CLXXXII. Love Cult | Fingers Crossed

LOVE CULT
Fingers Crossed
©Public Information. UK, 2012.

"En el Noreste de Rusia (aquel inmenso país atrapado en la historia −para bien o para mal−) se encuentra la ciudad de Petrozavodsk, más cercana a la península escandinava que al centro de Rusia, esta región es conocida como República de Carelia. Y como esta no es una lección de geografía debemos decir que desde ese lugar viene uno de los proyectos musicales que (sobre todo este año) nos ha mantenido alerta en el laboratorio esquimal, me refiero a Love Cult, dúo (sentimental además) formado por Anya Kuts e Ivan Afanasyev, claro que era necesaria toda esa intro cuando estamos frente a una cración sonora aislada y distintiva a lo que solemos recibir. Por ahí en mayo reseñamos 2 de sus casettes anteriores, "Sobaki, Volki" (2010) y "Nebulaes" (2011), extasiados disfrutamos de esa oscuridad distante que sale del aparataje manipulado y de la voz-ondina de Anya que hipnotiza y te lleva de exploración por las honduras más alucinantes.

Ahora toda esa magia vuelve con este flamante primer LP, "Fingers Crossed" publicado por el sello londinense Public Information, el formato largo ayudará sin dudas para una mayor propagación del mantra drónico que nos proponen. Un trayecto que no es fácil de buenas a primeras, hay que estar paciente y agudizar bien las antenas, los espacios auditivos son siempre deformados, ya sea por grabaciones fantasmales (tomadas de alguna escucha en onda corta de madrugada) como en "Wall Rug", o por esa creatividad austera y repetitiva sacada de las sombras y el frío ártico ("Kantele"), el asunto es que la música de Love Cult se encuentra envuelta bajo un manto onírico, abstracto, como una visión borrosa de vivencia casi inconciente, perdida en los avatares de las estaciones, sin embargo la clarividencia sonora de la pareja nos sorprende con arrullos tan sútiles como la titular "Fingers Crossed", cercanos a este lago nos sentimos como en casa, de vez en cuando uno imagina un ambiente que extienda calma y plenitud, y los Love Cult lo consiguen en este nimbo ocultista y maquinal, el ruido como fuente de pureza profunda.

La última parte del disco se abre con el bajo palpitante de "Knoeledge", el canto de Anya flota en la ventisca de circuitos esparcidos por Ivan y las grabaciones espectrales de otro tiempo, cuanto tiempo en la aldea nortina viendo pasar los años y las acciones, alejados de las multitudes flagelantes, procesiones y fragmentos que siguen tras la lentitud de "Palinode", la desfiguración, el diseño no comunicado, el noise congelado de "Place To Get Lost In" nos despide sin temor al colapso penitente, sino que siendo parte del tornado, girando, soñando despiertos en la habitación de cristal."

Raúl Cabrera H.

CLXXIII. Dark Sanctuary | Les Mémoires Blessées

DARK SANCTUARY

Les Mémoires Blessées

   ©Wounded Love. Italia, 2004.

‟De origen francés y formado en 1996, Dark Sanctuary ha sido uno de mis grupos predilectos y más aún, queridos. Si podríamos definir melancolía no a través de palabras sino a través del sonido como ejemplo, Dark Sanctuary estaría dentro de aquello. La belleza en cada nota, en el que el alma se regocija a través de cada minuto que dura este disco, la exquisitez de su oscura y sublime atmósfera, lo hace digno de ser oído por los dioses.

Sí, un sonido celestial, maravilloso que con cada elogio que escribo es poco ante el sentir de mi alma…

En fin, les dejo esta pequeña historia de la banda, sacada de Wikipedia:

La primera publicación de la banda fue un M-CD con una sola canción, Funeral Cry, lanzado en 1997. En aquel entonces, la formación constaba de dos miembros, Arkdae en los teclados y Marquise Ermia a la voz. En 1998 el grupo quiso aumentar su potencial añadiendo nuevos miembros, como otro teclista, Hylgaryss; un percusionista/bajista, Sombre Cÿr; y una violinista, Éliane. Juntos grabaron su primer álbum, Royaume Mélancolique y dieron su primer concierto, en septiembre de 1998 cerca de París. En noviembre de 1999 firmaron con la productora Wounded Love Records y poco después se les unió una segunda violinista, Marguerite, con la que grabaron su segundo álbum, De Lumière et d'Obscurité, hecho público en noviembre del año 2000.

Poco después de grabar este álbum, Marquise Ermia abandonó la formación para continuar con sus estudios, y una nueva cantante, Dame Pandora, se unió a la banda. El tercer álbum, L'Être las - L'envers du miroir, fue grabado durante marzo de 2002 y publicado a principios de 2003, unos meses después de haber sacado un single con dos pistas. Este álbum tuvo cierto éxito en Francia y Alemania.‟

Naska Elend

CLXX. Lycia | Estrella

LYCIA

Estrella

©Projekt. US, 1998.

‟The first time I heard Lycia, it was on a free sampler I received from Projekt, perhaps the premier darkwave/goth label of the 1990s, and perhaps the only label that was making a very serious attempt at following in the footsteps of esteemed British label 4AD. I don't remember what Lycia's song was, but I do remember that they sounded quite different than their labelmates, and that unlike other bands, they really didn't seem concerned about fashion or image, and the song sounded more like Aphex Twin than The Cure or This Mortal Coil. I thought their song was rather stunning and beautiful, but admittedly, I never did follow through.
Listening to the recently-reissued , the band's final album (and the first release in a Lycia reissue program), it's quite clear that Lycia was a different sort of band. The duo of Mark VanPortfleet and Tara VanFlower combined their strengths to make music that was haunting, beautiful and stunning, and in this goal, they were quite successful. Estrella found the band at a creative high, and the result was a record that lured the listener and took them into other realms of aural ecstacy. From the tribal "Tongues" to the Harold Budd-like "Clouds in the Southern Sky" and from the transcendent bliss of "Estrella" to the melancholy "The Kite," Lycia exploited the term "atmospheric" to the hilt--and the result was heavenly. Comparisons to The Cocteau Twins were and are inevitable, and while VanFlower's voice never quite reached to Liz Frasier's vocal heights--that's an impossible goal, anyway--her voice, in combination with VanPortfleet's stunning Robin Guthrie-inspired accompaniment, certainly justfied the comparison.
If you're not familiar with Lycia, Estrella is as excellent a starting point as you could find, because this record's beauty is a perfection that most bands could only dream of obtaining. Hopefully the forthcoming reissue series will illuminate this gorgeous darkwave band, and deservedly so.‟

Joseph Kyle

CLXIX. Various Artists | The Passion Of Covers - A Tribute To Bauhaus

VARIOUS ARTISTS

The Passion Of Covers - A Tribute To Bauhaus

©Cleopatra. US, 1996.

‟This one would've been hard to screw up. Who's not gonna jump in on a Bauhaus tribute CD? They have (mostly) good bands doing all the hits.

The Electric Hellfire Club's cover of "Bela" stays close to the original, as do several other tracks. Faith and The Muse's "Hollow Hills" is a reminder that any good comp sparks interest in the featured bands. Fahrenheit 451 and Eva O take "The Three Shadows (Part II)" in a fresh direction. (Now that Brendan Perry is pretty much retired, Athan Maroulis is neck-and-neck with Peter Murphy for Best Male Voice in dark music.) Black Atmosphere's "Muscle In Plastic" and Wreckage's "Largartija Nick" are the strongest reminders of the role punk played in early goth.

Two Witches' cover of "King Volcano" isn't as bad as others have claimed; it's a goofy song to begin with. The only real problem is that the singer sounds like he just had a novocaine shot. Makes you appreciate This Ascension's "In The Flat Field" that much more. "She's In Parties" continues Ikon's homage to Ian Curtis. Blade Fetish provides a perfect closing with "All We Ever Wanted Was Everything."

The "Multi-Image" cover is nifty, and the bands bring enough new flavor to merit the compilation. I'd give it five stars if it had Faith and The Muse covering "Silent Hedges".‟ 

Scott Sweet

CLXVII. Lux Interna | Ignis Mutat Res

LUX INTERNA

Ignis Mutat Res

©Eis Und Licht. Deutschland, 2004.

‟With their songs steeped in a spiritual and romantic tradition Lux Interna sit within the dark folk genre. Their music is primarily acoustic folk, swathed in string arrangements, but just as their erudite and poetic lyrics delivered by the twin vocalists, Joshua and Kathryn Gentzke, seek to locate the divine, their music strives to break free of the confines of the neo-folk genre. [a lantern carried in blood and skin] carries elements of dark Americana, ethereal folk music, misty atmospherics and at points the voices combine to create something closer to country and western.

You can piece together the trajectory of the group through the selection of tracks from the skeletal acoustic tracks of 'For An Autumn Girl' and 'Flowers Under Glass', where Kathryn's delicate tones takes the lead over the still, frosted setting of piano, guitar and tambourine accompaniment. These contributions from Absence and Plenum are sparse when compared to the rich arrangements of Ignis Mutat Res. The forceful ringing dark folk and dramatic strings of 'Horizon' where Joshua Gentzke voice resonates deeply, shadowed by the smooth gentle female voice of his wife, Kathryn is a strong opening track. And while 'Horizon' shares an affinity with fellow Americans Backworld, 'A Season Apart' captures a feeling of desperation as Gentzke's impassioned cries break over heavy piano chords, giving way to rolling drums before settling into a sort of decadent European feel as violins scrape furiously as an agglomeration of voices combine to intone: "this rune is carved in skin, yet deeper within..." It's impressive stuff.‟

Compulsiononline

CLVIII. Argine | Luctamina In Rebus

ARGINE

Luctamina In Rebus

©Oktagön. Italia, 2001.

‟This accomplished album has a very full sound, and is characteristic of the best of Italian neofolk, whilst betraying other influences and styles. It has a gothic-industrial opening 'Luctamina Rerum Naturum Alunt' and soon demonstrates the group's classical abilities with 'De Versa Rosa'. On other tracks the choppy, frenetic violin playing shares the excitement of Matt Howden's style, so the instrumentation is sometimes reminiscent of Sol Invictus. 

I particularly enjoyed 'Urla (Frammenti D'Infinito)', a neofolk track featuring alternate male and female vocals, the furious violin and drum rolls. I also liked the nostalgic trumpet sound on 'Arm' which reminded me of early Death In June. 

My restaurant Italian is not up to translating the songs but we are told that Luctamina In Rebus is "a concept album about the conflicts between Nature and Man, between Man and Man and between Nature and Nature." The album comes in a beautifully produced gatefold digipak with a booklet featuring the lyrics and illustrated with Roman stucco paintings. Two members of Argine also belong to Anima in Fiamme.‟

Fluxeuropa

CL. Hungry Lucy | Apparitions

HUNGRY LUCY

Apparitions

©Fishtank Soundworks. US, 2000.

‟Noche húmeda, noche lluviosa, desesperada… el paisaje a lo lejos plomizo y mi corazón distraído, perturbado; noche bella, triste noche, la ausencia de las estrellas no me inquieta, sé que están ahí aguardando detrás de ese inmenso telón horizontal umbroso, que llora incesantes migajas de agua como de vástagos se ahoga el mundo. Procedo. Necesito música, ese corazón distraído que cubro con armadura endeble, y que no encuentra paliativo perpetuo, clama por un destello, por alguna resonancia del espacio que ambicione varar en esta inhóspita estancia. Busco por entre los cajones de ese inmenso mueble que embellece grotescamente mi habitación, ultrajó cada uno de sus rincones, no entiende el porqué de mi acosador trato el herrumbroso armatoste, pero seguro agradeció el final estridente de mi búsqueda alocada, cuando despojé de su cansado interior, alejado de la realidad y la luz, un disco extraño. Los coloco, el disco en su lugar y mi ser en otro… no entiendo lo que pasa pero sé que estoy hipnotizado, o quizá solamente he pedido auxilio del alelamiento, caótico, lujurioso… las sombras se extienden, me tienden su irreparable contoneo, las notas vacilan por la habitación, chocan entre sí, se reservan la pantomima de su jugueteo y me la conceden al final con altanería. Malvadas. Allá, fuera de este refugio, detrás de esa inmensa ventana, de ese ojo cuadrado y furtivo que me comunica con la realidad, el sonido fastidioso de los brotes celestiales, que al impactarse con todas esas superficies agobiadas por el frío, el agua y las energías que sostienen, crean pequeños conciertos, efímeros y desestimados, que me recuerdan que aún tengo algunas invitadas difuminadas y ennegrecidas bailando para mí, están ahí, por todas partes; afortunadamente están ahí enloquecidas por esa voz humana, femenina, dulce y encantadora que sabe postrarse por encima de esa vestidura musical que la cobija en ritmo monótono, decadente y sempiterno. Divinos momentos, ya extintos, se instalan en mi mente  y aunque el bacanal de sombrías y primitivas siluetas se desdibujo, me queda el cobijo de esta fría noche, de esa bruma lobrega que atiza las calles y que armoniza mi guarida.

Me queda claro que hay discos para escuchar, la gran mayoría; los menos son para sentir, para soñar y para suspirar, este es uno de ellos…‟

Crimsondelator

CXLVI. His Name Is Alive | Livonia

HIS NAME IS ALIVE

Livonia

©4AD. UK, 1990.

‟His Name Is Alive evolved dream-pop for the new decade. Thus, set in a far more electronic landscape, "As We Could Ever" brought the Cocteau Twins into the 90's. Then the ghostly soprano vox and desolate loops of "E-nicolle" occupied a haunted dimension. It wasn't surprising that "Some And I" embraced dark-punk atmospherics, a la Siouxsie And The Banshees (circa A Kiss In The Dreamhouse). In the meantime, their dream-pop seized a disassembled futurist structure in "Fossil". Even more ambitious, the reprise of "E-nicolle" was built around a future-primitive dance in a void - raising memories of Jon Hassell.

In contrast, "Caroline's Supposed Demon" was more or less medieval folk. But then "Reincarnation" was comprised of industrial loops in it's entirety. As if troubled by turmoil, and never staying somewhere for too long, "You And I Have Seizures" displayed a baroque and dream-like neoclassical dream-pop. Then the stark and desolate distortions of "How Ghosts Affect Relationships" followed a parallel course as the Slowdive of the first EPs. In a final great touch, "Darkest Dreams" embosomed the subconscious grand folklore of the fairy-tale element.

A very intriguing album by Warn Defever Aka His Name Is Alive.‟

Ily

 

CXLV. Black Tape For A Blue Girl | Mesmerized By The Sirens

BLACK TAPE FOR A BLUE GIRL

Mesmerized By The Sirens

©Projekt. US, 1991.

‟On Black Tape's second album, Sam Rosenthal and his rotating pool of collaborators create another fine release, much more textured and atmospheric than The Rope and more in line with the future of the band's career. While there are again a couple of songs that have a much more conventional rock air (unsurprisingly, these are the ones again featuring drummer Allan Kraut), many now embrace unconventional verse structures and eschew immediate hooks -- it's a quietly bold move that works wonders. The mix of singers (about eight all told) and instrumentation again creates a striking variety through Mesmerized, even while still maintaining an overall unity in presentation. Rosenthal's own musical voice is his work on keyboards, soft, minimal swells, sweeping orchestrations, and more all coming to the fore, especially on such solo cuts as "Dark Skinned and Inviting" and "With a Million Tears." As before, Oscar Herrera is the evocative voice at the center of key songs, most notably "A Teardrop Left Behind," a majestic, obsessive portrayal of love further fleshed out by Walter Holland's subtle acoustic guitar and Rosenthal's own strong synth arrangements. It's perhaps one of the band's most self-consciously goth efforts, but of a very Romantic (with a capital "r") bent, made all the more intriguing by its distinct two-part structure, with wordless singing matched with spoken word in the calmer conclusion. Another standout with Herrera is "Beneath the Planks," with Rosenthal's harpsichord-sounding keys and Richard Watson's clarinet providing the bed for the singer's bravura performance. The contrast between Herrera and Holland, who sings on "Lie Broken, Bleeding" is pretty clear, the latter's somewhat strained vocals not quite fitting with the album's overall flow. An amusing moment happens at the start with "Jamais Pars," where singer Sue Kenny-Smith audibly fluffs a line and laughs. It's a nice, human touch to leave in.‟

Ned Raggett

CXLII. Pyramids Of MU | Walk With MU

PYRAMIDS OF MU

Walk With MU

©Phantasma Disques. US, 2011.

‟Pyramids of Mu share a lot of tendencies with acid-house heroes The KLF. Even their name is a reference: Pyramids of Mu vs. The KLF’s original Justified Ancients of Mu Mu. Which was taken from The Illuminatus! Trilogy. Which ostensibly inspired PoM’s  track “Illuminatu”. It’s a whole thing.

And if the sonic similarities aren’t immediately clear — “Pax Brittanica”, the opening track of this Phantasma Disques release, wanders in like a mechanical, steam-filled soundscape, nary a dance beat in sight — just wait until you’ve raged  through all 11 songs. Walk With Mu is, at its heart, a bizarre underworld rave, this flashback to some alternative-universe 90s club scene where cyber-punk went dark instead of nowhere. It’s a record made for molly, or the concept of it; even if you’ve never touched MDMA, never sweat beat by beat through a warehouse filled with dirt and glitter and blood, Walk With Mu makes you feel like you have.

It’s relentless, that feeling. Exciting even. Tracks like the stompy “Khufu” — hello, shades of “Hallelujah (Club Mix)” — and the slashed stutters of “Tzi” are fierce in their devotion to The KLF and Underworld, all those beloved figureheads of club-eras past, and they channel the same unmitigated energy that created techno and acid-house in the first place. But, to their unending credit, Pyramids of Mu never feel like an obnoxious throwback. They clearly know from whence they come — they’re not just, you know, trying to rewrite the Hackers soundtrack — and they meticulously combine the energy of that glitched-out cyber generation with the overarching themes of this one: dark, hellish, buzzing drama, all witchy and ominous. Aside from a few production hiccups — a few of the tracks are resonant to the point of pain, though maybe that’s the point — Walk With Mu is dead on: a heated conglomeration of raved-up house and techno, past and bright, treacherous future.‟

Mishka

CXL. Hybryds | Dreambient

HYBRYDS

Dreambient

©Aquarellist. Rossíya, 2008.

‟The first studio album of Hybryds since "Electric Voodoo" (2002), "Dreambient" is based on exploration of the female characters from the Pagan past: archetypes of the seducer, the demon, the girl, the whore, the slave, the mistress, the priest, the mother... The music of the project has become more accessible for unexpirienced listeners: traditional ambient-ritual basement is enriched with rhythmic electronics, melodic synthesizer tunes and even guitar parts. Vocals are now done by Madeline Arndt from the German darkwave/gothic band Schattenkinder. One hour DVD contains "The Photoshop art of Sandy Viktor Nys", the erotic esoteric videos from Hybryds mastermind - "Religion and erotica melds together on the stage of Eros and Thanatos". The release limited to 1000 copies comes in a double digipak with full-colour booklet.‟

Indietective 

 

CXXXV. Rose McDowall | Cut With The Cake Knife

ROSE McDOWALL

Cut With The Cake Knife

©Bad Fairy Productions. UK, 2004.

‟McDowall’s first venture into music was in The Poems, an art- punk trio formed in 1978 with her then-husband Drew McDowall. She formed Strawberry Switchblade in 1981 with Jill Bryson. After signing with Warner Bros. Records they enjoyed chart success with their single “Since Yesterday” in 1984, however later singles and an album did not sell as well as expected. This and internal problems lead to an acrimonious split in 1986. 

For the next six years Rose was primarily a guest vocalist or “floating member” of several different alternative bands. She contributed backing or lead vocals for Coil, Current 93, Death in June, Felt, Alex Fergusson, Into A Circle, Megas, Nature and Organisation, Nurse With Wound, Ornamental, Psychic TV, and Boyd Rice on recordings as well as singing or playing guitar for live appearances. In 1993 she collaborated with Boyd Rice under the band name Spell producing 2 singles and an album of 1960s style pop, country and psychedelia covers for Mute Records .

At the same time she formed a folk rock band called Sorrow with then-husband Robert Lee. Between 1993 and 2001 they released two albums and one EP through World Serpent Distribution and performed in Europe and the U.S. During this time McDowall continued to record and perform with Current 93 and Coil, including the short lived group Rosa Mundi. Robert Lee left the band in 2002. Rose and her remaining bandmates continued to perform under the name until 2005 when she began performing under her own name.

McDowall is best known as a vocalist but also plays guitar, keyboards, melodica, and drums. Her signature instruments are a Washburn 12 string acoustic guitar, a Fender Coronado electric 6 string guitar, and an electric harmonium.‟

Creepyinsight

 

CXXXI. Various Artists | ...And Even Wolves Hid Their Teeth And Tongue Wherever Shelter Was Given

VARIOUS ARTISTS

...And Even Wolves Hid Their Teeth And Tongue Wherever Shelter Was Given

©Cold Meat Industry. Sverige, 1995.

‟A killer sampler priced low for the masses and designed to showcase current or upcoming Cold Meat artists and releases. There is an American counterpart to this that's fairly different, the only re-appearing tracks being from Mortiis, Morthound, and ConSono. You could get both, but quite honestly the Euro version is where it's at, so just be sure to get it first. The full line-up: Arcana, Raison d'être, Ordo Equilibrio, Mortiis, Aghast, MZ.412, Mental Destruction, Ildfrost, ConSono, Desiderii Marginis, Atomine Elektrine (Raison d'être side project), Memorandum, Morthound, Deutsch Nepal and Brighter Death Now... whew. Most of the material should be fairly new to most, highlights, among many, include a stunning piece from Raison d'être (the most emotional and beautiful work I've heard from him yet), an ethereal symphonic/vocal piece from Arcana (of all these bands, the one to watch), the doleful and demonic whispers of Aghast (THE darkest thing you'll ever hear - guaranteed), and the evil strangulations of B.D.N. Your chosing if you wish to wait for the full releases from these bands... but I wouldn't... it's just too damn good for that.‟

Jason Mantis 

 

CXXIV. Dead Can Dance | Aion

DEAD CAN DANCE

Aion

©4AD. UK, 1990.

‟Desconcertante el designio de la clarividencia: el muerto puede bailar. ¿Prodigio o infortunio? Peor aún, ¡su ritmo!, ese contoneo corrupto que dibuja una vil existencia; esa demencial imagen, placida, de tortura psicológica delineada por una atmósfera disímil, turgente de escabrosos detalles armoniosos que como tibias notas, como embrujo de lágrimas musicales, agobian y fascinan, cual relación bipolar. Y es que es asombroso como ese manto musical, ese murmullo sardónico que se esconde tras esta mirada cabizbaja, deprava a la belleza y la ahoga en un estado vesánico, y que tras arrebatos pasionales la saca a flote, y el duelo del desenfreno se desarrolla sobre una espesa e impenetrable niebla de desilusión. ¡Sí!, esa niebla, que cobija a las sombras reptantes en su narcótica intimidad embustera y de esta suerte, forma la unidad, punto de partida e inicio hacia mundos de ensueño y profunda introspección. Proeza mórbida, maldición suprema, amor sucio, manto de oscuridad que ofusca a la razón, haciéndola despreciadora de la cognición, y que malamente troca esa virtud por el desenfreno de las prohibiciones, del instinto natural y de versos recargados y vacíos que nos han de dar consuelo. Desconcertante el designio de la clarividencia, el muerto puede bailar: ¡me estoy moviendo, el muerto soy yo!.‟

Crimsondelator

 

 

CXXI. Skin | Blood, Women, Roses

SKIN

Blood, Women, Roses 

©Product Inc. UK, 1987.

‟The World Of Skin was a project springing out of the American group Swans, and was a collaboration between the core Swans members Michael Gira and Jarboe.
The project was initially called Skin, with the first two albums being released under that name, the last one being released under the name the World of Skin. The musical style was similar to "The Burning World" and the other later Swans releases, although it shed most of its rock influences to play a mostly acoustic goth-folk style with electronics.
In the UK, the first two albums were released by Product Inc., an imprint of Mute Records, while the last was released on Gira's own Young God label.
"Blood, Women, Roses" (1987) was the project's first release and featured vocals entirely by Jarboe, who had previously mainly been performing backing vocals. Many of the tracks on this album were covers of show tunes and other popular songs (for example "Cry Me a River" and "The Man I Love").

"Blood, Women, Roses" was followed in 1988 by Shame, Humility. Revenge, which featured vocals by Michael Gira (although Jarboe did perform some backing vocals).‟

Urbanaspirines

CXVI. The Dreamside | Pale Blue Lights

THE DREAMSIDE

Pale Blue Lights

©Deathwish Office. Deutschland, 1994.

‟The band was formed by Italian-Dutch singer Kemi Vita. The Dreamside recorded 'Pale Blue Lights', the band's debut album, pretty much solo with assistance from various musicians; it was released in 1994 to excellent reviews. To tour the album Vita recruited guitarist Fried Bruggink, who became another core member of the band.
The Dreamside's next release, 'Nuda Veritas' (1995), consisted of several dance/techno remixes of songs from their debut album.
In 1996 they released their second album, 'Apaika', a glossier, more ethereal album than the first. Again reviews were excellent, and the Dreamside steadily became more popular in Europe. They also toured the USA for the first time, although to a tepid response, as the American Goth scene had shifted attention to harder-edged styles.

The band took an extended break, recruited bass player, producer and songwriter Roman Schoensee, and returned in 2001 with 'Mirror Moon', a harder, more metallic album. The group, and particularly Vita, changed looks, abandoning their Victorian-style dress for corsets, rubber and fetish gear. The following year the band returned to the USA, releasing Faery Child, a "best of" compilation.
The Dreamside's fourth "proper" album, 'Spin Moon Magic', was released in September 2005; it continues in the harder, more rock style of 'Mirror Moon'. The band currently consists of Kemi Vita, Roman Schoensee, guitarists Cees Viset, Fried Bruggink and Louis Buurman and drummer Merijn Mol. In August 2011 the band founded here on Label Spin Moon Media and re-released the Mirror Moon album on 23. August.‟

Dreamside.nl

 

CXIV. Cold Cave | Cremations

COLD CAVE

Cremations

©Hospital Productions. US, 2009.

‟Ya a comienzos de 2009 destacábamos al proyecto de Wes Eisold, Cold Cave y el mini-álbum, "The Trees Grew Emotions And Died" de fines de 2008, ahora nos encontramos con "Creamations" recopilación de tres EP's y rarezas surtidas que Cold Cave ha ido dejando en su tránsito mutante por las estructuras sonoras.
El de Filadelfia es un artista especial y deslumbrante que edita CD-R's y cassettes sin control, este año ya lleva tres ediciones sin contar este CD, prolífico y retorcido en "Cremations" tenemos un espectro más amplio de su opaca y vehemente forma de hacer música, ya que contiene tres registros- "Painted Nails" ep (2008), "Electronic Dreams" cassette (2009) y "Coma Potion" lp (2007)- donde se pasea por un noise sombrío de baja fidelidad, electrónica industriosa y darkwave de vieja escuela que recuerda a Coil, Death in June, Gary Numan y The Third Eye Foundation, de alguna manera toda su creación se esmera en dañar, en afectar al oyente por medio de sonidos fantasmales, perversiones del ruido, pedales, minimalismo y voces de ultratumba, incluso los trayectos bailables como "Gates"o "In a cave", terminan en una trampa escalofriante.
Música cavernaria y angustiante, que de seguro muy pronto nos entregará insanos frutos, ya era tiempo que algún proyecto norteamericano aludiera a Christian Death como lo hace Cold Cave en "Chrissie sally", oscuro manto que reina nuevamente.

P.D.: A fines de ese año editarán su primer álbum largo, el magnífico "Love Comes Close", con Dominick Fernow y Caralee McElroy como miembros oficiales de Cold Cave junto a Wes Eisold, la banda deja el anonimato y entra de lleno a capitanear la nueva ola fría que hasta hoy nos arrulla.
Dark Forever!‟

Raúl Cabrera H.

CXII. Various Artists | Darkwave: Music Of The Shadows V2

VARIOUS ARTISTS

Darkwave: Music Of The Shadows Vol.2

©K-Tel International. US, 2000.

‟Within the realms of Darkwave, you can chart three basic eras, all featured on this CD. The groundbreaking artists appeared in the early '80s and have stayed active (in one form or another) up to the present day. Europeans of this era include Cocteau Twins and The Legendary Pink Dots; while Rozz Williams, Controlled Bleeding and Black Tape For A Blue Girl represent a section of the American front. The second generation, drawing inspiration from the former, came onto the scene in the early '90s. These include Lycia, Love Spiral Downwards, Miranda Sex Garden, Lustmord, Roach/Rich, and Faith & The Muse. Finally, you have young up-starts like Rhea's Obsession and The Crüxshadows, who appeared in the late '90s and reintroduced a beat to the Darkwave sound.

Whether you are contemplatively listening to music alone by candle light, submerged in mid-winter finals with a dark soundtrack slowly churning in the background, or watching that sexy thing you've had your eye on dancing at the local club, chances are this CD wiil serve as the perfect soundtrack to your experience; that effervescent and seemingly unobtainable mystery which awaits you when you walk through the portal...‟

Sam Rosenthal

CX. Rhea's Obsession | Between Earth And Sky

RHEA'S OBSESSION

Between Earth And Sky

©Metropolis. US, 2000.

‟My introduction of Rhea's Obsession came from Cleopatra Records's The Black Bible compilation. A little time spent on last.fm gave me further insight, and eventually i made the gamble and added their material to my want list on lala.com. The end result of this experiment - Between Earth and Sky.

The experiment was a success. Not quite as gothic as i was expecting, it is nevertheless a wonderful, diverse release. A wonderful mix of dark and light, multi-cultural, at times haunting... what's not to like about that? If there's anything not to like, strangely enough it is the beginning, as the intro to the opening track is a little nervesome... but once past that, this is beautiful. Vocally excellent, musically solid. The occasional hint of nu-metal can be ignored within such surroundings, as it's never overwhelming in the first place.

One of those wonderful releases that stretched beyond just me. After playing this for my beautiful wife and attempting to play it a second time, i asked if she would mind a repeat, and she asked how she could possibly mind this. Indeed.‟

Drakkar

CVIII. Elli Riehl | Die Herren Des Waldes

ELLI RIEHL

Die Herren Des Waldes

©Hau Ruck!. Österreich, 2004.

‟Limitiert auf 250 Stück. Dark atmospheres, stirring strings and deep, wood instrumentation. Very interesting, slow pace that gives the whole record a very moody, sort of ominous, creepy feel to it. Throw in some strange, high pitched German vocals and you’ve got quite a unique record. On a side note, Elli Riehl is an Austrian Lady famous in German speaking Europe for her doll museum in Villach/Austria.‟

 Elliriehl.at