Music Review: Strap On Halo - Altar of Interim

2016 has been a busy year for Seattle-based goth rock group Strap On Halo. In January, the group released Prayers For The Living (an eleven-track album featuring seven brand new songs and four previously released songs that had been re-recorded and re-imagined). The summer was largely spent writing and recording a new four song EP, Altar Of Interim, and planning out a tour of both the US and Europe. And that only gets us to August!

Strap On Halo (L-R): Layla Reyna, Sean Rial, Marc Jones

Strap On Halo's prior work has melded elements of the original 80s post punk "goth" bands such as Siouxsie and the Banshees and lesser-known Xmal Deutschland with more modern sentiments from acts like Italy's Spiritual Bat, Skeleton Family, and the March Violets. The main trademark of Strap On Halo's music is the mixture of fancy guitar work from Sean Rial over the driving, yet subtle, bass lines provided by Marc Jones meshed to the always smooth and soaring vocal performance of Layla Reyna. With this backdrop in mind, we put needle to wax (metaphorically...this EP is not available on vinyl) and give it a spin.

The EP opens on "Perish" and immediately sets the tone for what's to come. The song has some parallels to Turkish darkwave band She Past Away (particularly "Sanri" off the first album) but with a stronger, more pronounced guitar riff that brings a tinge of early Sisters of Mercy to the plate. After a bit, Reyna's voice joins in, providing a textural contrast to the music. The change in lyric rhythm between the first and second verses works nicely (it caught my ear and made me go "oooh" when I first heard it). Without spending forever on just this one song, "Perish" certainly exceeds expectations and excels at drawing the listener in for more.

"Shiver" starts off with percussion only before the guitars enter, bringing a little bit of the early 80s Cure sound with it but heavier on the delay. Reyna's vocals again provide an interesting textural contrast to the music, being slightly succinct compared to the flowing guitar. A solid song in its own right, "Shiver" is closer in some ways to some of the prior Strap On Halo material.

Third on the EP is "Crimson Waves" which is closer to "Perish" in form and delivery. The music is very catchy and immediately sticks with the listener. Truly a song which melds the original goth wave with the new, this song is a gleaming example of how to keep the genre fresh without alienating its past. Without having anything further of merit to add to the discussion, I do hope this one makes it to the setlist.

The EP ends on "Fearless." Musically it's some mixture of Sisters of Mercy meets Christian Death infused with March Violets (you have that distorted guitar sound, the heavier/chunkier chords, but somehow its a lighter/happier...for being goth, work with me here...sound). Lyrically a bit more sinister than other songs, "Fearless" does hold true to the title by not holding back. An interesting song from a musical standpoint, it rounds out the EP on a very strong note.

Overall, yet another strong showing from Strap On Halo and a good combination of their signature sound with some new experimentation to boot. The group have just kicked off their Altar of Interim Tour of the US and stop by Double Wide in Dallas, Texas, on August 17. Tickets are still available, so don't miss out! In September, Strap On Halo go overseas for the first time to rejoin 2014's Near Dark Tour headliners The Last Cry for the Near Dark Over Europe Tour. There's no telling what will be next for these guys, so keep an eye and stay tuned!

Favorite Albums of 2015

As 2015 comes to its close and we look ahead to 2016, it's time to do the cliched task of recollecting the albums released in 2015 that we enjoyed. These are not presented in any particular order, but these were some of my favorites. What were some of your favorite albums!?

Duran Duran - Paper Gods

Duran Duran - Paper Gods album cover

Duran Duran returned this year with Paper Gods, an album that proves they still have "it." The album is a rich combination of what Duran Duran was most known for in the new wave/new romantic period of the 80s mixed with a refreshing flourish of pop bravado common to today. Like many 80s bands, Duran Duran still falls victim to the trend of trying to rediscover themselves, failing on the first couple attempts, but then reclaiming that flame with the newest album. For Duran Duran, Paper Gods is the reclaiming album they and fans alike have been looking for. We'll have to see what comes next for the group, but hopefully this is just the beginning of a strong upward trend.

Chelsea Wolfe - Abyss

Chelsea Wolfe - Abyss album cover

We reviewed Chelsea Wolfe's newest album a while back and it has only continued to grow on our ears. Easily her heaviest album yet, Abyss is a concept album of sorts that revolves around the phenomenon of sleep paralysis. Dark, brooding, moody music set to guiding vocals characterizes much of the album. Not only is it the heaviest album by Wolfe to date, but it may well be the most solid. Given how great this album is and previous effort Pain is Beauty, the only place for Wolfe to go is up, regardless of whether the music continues to get heavier or is reigned back. Added bonus - the live show is really strong and Wolfe is such a delightful performer. You're missing out if you've yet to see her on the live stage.

She Past Away - Narin Yalnizlik

She Past Away - Narin Yalnizlik album cover

She Past Away returns with their second album, Narin Yalnizlik. The Turkish darkwave group (yes, Turkish, and darkwave, and lyrics in Turkish!) makes a strong showing on this album, experimenting more with sounds and textures than they did on their debut album. While on the whole I prefer the debut album, this one is not an album to snub your nose at. She Past Away keeps a firm hold on their 80s darkwave roots (similar in ways to Xymox/Clan Of Xymox), meshing broken Turkish lyrics to a lush musical backdrop. The group finally reaches the US for a couple quick stops in California early 2016, but this is hopefully just the beginning of the group's foray into the US.

Killing Joke - Pylon

Killing Joke - Pylon album cover

Another album reviewed earlier this year here, Killing Joke returned full force with Pylon. Easily their strongest album in years, Pylon meshes the post punk aesthetic Killing Joke helped pioneer in the late 70s/early 80s with heavy distortion and an industrial feel characteristic of the group's more recent efforts. Almost their highest charting album ever, Pylon may well be the best album of 2015, for me at least. The group tours the US in 2016, hitting Texas towards the end of January.

Peter Murphy - Remixes From Lion

Peter Murphy - Remixes From Lion album cover

It wouldn't be a year it I couldn't write something about Peter Murphy, now would it? The Godfather of Goth (I can see his eye twitching at me saying this, but I didn't pick the title!) released a follow-up album of unused material from the Lion sessions. Most of the remixes offer an interesting reinterpretation of tracks from the main album. Better yet, the album includes the previously vinyl-only track "Gabriel" in all its multi-layered glory and a very solid series of newly released "The Sound of Water" and the Youth remix of "Loctaine," the one remix I think I may actually like more than the original (though the original take of "Loctaine" is also very strong and a favorite of mine). 2015 was a strong year for Murphy, even if quiet, in a sense. In addition to the Remixes album, two live albums were also released (the full audio from the Mr. Moonlight Tour as one and finally an official recording of the House of Blues show from April 2000 via Cleopatra). However, Murphy only played a handful of dates in June in California. By all accounts, 2016 may be a very loud year for Murphy, starting with a major role in the upcoming psychological thriller BlackGloveKiller.

Music Review: Strap On Halo - Ode to Krampus

Hailing from Omaha, Nebraska, Strap On Halo are one of the newer goth rock bands that holds on to many of the sentiments of the genre's 80s and 90s founders (being a healthy blend of some of the musicality behind Christian Death, Xmal Deutschland, Siouxsie and the Banshees, and even a sprinkling of groups like Skeletal Family and March Violets). But, often, the alternative music scene, especially the darker gothy side, isn't one that evokes feelings of Christmas. Surely, when December comes rolling around, we must don our all-black drab and hang black tinsel on a black colored tree with a raven for the tree's demented star? Strap On Halo's upcoming release, Ode to Krampus, reveals just how goth rock can tackle the spirit of the giving season.

Strap On Halo's Ode to Krampus is finally coming to vinyl in 2015

"Ode to Krampus" was originally recorded in 2013 but is now receiving a physical vinyl release for the first time. The song opens with a melancholy piano part coupled to a driving drum beat and a sprinkling of guitar work from Sean Rial. Layla Reyna's haunting voice enters the mix, beginning the ode to Krampus. The chorus is introduced with a gorgeously held note, "Run...as fast as you can." Musically, the sound of mystery and allure is retained, complimented nicely by the work of Marc Jones on bass - subtle, yet every bit as important as the vocals and driving piano.

The song continues on in this fashion, ending mysteriously enough after three minutes and change of play. Strap On Halo maintain their traditional gothic sentiments on this one, painting an auditory picture of the darker side of Christmas. While not everyone's cup of tea, this is one to surely make the goth in your family a little happier this season.

Strap On Halo. Left to right: Layla Reyna, vocals/drums/keyboards/arrangements, Sean Rial, guitar, and Marc Jones, bass

Ode to Krampus will be released later this month and is strictly limited to 25 copies which include a 3.5" round sticker and a handwritten lyric sleeve with the clear 7" vinyl itself. Pre-orders are now live through the Strap On Halo bandcamp site. The group will also be releasing their newest album, Prayers for the Living, in January of next year with a mini tour of the United States in the works. They're a fun live group and delightful people to talk to, so catch them if they come to a city near you!

Music Review: Chelsea Wolfe - Abyss

Chelsea Wolfe returns with her newest experimental art-meets-rock album, Abyss, building on the successes of prior albums like Pain is Beauty (2013). Those seeking the short form need look no further - Abyss is another strong showing from Wolfe and you would be reminisce to merely dismiss it as art rock noise.

Chelsea Wolfe - Abyss (2015)

Nailing down Wolfe's work depends largely on which album you choose to listen to - from experimental post-industrial sludge to deeply brooding neofolk with nearly everything imaginable between, Wolfe has consistently gone for complete artistic freedom and an unwillingness to do the exact same thing every time.

Abyss is easily the darkest of her albums yet, and the first to truly bring to the forefront the flecks of metal genre influence that have been sprinkled sparingly in past albums. Where it was a subtle hint adding to the rich musical landscape in the past, those tones now growl to life as a barrage of doom and gloom guitar distortion that can only be described (by me, anyways) as industrial sludge (said with full affection and praise).

Chelsea Wolfe has always walked the fine line of goth aesthetic without plunging fully into it musically. That all changes with Abyss. Photo by Johanna Torell.

Another refreshing twist in the landscape of Abyss is an immediacy with each song. Wolfe's vocals are, as always, spot on and powerful, even as they serve in stark contrast to the music (clear perfection against a backdrop of sinister distortion). These are songs meant to be immersive from the start, not taking their time to build and grow into something. Where Wolfe's prior work certainly carries that indie "take it or leave it" feel, Abyss comes off being the first album to truly draw in the less musical savants among us.

Abyss, based around the concept of sleep paralysis, opens with "Carrion Flowers" and immediately throws the listener into that panic state of being unable to wake up, fighting to escape, before lightening up towards the end, resembling a moment of briefly waking and escaping the dream. As "Iron Moon" begins and immediately returns to that harsh panicked state, we lapse back to sleep and find ourselves surrounded by the nightmare once again. Other tracks of particular notice include "Dragged Out" with a particular haunting, ghost-like quality at the end, "Grey Days" for its more reserved feel and driving cello as Wolfe sings about the River Styx, and "Color of Blood" for its initially gloomy and persistent moody atmosphere molded around Wolfe's notion that we should all "Grow old, let [our] hair grow."

Throughout the album, Wolfe serves as the guiding light through the periods of unease, wakeful fits of hope, and vast depths of darkness. In the deluge of post-80s "gothic rock," so much of what is called goth has become mired in terrible cliches and drab (no pun intended) melodramas, perpetuating ages old stereotypes that none of the original art-meets-glam-rock bands would have endorsed. Wolfe brings the artistic expression back by creating a musical embodiment of sleep paralysis through a combination of visual lyrics, rapid shifts in music from panicked and schizophrenic to calm and comforting in the blink of an eye, and a voice to guide the dreamer through the nightmare they've embarked. Though not strictly a concept album, Abyss does a near flawless job of transforming the listener from start to end. While it won't be everyone's cup of tea, this may easily be Wolfe's strongest showing to date. And if her attitude is any indicator, this is just the beginning of what will surely be a long and lasting ride.

Wolfe returns to Dallas (fun fact, Abyss was actually recorded here in Dallas) at the Kessler Theater this Sunday (September 20,2015) with Wovenhand as openers. Tickets are on sale now (purchase tickets from the Kessler Theater). By all accounts, this won't be a show to miss.

Music Review: Siouxsie Sioux - "Love Crime"

It's been a long time (general business with a long term web project I've undertaken and going back to school), but some of you have asked, and so here I am with a new addition to the music reviews! It's been a major buzz topic these last couple weeks, but today we'll look at Siouxsie Sioux's latest musical offering, "Love Crime."

Siouxsie Sioux

For those who follow the post punk genre as I do, the name Siouxsie Sioux is unmistakable. She is to the post punk world what Elvis Presley was to rock in the 50s. Always one for a distinctive style, be it in physical appearance, musical style, or witty comebacks during interviews, Sioux has always embodied a particular penchant for reinvention in each music project she's endeavored. From the seminal work as Siouxsie and the Banshees, arguably one of the defining bands of the 80s British post punk offerings, to the percussive-heavy project The Creatures, to an eclectic yet familiar powerful first solo album, Sioux is perhaps one of the very few artists who does great things regardless of the project, having yet to make a large musical mishap.

As it were, following a strong debut solo album (2007's Mantaray), Sioux would essentially drift off into the shadows, making small appearances here and there as a reminder that she's not gone, just hiding. Brooding. Much with David Bowie's mysterious ten year hiatus, Sioux would seemingly vanish for approximately eight years. After all that time, the "Ice Queen" returns with a new song, "Love Crime."

Brian Reitzell

Sioux, a fan of the television series Hannibal, was tapped by Brian Reitzell (former drummer of Redd Kross and current musical supervisor and composer for the Hannibal series) with the suggestion of a collaboration. Sioux immediately agreed and inquired what the final season would more or less be about - a love story, as it were. Sioux began writing lyrics without having seen any of the final season or receiving any major details on the overall plot line. What resulted was "Love Crime," the first song Sioux has written and sung in roughly eight years, and possibly the first of many in a line of collaborations with Reitzell.

The song itself is on the slower side, reminiscent in some cases of 1992 Banshees hit "Face To Face" (featured in Batman Returns). It is an eerie song, driven by drums, violin, and bass, before a moving guitar section kicks in behind Sioux's ever refined and spotless vocals. Though cliched as it may be, Sioux is a perfect example of how age can make the voice even stronger and richer than it was already. Listening to this song literally gave me goosebumps. It's a glimpse into what Sioux could have been doing all these years, but has kept pent up instead, evolving and growing into an incredibly strong first showing in eight years. Not that Sioux needs my approval or anyone else's, but "Love Crime" makes a strong argument for her full return to music. Let's just hope that future collaborations between her and Reitzell find their way to a music release...and sooner rather than later.

Concert Review: Strap On Halo, The Last Cry Visit Austin on the Near Dark Tour

(Note: Yes, I know the photos are missing for some reason. The site I wrote this article for originally seems to have taken them down. Working to get it fixed, but until then, this posting will look a bit odd)

Strap On Halo (Omaha, Nebraska) visited Austin back on Friday, March 21st as part of the Near Dark Tour along with late-80s post-punk/gothic rock group The Last Cry (Brighton, England) and DJs Martin Oldgoth and Augustine Strange.

Strap On Halo / Laura Davila

Taking the stage first, Strap On Halo performed a 12 song set that heavily focused on their recent EP, Haunted, and visited tracks from their past work, including their debut album The Dead Don't Lie. With each song, frontwoman Layla Reyna's vocals shined mercilessly, soaring from note to note as she sang about various things that could haunt a person. Original founder Sean Rial added to the gloomy mood with a lacing of guitar work that wove between the programmed beats and synthesizers to add an ethereal tone. Bass guitarist Marc Jones rounded out the lineup with his enthusiastic play and fun stage presence. The first half of the set saw Strap On Halo guide us through "Only In Death," "Monsters," and perhaps my favorite off the Haunted EP, "Hunger." While small, the audience enjoyed dancing and bopping their heads in time to the music. As Strap On Halo began to wind down the full set, they pulled out the reworked version of "Strigoi" and "You And Your Ghost."

Layla Reyna of Strap On Halo / Laura Davila

Overall, their performance was amazing. The fog machine was a little distracting, but the three took it in stride and made it work for them. Reyna's vocals were perfect as ever, commanding a similar stylistic quality in person, as on recording, to that of Siouxsie Sioux herself. Rial and Jones both made their instruments come to life, taking them far beyond the traditional roles a guitar and bass guitar play in a band. The only pitfall of the night was that only a small handful of Austinites were there to witness these guys.

Following Strap On Halo were The Last Cry. Having formed in the late 80s, The Last Cry only have two full length albums due to a series of lineup changes and a hiatus during the 90s. On stage, however, the band are as lively as any new act and eager to draw people in. Their sound, as one may expect, is very reminiscent of the original dark post-punk bands, sounding like a mesh of The Cure and Depeche Mode.

The Last Cry / Laura Davila

Frontman Andrew Birch sang each song with a passion and intensity that was very catching. Vocally he sounded very similar to Dave Gahan (of Depeche Mode) which worked very well with the style of music played by the other members of the band. On guitar, Tim Green played with precision and control while also manning the laptop to make the appropriate transitions between songs. Rounding out the group is Chris Carey on bass guitar who also played with great passion and movement on stage. The only thing that felt a bit strange about The Last Cry was that they have no live drummer when the music would be well complemented with one. Additionally, while the crowd had picked up a little more from Strap On Halo's set, it was still a bit thin for The Last Cry which I think was a shame as you all once again missed out on a great group.

The night was made complete with excellent music selections from DJs Martin Oldgoth and Augustine Strange who both played a range of music surveying goth rock, post-punk, industrial, and everything between that the goth culture has laid claim to.

Overall, the Near Dark Tour was a wonderful experience and a great opportunity to learn about some great bands that should be far bigger than they currently are. If you weren't here, you honestly missed out on a fun night with very talented people. The Near Dark Tour just reached its conclusion, but keep an eye out for both of these bands as their future is bright (or should I be saying it's gloomy because, you know, goth music?).

Note: Apologies for the large delay in this posting. There's been a bit of a snafu with media postings at the site Laura and I were with, so in an effort to at least ensure the word got out about this show, I've moved it here to this blog (formatting is also a bit off, so I'll look at fixing that soon). We did conduct an interview with Strap On Halo, but a lot of the audio we took has unfortunately been lost. I'll see what I can salvage from what's left.

Music Review: Bauhaus - The Sky's Gone Out

Call it a cop out or the sign of an incredibly dedicated fan, but here we are again with another review of a Bauhaus album. This time, I will talk about the third full studio album offered by the group in 1982, The Sky's Gone Out.

Album cover art for The Sky's Gone Out

Other reviewers before me have given this album a positive enough review but dock it for 1) being much more dark and negative than the preceding studio album, Mask, and 2) being an odd mix of individual songs that stand out on their own but don't really connect to make a complete sounding and feeling album.

From my perspective, yes, The Sky's Gone Out is much darker than my favorite Bauhaus album, Mask. But hey, we goth-y sorts love that kind of thing, right? Yes, yes we do. And I think there is something to be said about albums with strong, individual songs, that don't necessarily flow into one another. Not everything needs to be a concept album, telling a story from start to finish through several songs.

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

The Sky's Gone Out opens with a cover of Brian Eno's "Third Uncle." Admittedly, I hadn't gotten into Brian Eno until more recently (I certainly heard this cover well before hearing the original). I also admit to being incredibly picky about covers. Most covers, in my mind, are sub par at best. There are the rare few that are decent, but the original is still better. And then there's the category this cover falls under - covers that are just as good if not BETTER than the original. I like Brian Eno's work, but I actually love the Bauhaus cover more than the original. Then again, I think I like every Bauhaus cover more than the original song...though the cover for "Ziggy Stardust" and David Bowie's original are on roughly equal footing for me.

The second track, "Silent Hedges," is a song I always enjoy seeing performed. The passion that comes through, the constant point to the ground to symbolize "the beautiful downgrade" and "going to Hell again." It's such a wonderful song and has been a favorite of mine for a long time. And for those that like all the gloom and doom, tell me a lyric like "Burning the private paradise of dreams/madness at the hands of the electric clock/what happens when the intoxication of success has evaporated?" doesn't send chills down your spine? Easily my favorite part of the song.

Peter Murphy at some point in his solo career (probably in the 80s?)

The third track is "In The Night." For whatever reason, I didn't used to give this song any attention. I'd often skip it. Then a couple weeks ago, I just listened to it fully. And I felt like I got slapped in the face by reality and woke up to something sensational. The song starts off relatively slow and transitions into a song more similar to post-punk's predecessor genre - punk. The schizophrenic nature of this song with some beautiful (yet dark) lyrics makes this such a great track. Should Peter Murphy ever play this one live, I imagine the entire audience, regardless of whether they know the lyrics to this one, would go absolutely bat shit crazy. The likelihood of this happening is probably slim to none, but I can only hope I'm there for that moment.

Skipping over the fourth and fifth tracks (the fifth track being a special number with a good one minute plus at the end repeating "we love our audience!" which could very well be a nod to all the critics out there that consistently gave Bauhaus poor reviews), we come to "The Three Shadows" parts 1, 2, and 3. The first part is a haunting instrumental. I think Peter Murphy opened with this one when I saw him at the Moody Theater here in Austin in November 2011 (I know it was one of the three parts and most sources say it was part 2, but I don't remember him singing any lyrics and the intro music was very long while part 2 doesn't have all that much a musical intro before the lyrics begin). Part 1, to me, is just one of those songs that sends chills down your spine (I'm listening to it as I write this part, and sure enough...chills down the spine). Some parts of this song actually remind me of the more musical elements in some of Peter Murphy's solo work (perhaps a hint on some work on Dust and Holy Smoke). You want a quintessential goth song? Here it is.

Part 2 is, according to Peter Murphy in recent interviews, a song he wrote and composed wholly (recall, most Bauhaus songs he had parts in writing lyrics and music, but he was not the predominating force). This song has the feel of something from the 1800s. Some dapper gentleman, sitting in a bar, sipping at whiskey, thinking of some prostitute. I don't know. Maybe that's a little too literal a reading of the starting lyrics. But it's almost a statement, to me, of the death of the noble gentleman and how the speaker of the song is pulled into the middle of the rat race but will always exist. I openly admit I'm not so great at interpreting song lyrics. But, there is something exquisitely dark in this song that I can't fully put my finger on.

I will finish with discussing "All We Ever Wanted Was Everything." This is a fairly simple song musically consisting of just guitar (mostly acoustic until about half way through), some drums (half way into the song), bass/violin (I think the recording uses a bass while it is performed live with a violin), and vocals. As Peter Murphy explained to the crowd during the Mr. Moonlight tour at I believe Dallas (maybe Austin? I forget), this song was inspired (musically) by the first chords he learned to play on guitar and that he wanted to write lyrics around that. As for the song's meaning, I interpret the lyrics as a statement of the beginning days for the band: "All we ever wanted was everything / all we ever got was cold / get up, eat jelly / sandwich bars and barbwire / squash every week into a day...oh to be the cream." To me, it all began as this desire to have everything - the fame, fortune, happiness, acclaim, fans, etc. But, as with all new things, you start at nothing. And in basically creating a new music genre, you have the added difficulty in having to sell that vision to people. So, you may want everything, but you end up getting only cold. You're poor, so you eat PB&J and the barbwire bitter words of critics (there are pictures of, if I remember correctly, Kevin Haskins ripping newspaper reviews of Bauhaus albums to shreds because the reviews were incredibly negative). And you have to work hard, move fast, and effectively squash a week of life into a day. And then there's still that dream fantasy..."oh to be the cream." Effectively, oh to be the best part of it all. The richness, the decadence, the cream.

Peter Murphy again, but sporting blonde hair! This was probably late 80s to early 90s when the Deep album was released

On the whole, I'll agree with the reviewers I mentioned earlier. Yes, this is a dark album. It is dark musically, and it is dark lyrically. Its delivery leaves no mistake to be made about first impressions. There is evil and nastiness in the world and this album points it out to you. Additionally, yes, the songs don't exactly flow together perfectly. The final song on the album, "Exquisite Corpse," is probably the most schizophrenic song I have ever heard, it itself not flowing perfectly from one section to the next. But, as I also said, I think there is something to be said about an album of strong songs that points out, perhaps, the disconnected nature of life and human interaction. While still not my favorite Bauhaus album, it is certainly a sensational trip. I don't think I could give just one answer for the most gothic album, but this would certainly make the list of albums that defines our little subculture.

Rating: 4.5 out of 5 (just because the reggae part in "Exquisite Corpse" ruins that amazingly chilling song...I love the guitar work in that one, but man the reggae part...just no)

More information: Official Site of Bauhaus Official Site of Peter Murphy

Concert Review: The Bellwether Syndicate 4/20/13

Back on April 20th as part of Convergence XIX (alt.net's large party of all things goth that travels from city to city every year for the last 19 years) in Austin, I had the pleasure of seeing The Bellwether Syndicate perform.

The Bellwether Syndicate. Left to right: Mike Skull (bass guitar), Scary Lady Sarah Rose (guitar, backing vocals), William Faith (vocals, guitar), Philly Peroxide (keyboards, percussion)

Many of you reading this have heard of William Faith. He has been an instrumental figure in much of the goth music scene having been part of Rozz Williams' Christian Death, Shadow project, Mephisto Walz, a one-off performance with the Sex Gang Children, and, of course, Faith and the Muse (that one seems fairly obvious). Faith returns with a new kickstarter project (literally) with Chicago's infamous DJ Scary Lady Sarah Rose, The Bellwether Syndicate.

Currently, the group have only released on their own Bellwether Underground label an EP of five songs entitled the Night Watch EP. Without turning this into a music review, I will go so far as to say the first three tracks on the EP are similar to each other, fast paced deathrock influenced tracks that are catchy as can be. The fourth track is very different, a bit slower, yet still impressive. The final track showcases both Sarah Rose's guitar work and vocals. It's also quite a bit different from the other four tracks, but demonstrates the immense talent the group brings to the table.

For the performance at Convergence XIX (which was apparently the third or fourth live performance for the group ever), the group began with track one from the new EP, "All Fire." Mind you, I was excited as could be for this performance because we're talking William Faith here. The way all four members took the stage was telling in of itself. They were humble. Smiles all around, ready to have a great time sharing their music with us. No air of arrogance like they were entitled to everything. Just good nature fun ready to take hold. Once they started into "All Fire," I was hooked. It was some small fortune that the dance floor was a bit packed, for if it hadn't been, I would have been the definition of "bat shit crazy."

Following "All Fire" came my favorite off the EP, "Night Watch." The song is just incredibly catchy. What I find so interesting in the manner with which Bellwether Syndicate performs is that the music and words give off plenty of energy. Playing guitar and singing, both William Faith and Sarah Rose are a little stuck with where they're at on the stage. Yet, you could tell both were incredibly into their performances. They wanted to be there. Philly Peroxide, while in the back, was still a strong force to be reckoned with (though similar to Faith and Rose, he was a bit stuck where he was while performing on the keyboards). Mike Skull was about the most mobile of the four, moving a few paces here and there while absolutely rocking out on the bass guitar. By this point I was fully sold.

A photo of Bellwether Syndicate roughly a week later at the Whitby Gothic Festival

"101 Go" was next, another solid and catchy song. From here, Faith took a moment to thank everyone for coming and for allowing Bellwether Syndicate to be part of C19. He then introduced the next song as one in the memory of a good friend and that we truly all are souls in isolation. That's right, a cover often done with Faith and the Muse, the Chameleon's "Soul in Isolation." Often, I am very critical of cover songs. Rarely do I find ones I enjoy. Even rarer are the ones that are just as good, and sometimes even better, than the original. This is an instance where I think the cover might just be a tiny bit better than the original and I personally love the Chameleons! Suffice to say, we all went a little bat shit crazy by this point.

The group finished their set with track four off the EP, "Translucent." Personally, I would have loved for the set to go on all night. Five songs simply was not enough. Once the group left the stage, I quickly snagged the one and only copy of the setlist with the hope of meeting the band members and getting it signed.

Allow me to say that William Faith is probably one of the nicest and most delightful people I have ever had the pleasure to meet. You saw all those bands I told you he was part of? Let's just say this man, much like Peter Murphy, is a gigantic name in the goth scene. He could be arrogant and rude and no one would think twice of it. Instead, he was very nice, glad I enjoyed the show, happy to be there, etc. He also happily signed my setlist.

Additionally, Scary Lady Sarah Rose is another wonderful person. She seemed almost confused as to why I'd want her autograph! After signing the setlist, we talked some about the show. I told her she did a fantastic job (which I thought she did, and she seemed so happy to be on stage!). She was then telling me how she was actually incredibly nervous and how this was about her third time ever to perform in front of an audience like this. She also mentioned how the fifth track on the EP was one where she sang and played guitar, but that they didn't play it that night since it's a bit hard to sing and play guitar at the same time. I was just amazed at how chill and honest she was about everything. I thanked her again and told her they should come back to Austin again soon.

All in all, five songs is an incredibly short set. But, to be that catchy and engaged in such a short period of time is a talent alone. And to play wonderful music, too!? That night I became a big fan of this new project and have since found myself getting more into Faith and the Muse. I really do hope they return to Austin soon with even more music to share. There is something truly special in this group and I'm very happy to have witnessed it during C19.


Rating: 5 of 5

More information: Official site of the Bellwether Syndicate

Music Re-Review: Bauhaus - Go Away White

A little over a year ago, I wrote a review on the last offering from legendary post-punk band, Bauhaus, 2008's Go Away White. (You can read that review here)

Since that review, I have listened to Go Away White a bit more and find my view of the album to have changed a bit. So, I felt a re-review was of the essence to explain my new thoughts on the album and perhaps a little of what has changed my view on it.

Bauhaus, as they looked around the time of Go Away White. Left to right: Daniel Ash (guitar, backing vocals), Kevin Haskins (drums), Peter Murphy (vocals, other instruments on occasion), David J (bass guitar, backing vocals)

I won't review the history of the band again. Suffice to say, the band has undergone three major periods - the original period from 1978 to 1983 where the majority of the music was written, recorded, and performed, the 1998/1999 Resurrection reunion tour which spurred the Gotham CD/DVD but no new material from the group, and the 2005-2008 period that resulted in Go Away White as the final offering from the group and minimal touring opening for Nine Inch Nails (the former in 2008, the latter in 2005/2006).

Recently, Peter Murphy has undergone a massive tour to celebrate 35 years of Bauhaus existing. In the past, he would play a few Bauhaus songs in his solo sets as they fit in, providing an indulging experience for fans who weren't quite expecting the rare treat. But, 35 years and the kind of influence, albeit rather underground, that Bauhaus has garnered shouldn't go without notice. So, the tour, dubbed the Mr. Moonlight Tour, features Peter Murphy with his solo work band members playing a full Bauhaus setlist. There is no "Cuts You Up," no "I'll Fall With Your Knife," and certainly no "Peace to Each." Just a divine combination of the Bauhaus hits every fan knows and loves and lesser known beauties that only the most extreme of fans would know all the words to.

Peter Murphy and the ever talented Mark Gemini Thwaite on guitar at the Granada Theater in Dallas during the Mr. Moonlight Tour. I'm also 99.9% sure this photo was taken by Bill Ellison at the Granada.

I will endeavor to write a concert review surrounding this tour at a later time. The point I am getting at here, however, is that on this tour, certain songs from Go Away White have made their appearances. And it is in this context of a full Bauhaus set, hearing some of those songs for the first time live (first time for me), that something has clicked into place.

Years ago, the very first time I saw Peter Murphy perform (June 2009, Emo's outdoor stage in Austin on 6th street and Red River) he busted out "Too Much 21st Century." It struck me as odd that he needed a piece of paper with the lyrics on it. After all, the album had been out for a year and was relatively fresh. Of course, in retrospect, I perhaps take for granted the fact that a person like Peter Murphy with such a prolific career and countless lyrics remembers the vast majority so well. And if he wasn't planning to play those songs every night, it becomes easy to see how someone wouldn't necessarily remember all the words and perfectly.

As I have remarked and has been mentioned in interviews with the band members, Go Away White draws many different influences that differ vastly from the initial influences that spurned previous albums. Go Away White wasn't exactly intended to be the continuation of the band. It wasn't meant as the big follow-up, years later, to Burning From the Inside. Instead, it was more a meeting of the minds at a middle ground, a junction that brought in their current places in their careers. After all, if you listen to any project from the four following Bauhaus, none really carried the same sort of sound or purpose as Bauhaus.

In "Too Much 21st Century," there's an argument proposed that everything in the 21st century way of living is about wanting more than what you have. Want a better actress, better singer, more money, etc. Instead of being thankful for what you do have, it isn't enough. And there is truth to this argument, I believe. Today's world is incredibly fast paced and often your best just isn't good enough. While I first found this song to be rather simplistic, I now feel there is a certain beauty in that simplicity.

Love and Rockets, the major project of David J, Kevin Haskins, and Daniel Ash post-Bauhaus

The second song on the album, "Adrenalin," was one I never gave much thought to. The lyrics basically describe what adrenalin can do to your body (kickstart your heart, make the finish just the start, etc.). However, seeing the song live in Houston on the Mr. Moonlight Tour and seeing the energy Peter Murphy put into the song, it just instantly grew on me that night. Again, the lyrics are not like the older Bauhaus songs. They aren't poetic or cryptic. They're really there at a more surface level. But something in the music and the rawness of the performance just makes this song incredible.

In the interest of sparing some reading, I won't go over every track on the album. There are still those, like "Saved," that I don't much care for even still. Instead, I will talk some on the last two songs I greatly enjoy from this album.

Track 4, "International Bulletproof Talent," reminds me of some of those old-timey spy movies. Not the ones you take seriously like James Bond, but the sort with the cheesy music and large hats and coats. This isn't to say this song is cheesy and shouldn't be taken with some kind of seriousness. But just to say that the music reminds of that sort of thing, really. It isn't much, and maybe this is a cop-out, but I really like how the music and vocals mesh on this track. Just take my word on it that it's a good one.

The final track I will talk about is perhaps my favorite from the album. "Endless Summer of the Damned" is perhaps the one song on this album that nods back to what Bauhaus's style used to be. I don't mean to say this fits along exactly beside "Bela Lugosi's Dead" or "Terror Couple Kill Colonel," but there are some beautiful lyrics to this song that I simply don't follow. A surface level reading could indicate that this is a commentary against global warming (i.e. "the ultra violet's violent" could be something to suggest that the sun has become more harsh and is harming us), but I suspicion there's more to this than the surface level suggests. Basically, my new found love for this track is based off of seeing it performed in Dallas on the Mr. Moonlight Tour. I distinctly remember getting goosebumps during this song, wondering what it was. I knew it must of been off of Go Away White and when I caught the lyrics of "the endless summer of the damned," I knew it was this song. But my goodness was it amazing! Perhaps what caught me was not just the power in the song itself, but seeing everyone on stage jumping to it and rocking out. There was something very oddly personal and inviting in that moment. I felt very connected to the performance at that moment (not to say I wasn't connected before, but more so).

Dalis Car, the rocky collaboration between Peter Murphy and ex-Japan bassist Mick Karn that spurned one full album in the early 80s, a much too short EP in the mid-2000s, and showed Peter Murphy that he had what it took to be a solo musician, capable of writing songs and music of his own

All in all, this still isn't my favorite Bauhaus album. It may very well still be my least favorite (though it is at least gaining ground on Burning From the Inside). But as I listen to it more and understand the state of mind all four members were in at the time, I begin to appreciate the album more and more for what it is. The members often describe the writing and recording of this album as spontaneous. First takes were used as the final cuts. The album was wrapped in 18 days. Much as every breakup of the band was essentially spontaneous, it should be fitting that their last contribution together would be as well. Peter Murphy has also said how he felt the timing was right for this to be the end. He had tried a few times to bring the band together again with no avail. He felt the other three were just tired and could no longer keep up. Perhaps on the outset, those words seem very harsh, but I believe there is truth to them. Merely ask yourself who the driving force of the band was. Who brought them together repeatedly? Who has had the longest and most prolific career? Who is still going strong? Peter Murphy. Sure, this may not be the end many long standing fans of the band were hoping for. In honesty, is it fair to say any of us were even hoping for an end? Probably not. But, all things taken, I feel this may have been the best end for the band.


Rating: 4 of 5

More information: Official Bauhaus website, Official site of Peter Murphy

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