Music Review: The Cruxshadows - The Mystery of the Whisper

It's been a while since I last mused over an album. I finally got around to buying one of my favorite Curxshadows albums, The Mystery of the Whisper.

The cover to the 2CD re-issue with their breakthrough album, The Mystery of the Whisper, and a rare EP, Until the Voices Fade...

Depending who you talk to, The Cruxshadows are considered Dark Electro, Goth Rock, Dark Wave, etc. Basically, we'll go with some form of modernized creepy pasta and call it a day (I'm not much into debating what genre something is and isn't. They aren't country and that's good enough for me).

Cruxshadows formed in 1992 with Rogue, Sean Flanagan, and Tim Curry (no, not THE Time Curry of Rocky Horror fame. I know, I was also slightly disappointed) in Florida. 1996 saw the release of Telemetry of a Fallen Angel which produced their first single, Marilyn, My Bitterness, and brought some modest attention to the group. The Mystery of the Sound came out in 1999. Over time, several changes have occurred in the line up with Rogue remaining as the only original member. They have, until recent times, been a band that has spent more time touring each year than actually sitting at home doing more domestic sorts of things. Based on the Twitter account for the band run by Rogue, it seems a new album is in the mix.

The current line-up for The Cruxshadows. I don't know them well enough to say who is who, but Rogue is the third from the left and his wife is one of the women. I know, so helpful.

Now, I do want to mention some things I find really cool about Rogue. First, he is the heir to the Du Pont legacy. You know, Du Pont. Those guys that seem to make everything chemical related. Yeah, he's part of that. Instead of taking a back seat to life and living the rich life, Rogue actually worked hard in school being one of those smart kids, founded a poetry club, lettered in something, competed nationally in speech and debate tournaments, and was an officer in the JROTC, among other things. He then went on to study art and music at FSU, graduating magna cum laude. Regardless of whether you like him and his band or not, you must admit he kind of defines the whole "overachiever" thing.

Rogue. He actually isn't as angry as he looks in this photo.

So, all that said, let's get to the album. This is an album with some references to Egyptian lore (but only a few). The album starts with the mostly instrumental Isis & Osiris (Life/Death). It has a nice vibe, good instrumentation, and sets the tone for the album. Being an instrumental track with some kind of singing in the background (not sure if it's supposed to be based on the language of the ancient Egyptians or what), there isn't much to say.

The next track, Cruelty, is perhaps one of my favorites from the band. The intro is a bit electronic meets organ. Great way to start the song as it's very mysterious. I don't like to delve much into song meanings as I still contend songs mean different things for different people. It is possible this is one of the angst-y sorts of songs as the chorus goes, in part: "Cruelty and consequence cannot eliminate this relevance, your selfishness, your hatefulness cannot take away my innocence from me." Regardless of the meaning, it's a song with a good beat and music, if nothing else. Check it out for yourself. And no, I have no idea what's going on in the video. And yes, Rogue's hair is kind of distracting:

Next is Leave Me Alone. Yes, perhaps another angst-y song, at best. But it seems to speak to a dilemma the Goth crowd often faces. Gallivant in public wearing all black and people stare at you and glare at your back. The character in this song seems to be speaking to someone else, possibly a love interest or just a friend. They're trying to get this second person to leave them alone because they are "a freak" and so forth. It isn't necessarily that the main character really wants this person to leave them alone so much as it may be "Hey, understand, the world thinks I'm a freak and they all stare at me wherever I go." Good song to listen to, though I don't necessarily agree with the slant. We all get weird looks from people, so why encourage a possible friend/romance away because you, like everyone else, get odd looks from people?

Most of the remaining songs sound similar enough (except Sympathy (For Tomorrow) which is focused more on piano and violin with cleaner vocals). I can understand why The Cruxshadows may not be in the libraries of every person with a taste for creepy pasta. The lyrics tend to be very simplistic (at least on this early album) and don't do much for fending off certain Goth stereotypes. I listen to this album more for the music than the words.



Rating: 4 out of 5 (like I said, good music, but the lyrics leave more to be desired)
More information: Official Cruxshadows Website

Concert Review: David J 6/1/12

Last night (and early evening), I saw one fourth of Bauhaus - Mr. David J! He was in town (randomly, apparently) and decided to promote his new album, "Not Long For This World." I saw him first around 7pm at Cheapo Records where he did an in-store performance (to like ten people) and then stayed after for autographs and pictures. Later that night, he was at Elysium playing a slightly longer set and breaking out some classic favorites.

David J playing bass for Bauhaus during the band's last round of reunion

David J was one of the founding members of post-punk band Bauhaus in 1978. The band went on to release several albums and singles and garner a deep, albeit underground, following. The band originally disbanded in 1983, presumably over tensions of David J, Daniel Ash, and Kevin Haskins recording most of "Burning From the Inside" without singer Peter Murphy (he had pneumonia at the time). Bauhaus would later return in 1998 for the Resurrection reunion tour, only to disband again. Finally, Bauhaus returned with 2006's "Go Away White" and some marginal touring with Nine Inch Nails over the next couple of years before disbanding for seems like the final time.

In the interim periods of Bauhaus's rises and falls, David J went on to form bands such as the highly experimental Tones on Tail with Bauhaus guitarist Daniel Ash and roadie Bauhaus roadie Glenn Camping. Once that fell through, J and Ash rejoined with Bauhaus drummer (and David's younger brother), Kevin Haskins to form the fairly popular Love and Rockets. Both David J and Daniel Ash released solo material over time as well.

Love and Rockets (left to right: Kevin Haskins, David J, Daniel Ash)

At Cheapo Records, David J only played a handful of songs, most from his solo work. He did play "Sweet FA" and "No New Tale to Tell" from Love and Rockets. It was very clear that all of us watching him were there because he was David J of Bauhaus. None of us knew the lyrics to his solo material. Heck, most of us didn't know the words to his Love and Rocket's material either! (I know the lyrics to "No New Tale to Tell," but not "Sweet FA" as I don't listen to Love and Rockets often). However, he was in good spirits and having fun with things. Because David J doesn't perform often, he himself doesn't have all the lyrics memorized well (even those of his own songs) and needs a lyric book (which he forgot over at Elysium). This prompted lots of joking about his age and his admitting to have skipped different lines and added in others (not like any of us would have known otherwise, haha!). Afterwards, David J talked with us, signed autographs, and took pictures. I got my "On Glass" 12" signed and a couple of his solo albums on CD (they're hard to find, which doesn't help matters any with trying to follow his solo work).

At Elysium, the story continued. He had his song book this time with the lyrics (only removing it to play "No New Tale to Tell" again and both Bauhaus songs). He was much quieter this time, not talking to the audience as much (then again, many people were being very rude and talking loudly as he performed). Overall, the performance was great. He did a new version of "No New Tale to Tell" with Adrian H and the Wounds that I wasn't terribly crazy about and the version of "Bela Lugosi's Dead" that he ended the night with was odd. He had great atmosphere for that one (took the lamp from his lyric book stand and put it under his face to imitate Peter Murphy's putting his face in a white light and also draped his jacket like a cloak). However, David J commonly likes to add random lyrics at the end of the song which don't necessarily go with it. Additionally, the drawn out "Ooooooohhhhhhh Bellllllllllaaaaaaaaa" parts were completely removed, which are my favorite parts of the song. Good effort, but I'd much rather listen to Peter Murphy's mash-up of "A Strange Kind of Love" and "Bela Lugosi's Dead" that he commonly does at shows.

On the whole, David J is a very humble, funny, delightful man. This set of performances has actually perked my interest in his solo work (I tend to not listen to it as the little things I had heard I didn't much care for). I now believe a second listen is in order. This also puts me at seeing one half of Bauhaus in some form or another. I wish I could have seen them during the last reunion. May not have been anything like they were back in their heyday, but I'm sure it was great.


Setlist from Elysium:

Dagger in the Well
Crocodile Tears and the Velvet Cosh
Shelf Life
Rain Bird
If You Could Read My Mine
Spalding Gray
Who Killed Mr. Moonlight?
Silver for Gold
Not Long For This World
Dog-End of a Day Gone By

ENCORE

No New Tale to Tell
Alabama Song
Bela Lugosi's Dead

Music Review: The Creatures - Anima Animus

This week's Music Review looks at one portion of the great Siouxsie Sioux's music career, the experimental rock side project with fellow Banshees member Budgie, The Creatures.

Siouxsie Sioux and Budgie of The Creatures

The Creatures was a side project Sioux and Budgie ventured into in 1981 during the recording of the Juju album from their main band, Siouxsie and the Banshees. By accident, the two discovered that having only vocals and drums to the track "But Not Them" was an amazing combination. This led to the first Creatures EP, Wild Things. The Creatures was always an on and off again side project for the two as their primary focus was on Siouxsie and the Banshees until the main group's big split in 1996. After that, The Creatures released two more albums, Anima Animus and Hai! The Banshees went on to reunite in 2002 for a massive tour before splitting again. With 2007 seeing Sioux and Budgie divorce, all musical partnership between the two ended, effectively marking the end of Siouxsie and the Banshees and The Creatures forever (or at least until they are able to reconcile).

Anima Animus, released in 1999, may have been the second to last Creatures album, but it is most likely my favorite Creatures album. It is also, I believe, the one from which the most songs appeared on the Dreamshow DVD from 2004's performance at the Royal Albert Hall (I'm not going to count, so someone may correct me if they wish).

The album title refers back to an idea from Carl Jung regarding transgender: the woman inside the man, the man inside the woman. I suppose you could interpret some lyrics in the songs to relate back to this, but given that the album had two prior names before it was decided as Anima Animus, I'm not sure if the intent of Sioux and Budgie was to relate songs to title.

The starting track, "2nd Floor," has an urgency to it. And is very catchy. The phrases Sioux sings are really short, leaving the track to be more focused on the techno-esque music (heavier on the -esque than the techno). This also happened to be the first single from the album. I'm not sure if this is my favorite from the album, but it's damn close if it isn't! Here is the music video for the song:

"Disconnected" is another great song with really cool instrumentation. What I mean here is that in certain parts, after Siouxsie finishes some lyrics, the music emphasizes those pauses (ex. right before the lyrics "And when you're feeling glad/Alaska shows her greedy hand").

I'll skip to the end as I don't have much to say about the rest of the album. Don't get me wrong. This isn't me saying the remainder of the album is mediocre or even bad. Several of those songs are worth a good listen ("Say," "I Was Me," "Prettiest Thing," and "Exterminating Angel," to name my big favorites). Instead, I want to look a little into "Don't go to Sleep Without Me."

This is by far the creepiest song. Is it bad? Far from it. But could you imagine just jamming along to the entire album with strong drum parts and a massive sense of urgency only to reach the final song where a slow, eerie guitar in the background accompanies Siouxsie essentially whispering in your ear? Yeah, a little creepy. But the complete change from the rest of the album is a pleasant deviation and really genius, in my opinion. Let me know your thoughts. Here's a fan video of the song:

I am a firm believer that whatever Siouxsie is a part of, it will be amazing. Her work with Siouxsie and the Banshees has been both ground breaking and unforgettable. The Creatures was a fairly different and unique side project, yet still incredibly important. Her one solo album from 2007 is crying for more siblings (which she has hinted in a recent interview a couple months ago of a new album or project of some sort). Obviously, Anima Animus is a winner in my book.


Rating: 5 of 5

More information: The Official Webstore for Siouxsie and the Banshees
(there is no official website for either Sioxusie and the Banshees or The Creatures or her solo career)

Music Review: David Bowie - The Rise and Fall of Ziggy Stardust

For this week's Music Review, I will talk about one of my favorite albums from another one of my favorite artists: David Bowie.

For those who do not know, David Bowie is one of the most influential musicians of all time. He is also one of those people who has pretty much done it all. Start a band at the age of 15? Check. Name yourself after an early American hero? Check. First solo album in 1967 (that was actually a major flop)? Check. Hit it huge in 1969? Check. Come to dominate the world for the next four decades? Check. Star in several amazing films along the way? Check. Sing with the late Freddie Mercury? Check. Make peace with the late Marc Bolan shortly before his unfortunate death? Check.

Did I not say this man has done it all?

Early 1972 brought one of the major changes to rock and roll at the time: The rise of Ziggy Stardust and the Spiders from Mars. This was a period in which Bowie dyed his hair a vibrant red, wore fantastic costumes, and basically created a new persona on stage - Ziggy Stardust. The album released in conjunction wit this era, 1972's The Rise and Fall of Ziggy Stardust and the Spiders From Mars cemented his breakthrough in the UK (and started his ascent to stardom in the US). While this enigmatic character only lived for a short while, his send off was as dramatic as everything he did. The end of Ziggy Stardust came in a grand concert forever commemorated in the Ziggy Stardust and the Spiders From Mars film. Afterwards, Bowie moved on to creating other personas such as the Thin White Duke.

As mentioned above, The Rise and Fall of Ziggy Stardust and the Spiders From Mars was released in 1972. Its first single, "Starman," served to cement Bowie's breakthrough status in the UK and show him as a force to be reckoned with. As one may guess from the name, the character, and song titles, this is a concept album revolving loosely around the character of Ziggy Stardust. The idea proposed by some as to the overall theme to this album is that Ziggy Stardust is an alien who comes to earth to spread a message of peace in love in the last five years he has left to live. For those familiar with Bowie's film work, this could serve as an early inspiration to is role in 1976's The Man Who Fell to Earth.

The album starts off with the, in my opinion, lackluster "Five Years." Every album needs its starting point however. "Soul Love" is an interesting song, but one I don't tend to pay as much attention to. The third track, "Moonage Daydream" is a great one, perhaps asking the listener to pay attention to Ziggy Stardust and love him. Maybe. I don't know. I don't delve much into song meanings as I feel they can mean different things for different people. Songs were meant to be cryptic.

The fourth track is the album's first single, "Starman." This has been one of my favorite songs for years. It's experimental, full of soul, and just great. To me, it has this quality of looking to the sky and feeling there is something there. Perhaps a literal reading of the lyrics would suggest the Starman is Ziggy Stardust, who wants to spread his message of peace and love, but is afraid that humans can't handle him. I suppose you could extrapolate this idea and apply it to the idea of God being up there, but that's up to you. Regardless of meaning, it's a wonderful song and could serve as a nice introduction for those of you who have never listened to this great man:

The next few tracks are really solid in my opinion and worth checking out. However, I want to shift focus to the final three tracks. The last ten minutes give or take of this album are worth every penny you pay for it. And then  some.

The first of these songs is "Ziggy Stardust." This song has been covered by many artists, including a couple of my favorites, Bauhaus and AFI. It's just a great song to jam to. A look at the lyrics suggests this is the incomplete story of Ziggy Stardust. Basically, Ziggy plays guitar, is damn good looking, narcissistic, pale, and awesome. Which is true. The next song is "Suffragette City" which is also another one of my favorites. It's really catchy. What is it about? I have no idea. But I love it.

The album ends with the slow at first epic "Rock 'N' Roll Suicide." It's a dark song as you'd expect from the title. In terms of its place in the concept album, I'm guessing this represents the end of Ziggy. However, as the song progresses, it does pick up and suggests that maybe Ziggy shouldn't die? I don't know. It starts solemn and then picks up as Bowie yells "You're not alone!" If you have a better idea, I'd love to hear it. And it even says "You're wonderful!" a lot. Seriously. Need an anti-suicide anthem? Go with this or Queen's "Don't Try Suicide." But in all seriousness, it's a grand way to end an already sensational album. Here is "Rock 'N' Roll Suicide" played as the final song from the end of the Ziggy era (there's a lot of cheering in the beginning to get past before the song begins):

Since this album (his fifth at the time), Bowie has continued to release now 23 studio albums (and a number of best of compilations and studio recorded albums). His more recent releases have had a more electronic influence and aren't as popular as his work in the 70s and 80s, but still worth checking out. 2004 saw the last major touring from Bowie as he had an acutely blocked artery that required emergency angioplasty. Since then, fans (myself included) have begged for is great man to return to the stage again if he is healthy enough and bring his sweet music back. In 2012, we are still waiting. Hopefully this icon will make his grand return. The stage beckons, Mr. Bowie.



Rating: 5 out of 5

More information: Official David Bowie Website

Music Review: Bauhaus - Go Away White

This week's installment of Music Review will look at the last album from legendary post-punk (and debated Goth Rock) band Bauhaus - 2008's Go Away White.

Bauhaus. Left to right: David J (bass), Kevin Haskins (drums), Peter Murphy (vocals), Daniel Ash (guitar)

As a quick history: Bauhaus formed in the late 70s at the end of the punk revolution (arguably dead once Sid Vicious called it quits on life). Bauhaus lived from 1978 through 1983, releasing several albums in the post-punk genre with darker themes and a very theatrical nature. Along with several other influential bands of the time (Siouxsie and the Banshees, Joy Division, The Cure, to name a few), this particular sect of post-punk became later known as Gothic Rock. I'll put aside the argument of whether or not it's proper to refer to bands like Bauhaus as Gothic Rock even though the term came to be used after they started.

Bauhaus, being one of those tumultuous English bands was as theatrical on stage as off. The split in 1983? While many fans could see it coming (you don't simply record almost an entire album without the singer who is sick with pneumonia and NOT have any sort of drama result), it was still rather abrupt. The split in 1998/1999 following the Resurrection reunion tour? Also very abrupt. The split in 2008/2009 after minimal touring (and no true tour to support their last collected effort, Go Away White)? Also abrupt. I suppose after three tries, it's easy enough to see why Peter Murphy has said in interviews "We still respect each other and are friends, but I never want to see them again." The energies are just too dynamic.

So, how does one describe Go Away White?

By and large, the majority of classic Bauhaus fans (i.e. those who have listened to the majority of their extensive discography...for only five years of music making magic) find this album to be well...horrible. One major issue with taking a break for 25 years is that influences and inspirations change. Since the last true Bauhaus album, Burning From the Inside (which arguably was more a proto-Love and Rockets album given how little involvement Peter Murphy had on the album), each member went on to many different projects, all deviating significantly from the Bauhaus sound. Peter Murphy went on to partner with ex-Japan bassist Mick Karn to form Dalis Car (which only saw one full length album before the two parted ways) followed by a very prolific (and ongoing) solo career marked by a more worldly sound. David J and Daniel Ash joined with a Bauhaus roadie, Glenn Camping, to form Tones on Tail, a mostly experimental band with only a couple big club-worthy hit songs ("Go!" and "Christian Says"). J and Ash rejoined with J's brother Kevin to form the fairly popular Love and Rockets (which has gone the route of Bauhaus in more recent years and fallen apart). J and Ash also have carried various solo projects with Ash's solo work being perhaps the closest to the original Bauhaus sound (but also the most sparse in terms of releases).

So, all that put forth, it is perhaps understandable as to why so many of the "Bauhaus-elite" find Go Away White to be more annoying than anything else. The changes each member went through in those 25 years must have had an effect. And clearly one we dislike.

But is it just us? I have had the great fortune to see former frontman Peter Murphy live four times. He has kindly taken to playing a handful of Bauhaus songs during his set as he feels any future Bauhaus reunion is well...not happening. Every now and then he brings out a song from this album. For being the most recent album, you would think he'd remember the lyrics better than perhaps ones from the first Bauhaus album (1980's In the Flat Field). I mean, the first time I saw him was the summer of 2009...a year or so after Go Away White made its appearance. I remember he played "Too Much 21st Century." He had to have a lyric sheet in front of him that he looked at almost the entire time (I was close enough to see it had the lyrics on it). Perhaps this is a sign even Peter Murphy doesn't think much of the album?

In interviews, the band have openly remarked how this final album isn't much like their earlier sound. This perhaps begs the question of why even do it? Presumably, upon hearing that a great band from the early 80s is making a return, albeit brief, one would hope for a possible continuation of where the band left off at. Instead, we got something incredibly different and, in some sense, disappointing as the final sendoff for Bauhaus.

Now, don't get me wrong in this critical review. I find Go Away White to be significantly better than just about anything on the radio today. But, it certainly is not the first Bauhaus album I think of listening to when I want to listen to them. Merely, I find myself skipping the entire album every time it comes up on my iTunes. And trust me, I wanted to love this album. Bauhaus has a very special place reserved in my heart. I've tried many times to love this album, but it just never hits. For comparison, I'll leave you with two videos. The first is just the track for "Too Much 21st Century." Because this album was made with the intent of being the final Bauhaus album from the get-go, there never was a single or music video from this album. Below is one of my favorite Bauhaus songs with its music video (1983's "She's In Parties," one of the only songs from Burning From the Inside that Peter Murphy sang on).

Rating: 2 of 5

More information: Official Bauhaus Website

Music Review: Peter Murphy - Ninth

So, for my first music review, I decided I should go with my favorite musician of current: the ever delightful Peter Murphy.

In June 2011, Peter Murphy released his first solo album in roughly seven years (following the rather unfortunate Unshattered, which by all accounts would have been better named Shattered). It being his ninth full length album, he decided to aptly name it Ninth.

In some ways, Ninth departs from the "typical" Peter Murphy sound. It has a more raw feeling, and as Peter has said in interviews before and on his Twitter, it is much like "a lion pissing on its territory." Well done, sir. Mission accomplished.

While deviating from the usual sound we've come to recognize, enjoy, and absolutely love, Ninth is by no means such a deviation that could be called a flop. Rather, it falls into that rare category of "change is actually very good."

This latest opus from the "Godfather of Goth" begins with track "Velocity Bird." An interesting lyric repeats in the song: "Be yourself if you want to be me." Somehow Peter figured out we secretly want to be like him. Well done, sir. But in all seriousness, it's a great song and a favorite when performed live.

The second song actually became the second single from the album, "Seesaw Sway." A gorgeous song accompanied with an even better music video. I've always yearned for Peter to "go back to basics" in terms of music videos and give us one with shots primarily of the band performing. My wish has finally been answered. There are days when I wonder if somehow we're linked psychically. No joke.

The third track is my personal favorite, "Peace to Each." A fairly heavy song and perhaps the most "goth-y" sounding (with a change in lyrics, I could see this as being a Bauhaus song...unlike anything that comprised Go Away White, but that's another discussion entirely). As the title may suggest, this is a song about peace. Just absolutely addicting from the beginning.

Next is "I Spit Roses," the first single from the album. The story behind this song is great and so fitting. Bauhaus was always a theatrical band. In many ways. Theatrical in their songs. Theatrical in their appearance. Theatrical in their stage presence. And, apparently, theatrical in real life with the way they reacted to each other. Bauhaus originally disbanded in 1983 as the four members reached points in which each wanted the band to go their way. It broke rather abruptly as most people say. It wasn't until 1998 that a reunion tour became reality. And much like before, things quickly fell apart afterwards. 2006 saw the recording of the rather unfortunate Go Away White album with only minimal touring in 2008 before again it all fell apart...and probably for good at this point. Where this song comes in at is that in the last round of getting back together and falling apart, apparently words were said, and Peter Murphy being well...Peter Murphy, decided actions really did speak louder than words. He literally grabbed some roses nearby, put them in his mouth, and spit them at the others. So, this song is written to sort of immortalize that moment and prove that yes, actions are mightier than words. And no, I'm not making this up. He's given this explanation for the song in several interviews and mentioned it before performing it in Austin at The Moody Theater in November 2011. Another great song with soaring vocals (literally) and a very artistic music video. I can't help myself though. I laugh hysterically every time the octopus saves Dark Captain Peter Murphy from the jinn shadow (I call it a jinn shadow...not sure if that was the intent) and the captain just looks back behind him like "lolwut just happenedz???" You'll see.

The fifth track, "The Prince and Old Lady Shade" has easily become my second favorite track. Maybe I'm biased with the gorgeous violin that starts the song (I'm a violinist myself). Maybe I'm biased because a lyric goes "...a friend of the jinn!" and that immediately tickles my Islamic faith and makes me search for deeper meaning to that song. Whatever it is, it's a damn good song.

The rest of the album, while good, starts to sound rather similar to me. I wouldn't dismiss it, but the remainder of the album doesn't particularly stick out to me. Until the end.

The final song is "Creme de la Creme." This is a song that has started to give me shivers when I hear it. A grand way to finish the album. The piano that accompanies is absolutely stunning. Honestly, there may not be words to describe how great this song is.

Overall, Ninth is an album that has had to grow on me. However, in my experience, an album that must first prove itself to me after many listens is certainly an album worth listening. It takes time for the discreet nuances to become apparent and for deep music to speak to the soul. Keep doing what you do best Peter Murphy. I'll follow you every step of the way.



Rating: 4.5 of 5

More information: Official Peter Murphy Website