doktorjohn.com

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.

February 2018 New Dark Age

Filed under: Events,Goth Stuff,Live Music,New Dark Age Monthly,Recorded Music,Reviews,Uncategorized — doktorjohn February 21, 2018 @ 11:01 pm

First, the actual pages as they appear in the Aquarian, probably too small to read here, but text will appear below:

Page 1

Page 2

Page 3

Nights Out

Late January and early February offered nightclub goers plenty of events to attend. Those within striking distance of Brooklyn attended DJ Cyclonus‘s night, Arkham and saw a return of DJ Jose Francis. The setlists which covered everything from Ian Hunter to Depeche Mode, Nine Inch Nails to Covenant and Project Pitchfork while classic horror movies played on the main screen as well as the brick wall including “The Shining” and “Devil Takes Five.”

DJ, writer and historian Andi Harriman¹s Synthicide, a monthly Thursday EBM night at Bossa Nova Civic Club in Brooklyn, was held Feb 1, hosting ­ as is the mission of this project – a group of deejays that might not always have a platform to spin their magic, namely Squarewav, Rexx Arkana, Zvetschka along with the erudite promoter herself.

QXT’s So80’s

Jan 26, 2018

Newark NJ

Every 2nd and last Friday of the month QXT¹s, the metro-area¹s singularly dedicated alternative dance club holds an 80s night called “So80¹s” following their weekly Happy Hour Karaoke. DJs Ash and Damian Plague play every danceable genre of music from the 1980s in the upstairs, main floor. On this “So80’s” night the theme was nostalgia, with hours of such iconic remnants of that era as Frankie Goes to Hollywood’s “Relax” and Talk Talk’s “It’s My Life.” Also heard were “Old” Ministry’s “Everyday is Halloween,” Gary Numan’s “Cars” and Flock of Seagulls’ “I Ran.”

The moving image of Molly Ringwold in cinema classic ³Pretty in Pink² played silently on the big screen and was conducive to transporting the dancers on the utterly packed floor back to three decades ago, when the whole world of music seemed to have moved in a new direction. VJ TM5 curated the nostalgic visuals.

Meanwhile, down in Area 51, special guest DJ Stalagmike of Defcon at the famous Pyramid alternated with DJ Mykill Plague playing industrial powerhouse tracks such a Combichrist’s “This S— Will F— You Up” to a crowd of serious pavement pounders. Eerie electronic wall designs in unworldly hues outlined their animated silhouettes as fabulous beams of laser light cut wildly through the darkness of this post-apocalyptic vault. DJ Victrola in the Crypt – the other downstairs hall – played classic goth, darkwave and alternative tracks.

Iron Garden 3rd Anniversary

QXT’s ­ Iron Garden

Jan 26, 2018

Newark NJ

Iron Garden held a celebration of its third anniversary earlier in the evening, just prior to opening Area 51 to dancers. This is a NJ-based organization providing a social setting for discrete, mature denizens of the dark demimond calling themselves “Nightkind,” and their various allies in the pagan, vampire, witch, and other esoteric communities. The idea is to promote and provide conducive haven for those pursuing creative lifestyles which include metaphysics, philosophy, arts, poetry and scholarship of various sorts.

Iron Garden¹s founder – Primus and Matriarch ­ Madame X, of the House of Dreaming, is a major figure in all aspects of nightlife and related culture in the Greater NY/NJ dark scene, and she opened the meeting with a discussion aimed at orienting participants to the terminology of covens, houses and guilds that they may encounter in this subculture. This was followed by invocation and triumphant celebration of the anniversary led by host Jabbar Martin in his role as Trismegistus Aga Khan, a title signifying his literacy in sacred texts.

The walls were decorated with the artistically designed announcement flyers from the past three years’ Iron Garden events. Various consecrating ceremonies and the yearly renewals of citizenship in Iron Garden took place. Entertainment was provided by violin virtuoso Liz Gonzalez who treated those in attendance to masterful performance of pieces by Bach, Irish reels and original compositions.

Ward 6

January 27 saw another iteration of the long-standing, recurring, Fr. Jeff Ward dance party, Ward 6. As ever of late, it was held at the upscale bar/dance hall Windfall on east 39th St in NYC.

Besides Jeff’s and collaborator Patrick¹s providing the very best selection of New Wave, Dark Wave and Industrial tracks to which to dance, this night they hosted a solo performance of Caroline Blind of the band Sunshine Blind. Starting around midnight, she took the stage and performed her set of folksy acoustic Goth rock, relying on guitar strumming as the only accompaniment to her extraordinarily beautiful voice. Opening with a blues-inflected version of “Ain’t No Sunshine,” Caroline proceeded into a number of original songs from back when Sunshine Blind performed regularly as a group which included Caroline’s then-husband, now occasional collaborator, Charlie as well as members of Faith and the Muse. To wrap up the well-received set, Caroline concluded with the late Dolores Riordan’s tour de force, the Cranberries hit “Zombie,” that left the crowd satisfied.

The rest of the night was spent dancing to the likes of the Cure and Cold Cave, whose little-played “Confetti” was a welcome rarity. The party was just heating up with Apoptyma Berserk when we left a little after 1:30, with a who¹s who of NYC night scene celebrities still pouring in. Among the notables in attendance were (in no particular order) Sean Templar, his lovely wife Mandana Banshee at the booth, Erik Aengel, Sir William Welles, Matt V Christ, Joe Hart, Jane “Paradox” Smith, reliable clubber Jorge Obando, DJ Arsenal, Annabelle Evil and Photographer Dario Valdivia, accompanied by lovely veteran of the music scene, Roe Paolino. Coat check girl Hilda was looking as beautiful as we¹ve ever seen her.

Some strikingly beautiful “Goth girls” (“girl” is not a put down!) remain unfortunately nameless at the time of this report. Likewise there were some well-groomed and smooth dancing Goths of the male persuasion whom we never get to know by name. Bill, beret-and-pony-tail wearing, perpetual and omnipresent pencil artist Bill, sat drawing images of the participants of Ward 6 by the illumination provided by his small flashlight. Gerard and Julia saw to it that everyone¹s thirst was quenched, and Chris Sabo saw to the details of running things and house hospitality.


Necropolis Feb 3

Jeff Ward¹s other long-standing dark dance event was packed almost to Windfall¹s capacity on Saturday night Feb 3. The same staff and many of the same attendees as Ward 6 from the preceding Saturday, one week earlier. First-up DJ Sean Templar, had earlier that evening attended the Town Hall appearance of Norwegian group Wardruna whose music would seem to resurrect the medieval, runic sounds of ancient Scandinavia with ribcage-rattling, vibrating percussion and ominous, vocal duets.

Never one to get stuck with musical cliches, Sean enriched the setlist with “Helvegen” by Wardruna and with an early play of “Hate Us and See If We Mind,” a seriously powerful piece by brilliant experimental neofolk group, Rome. Both Wardruna and Rome have met with spectacular success at Castle Party in Poland, I can attest first-hand.

Host DJ Jeff and regular DJ Erik Angel made their contributions to keep the dance floor activated with the likes of Wolfsheim, Chameleons UK, Sisters of Mercy and the Psychedelic Furs.

High-powered intellectuals huddled at the bar were overheard discussing the philosophical controversies of Nietzsche and Hegel as the music played on.

The Red Party Feb 10

A special edition of the monthly Red Party took place Feb 10 at NYC’s Mercury Lounge to celebrate the weekend closest to St. Valentine’s Day, called the 10th Annual “Love Will Tear Us Apart” St. Valentine’s Ball. Featured were a night of tragic love songs mainly in the dance category.
DJs Annabelle Evil and Sean shared the booth with an assist by Matt V Christ. DJ Jarek was scheduled but hadn’t appeared by the time we left at around 2 a.m. Hospitality hostess Mandana Banshee circulated and took photos of the attendees, among whom were such celebrities as gorgeously decked out Kai Irina Hahn of The Sedona Effect and Ana Vice of Memento Mori. Xris Smack and the stunning-in-pink Ashley Bad made a late appearance.
Remorseful, romantic tunes such as “I Was Wrong” by the Sisters of Mercy played and the exceptionally dark dance floor was illuminated by a large, rotating, reflective disco ball that showered dim purple spots around the room creating an atmosphere of festive gloom.

Recordings

“Akkretion”

Trisol Music

Project Pitchfork

The just-released new album by Project Pitchfork bodes well for the Goth/Industrial music scene in that this iconic band, no entering its 28th year and with sixteen prior albums under their belt has the creativity and ingenuity to produce yet another major work. Frontman and creator Peter Spilles has apparently taken inspiration from modern scientific concepts and applied that inspiration to the dark, rhythmic style of synthpop for which his group is famous.

“Akkretion” is presented as a 2-CD set with 15 tracks. The last four,- the 12th, 13th, 14th and 15th – are remixes of four tracks earlier in the album. The eleventh is listed as a bonus track.

Science and science fiction as well as morbid philosophy play a role in setting the themes of this opus. The term “akkretion” in German ­ or “accretion” in English ­ is used to describe “the coming together and cohesion of matter under the influence of gravitation to form larger bodies,” i.e. the process of forming stars and planets.

Other tracks with suggestive titles include ³Gravity Waves² (just discovered in 2017), “The Collision,” “And the Sun Was Blue.”

The musical features are of course similar to what fans of Project Pitchfork have come to love and expect, namely well-defined, mesmerizing cadences, minor-key melodies and occasional, spacey, ethereal elements. On most tracks there is an intriguing introduction, followed by slowly accumulating beats until complex rhythms are formed, then Spilles’ hoarse, growling vocals, sometimes broached by spoken word narratives. The second track, “Good Night Death,” offers a peaceful, resolute acceptance of mortality.

“Akkretion” is a must-have set for fans of Germanic darkwave and represents the continuing growth and accomplishment of this exemplary representative of the genre.

Goth/Rock Art, Fashion & Culture

The Salons- “Dressing the Underground: Fashion for Subculture”

The Beauty Bar, NYC

January 25, 2018

Goth scene luminary and subculture historian Andi Harriman participated in a panel discussion hosted by Lady Aye of The Salons at Beauty Bar just off Union Square, “a series of learning and networking events dedicated to the history of beauty and fashion,” aimed largely at beauty-industry professionals. The topic of this night’s discussion was “Dressing for Subculture.”

Other panelists included Sonya Abrego, visiting assistant professor at The New School for design, who, in classic 40s pin-up style hairdo shed light upon hybrid rockabilly and mid-century fashion culture. Fashion designer and NYC nightlife legend Tobell von Cartier spoke about the evolving club scene styles that came and went, from grunge to the ascent of increasingly glamorous evening wear and over-the-top cosmetic application.

New Dark Age’s attention was focused on Ms. Harriman¹s presentation. Asked to define Goth culture, she offered the insightful “Three Ds,” namely Drama, Darkness and Death as foundational. She went on to point out the origin of Goth style in the era of British rockers and the punk scene. When questioned about the “cannibalization” of Goth style by mainstream entities such as Hot Topic, she further emphasized commitment to the dark music of 80s New Wave and paying homage to the creators of the scene to distinguish authenticity from poseur appropriation.

In tracing her roots, Ms. Harriman pointed out that she had emerged from a rather stultified, Southern background, but had become enraptured by the music of Depeche Mode and the discovery of the look of Goth on music videos. Her personal bio proved to be the most interesting topic covered that event.

There was much talk about the value of do-it-yourself attire in establishing the individual style in order to counteract the sameness imposed by mass production of clothes and accessories as available in mall outlets. The panel¹s overriding conclusion gleaned was that the underground fashion evolves by building upon rather than abandonment of preceding style.

Milestones-

January 25, 2018 marked the 40th anniversary of Joy Division’s debut performance under that name. Prior to that date, the quartet of Ian Curtis, Bernard Sumner, Peter Hook and Stephen Morris had performed under the name Warsaw. JD formed in 1976 by Sumner and Morris in a clumsy effort at emulating the Sex Pistols. Instead of continuing in the punk style of the Sex Pistols, with the drafting of vocalist Ian Curtis and bass player Peter Hook, the group launched the post-punk musical movement with its unconventional, slowed-down rhythms, amateurish command of the instruments and home-made synthesizers.

Joy Division is credited by many authorities on the subject as having been one of the two essential, post-punk bands to have spawned the genre of Goth Rock, the other being Bauhaus. Curtis – influenced by Jim Morrison of the Doors – gave voice to themes of darkness, pressure and crisis. Characterized by sparse, baritonal vocals, gloomy lyrics and a melodious bass line, Joy Division, is distinguished from the punk style by their use of electronics and by their emphasis on mood and expression rather than anger and energy.

Critically acclaimed – potentially the next Beatles – Joy Division was to tour the U.S. in 1980 when Curtis committed suicide on the eve departure.

The poignant sadness surrounding the brief life and untimely death of the band and its frontman mysteriously crystallized at that moment into a new musical genre and a new subculture built around darkness, introspection and death – that comes to us now, four decades later – and that we presently recognize as Goth.

Obituaries


Mark E. Smith
, singer and the only consistent member of Manchester based post-punk band The Fall, has died Jan 24, 2018 at the age of 60. One of the earliest and most influential British post-punk bands, noted for retaining the repetitive, guitar-driven feel of original, confrontational punk while expanding the musical and lyrical armamentarium with challenging topics and literate lyrics as well as creative musical originality.

The Fall released thirty-two studio albums, most recently, “The Fall Live in Manchester,” in January 2018 on Cherry Red. Sadly, they were set to tour the US for the first time in twelve years.

Jeremy Inkel, keyboardist and programmer of Front Line Assembly passed away on January 13th 2018 at the age of 34 due to complications from asthma. Inkel joined FLA in 2005 along with Jared Slingerland, and is credited with co-writing and producing the full length album Artificial Soldier.

July 2017 New Dark Age

Filed under: Events,Goth Stuff,live music,New Dark Age Monthly,Uncategorized — doktorjohn July 21, 2017 @ 9:41 pm

Cybertron

Blackthorn 51
Elmhurst, Queens NYC
June 24, 2017

Vampire Freaks, the large entertainment and specialty clothing organization regularly sponsors music events with a dark, futuristic theme, labeling such events Cybertron, connected—as it portrays itself—to the concept of the sci-fi oriented Transformers theme. Release of the motion picture “Transformers—The Last Knight,” served as an inspiration for the latest Cybertron, a night of dance music and live performances by three techno-industrial bands.

Doors opened at 9 p.m. at Blackthorn 51, a bar and performance venue that usually features heavy metal, situated deep in the heart of the borough of Queens. Our crew from New Dark Age was the first to enter, and we took note of the selections being aired by the assigned deejay—mainly electronic, goth and industrial, featuring Aesthetic Perfection, NIN, Manson and IAMX.

As the guests showed up, they presented an array of dark, sexy and elaborately attired fashionistas, predominantly black-clad, sporting leather, vinyl, metal spikes, two-toned stripes and high makeup. This was particularly true of the several dancers who had been engaged to entertain between band acts. Much focus was directed at one tall, statuesque beauty in a red wig who beguiled the crowd from her lofty place on stage. The room stood in awe when the gorgeous Ashley Bad made her grand entrance accompanied by famous impresario, DJ Xris Smack, who was eager to promote upcoming Stimulate events.

Several other celebrity deejays were present to spin dance tracks including Vampire Freaks’ own Jet VF himself, Matt V Christ, Annabelle Evil, and Shadownightz.

Deathmaschine

First up at 10 p.m. was the nasty, punk/industrial trio, DeathMaschine, that put on a powerful performance, with a ruggedly handsome vocalist, hovering over the crowd, naked from the waist up but for wrap-around shades and a leather, suspenders-like harness. He was accompanied by digital rhythm tracks, keyboards and by guitarists, one of whom served to also shower the stage with sparks off a metal grinder. The pounding beats and menacing, defiantly screamed lyrics were not for the faint-of-heart.

Xentrifuge

Next up at 11 p.m. came NJ-based, but internationally acclaimed harsh industrial duo, Xentrifuge, a rivethead-styled couple whose high-tech appearance is in accord with their robust aggro-tech sound. We were familiar with them because they had been selected as Fan Favorite at the recent Darkside of the Con this past spring. Severe and intensely colored lighting glared through an intermittently thick cloud to reveal the stunningly attractive pair. Black leather-clad and sporting shaved sides, Chris Xentrifuge took center stage to issue hissing, nihilistic vocals backed by his gorgeous better half Lisa Helen, who stood behind playing a keyboard and regulating the complex synthetic accompaniment consisting of catchy, mantra-like, repetitive melodies woven into hypnotic, mechanistic rhythms. Their set consisted of seven songs with titles like “Cerebral Ruins” and “Machine Winter,” which go a long way toward characterizing the motif of their style. They are perfectly suited for their next gig which will be to open for Stabbing Westward at the Gramercy this August.

Velvet Acid Christ

Finally, at midnight, headliners, Colorado-based techno-industrial trio, Velvet Acid Christ, came on stage. They performed for at least an hour and a half, touching on most of their popular repertoire of EBM, darkwave and techno while projecting videos on a backdrop screen showing everything from kaleidoscopic, geometric animations to cartoon images with sociopolitical messages. They dedicated one song to Fox News, although it was difficult to parse the lyrics. One can assume it was critical of the Right that Fox represents, since this is the take on politics that has become almost a cliché in the alternative music scene these days. The beautiful female vocalist who remains nameless on the website and VAC’s Facebook page, sang a song in German about “being a loser.”

Although one could detect a certain sameness to much of their signature sound, VAC’s total repertoire is quite large, standing at 10 or so albums under the Metropolis label, and includes a fair enough variety with captivating melodies and cadences to make for a great body of work suited for goth/industrial dance.

Rammstein

Northwell Health At Jones Beach Theater
Wantagh, NY
June 25, 2017

It is indeed a challenge and all-day commitment to trek out to Jones Beach given the unavoidable disaster that is traffic encountered when crossing from NJ to the outer reaches of Queens, NY. The stature of this industrial metal giant, however, compelled us to make the pilgrimage, knowing the band’s reputation for spectacular visuals to accompany their thrilling and spectacular musical performance.

The show commenced when giant numbers were projected onto a dark screen that shrouded the stage. The audience participated in a countdown beginning from “8” and ending with “1” and the Rammstein logo. With that, the recognizable, syncopated beat of “Ramm 4” burst from the suddenly illuminated stage, and at the same moment there was the explosion of multiple Roman candles into the sky over the heads of even those in the loftiest stadium seats at this open-air theater.

Next came the slow paced, guitar-driven “Reise Reise,” “Halleluja” in which the band accompanies with a falsetto chorus, then the rapidly paced “Zerstören (Destroy).” “Keine Lust (No Desire),” another heavily syncopated song, followed. Next was “Feuer Frei,” a galloping piece with lyrics that play on the two meanings of the word “Feuer” (fire) to denote both the heat of fire—of which there was plenty on and around the stage—and the verb “fire” meaning to shoot a gun. Eight more songs followed, including the hugely popular “Du Riechst So Gut (You Smell So Good),” “Links 2-3-4,” “Du Hast” and the uniquely stylized cover of the Depeche Mode classic, “Stripped.”

It was impossible to keep track of the many and mind-blowing visuals which included flames and smoke belching from the stage ceiling and floor, explosions issuing from two tall towers that straddled the ground level audience seating, clouds of sparkles and confetti, instrumentalists lifted aloft by stage devices, guitars and personnel that distributed smoke, flames and mighty explosions, and rockets that flew across the crowd to ignite blazes on the two aforementioned towers.

A brief intermission was held after “Stripped,” and then they returned with “Sonne (The Sun),” then the rather tedious, yet well recognized “Amerika,” and the harsh and cynical “Engel (Angel).” For the second time, the band members took their bows and the sad strains of “Ohne Dich (Without You)” closed the show.

Seated up high in the outer and upper tier of this gargantuan, 15,000-seat theater gave us a great vantage point from which to view the overall spectacle, but deprived us of being able to appreciate the fine details of the various costumes and theatrical personae of the performers on the distant stage. Two large “Jumbotron”-type screens that should have shown video projections of the stage performers sat dark and unused. This failure to accommodate the ten or so thousand spectators in faraway seats of this gargantuan theater was, in my opinion, inexcusable. At all recent outdoor concerts I have attended recently, excellent use of the jumbo screens allowed the entire audience to enjoy the visual details of the stage performance, which was in Rammstein’s case extremely essential to appreciation of the special effects and costumes.

One more pet peeve: Why, in a vast audience of attentive and devoted fans—who have paid good money and suffered through the inconveniences of travel—do a handful of inconsiderate and hyperactive morons find it necessary to remain standing throughout the performance, essentially ruining the experience for those seated directly in back of them?!

The Red Party

Mercury Lounge
Manhattan, NY
July 8, 2017

Saturday, July 8, saw a spectacular recurrence of the iconic dance, social and entertainment event Sean templar’s Red Party. Once again it was held at the Mercury Lounge on East Houston St., itself a kind of monument to the punk music scene in the greater NY/NJ region.

Speaking of punk, the live performance this night was provided by Argyle Goolsby and the Roving Midnight, an energetic and energizing punk group just back from an overwhelmingly successful stint at the worldwide Wave Gotik Treffen festival in Leipzig, Germany. Coming on shortly after midnight, Argyle Goolsby proved their credentials not only in the old school punk category, but suffused the music with an element of horror. Front man Steve Matthews, in white contacts that emphasized the deep, dark circles surrounding his ghastly eyes and sporting a variety of shocking masks, cavorted on stage with a variety of props and an amazing facility for levitating himself to upstage heights.

Argyle Goolsby

Besides terrifying the delighted crowd with such pogo-punk pieces as “The Brides,” “Spiders and Flies” and “The Uninvited,” this guitar-driven sextet showed themselves capable of changing the pace and performing a pleasant, but dark-themed ballad or two.

Queen bee of the social scene, Mandana Banshie, greeted guests as they arrived. At the merch stand was Rusted Autumn hawking one-of-a-kind jewelry and, of course, Argyle Goolsby’s latest CD, shirts, posters and the like. Host and impresario Sean Templar was present in force, spreading hospitality and warm welcome to old friends and newcomers alike. Ana Vice, famous for her role bringing the notorious Memento Mori night to the city for the past year and a half, was first up at the deejay board, providing a mix of irresistible death rock, goth rock and esoteric post-punk that kept the dance floor active. Sean and Jarek later took turns at the turntable.

Eye-candy was provided by a crowd of extravagantly gorgeous creatures of the night as documented in the nearby photos, and included such models of festive gloomy style as DJ Alex (Bela Lugosi) Zamora, Valefar Malefic and Luna Pallida. Special guest Myke Hideous, famous for his ’90s goth-metal project The Empire Hideous, was present accompanied by his beautiful fiancée, Kyly, and both enjoyed renewing acquaintances whom they rarely get to see, having relocated outside the metropolitan area.

Mummies
The Museum Of Natural History

The most fascinating exhibition at New York’s Museum of Natural History is on mummies. Although mummification has been practiced in many and diverse parts of the world, and although mummification sometimes takes place naturally because of climate conditions, the focus here is on the highly developed methods of mummification involved in burial rites by two distinct civilizations: the Egyptian and the Peruvian.

It goes without saying that man has struggled mightily and pretty much in vain in his effort to deny the finality of death. In the case of these two cultures, whole technologies developed to create the illusion that the human form could be pretty much preserved and supplied with provisions after death. The Egypt and Peruvian practices of mummification were somewhat different, but both date back many thousands of years. Peruvian mummies dating back 7,000 years have been discovered, and the Egyptian practice began over 5,000 years ago.

Using today’s technology, particularly CAT scanning, scientists have been able to uncover much of the condition of the deceased, without disturbing the fragile and delicate condition of the bodies within adhesive, resin-caked linen wrappings. In many cases, the state of health, diet, lifestyle and family social structure has been pieced together by visually stripping away layer by layer with CAT scans, from the artistically painted wooden coffins, down through the layers of wrapping, then the skin, the bones and the remaining internal organs.

We learned that the brain and visceral organs were removed as part of the mummification process; the latter being preserved in sculpted ceramic jars. The brain was discarded as insignificant in the afterlife. Arthritis, tuberculosis, childbirth and childhood mortality were common. Bone and dental health were often poor. The teeth of Egyptians appeared to have been worn away by the sandy grit left over from grindstones that were used to mill flour into their bread.

Despite these sobering observations, what most stands out is their knowledge of anatomy, their refined dissection and chemical preservation methods, their masterful artistry in the handling and decoration of the bodies and coffins as well as the magnificent stone sarcophaguses in which the coffins were encased.

The Chinchorro of Peru and Chile started mummification thousands of years before the Egyptians. They painted their mummies and encased the head in clay, fashioning clay masks representing the dead person in an acceptable appearance. Few of these fragile masks are intact, but reproductions are on display at the museum. Some people kept mummies of deceased family members in their homes and brought them to festivals.

The Cult Of Victorian Mourning

Green-Wood Cemetery
Brooklyn, NY
June 10, 2017

The much acclaimed and sorely missed, now-defunct Morbid Anatomy Museum, lives on in spirit if not in its real life, brick-and-mortar existence. Leading figures from the former museum, including curator-author Joanna Ebenstein, antiquarian scholar and museum co-founder Evan Michelson, art historian and former museum librarian Laetitia Barbier and lecturer-teachers Stanley Burns M.D. and Karen Bachmann joined with others of like interests to present a program on the topic of rituals surrounding mourning in the Victorian era under the auspices of Green-Wood Cemetery’s events program. The program echoed the very first exhibition, “The Art of Mourning,” held in 2014 at the opening of at the Morbid Anatomy Museum.

Dating back to 1838 and designated a National Historic Landmark, Green-Wood is a treasure trove of magnificent monuments, mausoleums, markers and graves of the famous in a rural setting of surpassing beauty of landscape and architecture. It welcomes visitors and offers self-guided walking tours.

Laetitia Barbier giving opening remarks


The Chapel at Green-Wood

The symposium was held in the Chapel, a magnificent example of flamboyant Gothic style. Opening remarks were by art historian and author Laetitia Barbier, Harry Weil, Manager of Programs at Green-Wood and creative director of the museum, Joanna Ebenstein who welcomed the sold-out audience and set the tone for what was to follow. Evan Michelson and Karen Bachman, Professor in Jewelry Design at Fashion Institute, exhibited and spoke on the peculiar practice of weaving commemorative jewelry from samples of hair of the deceased.

Jessica Glassock of the Costume Institute of the Metropolitan Museum of Art presented the historic and highly specific attire worn during a widow’s period of mourning in the era from 1815-1915 in a slide show.

There was a casual interview with author and archivist Stanley Burns M.D., who talked about his lifetime of collecting historic photographs, including post-mortem photos and other topics from his 46 books and 1,100 articles written on related medical, military and cultural topics.

The most moving part was the aloud reading of letters of condolence from the Victorian era, and included poignant and eloquent examples from Abe Lincoln, Lord Tennyson, Charles Dickens and others.

Readers with interests in gothic and morbid preoccupations are advised to visit Green-Wood Cemetery and to follow the Morbid Anatomy blogspot for future events.

June 2017 New Dark Age

Filed under: Events,Goth Stuff,Uncategorized — doktorjohn June 9, 2017 @ 7:18 pm

Svmmon at Talon Bar

Brooklyn
A new dance night, Svmmon, self-described as a “decadent, dark experience” opened at the downstairs space of the Talon Bar in Brooklyn’s Bushwick section on Friday May 12. And, no, it is not misspelled. Host deejays Joe Hart, Andi Harriman and Hi-Fi Hillary filled the air with new and classic goth, darkwave deathrock dance music. Heard during the night were such prime movers as “Poison Door” by Sisters of Mercy, “Stranger” by Clan of Xymox and “The Calling” by Death in June. A rather repetitive video loop showed silently on a brick wall in the passageway between the bar and dance floor. The bar was well stocked and the friendly barista a most adept and accommodating mixologist. There was seating along the walls for those who needed a rest from hoofing it.

An early highlight and photo-op occurred when gorgeous ecdysiast Casandra Rosebeetle took to the dance floor in black, fetish-inspired attire and – to musical accompaniment – removed her garments right down to and past an attractive lingerie outfit and beyond.null

Facebook counted around 62 attendees. There appeared to me at least that many. It suffices to say that the place was packed to capacity with enthusiastic and black-clad dancers and imbibers.

For an opening night event, Svmmon appears to have set some king of attendance record for a small, downstairs venue, portending a very serious revival of the Goth scene in the greater NYC area.

Tribute Night at Maxwell’s

Hoboken

SIN
Battle of Los Angeles
Schism
June 2, 2017

There aren’t many ways to better spend a musical evening than taking in the performances of 3 superbly accomplished bands as they pay tribute to 3 of the best bands of the 90s. So, for the third time in as many months we headed to the venue where SIN, the region’s top Nine Inch nails tribute band opened the night .

SIN onstage at Maxwell’s

Lead guitarist Keith Williams, mastermind behind Tool tribute headliners, opened SIN’s set with a virtuosos rendition of the short , menacing riff known as “Pinion” from the “Broken” album. Lead vocalist Byron Huares then led the group on an 8-song set, starting with “Terrible Lie” and then “Head Like A Hole,” the monumental piece that lays at the roots of the whole electronic-industrial craze of the 90s.

At one point, a semi-transparent screen went up between the stage and the audience, on to which elaborate animate graphics were projected. When the screen came down, Byron was stripped to the waist except for leather forearm gauntlets and a blindfold-mask of black tape.

Proceeding through the NIN time sequence, SIN next executed faithful selections from “Downward Spiral,” “The Fragile” and “With Teeth,” then returned to “Downward Spiral“ with “Closer,” remembered for its shocking phrase that ends with “…like an animal,” and which changed forever the acceptance of the “f-word” in the world of popular music. Their set concluded with “Burn” from the movie soundtrack of “Natural Born Killers” and “Wish” from the debut EP “Broken.”

Besides keeping faithful to the strenuous vocal demands on the NIN oeuvre, Byron threw himself enthusiastically into the physicality of the style, capturing Trent Reznor’s early, acrobatic stage style.

Speaking of physicality, nothing could top Battle of Los Angeles’s lead vocalist, Christian Alcantara who performed the stunts of leaping and hopping while also capturing the cadence and timbre of Rage Against the Machine’s Zack de la Rocha’s defiant rap.

Christian Alcantara airborne – Battle of Los Angeles at Maxwell’s

The tribute set list, dubbed “The Battle of Hoboken,” consisted of 9 songs, all familiar to fans of RATM, starting with “Bombtrack” and “People of the Sun.” Alcantara’s angry vocals and wildly animated stage ballet was set against a backdrop of grainy black & white and color videos displaying politicians mouthing platitudes, street demonstrations, military displays, and riots. Favorites like “Bullet in the Head” and “Bulls on Parade” kept the crowd in constant motion, although fortunately a mosh-pit never emerged in the relatively tight confines of Maxwell’s back-room performance space. The set concluded with a ferocious performance of RATM’s signature piece, “Killing in the Name.”

The final act, Schism, masters of Tool’s music, has been reviewed in glowing terms previously in these pages. What more can be said about what is surely one of the most accomplished cover bands ever to take the stage, covering what is one of the most impressive musical projects of all rock history? Superb vocalist Angelo Rivera is supported by left-handed guitarist and band mastermind Keith Williams and his virtuoso team of Sean Murray on bass and Don Pusateri on drums. Touring since 2001, and now increasingly in demand nationwide, Schism is acknowledged by Tool itself as the best purveyors of their original sound.

Tool tribute band Schism at Maxwell’s

Their set that night covered a broad swathe of Tool’s oeuvre, delving deep into the formidable complexity of Tool’s works with such favorites as “Sober,” “46 & 2,” and “Prison Sex.” Schism is so well versed in Tool’s body of work that, as at previous shows, they called to the audience for requests of any and all songs by the band, easily satisfying all requests and leaving nothing is off limits.

The audience, as on each prior performance of Schism which I have witnessed, was stunned and awed by the sheer mastery and delicious re-creation of Tool’s revered repertoire of hits. Energized, yet transfixed by the music the crowd rocked rhythmically in place, many mouthing the lyrics that were long-ago committed to memory.

Ward 6 at Windfall

Manhattan

May 27, 2017

On the Saturday of the Memorial Day weekend, DJ Fr Jeff Ward held yet another occurrence of the long-standing, revered dance night featuring “new wave/ dark dance/ goth/ synth and industrial” as he likes to describe it.

Ward 6 dance floor at Windfall

In addition to his usual hospitality-related duties, Chris Savo was observed installing sound insulation to contain the music within the confines of Windfall’s fancy bar and dance floor. As usual, the friendly and capable bartenders Gerard and Julia kept imbibers happy, and a sizable crowd danced the night away in defiance of tradition of leaving town on the Memorial Day weekend. And as usual, dancers were motivated to enjoy the dance floor early on with such irresistible masterpieces as “Love Come Quickly” by Pet Shop Boys, “Where Greed Talks” by Wolfsheim and “The Silence” by The Rope; and later on by “Military Fashion” by And One, “Kick in the Eye” by Bauhaus and “An Eye for the Main Chance” by Rosetta Stone.

DJ Jeff Ward presiding at Ward 6

BODYLAB at Le Poisson Rouge
Manhattan
June 1

Deejays at Bodylab at Le Poisson Rouge

BODYLAB, standard bearer of Old-School EBM/Industrial returned to LPR where it got it’s start. A growing following of NYC Industrialists attended. The night featured DJs EISDRIVER (Qxt’s, Assimilate) and STRYKK9 from Philly (DeMolition, Spellbound) laying down the heavy EBM beats that kept the dance floor moving. This night was a special tribute to the Industrial act SPAHN RANCH and featured an all SPAHN RANCH guest dj set by the band’s vocalist Athan Maroulis.

Athan Maroulis of Spahn Ranch at Bodylab


Human Music

May 27 & 28, 2017

Human Music

QXT’s in Newark hosted an extraordinary 2-day festival focused on the revived popularity of what is termed “synthwave,” the retro futuristic style of techno-wave that adapts newer technology to 80s darkwave synthesizer-based music. This may in fact have been an unprecedented gathering of no less than twenty bands representative of the genre plus 8 deejays steeped in the style, supported by sound, lighting and video specialists with the same aesthetic sensibilities.

Tickets were priced at from $40 – $50 single-day/ $70 – $80 for both days depending on how far in advance; and $60 single-day/$100 at the door.

New Dark Age didn’t attend, but reports from those who did termed it a unique experience and spectacular success.

A listing of bands the first night included Magic Sword, mysterious group whose songs are featuring in video games; Betamaxx, famous for the “Kung Fury” movie sound track; Dead Astronauts in their only USA performance, Trey Frey from Philadelphia; The Rain Within from Charlottesville, VA; Boaconstrictor; and Protector 101 out of Ventura CA.

Davey Partain of AEON Rings at Human Music Festival

The second, full, day-into-night event started off with Dance with the Dead in their first east Coast appearance; Gost; Bit Shifter from NYC; Night Club (L.A.); Teeel from Trenton NJ; Street Fever (L.A.); Defiant Systems; Arcade High (Pittsburgh); STRNGR; Skeleton Hands (Cincinnati OH), AEON Rings (Brooklyn); Hunterquinn (Cincinnati); AndaruGO (Cincinnati) and The Encounter (NY).

Governor’s Ball

Randall’s Island NY

June 2,3 & 4 2017

Governor’s Ball, held over 3 consecutive days and night in New York’s Randall’s Island Park was jus too large a commitment in time and money for New Dark Age to fully attend, but the lure of Tool as headline band on closing night, Sunday, was irresistible. So our crew set out late Sunday afternoon, enduring unbearable traffic jams to reach the ferry slip where we boarded one craft in a steadily running shuttle service that ran from Manhattan’s East River shore to the park on Randall’s Island.

Ferry slip at entrance to Governors Ball on Randall’s Island

Disembarking there, then traveling on foot, we hit each of the four active stages, mingled with countless throngs of young – very young – attendees, and grabbed beers and snacks at various stands set up for the occasion.

Prohibited items at Governors Ball

Cage the Elephant from Tennessee held a vast crowd enthralled amidst whom was a smattering of skilled, self-entertaining hula-hoopers. Across the island, Phantogram, natives of Saratoga Springs, NY captivated the audience with a fine repertoire of hits and with the dazzling statuesque beauty of vocalist Sarah Barthel.

What we came for was, of course Tool. A fervid crowd had begun packing the area around the stage before 8:30. They were scheduled to appear on the main stage at 9:15 P.M. Tool made its grandiose appearance, opening with “The Grudge.” This was followed by “Parabola,” an extended version of “Schism” and a new version of “Opiate.”

Twelve songs made up the set list, each in a terrifyingly bombastic, yet deliciously accessible signature style; plus there was a spectacular but nameless, extended drum solo that utterly mesmerized the crowd.

The giant screens flashed images from Alex Grey’s hallucinatory art, Adam Jones’ creepy stop-motion music videos, psychedelic imagery and more. The late drug advocate Timothy Leary’s gigantic and distorted face, floated, dream-like and rendered a monologue that is standard fare at Tool events, promoting the philosophy of “Think for yourself.” The mysterious, spidery silhouette of Tool mastermind, Maynard James Keenan, darkly costumed in some kind of robotic armor, remained inconspicuous and elusive at the far back of the stage.

Maynard James Keenan revealed in the recesses of the stage

The crowd was moderately aggressive, especially close to the stage as we were, with many near-altercations that converted instantly into joyful and convivial mosh pits. Having started the show a couple of minutes late, it ended somewhat past the scheduled conclusion. The final piece, “Stinkfist” was still audible in the distance as we hurriedly crossed the vast field to catch a late ferry back to the City.

Solace at Paul Booth Gallery

Nature at Last Rites Gallery

The Booth and Last Rites Galleries on West 38th St in Manhattan are ever the places to visit for the latest in art with a gothic/punk/industrial flavor. Founded by renowned tattoo artist, Paul Booth in 2007 as an adjunct to his legendary tattoo parlor, these galleries operate in tandem to exhibit surrealist art with a grotesque and morbid leaning.

June 3 saw the opening reception for 2 simultaneous exhibitions. The one on the first floor was called “Solace.” On display there were, among other works, large-scale (up to 9’ X 10’), high-priced (up to $40,000) oil paintings by Adam Miller in the style of old masters depicting allegorical histories, anachronistic mythological characters in modern situations and bizarre images, all done with incredibly masterful technique. His magnificent “Dream of Paradise Remembered by Moonlight” served as the cover image on the flyer for the event.

Lou Ros, a former graffiti artist had smaller, whimsical works of oil and acrylic, some of which looked like he had purposely vandalized cleaner, neater works with pastels, added childish scrawls and the like.

Jean-Paul Mallozzi’s mixed graphite, ink, oil and acrylics also had a playful, vandalized look, featuring portraits literally defaced i.e., rendered anonymous by obliterating identifying features with gobs of medium.

Upstairs the exhibit was called “Dark Nature.” Exquisite, elaborate graphite drawings by Zoe Keller were attention-grabbers, as were metaphorical works by Annie Terrazzo.

Black Line

Treason, Sedition and Subversive Activities

Available on digital download

Black Line is an evolving, LA-based collective fronted by Nitzer Ebb vocalist Douglas McCarthy and founder, electronic music producer, Cyrusrex. The long list of collaborators is a who’s who of the electro-industrial scene, and includes such famous names as Paul Barker (Ministry/Puscifer) and Mark Walk (Skinny Puppy/OhGr) plus many more, equally famous. “Treason, Sedition and Subversive Activities” consists of 14 tracks with a decidedly high-tech sound.

McCarthy’s voice is familiar to fans of Nitzer Ebb. Whether hissing, growling or full-throated, it is generally up front, rendering the elaborately complex synthetic music personal and emotionally accessible. At once angry and desperate, his singing brings a welcome, melodious element to the busy, manufactured music. The instrumental intros to each of these songs afford the artists opportunity to create a variety of auras, some ghostly, others pregnant with a sense of impending significance. The manifold layers of sound include both familiar and unfamiliar synthesized electronic voices, plus menacing, low-pitched buzzing sounds, high-frequency arpeggios, simulation of a human heart-beat and something suggesting banging on an electronic trash can. The listener’s interest never has a chance to lag into boredom.

There is breadth to this album, with tracks that range from those that feature rapid disco-beats to those that sound like a remorseless, plodding, zombie march. McCarthy’s vocal narratives, some with backup male vocalists, hold it all together. A few tracks are voiceless, sounding like eerie, ethereal soundscapes or soundtracks for an apocalyptic sci-fi movie.

Alison Moyet

Other

Cooking Vinyl

If Alison Moyet ‘s name isn’t a household term in the U.S. it isn’t for any lack of recognition in the U.K. and the rest of the English-speaking world. In the 80s she co-founded duo Yazoo (“Yaz” in the U.S.) with Depeche Mode’s Vince Clarke. She then she moved to a solo career with the album “Alf” (her punk nickname) that reached number 1 on the U.K. charts. Since then she has put out a number of albums with varying degrees of success. She has collaborated or appeared with Paul McCartney, the Eurythmics, Bob Geldof, Bowie, Sinead O’Connor and Pete Townshend.

“Other” contains 10 tracks of a predominantly synthpop style, highly accessible, and obviously the work of an accomplished music professional and veteran with mastery of a variety of vocal techniques. Famed for her impressive contralto, her voice is “bluesy” although the music isn’t Blues by any means.

The first track has a trip-hop feel reminiscent of Portishead and affords the artist to showcase her powerful and emotionally evocative tremolo – as do several tracks that follow. Melancholy, but not morose, her vocal style fits equally well with slow-paced grooves as well as mesmerizing, rapidly paced dance tracks. She sounds sweet – like a string instrument – in the fourth track, then goes deep during the funky, explosive fifth track. The seventh track is an engaging, existential spoken word poem layered on a menacing, hissing soundscape. When, on the eighth track she is accompanied by a limited piano, she modulates her singing to the same sparse, exquisite level, but raises her presentation to almost operatic level when reaching for her raw, rock roots on several other tracks.

Listeners will find this album with its variety of styles accessible, appealing and quick to grow on them. This is artist knows how to express herself and therefore how to engage and please an audience.

Alison Moyet will tour the USA and Canada later this summer, hitting the Philadelphia/Boston/ New York circuit in early to mid-September.

February 2017 New Dark Age

Filed under: Events,Goth Stuff,New Dark Age Monthly — doktorjohn February 7, 2017 @ 1:38 am

February 2017 New Dark Age

Friday the 13th of January saw two noteworthy scene events in NYC. Christian Dryden’s recently reorganized band, the Ritualists performed a set of nine or ten original pieces plus a George Michael cover, “Father Figure,” at the Delancey under the Williamsburg Bridge. They opened with pop-sounding “Say Yes” off their EP, then moved into a piece with a Led Zeppelin-meets-Echo & the Bunnymen feel, and a third song which featured Dryden’s spectacular, soaring vocals over a tribal beat.

Christian Dryden leading The Ritualists


The set featured a variety of styles to please a variety of musical tastes including psychedelic, Brit-pop and Post-Punk with New Wave and pop hooks thrown in. They introduced a new piece to their repetoire, “She’s the Sun,” a 60s-sounding combination of psychedelic with New Wave , followed by the George Michael tribute, and ending with Dryden’s flagship anthem, “I’m With the Painted people,” a geographically well-situated ode to the Lower East Side’s glam and punk scene.

BodyLab

DJ Eisdriver and DJ Arsenal held the second edition of BodyLab, an industrial/EBM purist’s dance night in the dim backroom of the Parkside Lounge on East Houston where black-clad and boot-shod enthusiasts punished the dancefloor to the sounds of Skinny Puppy, Front 242 and Ministry as well as less-identifiable harsh electronics . Fascinating, yet disturbing music videos from the Cleopatra Records collection flicked silently of a large screen as backdrop visuals to the heavy-duty soundtrack curated by these two rivet-head deejays and late-arriving guest DJ Wendy Blackwidow, late of Philadelphia’s famous Assimilate night. Free giveaways included packaged CDs of techno-electronic music.

Inclement weather and hazardous driving conditions prevented us from attending birthday parties at QXTs for Damien Plague and Krys P. With apologies, New Dark Age extends very belated Happy Birthday greetings to both.

Stimulate

DJ Paradox (right) and admirer


The recurring alternative music party hosted by impresario Xris Smack was held on the eve of MLK Day, Sunday night, Jan. 15 jointly with a NYC-based alternative-lifestyle organization calling itself Fetish Tribe at Manhattan’s Lower East Side club, The Delancey. A Who’s Who of famous deejays from the metropolitan area including Sean Templar, Paradox, Eric Aengel, Michael T, and QXT’s birthday boy Damien Plague enlivened all three floors of this venerable nightclub, where dance spaces were available in the basement and main bar area on the ground floor levels.
For an extra $10, one had access to the third floor indoor garden where Fetish Tribe put on X-rated displays of “suspension” and more on gorgeous and lingerie-clad volunteers, the details of which I will leave to your imagination.
Denizens of NYC’s dark demimonde came in all kinds of transgressive attire and costumes, from old-school punk to bizarre outfits befitting the theme denoted in the event’s subtitle, “Wicked Winter Wasteland.” Notables of the scene, including William Welles, Ashley Bad (in a crème-colored latex body-suit), Athan Maroulis (Spahn Ranch and Noir) and Kai Irina Hahn (The Sedona Effect and Noir) were on hand.
Acclaimed tribute band Disorder packed the basement performance space at around 1 a.m. for a flawless set of Joy Division’s history-making, Post-Punk repertoire. Enthusiasm shown by the mixed audience of goths, punks and plain music-lovers has to be termed “over-the-top,” as lead singer Mike Strollo succeeded in capturing the earnest and anguished vocal style of the tragic Ian Curtis with masterful instrumental accompaniment.

Memento Mori

This last Thursday night of the month event continues to flourish under the auspices of deejays Ana Vice, Valefar Malefic, Mike Stalagmike (Defcon) and Bela Lugosi Alex. The creepily gorgeous décor of Bedlam, the bar at which it is held provides a unique and just right environment decorated with antique anatomical models and medical charts and a massive, mounted moose head. Artificial cobwebs are strewn about and hung from the numerous lamp-shaded wall sconces that provide conducive, dim lighting to the venue. Countless and various colored tea-lights everywhere – on the bar, on tables, lined up along baseboards – add a sense of dark glamour. Tatters of shrouds dangle from the ceiling in the he small, but sufficient, strobe-lit dance floor.
The musical selections vary with each of the deejays and can range from such obscurities as Cold Cave to such standards as Sisters of Mercy. Whether it’s Death in June or Ex-VoTo, attendees at Memento Mori are sure to have their taste in dark music not only broadened, but darkened!
This night we found Ana Vice, one of the original founders, opening the night from her statioin at the deejay booth. Charming and gorgeously attired/groomed Bela Lugosi Alex acted as a sort of host, entertaining guests with friendly conversation while both snapping and posing for photos alongside his better half, meta-beautiful Catgirl Morales. The Catgirl was just back from having been to North Dakota where she had visited to support the indigenous people movement, a cause with which she strongly identifies. To everyone’s delight, Catgirl had brought along her bewitching cousin, Sacramento Samantha, fresh from the West Coast, wide-eyed and enthusiastically touring New York and the East for the first time. Fabulously attired, statuesque Valefar Malefic floated about – preened as always like an androgynous vampire, the very epitome of Goth.
Besides bar seating, Bedlam also provides comfortable, upholstered booths where attendees can give their dance feet a rest and engage in intimate conversation. One on such booth we found DJ Mike Stalagmike entertaining some attentive members of the opposite sex early in the evening. Goth celebrity Aurelio Voltaire was observed huddling and snapping selfies with friends in another booth somewhat later in the evening.

Ward 6

Father Jeff Ward and DJ Patrick Cusack hosted the latest edition of this, the longest running Goth dance night in NYC on the last Saturday of January. Doors opened at 11 p.m. and attendees got the warm welcome by Mandana Banshee. Entry to what has become one of the all-time favorite venues for such events, Windfall, was $10 at the door, or $8 with flyer. The night takes its name from the Chekhov short story about an insane asylum, with a play on the main host’s surname.
By all accounts this was the most heavily attended event in this category at Windfall, drawing such scene luminaries as deejays Arsenal and Ash, William Welles, “Bent Nail Studio” artist CharleSilas Garlette and his significant other, Sirma as well as scene regular “Tragic Doll” Shirley Alvarez accompanied by a beautiful entourage of female family members.
Jackie Rivera had a stand set up where she hawked her crafted, morbid jewelry and accessories under the label “Jackie Hates You.” Pencil artist Bill sat in his usual station making candid sketches of those in attendance who danced before him or stood still long enough to be captured on drawing paper. Mixologists Gerard and Julia kept imbibers satisfied despite the seemingly overwhelming demand. The dance floor was crowded like never seen before owing to the draw of the extraordinarily appealing mix issued forth from the booth. Windfall manager Chris Savo took a moment out from his house duties to pose with Father Jeff for a photo.

New Recording
Peter Murphy
Bare Boned and Sacred

Metropolis Records

This latest Peter Murphy release is a compilation of the somewhat variable setlist presented during the recent “Stripped” tour, complete with audience reactions. The feeling of “live” is amplified and rendered unique by the fact that the “Stripped” tour was predominantly in the acoustic mode. Thus the versions heard on this CD come across as loud, clear and up front, similar to the way it was experienced by front-seat attendees at the concert performances themselves.

The first track is the acclaimed “Cascade,” the consistent opening track during this long “Stripped” tour, which begins with an electronic instrumental riff reminiscent of the dots and dashes of Morse code, onto which Murphy speaks in low mystical tones about “twilight.” Then it takes off into off into an irresistible, rhythmic set of arpeggios and a powerful, melodious song.

The second track, “Secret” was less frequently presented during the tour, heard also on “The Secret Bees of Ninth,” a 6 song EP, and is played with Murphy’s self-accompaniment, strumming on an acoustic guitar plus thje backing of a solo piano. “All Night Long” is performed in a style that all fans will find delightfully familiar, but “Marlene Dietrich’s Favourite Poem” gets a novel and innovative treatment as far as the accompaniment, while the vocals are faithful to the original.

Just as he did on the tour, Murphy pays emotion-laden tribute to David Bowie with “Bewlay Brothers” on the next track. Then the acoustic guitar proves especially apt as accompaniment to “A Strange Kind of Love,” because of the measured pauses between widely spaced lyrical lines.

“The Rose” off the “Lion” album gets a fuller instrumental backing on the following track in keeping with Murphy’s fuller, soaring vocals. The high point for Bauhaus fans on this album, as during the live shows, is the “Bauhaus Medley” of minor key masterpieces that begins with “King Volcano,” runs through “Kingdom’s Coming” and ends up with “Silent Hedges.”

“Never Fall Out” was frequently performed during the tour, but we who attended the late night performance in NYC didn’t get to hear it, so the CD provides an opportunity to enjoy this piece off “Ninth” in stripped-down style with mere guitar strumming accompaniment and some subtle male vocal back-ups.

“Gaslit” off of “Ninth” was performed at virtually every stop on the “Stripped” tour and serves well as the setlist draws toward a beautiful climax, just before “Lion” – also missing from both NY City Winery sets – leads to the final entry on this album that was not part of in the “Stripped” tour setlist,, the languid, mystical, Near Eastern hymn, “Your Face” from the 2002 album, “Dust.”

This album is a must for Peter Murphy/Bauhaus fans. Although many of the titles will already be in their collections, they will hear them sung with his voice now thoroughly mature as never before in – as we say – “close up and personal” versions Close listening will reproduce the experience of witnessing it in intimate proximity to the artist, with just enough instrumentals to highlight his rich vocal style.

Museums

The Whitney Museum of American Art

The first week of February was the last chance to see the mind-bending and dazzling video/light-show exhibit called Dreamlands at the Whitney in NYC’s Meat Packing district. Large format screens showed everything from actual 1950s Pacific nuclear bomb tests to slo-mo images of glittering, costumed characters, to human puppets and psychedelic patterns. Here there were imaginative flashing neon signs and there, rooms full of competing screens with films, slides and colorful images to hypnotize viewers. A sampling of images are shown in the Aquarian edition.

The Metropolitan Museum

Max Beckmann

Self-Portraits of Max Beckman

This venerable mother ship of art had two exhibits of interest to the Goth crowd. Upstairs was a retrospective on Max Beckmann, 20th century artist from Leipzig, whose success in his Weimar Germany was short-circuited by the rise of Nazism, forcing him to emigrate to Amsterdam and then later, New York, where he continued his career as an acclaimed Expressionist painter, a label he thoroughly rejected.

Bird’s Hell – Max Beckman (1938)


When he wasn’t painting introspective self-portraits, he often produced grotesque, sometimes distorted images of his wife Quappi and some seductive women as well as puzzling tableaux of people engaged in casual violence.

Masterworks – Unpacking Fashion

Downstairs in the Anna Wintour Costume Center, the Met put on a display of sixty, chronologically arrayed fashion masterworks, from the 18th Century through the present, with an emphasis of design and materials. What we found fascinating from our particular point of view, was the presence of numerous works with a transgressive, in-you-face attitude. I’d like to see some of these outfits, shown nearby, at the next Goth gala, Endless Night or Dracula’s Ball. Some of the frankly absurd shoe designs reminded me of footwear that might have been featured in fetish mags.

Like to see these at the next Endless Night Vampire Ball

Punk ain’t (comp[letely) dead yet


What everyone’s wearing at the Annual Fetish Ball


Not exactly “sensible footwear”


An absolute “must” for the Anti-Valentine’s Ball

January 2017 New Dark Age

Filed under: Events,Goth Stuff,Live Music,live music,Reviews,Uncategorized — doktorjohn January 17, 2017 @ 8:58 pm

The Godfather of Goth

Peter Murphy at City Winery NY
Dec. 11, 2016

Peter Murphy Sings Bela Lugosi’s Dead


Peter Murphy is overwhelmingly popular, not just with the worldwide Goth community, but with many whose musical puberty occurred during the 80s and early 90s. The first show at the intimate City Winery in lower Manhattan’s West Village sold out immediately upon being announced. Thus a second performance was mandated, even though it meant scheduling it around 10:30 pm on a Sunday night.

This event represented part of the tail end of his “Stripped” tour which began in California in April of this year, crossed the country, then crossed the Atlantic, and drew to a close on the East Coast. “Stripped” refers to the mainly acoustic, minimal electronic sound, provided by Murphy himself and two string instrumentalists/backup vocalists. Make no mistake, though, there was plenty of amplification and digital audio as needed to authenticate the mood and feeling of the cherished selections performed nor was there any lack of his showmanship and stage antics.

As on virtually all previous stops on the tour, PM started off the set with “Cascade,” off the 1995 album of the same name, recognizable by its melodious Morse code-like series of high-pitched, introductory tones that elide into arpeggios which grow into a luscious, percussion-driven melody. A consummate showman, Murphy Strutted about the stage, bowing and waving his stretched out arms like a bird in flight.

Following that, he reached back into the 80s with “All Night Long,” “Indigo Eyes” and “Marlene Dietrich’s Favourite Poem in true acoustic style, seated and strumming his 12-string guitar. He continued the “stripped down” style but strode out from the stage to hover over the front rows as he announced and paid tribute to the late David Bowie with “The Bewlay Brothers.”

PM’s voice showed signs of strain, and his spoken words were decidedly hoarse, but his notes were perfectly steady and on key, and he never held back from bellowing out, full-throated, whenever it was called for. “A Strange Kind of Love” afforded the opportunity for a brief solo by the violin accompanist.

Murphy picked up, first a tambourine, then drumsticks for the three Bauhaus favorites that followed: “King Volcano,” “Kingdom’s Coming” and “Silent Hedges.” He briefly disappeared from the stage, then returned to perform “Gaslit” and the bass-and-drum-heavy cover of Dead Can Dance’s “Severance.”

There was a pause signaling the final encore, the beloved and iconic anthem “Bela Lugosi’s Dead” – rarely performed on this tour. Murphy called for the lights to go down. His face was dramatically lit from below in cinematic horror fashion as he sung the repetitive mantra “undead, undead, undead” to conclude the show and leave the latenight crowd satisfied beyond their expectations.

Titans of Tribute XXVII

The Nimrods cover Green Day

Starland Ballroom hosted a blockbuster event to a sell-out crowd Dec 9 featuring three separate tribute bands covering three true titans of the post-punk/grange era. An additional, and unexpectedly pleasing experience was provided by the opening band, Eli, who performed a set of their original music with skill, style and the gusto associated with the early, pioneering days of the 90s music explosion. ELI (or ELI the Band if you are searching them on social media) is a trio of utterly sincere and committed young adults who have played and written music together since their not-to-distant highschool days, channeling the spirit of grunge into their original compositions with skill and devotion. No matter that the era of grunge peaked shortly before these budding musicians were born! This was their first big venue appearance and they brought the house down.

We got to speak to the youthful members backstage after enjoying their set of eight songs which included only one cover, “She Hates Me,” by Puddle of Mud, during which they introduced the band members to the audience. We learned that the “old man” of the group, 22 year-old Conor Schaar, who played bass and sang most of the vocals, likes to do much of the writing in collaboration with guitarist and sometimes-vocal lead Paul Machado. Drummer Mike Sliker provides the essential rhythms during inventive sessions in which the trio regularly engages. Their story begins with winning acclaim at a school talent show six long years ago. That duration of cooperation and dedication goes a long way toward explaining their tight, highly accomplished performance.

Next up came the Green Day tribute band, the Nimrods who take their name from a 1997 album, slammed enthusiastically through twelve of their recognizable hits from “Brain Stew” to “When I Come Around” to “American Idiot” and more. Vocalist/guitarist Fred Zoeller captured frontman Billie Joe Armstrong’s dark, cynical and frenetic style, and he received professionally polished instrumental accompaniment from three Dans: Dan Esser, Dan Callas lead guitar and Dan DiLiberto on drums.

Nicole Scorsone with The Nimrods

A special treat was had when renowned violinist Nicole Scorsone joined in for “Minority,” “Good Riddance” and “Wake Me Up When September Ends.”.

Following both outstanding performances Lady Picture Show took the stage with their impeccable covers of the cherished Stone Temple Pilots repertoire including “Interstate Love Song,” “Plush” and “Creep.” As far as faithful reproduction of the original sound of STP, I cannot imagine a more authentic experience.

Finally – can I call them headliners? – Nirvana tribute band, Lounge Act came on stage and performed meticulous, loving and faithful tribute versions of the revered Nirvana repertoire. A mosh pit formed and became increasingly enthusiastic throughout their set, which included ”Aneurysm,” “Heart Shaped Box” and the creepy “Rape Me” and “Lithium.” I counted around 12 or 13 songs.

Lounge Act covering Nirvana


Who needs time travel? These guys made it happen!

World Goth

The Berlin Dungeon

Facade of The Berlin Dingeon

No! Kiddies, the Berlin Dungeon is not an S & M club. It’s an expensive tour of a historically educational, slightly creepy attempt at recreating sets and scenarios of medieval “justice” under the Hohenzollern rulers of Medieval Prussia. Actors in period costumes alternately try to scare and inform tour-goers with frightful scenarios and tongue-in-cheek narratives regarding the somewhat deranged secular and ecclesiastical court system, which usually ended up with defendants subjected to devices of torture and execution. You know, “the good old days.”

There are various special effects, walks through mirrored mazes, moments spent in unbearable suspense in pitch-dark chambers, interrupted by terrifying ghastly action; as well as some corny court-room set-ups where tour-goers stand accused and are sentenced to penalties that are escaped at the last minute. The tour ends in an amusement park-like ride that lifts seated riders up before (safely and comfortably) dropping them two stories of height.

Poster Ads for the Berlin Dungeon


It’s all in good fun, but unfortunately, no photos are allowed, so all I can show are images of the outside of the building, but that should be enough to direct you to this semi-interesting, semi-entertaining venue if and when you visit Berlin.

Forever Young

Dubious characters host the Red Party

Under the auspices of DJ Sean Templar and hostess Mandana Banshie , The Red Party held a New Year’s Eve Bash from 1 a.m. until 6 a.m. on January 1, 2017 at the Mercury Lounge, allowing party-goers to spend the actual NYE in traditional celebration with friends or family before heading over to the East Houston digs for an all night Goth event to the dee-jay efforts of DJ Ash, Xris Smack and Matt V Christ.


Necropolis and QXT’s celebration of Damien Hrunka’s 40th birthday were held on January 7, but we were unable to attend and therefore unable to report on either due to a winter storm that discouraged travel by all but the most courageous.

Clash Bar Cover Band Night

Filed under: Events,Live Music,Uncategorized — doktorjohn August 3, 2016 @ 12:59 am

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Attack of the Clones

disorder copy
Featuring

Flaming Youths
Disorder
Street Walking Cheetahs
Pulp Flannel

Clash Bar

June 3, 2016

By Doktor John

Clifton NJ

Singer and multi-instrumentalist Christian Dryden hosted a particularly spectacular night of cover band performances at the Clash Bar, a nightspot famous for exceptional entertainment in the punk genre. Most all my readers are familiar with this venue, noteworthy for its well-stocked bar, reasonable pricing (both entry charges and libations), great shows and the friendly supportive management of that patron of the punk arts, Bob Clash.

Openers Pulp Flannel served up a nostalgic mix of 90s grunge rock – Seattle style – with covers of Nirvana, Smashing Pumpkins, Alanis Morrisette, the Cranberries, et al. They took a while to warm up and their performance was somewhat uneven with regards to quality and authenticity. However several songs, female-fronted by the adorable Kitman, really hit the emotional bulls-eye for us aficionados of pre-millenial alternative rock. Kitman also happens to be the name of a famous Hong Kong songstress to whom Pulp Flannel’s vocalist bore a striking resemblance, though decades younger.

Next up, The Street Walking Cheetahs put on an eye-catching as well as musically spot-on rendition of Iggy & the Stooges’ repertoire. Uncanny in his resemblance, both in sound and in visual terms, the lead singer of this Asbury quartet went beyond entertaining to actually transporting us all back to that special era in the early days at the inception of punk.

Disorder takes up the challenges posed in paying tribute to the oeuvre of Joy Division, whose iconic status attains to heights approaching mysticism for having ushered in the prolific era of Post-punk. There are other Joy Division tribute bands, but it’s hard to imagine a more perfect capture of the dark, enigmatic ambience of this archetypal band than that achieved by Disorder. Not only did they pay tribute to Joy Division’s beloved standards like “Dead Souls” and “Love Will Tear Us Apart,” but also they dug deep into their repertoire including such lesser-known gems as “Warsaw” off the “Substance” album. I have followed this combo ever since I adopted Joy Division as my religion, and I have seen the guitarist, John Costa and bassist David Id attain ever higher levels of skill in perfectly reproducing the sound of the original albums and the feel of the few surviving live performances. Vocalist Mike Strollo and percussionist Chris Mele bring a level of obsessive professionalism to the task of reproducing the experience of this tragically short-lived yet monumental band.

The night concluded with the KISS tribute band – The Flaming Youths – in full black & whiteface make-up, and organizer Christian Dryden sat in the esteemed position behind the drum kit for hard rock covers of the infamous 70s & 80s idols. Opening with the typically feel-good “Deuce,” Flaming Youths proceeded through a thirteen-song set and concluded with the emblematic “Rock’n’Roll All Night.” They touched upon and delivered the best of KISS’s mother lode of defiant party anthems, a perfect culmination to a night of tribute to rock music’s ancestry.

Goth 101 with Andi Harriman

Filed under: Events,Goth Stuff,Reviews,Uncategorized — doktorjohn June 28, 2016 @ 7:29 pm

This is the newspaper print version of the report. The searcheable, internet-based version can be found by scrolling down two entries to http://doktorjohn.com/?p=1612

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