doktorjohn.com

NEW DARK AGE – APRIL 2018

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

Annual Festival

Darkside of the Con 2

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

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

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

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

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

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

Xentrifuge on stage at Darkside of the Con 2

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

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

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Nights Out

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

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

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

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

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

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

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

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

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Stimulate

March 31, 2018


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

Panzie at Stimulate

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

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

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

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

DJ Paradox

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

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Lost in Echoes at

BerlinNYC @ The Pyramid
Manhattan
March 30, 2018

Lost In Echoes

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

Painting by Victor Auton

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

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

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

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

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

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Museums

David Bowie Is

Brooklyn Museum

March 2 – July 15, 2018

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

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

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

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

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

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

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

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

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

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

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

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

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Morbid Anatomy Library

Green-Wood Cemetery
Brooklyn NY

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

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

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

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

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

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

Congratulations and best wishes from New Dark Age!

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Recordings

The January Sessions – 1998
The Empire Hideous
Hideous Productions

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

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

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

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

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

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

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 M Banshie 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 M Banshie 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.

Autodrone – “This Sea Is Killing Me”

Filed under: Recorded Music,Uncategorized — doktorjohn June 23, 2016 @ 6:18 pm

Autodrone
“This Sea Is Killing Me”

Autodrone - This Sea Is Killing Me

Listen on Soundcloud or contact autodrone@gmail.com

By Doktor John

Lovers of ethereal, trip-hop and similar styles should check out this second album by Autodrone, a project of guitarist Jeremy Alisauskas, formerly of Projekt group Unto Ashes. This 10 track album, written by Alisauskas and keyboardist Angel Lorelei, appears to have aimed at relieving some personal grief and even despair as embodied in the plaintive vocals by the lyricist Katherine Kennedy, whose singing suggests Kate Bush calling from captivity, perhaps trapped in a cave.

The opening track, “Corvus” (crow) begins with a simple organ riff, the keyboard manned by second guitarist Markus Fabulous , formerly of Psychic TV, and introduces the faraway-sounding female vocals that set a melancholy mood for the rest of the album. A similar pattern is heard on the 2nd track “Exit Ghost” but with a little more rhythmic complexity provided by drummer Terry Taylor. Percussion complexity intensifies in the next track “Le Voleur” (The Thief) and serves in this and further tracks as a vehicle for the deliciously sad, yearning female vocals.

The 4th track “The Way Way Down” is more upbeat – to the point of being very danceable – with enthusiastic drumming, synthesizer and organ riffs, still in the service of Angel Lorelei’s disconsolate voice, and the 5th track even more rapidly paced into an actual gallop. The vocals soar to heart-rendering heights.

With the 6th track “Thunderbolt,” the cadence slows to a lumbering trudge through emotional pain and a sense of resignation. In the 7th track, the vocals become intentionally muddled and begin to merge with the instrumental accompaniment which comes to the fore, and presents a couple of captivating hooks.

A deep drone opens the happily gloomy 8th track, the “Lay of the Land,” but it turns into a structured mantra with – again – amazing cadenzas by Katherine Kennedy, who matches her melodious wailing during the 9th track as well. The 10th track is two and a half minutes of voiceless electronica, in keeping with the tradition observed by many electronic-based groups.
If you are a fan of shoe-gaze, mystical sounding, new-age-y music; if you are looking to expand your appreciation beyond This Mortal Coil, or supplement your desire for more in the Cocteau Twins genre, this album is for you.

The Burning Bridge

Filed under: Recorded Music,Uncategorized — doktorjohn June 11, 2016 @ 10:50 pm

NoirThe Burning Bridge (cd cover)
The Burning Bridge
Metropolis

by Doktor John

This is Noir’s fourth release and it is dedicated to David Bowie. Noir consists of frontman Athan Maroulis, formerly of Spahn Ranch and Black Tape for a Blue Girl and keyboardists and backup female vocalists Kai Irina Hahn and Demetra Songs. In this collection they continue in what Maroulis terms the “Electro-Gothic” style. Isn’t that what the rest of us call “industrial?”

With this EP, he has re-interpreted a number of lesser-known classics from the New Wave era and added a brilliant original piece, namely the title track, “The Burning Bridge.” For this, track, he took a 40 second techno-instrumental groove by associate Erik Gustafson, digested it and set to it lyrics that envisioned himself or something like his ghost soaring through the night as a disembodied spirit. This artistic concept allowed him to look back beyond bridges that he had burned behind him to revisit experiences and repressed personal situations long since forgotten. He set this narrative to a perfectly danceable, electro-industrial rhythm track, richly overlaid with menacing deep, dark synthesizer melodies and his undulating, plaintive, yet angry vocals.

Noir turns Ministry’s pre-“With Sympathy,” 1982 upbeat obscurity, “Same Old Madness,” into a downbeat, lumbering slog through a knee-deep techno-industrial swamp, the heavy trudging paces marked by the mantra-like repetition of the title.

“The Chauffeur” continues in the persevering, slow trudge mode, not as ponderous, but still It retains the eerie negativity of the Duran Duran original, largely by unusual and somewhat discordant arpeggios and a zombie-paced cadenced percussion.

“In Every Dream Home a Heartache,” recorded live off a WFMU broadcast session, Noir’s version of Roxy Music’s creepiest piece, Noir slows it down even further to a funereal pace accompanying his mournful vocals with distant, echoing chimes, noise effects and instrumentals that might serve as the soundtrack for a horror movie.

“The Burning Bridge” offers musical pleasures of several varieties. First, there is an excellent new and original title track. Then there is the guilty pleasure of enjoying re-invented covers of lesser-know works from well-known artists. Finally, there is the unique, undulant vibrato vox of Goth-industrial pioneer Athan Maroulis to add a novel and classic touch to each of these tracks.

Rating: A
In a word: Short’n’Bittersweet

Memento Mori

Filed under: Events,Goth Stuff,Recorded Music,Reviews — doktorjohn February 26, 2016 @ 8:07 pm

Club Night

Memento Mori

Bedlam
Feb 25 2016
By Doktor John

New York, NY

Bedlam bar

Since sometime late last summer, promoter Ana Vice has been hosting a small group of DJs for a mid-week monthly Goth social and dance night at a uniquely eerily decorated bar, appropriately called Bedlam, in Manhattan’s Alphabet City. The night is called Memento Mori” and it is held one Thursday a month. Bedlam, as is well known, was a notorious old school mental hospital, and this namesake venue lives up to both the medical and the mental reputation of the institution. Antique anatomy charts and gruesome anatomical models adorn the walls. Facsimilies of human bones are distributed at each of the sitting booths where ornamental cobwebs are strewn.Moose head
Among the DJs, Mike Stalagmike of Defcon has a modest, low-key and friendly aspect about him, but Mexican import Bela Lugosi Alex and stunningly androgynous Valefar Malefic go all the way with their looks, each manifesting monumental coiffures and morbidly beautiful male vampire appearance. DJs
The music is decidedly of the darkwave/coldwave dance variety, but there was no place for the conventional classics. No Sisters of Mercy. No Cure or Depeche Mode. Nor were they missed, because these DJs dug deep into the realm of Goth, with selections from such rarely played artists as Xmal Deutschland, Black Ice and Virgin in Veil. A fair number of tracks were unidentifiable, but nonetheless as pleasurable and hypnotic as they were melancholy.ValefarMalefic
Doors opened at 10 pm and about 30 or so patrons were in attendance, most arriving between 11:30 and midnight. All were decked out in blackest of black finery, boots, veils and fishnets as well as high make-up and serene attitude. Not more than a handful of dancers were on the floor at a time. Most attendees stood at the bar and engaged in conversation where a surprisingly festive undercurrent pervaded the generally restrained gathering. A more beautifully attired and groomed crowd is rarely seen, even in the bowels of New York’s deepest, dark demimonde.

IAMX – Metanoia – Metropolis Records

Filed under: Goth Stuff,Recorded Music,Uncategorized — doktorjohn October 11, 2015 @ 11:22 am

Metanoia

Metanoia 2

Nothing is quite as effective —not love, not drugs —as emotional or mental breakdown to inspire artistic expression. It is particularly fortuitous when that kind of affliction befalls a really talented artist like Chris Corner, the composer, producer, multi-instrumentalist, vocalist and video artist fronting the synthpop group IAMX. His sixth album, titled “Metanoia,” meaning a profound, spiritual, transformation, reportedly represents his recovery from depression and insomnia. Indeed, the fervor and creative vigor of this eleven-track opus bespeaks just such a wrenching transformation.

Fans of IAMX need not fear, however, that Chris Corner has changed his style of vocal clarity as well as ferocity. On the contrary more than any prior work, this album captures the inimitable power and frank beauty of his androgynous, wide-ranging and confrontational singing, whether fashioning delicious hooks, operatic flourishes or delicate autobiographical narratives.

All of this is incorporated in the most mesmerizing, irresistible dance grooves and complex synthetic rhythms. Dance clubs will treasure this repertoire, whether playing galloping, unstoppable juggernauts like “No Maker Made Me,” or the plodding, slow-paced “Hello Melancholia.” Noteworthy are the bluesy, yet danceable eighth track, “Cruel Darkness Embrace Me” and the wild, wanton and relentless “Aphrodisiac.”

Every track is written in a minor key, which confirms the emotional depression that inspired the entire opus. Some tracks feature a mournful female chorus, others cadenced scraping industrial noises. Did I mention that this dark, really dark —even deliciously dark music?

At least ten tracks feature memorable, seductive melodies and compelling tempos. It lends itself to exceptional listening or dancing pleasure. Gloomy as the entire album seems, if it purports to represent actual recovery, I don’t want to know what that depression was like.

iVardensphere – “Fables”

Filed under: Goth Stuff,Recorded Music,Uncategorized — doktorjohn February 27, 2015 @ 2:02 pm

iVardensphere
Fables

Metropolis Records
iVardensphere
By Doktor John

This tribal/industrial Canadian group, has been around since 2009. Having, regrettably, no prior exposure to their oeuvre, I was stunned by the varied richness and the grim appeal of this 14-track masterwork that respects no boundaries or genres as it free-forms each song and crosses through every electronic musical category.

The album opens with “Million Year Echo,” featuring a persistent EBM groove that is interrupted by odd, sci-fi imbued samples that seem to emerge from a desolate, post-apocalyptic soundscape. It is followed by “Stygian,” a 7-minute, plodding, whip-cracking zombie march overlaid with harsh, hoarse male vocals. Several tracks take the listener on a techno-industrial visit to the Middle East, complete with synthetic versions of Arabic instrumental accompaniment, sacred-sounding male vocals as well as sensuous, almost erotic female vocals. Synthetic versions of everything from the Australian aboriginal didgeridoo to bongo drums are present.

“A Tale of Two Wolves” is a techno-industrial track that renders it easy to imagine a pair of canine predators loping through the forest in single-minded pursuit. “Black Lodge,” the track that follows, is a slow-paced trudge through a nightmarish dystopia, narrated by a desperate and hostile speaker, while merciless mechanical noises pound out a cadence and are joined by a mournful male chorus. I particularly enjoyed “Papa Legbo” with its ominous “the natives are restless” beat and intermittent chants.

In addition, there are frenzied hand-drum ensembles; eerie female a capella singing; languid but delicious, acoustic guitar riffs; ominous vocal narratives; and echoes of various genres including Scandinavian darkwave, aggrotech and even a piece, “Terra Sapian” featuring ultra-fast-paced, “swing ” beats. The poignant “Girl With No Hands” is a pessimistic and frankly psychotic poem with groaning choral and emotionally delicious strings plus prominent percussion. In the eighth track, “It Is As Blackness Is” an eloquent lecturer recommends philosophical acceptance of “a new dark age,” as a relentless EBM groove suggests the relentless march of Time.

The album ends on an aquatic theme, “Poseidon,” featuring the seductive sirens’ call on vocals and electro-symphonic instrumental accompaniment The majority of tracks, if not all are eminently danceable. In fact, I dare any listener to sit still while hearing these infectious and hypnotic rhythms as I tried to do when writing this. Aptly named, “Fables” transports the listener into a fantasy realm of myths, seductive melodies and mesmerizing rhythms.

Rating; A
In a word: Bountiful

The Dreaming – “Rise Again”

Filed under: Recorded Music,Uncategorized — doktorjohn January 27, 2015 @ 11:40 pm

Rise Again

Metropolis Records
By Doktor JohnThe_Dreaming-Rise_Again

Stabbing Westward’s lead vocalist Christopher Hall and programmer/keyboardist Walter Flakus have been reinventing themselves as The Dreaming since the demise of the parent band in 2002. Three EP releases, a video, a track for the movie “Elektra” and live performances on the West Coast have kept them busy since the band’s inception. Joined by former SW drummer Johnny Haro, plus a bass and a guitarist, “Rise Again” is clearly a resurrection of the immensely popular Stabbing Westward style.

The newest CD, “Rise Again” is scheduled for release this coming February and captures all the intensity and ecstatic bombast of the original band.

Consisting of 10 tracks, “Rise Again” is characterized by Hall’s extraordinary tenor vocals, full of intensity and defiance, accompanied by bombastic, symphonic metal.

The titles and the lyrics are profound and penetrating, mostly probing harsh, even painful emotions. The third track asks, “Why do all your kisses taste like death?” The fifth track aggressively asserts, “I will not be afraid anymore” as a kind of self-assuring mantra. I think you get the idea.

From the first track, “Alone” with its galloping cadence and accusatory tone, to the final and title track, “Rise Again,” every track has a delicious, melodious hook and a restless, hypnotic groove. Angry, belching guitars are woven into fast-paced electronic rhythms that will have industrial dancers in a frenzy on the dance floors or fervently bobbing their heads on the sidelines. For those who loved and sorely miss the now-defunct Stabbing Westward, this revival of that sound is more than welcome.
Rating: A+

“Superstition” by The Birthday Massacre

Filed under: Recorded Music,Reviews,Uncategorized — doktorjohn November 27, 2014 @ 12:49 pm

The Birthday Massacre
“Superstition”

Superstition
Metropolis Records

By Doktor John

This ten-track release by Canadian Goth-rock sextet The Birthday Massacre represents their sixth studio album. It lives up to the hopes of those who have come to expect gorgeous, dark-themed female vocals by lead singer Chibi, delicious minor-key melodies and symphonic elements realized through heavy, down-tuned bass and guitar as well as synthetic accompaniment.

From the opening track —“Divide” with Chibi’s ultra-sweet vocals and menacing, drone-like bass background — to the all-instrumental concluding track, “Trinity,” the theme is dreamy, hallucinatory and ethereal. Occasional hissing, menacing male spoken word interjections are set against her luscious singing. The flow is generally upbeat, with a few ventures into more complex, syncopated rhythms., The title track “Superstition” slows the tempo down to a pace that is just shy of depressing, giving the entire ensemble a chance to be heard and for soloists to sound off alongside a blend of synthetic effects.

Fans and newcomers to The Birthday Massacre will enjoy poetic narratives, the seductive if somewhat vampiric propositions, the allegorical portrayals of such phenomena as the ocean, rain, the so-called coming of age and the mysterious “other side.” Above all, they will find themselves drawn into succulent melodies and mesmerizing rhythms that have been the signature sound of this band from their earliest appearance on the dark-music scene.

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