CD
~reviewed by Kirin
These days, everyone is trashing the new Plone album. "It's too happy," they say. Or, "It has no substance." Or, "It's not like the good old days at Warp, when things were exciting and new." Or, "The high end sounds are too annoying, it's all candy coated and shite." Ah, how people love to bitch and moan! I found this album to be perfect for long stretches of road where there's nothing to keep you awake but things like fenceposts, grain silos, cows, cacti, "You're Almost There" signs, and the colours and images that only music can create.

"For Beginner Piano" seems to draw from the same sweet well that gave us the delectable "Electro Lounge" compilation, Pizzicato Five, drinks with umbrellas, and Martin Denny . It's all about fun- about leaving the world behind and going to a happy, funky place in your mind.

It's all about going to a place where it doesn't matter that the bills are piling up and the collectors are calling and your parents were never what you needed them to be, and your dreams didn't turn out like you wanted them to. None of the suffering of existence matters when you're daft in the middle of "For Beginner Piano." For some people, it's just too irritating to hear happy sounds, and I understand that. It's just,

well, I guess I feel a little defensive of this Plone album. "For Beginner Piano" is like the Teletubbies of electronica, and, dammit, I *like* the Teletubbies! All those fun colours and silly-face suns and bunnies hopping here and there. Yes, Plone and Teletubbies and a big glass of something fizzy that tickles your nose when you drink it.

That's what it's all about, mate. Don't be so grim. Let it in, man, let it in!
Warp Records www.warprecords.com PO Box 474 Sheffield S1 3BW United Kingdom
Manufactured and Distributed in the U.S. by:
Matador Records www.matador.recs.com
Matador Records 625 Broadway New York, NY 10012

RAPOON "Navigation By Colour" CD
~reviewed by Kirin
  Rapoon is Robin Storey; painter, musician, and true renaissance man. If his name seems familiar, you might have a Zoviet France album or two in your collection. Born in 1955, Robin has lived several successful artistic lives, many of them in the world of fine art. Two of Robin's painterly works can even be found in the Berlin Museum of Modern Art.

Somewhere in the midst of Robin's study of painting, he became fascinated by sound. Zoviet France was thus born, and, from 1979 to 1993, Robin lived and breathed sound with his ZF comrades. The brilliance of their work together stands for itself. If you've not heard any of those albums, hunt them down!

This album, "Navigation By Colour," is, in my opinion, seminal. It comes packaged with a set of 12 oversized postcards of Robin's paintings, and there were only 984 copies made. Therefore, you must set about diligently to find yourself a copy; if you wait too long, you will indubitably be thrown to the mad dogs of online auctioning!

Besides the fantastic Anselm Keifer-like quality of Robin's paintings, there is the undeniably graceful power of his music.

This is a man who once spent five whole years shut off from the outside world. Who has known the ravages of heroin addiction. Who has not listened to modern popular music in ten years; and, who is now a husband, and a father. This is a man who knows what it is to die, over and over again, and come out, transformed, saddened, and yet profoundly alive. You can hear it in the music, loud and clear.

This doesn't sound like a "typical" Rapoon album. It's lighter, more playful, almost... god forgive me, noise fans, it's got almost a drum and bass feel to parts of it. In the right headphones, and on the right sound system, you can really FEEL the driving pulse of the bass and the high end splatters delightfully all over the inside of your skull.

Interludes of downtempo ambience and expanding skysounds keep the album from being so drum and bass that you'll be getting out your whistles and lollies and heading down to the rave. Not that I have a problem with that, mind you, but this just isn't the music for it. Similar in spiritual effect, but how many people do you know who go to raves to find themselves any more? I digress.

Navigation By Color is one of the best Rapoon albums ever. It's one of the best any albums ever. It is exactly what it says is, a sextant of reds and greens and blues, falling all over yellow, bleeding grey, swirling to purple, exploding black, oozing orange, sputtering pink, bleeding drops of white... it's all there. Every painting in the world, passing before your ears, in one long glorious procession, that only could have come from the hands and the heart and the life of Robin Storey.
Rapoon: c/o Robin Storey 22 Elsdon Road Gosforth Newcastle upon Tyne NE3 1HY ENGLAND
http://www.pretentious.net/Rapoon/
Soleilmoon: PO Box 83296 Portland, OR 97283 www.soleilmoon.com
Staalplaat: PO Box 11453 1001 GL Amsterdam The Netherlands www.staalplaat.com

SLICK SIXTY "Nibs and Nabs" CD
~reviewed by Kirin
From the moment I put this CD in, I knew I loved it dearly. My first impressions were correct, and each time I listen, I fall for Slick Sixty just a little bit deeper. "Hilary, Last Of The Pool Sharks" is absolutely one of the single best things I've heard all year. It's bouncy and courageous and sexy and smart. It's like one of those crazy chipped-out-nail-polish loud mouth girls, swinging her life in her hands, clicking her gum, and slapping parking metres on her way down the street. You can't help but want more, and you follow her to places you just never thought you'd be.

The rest of the album is just as breathtaking. Bluesy and funky and sweaty and arsed to the gills, you just won't find a disc this full of sex and bravado anywhere this side of Koko Taylor. Yeah, yeah, I know, it's electronic. Electronic music can't be diggyblues? Nibs and Nabs is packed and loaded with keyboard wah-wah swizzlestick too-many-martinis and swallowed-the-olive sounds. Honestly, I have NEVER heard anything outside of Koko and Etta James that made me feel quite like "dip me in honey and throw me down" the way this does. I'll just put it to you like an arrow; it's Gettin' Busy music, straight up, and sideways. You must have it. Must. Have. It. Trust me on this one.
All tracks written and recorded by Slick Sixty. Produced by Slick Sixty and Kevin Paul. www.slicksixty.co.uk
Stereo Sound/Mute 140 West 22nd St., Ste. 10a New York, NY 10011 www.mute.co.uk

SNOG "Third Mall From The Sun"
~reviewed by Admortem
Snog. According to the dictionary, this word means to cuddle and kiss. Well, after listening to Snog's latest release "Third Mall From The Sun", I would suggest not listening to this CD while you are trying to cuddle and kiss with your significant other. There is nothing romantic about this politically driven CD. Like previous releases, Snog continues to produce music that ridicules the Western world's definition of freedom. In "Third Mall From The Sun", Snog focuses primarily on the corporate world, and how this world suffocates us by sucking the "freedom" out of our souls.

Lyrically, this CD is a gem. This shouldn't be of any surprise because essentially David Thrussell is a politician, and most politicians have a knack for speaking. Although, instead of choosing boring speeches to communicate his message, David chooses music as his medium. David states in an interview "...music is one of the few remaining forms of communication accessible to average people and to say it can't be political is both elitist and ridiculous". Unlike most politicians, David doesn't speak of hope, or of better times, instead his message is of the dark truth that "Big Brother" attempts to keep hidden through the means of brainwashing people's minds with powerful ideals like fitting in, being a team player, and loyalty. It is very reminiscent of George Orwell's classic book "1984", in which Orwell conveyed his message through three simple phrases "War is Peace, Freedom is Slavery, and Ignorance is Strength". The musical motivation behind "Third Mall From The Sun" can be best summarized in these lyrics from the song "Are You Normal Enough".

Proud to be a consumer, proud to be a drone
Proud to believe "sixty minutes" from the safety of your home
Proud to swallow every lie, proud to give a cheer
As you witness another murder of the enemy of the year
Are you normal enough.

Musically, this CD will keep your body moving. There is not a dull moment anywhere on this disc. With varying beats, funky rhythms, and clever sampling, the songs off of this new release will keep you guessing. There is so much involved in each song that you are bound to hear something new each time you listen to this political masterpiece. There are a number of musical influences that can be heard on this album ranging from cinema to classic rock and folk to industrial music. The best thing about the composition of the music is that it does not interfere with the clarity of the lyrics, but yet it still maintains a very definitive dance beat. This is very important considering the message that is being conveyed.

"Third Mall From The Sun" is not your ordinary Industrial album; but then again Snog isn't your ordinary Industrial band. Most Industrial bands do not release albums that convey a message as strong as "Third Mall From The Sun", nor is the music from most Industrial albums as dynamic and as intriguing as this brilliant new release from Australia's own, Snog.
Website: www.cyberden.com/imcc Email address: electropreverts@hotmail.com
Metropolis Records PO Box 54307 Piladelphia, PA 19105 http://www.metropolis-records.com/label@metropolis-records.com

Son of Rust Silicon Gene
~reviewed by Mike Ventarola
Portland, Oregon is home to this innovative band that have become the highlight at www.riffage.com. These young men have so impressed the fans and ultimately the honchos at riffage, that the company hand picked this band to be a part of their promotional CD.

Their just released, Silicon Gene, showcases their ability to render impassioned love lost yearnings, angst, and descriptive observations about our decaying sensibilities. It is rare that a dance tune can carry the emotional impact that has been accomplished on this disc. This band not only achieves that pinnacle but transcends the notion about industrial music being heartless and devoid of soul.

The microscopic DNA graphic looms ominously from the cover, hinting to the symbiotic absorption this group will have upon the listener while also being indicative of becoming machine made elements in mans future.

Track one opens with, Silicon Gene. This, an electronic heavy drum bass dance cut that pays homage to the computer whiz kids of today. In essence, the machine obsessed type of people who live for electronic stimulation and interaction exclusively. The vocals are not the strongest on this track, but the harmonics and samples that are blended into the mix make that insignificant enough to make you want to dance.

I Cant Wait is a heavy industrial cut, reminiscent of NIN, which deals with the angst of love. Again, the vocals are a bit weak. The true star of the music is the danceable composition that pounds with wall to wall heavy rhythm that one cannot ignore its front end diva like placement. One could surmise that the electronics play as the female lead to this sound.

Darkly brooding in ballad like fashion, What Am I Now deals with the tome of machine made parts that replace the human organs as seen in todays medical profession. It raises the question of self classification after pondering the issue of being an organically created machine. This is a unique reinterpretation of a Kafka like nightmare that is no longer science fiction but a fact of life. The vocals are good on this cut and are used to maximum advantage.

Whatever It Takes, brings us to the neurosis of one who is emotionally willing to become a chameleon in order to obtain the object of loves affection. This is a mid-tempo groove that incorporates scratches, Euro-pop and industrial riffs that make it another danceable cut.

The ineffectiveness of being a love chameleon is further explored in I Cant Be Sane. The depth of self loss and loneliness due to this type of subjugation is clearly written and examined in this mid tempo Kraftwerk/NIN emotional hybrid tune. This song is a declaration towards purging events and people who have misappropriated aspects of ones soul.

Common Ground, a slow dark Gothic ballad, with an industrial trip hop flavor, employs good vocals to make this a nice midnight dance club cut. The electronic soundscape moves across the speaker placement giving rise to the sensation of motion. This is the jilted lover who pleads for reconciliation in a sad fervent codependent way, but somehow realizes it will never come to pass. Lyrically, this track is more poetic in description with just enough ambiguity to allow the listener to come up with their own interpretation.

One of my favorite cuts, Disturbing Universe, is devoid of vocals except for the usage of samples. An especially humorous dialogue sample at the opening of the song makes buying this album worth it just for that alone. We are repeatedly informed via sound bytes that "this is indeed a disturbing universe." A declaration of a generation who have witnessed the decimation of our planet by the greed mongers without a care for the future to come. At the same time, it highlights the annihilation we impose on the hearts of those we love. It doesnt seep into mawkish gloom but pokes fun at this reality. This is accomplished with another humorous sound byte of current icon Homer Simpson at the end of the song. It is a dance track with all the right elements for industrial club play.

This Time, I predict will be Son of Rusts big hit. It opens with a nod toward Company Bs Fascination but then segues into an erotic dance tempo with expertly reverbed vocals that are now in full control of the range of the music. Some sampled moaning and love play are interspersed throughout. The erotic nature of the song is made somewhat more heartbreaking due to the poetic lyrics dealing with betrayal. From this lyrical vantage point you are aware that the orgasmic groans are playing out like a tortured memory as opposed to titillating fantasy.

Another NIN flavored recording, The Devil Inside Me, presents with compressed vocals, phat dance beats and intelligently placed samples. It extrapolates the harrowing experience of love yet again, only this time giving up and giving in to "a lonely hurting hell that can never leave."

Strange pulls out the stops with the trip hop techno/industrial hybrid. The song deals with finally reaching a point of self actualization during the grieving phase of lost love. " I woke up in the middle of a scream/ tearing down the walls of this sentimental scene.

Just Once reminded me of Noels Silent Mourning during the intro opening. This cut has been re worked with extra reverb on the vocals. Sampled dialogue is placed at various points. We are warned of "doors opening that can lead to simple pleasures, be it heaven or hell." It is a dance tune that could also effectively become another big hit for this group

The mesmerizing fact is that these four young men managed to create an industrial dance sound that is unique and infectious without the aid of a major studio label. Equipment that is outdated by about 5 years has been stretched beyond imagination to sound like it is up to the minute technology.

The composition through the electronic medium is the star of this disc with the young prodigies the willing and expert master and servants.

Unlike other industrial artists, Son of Rust truly create a multitude of hybrid sounds that are layered beneath the veneer of each song. They brilliantly experiment with all types of musical labels and rework it to fit their agenda.

The absolute dedication to their craft is more than evident on each cut. Every member masterfully asserts  their talent on this production and will earn them many fans in this musical genre .
Web page www.1201.com/silicon

SPRING HEEL JACK "There Are Strings" CD
~reviewed by Kirin
After writing the Laminar review, I seriously needed something to set my  feet back into myself, and take away some of that empty,  too-clean-to-breathe feeling. Seriously kids, do not try that Laminar  disc at home. It's really that good. The polar opposite of Laminar's  "Ante-chamber" would almost have to be Spring Heel Jack's "There Are  Strings."

Spring Heel Jack are John Coxon and Ashley Wales. (Fans of Marc  Almond might recognise Coxon's name as a producer.) Coxon and Wales are, for the most part, considered "Drum 'n' Bass" boys, although some  of their work has ventured into the "Jungle" end of the genre as well.

Now, I know, some of you are scrinching up your noses because you just  read "Drum 'n Bass," and it reminds you of the lot of sweaty,  jaw-clenching maniacs we've come to know and love as ravers. Don't go  yet. Wait. It's not like that. Rave in America is not how rave  started in the UK. It wasn't all about clothing labels and getting  completely arsed on any substance you could find. (Just the one, back then, "E," was all that was required.) It started out as a truly,  uniquely underground phenomenon, fueled by early techno records from Detroit. It was, in those early days, a spiritual movement, and an  honest attempt to connect with other intelligent beings, in a society  where dis-connection was the rule. Of course, the world being what it  is, the money-making aspects were noticed by all the wrong people, and  things got out of hand; and then it came to America. (It's been here at  least 10 years, really, but MTV is just catching on,) and now, yes, you  can scrinch up your nose at what it's become.

Spring Heel Jack aren't part of all that mess. Spring Heel Jack are part of the joy that preceded it. Spring Heel Jack make the sort of  music I need to hear when I'm so dragged out and so weary of the world I  can hardly walk. I put this on, and for just awhile, I'm able to forget  everything that keeps me up nights, and asleep days. I would recommend any SHJ album, but There Are Strings is one of my favourites, because of  how very layered and lush and bippity boppity it is. Songs like "Flying Again," "Where Do You Fit In?" "Derek," "Lee Perry Part One," and "Day  Of The Dead" are glories to behold. They shimmer like sunshine on  water, and are, to a haggard soul, like a warm sweet summer-evening  breeze. (And I'll admit, I hate summer and warmth and things like sweet breezes, but god, this music is infectious. I can't help it. I love  it inspite of its undeniable glee.)

So, Spring Heel Jack can be your happy little secret. Tucked safely  away inside an old lockbox, no one will ever have to know that you have  a giddy side. No one will ever have to know that you venture far, far  beyond perkygoth, into the realms of fuzzybunnylove. I will never tell,  I promise, because well, as Morrissey would say, "I've changed my plea to guilty."
Label: Rough Trade Records (for this release in 1995.)
Island-Independant/Trade2/Polygram 825 Eighth Ave. New York, NY 10019

Synchro Nine Factor Right Wing Conspiracy
~reviewed By: Black Orpheus (AKA A.F.)
Synchro Nine Factor, is an industrial band out of Atlanta, Georgia. Right Wing Conspiracy, is their debut album. Their chops are a cut above the average industrial outfit out there. Musically, they are complex enough to engage the listener. I think that with a decent producer, and promotion, this band might be a contender. They have all the makings for success, and now for its trappings. Don't neglect the unlisted mystery track 13, after 12s moment of silence. It was a welcome treat.

"Soiled," was the first song to snatch at my attention. The guitar licks in the intro, were heavy. The guitar kept up throughout, and I had no complaints. The keys were as effective, as one could wish for. I think the vocals might benefit, by some experimentation with processing. While they were good, I think processing would provide added interest; to an already pleasing listen. I wish I could tell you more, about the writing. The album sleeve, had no printed lyrics to refer to.

"Probing The Species," opened with a very cool German Sample. I didn't understand a word, but I thought it contributed to the song. The guitar work is praiseworthy, as is the bass. I particularly liked the arrangement, on this one. This was exemplary work. "Living here in this mapless hell, I am suffocating...," I was really struck by this lyric. There is a feeling of fear, cloaked by anger. This was a great song. It really makes me want to see the live show.

"Song For Luna," was an arresting piece of music as well. I wouldn't call this a homage to Luna. No, it has a decidedly negative tone. When he sings" naked but I don't want to touch you, I can stay with myself tonight," you can sense the palpable acrimony. The barrage of angry guitar, re-enforces his spurning of this woman. I've experienced the emotions in this song, but thankfully not often. It's a somebody done somebody wrong song. The world needs more of these. "Song For Luna," is a welcome addition.

In conclusion, I want to thank you for sharing my thoughts; on a band that I hope will out grow it's regional notoriety. I can hear the potential here. I look forward to watching what happens with them in the future.
Web Site: Synchro Nine Factor  Email: vroom@mindspring.com

THE TAPE-BEATLES "Good Times" CD
~reviewed by Kirin
Probably the most common thing heard during the "Clinton Impeachment Trials," besides, "It depends on what the meaning of the word 'is' is," was the mantra, "Well, yeah, but the economy is good."

Yes, the economy is good. And Matthew Shepard is dead. And Brandon Teena is dead. And James Byrd Jr. is dead. Dylan Klebold and Eric Harris are dead. People die silently when the economy is good. No one seems to care, they goosestep right on over their fellow human beings, because, god damnit, these are GOOD TIMES. So we're killing people in other countries for no apparent reason, so people are still dying of AIDS, boredom, and emptiness. What difference does it make? It's all about the bottom line, isn't it? If Alan Greenspan says it's all good, then it's all good. Good Times.

If you're alive and awake in the West, this CD will make you sick.

It's so real and so frightening and so very, "Great paté, but if I'm gonna make it to that funeral, I've gotta motor." These are the sounds of the Kneejerk Mafia. The Holier Than Thous. The "You'd Be So Pretty/Handsome/Successful If You'd Only"s. The Tape-beatles use found sounds and twist them about, and wring the truth from the hypocrisy. It's an ugly truth, to be sure, but one that needs to be heard regularly, even as painful as it is.

The thing I love about the Tape-beatles is how subtle the process is, as it takes hold of the mind. The sounds start innocently enough, and pleasantly. One's mind wanders along with the wonderful bouncing ambience and glee. Suddenly, one is in the midst of hell. True hell. The hell of being different, and alive, and without money, and conscious. The hell of walking down the street and feeling the hatestares that are saved especially for those who fit into the "Is That A Girl Or A Boy" category. The hell of counting out change for the bus, while the tv screams that Volkswagen wants drivers. The hell of wearing the same clothes over and over, full of holes, and letting in the cold, while the radio blares that Tommy Hilfiger has a brave new line of winter coats, found at better department stores everywhere. The hell of listening to the guy who's fixed your car tell you what scum faggots are, while you're count out your grocery money for his services, biting your lip, and hoping he doesn't know what the Campaign For Human Rights logo on your hat means. The hell of dropping ugly food on plates for rich college kids, while they shuffle by indignantly, not even looking at you, and your stomach growls, and you wonder how many months rent that watch would pay for. These are the places the Tape-beatles will take you to, and you won't even know how you've gotten there. From Lawrence Welk to apocalypse in 51 minutes.
The Tape-beatles
Public Works Productions PO Box 3326, Iowa City, IA 52244
http://soli.inav.net/~psrfpsrf@inav.net
Soleilmoon: PO Box 83296 Portland, OR 97283
www.soleilmoon.com Staalplaat: PO Box 11453 1001 GL Amsterdam The Netherlands www.staalplaat.com

TARWATER "Silur" CD
~reviewed by Kirin
The slowdub groove jerks and starts and smoothes on out in a million splendid ways. Cut ups and funk outs and a bit of guitar and a dash of bass all mix and comingle into a fascinatingly tender yet dark electronic-soul sound. For being Germans, they sound more like cousins of Joy Division and Portishead, than anything remotely Kraftwerkian. In fact, if you could imagine early Joy Division superimposed over Portishead and then filtered through beautiful downtempo techno patterns of misery and light, you'd have a pretty good mental image of Tarwater.

I look forward to listening to this disc as fall becomes winter, as the trees lose their leaves, and the days become cold and grey. It's very fitting fall and winter music- just grey enough to be melancholy, just blue enough not to be morbid. I also like very much the fact the vocals are either outright spoken, or sung atonally- 'reminds me fondly of the Golden Palominoes, but of course, no one will ever compare to Nicole Blackman. (Bless her!)

I recommend this disc very highly, especially to those of you who've found your soul planted firmly at the heart of Manchester, and are happier underground or in the rain than anywhere else.
Mute Records 140 W. 22nd St., Ste. 10a New York, NY 10011 www. mutelibtech.com

TLÖN UQBAR "Bola Perdida" CD
~reviewed by Kirin
It has been a while since I read Jorge Luis Borges. How time flies! It must be ten years now since I read "Labyrinth." I mention this because "Tlö n" and "Uqbar" are, as I recall, fictional places in his writings.

If I am wrong, please forgive me. It's 2:21am, and my Borges books are in a storage bunker miles from here. I would go get them and check, but Christ, I'm a bit weary, okay? If you have never read Borges, read Borges. I can't even describe to you the effect of his writing upon the brain. However, this music is actually a very good interpretation of the feeling. I remember the twists and the knots of logic and semantics as they unravelled in my poor head. I remember staring out over Puget Sound, and cursing the fellow who gave the book to me. I had a headache, and I was thinking much, much too hard, and lord, that old Seattle caffeine was pumping Borges through my brains at a frightening speed.

At any rate, this CD would be highly enjoyable, even without any knowledge of Borges, and becomes exquisite with it. Exquisite because, like his writing, the music does eat its own tail, and spin round and round again, sifting through layers of trance-like Middle Eastern sound, which is then riddled with more disturbing and unsettling metallic noise. It is reminiscent in some aspects, of Muslimgauze, and yet, is both more tribal and more industrially dense than most of Bryn Jones' work.

That the music itself is founded upon fictional realms which call into question some of the basic premises we tend to take for granted, is telling; Borges would have us explore the notion of sound as reality; would have us delve into the prospects of reality as sound. Unlike any other art, sound actually moves our bodies, can destroy, and can heal.

Yes, sure, the rods and cones of vision are excited by colour, but the process is nothing quite so gripping as the experience of sound. Even those who cannot "hear" can most certainly feel sound. It's not just about ears. It's about cells. It's about our perceptions and our pasts, and everything that we bring with us to any given sound experience. Why do we hate an album one time, and adore it five years later? Why do we find some music unbearable that was once cherished? What would the world be, without sound, without any sounds whatsoever?

These recordings are exceptionally beautiful, and very inspiring. They are not soothing- they are not ambient. They are fully, blatantly interactive. They seem to instigate activity in the brain, and encourage a heightened perception of ones environs, both externally and internally. I would imagine that experienced psychonauts would consider this album a treasure. Not that I erm, encourage the use of mind altering substances, but, hrm, well, actually, yes, I guess I do. Not to the point of ridiculousness, mind you, but I would guess that certain types of sage, and other wondrous plants, would make the experience of this music downright religious.
Tlön Uqbnr are:
The collective members of two French bands:
-Internal Fusion: c/o Eric Latteux, Rue du chateau, 38890 St Chef, FRANCE <elatteux@wanadoo.fr>, and
-Dessacord Majeur: 56, rue Louis Ruffel, 80080 Amiens, FRANCE <dm@worldnet.fr>
Soleilmoon Recordings: PO Box 83296 Portland, OR 97283 www.soleilmoon.com
Staalplaat: PO Box 11453 1001 GL Amsterdam The Netherlands www.staalplaat.com

TO ROCOCO ROT "The Amateur View" CD
~reviewed by Kirin
Let's see now. There's dub, house, hardhouse, drum&bass, techno, trance, downtempo, jungle, beats, garage, bpms, rpms, and so many other things to be known about electronic music; I, being only human, will not claim to know them all. My guess is that most people would classify this as downtempo. Please don't hold me to this. I could be terribly wrong.

Regardless of name or genre, the music is divine. It's very sweet, thick music, like a cup of Earl Grey, with honey and cream- and yet, it's never cloying, never overdone or so sugary it's asphyxiating. "The Amateur View" is just right. It's music that'd be good in headphones, while on a bus or a plane; it's music that changes the atmosphere inside the brain to a slightly brighter hue than the frightening grey that business and pleasure so often demand.

Please dont get me wrong. It's not pop music. It's not shiny happy music. It's just innocent, simple, elegant, and pure. It's joyful because it's crisp, and sure, and clean. The beat isn't seizure-inducing techno, or trance-inducing drone, it's more like a chuckling stream, or the happy clatter of a downtown train.

I look forward to spending my years with this music- 'going back to it when I'm in need of assurance that yes, there are still those in the world who seek to live and work from the centre of all that is good and strong and beautiful. In a word, inspirational.
All songs by To Rococo Rot (Lippok/Lippock/Schneider) except "a little asphalt" which was written by TRR. and Craig Willingham and this sandy piece, which was written by TRR. and Darryl Moore. produced by Tobias Levin, Bo Kondren, and To Rococo Rot. (trr@cityslang.com)
Mute/City Slang 140 West 22nd St., Ste. 10a New York, NY 10011 www.mutelibtech.com

Torn Skin Mislead
~reviewed By: BlackOrpheus(aka A.F.)
Torn Skin is an experimental industrial band, on Blacklight Records. Mislead is an EP, that contains no less than seven remixes of the title song, as well as a couple of other notable additions. Some would charge pure self-indulgence, I prefer to indulge their whimsy. It is a great track, after all. The production values, are outstanding on this album. The processed vocal duets of Jennifer Happach, and Rob Buhl are damnably good. The song writing, is a cut above what I'm often subjected to in the genre.

Mislead possesses that wonderfully crunchy guitar, I'm so fond of. The driving, insistent electronic beats can't be discounted either. This is the kind of song, that moves peoples feet on the dance floor. The 7th remix, by Jan Carleklev is an extraordinary feat of virtuosity. The guitars are here, ambient synth, and big percussion.

This is HEAVY! I really like it. Truthfully, it would take a concerted effort not to like this song. The shere number of remixes guarantees, most listeners will find something of interest here.

"Addiction," has an intro worthy of any metal record. I mean that in the most complimentary way. When I say metal, I mean Q-u-a-l-i-t-y metal. It has a weight, that I look for in music that's meant to address the repressed aggressions of the day. The vocals are delivered in a paranoid David Byrne voice, before their distortion.

"Temptations always dig my hole, I give in and lose control". Thatsums up addiction, so sweet, and yet so deadly.

"Shame,"opens with an indusrial/dark wave intro. There is an inspired sample, spooky synths, and a women screaming to establish mood. It sounds like a stalkers theme song. The guitar segments, just rip it up. Drew Cavaletti, has a dangerous axe. The mood switches from aggression, to almost quiet passivity toward the end. The vocals are varied, and interesting throughout.

Torn Skin is a band, I know I'll be hearing more of. They aren't quite prime-time, but very little holds them back. Exposure will definitely help, and so to this end I recommend Torn Skin. Enjoy.
Web Site: Blacklight Records Blacklight Records PO Box 6552 Kokomo, Indiana 46904-6552

PETER ULRICH "Pathways and Dawns"
~reviewed by Blu
Who else but Projekt Records would bring us the debut release from Peter Ulrich, formally of Dead Can Dance? This label, which has a reputation for wonderful ethereal music, continues on in its tradition with Pathways and Dawns. Fans of Dead Can Dance may feel a certain familiarity as six of the eight tracks were produced and arranged by Brendan Perry at his Quivvy Church Studio. Despite that and the fact that Peter was once the percussionist for Dead Can Dance, Pathways and Dawns seeks out its own unique vision and sound.

Employing a bounty of classical instruments like stings, horns, woodwinds, and a myriad of exotic percussion; Peter creates a lush worldly setting with each track by combining the power of music, lyrics and intonation. The skilled execution alone of each song is enough to make you cry and when combined with wrenching lyrics like the ones in "Taqaharu's Leaving," you are left speechless and emotionally wrought - "Taqahuru's going to be a soldier, Like his father and his brother were before, His mother doesn't want to lose another, She cries because she knows his life is worth more."

Each song has its own unique feel and theme from the melodic, upbeat Celtic ramblings of "Life Amongst the Black Sheep" to the primitive tribal chanting of "Evocation"; Peter takes the listener on a vivid exploration through mysticism and spiritualism. He shows off his skills with percussion in the aptly named instrumental "Journey of Discovery," then changes gears completely with "Nocturne" which features Spanish-styled acoustic guitars and his own subdued yet very affective vocals. "The Springs of Hope" sounds a little more reminiscent of Dead Can Dance with its lyrical lilting words, melodic line carried by an oboe and exquisite percussion. And like the hopeful but bittersweet ending to a movie, "Time and a Word" rounds off this CD sweetly and softly, "And I stand ...in silence...wondering."

"Pathways and Dawns" is what the title suggests. Peter Ulrich takes us on a personal journey with this CD through sadness and tragedy seeking healing and understanding through mysticism and comes out on the other end showing us all the fabulous dawns the world has to offer. Simply beautiful.
Music and words by Peter Ulrich Projekt: www.projekt.comCatalog@projekt.com