Reviews
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CAPRICE "Mirror" / (p)98 Selfreleased
The debut album of a Moscow band called Caprice, "Mirror", was first released on MC only, on the expenses of the musicians themselves; only lately they made the CD version with one bonus track ("I Want to Wait"). Frankly speaking, the content of this album cannot be called "elvenmusic", though there are some fragments of it featuring small instrumentals like "Interlude" and "Waltz". The musical material of this CD is much more spooky and hopeless than the one of the next album, "Songs of Innocence and Experience", and only short and rare embeddings of airy instrumentals make it a little bit less depressive.
In contrast to its descendant, whose lyrics belonged to the pen of William Blake, all lyrics and music of "Mirror" were written by Anton, and are in Russian. Right here I'd like to mention that the Russian language still doesn't suit the music of the kind, except some rare cases. And although the wonderful voice of Inna Brejestovskaya dramatically conveys all feeling and emotions to the listener, the Russian lyrics sounds clumsy and not to the point, although this could be excused to the debut album.
In general, this is a very worthy album: spooky neoclassical arrangements, strong vocals, and evident mastery of the eight musicians promise good impressions, and even some shortcomings don't spoil the general atmosphere. Strongly recommended to all lovers of serious spooky music.
Sergey Merenkov
http://www.kulichki.com/pmusic/caprice
CINEMA STRANGE "Cinema Strange" Singles / (p)98-99 Selfreleased
In the age of hi-tech, big pieces of plastic of a most gothic color seem to be losing its actuality: I’m speaking about vinyl. Only well-known pop-stars can afford releasing a vinyl single or album or, on the other hand, only noise underground guys, who still use it. Vinyl is a great rarity with Goths, and you can imagine my surprise when another set of promo revealed two 7’’s. One of them gladdened my heart (it was very gothic), and the other one was transparent. My further acquaintance with the band included my looking through their photos: they turned out to be punk-goths, as if the pictures were taken in the 80s. Their looks were very dramatic, and by the way the very band is from the US, where Goths with such appearances are rare. Well, I said to myself, this is likely to be one more orthodox gothic rock - post-punk band. I was right, but partially, for thought CINEMA STRANGE music can be characterized as gothic rock, and their roots are obviously in the 80s, I would mention the influence of SKELETAL FAMILY, SEX GANG CHILDREN and ALL ABOUT EVE (sometimes X-MAL DEUTSCHLAND), but why partially? Because the songs, although beginning like post-punk, successfully and pathologically come to more sick music like SOPOR AETERNUS! Even the vocals transform, post-punk moans turn to the familiar style of Anna-Varney. I cannot call this “copying”, for everything is very natural and logical, the mutations of the styles and the androgen vocals are impossible to copy, it can only be felt, and CINEMA STRANGE is a band of those few who succeeded in creating a combination of 80’s post-punk and contemporary gothic.
coroner
CISFINITUM "Landschaft" / (p)00 Insofar Vapor Bulk
To tell the truth, I bought the new CD of "Cisfinitum" with a slight doubt deep inside, because before they played some kind of noise, and "De Profundis", the last track on Edge Of The Night, was only a reflection of what Mr. Voronovsky did in Cisfinitum. But, the longer I listened to "Landschaft", the more faded my doubts in the musical material of the album and the creative potency of the authors.
Landshaft is a very interesting and complicated dark-ambient, that very one whose best representatives were cultivated by Cold Meat Industry. Despite its gloomy and depressed atmosphere, the CD is very easy to listen to and is recommended both for attentive listening and background music. When you listen to it, nothing irritates you, all necessary elements are positioned in their right places, and the general level of the material is no worse than Western classics of the genre. To cut the long story short, if you like bands of the kind from Cold Meat Industry (in particular) or if you would like to explore the dark charm of mysterious sounds, this CD is cut out for you.
P.S. I would like to particularly stress out the unique hand-made box of the CD. It is a carton box with labels hand-stamped on it with a stylish xeroxed sheet of paper containing all the necessary information. Self-production in its best!
Sergey Merenkov
COVEN 13 "Book of Shadows" / (p)98 Akashic
 
There are still witches in Salem - it’s not a secret, for the Wicca pagan tradition is now very popular in Europe and in the US. Wiccan bands play all sorts of music, from new age and progressive to gothic rock and black metal. From the gothic Wiccas, the most famous are British INKUBUS SUKKUBUS, but I would like to tell you about an album of a pagan duo from the US. To tell the truth, I wouldn’t call the work of COVEN 13 gothic - it is sooner a classical traditional rock with minimum arrangements - an album of melodic rock ballads. The vocalist of the band, Teisen Russell, has a strong and beautiful voice, he sings well, but the music component leaves much to be desired. The other member of the band, Amanda Adams (keyboards) is in charge for the arrangements. The mood of the album is very positive, light, with appropriate lyrics. The album is fairly good, but boring and monotonous and of all songs only “Dianne” is distinctive from the others, an album of ballads is too much. This CD was sent together with a little CD-R (only five tracks) which presented COVEN 13 live. I liked it much more, the sound is more dynamic, not a single dull song, and the arrangements are diverse. So I’m looking forward to listening to COVEN 13’s next creation.
coroner
HYPNOS "XXX" / (p)00 Hypnos X
HYPNOS, a trio from Quebec, Canada released a debut album in January 2000, its title was very simple and trivial, “XXX”, and they sent us a CD. Let us begin with the review.
The cover of the album reveals only the name of the band, for it is a fragment of some abstract picture with the word “HYPNOS” written below. As for the title of the album, it is written is tiny font on the edge of the CD, so many people might still not know it. But let us pass to the content. I must confess, it is much better. The trio that consists of Eric Gagne (guitar, keyboards), Frederic Talbot (drums) and Julie Tremblay (vocals) plays very interesting and actually modern music. The reviews that were sent to us in the press-release, all agreed that the album looks back in the legendary 80s, some said it is very much like SISTERS OF MERCY and THE CURE, some found the influence of FRONT LINE ASSEMBLY, MINISTRY and NINE INCH NAILS! But in fact, there is nothing of the abovementioned in the music of HYPNOS... It is a combination of electronic, rock and alternative. The musicians themselves say they play Techno-Gothic, but I wouldn’t agree. There are techno and gothic features in their music, but they are rare. The vocals are good, the songs are good. Some of them are hits, some are not. The final impression of the CD is good.
Sergey Merenkov
ILDFROST “You’ll never sparkle in hell” / (p)00 Fluttering Dragon
The peculiar feature of our time is that the world sees a mass revival of shaman cults and animism ideas - more and more
people, especially artists, turn to rituals and spiritualism. ILDFROST is not a newcomer in a world of cold
darkwave/~ambient - it's their third album. Having moved from Cold Meat Industry and having settled at Fluttering Dragon
(Poland), ILDFROST go on with their sombre experiments, providing the listener with magnificent musical material, that is in
fact, true dark ritual ambient/~wave, that takes you to the world of shaman rituals and gives you the possibility to feel
all the pleasures of a trip into the chthonic depths of the shadow realm. The album is surprisingly integrated and after it
stops playing it leaves an impression of completeness and peacefullness. The music is quite diverse, it comprises arabic
motiffs, ritual drumming, quasi-shamanic chants, as well as modern rhythms, speech samples and church chorals. Despite
constant changes in sound - from soft ambient to hard rhythms and noises. It's not an easy listening album and it
constantly goes on with the once created atmosphere of sadness and pensativity. Besides electronic stuff there are live
instruments used on the album: different drums, piano and may be something else. The peculiarity of this album is that when
you listen to it, the music itself accentuates its turns, making you listen to it more attentively and to get to the very
core of it.
P.S. The new work of northern shamans differs a lot from what they have done before, staying with CMI, but what they have
become by now makes us talk about the new era in the development of the band. ILDFROST is dead ... Long live ILDFROST!
Fazgir
KILLING MIRANDA "Blessed Deviant" / (p)99 Nightbreed
I used to know this band only because I'd heard several of their songs on various compilations, though I read quite a lot of reviews on this album. Most of them described characteristic concert sound of the band, which frequently plays in London's main gothic club - Slimelight. Though now I've got all the chances to evaluate their work right, cause I write this review after I have seen them on stage. Really, their concert and studio sound are quite alike - not bad, as a whole - you don't get disappointed like in cases when you discover the band live doesn't resemble itself when recorded and vice versa. Stylistically, it's quite difficult to describe their first album. It has guitar goth as its principles, but the music is not gothic rock, though - no doubt - this style is in the sound base of KILLING MIRANDA, with various tinges added - from heavy metal to electro goth. The strangest thing is that it's impossible to compare their music directly to any of the well-known bands, but from time to time there arises a feeling, that something is wrong with the disc: first there play KILLING MIRANDA, and then - bang - it's not KM, but it's like SISTERS OF MERCY, then everything goes on the right way, and then - again - oops - you start listening to TYPE O NEGATIVE or even PROJECT PITCHFORK or SKINNY PUPPY. This kind of annoys me, though not so much - it's better to make it this way than to become exact copies of the genre classics, like many bands do. A big advantage is that many tracks are rather "dancy" - decent energetic goth rock hits are not so easy to find, though in this case it's not strange at all - those who frequently come to Slimelight know well, what the goths dance to.
coroner
http://killingmiranda.pair.com
NARCISSUS POOL "Life's Bitch Tapestry" / (p)99 Dark Beat
England is the country that gave the world 90% of modern musical trends and styles, and all main subcultures of the world were also born in Albion, further on conquering the whole world. For those not so well informed - nowadays the trendiest thing of British underground scene is cybergoth, it's a new subculture as well (or a branch of good old goth subculture) and a name for a style. There are already boutiques than specialize on selling cybergoh clothes, labels that release cyber music and specialized cyberoth sites. NARCISSUS POOL certainly claim to be the best British cybergoth band, especially bearing in mind the fact that their main rivals and compatriots NEKROMANTIK, the band NP was frequently compared to, successfully fell aparttually, there are certain reasons for making these comparisons, though one should not take them literally, there are more differences than common points. The base for NARCISSUS POOL sound is a devilish mixture of electro, darkwave and gothic rock (in some songs even electro-pop), and the result is the above mentioned cyber goth - industrial beat, gothic vocals and guitars on overdrive. This band from Bristole definitely has a great future and close attention of not only goth, but electro industrial scene as well. No doubt it's one of the best British young bands I've recently heard.
coroner
http://www.razorbladebeat.co.uk
REUTOFF “Regno di Pianta” / (p)00 Ewers Tonkunst
Having released 2 cassettes and one 7" (if I'm not mistaken), REUTOFF, a band from Moscow region, have given life to a full length album named "Regno di Pianta", released through the newest Moscow label Tonkunst as a limited 100 copies edition. The album is quite a classic dark ambient work, though it possesses some unique features, and it is very pleasant. The first half of the album is the gloomiest roaring ambient with industirial beats and inserted monologues of insane people. It's in the vein of some early MAEROR TRI releases. Majesty and evil at the same time. The second half is more diverse and, as for me, I enjoyed it more. In the sixth track - "le coeur brise" - a fragment of a classical piece is gradually darkened by pulsations, and then it gets totally destructed by teeth-grinding rhythm'n'noise passages. It's one of the best tracks of the album. The last three themes, to my mind, are most interesting. "Geheimnistraeger" is a hypnotic electro accoustic piece in the traditions of MAEROR TRI and HAFLER TRIO. "Taarnet 1893" is dreary melodic ambient, very beautiful and not gloomy at all. The same goes to the last track "on the way" - a simple and at the same time very beautiful song. As a whole it's a very nice album, that will surely be enjoyed both by those who worship "drearyness" and those, who are fond of melancholic ambient.
Wraith
SIMPLY DEAD "Structure of Minds" / (p)00 Fluttering Dragon
We got this not so ordinary disc from Fluttering Dragon label (Poland). The interest towards it has arisen not only because of the respect for a young label already gaining weight, but also because Simple Dead is a project by Jan Bonham. Officially not being a member of a Swedish cult band IN SLAUGHTER NATIVES, he is invited by the great genius J.Havukainen to take part in rare live performances of the band. A lot of time has passed since the last album of I.S.N. was released; it's doubtful, whether a new one will follow. Obviously, being tired of idleness, Jan Bnham joined by Per Nibell, creates his own project that doesn't resemble I.S.N. at all and it's not what we were expecting.As a whole, one can say, that SIMPLY DEAD is electro ambient inclined towards space. I would never call it "dark". Just a slight touch of sadness. There are practically no vocals - it's replaced by sampled speeches in English, Polish and, what is especially pleasant, in Russian. The disc was tested on several members of RGP and it was considered a bit monotonous and a little boring. Even though there are no obvious hits there, more thorough listening to it makes all 11 tracks reach your mind structure and can serve as background on long summer evenings. Though, it seems, this project will remain a one disc formation.
Brain's Strained
UMBRA "Ater" / (p)00 Fluttering Dragon
"You enter the Gate of the Kingdom,
a kingdom where Evil rules.
Soul controls over Body."
CHAMBERS OF MORBID "Livemore Sleepless" / (p)00 Selfreleased
I have expressed my doubts towards one-man-band not once - it happens so
rare, when projects consisting of only one member create truly original
music and I don't know what it is connected with. Probably it's because of
the total ambitiousness of such projects. CHAMBERS OF MORBID, a project of
one man hiding behind a pseudonym Morbid is not an exception. No less than
he claims to be a discoverer of CyberGoth style! I can partially agree -
couple of tracks of this album can be characterized as cybergoth, but I dare
doubt that CHAMBERS OF MORBID was the first to play the music of this genre
and I do recommend to throw one's look at England. But as a whole everything
else is wonderful, the album is diverse enough if not to say more - from
techno experiments (of acid and jungle directions) to hard electro. As to
cybergoth it is presented by two tracks "Children of the Night" and "Dark
Moon", both of which are original enough and are really not bad - good
electro rhythm, gloomy male vocals. Morbid himself characterizes the work as
"Dark Music of the New Millenium", but to my mind it would be much more
interesting, if the whole album were held in cybergoth direction, without
the given diversity.
coroner
CRUCIFIX NOCTURNAL CHRISTIANS "Sacrifice" / (p)00 Selfreleased
 
This is one of the discs brought by me from a failure Wave Gotik Treffen
festival. And if I consider the festival a failure, then you probably
imagine what a disappointment might a band feel, that arrived from Argentina
only to play at this occasion. I planned to attend their performance,
because I've been communicating with this band long enough, but haven't got
a chance to get acquainted with their creative activity yet. The festival's
collapse mixed all my plans and I failed to meet them and they failed to
give performance, but on the departure day I found the envelope with this
disc left for me. It seems to me it's the first South-American gothic band,
which I listened to and though I have goth acquaintances in Argentina,
Chilli and the land of wild monkeys (Brazil), I had an obscure image of
gothic scene of Latin America (I can't say that it became absolutely clear,
but I've heard something at last). CNC play rather traditional gothic rock
with female vocals and if to make analogies, one can mention modern bands
INKUBUS SUKKUBUS or DIE LAUGHING and also old goths of 80's as ALL ABOUT
EVE, but all this is just on the level of associations - there are no direct
borrowings, the music itself is not a novelty, but it is original enough.
The sound of the band brings us back to the primordial gothic rock
attributes - melancholic guitar sounds, energetic drum machine, estranged
vocals. Separately about vocals - Alejandra Mucaled, the female singer of
CRUCIFIX NOCTURNAL CHRISTIANS has a really beautiful voice, lustful and
sensual at the same time, due to her vocals the dynamic gothic hits sound
defiantly, her voice calls the listener to follow after and melodic ballads
make you feel all the emotions, which she puts into a song. Excellent work
of a young group, which evidently has great future.
coroner
http://www.sealonia.com/crucifix
LACKLUSTRE MIRROR "Dark Water" Demo / (p)00 Selfreleased
Here is the one-man-band really deserving special attention! And one of the
most important reasons for that is the location of the band - it's a new
Russian gothic formation from Moscow. I have a suspicious attitude towards
such projects and after looking through the note applied to the demo
informing that the creator of the album is dwelling in solitude, I suspected
the worst. But more I listened to the tape my suspicions gradually melted
away. The tide of the music rose and fell over me, evoking mixed feelings -
tragic and light at the same time, sad and passionate: Pleasant male vocals,
melancholic symphonism - all that called forth associations with Karsten
Hamre's creative activity (PENITENT and ARCANE ART), but these associations
are just parallels. Though I can't say that musically LACKLUSTRE MIRROR is
something extremely original and new, but the fact that all the sensations
and feelings of the author are sincere is felt very well. The author of the
project calling himself "B.", mentions WELTENBRAND and DIE VERBANNTEN
KINDER EVA'S (which I don't find good patterns for imitation) as influence
sources and it's especially pleasant that "B." didn't choose the way of just
copying and tried to express his emotions and moods in a more original
manner. The music of LACKLUSTRE MIRROR is neo-classic, the demo itself
consists of 5 tracks (two of which are intro and outro), the compositions
are rather long (6-8 minutes) and I was especially pleased with the track on
Russian called "Tiomnaya Voda" (Dark Water) - it is a real masterpiece of
Russian-language gothic music. The only thing, which disappointed me, was
the quality of the recording. I would like to hear this material in digital
format. The conclusion is rather simple - there appeared a new deserving
gothic formation in our country.
coroner
NEW BREED "Shadows" Demo / (p)99 Selfreleased
Norwegian gothic collective NEW BREED was formed in 1998 and since that
moment they have managed to record ten songs released as two demos and to
play with a certain quantity of bands, among which one can single out such
well-known band as TRISTANIA for example. The demo under review is the
second and the latest result of band's studio work and it's not bad indeed.
Musically it is a gothic rock, created under the influence of early goth -
in NEW BREED's music one can trace the moments according to which it is
possible to make parallels with works of (especially) FIELDS OF THE NEPHILIM
and THE SISTERS OF MERCY (in lesser degree). As a whole the material is
rather good, without a special pretension, but one can feel the potential.
The main hits are the first two tracks of the demo (the given demo CD-R
contains 4 tracks) 'Shadows' and 'Escape', the first of which has already
been released on the Scandinavian goth and industrial bands' compilation
"Sex, Goth & EBM". So, I guess the band surely has got future (in the form
of a label contract) and their new full-length album is evidently yet to be
out.
coroner
http://www.innoweb.com/newbreed
CAPRICE "Songs Of Innocence And Experience" / (p)00 Selfreleased
 
A band from Moscow CAPRICE, that plays very beautiful and charming music in neoclassical wave, in the beginning of the year
2000 presented to the public its second album, that has a long name "Songs of Innocence and Experience" with William Blake's
lyrics.
 
The band consists of seven (!) members is guided by Anton Brzhestovski, who has not played any instrumental part on the
album, but acted only as a composer. Caprice have creatively revised the heritage of the writer and again made us enjoy
beautiful airy melodies and bright waterfalls of lyrics, that are flowing elegantly down the stave. The magnificence of live
acoustics created by multiple instruments, among which are the wind (flute, oboe), as well as string instruments (violin,
cello) and charming plays of wonderful Inna Brzhetovskaya's voice entwine the listener like thick fog from the very
first minutes and don't let go till the very end, making the imagination create bright images of the epochs gone by, when
great artists and poets created Beauty.
 
First of all, one is impressed by musical maturity and monolith concept of the album. There is nothing redundant, and even
though every song is all-sufficient, together they form an indivisible alloy of a concept work, where one can neither add
nor cut anything. No doubt, it's more than just a worthful musical monument to a great poet. Soft keyboard plays, bland
sounds of violin, magnificent voice, great lyrics by the English poet, set to wonderful music - what might be better? Just
the next album of Caprice, to Tolkien's lyrics, that will be released in the nearest future. Still - enjoy the charming
sounds of "Songs of Innocence and Experience" that remind you with hint of sadness of the Past, when everything was not like
it is now.
Sergey Merenkov
LAST DAYS OF JESUS "Narrentanz (Musik fur die massen)" Mini-CD / (p)00 New Christian Music
Nowadays I treasure gothic bands from brotherly Slavonic countries more and more. It's whether I get only the best
examples, or everything is just fine, but still not a single CD recorded by Slav goths has disappointed me. The reviewed CD
is from Slovakia, LAST DAYS OF JESUS is their gothic legend, it exists since 1993. They released two demos and one CD
through German label Alice in : before "Narrentanz". The new album is released through the band's own label "New Christian
Music". It's not long (about 30 minutes), but very dynamic - 9 "thrillers" follow each other. The style is gothic rock, but
the sound slides either into metal (distorted guitars and almost growling vocals) or into industrial rasping and noise.
Marvellous male vocals quite successfully add to the whole image (it's not one hundred percent true though, cause vocals are
the most accented part of the album). Alongside with the band's own works, the album contains two covers - David Bowie's
"China Girl" revised in post-industrial stylistics and killer cover "Per Sematary" (Ramones) - the original version was not
bad, but this cover is just peerless. On the whole - it's a high-quality CD, the band certainly requires special attention.
coroner
ROMOWE RIKOITO "l'Automne Eternel" / (p)00 Brudenia
Listening to "l'Automne Eternel" I become more convinced that there is only
one season in the world. Now it's summer outside but autumn reigns in my
room: I close my eyes and watch the golden leaves falling from the dozy
trees, I feel the rain poring down with myriad of drops from the low skies
covered by the boulders of black clouds, laving my soul with the sweetest
sorrow. I'm overwhelmed with grief, pining for something long forgotten,
lost in the depth of memories, in past lives. Ethereal keyboards, weeping
violin, melancholic guitar, bells, "noises", silken voice of Niktorius and
Julia's vocals create the incredible atmosphere of pacified contemplation of
"old castle ruins in the forlorn autumn park".
The title of the album fits the overall mood more than well. Although ROMOWE
RIKOITO don't change their style, this CD to my mind doesn't evoke total
associations with CURRENT 93. They still have the same aesthetics as the
bands from WSD do. Moreover I think that there is a reason to be proud,
because our scene has the bands which can not only be compared with the
titans of world gothic folk, but even can get the better of them.
Besides the track "Elegy", which was written on the Tishborn's lyrics and
probably already had become the favorite track of many people, the album
consists of other beautiful compositions, which were written on the base of
the works of such eminent poets as Eliot, Nerval, Baudelaire, Ventadorn.
All these songs remind the whole canvas inseparably bound by the invisible
thread of the single image of eternal autumn. My favorite moments on this
album become keyboard passages in the end of the fifth track and the
medieval beginning of the track number seven, but most of all I feel drawn
to the song on the immortal Baudelaire's lyrics: "Fons Aeternae Juventutis".
I highly recommend this CD to all the lovers of real gothic and dark folk
music. Let the eternal autumn be with you and let the sweet sorrow, calling
into the journey of your inner depths, never leave you.
Fazgir
CADAVEROUS CONDITION "1990-1999" / (p)00 Promo CD
When I received the letter from this Austrian band, in which they introduced
themselves as a death-metal band playing cover versions of DEATH IN JUNE and
collaborating with Richard Leviathan (ex-STRENGTH THROUGH JOY) now OSTARA,
and to say the truth, I considered it to be a joke. And so, we got their
"The Best" - I can say, the guys didn't joke they do play death-metal.
Though, I must admit, I can't figure it out - their tracks appear on the
compilation, released by DEATH IN JUNE together with compositions of VON
THRONSTAHL, KIRLIAN CAMERA, FORSETI, IN MY ROSARY, they took part in the
recording of the last OSTARA CD, but play death-metal: so what's going on?
Unfortunately, I am not able to review their metal material - I confess I
listened to death-metal too, but it was so long ago, that I even can't
remember the bandnames to compare CADAVEROUS CONDITION with. Anyway, the
things ain't so bad - the disc contains couple of interesting tracks. The
songs "Nostalgia", "Underneath Stars without a Sky", "In June as a Killed
Time", "Up the Ass of a Swan", and also DiJ cover "Fall Apart" might be
characterized as "death dark folk", kind of dark folk with growling vocals
and dirty sound of acoustic guitar. I even liked the cover of "Fall Apart" -
namely this one and the song "Nostalgia" are released on the sampler,
compiled by THAGLASZ 5 "...From Nowhere To Nothing...From Nothing To
Nowhere...". The record sent to me for review, would undoubtedly interest
only death-metal fans and ardent DiJ fans, who could be able to perceive the
original cover made by these Austrians. But if the band alters the sound a
little bit, they will have the chance to become the founders of a new
sub-genre of dark folk - "death folk".
coroner
http://www.cadaverouscondition.com
ARCANE ART "The Cursed Artist" / (p)00 Memento Mori
The debut release of restless electronic symphonist Karsten Hamre from
PENITENT. It seems to be wonderful when there are enough ideas and energy to
make some simultaneous projects with different conceptions. It's impossible
to say that the Karsten's new project is similar to PENITENT - they have
different music and mood, but at the same time the dissimilarity is not
absolute. The music of ARCANE ART is a chamber atmospheric gothic, created
mostly by the piano, slightly flattered by strings, keyboards and vocals
(there are background vocals as a rule which belong to two guest male and
one female vocalists), very sorrowful but at the same time utterly romantic.
But it's not without PENITENT's epic and pathos. Although ARCANE ART is not
like PENITENT in vein: there is dark and severe majesty in PENITENT, while
ARCANE ART has melancholic romanticism. This is the kind of music, which one
has to listen in the moonlit night, absorbing into oneself and sinking into
wonderful tragic and romantic frame of mind. Also I'd like to distinguish
the perfect design of the booklet, which was made by Michael Riddick (...
THE SOIL BLEEDS BLACK).
coroner
http://members.xoom.com/arcaneart
DVAR "Taai Liira" CD-single / (p)00 selfreleased
Once, when I was coming back home, I checked my mailbox as usual and found
blank envelope without stamps and sender's address but with only one word
written on it - DVAR. There was a CD-R inside and also little sheet of paper
from which I learned that this CD-R contained of one composition "Taai
Liira", which was granted by DVAR for "Russian Gothic Compilation". Without
hesitation I put this disc into my CD-player and almost three minutes after
I rang out all my RGP colleagues, joyfully shouting in telephone receiver
about the discovery of a new amazing gothic band. Enough time had passed
since that moment and we had already released "Russian Gothic Compilation"
which featured the abovementioned composition, but I still found out nothing
about this collective. Nothing except the scant information on the
unofficial homepage, devoted to this band, the author of which apparently
doesn't have any sufficient information as well. So, two weeks ago DVAR
asked Russian Gothic Project to become the distributor of their new single
"Taai Liira". Such secrecy is intriguing indeed, but how does this single
sound like?
Lets start with the artwork - although this single is not a professional
release (it's a CD-R with semiprofessional polygraphy) - the artwork is very
competent - from crazy frontcover drawing (ala asylum's patients art) to the
blurred picture of the band placed at the back side. I am highly touched
with the inset, which is decorated by the all sorts of bugs & insects and
with the image of death with the scythe hiding in the center of the
composition.
And now about the music - if you read from the several reviews of "Russian
Gothic Compilation" that DVAR is electronic black, please don't believe it,
such things point only the insufficient competence of the reviewers. In
fact, DVAR's music is a darkwave, one of the best representatives of this
style, which I have ever heard in my life. If to compare it with something
(there are no straight analogues though), so it will be the comparison with
RELATIVES MENSCHSEIN or DAS ICH, although the music has something from the
morbidity of early SOPOR AETERNUS. All the tracks on that disc are just
pathologically morbid but they charm you with that. The music is utterly
emotional and expressive, and you'll certainly feel its beauty if only you
can see beauty in pathology. Pathology is presented everywhere, not only in
music, but also in vocals, - it is not enough that the sexual origins of
vocalist are not defined (just like in SOPOR AETERNUS) - personally I'm
prone to think that these are male vocals - but they are performed so that
one can't understand, how those sounds are derived from the human being. By
the way about the lyrics, it seems to me that they are written in so called
"bird's language", when lyrics are formed by harmonic passages of null,
invented language, though in this case it is not bird's but rather crow's
language. Although the names of the tracks sound in rhyme - "Hissen Raii",
"Iina Tamira" è "Taai Liira" - when you hear them, you will understand what
I mean. There are 5 tracks on the album (but only four are pointed in
booklet - apparently the last one is some kind of a surprise-bonus). Besides
"Taai Liira" known by "Russian Gothic Compilation" (and its ambient mix),
you can hear the abovementioned "Hissen Raii" (my favorite track) and "Iina
Tamira".
Also I'd like to point out that the sound quality of the CD is quite worthy
and meets the world darkwave standards. Moreover the material is so original
that this album undoubtedly ranks with western representatives of the genre,
even being better than many of them. It cannot be denied that this album
became for me the discovery of the year, and to my mind this is the best and
most perspective Russian gothic band.
coroner
IN GOWAN RING "The Glinting Spade" / (p)99 BlueSanct Musak
This disc was truly recognized by many "serpentologists" as the best release
of the past year. Indeed, while the oldest bands distributed by World
Serpent either took a termless rest or digressed the given direction, all
dark folkers have nothing but hope for new names. But to call IN GOWAN RING
a novice would be incorrect, for it's their third full-length album,
released by the American label BlueSanct Musak this time. As before, we will
meet the calm silken voice of band's leader B'eirth, crystal clear guitar
passages, clinking of tiny bells and brilliantly conveying the wonderful
landscape palette of live instruments from past epochs. The overall mood of
the album is light, but at the same time very melancholic and enigmatic.
There's a feeling that music slightly transfers you to another world, in the
forests and glades where fairies and trolls live, knights fight the dragons,
and good always defeats evil. I join the rapturous exclamations of all those
who had a lucky chance to listen to "The Glinting Spade" and insistently
recommend this CD to every real neo-folk music lover.
Stanislav Ivanoff
http://www.bluesanct.com/igr/main.html
MOON FAR AWAY "Sator" / (p)00 Brudenia
So it happened! The second CD of Arkhangelsk goths MOON FAR AWAY finally
reached us. Frankly I've got it long before as a demo-tape but I decided not
to review it and to wait for better times. Why? The answer is quite simple -
I think that no album has redundant elements - everything - frontcover,
layout, sound quality and the music material itself form the single picture,
which can be judged only as a whole and not as the separate elements.
MOON FAR AWAY finished the work on their album this winter - hereafter the
most complicated thing was started - the quest for the label to release it.
As far as I know, MFA sent some demos to the western labels, but as the
result the album was out on Kaliningrad based label Brudenia (This is the
label of Vladimir Igoshin which is famous for the release of the debut
ROMOWE RIKOITO CD and two unique Russian releases of foreign bands LEGENDARY
PINK DOTS and ATTRITION). What was the reason for that? Whether western
labels haven't shown due interest, or their terms were unprofitable, or
probably MFA released their album on Russian label because of patriotic
feelings? I have no idea, but I agree with one thing - the fact that this
CD was released by Russian label is a great plus and I am sincerely glad
that Russian labels interested in our gothic music start appearing.
And now let's turn to the album itself. As to the frontcover artwork - it's
rather stylish on the whole, though I don't quite understand, why the wooden
orthodox cross is depicted there - I have always thought they propagandize
north paganism. Oh well, it's not the point but the music is - what are we
going to hear on the CD? We hear that MFA has worked out its own style at
last! One naturally can draw parallels to western bands, but do they matter
anyway? The album is rather original - and this is the beauty of it.
Stylistically it's a kind of an ambient hybrid of new age and partially
ethereal with ritual elements, but how is this original mixture related to
gothic? That's a debatable question, but the mood of the album is
undoubtedly gothic, but musically it isn't at times and it was by right
characterized as "Russian Ambient" in Projekt's sale list. MFA really
succeeded in keeping this "ambience" in both releases - but the new album is
more solid and stable though contains ultimate hits - "Man is a Birdstower",
"Dezember der Zeiten" (featured on "Russina Gothic Compilation" under the
name "December of Times"), "Schlaflied" and "To the Heaven Rhuanda". What
really attracts in MFA is that M.Sheptunov (hiding under the strange
"blackish" alias Count Ash), doesn't really care about the formal side of
music, creating his works without looking about at others and without
copying - that's a harder, though more interesting and noble way. One
listens the album as a conceptual work that brings waves of light melancholy
and romantic sorrow shades from the costs of the White Sea. Fair new age
compositions and more melancholic ritual passages interchange each other.
The music creates unique bright atmosphere and to my mind it was the goal of
its authors.
P.S. You can purchase this wonder through gothic.ru
coroner
PETER ULRICH "Pathways And Dawns" / (p)99 Projekt
The tendency to create solo projects touched not only the main members of
DEAD CAN DANCE Lisa Gerrard and Brendan Perry. The long-time friend of the
latter, ex-percussionist of this legendary collective Peter Ulrich has also
recently released his debut work "Pathways And Dawns". Actually one can feel
that Perry is the protege of the whole album, where he appeared as producer
and arranger (especially the guitar parts give away his presence very much).
Besides Perry, the old guard of musicians, which took part in the recording
of several DEAD CAN DANCE albums, helped Ulrich along with John A. Rivers
the producer of DEAD CAN DANCE and CLAN OF XYMOX. As one can see the mighty
company gathered here and the parallels with DEAD CAN DANCE are fair enough
but unfortunately the album is deprived of monumentality both of the latter
and recently released solo album of Brendan Perry. Very fireside mood once
in a while is broken by the ritual compositions "Journey of Discovery" and
"Evocation", although I highly love the great appealing track "Taqaharu's
Leaving" which opens the whole album. Generally this is a cute and light
album, filled with gentle and sad melodies. However, "Pathways And Dawns"
appeared to me both as revelation and disappointment. It was so because
during the whole album I was waiting for something more but suddenly
discovered that the music was already over.
Stanislav Ivanoff
BRENDAN PERRY "Eye Of The Hunter" / (p)99 4AD
"Through the eye of a hunter
In search of a prey
Neither beast nor human
In my philosophy"
- Voyage of Bran
CORVUS CORAX "Tempi Antiquuii" / (p)99 John Silver/Falcone
The given CD is a collection of unreleased material of Corvus Corax, and to be more precise the recordings from the time long passed, when two groups Unbehuot and Pediculus gathered together to record an album. Later, they united under the name Corvus Corax. All compositions (some of which one can also hear on the albums of other medieval groups) belong to famous and anonymous medieval authors, and also Serbo-Croatian and Albanian traditional melodies. The sound quality leaves much to be desired, but bear in mind that most of the album songs had been recorded in 1988 and later mastered for this CD from old tapes. The most attractive traits of the album are the little scenes that remind radio plays, accompanying the songs of the second part of the album. For example, some personages are moaning of boredom, not knowing what to do. Suddenly they see a minstrel, coming their way. They ask him to entertain them and minstrel offers them a jolly ballad. Then comes "Rabenballade". After listening to the ballad some of them break into tears. Minstrel asks them if they liked the ballad and the listeners express their gratitude by choking him (probably finding it a real entertainment!). To cut the story short, despite the note "Fan-Edition", this CD might be an object of interest not only for the fans of Corvus Corax, but for all lovers of authentic medieval music.
Stanislav Ivanoff
COUNCIL OF TRENT "Mosaic" / (p)99 Grimmlake
Debut album of a young American band, released by their own label Grimmlake. This album is really a kind of mosaic, arranged by means of various musical styles in which one can single out ambient keyboards, typical acoustic dark-folk manners and at times even some transparent noise structures. Also several Japanese national motives appear in their music, so vividly presented in misanthropic "One Neck" and fatal "Seppuku". Cold colors interchange warm tints and sink into darkness again. That's the way the enigmatic and melancholic picture of "Mosaic" is arranged. The whole album was recorded by means of only analogue equipment and that fact is in favor of the album. But at the same time the overall sound suffers from superfluous "undergroundness" and experienced production would have been useful here.
Stanislav Ivanoff
EL CLAN "...Sigue soplando el anima" / (p)98 Opcion Sonica
The fact that vampires do live in Mexico was demonstrated in the well-known blockbuster "From Dusk Till Dawn" but the existence of a real vampiric gothic rock there is now proved by the band El Clan and their new work "...Sigue soplando el anima". The mood of the album is sometimes melancholic as in the songs "Odio", "Aun (vida)" and "El Testamento", but there are real smash hits like the opening song "Furia". Hard riffs are sometimes heard, but the classic gothic guitar sound with excellent rhythm section prevails. Background keyboards and especially original vocals bring very special atmosphere. All lyrics are written and performed in Spanish, except track "Intriga", presented in two variants - in English and in Spanish. The most remarkable thing is that the majority of Spanish-singing vocalists, have some special voice timber and the manner of singing, remember for example the Portuguese of Moonspell. Bearing in mind the music, I suppose that precisely the vocals single out El Clan from the majority of other groups playing modern guitar-oriented gothic rock.
Stanislav Ivanoff
ENGELSSTAUB "Anderswelt" (limited edition) / (p)99 Apollyon
After a long break of 5 years, German gothic trio Engelsstaub gets back to amaze all the lovers of their creative activity by means of their new masterpiece under the name "Anderswelt". And your loyal servant hasn't become an exception. Let's start from the layout. This time great attention was paid to the latter. As compared to the previous albums or for example to the reissue of their debut "Malleus Maleficarum" containing only two-page insert, the limited edition of "Anderswelt" seems to be a real work of art. The disc is carefully placed into a special jewel box and large full-coloured 24-page booklet contains lyrics and illustrations, which help to perceive the mood, created by each separate composition. And now let me speak of the main component, before which any layout would fade out - it's of course the music. It's natural, that after such a long break the new creation should either give the second life to the band or bury it. I must confess I had light suspicions, but luckily they didn't come true. The music we hear on "Anderswelt" is still Engelsstaub, but now on the new highest level. Engelsstaub decided to abandon their minimalist song structures of earlier albums, based on mixing characteristic neo-folk sound with original rhythmic structures. Now only "The Kingdom Of Blindness" and "A Spirit Awakens" remind their earlier works. In these songs leading vocals belong to Mark Hoffman, but on the rest of the album the vocals of his sister Silke are playing the dominating role. Janusz is mostly keeping silence now, but anyway such distribution of roles didn't harm the overall perception of the album and fit the renewed conception of the band. This is a conception of "daydreams" for the creation of which different ways and instruments are used. Shaman chants in "Dreamcatcher", authentic rhythms of "A Dream Within A Dream" and "Fairyland", sad gothic fairytales "A Tale" and "Die Erlosung", all these are the tints of the same palette, which are used to paint the unique image of the whole album.
Stanislav Ivanoff
HOCICO "El Dia De La Ira" / (p)98 Opcion Sonica
This disc of two Mexican electronic creatures of Hocico is in fact a compilation of various tracks, recorded by them in the period of 1995-1998. This is mostly an instrumental, deeply thrilling cemetery darkwave, reminding gothic and horror movies' soundtracks. But there are also dynamic, hard compositions, held in the best traditions of European EBM and dark-electro schools. That goes to the tracks "Devouring Rage", "Coward As A Slave" recorded in 1996 and also "Odio En El Alma", the "dirty mix" of which was made in 1998. On the whole, the disc is rather good and original, but due to heterogeneity of material the overall impression remains unstable from the first. But as soon as you become totally possessed by the music, it suddenly ends, 'cause the total playing time of the album is unfortunately only a bit more than half an hour.
Stanislav Ivanoff
http://www.geocities.com/Area51/Orion/4146/Hocico.html
ICKYTRIP "Ickytrip" / (p)00 Ickytrip/Black River Duplication
Not long ago the message flickered through our mailing list, where the one, whose name was Jamie Sonderman, announced the release of the debut full-length album of his own project Ickytrip. So, after a while his work reached us. Jamie describes his music as some kind of dark ambient audio/visual project upon which he's working for several years since 1996. Then he started to write the music to his film workings and his short "The Empty Chair" took the first place in the Vision of US video prestigious competition. I wonder what genre carries this film? Apparently the music of Ickytrip would work well to accompany some cyber-gothic films while several tracks would be a good soundtrack to some horror movies. Assuredly the absence of video lowers the proper atmosphere of perception. However it can be fixed by simultaneous listening to Ickytrip and playing your favourite 3D game (by the way, Ickytrip is currently looking into composing music for computer games!) or just by letting all your fancy soar into the free flight. I also like the minimalist artwork of the album that has one surprising feature. The frontcover is printed by some special phosphorescent stain, which makes the whole picture glimmer in the dark. So, electronic people, turn off the lights and play Ickytrip!
Stanislav Ivanoff
LAHKA MUZA "Sen Ohraniceneho Zivota" / (p)98 Sonicca Lt.d.
The given CD was sent to Russian Gothic Project by the musicians of the
band. The package contained also the weighty press-release from which
one could learn the information concerning band's history, several
released albums and successful performances at underground festivals.
LAHKA MUZA was formed in Czechoslovakia in 1984 and started as a classic
post-punk band. Numerous line-up changes were followed by passion for
minimalist "guitar" industrial, then by using modern sampler-sequencing
technologies and as a result of it, transformation of the style. At last
the band started longing for gothic-industrial-ritual sound. So, their
creative evolution doesn't differ from the one guiding many other
gothic-darkwave bands and the whole genre itself.
But the result they came to and what we can hear on CD, has definitely
got no analogies (comparisons with Dead Can Dance and Swans, given in
the interview of the press-release, are of course gratifying, but they
are rather conventional). LAHKA MUZA possesses vivid individuality,
which I always appreciate. LAHKA MUZA's darkwave is the music of dark
atmosphere, better to be listened at twilight. However, the sound is
rather active, passionate and hardly suitable for background listening -
it's not one of the darkwave records, to which you can dream, lolled in
an armchair. You might be confused at the "fetish" image (the way some
people of a definite circle of interests might call it) of the band's
"frontwoman" Gudrun, which will be a mistake of perception - the music
is likely to be characterized as bearing the power of pagan, shaman
aesthetic. The overall sound is ascetic, but any single sound of every
instrument reaches its goal. Somber organ intros pass to the calling
military drumbeats, guitar parts and orchestral samples keep up the
tension and witchy voice of Gudrun floats over everything - so powerful
and evil, breaking into wolf howling. The performance in Slovak only
adds some weird traditional coloring. The images of raging flames,
bright bonfires in the darkness of night and their cold gleams on the
steel of arms and severe faces of pagan warriors swarmed in my mind, and
I myself, couldn't help rushing into "war dance" near my loudspeakers,
while listening to "Sen Ohraniceneho Zivota"!
It's no doubt a good respond to those, who consider "slavonic gothic" to
be inconsistent. I'd like to recommend you to listen LAHKA MUZA and I'm
sure, that many people like me would be fascinated by their talent, but
unfortunately there's probably no other way to get the given CD, but to
order it directly from the musicians of the band. That's why the
reproach to western goth/experimental-labels and distributors is
obvious, because they often promote their friends and relatives, turning
their backs on really gifted ones.
Maxim Mikhalev
THE LAST DANCE "Perfect" / (p)00 Mystine (advanced CD)
"I would, in a word,
Change your world,
If I could"
- The Haunting
LUNOPHOBIA "Under the Snow" / (p)99 Lunophobia
Gothic band LUNOPHOBIA from St.Petersburg is famous enough in the native
city, due to regular live performances, while Moscow listeners had an
opportunity to hear them at the latest Halloween party "Edge of the
Night II", which was organized by Russian Gothic Project at "Krai" club.
But the band doesn't favour us with its releases, because it is rather
hard for Russian gothic bands to release their CDs or tapes - there are
no labels, interested in such kind of production. The only way out is a
self-release. This is the form in which the debut CD "Dreams of the Sun"
was released. And new CD-R single "Under the Snow" also came to us in
the form of self-release, and to be more precise at first it was the
mini-disc, the band sent to us as a material for the "Edge of the Night:
Russian Gothic Compilation". The single contains three tracks: "She",
"Under the Snow" and "It's a Dream". Those who were present at "Krai"
concert, could listen to all of them. But in contrast with the hard live
versions studio variants sound much calmer and more melodic. To say
more, two of them "She" and "Under the Snow" can be characterized as
gothic pop (on the gothic-rock basis), the last track "It's a Dream" is
closer to darkwave, more somber and vanguard. The track "Under the Snow"
was selected for Russian Gothic Compilation. For a long time we couldn't
decide which track to choose: "Under the Snow" or "She" - are absolute
hits with interesting lyrics in Russian, easily memorable melodies and
good performance. But we made our choice in favor of more pop-like
"Under the Snow". The band itself probably decided to put stress on this
composition too, giving the single its name. The material is qualitative
and well-done, though it's not clear yet, where one will be able to get
this record.
coroner
OSTARA "Operation Valkrie" (CD-single) / (p)00 Osterraed/WSD
On the last days of February, World Serpent is going to present the debut full-length album of Ostara, the project, previously known under the name Strength Through Joy. The album got its name "Secret Homeland" and apparently limited single "Operation Valkrie" is a part of promotional campaign. "Operation Valkrie" lets us so to say peep into the future creation, because there's only one track of the same name on it having the length for about 4 minutes. One is not able to get complete impression of the album that's why the review is limited only to the given song. And if to judge only by the very song, Ostara definitely follows the canons of dark-folk style, comprising all distinctive and so easily recognizable features, like acoustic guitar minimalism, background keyboards, extremely simple song structure or combination of speech samples, pure English vocals and German recitative. "What's so special?"- one might think. But there is something in the overall atmosphere that immediately draws attention and forms the idea that you listen to classic WSD brand name. Being completely intrigued by this single, I'm passionately waiting for the release of the full-length album hoping that it will be as excellent as "Operation Valkrie".
Stanislav Ivanoff
KOJI ASANO ENSEMBLE "Flow-Augment" / (p)99 Solstice
This release was sent to Russian Gothic Project by our Japanese
friends, who now live in Spain, as a kind of new year present. As a rule
after inserting a CD of some Japanese performers (if it's not JACK OR
JIVE or VASILISK) in the CD-player one can be 99% sure to hear the
factory sounds, din and distortions... to be more exact - various
extreme manifestations of noise. Turning on "Flow-Augment" CD of KOJI
ASANO ENSEMBLE you won't appear at the factory - you'll visit the Tokyo
live concert of these musicians at Hokutopia Hall on the 8th of April
1999. You're going to listen to three untitled compositions, each of
them not less than 14 minutes long. All tracks have no definite theme
and are most likely a kind of improvisation filled with multiple sounds
of string instruments (contrabass, violin, cello...) and piano. 50
minutes of such kind of music can tire the inexperienced listener, but I
guess true aesthetes will highly estimate this work. The author of these
pieces, Japanese prodigy Koji Asano (b. 1974), enters "modern classic"
sphere which has been new for him before. His 11 previous releases were
held mostly in experimental electronics style, which is peculiar to
Japan born musicians.
Brain's Strained
JARAMAR "Lenguas" / (p)98 Opcion Sonica
I must admit, that when I heard Jaramar for the first time, I was
astonished by the amazing resemblance of her vocals with the voice of
rather well-known here Kari Rueslatten. However, while the Norwegian
pop-star renounces her folkloric past with the release of "Mesmerized",
her Mexican colleague still follows ancient cultural traditions of her
nation. "Lenguas" is the fourth album of Jaramar, which was released
last year by Mexican label Opcion Sonica. Like all previous works it
carries its own original atmosphere, where the echoes of venerable music
and traditional instruments resound with the modern voices of keyboards,
sequencers and the above mentioned beautiful and profound vocals of
Jaramar Soto. Mostly Spanish lyrics are taken from the works of
different literature classics, which make the album more academic and
conceptual. In conclusion I'd like to mention that this work probably
will interest all judges of ethnic music like Dead Can Dance or for
example Freiburger Spielleyt, who once played the song "Muito devemos
varoes", which Jaramar also chose to perform.
Stanislav Ivanoff
V/A - "Storm The Palace: Worms A.D.MCXVII" / (p)99 Palace of Worms
It was a bridge between the age of magic
and the age of science,
where superstitions still held strong
but made weaker by unspoken doubts
and the seeds of rebellion,
a time of darkness...
NOXIOUS EMOTION "Symbols" / (p)98 ADSR Musicwerks
There are symbols
Throughout the ages
Connecting those ages
Are the symbols
Dust of Basement'98 "Re-membrances" / (p) Sideline
This album consists mostly of remixes from their previous CD called Remembrances. Dust of Basement' male
vocalist Axel has left the band and RE-membrances introduce the new singer, hence the very different feel to the
old remixed trax and somewhat of an introduction of what the new Dust of Basement will sound like. Dust of
Basement defies the attempts to classify its musical style. The members of the band call it heavenly voices
mixed with trance EBM and synth pop. The most charismatic part of their sound used to be the contrast of
Brigitta’s beautiful, sometimes a bit childlike-sounding voice and very gruff, growling, almost death metal
male vocals. Combined with very catchy, beat oriented music (with a very strong gothic feel nevertheless)
they blended into a unique “Beauty and the Beast”-kind of whole on the absolutely stunning Remembrances.
What can I say about the new album? When I heard the new singer the first association I got was Kraftwerk…
His voice sounds very plain, although has a certain depth to it. There are still magnificent female vocals and great
musicianship, but the seminal idea of Dust of Basement, as personally I perceived, it is lost. It’s rare that a
departure of a vocalist changes the band’s sound to such dramatic extent and, minds you, it’s a remix album.
It’s still is a very high quality electro release and I can see it doing well, but it’s not the original Dust of Basement
we grew to love.
GodsBleedBlack
Evils Toy'98 "Angels Only!" / (p) Nova Tekk/Metropolis
This new album is a complete and most likely final departure from the band’s original sound.
1997’s XTC implant marked a dramatic change and a progression from the brutal, heavy and
straightforward EBM that can be heard on ET’s first 2 albums. Illusions continued where XTC
left off-much lighter, more melodic amalgam of Electro, intelligent techno and goth. Angels
Only! Is lighter yet, with an added cheesy factor. The cover with a couple of cute blonde angels,
lyrics (“in the city of light where angels play…”), almost synthpoppish approach on some tracks
with untreated vocals (which are great by the way) and catchy sequences… Besides the usual sci-fi
themes (Back on Earth, Colors Out of Space), the songs touch on the subjects of unhappy love and
spirituality (Forever?!, A Girl Called Bitch, title track). All in all it’s a good record and it’s nice to
get 2 new full lengths from ET in less then a year. But frankly, I expected something way more
original and of a deeper impact from my absolute favorite electronic artists.
GodsBleedsBlack
The Last Dance'98 "Staring At The Sky (Do You Believe In Singles?)" / (p) Apollyon
After the brilliant debut "Tragedy" and the following "Fairytales", The
Last Dance comes back in 1998 with the new album "Staring At The Sky (Do
You Believe In Singles?)". It's rather hard to define the format of this
release. It can be a kind of a single, but at the same time it lasts
about fifty minutes. It can be a kind of a collection of remixes, but on
the other hand it contains several brand-new compositions. First of all
there are four different versions of the ultimate hit "Do You Believe In
Angels" on this album. And each of these version is certainly sounding
like a new song, while stylistic range varies from the goth-rock
original to the driving dance rhythms in Euro-Dance and Screaming Kitty
Mix, or the lyrical passages in Falling Star and Violet Song-Piano Mix.
Besides the successful experiments with "angels", The Last Dance
probably decides wholly to justify its name by adding two more dance
versions of the old songs: "Inside" remixed by Eric Kane and "War",
which was violently industrialized by Mark Hofmann, the owner of
Apollyon. And of course The Last Dance wouldn't be The Last Dance if
they didn't include in this album two new tracks: "Flesh" and "Mystery",
in which they appear as the masters of their own style: "pure american
romantic gothic rock". And as they can be naturally considered as the
prologue to the forthcoming album "Perfect", we could undoubtedly claim
that this album would be not worse, but obviously much better then the
previous ones, as well as the fact that with the release of "Staring At
The Sky" the band shows us its great potential and gains more
professionalism and originality.
Stanislav Ivanoff
Penitent'99 "Roses by Chaos Spawned" (advanced CD)
Actually this CD, as well as the limited vinyl edition, are only preparing
to be out by German label Dark Vinyl Records. Meanwhile, we have a good
opportunity to acquaint ourselves with the latest work of PENITENT long
before the official release date. So, on the 22nd of January the recording
of the new album "Roses by Chaos Spawned" was finished. The event which
was awaited by me with bated breath and blended emotions. The point is
that each following album of PENITENT had never copied the previous one.
Though all of them are keeping the same atmosphere of dark and deep
depression, which however was barely traced on the previous instrumental
opus "As Life Fades Away". But it was really unfounded apprehension: the
presence of Majestic Melancholy is again with us! Should I say, that this
is more that I could ever expect? I guess the words are out of place here.
Nevertheless, just let me introduce the main features of this album.
First of all there are some perceptible changes in vocals. Even it is
still the poetry declamation, but this time it is performed not by the
author of the poems Karsten Hamre, but by the new vocalist Mark Andrew
Goldfine, whose expressive manner fits the music more than well. The music
itself is rarely beautiful, sublime and mournful. In general it is
prevailed by the variety of orchestral samples, but also piano and organ
are taking the leading roles in several compositions, just like it was on
"The Beauty of Pain" album, yet on the track "In Mortal Fear" one can even
hear the drums similar to those which were used on the debut
"Melancholia". The absolute masterpiece is of course the final track "A
Bleeding Heart of Desire", with guest vocal appearance by Ellen White.
"Roses by Chaos Spawned" is without doubts a whole, epic composition which
has all chances to become the best work of Neo-Classical Art of this year.
Stanislav Ivanoff
(c) 1999 Russian Gothic Project
Design by Chthon (c) 1999