BlkVampires/ July 6, 2012/ Dingbatz

By Doktor John

Clifton N.J.

The last time we attended NYC’s famous Goth music revue, Incantation, we arrived too late to hear the BlkVampires, who were just breaking down after their performance. Something special about them struck us. It may have been the gruesome costumes of the band members or possibly their stunning female entourage who helped them collect themselves after the show. Most likely, though, our fascination sprung from the fact that they were the first and only all-black Goth band we had ever come across. The fusion of black musical styles with gothic-industrial seemed to hold great potential. So when we received the announcement that BlkVampires would be performing at Dingbatz in Clifton, we made it our business to put together a small band of fans and critics to check them out.

Opening that night was the Trailer Park Mafia, a worthy heavy metal trio fronted by a powerful, bandana-sporting vocalist with a body-builder physique to match his muscular sound and a classic 80s metal style that fit Dingbatz perfectly.

BlkVampires began their set with an unusual performance-art piece in which frontman Forrest Thinner came on stage in grinning, white-face make-up and played menacingly with live fire during a hard-core piece called “Ventriloquist.” Next came a blend of R & B vocals mingled with doomsday metal to tell the tale of a control freak in “Ringmaster.” Subsequent songs ranged from almost-mainstream rhythm and blues to the truly grotesque, suitable for horror-movie soundtracks. Themes ranged from criminality in the hood to the cryogenic freezing of bodies for purposes of future resurrection. Another macabre theme was the longing a vampire feels for a girl whom he can’t reach because she inhabits the daylight. We were even treated to a reggae version of “Knockin’ on Heaven’s Door.”

Guitarist Randy Blu managed his riffs wearing a terrifyingly realistic skull mask. Capable bassist Ray had viewers doing a double take with his medieval-fetish, leather-strapped-up face, whereas drummer Ramsey wore more conventional attire.

Last month’s issue of Fangoria, the horror movie mag, did a feature on them. BlkVampires normally consists of six musicians, but was pared down to a quartet for this show. One wonders how much more impressive this versatile and entertaining band’s performance may be in full sextet presentation. Go to blkVampires.net to find out more about the band and where they are appearing next.

Appears in the June 13 issue of

The Aquarian

[Please continue reading above, right before continung below these two next photos]

Review as it appears in

The Aquarian

The Birthday Massacre/Mexicali Live/Dec. 11, 2011

By Doktor John

Teaneck, NJ

Mexicali Live is an excellent venue for an event featuring an audio-visual performance group like The Birthday Massacre. Besides an exceptional sound system, it features a wide-open standing room, with dinner-table seating along one side-wall and in a loft-like second level at the far end of the room. All of these provide a reasonably good view of the elevated stage which is situated against the front wall facing backward into the auditorium. TBM were the headliners on this, the tenth stop on their nation-wide tour. Earlier stops were spent opening for another band, Dir En Grey, but this night the openers were old-school grrl punk rockers Verbal Equinox, and hard-core-metal quartet P T Grimm, featuring a politically agitated, potty-mouth male vocalist supported by a pair of theatrically slutty, faux cheerleaders.

As for TBM, they pleased the sold-out crowd of die-hard fans as well as new-comers with their over-the-top, thunderous, yet melodious metal as well as with creepy costumes and make-up. The visual style of this black-clad, black-tressed band was Tim Burton-esque and gory. Theatrical blood oozed from the chin of one performer and out of the ears of another. There was the customary element of innocence-defiled in the lyrics and the actions of the cutesy female lead vocalist.

The hour-plus set drew from TBM’s half dozen albums with emphasis on the 2010 Pin and Needles and the 2011 EP Imaginary Monsters. “Red Stars” from Walking With Strangers, “Horror Show” from Violet and “In the Dark” from Pins and Needles show-cased their synth-goth style. Every song is richly hook-laden and catchy. Power chord bursts of rhythm left just enough time in between for the forcedly sweet, 70s style vocals of female lead Chibi. The overall effect was somewhat like listening to Smashing Pumpkins at their most explosive accompanying Madonna at her most child-like.

After a brief goodnight, they returned with a pair of encore pieces, “Sleep Walking” and “Midnight,” both from the Pins and Needles. The crowd was ecstatic and cried for more.

Skinny Puppy/ hanDover/SPV
By Doktor John

This is the 11th complete album by the preeminent electro-industrial group, Skinny Puppy, and is comes across as an unfortunate mellowing-down of the style of this usually boisterous, eccentric band. SP has a tradition of naming their songs with puns and neologisms. Thus we find tracks with names such as like Ovirt and Cullorblind, but I wouldnt suggest you try to find the hidden meanings.

Overall the album is a languid collection of plodding, mournful tracks with reduced rhythm complexity, slowed cadences and toned-down lyrics when compared with the established SP oeuvre. There is conspicuous absence of the delightful and puzzling sound-samples from movies and TV that used to add an element of uniqueness and artistry to SP’s prior albums.

Most of the songs tend to trip along never approaching a climax. Tracks three and four would actually make great backgrounds for falling asleep. Occasionally the rhythm breaks into a light gallop or even a rapid-fire pace. Beats in the track“Point” take the form of recurring electronica derived from video games or perhaps Star Wars weaponry, the effect of which is sadly cheesy.

Dont get me wrong. Theres much in hanDover that has SP’s signature sound. Vyrisus, by far the best track on the album, revives a familiar SP musical device, starting with an eerie, high-pitched note that hangs, drone-like, suspended over a complex and hypnotic rhythm, then is laced with Ogre’s vocals which alternate between a growl and a harsh whisper. But the next track, “Village” morphs into a clone of something by My Life With the Thrill Kill Cult with its driving drum-machine beat. HanDover concludes with “NoiseX” over seven tedious minutes of chaotic sounds having neither a rhythm nor a melody. Many of SP’s better albums traditionally include just such a wastebasket track with leftover noise.

The formula for the album seems to have been to put Ogre’s (Ohgr’s) solo work into a blender with the recent album Mythmaker. This album unfortunately has no breakout special hit single, no powerful or explosive track. There is no delicious melody worked into an industrial soundscape as can to be heard in bygone masterpieces such as “Warlock,” “Addiction” or “Killing Game.” But it is good, serviceable if somewhat mediocre industrial music still bearing the SP flavor, and it is, at the very least, acceptable to the fan base. I have no idea, however, why they would go to the trouble of producing hanDover.

In a word: Uninspired
Rating: B-
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FangMaster Fr. Sebastiaan, known to NYC Goth-scene old-timers who remember Long Black Veil, The Limelight and the Bank is an international impresario, holding events at such Goth capitals of the world as New York City, Paris, France, and soon —perhaps— Venice, Italy. The biggest of these is the Endless Night Vampire Ball held annually in New Orleans, Louisiana—The Big Easy.

This year, the theme was the increasingly popular fashion called “Steampunk” , based on the elaborate and decorative styles that prevailed during the turning point from ancient, historical ways to the nascent industrial/mechanical world of brass gears, top hats, airships, Jules Verne, Mary Shelly and Bram Stoker, nostalgically known as the Age of Steam.

Now do you get the connection?

Well Marzena and I have been wanting to attend the event for a long time, and this year we flew down on Friday to participate in the Endless Night Ball the next day, Saturday, and we were back in the air and home to New Jersey early (very early) Sunday morning.
Here’s a sample of what we saw.
First off, there’s a meet-and-greet (and, optionally, get your fangs made) outdoor event in the back court of The House of Blues on Decatur St, in the French Quarter.
There we were greeted by the merchandise stand selling various items which included Sebastiaan’s latest book, t-shirts with the Endless Night 2011 logo and promoting next year’s events.
Here’s the Fang Master himself fitting a (soon-to-be vampire) customer with new, custom-made and custom-fitted individualized fangs.
As with all such events, there were a panel of hand-picked DJs who spun a mix of classic rock, 80s, alternative, Goth, techno and industrial. We probably could have used less of the nameless techno and classic rock—and more of the Gothic-industrial, but that’s just my taste.

Shown here, the most beautiful and fashionably steam-punked lady in attendance stood out from the crowd.

More of the crowd

There were dancers—and there were DANCERS

Here was a great-looking couple
More of the crowd

Some stepped outside the theme with their unique costumes

and some looks were scarier than others!

The Grandfather of Goth watching the stage show
Doktor John’s unmistakable choice for best dancer at the event.

The following review was published in the paper edition as well as the online edition of The Aquarian

Mark Sinnis – The Undertaker In My Rearview Mirror

Frontman for Cemetery & Western band Ninth House, Mark Sinnis has released a new album that contains some updated, acoustic and mellow versions of previously recorded Ninth House favorites, countrified even further with honkey tonk piano and acoustic and slide guitars. Sinnis continues expounding obsession with the many ways that the concept of death informs and shapes our viewpoints and our lives.

The title track is new, melodious narrative, partly spoken, partly sung in old-school country style, relates the morbid ruminations of someone who spends a lot of time behind the wheel and features a slide guitar that creates an eerie feeling to accompany his thoughts. Included are covers like “Ghost Riders in the Sky” and re-interpretations of other artists’ works as well as of his own previously recorded songs. A fabulous example is “Fifty Odd Hours,” which is a re-write of the great antique “Sixteen Tons,” a 50s classic by Tennessee Ernie Ford. Both “Death Song” —borrowed from the repertoire of Sinnis’ first band, the Apostates—- and the newly composed sequel, “Departed” are performed as duets featuring the exquisitely sweet voice of frequent collaborator Randi Russo who has the effect of emotionally charging Sinnis’s rich, deep vocals to previously unattained heights.

Sinnis never fails to bring up the traditional theme of the ill consequences as well as the consolations derived from booze, so the thirteenth track closes the album with “I’ll Have Another Drink of Whiskey,” a bar-room style sing-along.
Mark Sinnis has once again released an polished and highly listenable collection of new, old and re-interpreted folk rock featuring his polished dark baritone, fine arrangements, delicious melodies and thoughtful lyrics reflecting his profound love of American roots music.

The following is an album review that appears in the current issue of The Aquarian

Peter Murphy/ Ninth

On Nettwerk Records
By Doktor John

When the seminal Gothic rock band Bauhaus broke up in 1983, the founding members went off in different directions. Frontman Peter Murphy went solo and produced three albums, Deep, Holy Smoke and Cascade that, while more melodious, represented a continuation of the dark tradition on which the original band was founded. Numerous singles from those albums went on to become mainstays of gothic-industrial and underground clubs. But it has been sixteen years since Cascade, he has relocated to Turkey, and all he has produced musically have been the forgettable Unshattered; Dust, an incongruous probe into Near Eastern mysticism; some greatest hits collections; and a reunion album with Bauhaus. Now with Ninth, however, he has at last resurrected the richly vocal, emotionally moving style that renders his supporters delirious with enthusiasm.

The opening track, “I Spit Roses,” has the enigmatic poetry and complex, layered rhythms that characterized all of his best works. “Seesaw Sway” is one of the best cuts on the album and restores Murphy to the top tier of dark rock, utilizing his broad vocal range. All Murphy’s albums have at least one tender-hearted ballad, and on Ninth that would be “Crème de la Crème” which begins with velvety vocals and a simplified one-hand piano accompaniment but surges to a passionate, symphonic crescendo.

“Velocity Bird” is in true rock’n’roll style and Murphy’s lyrics pose a poetic riddle of the kind that only he concocts. “Uneven & Brittle” features power chord guitar riffs and menacing vocals, but contains a soft-spoken narrative in its middle. “Peace to Each” sounds like vintage Bauhaus with discordant singing over a driving rhythm.

One of the absolute gems of the album is “The Prince & Old Lady Shade” that will find its place among the best and most beloved songs he has ever sung for its mesmerizing beat, layered arrangement and virtuoso vocals.

“Memory Go” and “Never Fall Out” are fine, listenable and danceable without being standouts on their own merits. “Secret Silk Society” is the pitch-black, atonal and creepy finale in the early Bauhaus spirit that Peter Murphy carries on.

Ninth is vintage Peter Murphy and will more than satisfy his ardent fans who have been waiting for an album of this quality.

Rating: A
In a word: Consummate

Myke Hideous was among several artists exhibiting at an art oprening held Halloween Night at Paul Vincent Studio, 49 Harrison Street, Hoboken, N.J.

Greeting us at the door

were two of the finest witches to be seen in all of Hudson County that night!

Here’s Myke himself

taking photos of his guests

Marzena was in attendance, but uncharacteristically silent owing to the after-effects of laryngitis!

This is one of Myke complex collage-constructions

which he categorizes as “apocalyptic.” It features a variety of animal skulls, dried flowers and plants, a doll’s head and much more. It has to be seen to be believed, and was priced at a modest $500.

One very impressive painting on wood was this creepy number shown below, called “Escapism.”

Present, beautiful but speechless

(due to laryngitis) was Marzena, shown below.

CBGB’s Gallery
Sunday, Dec. 12

By Doktor John

A crowd of around 50 or 60 pierced, tattooed and flamboyantly costumed
Goths congregated in CBGB’s Gallery to attend this half-serious celebration of dark
counter-culture hosted by DJ Jason and the lovely Althea.

Opening for the awards ceremony was the band Losing Venus, a quartet of morose rockers. The master of ceremonies was Voltaire, who started off with a solo medley of his satirical anti-folk songs, including the hilarious “Vampire Club” which debunks that sub-set of Goths who role-play at being vampires. Voltaire’s musical performance seamlessly led into an unrehearsed stand-up comedy act. As he announced each category, Voltaire maintained a good-natured, sarcastic attitude that kept us all laughing— even at ourselves!

The honors highlighted the professionals in the NYC Goth scene with trophies and certificates, all in an atmosphere of mutual admiration. There was a panel of â”Celebrity” judges including some renowned DJs, former Miss Gothics and yours truly. There were a great number of categories —some serious, some intentionally silly— for DJs, club promoters, bars, bartenders, bouncers, and for musicians. Last, there was a fashion contest for the most stylishly groomed and attired.

Top winners included Hal and his staff of Albion/Batcave who received a number of awards. Lead vocalist Thera of Folk Fiction took the honors for number one Female Front of a Goth Band, and it was my distinct privilege to present the award for Best Front Man to NJ’s own Myke Hideous. Losing Venus was named Best New Goth Band.

The awards themselves, whether serious or tongue-in-cheek, bestowed on each recipient long-overdue recognition for the frequently thankless efforts that each them have made over the years to create and support this underground community.

It’s fascinating what a discrepancy exists between how sinister these people appear and how civilized and genteel they actually are. Despite the dental fangs, the chrome spikes and the ghoulish make-up, these are mainly well-behaved, talented and artistic kids. They may not have been most popular in school, but they have surely found acceptance in a community that celebrates creativity, nonconformity and every deviant form of personal style. Periodic events such as these enable Goths to express gratitude toward each other for mutually supporting their scene by faithfully coming out to their dance clubs and bars and patronizing the various establishments that cater to denizens of the dark NYC underground.