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Lene Lovich - Shadows and Dust Review

Nov. 1st, 2006 | 06:25 pm
posted by: teir_garten in goth_cd_review

Lene Lovich - Shadows and Dust Review

It was with this new Lene Lovich album in which I learned the difference between "campy" and "cheesy". When speaking about goth music, this difference is certainly crucial. Inexplicably, when it comes to goth, "cheesy" implies pretentious. However, it is possible for something in dark music to essentially be cheesy without the slightest pretention. It is this sort of camp value that we find in Lene Lovich, and particularly her newest album, "Shadows and Dust". While it seems that Nosferatu, Fields of the Nephilim, and most Sisters of Mercy-clone bands have a monopoly on the mostly unappealing cheesy part of goth music, Lene Lovich seems to have introduced pretention-free, fun, campy music into Goth once again (might this be why deathrockers love her so much?). When she writes a song about vampires ("The Insect Eater"), it doesn't sound as if it's some inside cult she's part of, and perhaps more importantly, she doesn't sound as if she actually thinks she's a vampire (or the minion that brings Dracula victims and eats bugs, whichever the case may be). And when she writes a song about the ignorant fear she experiences towards her for being Pagan ("The Wicked Witch"), it doesn't sound like angsty 'no-one-understands-me' music - nor is it excessively bitter and angry. It's appropriately full of mocking.

Much like her earlier works, this album is essentially a dance album. But the artificial beats aren't annoying and repetitive, nor do they just sound like techno. It's charmingly synthpop-esque. Beautiful retro eighties guitar compliments the music very well, adding enough of an edge for it to be a rock album. And the keyboards aren't unlike something you'd hear in a Depeche Mode song, and add just the right touch of color to what would otherwise be a rather hollow sound. Lene's vocals are just as charming as ever, sweet yet crazed as usual, and even coming to a near growl as necessary. Siouxsie meets Hagen, but all Lovich, really. And I have to say, Les Chappell's backing vocals almost seem to be essential to adding depth to the songs, even though he never says anything different than what she does.

Frankly, it's hard to take most of this album very seriously. It's dark music that's fun in it's most basic form (or, rather, what should be it's most basic form). This is mostly a blessing, but sometimes a curse, as it becomes hard to take the few songs on the album that are serious... well, seriously. This is perfectly exemplified in "Little Rivers." While it's probably my favorite song on the album, it loses alot of its meaning due to the fact that's it's followed by "The Wicked Witch" and preceeded by "The Insect Eater". It's just hard to seperate the three from each other and look at "Little Rivers" from the appropriately emotive point of view. There also seems to be a contingent of songs on the album that are oddly inspiring. And while there's no direct offense taken, it just seems to be out of place with the rest of the album. While these songs are surely good enough songs on their own, I think the clash is a bit too dramatic for the album to flow smoothly because while musically it's consistant, thematically it's such a contrast.

Sits nicely between Klaus Nomi at his most pallatable and Danielle Dax at her absolute strangest. Yes, it comes dangerously close to sounding like that music they play at those Haunted Hayride parks at Halloween sometimes, but overall and most importantly, it's just damn fun. Fun - what a concept. Isn't that what this whole music thing is supposed to be, anyway?

Click on cover art image to buy


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(no subject)

Jul. 20th, 2006 | 05:56 am
music: Faith and the Muse /// Mercyground
posted by: kiss_me_suicide in goth_cd_review

Faith and the Muse

Brilliance is defined by an untame amount of genius. When music is added into the mix, brilliance is measured both by how much the music enriches the musical aspects of our lives and what we have to compare it to. But I challenge you to ask anyone how to start comparing an overstuffed, plush couch to a metal park bench. Or - more frighteningly - how to end.
1994 was a very significant year for goth music. The Cruxshadows, Switchblade Symphony, and Rasputina all released full-lengths debut albums that, by the standards of the time, were both exciting and refreshing. All these releases were also, in retrospect, at least moderately respceable and wildly successful. One could attempt to compare and contrast Elyria to other releases of that year, but then we're talking couches and benches again. Elyria always did, and always will stand isolated from other released of that year, decent as they were.
Elyria begins it's subtle aural war with a title track to put all other title tracks to shame. With no decipherable lyrics, Monica's simpe vocalizing serves more purpose than the lyrics of the world's greatest lyricist would. "Sparks" is the first one that grabs you long enough to entice you to ascertain that this will be the best song on the album. You soon realize that you've been saying that for 5 tracks now.
"All Lovers Lost" is a pessimistic anti-love song that creeps along hautingly and slowly raises the tone until it's subdued in moments. Monica's vocals are just stellar. "Iago's Demise" is charming in A Copella with feminist undertones (they do that occasionally). But with a breakdown you'll be trying to replicate for weeks. "Unquiet Grave" is instantly the most fun song on the album, a old take on an Irish folk song about a dead lover (the Irish really were the gothest people out there, yes?) But the flute... is you're not moving, you're as dead as the woman in the lyrics. But the bigger purpose is to follow a song called "Vervain" which is undeniably perfect, in every way. Seven minutes is not a long time when the gradual buildup brings you to a place that "Vervain" does. It's positively orgasmic.
Then, the trilogy. "When Her Lute Corinna Sings" segues into "Caesura" and finally, dramaticallty, into William Faith's epic deathrock track, "The Trauma Coil". Mostly medievil in nature, there's an element of Chamber music explored here. The darkest parts of the album are given way to rusty violins and dramatic formal drumming. "The Trauma Coil" positively bleeds black blood as a song of torture and repent unfold in a wall of electric guitar. Never since have we heard William so emotional and so caught up in a song. He feels it. You can tell. The man really makes his one song per album worth it, but never as he did on Elyria.
The follow up is almost an epilogue or post script, and is clearly and undoubtedly the stand out track on this album. "Mercryground" is both lyrically and musically a work of art. You get lost in visions of cemetaries and funerals, and in a rare moment of lucidity, you realize that you're listening to one of the best songs this goth genre ever gave us, and feel thankful for it.
Ending the album, lyrically, is the short and wistful "Heal". With hopelessly hopeful lyrics that swoon over acoustic guitar, there was never a more perfect ending to a perfect album.

To wrap it up, this album will change the way you see goth music.
That is, if it doesn't ruin it for you.

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(no subject)

Jul. 15th, 2006 | 04:21 pm
music: Faith and the Muse /// Willow's Song
posted by: kiss_me_suicide in goth_cd_review

Faith and the Muse
The Burning Season

Oh my dear God. They're still going at it, aren't they? Still stuck on Boroque soundscapes and Ethereal wisps, yes? Not that I'm complaining. Faith and the Muse rank up as one of the most brilliant bands that goth offered us in the 90s. One of the only ones really worth owning everything by. How often do those bands come around? Not nearly often enough, I'll say. There's a certain charm with this pair, ands a certain enigmatic factor that's really not worth the hours of reflecting I've given it. William Faith - ex-Christian Death, ex-Shadow Project, ex-Mephisto Walz, ex-Wreckage, and so on down the line of other noteworthy and comapratively resectable bands (I hear these days he's working with Jarboe - doesn't really surprize me. One genius/insanity tightrope walker deserves another, yes?). Monica Richards - ex-Strange Boutique (brilliant, by all accounts. Mark Burgess was damned proud), ex-Madhouse (ooh... DC crust-punk, nothing compares). Okay, so post punk/deathrock/general goth-related subset credibility is intact. These folks know what they're doing. They have no choice but to. It's a wonder this new Deathrock thing doesn't embrace them more than they do. Well, c'est la vie, I suppose. Genius is still genius at the end of the day.
But Faith and the Muse aren't known for that. It may strike one as surprizing, but frankly, it's more amusing than anything, and inspiring comes to mind when two with such agressive backgrounds combine into what can only be described as beautiful. Study Elyria, and you might get an idea of what I'm talking about.

But back to the topic at hand, The Burning Season strikes as something of an anamoly, and signifies a one-album experimental stage much like what Siouxsie did with Kaliedascope, but much more tame. An album like this deserves a song-by-song analysis, though I usually loathe that approach.

Baith and Switch, and Sredni Vashtar open up the album as a sort of pairing. Two seperate songs, but one real cohesive "piece". Almost reminds me of heavy metal for a minute there, with Monica vocalizing wildly in the background. The lyrics to the latter are menacing, primal, and seductive all at the same time. The message is clear, "This is the where we're going". Glorious.
Boudiccea shines beautifully with it's feminist undertones and real lush fills. It's beautiful, even if it'll never be a dancefloor hit. They continue with that trend in In the Amber Room, which, while being pretty, bores quickly. Over 6 minutes seems too much. Not that it's not killer, in the right setting, mind you. I'd like to say the same thing about Gone to Ground, but the fact is, I can't. So much more jazzy, Cabaret-like in it's subtle assault, and Monica does a stellar job of evoking that "smokey jazz bar" vibe that I love so much simply with her voice. I suppose the piano helps, too.
The real standout tracks consist of the primal, tribal, and intense title track, which is foreboding, but charmingly passionate, with an edge for the macabre. Relic Song really shows the self-rightous side of the two, going on about punk rock and the old school and whatnot. But you look closer, and it really could've been a March Violets song, and the lyrics are kind of cool in that wish you was there when it was good sort of way. Condescending as it may seem, you can't help but respect them for it, as they seem intent on continuing it through a "new generation", as they put it. Visions tops my list as the other standout track, with the charming keyboards and synthetic drums, complimented by the violin, which is an odd stature, but it works - don't ask me how. Most likely to get played in clubs? More like most likely not to get played in clubs. Whispered in Your Ear is the dancefloor hit that should have been but never was. Again, don't ask me how.
Prodigal sees Faith and the Muse taking a more art-rock approach to the entire thing, scrapping the guidelines and starting at square one. Who can blame them, really? But the lyrics are positively clever, and not without the hints of sarcasm that we love.

So, in all fairness, it's an earnest release. Perhaps not the most solid, and perhaps not even the best that we're accustomed to from these two, but it does the job, and I enjoy it. Pick it up if you get the chance.

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February's 5 AMAZING Albums!

Apr. 9th, 2006 | 06:17 pm
music: Midge Ure /// If I Was
posted by: kiss_me_suicide in goth_cd_review

Sorry it took me so long to do this, but here they are:

March's 5 AMAZING AlbumsCollapse )

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Bell Hollow - Self Titled Debut Demo

Jan. 3rd, 2006 | 09:50 pm
music: Bell Hollow /// Our Water Burden
posted by: kiss_me_suicide in goth_cd_review

Image hosted by Photobucket.com
Bell Hollow - Self Titled Demo

They've really done it this time.

Christopher Bollman, Greg Fasolino (Naked and the Dead and The Children's Zoo), Hayden Millsteed (Lubricated Goat), and Nick Niles have really done it this time. The latest project from these 4 New York natives (save for Heyden, whom comes from the land down under... home to acts such as Nick Cave and Dead Can Dance. Impressive enough, I'll say) is one of the most promising acts that I have, frankly, heard in quite some time. Borrowing the atmospherics of shoegaze and ethereal with the guitar that Post Punk gave us, a bit wiser melancholy than the post punkers did it, and some of the sweetest vocals you'll find a New York City nightclub, Bell Hollow crank out a demo that is intriguing, relaxing, and hopefull. Pinpointing influences here is a tough task, and pinning down a single sound is arduous, almost impossible. Deliberate? More than likely.

Funny enough, I'll say, that each different part of the band seems to be toying with their own influences and playing with their own styles, and it melds together in such a sweet cocophany of wonderful backgrounds, such is displayed perfectly in Lowlights, where Heyden's militant, quasi-tribal drums are the most focal part of the song, adding to it a certain brash quality to it that really contrasts with the rest of the music, a trait not uncommon in later Cocteau Twins material. it was one of their most brilliant points, honestly, and one of Bell Hollow's strongest. The bass is also as charming on the entire album as it is on this particular song, and probably the band's strongest point, and it sounds wonderful here, Post Punk taught them well, but the ethereal and more experimental elements to them, I find, are my favorites. The bass is taught to be atmospheric and moody, expressing the song through it's medium. Not something done too often these days, indeed. Even the bouncy, picked guitar in Getting on in Years is the most distinctive part, and probably the most effective, as it predicates the rushing tone, a beautiful peice, honestly.

I really like Niles' vocals. A lot. Yes, he sounds like Dave Gahan. But he sounds better than Dave Gahan. He sounds sweeter, more romantic. Determined, but passionate. Strong but emotional. It's fantastic and it adds to that whispy, swirly, atmospheric element even when the song's upbeat. Niles' vocal progressions are intriguing and melodic. They're interesting without being strange and classic without being textbook. He really has a great voice.

The weakest song on the demo is, incidently, the most upbeat one, Late at Night. This is the song where that Chameleons influence they speak of is the most apparent. And just like The Chameleons, the guitarwork is still strong, and it's composition, as well as the composition of the song, is still perfect, but it seems hollow, empty, and in need of a fill. Some extra keyboard activity would have remedied this, or maybe a classical instrument. The violin or cello would fit their style fantastically, and add just enough dramatic flair. Or maybe just turning up the bass would be nice. That and the song ends abruptly, leaving you hanging and reaching.

There are a lot of great things about this release, but most of all, it shows promise. It shows that Bell Hollow are capable of having that unmistakeable quality that draws you into your imagination and leaves you breathless. The Chameleons had this quality. Cocteau Twins sometimes had this quality. And I'm certain that Bell Hollow will have this quality.

Click on the cover art to buy


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Projekt: A Dark Cabaret

Jan. 2nd, 2006 | 11:03 pm
music: Rozz Williams /// Flowers
posted by: kiss_me_suicide in goth_cd_review

Various Artists: A Dark Cabaret
Projekt Records, 2005

"The main historical flavor in Cabaret in it's darker form is of decadent thrills, providing a frisson of underground playfulness and debauchery, but a noble subtext is exemplified by the film Cabaret where, in 1930s Berlin, spirited humans laughed in the face of Fascist adversity, Modernism and Dada collided with wine, women and sex: a heady mix" - Mick Mercer, liner notes.

A catchy compilation... that's for sure. Cabaret? Questionable. Good listening? Not to be questioned.

If you're a Cabaret Purist, you may not enjoy this album for it's true-to-genre powers. Sure, it features songs that aren't actually Cabaret-styled at all... including Audra's Cabaret Fortune Teller. Psst... Projekt, having the word "cabaret" in a song does not a Cabaret ballad make. Even Katzenjammer Kabarett's wondrous Gemini Girly Song, while a fantastic number, not a Cabaret hit. Shades of grey and arguments may arise over Black Tape for a Blue Girl's twisted rendition of Knock Three Times, but let's just finish by saying that even if so, it's certainly the only Cabaret-styled song they ever did. Projekt, you're reaching...

And why wouldn't they be? With declining interest in Ethereal and Ambient music, a label that provides only that with few notable exceptions needs to do something in order to retain staying power, and it's all in the creativity of the big heads as to whether or not it succeeds. Cleopatra's reaction when faced with the declining interest in Sisters of Mercy clones is to release Hair band and Cock Rock tributes. Well, to each their own, but we see where that is getting them. Projekt, I think, has hit a good spot with this one... after all, you can only put out so many compilations before you have Black Tape for a Blue Girl's entire discography on a variety of compilations featuring the exact same artists and sound almost identical. Theme-ing compilations is a good idea, and a welcome change. And such a dying genre such as Cabaret... one can only hope for a renewed interest in such a style, as it's something everyone can appreciate. Artsy and racy, as Cabaret should be, dangerous and sexy, as Cabaret's known for. There are a lot of really great song on this compilation, put simply. Audra and Katzenjammer Kabarett's contributions have been previously stated, as well as a beautiful piano ballad by Rozz Williams that's more in the vein of his infamous cover of David Bowie's Time, and Nicki Jaine's spiteful, bitter Pretty Faces, and of course, compilation masters ThouShaltNot's True Love.

Plenty of newcomers here, too. This is, of course, Nicki Jaine's first time on a compilation, as well as Revue Noir, the brain child of Sam Rosethal and Nicki Jaine, with their debut single Sometimes Sunshine, which, as you may guess, shows plenty of parallels with Nicki Jaine's contribution later on the CD. The Brides, whom we have yet to see on a compilation, with their song Audience to the End, which is one of those songs that only The Brides would do. Self-Loathing and sarcasm... their specialty, so it seems. The guitar just sort of creeps along there, too, I like it when they use it for effect, as opposed as relying on it to make the song.

Also on here is a few artists *I* had not previously heard of beforehand, and even ask of those who read these to help me out with. Jill Tracey and Pretty Balanced add perhaps two of the best songs on the compilation, with Evil Night Together and Simon's Sleeping, respectively. I think they're both excellent, and where do I get something else by them? Keep an eye out, people, for these two artists, if Cabaret-Ethereal ever has its day, they'll be at the forefront.

A lot of excellent artists, a lot of really great songs. Wonderful listening... and yes, The Dresden Dolls open up with Coin-Operated Boy... but we'll ignore that.

You can buy it by clicking on the cover art photo


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Stiffs Inc - Nix Nought Nothing CD review

Nov. 30th, 2005 | 06:55 pm
mood: coldcold
music: Theatre of Ice - Gone with the Worms
posted by: justyn1337 in goth_cd_review

By Justyn Carver

Imagine if you will, the year 1883, down the cobblestone backroads which lead to a small Pub in East London. Inside there is the sound of people laughing, singing, and the clatter of glasses moving. All of a sudden, a guitar chord is heard, and then fire up into a maddness of victorian punk!

The Stiffs Inc are a early-mid 90s Punk group. Not much is known on them, but once you here them, you'll never forget it. I am hear reviewing their first (of two) albums released, Nix Nought Nothing. They are indeed, the last good punk band of the 90s. As well as one of the best punk bands ever. They aren't your average punk group!

Nix Nought Nothing leads off with the fast paced tune of 'Chelsea'. The song features a catchy courus, and a strong resemlence of something you would have heard back in '77! It has an almost Buzzcock's feel to it at times, but alas, you cannot compair this band, especially Mr Sterling's vocals to anyone else. Its hard to believe that such a band put out a tune like this in the grunge-ridden time of the early 90s. 'Sad Song' follows up next, with its silly angsty courus of "Sad song Bad song Sad song Boo Hoo it's another sad song!". Its a song that will put a smirk on your face. Next up is one of the cathiest songs I ever layed ears upon, '250634'. As with some of their songs, the song is very silly and ironic, and features the intro of "You cannot act vicious and then expect your dishes/You must act officious don't want to say I told you so/You cannot act vicious and then expect your dishes/I don't like her Dangerous the waitress is" The song has the catchy courus of the repeating "250624" over and over, and it leaves it ringing through head. A dandy of a song. Follwing up is "Space Nothing" which is one of my favorite songs ever. It is this fast paced punk song, with a lovely post-Orwellian lyrical composure. The song has another catchy courus of "lovely lovely lovely empty" which will be stuck in your head for hours. The song is a witty look at feeling empty, and alone in "a void of life". A classic for sure. Next song is 'Fairy Tails' which is about how fairy tails never seen to give the bad guy a say for his actions, and how they are sick of the villians always loosing. Its a very humourous song, and features the line "I never really liked little red riding hood, The pages never told me what I thought they should". The song is a great laugh, and very fun. The next song is a classic anti-anti-anti tune called "Generation Crap". Its classy lyriced punk tune of how "my generation is nothing to me, My generation is an empty lifeboat out to sea". Up next is "Engineering" a tune about the steamage of the victiorian age, and possibly making a human with it! "Positronic Engineering can create the perfect brain". Up next is a twisted love song (as all good albums seem to have) called 'Blown Away Baby'. The song is about a gentlemen who never wants to be away from his lover, so he kills himself to preserve his love for her back. Its a bittersweet song, and like most Stiff tunes, very catchy. "WORK WORK WORK..." follows up next, the song is about a plot forming, just like out of a classic mystery novel, and uses witty lyrics to lure you in! "Quick Watson" is the next song, and is one of my favorites. This song is very much influenced by Sherlock Holmes stories, and the classic companion, Watson. Up next is the song "Mary Pickford Marry Me" which is about an obsession with the classic movie star of the name. His longing for her doesn't matter that she is long since past, as his voice guides you into a classic Stiffs Inc song, a sheer memorable song. The morbidity of the song "Die Mother Die" and its bittersweet nature draws you in with its catchy courus, and its great guitar work, the lyrics of a warped childhood are suprub. This wonderful album concludes with the song, 'Fear in the Night' is a perfect closing. The turn of phrase, and use of lyrics in this song are amazing, proving who poetic the Stiffs can be, and how it will won't let you get away without a crazy catchy courus. The song concludes with the unscrupulous nature of "I tell you sisters don't trust the misters when
they say they want to be a Jack of all Trades"
This song is a true "goodnight" to a perfect album from a band who deserved more attention then they recieved.

The Stiffs Inc are long since gone, everyone went in different directions, but the impact they left on the music scene is a great one. They shared the stage with the Brickbats back in the day, and produced two timeless albums.

There's nothing in my way but I stumble all the same for
Fear in the Night Night Nighty Night

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New Math "Wake The Dead" CD review

Nov. 30th, 2005 | 05:47 pm
mood: accomplished
music: New Math - Take to the Night
posted by: justyn1337 in goth_cd_review

New Math
Reanimator Records

The early American deathrock/goth scene was quite a curiousity. Most of the folks around the time started working with darker music before evening hearing about the batcave, or who Andi Sex Gang was. In Upstate New York in the early 80's arose a band called "New Math" (later Jet Black Berries). New Math takes a mixture of Deathrock with psychedelic overtones, as well as post-punk/punk. Very influenced by B-movies/horror movies, which is all evident in their music.

The album kicks off with the song "They Walk Among You", an anthem for the sci-fi/alien lover. Its a slower keyboard laden diddy with the catchy courus line of "They walk among you, they walk among you", little samples of people speaking, and ending with the catty addition of "...and you are lucky that we do". This song apperently got some MTV play back in the 80s as well (when they played everything) This song will slowly bring you into the rest of the album as "Garden of Delight" follows. The song is a drug induced euphoria with lots of organ riffs, and grand guitar work. It goes from very slow to fast in an instant without you noticing. It all moves together so well. It also features the line "Jet Black Berries, I do inguest" which will account for the later name change. "Branded" is the next song, a song about being an outsider. This song is very San Fransico psych. influenced. A slow, almost Kommunity FK-esque paced song. "Invocation" follows, and is among one of my favourite songs of theirs. A very dark song, with a very horror charm to it. It is based on the indie film of "Invocatio of My Demon Brother" by Kenneth Anger. This song will pull you into a twisted daze of organ work, and swirling guitars. "American Survival" is next, a fast paced song about the socio-economic society of America, how punk, eh? Indeed, a humourous song, which will leave you listening and tapping your feet along, singing along "Buy and Buy and Buy and spend and spend!" A political showcase. Tribal drumming, and crazy guitars. "Flesh Element" follows, a song about, basically, "we'd all be better off if all we did was fuck" as they say. This song is full of 80s syn'drums. It reminds me really of Mod bands in the intro, a truly amazing song, full of great insturments. "Meets the Eye" is one of the darkest songs they ever did. A song about what its like to be a dead body buried in a coffin deep, wishing you were still alive. Organ work ladens this classic New Math song. Following is the bouncy "Dead of Night" song featuring a catchy courus line of how we're all just creatures in the dead of night! It shows how no matter how romanticised Zombies can be, its not all that its cracked up to be! "Pipes of Pan" is next, a song that surprises me it didn't become more famous and noticed by them. A catchy new wave almost song, its about the routine of your every day job. I love the keyboards, and drumming in this song. "Two Tongues" is next with a The Herd influence evident in it, and a grand guitar solo. "Take to the Night" is next, a romantic song of a Hit and Run, very upbeat, poppy, and catchy. "Diana" is a song about a women connected to the phases of the moon, the band was told to go in a Top 40 direction, needless to say, it never reached it. Damn good song though. The next song "Love Under Will" was featured on the Return of the Living Dead soundtrack. One of my favourite New Math/Jet Black Berries songs too, the song is very Psychedelic Furs influenced, as they were friends of the band. "Johnny on Top" is a rock'n tune, along with "Restless Kind" which is the bands fasted song, punk guitars surround the amazing vocal work. "Break Up the Dance" was a crowd favourite, as well as a favourite of mine when I DJ. Its got a roller rink-esque organ, the song features socio-political overtones, and the yuppy greed of America. The last two songs are great live tracks the band did as well, a wonderful close to a wonderful album.

Beautiful psychedelic horror-influenced American deathrock, New Math were an amazing band. Highly recommended!

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More Human Drama

Nov. 30th, 2005 | 01:59 pm
mood: accomplished
music: Faith and the Muse - Heal
posted by: kiss_me_suicide in goth_cd_review

Everyone check out Johnny Indovina's new project, Sound of the Blue Heart. He's the ex-singer and mastermind behind Human Drama. I haven't heard it because my speakers are blown on my computer, but the description reads as follows:

"Sound of the Blue Heart continues to explore the beautiful textures that Human Drama established, coaxing the listener into songs with thought provoking insights and infectious rhythms. In "Beauty?", Indovina contemplates the fickleness of fate, as a dreamlike melody pulls the song along like a slow moving car through crowded city streets. “The Great Escape” finds Indovina softly repeating one of the undeniable truths of life - “there are so many ways to tarnish a beautiful thing”, and later, the smooth pulse of "River of Love" paints a haunting backdrop for Indovina’s musings on the frailty of love."

Somebody should check it out and tell ME how it is... haha.

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Human Drama - Feel

Nov. 29th, 2005 | 09:52 pm
posted by: kiss_me_suicide in goth_cd_review

Human Drama - Feel
Release Date - 1988
RCA Records

Honestly, I'm not sure why this band never reached the hieghts that their peers, Gene Loves Jezebel and The Mission did. From what I'm hearing, there's no reason for it. That's strange, huh? Hearing Human Drama being talked about in the same sentance as Gene Loves Jezebel and The Mission... well that's because Human Drama has a stigma attatched to them that they're angsty, folk-driven, and whiney. Well, that's because you've never heard this album. You know how I know that? Because if you think that Human Drama fulfills those three adjectives, then you couldn't have possibly heard this album. Let's see how we can sum this up in simply adjectives, huh? Riveting, Intoxicating, and Intense.
Musically, it's a rock album. A pure rock album. It has all the elements: Riveting guitar riffs and solos (yes, folks, solos), pounding drums, female backing vocals, and a voice that will blow you away. The constant 80s electric guitar layered over acoustic guitar is just as powerful here as it is in Gene Loves Jezebel's more-famed "Kiss of Life". The drums are purely typical of 80s rock, but more pwerful than ever heard on such an under-appreciated band. For sure a chorus album, the choruses of each song just grip you in a way that few others can. All of them involved Johnny Indovina using his voice in the most intense and dramatic way possible.
The standout tracks on this album are "Never Never" and "I Could Be a Killer" for the pure epic conviction in his voice on each, as well as the drama! The dramatic moments are more along the lines of the cheesy 80s staple than The Mission could ever have wished to have emulated. It's almost a tempo roller coaster with the breakdowns and chorus combined. "I Could Be A Killer" even touches on some of the guitar that Concrete Blonde left behind.
Speaking of The Mission, if "Severina" were a love song, it would be "Tumble". Alright, maybe just for the guitar, but I'm not complaining. This blows "Severina" clear away in lyrical quality, infectious chorus, and even quasi-tribal drums in parts to boot! I'd almost say "influenced" if "God's Own Medicine had not been released just a year and a half earlier. It's almost a wonder that these two never hooked up for a tour, but I have a feeling that Human Drama's music may just be a little too intense for Wayne, and perhaps more lyrically sincere. He'd blush listening to this album!
In "Through My Eyes", Johnny's voice is intoxicating and full of intense passion, and absolutely overflowing with emotion. Lyrics are inspiring and confident, and don't come off desperate, but empowering, instead. The chorus is the most invigorating part, with genius only a mother could love... but the finale in the chorus is just too vocally romantic not to love. It will have you singing in the mirror...yes, it's that good. Musically, the entire song is simply brilliant.
You'll swoon past "The Waiting Hour", "Dying in a Moment of Splendor" and "Heaven on Earth", filled with awe as one by one, Johnny discrbes emotions in words that you thought you could only feel, and never translate into words until you get to his Neil Diamond cover, "Old Man", which is more wise than regretful, as Neil Diamond's was. As with the rest of the album, the bass is drowned out and lost behind the lovely guitar.
The only song that is remniscent of Human Drama's angsty folk is "There is Only You", an acoustic ballad that starts soothing, just to end empowering.
The only thing I can say negaitvely about this album is that it's almost too intense and invigorating. Reaching new emotional heights, you'll wonder how you ever got through without it. It doesn't even have to grow on you... really, it doesn't.
A truly FANTASTIC album by a band known for it's emotional splendor and lyrical beauty...but not so for it's heavy rock leanings ;)

Mission UK - God's Own Medicine
Gene Loves Jezebel - Kiss of Life


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