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NEW DARK AGE – OCT 2018

Filed under: Events,Goth Stuff,live music,New Dark Age Monthly — doktorjohn October 10, 2018 @ 3:17 am

A Murder of Crows – 2018

Recurring NYC summer music festival, A Murder of Crows – focused on Post-punk, New Wave and Death Rock – was held at Brooklyn Bazaar on the mid-month weekend of Sept 15 and 16, under the auspices of TempleChurch Entertainment. Festival-goers had access to sets by five different bands in the upstairs performance space on each separate night. On the ground level were merchants and curators manning booths to constitute The Dark Market where wickedly themed, crafted curiosities and more were on sale and where advocacy groups gave voice to their causes.

On the basement level, a nightclub disco dance party was also part of the festival. Famous deejays serving up tracks at this lower level dance party the first night included DJs Dave Bats, Martin Oldgoth, Patrick and the event’s impresario, Sean Templar himself. Lovely hospitality hostess Mandana Banshie greeted arrivals and oriented them to the various points of interest at the festival, offering one-day ($30) or two-day ($50) access according to their preferences.

Mandana Banshie and friends at the entrance gate

One of the themes was bidding farewell to the famous Goth party, Release the Bats in one of three end-of-an-era parties to conclude its run in LA on Oct 26.

After satisfying our curiosity at the Dark Market and making a small purchase, New Dark Age settled in to hear the live band performances that took place on Saturday. First up, Floridians Atari Nite opened with a pleasantly bombastic rock set. Next, Cemetery proved to be anything but dead, with an even more bombastic, even frenetic, driven, almost chaotic set, the vocalist jumping offstage into the crowd to supercharge up their energy.

Next, Dave Bats introduced Minnesotans, Rope who played an eminently danceable and melodious set. They were followed by The Last Cry whose emotionally wrenching, melodious hard rock was spear-headed by a highly dramatic, full-throated lead vocalist.

Ritual Howls on stage on first night of A Murder of Crows

Finally, headliners Ritual Howls opened with their hit, “Helm”, its incongruously Western style guitar strumming punctuating its pitch-black chanted chorus. Ultra deep bass, twangy guitars, and deep drones amplified the deliciously morose mood of “Nervous Hands,” “Final Service” and other such other favorites as “Scatter the Scars” which they played late into the morning.

The second date, Sunday Sept 16, saw Rhode Island’s post punk band Way Out open; followed by popular Brooklyn bands the Bootblacks and Azar Swan; then displaced Australians – now out of LA – the VOWWS, before headlining dark wavers, Actors from Vancouver concluded the show. The deejay party downstairs, termed Forever Young, was different the second day, featuring such top spinners as DJs V Christ, Angel, Jet and Ash. DJ Frankie Teardrop manned the mixer in the Dark Market on closing night.

New Wave/Goth/Post-Punk Tribute Nite at the Bowery Electric

Sept 7, 2018

The Bowery Electric is a bi-level nightspot with a nice bar upstairs and a cozy performance space downstairs featuring a raised stage and split level viewing and/or dancing. The usual bill includes live rock bands, punk, reggae and the like as well as deejay dance parties.

This first September Friday night provided an exceptional experience for fans of New Wave and Gothrock. Headlining the bill was the by-now famous Joy Division tribute band, Disorder stopping back at home base as part of a brief East Coast tour which recently included an August gig in Baltimore and a subsequent stop in Richmond Virginia to take place in mid-September. Superstar DJ Sean Templar manned the booth and spun iconic favorites of the genre with the likes of Bauhaus, Sisters of Mercy and Peter Murphy.

At 8 p.m. opening band The Scream paid tribute to Siouxsie and the Banshees, led by adorable Siouxsie lookalike Eva who, backed by guitar, bass and a spectacular drummer, did justice to such favorites as “Israel” and “Spellbound.”

The Scream

Next up, All Cats Are Grey, an all girl band (but for the aforementioned male drummer who stayed on from the first band) covered The Cure’s beloved opus, including “In Between Days,” “Just Like Heaven” and rendered a consummate performance of “A Forest.” Lead singer Mary Choselle Colbert relied upon her own singing voice and stage persona rather than attempt to effect a gender-contradicting imitation of Robert Smith.

All Cats Are Grey

At around 10 p.m. acclaimed tribute band Disorder opened their act with a montage of interview clips relating to the burst of enthusiasm over the early discovery of Joy Division before launching into the ominous “No Love Lost.” Then on to “Disorder” from which the band takes its name.

Disorder at the Bowery Electric

Interspersed amidst the eleven track set were more archival samples, some from radio host John Peel, a pre-eminent discoverer and admirer of Joy Division. In one of these samples Peel announces JD’s release of the much celebrated “Dead Souls” and it serves as the prelude to Disorder’s closely matched version of that masterpiece. On another, Peel announces the sad news of lead vocalist Ian Curtis’s death by suicide, and it serves as a lead-in to “New Dawn Fades.”

Yet another voice-over features a monologue of Henry Rollins discussing the influential importance of JD’s album “Unknown Pleasures,” several pieces from which filled out the set list with “She’s Lost Control” and “Shadowplay.”

By the time Disorder had reached the tenth song, “Love Will Tear Us Apart” and the eleventh, “Transmission,” the exhilarated crowd of young and not-so-young spectators, was not letting them off stage. A ferocious demand went out from the audience shouting for an unplanned encore, so Disorder pulled a tour de force with the emotionally apt “Ceremony” before being allowed to end their performance.

Stimulate 10th anniversary

Sept 22, 2018
Drom NYC

Stimulate, the notoriously edgy, recurring music party celebrated its 10th anniversary in September by bringing back the very first band that performed at their opening event in 2008, Imperative Reaction. Host and impresario Xris SMack welcomed the return of these L.A.-based electro-industrial veterans along with Brooklyn trio, NØIR who opened the live show. The anniversary was combined with a Gary Numan after-party following the New Waver’s sell-out performance at Irving Plaza.

As always there was a stellar lineup of deejays including Annabelle Evil, DJ Paradox, Jet of Vampire Freaks fame and the host, Xris himself who treated attendees to every kind of gothic/industrial dance-conducive music. Again – as always – there were sexily-clad dancers on stage overlooking the highly stimulated crowd on the dance floor below.

The trio of Metropolis recording artists NØIR came on around midnight – masked, as is their signature stage appearance. They performed several of their by now increasingly popular and familiar songs plus a special throw-back to frontman Athan Maroulis’s early career with a piece from his earlier association with the industrial band Spahn Ranch.

World-famous electro-industrialists Imperative Reaction were welcomed with enthusiasm and reintroduced to the crowd around 1:30 a.m. and performed a set including their hits as well as new tracks, in their characteristic style employing two vocalists, one of whom served at the keyboard as well, while both were backed by live drums and electronic percussion.

Imperative Reaction

A trample-enthusiast, wrapped in a carpet, lay adjacent to the bar, making his encased anatomy available to assist bar patrons to step up as they approached to get their drinks.

NYC goth scene celebrity Aurelio Voltaire accompanied by his lovely lady, was present as were Sean and Mandana Banshie Templar and delight-to-the-eyes, statuesque, red latex-clad beauty, Ashley Bad, who participated along with Xris, in presentation of the anniversary cake topped with a pyrotechnic sparkler. It’s hard to imagine a more fun and festive night than this, that continued well into the morning.

Vampire Freaks Presents

Friday Sept 28
The Knitting Factory
Brooklyn NY

The entertainment production company Vampire Freaks, along with three outstanding musical performers hosted a night of shows at the Knitting Factory in Brooklyn on the evening of Sept 28, headlined by the world-famous Aurelio Voltaire. The Knitting Factory is a grungy yet cozy venue that resembles the old CBGBs in spirit and mission. Indeed, its original location was in Manhattan’s Lower East Side like that venerable, now-defunct club to which comparison is often made. It’s on the ground level of what used to be the Brooklyn Luna Lounge and has a capacity of about 300.

This night, about 150 showed up to see the trio of acts introduced by impresario Jet VF, noted producer of such famed events as NY’s Cybertron and the annual Dark Side of the Con. Jet also curated the deejay set between acts with the likes of London After Midnight, Bowie and The Smiths.

Opening the night around 7:15 p.m. was the horror-punk duo The Long Losts, consisting of the married couple, vocalist Anka Jureña and guitarist Patrick McGowan. Their performance was nothing short of dazzling. Tambourine wielding Anka’s noticeable baby-bump, made her even more delightfully shapely than ever, while her beautiful features were under lit – cinema style – in brilliant and garish colors. The themes were – for want of a better word – “spooky.” Drawing from their popular album, “Scary Songs To Play in the Dark, they performed such gems as “Girl With the Haunted House Tattoo” and “Glow in the Dark.” In a twist on a classic scene from “Frankenstein,” a scantily clad dancer rose up from under theatrical wraps when they played ”Fritz Throw the Switch” off their “To Night” collection.

A tribute to The Munsters’ Lily Munster was introduced with the famous TV show’s musical jingle. Patrick’s electric guitar and a pre-recorded percussion track kept the set within the traditional hard rock & roll style.

An amazing performance followed, featuring North Carolinian, Crystal Bright, a gorgeous keyboard virtuoso and operatic vocalist who appeared in steampunk attire and performed a set of luscious, creative and amusing pieces accompanied by a drummer. Each gave her opportunity to showcase her amazing voice and stunning skills on both the accordion and a freestanding keyboard. In a twist on the old standard, “You Are My Sunshine,” Crystal Bright led the audience in a sing-along in the darker key of A minor (instead of the usual C major), reflecting her “Southern gothic” style. The combination of her vocal skill, musicianship and stunning stage persona were a rare treat and a source of astonishment to those present.


When the headliner, Aurelio Voltaire was introduced by Jet, the crowd roared to welcome him. He is known for interactive, tongue-in-cheek, clever and cutting narratives done along with acoustic guitar-driven Anti-Folk style. He quickly demanded – and received his consistent companion – a bottle of spiced rum from which to swig.

Playful pirate themes and social satire ran through the performance. Goths, small town America and the New York scenesters were targets of Voltaire’s sarcastic parody. His show was highly interactive with an audience that appeared to be composed of deeply committed fans that sang or lip-synced along with much of his set.

He told many an amusing anecdote and singled out birthday celebrants in the audience for good-natured ribbing. When a funny narrative about his Hispanic ancestry and the Mexican Day of the Dead prompted him to mock a meddling “Social Justice Warrior,” one angry protest was issued from an audience member who stated that she was from the U.K. She tried to instruct Voltaire that the term was used only by what she called “right-wing a—holes.” Voltaire leveled her, first, with a snarky reply, that this is America and that we give instruction on how to speak English. Then he went on to demolish the whole SJW attitude with a hilarious song off his newest album, “So You’re Offended,” mocking those who perpetually take offense.

Voltaire’s show had so many and diverse jokes, themes and tales that it is impossible to keep track and report all of them here. Suffice it to say that as always, he left the spectators, laughing, singing along and eager for every musical element and humorous yarn.

QXT’s 27th Anniversary

QXT’s 27th Anniversary Tee-shirt

Sept 29, 2018

Newark’s famous nightclub also celebrated an anniversary in September – its 27th! This makes QXT’s not only the foremost dedicated alternative dance establishment, but the longest running in the greater metropolitan region. To honor the occasion, entrance was $15 that night, and the first hundred attendees received a free, newly designed teeshirt. The line-up of deejays ran from A – Z, DJ Ash to DJ Zeitgeist including residents like Damian Plague and Mindsolvent plus frequent guests Helixx and Caelestka, fourteen in all! Videos were curated by TM5.

All three bars and dance spaces on both floors were open from an early 9 pm start, and festivities ran until 3 am in the landmark venue located in downtown Newark adjacent to the safe Ironbound section and provided with plenty of secure parking.

The legend lives on!

Gothic Vampire Cruise on the Hudson

Oct 6 2016

Passengers aboard the “Demeter” on the Gothic Vampire Cruise

The first Saturday in October kicked off the Halloween season with a special event, the Gothic Vampire Cruise. Hosted by Faunesk Productions, this represented the third recurrence of this event. Hostess Kai Irina Hahn arranged a unique variety show of entertainment including role-playing, costumed Count and Countess Orlok, belly dancers and a smashing performance by her own band, the electronic rock group The Sedona Effect.
Kai Irina Hahn of The Sedona Effect

The excited crowd was both Gothic and Victorian in looks and attire as they boarded the fully rigged schooner, the Demeter, via gangway at the Battery Park slip. Happily the weather held off, but the ship’s deck was well equipped with a canopy, just in case.
Besides playing their own hard-hitting industrial repertoire, TSE concluded their set with a tour de force, strong-female version of the iconic anthem, “Bela Lugosi’s Dead.”
The piéce de résistance was a grand finale featuring Vangeline Theater Company’s Sindy Butz, who performed a riveting and poignant Butoh “dance” of sorts, that both touched and terrified the completely transfixed audience.

DJ Patrick kept the appropriate mood between acts with an ethereal, trip-hop blend that included Dead Can Dance and similar moody tracks. A well-stocked bar and hospitable crew made everyone comfortable as the Demeter hoisted sails and cruised the environs around the Stage of Liberty, Ellis Island and the Upper Bay area. The cruise went on from about 9 pm to 11 pm when the ship finally returned to dock.

Necropolis

An afterparty for the Gothic Vampire Cruise on the Hudson was held at Necropolis in its customary location, mid-town’s Windfall, where landlubber goths were joined by the recently disembarked vampiric cruise attendees. Upon arrival, they were greeted by Skinny Puppy’s “Smothered Hope” spun by master DJ Erik Aengel. DJ Patrick regained his land-legs and joined the stellar roster of deejays which included Sean Templar and host Father Jeff Ward spinning New Wave, Synth and dark dance into the night.

Morbid Anatomy Library & Green-Wood Historic Fund

“Bridging Two Worlds” Opening Party

Sept 21, 2018

Exhibit curators Joanna Ebenstein and Laetitia Barbier greeted and directed the dozens of Morbid Anatomy devotees who attended the latest exhibition and re-opening of the library’s new home in the enchanting Fort Hamilton Gatehouse of Brooklyn’s Green-Wood Cemetery. An outdoor wine reception was combined with a meet-and-greet, as attendees entered and toured both the first floor exhibition room, and then made it up the charming, antique spiral staircase to the newly re-stocked attic library.

Containing over two thousand books, Morbid Anatomy serves as an open-access research library and is also home to photos, artworks, ephemera, and artifacts. Starting out as the Morbid Anatomy blog run by author Joanna Ebenstein (“A Graveside Companion” et al.) in 2007, the library first found a home in 2008 in Proteus Gowanus, subsequently at the now permanently closed Morbid Anatomy Museum, before settling into the Green-Wood Cemetery’s historic gatehouse. All this while, it has hosted and produced lectures, presentations, exhibits, workshops and publications around NYC as well as organized tours to festivals and museums around the world.

The current exhibition and the focus of the event is housed on the first floor of the gatehouse and features art and artifacts that fit into the theme of “Bridging Two World: The Land of the Living and the Land of the Dead.” The centerpiece of the exhibit is housed in a glass cabinet containing statuettes, tiny dioramas, articles and artifacts mostly pertaining to the Mexican Day of the Dead and other folkloric traditions. Representations of shamans, spiritual mediums, rituals relating to ancestor worship, metaphoric and allegorical imagery of the interface between the living and the dead are on display on the walls. Besides their fascinating symbolic significance, these works prove to be of surpassing aesthetic appeal, even when somewhat gruesome.

Among the most gruesome of these was the large acrylic-on-panel painting, “Kingdom of Death” (1990) by Wolfgang Grass, lent to the exhibit courtesy of the Stephen Gallery.

“Styx” – Ink on fabric

An ethereal, black & white, Spiritualist-inspired artwork, “The Styx” by Sherry Kerlin portrays ghastly yet serene figures in Victorian attire aiding the transport of a recently deceased over the river that leads to the world of the dead.

The list of intriguing, emotionally moving and historically important pieces on display is too great to cover in this report. So too, is the broad and rare contribution which Morbid Anatomy has made and continues to make to our regional culture, exhibiting, educating and enthralling all who frequent this unique institution.

Visit the morbidanatomy.blogspot.com to learn more, and by all means get over to the Morbid Anatomy Library in Brooklyn on Saturdays and Sundays to view the exhibition and to peruse the library. It is to be found at the gatehouse by the intersection of Fort Hamilton Parkway and Micieli Place.

“De Glömda”
A Glimpse into Supernatural Scandinavia

t of Darby Lahger
Last Rites Gallery

One of the most prominent tributaries of Goth culture flows from the cold, dark land sunless winters, particularly the Nordic traditional folk traditions from the Middle Ages. These are the original Goths, whose sombre folklore has shaped numerous forms of expression from Existentialism to Black Metal.

Darby Lahger is an American-born transplant to Dalarna, up in the forests of northern of Sweden where, with her husband and three children, she lives a life heavily influenced by the history, legends and aesthetics of her adopted homeland. She is also noted photographer.

The Last Rites Gallery hosted Lahger’s first solo exhibition of 17 of her drawings in graphite and charcoal, depicting witches, giants, gnomes ghosts and the like, all culled from Scandinavian mythology. Some are portraits, other scenes and others still are surreal. All have a naive, art-brut style which is not to say that there isn’t some excellent draftmanship as well.

Artist Darby Lahger at Last Rites Gallery

We spoke to Darby who was enthusiastic in reporting on the legends and superstitions that inspired her work – ghastly night stalkers, practitioners of black arts and characters from nightmarish folk tales. Currently she is illustrating a book of stories with related fables being written by her Swedish husband. The exhibition opened Oct 5 and runs until Oct 20, 2018.

That’s The Way (I Like It) EP

Metropolis Records
Raymond Watts of industrial rock band in collaboration with author/singer/adult film star Sasha Grey issued this EP on Metropolis Records on Aug 31. Built around a cover of the 1975 disco hit by KC and the Sunshine band, it also contains remixes of three tracks off the recent (June 2018) album “Risen.” Two versions of “That’s the Way (I Like It)” appear on this EP, constituting the first and third tracks.

The first of these is dubbed the “rougher” version and the other called “PIG in the disco Remix.” The former is also available as a softcore video – believe it or not – on Pornhub! Musically, it is a down and dirty cover of the Sunshine Band’s original, complete with harsh percussion, growls and choral voices. Sasha Grey’s lead vocals have a sensuous, seductive quality, and are counter-posed to coarsely baritonal male replies. In second version (track number three) there is a weirdly ethereal intro with faraway vocals that rise gradually and distantly out of the wash of instrumental music. As this track progresses, it grows chaotic, yet retains a menacing, relentless cadence that suggests a plodding hoard of zombies on the march. Both tracks retain the familiar driving rhythm and backup vocals of the 1975 work but with sonic complexity galore.

Track number two, “Truth Is Sin” represents a Chris Hall remix of the song of the same name off the “Risen” album. It is a mean-spirited, hissing revisit of the album original but with bursts of guitar and a generally faster pace, giving it the Stabbing Westward signature sound.

Track four, the Hanzel und Gretyl remix of “The Revelation” has the same feel of post-apocalyptic funk as the original, featuring gravelly, croaking vocals, and swirling, repetitive guitar mantras that are on the “Risen” version, with little discernible difference from the original.

Finally, Ego Likeness has remixed “Cult of Chaos,” adding crackly deep male vocals, hand beaten percussion and tidal waves of pleasing, melodious, rhythmic sound.

Like the antecedent album “Risen,” this EP offers mesmerizing grooves, irresistible rhythms and creative electronica in both the original Raymond Watts compositions and the cover versions of the familiar 70s megahit. Be sure to check out the PIG & Sasha Grey video of “That’s the Way (I Like It)” which you can find on Youtube without having to navigate through Pornhub.

Dionysus

Dead can Dance

Neoclassical darkwave music project Dead Can Dance is about to release their ninth studio album called “Dionysus” after the Greek god of wine and religious ecstasy. Like much of their body of work, it will address its theme with folk instrumentation, field recordings and chants. The opus represents the myth of Dionysus in two acts of seven movements. The first movement of the second act, “The Mountain” has been made available to listeners on Pitchfork.

The myth of Dionysus, his birth on Mt. Nysa, where he was brought up by the centaur Chiron and ultimately, the chants and dances of the Bacchic rites are represented in musical form in this work. Listeners can expect the same gorgeous, powerful-yet-ethereal melodies, operatic-quality vocals and mesmerizing rhythms for which DCD is famous.

In support of this potentially monumental album, DCD will tour Europe in the Spring of 2019. The album will go on sale in November of this year. Pre-orders of the CD, vinyl, hardcover booklet, digital downloads and combinations of each are available through musicale.com

The Bela Session
Bauhaus

To celebrate Bauhaus’s 40th anniversary two companies, Leaving Records and Stone’s Throw Records are issuing an EP of largely unreleased tracks from the January 1979 session at which the defining anthem of Goth rock, “Bela Lugosi’s Dead,” was recorded. It opens with a nine and a half minute remaster of the work after which it is named.
The second and third tracks are the never-previously-released “Some Faces” and “Bite My Hip” which was later re-recorded as “Lagartija Nick,” the latter of which was included in the Singles EP. The fourth track is “Harry,” the Ska/Reggae-flavored piece named for Blondie’s Debbie Harry.

The fifth and last track is the original version of “Boys,” a very different version of which can be found in the Goth Box compilation.

It’s rare for something as monumentally iconic to arise from the corridors of time as far back as 40 decades ago, and this EP is sure to be a collector’s item when it comes out. Right now they are taking pre-orders and offering free download of the title track. A red vinyl version will be available as will the entire Bauhaus catalogue later this year to commemorate the fortieth anniversary of the band.

“Ewige Eis”
Eisbrecher
Metropolis Records

Industrial, dark-electro rock band Eisbrecher released a 2-CD collection “Ewige Eis” (“Eternal Ice”) subtitled “15 years of Eisbrecher” with 20 tracks on the first disc and 18 on the second. This “best-of” set captures the German powerhouse band’s repetitive guitar riffs, deep dark vocals, with a smattering of choir singing and heavily cadenced military-march-percussion. Gravel voice vocals are the rule but occasionally more melodious male singing alternates with ritualistic and female choral sounds.
If you wish to sample the album, there are two tracks, namely “Verrückt” (“Crazy”) and “Was Ist Hier Los?” (“What’s Going on Here?”) that are both available as cinematic videos. The former mocks corporate board meetings. The latter displays disturbing, archival videos of examples of barbarity in war and everyday brutality that usually goes unseen. Both feature the driving beats, industrial guitars, chorals and danceable rhythms that are representative of the 2-disc Eisbrecher retrospective.

The War of the Worlds – The Definitive 80th Anniversary Collection 1938 – 2018

Stardust Records

All fans of radio and of Sci-Fi are aware of – and fascinated by – that wonderful historical event when eccentric media icon Orson Welles played a monumental prank on audiences when he broadcasted a show based on H.G. Wells’s “War of the Worlds.” He so structured the narrative as to leave it ambiguous to naive, radio-era listeners as to whether it was an actual news report or a mere tale of fiction. Mass panic ensued. It turned into one of the greatest spoofs of all time in 20th Century American culture.

Now Cleopatra Records exec Athan Maroulis (Spahn Ranch, Black Tape for a Blue Girl, Noir) has gathered together a 2 CD collection that includes the complete original 1938 broadcast along with a 1940 conversation between Orson Welles and H.G. Wells and a rare 1955 broadcast. It became available Oct 19 on disc and on digital format in both the U.K. and the USA.

A must-have for students of weird history, 20th Century madness, Depression-Era eccentricity, media, sci-fi and general shenanigans.

Wave Gotik Treffen (WGT 2018) Handbrotzeit

Filed under: Events,Goth Stuff,My Art,Uncategorized — doktorjohn September 27, 2018 @ 3:13 am

This was a scene in a courtyard outside Taubchental in Leipzig during Wave Gotik Treffen

Oil on canvas 16″ X 20″

New Dark Age — August 2018

Filed under: Goth Stuff,live music,Movies,New Dark Age Monthly,Recorded Music,Uncategorized — doktorjohn August 6, 2018 @ 4:01 pm



Necropolis

This month’s edition of Father Jeff’s Necropolis truly lived up to its name by hosting an official book launch of Hippocampus Press’s “New York State of Fright,” an anthology of horror stories by NY authors featuring stories set mainly in and around NY.

Before the first music began , there were readings, book signings and trivia discussions. Then, after the first set of dance tracks, Windfall manager Chris Savo called a pause. Brooklyn horror author, Teel James Glenn, attired in tuxedo, manned the temporary podium and read a creepy, humorous vampire short story with an unexpected twist to great approval by the necropolis crowd.

Also in attendance was film director Jonathan Berman, visiting NYC for the premiere of his documentary about the UFO-cults of the 20th century, “Calling All Earthlings.”

Despite the heat, the humidity and the absence of numerous scene sustainers who were away in Ireland, Father Jeff and Patrick pulled off a rockingly successful episode of Necropolis with the assistance of DJs Joe Hart and TJ Lepore.

QXT’s Aug 3, 2018

Newark dance club, QXT’s nightclub hosted a free admission night called “2080” dedicated to 80s New Wave, Synthpop and Synthwave, at which DJs Ash and Damian Plague served up the requisite fare from 10 pm to 3 am the following morning. Heard was the softer stuff on which the crowd grew up like Depeche Mode, The Cure, Duran Duran plus Synthwave giants Lazerhawk and Dance with the Dead. About midway into the night, Damian concocted a beautiful mashup of Filter’s “Hey man, Nice Shot” and NIN’s “Closer” which set the dance floor into ecstatic frenzy.

Cabaret Voltaire


Cabaret Voltaire
Industrial Demos 1974 – 1976
Mataram Music (2018)

Cabaret Voltaire, the English industrial music pioneer group, formed back in 1973 before the era of digital media. Experimenting with cut-up technique, using audio tapes, sound samples, loops and the like, they introduced the world to a radical alternative to the conventional music based on rhythm and melody and helped create the industrial genre.

Still active in both performance and recording (although the personnel members have evolved) they just released a collection of their do-it-yourself works from the mid-70s entitled “Industrial Demos 1974-1976,” containing ten tracks from the era when they were musical icons of the Dada art movement. As far as I can tell, each of these have been released before amidst the myriad studio, live, remix, and compilation albums and numerous singles and EPs.

This album starts with “The Dada Man,” an erratically cadenced series of speeded up tape squeaks, metallic banging and sci-fi noises. The next track,“Ooraseal” has no recognizable rhythm and plays with vocal samples run backwards while an electronic chirp drones on. “A Sunday Night in Biot” features distorted, tinny vocals that pierce the waves of synthetic roars, beeps and burbles. The sound of a kazoo breaks in now and then.

“In Quest of the Unusual” is a brief piece that produces a chaotic wall of sound with clicks and snaps occurring without any regularity. Echoic roaring sounds and vocals are heard through the rhythmic, percussive “Do the Snake.”

“Fade Crisis” utilizes echoic, foghorn-like samples to create a spacy, faraway feel without anything resembling rhythm. “Doubled Delivery” is characterized by a double-speed marching cadence that is relentless, over which are layered synthetic burps and buzzes.

“Venusian Animals” is the track that most resembles the soundtrack of an early sci-fi thriller with loopy mournful electronica and sweeping wind-like noises. “The Outer Limits” falls into the same category but employs a painfully high-pitched drone behind the repetitive sound of a machine sloshing through an electronic swamp toward some remote destination.

The album concludes with “She Loved You,” an eight-minute largely empty track with sparse pounding sounds, backwards recorded voices and quiet blasts of synthetic growls and horns.

Credit where it’s due – this group took what limited technology was available and put it through every conceivable operation, thus helping open our minds to a new auditory experience that led to where we are now. It was more noise than music, but it served its historic purpose, and from it has flowed industrial, techno, electronic, EBM and more.
All these tracks can be accessed on Youtube.

Panic Lift


Panic Lift “End Process” 10 tracks
Metropolis Records

This is Panic Lift’s fourth album, released this Aug 24, two years after, “Skeleton Key.” There are ten tracks of essentially industrial electronic rock with elements of symphonic, synthwave and Linkin Park-like rap. It opens with an electro-industrial track that has interjected spoken word, The next several tracks contain some nice, melodious singing that alternates with harsh, hissing vocals, always to a compelling, rapid beat. Several tracks are at a slower, more moderately pace and feature eerie strings and hypnotic, synthetic arpeggios. Staticky voice samples make an occasional appearance setting a post-apocalyptic mood. Some of the electronica has a pseudo-aquatic, New Age feel even as it leads into a mechanized cadence and pleasant full vocal singing. Belching guitars form a frequent element that places the overall category of the album into hard, symphonic rock.

Sometimes the lyrics (all of which can be read on the included cover art) have an angry, accusatory sense, issued in a gravelly voice, but James Francis’s versatility is that he can switch to mellow crooning within the same track. The music is always inviting, pleasing to the ear as well as conducive to the dance floor. The appeal of this album was such that on first listening I was able to find each track immediately satisfying.

Panic Lift is on their “End Process” tour in support of this album.

Rated A
Beautifully brutal

The Ink Bats


The Ink Bats
“Loss”

The Oakland, CA-based Ink Bats are touring the West Coast in support of their nine-track 2017 disc,“Loss” and to promote the Youtube-accessible video of the album’s sixth track, “Caves.” The album starts right off with a rocking number with a driving beat and mournful, high-pitched wailing vocals. The pace slows a bit with the second track, but the beat is still compelling and vocals more controlled, though no less anguished. The third cut features a drawn-out, elongated electronic guitar droning and plaintive masculine vocals that evoke Fields of the Nephilim over a snappy cadence, The fourth track opens with an eerie, eloquent sample of a British patrician that contrast with the long instrumental intro and beautiful choral vocals supported by prominent drumming with – again – a driving rhythm.

By the fifth track begin to wonder if the Ink Bats are going to keep up the irresistible verve you have been listening to, and they succeed admirably. Luscious female vocals of rhythm guitarist Josie Dot have an operatic quality as they rise above accompanying mean-sounding instrumentation and male backup. Judge the deliciously dark sixth track, “Caves” yourself, by checking it out on Youtube. Rather than stand out above the other tracks, it rather epitomizes the richly textured gothic, PostPunk style of the rest of the album, which itself is a stellar entry into that beloved genre.

The last three tracks are three, four and five minutes long, respectively, and each presents a unique, work, consistent and well-situated within the traditions and conventions of the Goth Rock style. Except for the percussive elements, any of these ten tracks would make suitable soundtrack entries to mystery or horror cinema.
Find the album which is available via Bandcamp in digital download, on CD or even in vinyl edition, and don’t fail to check the “Caves” video on Youtube.

Cyborgs Among Us


Cyborgs Among Us (2017) 1:45 documentary

This film takes a serious look at the increasing interaction of humans with technology, with particular emphasis on implanted electro-magnetic and mechanical devices. The opening sequence seems, at first, to be a fantasy in which a young man with an antenna arising from the back of his head narrates his bizarre perception of the sights, sounds and aromas he experiences in a natural as well as urban environments. Shockingly, and amazingly, it becomes apparent as the narrative progresses, that he is in fact a real person, not an actor. Born without any color perception at all, he lived – prior to the implant – in a world of grays, blacks and whites. He had a real antenna surgically connected to his brain that allows him to experience the colors of the world – as well as electromagnetic wavelengths such as ultraviolet and infrared – in the form of sounds of different pitch and timbre. The implant collects colored light information and converts it to sound perception in his brain.

This is only one astounding example presented in this real-life documentary. A worker who lost his right arm in an accident is shown having had a high-tech, incredibly versatile arm connected to not only the remaining bone of his arm’s stump, but the actual nerves that allow him to control the movements, – some of them quite complex – of his elbow, wrist, hand and fingers – and to actually feel the touch and weight of objects he is handling!

Shown is a sort of Olympics of paralyzed and amputated individuals with devices that replace and/or augment their ability to ambulate, control artificial limbs and perform tasks.

A deaf gentleman who has had cochlear implants to restore hearing directly to the auditory area of his brain discusses the versatility of his sound perception, and the options it provides him to focus on various sounds, to filter out unwanted noise so that he can understand conversation in loud environments and to shut out sound completely when he chooses to do so.

The film turns to a workshop run by a small group of piercings-adorned cyberpunks who are engaged in high-tech body modification: the surgical implant of electronic devices into their hands and fingers that enable them to operate electrical sensors and devices and to perceive electromagnetic fields.

Finally the film calls attention to the growing political movement and in particular Mr. Zoltan Istvan, sometime-presidential candidate of the Cyborg Party, who expounds on his belief that immortality in some form or other will be coming soon as advances in technology make replacement parts and computer storage of brain functions a reality. The future – this film reveals – is now!
This film can be accessed on Amazon Prime and other sources.

Nico, 1988

“Nico,1988” (2017)
Written and directed by Susanna Nicchiarelli

Manhattan’s Film Forum held the US theatrical premiere of “Nico, 1988” – an unsentimental docudrama about the last years of punk-cultural icon, Christa “Nico” Päffgen. Model, singer, actress and Andy Warhol-designated celebrity, Nico gained recognizable status singing with the Velvet Underground on their 1967 debut album, “The Velvet Underground & Nico.” Prior to that she had been a model and had acted in Fellini’s classic “La Dolce Vita” and Warhol’s experimental film “Chelsea Girls,” roles earned in no small measure by her lanky 5’10” supermodel frame and exquisite, chiseled features. Musically, she is credited with a role in initiating both the punk and Goth-rock scene.

This movie is not about those joyful years of celebrity and triumph, but the sordid last couple of years, when Nico expressed violent objection to nostalgic attempts by interviewers and fans to reawaken those memories. Sometimes she even tried to reject the stage name Nico and demanded to be called by original name, Christa. Except when the need to finance her costly heroin addiction forced her to revive her chanteuse performances before rock music-thirsting fans in Italy and in Eastern Europe.

Danish actress Trine Dyrholm masterfully portrays Nico – aging, dissipated, hoarse from chain-smoking and booze, numbed with Methadone and hard stuff, reviving the stage persona that was Nico again.

We get a view inside her bitter decline during interviews and when she is interacting with her tour crew and her devoted, late-career manager, Rick, convincingly portrayed by Scottish actor John Gordon Sinclair.

The plot includes bizarre experiences touring in Italy and in dilapidated, police-state Eastern Europe. It shows her causing disillusionment of naive, nostalgic fans and making quick, necessary getaways from the law. It peers into the pathetic relationship she had with her estranged son. Thrown in are a couple of kick-ass, out-of-control and drug-infused band performances. Altogether it is a lurid story line that serves as a vehicle for spectacular, stirring acting and brilliant cinematic direction.

“Nico, 1988” acquaints the post-Millenial generation with an historic cornerstone personality from the countercultural 60s, as she coasts twenty years later into her final demise.

The Most Courageous Woman in the World – Ayaan Hirsi Ali

Filed under: My Art — doktorjohn July 20, 2018 @ 6:49 pm

Ayaan Hirsi Ali

NEW DARK AGE – July 2018

Filed under: Events,Goth Stuff,live music,Movies,New Dark Age Monthly,Reviews,Uncategorized — doktorjohn July 3, 2018 @ 9:00 am


Das Ich Besucht Amerika

STIMULATE
at St. Vitus/ QXT’s
Brooklyn/Newark

Heavenly Bodies: Fashion and the Catholic Imagination

Satanik Germanic
Hanzel und Gretyl

New Dark Age – June 2018

Filed under: Events,Goth Stuff,live music,New Dark Age Monthly,Uncategorized — doktorjohn June 27, 2018 @ 10:06 pm

2018

General Information

The world’s greatest festival of Goth culture takes place in Leipzig, Germany, during 5 days leading up to the Monday of Pentecost that follows Easter by 40 days. Wave Gotik Treffen begins on the Thursday and concludes on that Monday, which is an official holiday In Germany. Leipzig is an ancient city, a traditional commercial center since the Middle Ages, rich in European history, art, music and architecture, boasting famous medieval churches, two grand opera houses, ancient and modern town squares, the oldest restaurant in Europe and countless museums, music halls, cafes and entertainment establishments.

Attendees at WGT have to resign themselves to the fact that they will only be able to catch and enjoy a tiny fraction of the vast array of entertaining and educational experiences that the festival offers. This report is based upon our hectic experience in trying to see and do as much as humanly possible during the five-day festival.

The central theme of WGT is music. Although Post Punk, Goth and Industrial are the main agenda, dark electro, experimental, classical, baroque, opera, chamber music, church organ, folk, world, variety, modern dance, ballet and cabaret are all presented. Performances number in the hundreds. There are around thirty music venues, big and small, some of which have multiple spaces within, such as the fortress-like multilevel stronghold, Moritzbastei or the cavernous Agra. In addition to the massive music hall, Agra also contains a huge shopping mall where items of clothing, costumes, fetish accessories, footwear helmets, headdresses and the like are for sale. One of the great delights of the festival is to stroll through this section browsing and occasionally succumbing to make purchases of unique items. It also contains an ongoing exhibition featuring grotesque works of explicit art.

Besides standard music venues, there are churches, parks, theaters, restaurants, cemeteries, hotels, monuments, and even ancient ruins that serve as attractions and performance spaces, hosting exhibitions, lectures, films, shows and presentations. There are around ten participating museums to which there is free access for attendees ranging from fine art to Egyptian to a museum documenting the activities of the secret police, the Stasi, during the Cold War era of Communist domination of East Germany, the DDR. Even the main train station hosts opening events and concerts.

In addition to brochures outlining the many venues and participating institutions, and an exquisitely illuminated hardcover program book, there is an extremely helpful smartphone app that presents the entire schedule, lists the artists and the performances, providing samples of the music at each event and directions on how to get to each venue. Public transportation is free to WGT attendees wearing their identifying wrist bands.
Festivities began with welcoming parties at Moritzbastei, the multilevel complex very near the town center and other venues on Thursday May 17, the night before official opening of the festival. Free entry to the various museums also became available that day.

A nice place to ease into the WGT scene is the Absintheria Sixtina, a friendly bar that is open 24 hours a day and features a small menu of beers and wines, but over 250 types of absinthe and a near infinite variety of cocktails derived from them. One afternoon we sampled some absinthe while a rock band, Nietzsche and the Wagners, performed on the small indoor stage. Outdoors, in back of the bar is a yard where beverages bratwursts and similar fare are served at tent-covered picnic tables.

Performances and Events

Victorian picnic

On Friday things got serious. That afternoon we attended a massive gathering of thousands of festival-goers, with a sprinkling of tourists and local gawkers gathered at the Clara Zetkin Park for the annual Victorian Picnic. Participants wearing their finest appropriately-themed attire settle in groups on blankets to socialize and dine in highly civilized fashion from picnic baskets while around them is a promenade of costumed strollers wearing Gothic styles ranging from Victorian, Steampunk and Baroque to the most outlandish sci-fi, fantasy and fetish outfits.

By the time we found our way to Taubchenthal, a large music hall with a resort-like courtyard and surrounding food stands, the Beauty of Gemina, a Swiss gothic rock band was underway and sounded fantastic. The venue was so packed, however, that the crowd couldn’t enter, blocked the entrances and milled about outside, unable to get in and see the stage. We met up and socialized with our New York celebrities, Sean Templar, Matt V Christ and glamorous Serena Goss while sampling the local fare.

Boy Harsher

From there we headed over to see dark electro duo Boy Harsher at the Stadtbad, a large building that had once been an enclosed official public swimming pool now paved over and serving as a music hall. This dark electronic duo, with roots in the US South mesmerized us with Augustus Muller’s minimal dance beats and grinding synths and with Jae Matthews’s eerie, ethereal vocals.

At 11 pm we caught the avant-garde, neofolk (or “apocalyptic folk”) combo, Rome, out of Luxembourg. Singer-songwriter Jerome Reuter plays acoustic guitar while crooning deliciously morose, and poignantly poetic, English-language lyrics in his emotionally-wrenching baritone, supported by emphatic percussion and occasional industrial samples.

Oomph! on stage at Agra

Things really got rolling on Saturday down at Agra. Having taken the twenty-minute tram ride it takes to get from Leipzig town center down to Agra, we were treated to the onstage performance of German industrial hard rockers, Oomph! whose bombastic style enthralled the crowd with high-energy, Rammstein-style rock. The audience revealed their devotion to Oomph! by knowing and lip-syncing the lyrics to most of Oomph!’s songs, while frontman Dero Goi energetically led the crowd like a conductor as he sang in clear, perfectly enunciated German and in English.

Oomph! was followed by Canadian electro-industrial originals, Front Line Assembly, whose underplayed performance fell below our expectations.

The reward for the night came with Norse ceremonious, traditionalist ensemble, Wardruna, whose grandiose use of ancient instruments and solemn chanting enraptured listeners with ominous percussion and pompous horns that are recognizable to those who are familiar with their soundtrack contributions to the series “Vikings.” Great music by which to burn witches!

Arcana at Kirchenruine performing at Wave Gotik Treffen

On Sunday we took the 12.5 km (a 25 Euro cab ride) to an event at Kirchenruine Wachau, the magnificent, still-standing ruins of a gothic-style church, the interior of which has been entirely gutted to serve as a meeting place and music venue. Tall, ivy-overgrown stone walls bearing the remaining framework of pointed-arch cathedral windows towered over the crowd and the Swedish neo-classical, darkwave band, Arcana. The audience was tightly crowded into the capacious space under a blistering sun. Peter and Cecilia Bjärgö, supported by guitar, percussion, keyboards and backup singers, took turns thrilling those within and those gathered in gardens and cemetery grounds outside the walls of the church ruins. Medieval, ecclesiastical and oriental style songs were sung – mainly in English – creating a transcendent, otherworldly atmosphere that was both somber and uplifting.

Afterwards, back at the Stadtbad we caught three great EBM/industrial acts back to back. Spark!, from Sweden featured a lovably clownish duo whose irresistible, compelling music caused a wild mosh pit to form. Next, Sturm Café continued in the same style, but darker and even more furious. The third was an original industrial pioneer, Belgium’s Vomito Negro, whose delightfully nasty, deep bass beats and vicious, repetitive lyrics were perfectly matched by creepy, projected video images.

De/Vision at Agra

On Sunday evening, the next to last day of the festival, German 2-man synthpop group De/Vision took the stage at Agra, and it was a welcome experience to hear Steffen Keth’s smooth and pleasing vocals as he belted out songs with inspirational and positive lyrics.

During late mornings and early afternoons we took the opportunity to visit museums and galleries. The Egyptian Museum (Aegyptisches Museum) had extraordinary pieces, grand and small. The most remarkable of these was a perfect cast of a Mesopotamian stone column bearing the text of the legendary Code of Hammurabi, carved into the stone in cuneiform script.

On Monday the last day we toured a local gallery where one section featured acrylic paintings with mildly transgressive imagery and another, more secluded section, displayed small, life-size and larger sculptures representing female genitalia, some crafted in metal to serve as costume jewelry such as pendants and brooches.

Composer Felix Mendelssohn’s Leipzig home has been preserved as a museum of his life and work. It is not an official, free-admission item in the WGT festival, but was well worth the small charge for a visit that shed light upon this remarkably gifted human being. Mendelssohn’s masterful paintings and drawings came as an unexpected surprise to those of us who only knew of his great musical compositions. In previous years we have toured Leipzig’s spectacular Johann Sebastian Bach Museum, which likewise is a non-participant, therefore , requires a small admission fee.

The last night at Agra provided a sensational experience which included Dutch band Grendel, whose thunderous EBM style was electrifying, highlighted by superb, savage vocals. They were followed by Floridians, God Module, whose pitch-dark, demonic growling vocals, grim themes and pounding rhythms were occasionally spiced with cinematic samples and grisly backdrop videos. For lovers of this kind of entertainment, this provided the perfect conclusion to the five day festival.

Phantom of the Opera

Phantom of the Opera
The Majestic Theater
NYC 2018

Although Andrew Lloyd Webber’s “Phantom of the Opera” premiered in the U.K. in 1986, it made its Broadway debut in 1988, making this year its 30th anniversary in the States and the 30th anniversary of winning the Tony Award for Best Musical. It is arguably the most successful work of gothic-themed-mainstream-crossover performance art ever, as it continues to extend the longest run of any show on Broadway.

It is based on the long out-of-print, Gaston Leroux novel (1909). It shares, with other stories of the gothic genre, the theme of a flawed, demonic-yet-sympathetic villain who threatens to corrupt an innocent woman. The time setting places the action in the turn-of-the-century world of Steampunk. The gothic status of the work is established early when in a parody of a scene from the opera “Hannibal,” a diva strides to the front of the stage displaying a decapitated head with simulated blood dangling from it. As in most gothic drama, there is a suspicion of the villain’s having supernatural powers, but his ability to appear and disappear is explainable as theater tricks and pranks of a deranged but focused mind. A piano plays by itself. He employs his “Punjab lasso” to ensnare and kill with lightening agility. The final resolution of the love triangle that constitutes the plot is both touching and tragic.

This musical leads – and has eclipsed – a long list of works of literature and drama that are definitely categorized as horror. The vast scope and depth of Andrew Lloyd Webber’s adaptation goes farther than any prior versions, including Lon Chaney Sr’s famous silent movie; the 1943 Technicolor motion picture with Claude Rains; the Hammer production from 1962; Dario Argento’s Italian movie; as well as a musical by Ken Hill who wrote English lyrics to the music of classical and opera composers. Some have suggested that Andrew Lloyd Webber’s score can be classed as rock music, and at least one aria, “Point of No Return” has a rhythm that fits the description. But not all goth is rock and not all rock is goth. Certainly the heavy, minor key melodies place the score of “Phantom” music into the category of gloom and melancholy.

Thus, despite the overwhelming mainstream success and acceptance of “Phantom of the Opera,” it seems appropriate to place it squarely in the pantheon of Goth Icons.

Disorder at the Red Party

On Saturday, May 12th , The Red Party presented the 10th Annual Joy Division party at Mercury Lounge! Called The Atrocity Exhibition, there was live music at Midnight, Back on stage was Disorder, “A Tribute to the Sounds of Joy Division.” This edition of the Red Party served as a pre-Wave Gotik- Treffen warm up party!
As usual the Red Party was hosted by the Red Queen, Mandana Banshie Templar. As always it featured Goth, Post-Punk and DeathRock with special attention given to the music of Joy Division and wasserved up by DJs for the evening, Sean Templar, Jarek Zelazny and special annual guest, Frank Deserto, aka teardrop (The Harrow).

Excitement occurred when a disorderly (no pun intended) patron began to mess with the stage equipment, specifically the stand and cables serving the keyboard. Vocalist Mike Strollo proved up to the task of neutralizing the would-be vandal with one hand while still manning the microphone with one hand. Stage manager Pete Mele quickly removed the stage crasher, and with the assistance of yours truly, had him escorted from the premises.

The show went on without interruption and concluded with enthusiastic approval by the audience.

Florence Bullock of Glitbiter

Plague Productions
and NewRetrowave presented the second, two-day Human Music festival on Saturday may 26 and Sunday May 27 (the night before Memorial day) at QXT’s Nightclub in Newark, featuring line-ups of top listed, international artists who are prominent in the Synthwave scene.

Synthwave is the relatively new and post-millenial genre of music that distinguishes itself by emphasizing electronic, mechanistic, and computer-based sound, drawing heavily from the aesthetics of the 1980s and the sonance of popular music during that era. Thus analog synthesizer instruments and samples from video games, synthpop recordings and sci-fi film soundtracks are reintroduced, but updated to the 21st century sensibilities. Thus, the term “retrofuturistic” is applied. The emphasis is on rhythmic, danceable cadence with a fabricated, computer basis, in which the human participation is cyborg-like, almost a mere option, in support of the over-arching electronic entity. Calling it “human” seems to me to be ironic use of the term.

The opening performer on the first night was Glitbiter, a one-woman project of gifted vocalist Florence Bullock from L.A. Those who arrived early were treated to original and mesmerizing beats, ethereal melodies and operatically-trained vocals as well as the appealing stage presence of a stunningly attractive young woman. This set the stage for one spectacular band after another.

Korine’s androgynous look brought a New Romantic flavor to the Synthwave style and the Encounter was admirable in their mastery of the electronic instrumentals. Brooklyn-based Aeon Rings, just back from conquest of Wave Gotik Treffen, brought ferocious energy and dance-burner intensity to their performance. Protector enhanced the theatrical aspect by wearing a flying saucer-like helmet with laser light adornment that went further in emphasizing the predominance of sci-fi and computer electronics over flesh-and-blood participation.

[caption id="attachment_2763" align="alignnone" width="520"] Protector


Over the course of the evening, Neoslave, Betamaxx and headliner Timecop1983 turned in mind-blowing and energizing performances of equally enjoyable sight, sound and rhythm.

Time constraints made it impossible to attend the second day of Human Music 2, but reports are that the nine-band line-up of groups from the US, France and Mexico met with equal success and were as well received as those of the first night.

NEW DARK AGE – MAY 2018

Filed under: Goth Stuff,live music,New Dark Age Monthly — doktorjohn May 23, 2018 @ 9:21 am

COVENANT AT QXT’S


Covenant at QXTs
April 13, 2018
Newark NJ

This world famous electronic group performed to a packed house at QXT’s, the local venue with an international following on Friday April 13 in support of their latest album, “The Blinding Dark,” their ninth studio album. Tracing their origins to a collaboration of three teenagers in a medium-size town in Sweden, Covenant consists of vocalist Eskill Simonsson, Daniel Jonasson and keyboardist Daniel Myer. The band stands foremost amidst the dance club genre termed EBM, characterized by heavy, relentless and irresistible cadence. What makes Covenant stand out is its cold, sci-fi and existential themes linked to compelling, danceable rhythms.

The opening bands deserve special mention. From Elizabeth NJ, the synthwave artist, Encounter was purely (electronic) instrumental and mesmerized the audience with dark melodies and intense rhythms. They were followed by Korine, a delightfully sad, synth pop duo from Philadelphia who will soon be embarking on a nationwide tour with Timecop1983 an Aeon Rings.

Covenant blasted on stage after an eerie sci-fi-tinged intro – an excerpt, “Death of Identity” from their new album. Taking the stage, they opened the live performance with “Like Tears in Rain” then hit “Bullet,” “Ritual Noise,” “We Stand Alone” and “Call the Ships to Port” (not in that order) to recall a representative sampling from their past hits. “Sound Mirrors”, “Morning Star” and many others from the new album were performed in what turned out to be over a two-hour set, that was understandably received with vociferous approval by the sellout crowd, although a few were heard to voice disappointment over the failure to include “Dead Stars.”

This was the exclusive New York-area appearance by Covenant on its national tour of the USA. The takeaway is that QXTs has become increasingly identified as the local club which hosts performers of international stature.

[Below is the page as it appears in the Mat 16, 2018 issue of the Aquarian]

Ministry
Wellmont Theater
Montclair NJ

Ministry is recognized as one of the most ferocious and foundational post-punk bands, initially founded as a dance-oriented, synthpop group in 1981, but in the late 80s and early 90s converted into an especially radical version of industrial. Album releases during that era went gold (selling 500,000 copies) and platinum (1,000,000 copies). Many of us developed our love of and taste for the genre with immersion in Ministry’s output. Like many groups in the industrial scene, Ministry has had a huge number of in-and-out musicians and production team members, has collaborated with a vast array of other bands and has participated in numerous festivals. Al Jourgenson remains the consistent vocalist and frontman.

Montclair NJ was the 21st stop on a twenty-six US city tour that began in CA and the Pacific Northwest before crossing the country to our area and then on down to the South. The main focus has been the 2018 release, the “Amerikkant” album., the theme of which is – like much of Ministry’s output – leftist and anarchist politics with a particular focus on the presidency of Donald Trump.

We missed the first opener, but caught the second performer, neofolk vocalist Chelsea Wolfe and her goth-metal band whose morose, mournful, symphonic music was well-received by the audience.

Headliners Ministry are noted for their visuals and graphics in addition to their creative and complex use of every imaginable audio, electronic, distortional, and sampling technique to enhance both their music and their message. A giant screen went up behind the band setup and displayed the band’s name, having appropriated the encircled “A” symbolizing anarchy, but doubling the letter within the circle to change it into an “M” to serve as the initial letter of their name.

The opening song , “Twilight Zone” featured sounds and visual images from the famous TV series, intermingled with distorted voice-over and crackly videos of our current president, cutting into melodious and bombastic industrial metal and Jourgenson’s raspy vocals. quite convincingly portraying Trump as both looney and malignant.

The pace picked up in the next piece, “Victims of a Clown,” with the participation of Fear Factory’s Burton C. Bell on stage. Both songs are from the new album. Next up, the frenetic “Punch in the Face” from their next to last album captured the band’s signature sound from the 90s and seemed to be an endorsement of personal violence and was followed by “Senor Peligro,” a pure speed metal piece reminiscent of “Jesus Built My Hotrod.” A boost to conspiracy theories was the mission of rapid-paced “Lies, Lies, Lies” which also hearkened back to previous Ministry’s classic industrial sound. It was followed by “Rio Grande Blood, “ the third of three consecutive tracks from the 2006 album of that name. In it, images of George W. Bush make him the target of Ministry’s contempt.

Then it was back to the current album, “Amerikkkant” for “We’re Tired of It,” “Wargasm” which compares war to sex, and “Antifa,” a paean to anarchism in opposition to authoritarianism. What do we want? Violence! When do we want it? Now,” was the repeated chant in this intentionally offensive track.

To the joy of everyone in the audience, what followed next was a medley of classics: “Just One Fix,” “NWO,” “Thieves” and “So What?”
After a short break they returned with an encore, “Bad Blood” from the soundtrack of movie “The Matrix”.

Despite all the noise and chaos, Ministry manages to captivate with actual melodious hooks, monumental arrangements and mesmerizing rhythms, especially live. It is impossible to report on all the indescribable sights, sounds and special effects, both audible and visible during this extraordinary show which is definitely in the long tradition of Ministry’s live and recorded music and videos, but enhanced to a new, even higher level through today’s technology.

Skeletal Family at the Red Party

Goth Icons

Filed under: Goth Stuff,My Art,Uncategorized — doktorjohn April 23, 2018 @ 1:30 pm

The 2017 Series “Goth Icons” – a rogue’s gallery of fine characters who are admired in the Goth scene.

CAN YOU NAME THEM ALL?





April 2018 New Dark Age

Filed under: Uncategorized — doktorjohn April 18, 2018 @ 12:55 pm



NEW DARK AGE – APRIL 2018

Filed under: Art Reviews,Goth Stuff,Live Music,live music,New Dark Age Monthly,Recorded Music,Uncategorized — doktorjohn April 4, 2018 @ 10:54 pm

Annual Festival

Darkside of the Con 2

Billed as “North America’s 3-Day Dark Alternative Convention” and sponsored Jet Berelson’s online community and event-hosting network, Vampire Freaks, the second iteration of Darkside of the Con took place at – and took full control of – the Radisson Hotel in Piscataway, NJ, about midway between NYC and Philadelphia.

Many, if not most of the attendees at this three day, multi-event extravaganza took overnight rooms at the hotel, and wisely so, because there was an available swimming pool, late night activities, dance club events and unofficial parties late into the night. Impresario Jet was joined by famous deejays including Mike Saga, Aengl, V Christ , Annabell Evil, Swabby, End:The DJ, Sean Templar and Xris Smack in providing late night dance ambience.

The widely diverse agenda included six bands Friday the first night, nine bands Saturday the second night and six bands on Sunday morning. Such popular regulars of the scene as the Long Losts, The Rain Within, Ego Likeness, Disorder, Xentrifuge and Panzie were joined by others, equally popular, but too numerous to mention.

Panel discussions featured celebrity discussants as Sean Templar and Xris Smack among others. Topics discussed included every field of interest and inquiry pertinent to this community, including cosplay, gender issues, oddities, Wicca, vampirism, and “What the Hell is Goth?” Madame X hosted two meetings of the Iron Garden community discussing paranormal experiences and strange sightings. Bella Morte’s lead vocalist, Andy Deane succeeded in conducting group participation in extemporaneously writing a song that turned out with a sci-fi theme.

Fetish and handicraft workshops and ticketed, open-bar socializing parties were among the many activities in which attendees participated. A pool party took place on Saturday night. Vendors hawking corsets, masks, costume jewelry, accessories, toys and eccentric, crafted items contributed to the grotesque atmosphere.

Among the crazy entertainments there was a vampirish ballet in Victorian costumes called “The Burlesque Revue,” and a screening of “Little Shop of Horrors” simulcast alongside a live performance of the scripted action complete with life-size actors and hand puppets.

Xentrifuge on stage at Darkside of the Con 2

By far and away, the major attraction was the attendees themselves whose contribution was to provide the most gorgeous and extravagant outfits, costumes and make-up depicting every conceivable identity and persona that fit into the diverse agenda of the Gothic, punk and industrial world. Whether heavily armored in fishnets and leather or scantily exposed in bikinis and boots, the predominantly black-clad population of the dark underground community attained the heights of glamour, beauty and bizarre style. Photographers and mere onlookers stood in the corridors gaping in awe and admiration at the endless parade of beauty and outré fashion.

Darkside of the Con has achieved status as a convention on a scale similar and comparable to some of the major events that take place overseas. When I attend music and cultural gatherings in Europe, I am sometimes asked if there are like events in the States. It has been a long time coming, but now I can answer “yes.”

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Nights Out

Clan of Xymox
Brooklyn Bazaar and St. Vitus
Brooklyn NY
March 25 & 26, 2018

Metropolis Recording artists and Dutch dark wavers, Clan of Xymox performed at Brooklyn Bazaar on Sunday night, March 25 and again on Monday March 26 at St. Vitus, both Brooklyn venues. Tracing their origin to 1981, Xymox is famous for being early pioneers of the quintessential Goth sound. Their origin with iconic 4AD Records adds to their “cred.” presented by Mandana Banshee and Sean Templar’s Red Party they performed identical set list at both places.

We missed the first opening band but caught the dazzling keyboard-centered Decoded Feedback and the Skinny-Puppy-sound-alike Static Bloom, both of which bands would be well worth going to hear live just on their own.

Xymox started with the eerie, instrumental intro, “Days of Black,” then went into “Stranger” off their first, eponymous 1985 album. The eighteen song show included mainly entries representing depressing – seemingly intentionally depressing – tracks from their numerous recordings, e.g. the languid “Leave Me Be,” and the morose “Louise.”

They also performed the utterly secular “Hail Mary,” which is not to be confused with the well-known Catholic prayer, although both touch upon the issue of redemption. The relatively recent “In Love We Trust,” title track off a 2009 album of the same name, was the ninth and midway-through-the-set song. The decidedly industrial “A Day,” integrates a melodious minor key melody and plaintive vocal callings of Ronny Moorings with bursts of mechanized and rapid rhythm. It was followed by “Back Door” from the “Medusa” album just before the first break.

Encores included “Obsession” from Twist of Shadow the third full album and “Cry in the Wind” and “Farewell” from the post-millennial album of the same name. “Muscoviet Musquito” off the 1st, eponymous album 1985 opened the second set of encores. They concluded the final set of encores with the much-covered 60s mega-hit “Venus.”

Throughout the show there was an unconventional and fascinating use of handheld bright diode lights of various colors.

COX, founded by Ronny Moorings, Pieter Nooten and Anka Wolbert in the Netherlands in 1981, is now mainly Ronny Moorings. He is joined by Mojca, Mario, Sean & Daniel. Nooten and Wolbert are no longer associated with the band. Despite superficial similarities, COX is not to be mistaken for a cultural spin-off of the immensely more successful band, the Cure. While the Cure is known for dark, introspective music, they have stretched their repertoire to poppy, even jolly, major-key entries, experimenting with brass instrument accompaniment, Latin rhythms and more. The Clan sticks pretty much to the mission of providing reliably gloomy, minor-key and somber electronic works to please the fiercest adherents to Goth orthodoxy – whether rapid for dance or slow paced for a funeral. Ronny Moorings’s plaintive vocals express better than almost anyone else – the wounded feelings and existential complaints of Goths around the world.

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Stimulate

March 31, 2018


The premiere monthly music event Stimulate celebrated the birthday of its founder and chief promoter, Xris Smack to close out the month of March with a special edition featuring three live bands at Drom on Avenue A.

Panzie at Stimulate

The opening band was the Manson-esque group from NYC’s Lower East Side, Panzie, supporting their new album “The Joke’s on You,” and came complete with masks, make-up, balloons and a ferocious sound that contained elements reminiscent of Rage Against the machine as well as Rob Zombie. This certainly established a festive atmosphere for Xris’s birthday celebration.

The next two bands were from our home state of NJ. Metropolis Records hard rockers Panic Lift, supporting their recent releases, “The Poison Remains” and “From Blue to Black,” provided a welcome change to melodious, but heavy, guitar-based sounds with an industrial edge. Coming on late – very late – was the Cleopatra Records’ electro-industrial duo, Xentrifuge, whose harsh, mechanized and highly synthesized sound – drawn mainly from their new album, “Desensitized Parallels” – was a perfect apocalypse to put a top on Xris’s birthday event.

As is usual, there were gorgeous and exotic dancers joined by the even more gorgeous Ashley Bad whose green vinyl outfit riveted the gaze of onlookers and dance floor participants during between-the-acts sets provided by the stellar cast of deejays, including Father Jeff, Paradox, Joe Hart, Siren and the host, himself Xris Smack.

Beautifully under-dressed Nola Star shocked the audience with an act of self-inflicted piercing to provide Xris with some artfully-placed birthday candles to blow out.

DJ Paradox

Once again, Stimulate provided a night of over-the-top entertainment filled with great music and glamorous guests, both onstage and off.

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Lost in Echoes at

BerlinNYC @ The Pyramid
Manhattan
March 30, 2018

Lost In Echoes

Berlin is a “Goth, Industrial, Alternative NuWave (sic) Underground” music event held on select nights of the month at the popular Pyramid Club on Avenue A in the East Village. We attended on Friday March 30 both to investigate the dance club event and to see a performance by a new cover band, Lost In Echoes. To add incentive, Berlin was also hosting a quickly arranged art exhibit.

Painting by Victor Auton

Upon our early arrival in the famous downstairs basement space of the Pyramid – entry through the upstairs had cost us $8 each – we were greeted by host and deejay, Alex von Nihil, longtime veteran of the lower Manhattan scene. While he and his colleagues spun danceable tunes, we meandered about in the dim light, augmenting it with our phones’ flashlights, to inspect the remarkable paintings that had been -spontaneously and on short notice – churned out by Victor Auton in the preceding seven hours. Full of energy, frenzy and with highly suggestive imagery, they had both the feel of punk and that of a confident and accomplished artist.

When performance time came, the same Victor served as lead guitarist of Lost In Echoes. He was joined by vocalist Jorge Enriquez Obando, Diego on bass and Dyanne on drums.

What followed was a thoroughly entertaining set of new pieces and covers drawn from the tradition of goth and punk, starting with “Human Fly” by the Cramps. Obando imbued each lyric, each note with a mix of furor and punkish rage while still adhering to the most appealing qualities of the originals. “Alice” by Sisters of Mercy got exactly that treatment as did LIE’s original piece “Visions.”

A particular treat came when drummer Dyanne, a statuesque brunette, pulled a microphone close so she could take over lead vocals for a cover of Concrete Blond’s best song, “Bloodletting,” although I believe it caused her to break a drum pedal. This only enhanced the raw feel of the high energy show. A heated version of Bauhaus’s “Stigmata” and Peter Murphy’s “Final Solution” concluded the show.

Lost in Echoes at this point has a short-list repertoire but more than makes up for it in energy and dramatic delivery. In many ways, this cover band put on a show that was more entertaining than some highly polished and carefully rehearsed tribute bands. What Lost in Echoes showed above all else is the love and passion they have for the material and the tradition behind the music.

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Museums

David Bowie Is

Brooklyn Museum

March 2 – July 15, 2018

This exhibit has been on tour for 5 years and its last stop is here at the Brooklyn Museum. The exposition makes – and ultimately proves – the argument that David Bowie is the greatest rock star of all time. It also makes clear that throughout his career and certainly in the couple of years since he passed, David Bowie is a cultural icon whose persona serves as a symbol for our age.

Entry will cost you $25 on a weekend unless you’re a student with I.D. It’s a timed entry-situation, and we had to make it through 3 lengthy and long duration lines, the first to get tickets (50 minutes), the second to line up on the floor where the exhibit is housed (15 minutes) and the last one brief, to get into the spectacle itself. Bowie’s show is housed on the fifth floor, accessible by an elevator ride (after another line). I wouldn’t advise using the stairs because each floor is separated by two flights of steps, so your climb is 10 flights! No photos are allowed and cell phones must be in airplane mode.
And well worth all the trouble!

This is one of the most spectacular museum displays of all time, featuring almost countless items, artworks, costumes, video clips, giant-screen shows and historical artifacts and references. All the while the visitor is listening to narratives and to Bowie’s music via headphones that pick up the location-appropriate audio as one moves from station to station and room to room.

It isn’t possible to touch upon the myriad topics and presentations here. The unguided tour starts with his life history, from when he was born David Robert Jones in South London to his youthful interest in Beat poetry and Jazz. The situation in Britain at the time of his early artistic developments is outlined – from the economic disaster of post-World War II – to the socialist government that was supposed to remedy it – to young David’s exposure to Elvis, Chuck Berry and Little Richard. The Beatles and the British Invasion paved the way for him as he began to explore song and dance and musical instruments. He was also drawing and painting, something he would dabble with all his life. One wall displays numerous line drawings he did in collaboration with Laurie Anderson. A tarot card deck of his design is on view.

In the early days first Bowie knocked around with unsuccessful blues and jazz groups before exploding on to the scene with Space Oddity in 1969, released five days ahead of the Apollo 11 space launch. While a visitor is reading about this, the music is pouring in through his or her headphones. The character of Major Tom is introduced, said to be both heroic and vulnerable, not to say sexually ambiguous. He is to reappear in “Ashes to Ashes,” “Hallo Spaceboy” and in “Blackstar.” The mock astronaut suit Bowie wore for the video is there on display.

What this exhibition reveals is Bowie as a unique entertainer who saw himself as a “One Man Revolution,” determined to define a signature style that underlies all the superficial variations of appearance and persona. Along with this, he maintained an interest in Buddhism, in mime and in literature. His bookcase is displayed, filled with exemplary titles of books that defined our modern world: “1984,” “A Clockwork Orange,” James Baldwin’s “The Fire Next Time” and “The Hidden Persuades,” etc.

There’s much display and explanation of Bowie’s costumes, make-up and personae. The iconic facial lightning bolt appears on the “Aladdin Sane” album and on a mask, but was never – we learn – worn in performance. Its zigzag design also appears on a costume coat, modifying the stripes of the British flag.

The outlandish, sometimes androgynous, and bizarre costumes are shown to be central to his personal style. Among them one will see the giant plastic tux that Bowie wore on an historic 1979 Saturday Night Live appearance with bizarre Bavarian performance artist Klaus Nomi. At that viewing area one will be simultaneously watching a video of the actual SNL TV show. This occasion marked a turning point in both his career and that of Nomi. Bowie was now mainstream. And Nomi subsequently appropriated that tux for his own future stage appearances.

Posters, kabuki and extravagant fashion magazine covers that influenced the aesthetics of Ziggy Stardust are framed for viewing, and notably included images without regard to any particular gender. Bowie allowed there to be confusion of his identity with that of Ziggy. In 1973 he temporarily retired Ziggy but revived him in his final threnody, “Blackstar,” which was released on his 69th birthday, two days before his death. Bowie took in influences from around the world, and chose from broader, more exotic sources than most.

There’s a “Periodic Table” of Bowie showing the hundred-plus influences, musical and otherwise, laid out like the familiar Periodic Table of the Elements. The exhibition gives due credit is to artists and designers who helped Bowie realize his artistic expression with album covers, costumes and the like.

Astonished attendees stand and gape, fascinated by the many high-tech audio-visual experiences at the exhibition. One of these is a large, mirrored alcove that puts on a dazzling pastiche of video art with accompanying, matching music, fragmentary yet unified. There are many opportunities to just stand and watch movie and TV clips sampling Bowie’s musical and acting careers. And there’s more – much more – to the exhibit than this report.

Do we have to say it? Bowie’s influence spreads farther and deeper than just the entertainment world. His fabulous good looks allowed him to juxtapose weird costumes and makeup while remaining irresistibly attractive and at the same time promoting gender ambiguity, preposterous appearance and implicit iconoclasm. It’s hard to imagine the individualistic appearances of today’s world of style, fashion and gender identity without recognizing the spin put on our world by David Bowie.

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Morbid Anatomy Library

Green-Wood Cemetery
Brooklyn NY

Goths and other denizens of the dark cultural scene can rejoice at the resurrection of one of – if not THE most beloved institution in the greater NY/NJ area, the Morbid Anatomy Library. After an all too brief and glorious two year run in Brooklyn’s Park Slope from 2014 to 2016, the Morbid Anatomy Museum closed its doors amidst much grieving by its devoted members and enchanted visitors.

It’s important to remember that the Museum had its origins in a smaller, less ambitious establishment called the Morbid Anatomy Library, which was founded in 2008 in Proteus Gowanus, and before that in 2007 in the Morbid Anatomy blog of founder Joanna Ebenstein.

The mission of examining and celebrating the intersection of “art, medicine, death and culture” goes on – and never really ceased. It is now headquartered in the historic and fitting edifice that is the Fort Hamilton Gate House of Green-Wood Cemetery in Brooklyn.

An open house at the new digs was held on Easter weekend March 31 and April 1. The dedicated core of Morbid Anatomy, namely artistic director Joanna Ebenstein and events coordinator and librarian Laetitia Barbier greeted guests and well-wishers on the second floor where recognizable artifacts from the original collection were on view and members of the press and other media were taking notes both days.

Downstairs on the first floor was an exhibit area, the centerpiece of which was the marvelous miniature diorama model of the fabled museum, lovingly and painstakingly built by Joel Schlemowitz. It shows both the iconic black exterior and the two main floors complete with breath-taking, detailed reproductions of furniture, architectural details and display articles. A video of the diorama can be viewed on Youtube under “Miniature Diorama of Morbid Anatomy Museum.”

The events-schedule of Morbid Anatomy continues. There is an ongoing Morbid Anatomy exhibition on artworks created with human hair at the Mütter Museum in Philadelphia. One can learn about and plan to attend or visit upcoming local lectures, exhibits and activities of the Morbid Anatomy community by following their page on Facebook or going to the Morbid Anatomy blogspot.

Congratulations and best wishes from New Dark Age!

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Recordings

The January Sessions – 1998
The Empire Hideous
Hideous Productions

Gothic metal band The Empire Hideous was active mainly between 1988 and 1998, although there were a few spurts of activity and a couple of CDs released in the post-millennium decade. Just before and in anticipation of the official breakup of the band in early 1998, EH went into the studio with their best-ever lineup of musicians and recorded their then-current set list, in a series of sessions. Early this year, on the 20th anniversary, the recording of those January sessions has been released, consisting of fourteen tracks, some of which had appeared on earlier albums, some that had only been heard live, and some that would find their way onto CDs released after the band had gone into hibernation.

In a sense, this collection represents the band at its mature peak of artistic achievement. The Empire Hideous’s signature sound, combining howling, sorrowful guitar lines, ultra deep, bass guitar fulmination and compelling, urgent rhythms combines with mournful minor key melodies and Myke’s legendary voice. Fans of EH will feast their ears upon Myke’s unique vocal style, heavy with vibrato and echoic effects as he presents his poetic narratives that range from melancholy to demonic, delivered with an anguished intensity.

Four of these tracks were included in the sold out and no-longer-available CD, “Victim Destroys Assailant.” These include the funereal “God and I,” the rapidly paced “Talk Is Cheap,” the surprisingly folksy “Dead Season” and the hypnotic “Otherside.”

Live versions of “Kissing Your Poison” and “Parasite’s Bible,” with its recognizable harmonics riff, are resurrected from the first full length album, “Only Time Will Tell.” Covers in this collection include a driving, speeded up version of “All I Want” by the Cure and a version of “God of Thunder” that is more serious, less facetious than the original by KISS. “Girl at the End of My Gun” by Alien Sex Fiend gets the EH treatment in a frantically paced, faithful tribute to the original.

As this collection basically represents the concluding achievement and final culmination of the Empire Hideous, it was fitting that it should end with Paul Anka’s “My Way,” famously made into a mega-hit by Frank Sinatra and later the Sex Pistols. Here it starts ballad-like, highlighting Myke’s native and unaltered vocal qualities. About a third of the way through it accelerates and transforms into a goth rock anthem, serving as a perfectly apt conclusion to an album, a collection and a career.

This album is available only in mp3 version from various Hideous websites that can be found via the Internet, Facebook, Spotify, etc.

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