Earlier this year, Finnish symphonic metal titans NIGHTWISH re-released a remastered edition of their standard bearing album "Once", which I had the privilege of reviewing for the team over at ALL ABOUT THE ROCK (Read the review here).

The bands most commercially successful album to date, it not only cemented their  status as genre leaders, but it proved without a shadow of a doubt, that TARJA TURUNEN was one of the most talented and important presences in modern metal. The classically trained operatic vocalist set the benchmark and raised the bar for symphonic metal vocals, and she won over legions of fans during her tenure at the bands height in popularity.

On November 4th, Tarja released "Singing In My Blood"; a specially crafted, illustrated collection of stories and memories of her career to date, recollecting her favourite memories and milestones in her musical career, where she pens her own thoughts and feelings on her musical upbringing, her growth as a vocalist, performer and fame, courtesy of some soul-searching and reflection. With not one but two hardback editions, including a signature edition, which features exclusive prints, it's one for both collectors and die hard Tarja / Nightwish fans, and will certainly complete many collections. Order yours now via the link button below at WWW.TARJABOOK.COM!

Tarja says: ‘Singing is in my blood. Ever since I was a little girl, I have enjoyed performing ... but not being able to be on stage in 2020 I spent a lot of time looking through photo albums, seeing all those happy scenes of childhood, growing up and making music, getting to know my fans and travel the world recording and performing, having fun; those memories fill this book’.

​

OK so Summertime is upon us, or, is at least around the corner...perhaps. It’s hard to tell in Wales sometimes to be honest, seriously; it’s Wales, not ‘whales’, we don’t require this much water so regularly so can you please stop raining? I jest it’s been pretty decent recently, and that is quite possibly because I’ve been privately praying to today’s band; CVLT OV THE SVN. No, I haven’t had a stroke, that’s how it’s presented (Obviously it’s Cult Of The Sun) and I will say right now that they are personally, one of my favourite discoveries in recent memory. 

Hailing from Finland, because of course they do...all my favourite bands do...it’s a project shrouded in a sense of mystique and intrigue, as the ensemble wishes to explore the darkness with a sense of macabre, theatrical flair on their debut album “We Are The Dragon”. Released on NAPALM RECORDS, let's see just how these darkest of stars can brighten up your summer playlists. 

​The album appropriately kicks off with the title track and we’re met with a surprisingly up-beat, jovial guitar tone...this is a lot more melodic than expected but there are zero complaints with that. I had a similar experience with GHOST’s debut album; expecting some brutally dark doom metal but getting some kind of deeper, BLUE OYSTER CULT type effort. Seriously the song structure here revels in its simplicity but it’s an effective hook, which is in turn countered by the sinister, snarling vocals. Honestly, it's like the DANHAUSEN of rock songs; very nice...very evil. It meanders pleasantly enough and gets the album underway in an interesting and unexpected manner, but it’s all good. 

Follow up track “My Venom” takes things down an admittedly darker path...the initially twangy guitar leads into some seriously atmospheric, intense instrumentation, before we blend elements of thrashy punk with chilling alt-rock. We soon realise that the vocals here don’t necessarily have a lot of range or depth, as we find ourselves sticking fast to a husky, raspy delivery. While it would be fine to chastise the lack of diversity, the style is effective enough to carry the tracks, and it gives them and in turn this entire album, it’s character. 

Having established the general approach for the record, we can easily appreciate that from here on it just goes from strength to strength, with several notable highlights. “Luna In The Sky Forever” in ways reminds me of the aforementioned Ghost with its catchy electronic-tinged bassline and simple, synth-laden groove. “Don’t Be Tender Love Me Cruel” has a slower, more methodical pace that allows emphasis on the emotive guitar tones, which, coupled with the self-depreciative lyrical drawl, creates a sultry, almost masochistic offering. 

If it’s up-tempo you want then this bunch of cvlts have you covered too, as album highlight “Twilight” luckily has absolutely nothing to do with Stephanie Meyer. Nary a sparkling vampire in sight, we get a fantastically infectious dose of punk-tinged hard rock with more hooks than Leatherface’s lady-pantry. At its core, the up-tempo bass riff and simplistic chugging could be mistaken for something by, RISE AGAINST or BAD RELIGION, before the darker characteristics kick in. This is a great track. “Hellbound” keeps things nice and intense with some initially pummelling percussion and another dose of deeply self-depreciating lyrics... ”My mind is an endless well of negative thoughts...in its prime; shows me no remorse”. Relatable fam. “Whore Of Babylon” is then equally relatable (Can I get a H’oooohhhhhhhh Yeahhh from all my fellow sluts? I’m kidding...I’m KIDDING!) but the blackened metal flurry can’t help but raise more than a few horns. 

In terms of alternative music, Cvlt Ov The Svn have seemingly cherry picked some quality influences stylistically for this debut. There’s a sprinkle of black metal and gothic imagery, there’s a brilliantly fun, punk-esque hard rock quality to a lot of the instrumentation, there are almost doom inspired atmospherics and it’s all wrapped up with an almost pop music production quality, and it works perfectly! These Finns have dropped what is personally, a contender for the album of the year in my eyes and ears...believe me, I am a dragon too, and I’ve got one on my flag to fucking prove it! [9]​

What is there to say about 2020, that hasn't already been said? Within these reviews over the past nine months I've light-heartedly made reference to issues like Covid-19 and such, but let's not detract from the seriousness of the whole situation. As a calendar year, 2020 was one of the most difficult, frustrating, upsetting and confusing in recent history, and this isn't strictly down to Coronavirus...this time last year we were on the brink of World War 3! Politics has been a shambles, social injustice has been rife, the divide in both community spirit and the classes seemingly continues to grow, and generally speaking, the world is a complete mess. Luckily we've had music to keep us going, if not to keep us sane, and for that at least I am grateful. The images above showcase my personal highlights of 2020, grouped in categories covering pop, metal, EP's and general favourites, and it shows that, despite the state of the world, music flourishes. Music and the arts are SO important, as many of us learned during national lockdown, and we need to appreciate the people who dedicated their lives to creating that art SO much, because times like these prove we'd be lost without them. 

I mean, just looking at the cover art above, it's been as diverse a year as any. MILEY CYRUS embraced her inner rocker on her new album, having collaborated with the likes of BILLY IDOL and JOAN JETT. Groups like STEPS made an unexpected comeback showing they've still got it in an ever changing pop industry, as did MELANIE C. From a metal standpoint, PARADISE LOST prove they just get better with age, as they not only released one of the albums of their career, they also found themselves in the UK Top 40! Imagine that! Goth metal on Radio 1! It gives hope to newer acts like SOUTH OF SALEM who delivered a truly stunning debut album, and certify themselves as ones to watch for sure. There have also been plenty of superb EP's released over the past twelve months...especially VV. Ville Valo surprised everyone with his 3-track EP and HIM fans rejoiced at the new material, I for one certainly cannot wait to hear more from him. CHRISTINE AND THE QUEENS put emphasis on the art as their whole EP was turned into one big choreographed music video which was impressive, while I personally made some brilliant discoveries in the form of LUCIA & THE BEST BOYS and JACKIE. 

Finally then, my official albums of the year, and I was spoiled for choice to be fair. THE BIRTHDAY MASSACRE always deliver, they never release a bad album and I'm looking forward to catching up with Chibi on the rescheduled tour dates. MARILYN MANSON dropped his best album in years much to my delight, having found his last couple a little bit boring (Sorry Mazza!), GREY DAZE tugged at the heartstrings with a touching tribute to the late Chester Bennington, releasing unheard material from his pre-LINKIN PARK days, reminding us all how much we'll miss such a talented, brilliant human being. NINJA SEX PARTY on the other hand proved they remain one of the funniest groups around with their bonkers writing style, comedic lyricism and story-telling and wholesome attitude. Yes, 2020 has been a bit of a mess to say the least, but we've still got music, and as fans of that music, we've still got one another, and as a community, we need to hold on to that. With that said, below, is my official GTGC Spotify playlist of 2020, with 40 hand-picked tracks spanning the above records, and it is dedicated to my very good friend Scot 'JD' Rees, who is sadly no longer with us in body, but will forever be with us in heart and spirit. Whether he had a Jack & Coke in his hand, or his guitar, he was always laughing at something, and his energy for enjoyment was infectious. I will miss you Scot, and this compilation is for you. X

The end of the calendar year; a period of time this reviewer looks forward to annually. Not because of Christmas and the time-off work (Although the time-off is wonderful) and not because of the festive indulgence, because let’s face it I don’t need an excuse to drink, but because of the annual Winter Goth Getaway.  You may be thinking, what the hell is that? Is there some sort of alternative event that’s slipped under my radar?  

No... it’s basically myself and a group of friends, getting together every Winter, for a select live music adventure. Last year we hit London for the one-off UK date by THE 69 EYES, as well as hitting Bristol for the RXPTRS X-Mas bash...while in previous years we’ve been up and down the country to catch HIM, CKY and FIELDS OF THE NEPHILIM. It’s become a tradition and a whole lotta fun...that was until Covid ruined everything. This year, my friends and I didn’t get to go to any special Winter gigs, meet awesome new people and get ludicrously drunk, resulting in Christmas this year being a little less black...and I won't stand for that. We need some Goth damnit! And I may just have a solution. 

​Cast your mind back to 2017, and I reviewed an interesting band by the name of FLOVER. The Italian/Russian project comprising of Fabio and Kolya respectively, had released their debut album “Dark & Sweet”, and you’ll remember I made sure to point out that they more than borrowed a lot of sound and substance from the aforementioned HIM, even going as far as naming their sound “Sweet Rock” in homage to “Love Metal”. While I jested that, imitation may be the sincerest form of flattery but identity theft is a crime, it was impossible to not appreciate their sound and style in the absence of a recently separated HIM. 2020, the bonkers year that it’s been, finds them releasing their follow-up album “Songs Of Our Broken Hearts”. Let's check it out and salvage whatever goth we can... 

​The album opens up with “Secret Romance” ...it’s a bit like Secret Santa, but you already know what it is...HIM. The sultry piano-led dose of rock easily lends itself to the earlier demo-days of “Razorblade Romance”, especially with the underlying, faint synths sounding like they’ve been inspired by “Too Happy To Be Alive”, coupled with the guitar tone and key changes...this is certainly pink era HIM, and a decent start as a result. At this point we may as well start playing Heartagram Bingo...but instead of numbers we’ll be looking for riffs, song structures, vocal harmonies and parodies. Eyes down folks, we’re playing for a full house... 

“Love Beyond Death” starts with some heavier guitar work initially and it’s quite “Venus Doom”, but the chorus melodies soon kick in and it sounds more akin to something taken out of the “Screamworks...” sessions. The chugging riff is balanced nicely with the more delicate piano and the vocal crooning, and it all blends well truth be told. The albums first real highlight comes courtesy of “Love’s Scarecrow” which for all intents and purposes is a pretty straightforward track; simple structure and decent chorus hooks, but it comes to life with an impressive albeit brief solo and the track has this wonderfully energetic, climactic crescendo. 

“The Kiss Of Death” is clearly a take on “Kiss Of Dawn” not only from a titular standpoint, but even in vocal tone and sonic structure...it only slightly differs in tempo and even the wailing, scratchy guitar solo mirrors Linde’s playing on “Venus Doom”...there’s a couple for your bingo card! Speaking of...”Stay With You”...for a moment I honestly thought I’d skipped an album and started playing HIM’s cover of THE RAMONES “Poison Heart”! That opening riff is practically the same! They’re parodying other bands covers of other bands now, we’re getting too deep here, this is some inception type shit. It’s going to get to a point where riffs and musicianship aren’t enough...I wouldn’t be surprised if one of them does an Ed Gein and wears Ville Valo’s skin. I jest, of course. “Lost Souls” takes our mind off this with another simple yet effective chorus hook, even though the pre-chorus more than teases hints of “Dying Song” in delivery, but it’s an enjoyable track, before the title track goes all “When Love And Death Embrace” ...and this once again sums up our listen. 

While I can sit here and scoff at the obvious likenesses to our favourite infernal majesties, and joke about plagiarism, in HIM’s absence, Flover do a great job of keeping that bittersweet sound of romantic melancholy alive. Sure, Ville Valo did surprise everyone this year with a three-track EP, teasing more work to come at some point, but all of that is very minimal and secretive. If you lack the patience for that, Flover offer a more than adequate substitute for Valo himself, and I’m sure you can find it in the depths of your blackest heartagram to appreciate the appreciation they have for the band we all love. After all, these ARE songs for our broken hearts. [7] 

If you cast your mind back to 1992, you may remember Sega as one of the biggest, most influential names in home gaming consoles…Playstation wasn’t even a thing yet, so while Nintendo of course had Mario, Zelda and Metroid, their biggest competition came from the likes of Sonic, Alex Kidd and other, obscure and forgotten characters. One such unlikely hero, would have his own pretty successful series of games, where he would complete underwater puzzles, communicate with marine life, use cunning to eventually travel through time to rescue his loved ones by defeating aliens…was this some sort of, early Aquaman game?! Actually no, I’m talking about a fucking dolphin; Ecco The Dolphin, to be precise…

If you remember Ecco you’ll likely remember the games difficulty, comprising of underwater mazes, and the limited oxygen supply which was realistic for the time, but it also had some stunning 16-bit graphics and a wonderfully composed soundtrack of ambient, retro synth-wave and light electronica, perfectly encapsulating the cool, underwater atmosphere…well as it happens, if you take the core elements of that mood and aesthetic, add some percussion and a little attitude, oh, and make the dolphin wear eyeliner, you may as well have today’s artist; EKKO THE STRANGE. (I really need to calm down on these segue’s, fucking hell)

Ekko The Strange was formed very recently in and around Warsaw, Poland, by C Bock Vermeer, who had previously done a 10-year stint in American post-rock outfit REVOLT REVOLT. Wanting to escape these trappings, he traveled the world looking for inspiration before eventually settling in the Polish capital to complete the brand new mini album “Haunting Me”, courtesy of Hi-Fi Mantra Records. At only eight tracks long with a half an hour run-time, it’s a brief blast from the post-punk past. Ecco was a difficult game…so let’s see if Ekko is a difficult listen.

We open up with “Noc Shift” and it sets the tone for the record as well as sets your expectations low from very early on quite sadly. Yes it has some deep, fuzzy electronica that gives off this pulsing, almost hypnotic vibe, but it’s as monotonous as it is deep, with very little of any interest happening over its run time. Given its simplicity, and the repetitive loop that it’s on, I’d say at best this could be one of those pre-set practice pieces that come built into keyboards (True story, I have a Yamaha keytar that has “Last Christmas” by WHAM built in that I enjoy more than this), I can’t see any other practical use for this track. “Soft Decay” then improves so much with the mere presence of vocals and the sound takes on a whole new direction. There’s a darkness to the track that channels the likes of BAUHAUS and JOY DIVISION in an eerie, simplistic, indie approach , allowing for ample atmosphere, sounding like it’s been plucked straight out of the early 80’s, and this works well.

Continuing in this vein is “Transylvania Found Me” and it harbours those same despondent musical influences; maintaining its steady, cold electronic rhythm  while also incorporating a certain, retro-futuristic vibe akin to say, ALIEN SEX FIEND, combining the past with the future for a synthetic mind-fuck. “Mutante” despite its instrumental nature provides the albums only other highlight, sounding like it’s crept right out of a horror movie soundtrack, with its hollow, chilling keys and atmospheric delivery…you can picture the black & white b-movie now; you’re being stalked by the creature, the alien life form, he gonna eat yo’ ass! This is what’s playing in the background. Other than that, the album fails to inspire…

The few tracks left, are fairly monotonous…”Future Mirrors”  despite some almost, Arabian instrumentation fails to inspire despite the cultural appropriation,  while closing track “Ekkos Of A Dead World” is literally depressing. Remember the bit from Monty Python’s Holy Grail where they cry ‘bring out your dead?’ Imagine that with no humour…just pile on the corpses that died of boredom because of this track. Musically, this is the Covid-19 equivalent of counting cadavers only less entertaining. Is there an audience for this? Possibly there is…but with a death toll already in the thousands, we don’t need to add suicide to those statistics. Forget haunting me, I’ma call Zak Bagan to exorcise this record…it’s reached its final destination; hell. [3]

As I type this, the UK currently remains on lock-down (I use that term loosely mind you, we have a population of idiots that can’t grasp that)…social distancing is still in place as we still run the risk of infection from Covid-19. Worse, the weather has been beautiful throughout this, and life is generally frustrating, confusing and to a degree depressing in isolation…but do you know what will cheer you up? Doom metal…

While, yes, I said that with more than a pinch of sarcasm, today’s album is one I’ve genuinely been looking forward to all year, regardless of the events that have unfolded outside my front door, and that album is “Obsidian” by PARADISE LOST.  The Halifax based godfathers of Gothic doom metal have had an illustrious and influential career that in my opinion, hasn’t been fairly applauded. From their 1990 debut, they helped lay the very foundations for the Gothic metal genre and have an incredible discography that easily cements their status. Don’t just take my word for it however, as the 30-year veterans seem to be aging like a fine wine, having released a series of stunning albums in succession from “Faith Divides Us…” all the way through to the most recent release “Medusa”…can they keep it up however? Let’s find out…

The album opens up with “Darker Thoughts” and it’s the perfect intro in all fairness…the gently plucked acoustic guitars allowing for a misleading direction in tone, with its softer vocals and emotive string elements; it borders on medieval folk, before it erupts with a barrage of visceral snarls and it balances out perfectly. The contrast here is ideal and while not necessarily brutal, the initial disparity in these tones within one track shows great character, and it’s a beautiful opener. “Fall From Grace” follows up and as the lead single from the album it ticks all the expected boxes; it’s got the guttural growls, the methodical chugging guitars and it’s textbook Paradise Lost; bridging the slower doom elements of recent releases with the darker, tortured sound of their early Peaceville years, highlighting the bands consistency.

What’s consistency though without quality right? Well the album has plenty of that, in particular the tracks “Ghosts” and “Forsaken”. The former, getting underway with a solid, yet simple, commanding drum beat over a groove-heavy bass riff. It builds on its layers wonderfully, gradually incorporating chilling guitar notes with Nick Holmes’ deep vocal drawl, before we burst into life with some slick, hook laden melodic metal; this is wonderful stuff. If you thought that was good however, the latter embraces a truly angelic, beautifully haunting opening; setting a rich tone that oozes Gothic splendour. Greg Mackintosh delivers the goods with an impassioned solo too, which coupled with the subtle backing piano, makes for top drawer Paradise Lost.

The remainder of the album does however hit a certain plateau, but the standards are already set impressively high. “Serenity” is a no-nonsense barrage of deep growls and Gothic-laced metal, “Endless Days” then is a slower, more sombre offering with more emphasis on mood, before we eventually finish up on “Ravenghast”, another slow burner of a track, allowing the album to naturally come to a close with a warm down; letting the listener catch their breath and unwind. Obsidian really is a perfect fit in regards to the album’s title…the mineral, a naturally forming dark, volcanic crystal, balancing the destructive force of the lava it’s formed out of, with its own fragile beauty, sums up this record perfectly. Scorching and intense where warranted, harmonious an elegant where it matters…Paradise Lost have delivered yet again. [9]

For a blog with a name like GavTheGothicChav…you’d think I had my finger firmly on the pulse when it comes to Goth rock, but truth be told, I continue to miss a lot of what’s going on in underground Gothic circles. Some of my favourite new bands, like HER DESPAIR and THE WRAITH have fallen into my lap courtesy of other publications I’ve contributed to (Shout out to Astral Noize), but other than that, I’m more Chav than Goth these days, and that’s upsetting. Luckily I got a friend request on the old Facebook recently by a gentleman by the name of Alex, who thought that my blog would be a great place for his band; THE BLACK CAPES. Firstly, thank you for getting in touch Alex…and secondly, his band abso-fucking-lutely belong on this blog! Follow me! (Makes mysterious whooshing gesture with my cape and runs into the shadows)

Hailing from Athens, Greece, The Black Capes (Consisting of vocalist Alex S Wamp, guitarist Thanos Jan, bassist Dorian Gates and drummer Christos Grekas) originally formed in 2016 yet despite their relatively short existence thus far they’ve achieved a fair bit! Their debut album “All These Monsters” was produced by the people behind PARKWAY DRIVE and FALLING IN REVERSE…and they’ve done some solid European touring; establishing themselves in strong alternative markets such as Germany. Now in 2020 they aim to push things further with their sophomore album “Lullabies For The Dead”, due out April 10th via Dark Tunes Records. Let’s check it out…

We open up with the promotional track “And I Wait” but we don’t have to wait long AT ALL to hear some wonderfully hard rocking, bass-driven riffs. We surge right into it here to be fair and the up-beat barrage of guitar is the perfect counter for Alex’s deep vocal drawl, which is a classic trope for such Goth rock, but that’s not detrimental. The gruffness to the vocals likens The Black Capes to fellow Greek Goths SADDOLLS in ways, allowing for a rough around the edges sense of character, while maintaining all of the hooks (Including that smooth guitar solo) and this is a good start. This is emphasised on album highlight “Rain” which amps up the melody wonderfully. The deep emotive baritone takes on more of a croon, which allows for a sound more akin to THE 69 EYES when they first started dabbling in the dark arts, think “Wasting The Dawn” era…but the track picks up towards the end for a feisty little crescendo and it’s a great track this.

Influences don’t stop there either, as proven on tracks such as “The Blood Is The Life”, which incorporates an almost middle-eastern sense of string instrumentation, something the likes of TIAMAT have dabbled in in the past, while “From Beyond The Grave” tips the hat to bands such as A PALE HORSE NAMED DEATH with its slow, deep, methodical chugging riff work, before “Gotham” delivers a tighter guitar sound, channelling the likes of PARADISE LOST to great effect towards the tracks climax. The haunting background moans providing a sense of atmosphere too, so too with the piano and synths on “The Gun Of Love”, allowing for a chilling listen. We eventually finish up on “War Is Where You Make It” and if anything it’s sadly the weakest track on the album…the incredibly lethargic doom-inspired chugging of the riffs coupled with the deeper, depressed tone of Alex’s gravelled vocals resembles proto-Goth outfits such as FIELDS OF THE NEPHILIM, and while that’s not at all a bad thing, it brings the mood down entirely after such a solid, bold sounding album.

As oxymoronic as that last statement sounds for a Gothic rock album however, “Lullabies For The Dead” is a superb collection of grandiose Goth that spans multiple eras, allowing for multiple influences to shape a noticeable variety in styles within just ten tracks. And to think, they said not all heroes wear capes? Looks like Batman has some competition…[8]

LESLEY GORE once famously sang the now immortal words “It’s My Party And I’ll Cry If I Want To”…and the way 2020 is going so far, a lot of us have related in some way. We hardly got chance to celebrate the new year really; we had the insane and catastrophic Australian bush fires kicking the year off, the UK was battered by some of the worst storms in years resulting in some horrendous Welsh flooding, not to mention the on-going fiasco that is Covid-19! It’s only fucking March! Honestly I would not be surprised if April brought with it an alien invasion!

All of this has naturally disrupted the lives of millions over the last three months, especially the pandemic, and as I mentioned in my recent ALKALINE TRIO review the music industry has taken a hit…but what about us every day folk? Everything is either on hold or has been scrapped, with employment being frozen and the government suggesting we all isolate, a lot of plans have gone nipples north. Just this weekend me and some friends were meant to be getting biblically drunk in Bristol for my good friend Izzy’s birthday celebrations, but Corona sadly put a stop to that. I don’t know what’d be worse to be honest…catching Corona or the state of my liver when we finally get to catch up!

There are millions in the same boat however, and frankly we have A LOT of overdue birthday bashes to catch up on. Luckily, thanks to Metropolis Records, today’s ironically named band helped us celebrate while stuck in lock down; THE BIRTHDAY MASSACRE. The Canadian synth-goth veterans were forced to release their latest album “Diamonds” early as businesses closed up for the Coronavirus lock down…resulting in them in their own way, giving us an early birthday present. At only 9 tracks long it’s one of their shorter offerings, but remember; it’s not the size of the present, it’s the thought behind it that counts…so let’s check it out.

The album opens up with “Enter” and we’re immediately met with some light keys that give off an innocent, 80’s pop vibe as we transition into the main beat and rhythm of the track. The simplicity of the instrumentation allowing Chibi’s sweet vocals to take center stage and it really is a blissful little number. The chorus brings with it more guitar and they blend more of their grittier style into the retro-synth sound and this is classic Birthday Massacre; simple, catchy and repeatable…a superb start. We follow this with promotional single “The Sky Will Turn” and we slow the tempo right down to more of a brooding, colder synth style, allowing for the darker aspects of the band’s sound to shine through like the full moon in a murky night sky…beautiful but chilling and quite awe-inspiring.

This continues through the title track “Diamonds” as well as cuts like “Crush” which use the down-tempo delivery to great effect, building up atmosphere and mood, channelling their gothic influences wonderfully, balancing subtle vocal and synth hooks with a darker, dispirited tone. Tracks like these prove The Birthday Massacre really are like diamonds themselves… oh so precious, but to many sadly they remain hidden gems. What this album IS lacking is some of their past, anthemic-style darkwave floor-fillers such as “One Promise” and “Walking With Strangers”, and the nearest we get to that here really is “Run”. Utilizing an almost DEPECHE MODE sense of deep melody, it flows delicately through each verse before kicking in with a grittier, guitar driven chorus.

Depeche Mode aren’t the only sounds you can pick up on either…during “Flashback” some of the guitar tones resemble the likes of ORGY in their futuristic, synthetic delivery, while “The Last Goodbye” harbours more of an accessible electronic-pop sound you may get from the likes of PET SHOP BOYS, before we round things off with closing track “Parallel World”; the calming synth ballad creating a dreamscape so apropos to its title, your mind wandering as Chibi serenades on.  

The Birthday Massacre never try to reinvent the wheel and this is what makes them so consistently good; they have their distinct style and they own it. They’ve proven time and time again that you don’t fix what isn’t broken, and “Diamonds”, arguably one of the strongest albums of their career to date, proves that. These are uncertain, often worrying times, but Chibi and co are themselves the diamonds in the rough here, but if we’re stuck at home in quarantine and isolation, you couldn’t ask for better company. Our own birthday’s may have been massacred, but the sky WILL turn, we just have to ride this out together.  [9]

​Back in 2017, the gothic rock community found itself in an official state of mourning. You might think, well, nothing fucking new by there? But, we had a legitimate excuse for our smudged eye liner. You see, everyone’s favourite romantic-rockers HIM, were officially no more. Yes following the departure of long-time drummer Mika Karppinen (Gas) and the appointment of Jukka Kröger (Kosmo), plus the fairly lukewarm reception of “Tears On Tape”…there were a lot of mixed feelings within the HIM camp…and a lot of uncertainty. Over this period, one thing eventually led to another, and after a series of farewell shows, the Heartagram had seemingly stopped beating. Tears were no longer merely on tape, they were on the cheeks of thousands of distraught fans across the globe…and it hurt.

Granted there were other projects that trickled out from certain members of the band…we got a fantastic 3rd installment from DANIEL LIONEYE courtesy of guitarist Mikko Lindström…as well as a couple of the guys forming FLAT EARTH, but it just wasn’t the same. What was Ville Valo up to? As the voice of HIM, he naturally carried the most intrigue, and while he did tease some activity with the release of the Finnish language single "Olet mun kaikuluotain", as well as reuniting with former collaborators THE AGENTS for some more traditional Finnish classics…he’s been incredibly quiet, almost suspiciously quiet…until now. On March 20th, 2020, Ville, under the new moniker of VV, surprised everyone by dropping three new tracks on an EP entitled “Gothica Fennica Vol.1”. With a modified Heartagram on the cover…was this what HIM fans had been craving for so long? Tissues at the ready folks, this might get emotional.

We get underway with ”Salute The Sanguine” and as the soft, near synthetic guitar melodies meander through your speakers, you can’t help but feel overwhelmed with, dear I say it…a foreboding sense of impending happiness. This is in its own right fitting as the delicate tones of not only the instrumentation but Ville’s voice hark back to albums such as “Screamworks…” and “Dark Light”; there’s a vulnerability to his voice that adds heaps of sentiment. Conceptually an interesting one, as sanguine is essentially a colour, or pigment used in a lot of centuries old artwork and self-portraits, resembling the shade of dried blood. It’s as if he’s looking back fondly on his career as if it had been dusted off having been locked away, appreciating the memories and what they gave him, with each scar a story, but knowing too that he isn’t the same man as before. This ties in nicely to the modified Heartagram…for like the music accompanying it; it’s a little HIM, but it isn’t, though it’s still beautiful.

Next up we have “Run Away From The Sun” and again here we’re immediately met with Ville’s gentle croon over more soft rock guitars and mellow acoustics. Another smooth and melodic offering, this is accessible as any of HIM’s lightest works as though Ville has embraced more of an indie-pop aesthetic, while retaining his core, lyrically melancholic writing style, allowing for those distinct HIM tropes. Speaking of, closing track “Saturnine Saturnalia” is the most HIM-sounding of the three tracks presented here and while not specifically raucous or rocking, it carries with it a distinct aura of hurt and emotional torment, mixing Ville’s honey coated vocals with a more sombre dose of doom and gothic stylistics. It’s got more prominent riff work and sounds like it could have come from one of the old “Venus Doom” demo sessions, fitting in with the likes of “Cyanide Sun” aesthetically, allowing for a deeper, ever so slightly darker listen.

If I may come across as selfish for a moment, sadly, these are the only three tracks presented here but while naturally wanting more, we have to be grateful of a couple of key things. To start, Ville is once again releasing music in any capacity, that’s the main thing, but the fact that the Heartagram has returned and his music is more akin to the styles and sounds of old is not only heart-warming, but brings with it hope. He’s clearly finding his feet again, and despite being only three tracks long, having been away for three years now, “Gothica…” is an effortlessly good start. The fact too that it’s merely volume one hints at more music down the line, and if these three tracks are anything to go by, we’re in for a fucking treat. Never mind the sanguine, Ville Valo, we salute you and welcome back sir! [10]

How about a tedious link? Yeah? You ready?…OK…so, if you were to dispel something, it would be like, relieving something or getting rid of something…maybe even curing something? THE CURE were a new-wave Goth band who originated in the late 70’s, who went on to release tracks such as “A Forest”, and also enter the Rock ‘N’ Roll Hall Of Fame in 2019. The Rock ‘N’ Roll Hall Of Fame is situated in ‘The Forest City’, which is the nickname for Cleveland, Ohio. Cleveland Ohio is an anagram of Cool Heaven Lid, which is in ways ties into “Just Like Heaven”; a track by The Cure, which coming full circle, could mean to DISPEL…and that brings us to today’s band. You follow?

Dispel are a throwback, Gothic / darkwave outfit formed in Cleveland, Ohio, consisting of founding member and percussionist/programmer Scott Doland (Alongside vocalists Ravensea and Sean Gallows) and together, they’ve created a sound combining old-school electro-Goth nostalgia and an even older school sense of medieval theatrics, as they release their debut album “Lore”. Released in January 2020, the team over at Shameless Promotions asked me to check it out, so let’s do just that before I get caught up in any more convoluted segues…

The album opens up with “Spiritual Warrior (The Hero)” and initially we’re met with some hushed, choir-esque harmonies, backed with gentle bell chimes, before we suddenly transition into a deep, pulsing dose of synths and percussion. Gallows’ vocals here are almost robotic given their languid delivery, though he does switch up in tone here and there. There’s a cold monotony to the track…its very CLAN OF XYMOX.  Follow-up track “The Call (To Adventure)” gives Ravensea a turn on vocals and the tone changes immediately. While instrumentally it takes on a similar style with some brooding electronica, it incorporates more of a guitar influence, which counters Ravensea’s softer, sweeter vocals. She provides a more pop-oriented style, especially within the chorus, which sounds like it’s been plucked from some generic 90’s dance track for want of a better description.

“Gift Of The Goddess (Andante In Bb)” is our first primarily instrumental track, which aside from some echoed, almost monastic chanting consists of a simple, low-fi drum fill and very little else; it showcases their adoration for the medieval and fantasy gaming (Which is another influence) as this could easily be taken out of some sort of loading screen. “Atonement (Andiago In Bb)” is the other…and it’s far more morose in its delivery. It’s incredibly dreary with its slower pacing and aesthetically gives off a despondent feeling of mourning and loss. Luckily there are more SLIGHTLY uplifting cuts on offer here, such as the promotional track “Modal Consequence (The Threshold)” which sees Ravensea wrap her harmonious vocals around some electronic alternative rock, however the track is a touch subdued instrumentally, before we eventually round up the album with “The Depth Of Transformation (The Return)”. Coming back to Gallows on vocals we get a subtle hint of the likes of PITCHSHIFTER before it becomes more hushed throwback post-punk.

Conceptually, Dispel are admittedly onto an interesting approach…utilising traditional proto-Goth and post-punk sounds but coupling that with a medieval, fantasy RPG-inspired song-writing characteristic, they can tap into multiple markets with very die-hard followings, which in itself would continue to open doors for the alternative rockers. The only real issue is these nine inaugural tracks (Ironically enough) aren’t quite game changers. Sure the ideology is there and they have a vast sea of potential inspiration and material to play with creatively, given their niche, but it’s not quite there yet. If I can liken this to anything it would be a mimic chest from Dark Souls…you open it expecting riches but SIKE…you died. Ok a little extreme as this album isn’t going to eat you alive, but Dispel could possibly offer so much more than this album showcases. [4]

Ah yes; Money Inc...For those of you who don’t know, they are one of the most iconic heel tag teams in professional wrestling from the early 90’s. Consisting of “The Million Dollar Man” Ted DiBiase and “IRS” Irwin R. Schyster, they won the then WWF tag team championships three times over the period of 1992 to 1993, having beaten the likes of the Legion Of Doom and the Natural Disasters, before eventually disbanding, as wrestling continued to adapt and evolve into a new era trough the mid-nineties. Wait a minute…something’s not quite right here…*checks notes*… for fuck sake Gav (-_-) let’s start again shall we?

MONO INC. for those of you who don’t know, are an alt. rock  / Goth band formed in Germany in 2000 and over the past twenty years have racked up an impressive number of albums and EP’s. The four piece (Currently consisting of vocalist Martin Engler, drummer Katha Mia, guitarist Carl Fornia and bassist Manuel Antoni) have enjoyed a fair bit of homeland success as their previous five albums have all reached the Top 10 in the official German charts, and they hope to continue their run of good form with their brand new album “The Book Of Fire”. Let’s see how quickly we can read this before it’s little more than a smoldering pile of ash…and it better have pictures…

We open up with the seven-minute-plus title track and after a brief piano intro; we practically set sail for high adventure…honestly for a split second I thought I was aboard the Black Pearl swigging rum with Captain Jack Sparrow. This is some piratey shit! The song itself, while a little drawn out in places is up-tempo and incredibly up-beat, it combines that ideology of exploring the seven seas with folk inspired qualities and a rock-based core sound, which while fun and not unpleasant, IS unexpected.  Goths and pirates don’t mix like…do I bury the treasure at the graveyard or scare all the children at the beach? I digress. Follow up track “Louder Than Hell” is the first real album highlight and takes a more traditional musical approach without as much of a gimmick. Rich in melodic guitar and a simple yet commanding rhythmic percussion, it’s got a solid groove amidst subtle power metal qualities and a great hard rock solo, resulting in another entertaining, up-tempo offering.

Lead single then “Warriors” takes a disappointing down-turn in momentum sadly, as we get a slow, sombre orchestral rock ballad with dreary, near monotonous vocals (Chorus aside)…while instrumentally charming in places, it doesn’t do the album too much justice in all honesty. Highlights do however include “Shining Light” which features LACRIMOSA vocalist Tilo Wolff…and it’s a shiny black slab of gothic tinged alt. rock, combining a deeper vocal and harmonic, choir-esque background singing. This is continued with “The Last Crusade” which really ups the ante with it’s incredibly SISTERS OF MERCY inspired intro and slick presentation. This track is infectious as all hell, from the vocal hooks in the chorus to the borderline sexual guitar solo, the book of fire is scorching here. Elsewhere “Right For The Devil”, which features German medieval metal outfit TANZWUT continues a similar standard of simple yet catchy alternative rock…slower in pace maybe but it’s a got a great bass-line and with that comes a certain swagger which is impossible to dislike.

The rest of the album trudges along fairly well without any real complaints, resulting in a solid overall listen, as portions of it will appeal to quite a broad spectrum of alternative music fans. Granted it’s not the all-out Goth-rock record I was expecting, seeing as THE 69 EYES were mentioned in the 'FFO' section of the press-kit, but I can admit I’m not disappointed. “The Book Of Fire” is itself only the latest chapter in Mono Inc.’s storied career to date, and it’s safe to say that these flames aren’t dying anytime soon. A record worth checking out this. [7]

So, I’d like to kick off the New Year, by talking about burning churches…now, typically you’d expect me to go on some tirade about black metal, and all of the clichés that come with the panda-painted faces of our Scandinavian metal brethren. But while some of the black metal community did in fact, set fire to several Norwegian churches between 92’ and 96’ in the genre’s heyday, today’s band are so lit they may as well have called themselves fucking Notre Dame! Let’s talk about CATHEDRAL IN FLAMES…before Quasimodo starts asking questions…

Formed in Prague in the Czech Republic (And consisting of vocalist Phil Lee Fall, bassist/programmer Gatsby, guitarist Billac de Ville and vocalist Ambra Von Bernstein) the four-piece unveiled their debut EP, entitled “Children Of The Blackest Hole”, towards the tail end of 2019, having sent me an email in late December requesting a review. While I missed it over the Christmas period, it just so happens that the EP is getting a physical release on vinyl in early 2020, so I thought what better way to transition into the New Year than with some new Goth…

The EP opens up with “Python” and immediately the chilling atmospheric tones take you way back to the 80’s post-punk revolution. With haunting wails providing backing vocals over Phil’s deep drawl, while soft piano’s compliment the overall grittier instrumentation wonderfully, allowing for a real raw sense of melancholy. Respectfully channelling the likes of FIELDS OF THE NEPHILIM etc. “Red Car” in turn houses a solid bass-driven groove that matches the depth of Phil’s baritone growl really well, but it somehow manages to retain a sense of up-beat melody, especially as the track climaxes with a subtle key-change, and it’s an enjoyable listen this.

The title track, despite keeping up with the Nephilim, almost RAMMSTEIN levels of gruff crooning harbours a slower, shoegaze inspired backing track with a lighter guitar tone and this gentler approach provides a sombre yet sweet listen…if I were to get married this could for all intents and purposes be an acceptable, albeit alternative first dance slow jam. “Hungry As The Grave” returns to a more simplistic, retro post-punk stylistic, plodding along, wallowing in its own self-inflicted misery, before closing track “Gunslinger’s Blues” ends proceedings on a dreary, despondent note. A dark, anti-ballad with church bells and subtle Western undertones; it really is quite tender in its own morose way. Essentially, this is equally superb as both a debut AND a Gothic rock record, especially the latter as it ticks so many confession boxes. They’ve really captured the cold emotions and melodic yet monotonous vibe of the era so well, and old-school Goth fans are going to want to pick up a copy of this on vinyl as it’s going to sound absolutely incredible. Cathedral In Flames are legit lit fam…now, Quasimodo, about your home insurance…[7]

2019 has like most years, been a strong year for new music. It doesn't matter what genre we're talking about; it's been a year of triumphant returns, exploratory and experimental albums and EP's and an overall win for you and me, the consumer. Over the past 12 months, in between changes in my personal life with relationships and employment, undertaking a completely new job with no prior training or background, I've still done my best to keep on top of new music, more specifically my reviews, despite my own mental health which I don't really talk about much. With all of that said, I've still managed to listen to a total of 274 brand new EP's and albums in 2019 and out of all of those, I've managed to whittle down that number to a categorised series of Best Of lists. Ranging from EP's specifically, to pop music, metal and my own personal favourite releases of the year, I've managed to expand my listening experiences and broaden my horizons to allow myself to grow as a reviewer, and these albums sum that up quite well in my opinion. While I've already shared these lists on social media, such as my Twitter ( @GavinJGriffiths ) my Instagram ( @gavthegothicchav ) and my Facebook page ( www.facebook.com/GTGCReviews ) I wanted to give a more in-depth look at my choices for the year, and my individual scoring of each record...essentially doing a Dave Meltzer star-rating system for each individual track. I hope you find my choices interesting, and as usual, I've compiled my official Spotify end of year playlist which I've included at the bottom of this post for your listening pleasure. Here's to 2020 where all of this starts again...until next time...have a happy new year, and, A LITTLE BIT OF THE BUBBLY! 

20] KILO KISH - "Redux" EP - 1.60/5
19] HEAVY LUNGS - "Measure" EP - 1.60/5
18] NAUT - "Semele" EP - 1.66/5
17] INTERPOL - "A Fine Mess" EP 1.80/5
16] POPPY - "Choke" EP - 1.80/5
15] SODOM - "Out Of The Fontline Trench" EP - 1.80/5
14] YUNGBLUD - "The Underrated Youth" EP - 1.83/5
13] BENNY BASSETT - "Words For Yesterday" EP - 1.83/5
12] 8MM - "Heart Shaped Hell" EP - 2.00/5
11] MILEY CYRUS - "She Is Coming" EP - 2.00/5
10] CATHEDRAL IN FLAMES - "Children Of The Blackest Hole" EP - 2.20/5
09] SKYLAR GREY - "Angel With Tattoos" EP - 2.20/5
08] SUN ARCANA - "Just Another Dream Away" EP - 2.20/5
07] PALAYE ROYALE - "Massacre, The New American Dream" EP - 2.25/5
06] YEAR OF THE LOCUST - "Year Of The Locust" EP - 2.25/5
05] RXPTRS - "I" EP - 2.40/5
04] LIL NAS X - "7" EP - 2.50/5
03] HAWTHORN AVENUE - "Wildfire" EP - 2.50/5
02] HER DESPAIR - "Exorcisms Of Eroticism" EP - 2.50/5
01] SOME VILLAINS - "Outliars" EP - 2.75/5

20] P!NK - "Hurts 2 B Human" - 1.53/5
19] BASTILLE - "Doom Days" - 1.54/5
18] TOM WALKER - "What A Time To Be Alive" - 1.57/5
17] BILLIE EILISH - "When We All Fall Asleep Where Do We Go" - 1.57/5
16] EMMA BUNTON - "My Happy Place" - 1.60/5
15] POST MALONE - "Hollywood's Bleeding" - 1.64/5
14] BLACKPINK - "In Your Area" - 1.66/5
13] KERLI - "Shadow Works" - 1.66/5
12] MIKA - "My Name Is Michael Holbrook" - 1.69/5
11] ALICE MERTON - "Mint" - 1.81/5
10] SIGRID - "Sucker Punch" - 1.83/5
09] LEWIS CAPALDI - "Divinely Inspired To A Hellish Extent" - 1.83/5
08] MARINA - "Love + Hate" - 1.87/5
07] DAVE - "Psychodrama" - 1.90/5
06] BUSTED - Half Way There" - 1.90/5
05] WILDWOOD KIN - "Wildwood Kin" - 2.10/5
04] WILL YOUNG - "Lexicon" - 2.16/5
03] JAMES BLUNT - "Once Upon A Mind" - 2.18/5
02] HANTE. - "Fierce" - 2.23/5
01] SCANDROID - "The Light" - 2.28/5

20] KHAIDIAN - "Penumbra" - 2.00/5
19] INCITE - "Built To Destroy" - 2.00/5
18] LEACH - "Hymns For The Hollow" - 2.00/5
17] SWALLOW THE SUN - "When A Shadow Is Forced Into The Light" - 2.00/5
16] HEARTSICK - "Sleep Cycles" - 2.07/5
15] CRYSTAL LAKE - "Helix" - 2.08/5
14] AS I LAY DYING - "Shaped By Fire" - 2.08/5
13] KILLSWITCH ENGAGE - "Atonement" - 2.09/5
12] FALLUJAH - "Undying Light" - 2.10/5
11] AFTERLIFE - "Breaking Point" - 2.10/5
10] THROUGH THE NOISE - "Dualism" - 2.11/5
09] KAAMOS WARRIORS - "Ikuisen Talven Sarastus" - 2.12/5
08] ABIGAIL WILLIAMS - "Walk Beyond The Dark" - 2.14/5
07] AMON AMARTH - "Berzerker" - 2.16/5
06] MEGADETH - "Warheads On Foreheads" - 2.20/5
05] SOILWORK - "Verkligheten" - 2.33/5
04] DEMON HUNTER - "War" - 2.40/5
03] CORRODED - "Bitter" - 2.41/5
02] ROTTING CHRIST - "The Heretics" - 2.41/5
​01] CHILDREN OF BODOM - "Hexed" - 2.45/5

20] RISKEE & THE RIDICULE - "Body Bag Your Scene" - 2.33/5
19] DEMON HUNTER - "Peace" - 2.40/5
18] THE DIRTY YOUTH - "Utopia" - 2.40/5
17] DREAMSTATE - "Primrose Path" - 2.40/5
16] THE WRAITH - "Gloom Ballet" - 2.41/5
15] NORTHLANE - "Alien" - 2.45/5
14] D-A-D - "A Prayer For The Loud" - 2.45/5
13] PAPA ROACH - "Who Do You Trust?" - 2.50/5
12] SUM 41 - "Order In Decline" - 2.50/5
11] IN FLAMES - "I, The Mask" - 2.50/5
10] WHILE SHE SLEEPS - "So What?" - 2.54/5
09] BAD RELIGION - "Age Of Unreason" - 2.57/5
08] LINDEMANN - "F & M" - 2.69/5
07] WEEZER - "Teal Album" - 2.75/5
06] MOTIONLESS IN WHITE - "Disguise" - 2.81/5
05] RAMMSTEIN - "Rammstein" - 2.90/5
04] YONAKA - "Don't Wait 'Til Tomorrow" - 3.00/5
03] LACUNA COIL - "Black Anima" - 3.18/5
02] THE 69 EYES - "West End" - 3.27/5
01] BLAQK AUDIO - "Only Things We Love" - 3.33/5

Few things in this world entertain me more than the idea of terrifying little children. Now don’t get me wrong, I don’t belong on a register before you all jump the gun here, (I have three names, none of which are Jimmy and/or Saville) but I’m talking about when kids get legitimately scared. You’ve all seen little YouTube videos or Vines etc., where kids get startled by something or, if a parent pranks them in scary mask or whatever, and they end up bursting out crying and running away in some sort of mild panic attack, squealing and screaming…that shits funny! Well today’s band takes a more philosophical look at that entire concept; let’s catch up with NIGHTMARES FROM THE DISCOTHEQUE.

Formerly going by the moniker of MASSIVE HORSE, I discovered the Cardiff based duo of Canz Rickman and Rick Schaple many moons ago when they supported firm favourites of mine ELECTRIC SIX at a show in the Welsh capital, and I’ve been an admirer ever since. Their penchant for comedic song writing based on social commentary is genuinely entertaining, and they’ve managed to get the balance between humour and musical integrity spot on. I often reference STEEL PANTHER in these situations, where the joke and gimmick has truly worn thin, but NFTD continue to be both inspired and creative.

Regardless of whichever name they go by however, they’ve proven in the past that they can mix horror and comedy very well indeed. Whether it’s the brilliantly catchy vampire parody “She Only Comes Out At Night”, or the sexually haunting “Phantom Pregnancy”, they do enjoy dabbling in the darker aspects of entertainment, and their new track backs that up wonderfully; “Real Things To Scare Your Children”. Yes their new Halloween track see’s the pair in character, cos-playing as ‘Robert Smyth’ and ‘Marilyn Maanson’ in brilliantly tongue-in-cheek fashion, as they take us on a tour of Marilyn’s Mansion in the accompanying music video, where we aren’t subject to the hauntings of ghosts and monsters, but real life adult problems such as taxes, declined credit card payments, running out of toilet paper and all manner of horrifying scenarios. If you appreciate a spot of dark humour and want to inject a little fun into this year’s Halloween party playlist, you can find the track on Apple Music, iTunes and Spotify, the links to which are on the NFTD Facebook profile, linked below. Check out the video, and leave a comment sharing what scares YOU…personally in a sense of twisted irony, I’m afraid of horses, so I’m glad they dropped the Massive Horse name, I mean, normal sized horses are bad enough! FUCK! THAT!

Gothic music has for the most part; got a bit of stigma or, a reputation from the non-initiated…many simply view it as maybe just a tad miserable or, maybe even slightly suicidal, and to be fair these CAN be traits of the genre. There are of course those however more acquainted to this, misunderstood style and its nuances, that find the beauty amidst the often bleak poetic content, but most people simply think “Fuck me this is depressing!”… Today’s band doesn’t particularly help things in that sense…let’s talk about LACRIMAS PROFUNDERE.

The German outfit (Now consisting of vocalist Julian Larre, guitarist Oliver Nikolas Schmid and drummer Dominik Scholz) have a name that translated from Latin, literally means ‘To Shed Tears’…so we’re practically crying before we even press play, fucking amazing start! I digress…while the bands origins in the early 90’s harboured more of a progressive doom aesthetic, they over time switched up their sound to the more iconic Gothic / dark rock style we know and love today, but that doesn’t mean we’re alleviated from the doom and gloom…au contraire, there’s just marginally less doom! 2019 finds the band releasing their 12th studio album; “Bleeding The Stars”…so, Kleenex at the ready then folks; but will we be shedding happy tears in the end? Let’s find out…

The album opens up with “I Knew And Will Forever Know” and in all honesty it’s a pretty slow, lumbering start. The initial guitars seem to drag alongside Larre’s vocal drawl as if they’ve already given up the ghost so to speak, such is the level of sonic misery. We do get a little more lively for the chorus mind you, as the percussion picks up, accompanying heavier, more tortured vocals; really walking a fine line between their doom-metal back ground and a more melodic, melancholy. This is for the most part a reoccurring theme throughout this ten-track album…”Mother Of Doom” being a prime example (The clue is in the name to be honest). Although to be fair, as dreary as it is superficially, it’s the deep baritone croon of Larre that allows this track to connect with the listener. It’s low-key, low tempo and generally minimalistic but it’s the mood and atmosphere that carries this…it’s actually incredibly well delivered and while it isn’t about to kick start any parties, it has to be applauded.

While a lot of this album is a touch bleak, there are some enjoyable highlights that twinkle in the darkness; flashes of brilliance from this dying star if you will. “After All Those Infinities” for example really ramps up the tempo and for its brief run time it manages to deliver a boisterous, albeit brief melodic hard rock number; the kind of track that leaves you wanting more. “Father Of Fate”, unlike the preceding mother, is far more upbeat…perhaps he’s won some brutal custody battle? Who knows? Regardless, its hook-laden synth-driven style, coupled with the well balanced dual vocal approach of deep crooning and pissed-off snarling, makes for an entertaining listen. The real stand-out however comes in the form of “Celestite Woman”…the simplicity of the chugging bass, the lyricism and overall song structure coupled with the abundance of melody; this easily lives up to previous gems such as “The Shadow I Once Kissed” and “My Velvet Little Darkness” as an individual highlight, and it’s Lacrimas at their brilliantly bleakest best. This album though as a whole may not live up to some previous standards, 2004 to 2010 was a superb timeline in all honesty, but this is a solid Gothic rock album that hits most of the right filthy notes, in spite of how low they are. [7]

Quite often within these pages, I’ve bumped my gums about how the UK virtually pioneered post-punk, and the concept of “Gothic rock” as we recognise it today. You could reel off any number of late 70’s / 80’s bands that you could pigeonhole as post-punk, or, trad-Goth or however you want to put it, and you could almost guarantee that they’re from somewhere in England, but today we’re going to be turning our attention stateside…

We all know that America has produced some of the most successful Gothic / alternative metal artists of all time, especially industrial titans like NINE INCH NAILS and of course, those iconic dark-humoured darlings TYPE-O-NEGATIVE, but they came a little later…we want to know what post-punk bands helped shape America’s earlier underground music scene.

While you’ve more than likely heard of CHRISTIAN DEATH, other bands may be a little more obscure unless you’re already a Goth-rock fan…bands like THE DANCING CIGARETTES and ROMEO VOID are well worth checking out, but today we’re going to focusing our attention on MY LIFE WITH THE THRILL KILL KULT. Often shorted to just Thrill Kill Kult, the Chicago natives initially started out as an early industrial outfit, and you may actually recognise them from the soundtrack to “The Crow”…but although maintaining a steady, 30-year career, they’ve always been relatively niche. 2019 finds them still releasing records, and their newest one; “In The House Of Strange Affairs”, was chosen by you on my last readers’ poll…so let’s get all of our affairs in order and check it out shall we?

The album opens up with “Gold To Grey” and it’s slow, sullen bass line has a wonderfully nostalgic tone to it, sounding like this track could very well come from those early proto-Goth days…its deep and chilling, as it leads into a spoken-word segment, before kicking into gear with its snide vocal drawl and cold atmospheric synths. The beat is simplistic and the electronic elements rarely inject much life into the track, resulting in an ambient yet algid listen; a slow start this. The following couple of tracks do admittedly get your hopes up to be honest, with “Forbidden Saints” sounding like the first proper track, as opposed to a lengthy introduction. The electronica is more prominent and instrumentally it’s got a decent, but again, simplistic hook, with a lot more rhythm going for it. It’s lyrically dark and fetishized and it’s something you could easily imagine being played to a throng of leather and PVC clad Goths, sipping on absinthe at 3am in some underground club. Although…mate…WHAT is with that ending? Absolutely cringe-worthy, you just shat all over that entire song right there, seriously…forget the saints, I forbid whoever gave that the green light to ever work in production ever again!

Up next we’ve got “Treat Street” and although while still relying on the synths and new-wave style it’s got an old-school disco-funk groove layered throughout the track, with the additional inclusion of…harmonica…resulting in a wonderfully curious listening experience. There are more sexual references, and at this point it’s like, OK, fine, it’s a gimmick…reinforced with the husky vocals, but to be honest they detract from what is essentially a decent little piece of music. We follow this up with album highlight “The Chains Of Fame” and really that’s saying something…it utilises a catchy low-fi hook with chill-wave aesthetics, but the guitars give the track some much needed bite. He asks ‘How much cash can you make with that ass?’ and to be honest…I…I don’t know. Nor do I want to. Rough guess, twenty bucks on a good day? Fuck knows. I digress, the track ends rather abruptly and truth be told, this is about as good as the album gets.

There are moments like on “Studio 21” which peak your interest,  which houses more of that original disco funk combined with subtle trance elements, and “Royal Skull” which returns to a more guitar based approach, sounding much grittier, but overall the album fails to excite. Too often we’re faced with a lack of energy and drive from the remaining tracks and the bulk of the record seems to drag itself along like a reluctant cadaver. Appropriately we eventually end on “Am I Dead?” and to be frank, by this point…yes. Fucking feels like it anyway. To summarise, there’s nothing really thrilling whatsoever about this kill kult, and the house of strange affairs needs to be boarded up and demolished to make way for a Greggs or something…having said that they’re equally as bland as each other; disappointing this. [3]

Just like heavy metal itself, post-punk and the conceptual origins of Goth-rock can be primarily traced back to the UK…whether it’s CABARET VOLTAIRE or THE CURE, SISTERS OF MERCY or SIOUXSIE AND THE BANSHEES, Great Britain knew how to get its Goth on! However, like with a lot of new genre’s or, evolution's in popular music, post-punk was very much of its time and found itself culturally confined to the late 70’s and 80’s. Mind you, while production quality has improved over the years, and Gothic music gradually became a touch heavier, darker and bolder, despite becoming even MORE of a niche genre…that love of the original post-punk aesthetic has never dissipated. Several indie and alt. rock bands continue to take influence from post-punk to this day, which brings us to today’s band; DEW.

The German three-piece, consisting of vocalist (I Think, going by photos) Mike Antibody and…two others (I’m honestly having a stab in the dark here; their social media is minimal at best, and I don’t speak German) got in touch with me not too long ago via the GTGC contact form, sending me a Bandcamp link. It was suggested I give their 8-track mini-album “DEW-STORTION // DEW-MORGEN” a listen, so, on the anniversary of Ian Curtis’ death, let’s set the mood for melancholia and find out what this alternative krautrock collective has to offer…

The album opens up with “Zuerst Maschine” which basically translates as ‘First Machine’, and it fittingly starts with some industrial / mechanised backing noise, before ripping into some pacey, regimented percussion and up-tempo riff-work. A nostalgic nod to the origins of the genre; fusing those industrial elements with the early proto-Goth sound, all the while housing a decent melody, which balances the semi-scratchy vocals well…the vocals appear a touch overpowering in places with some of the instrumentation drowned out, but for a self-recorded and produced record it’s an entertaining start.

“Menschenfeind” or ‘Misanthrope’ too provides a wonderfully up-beat dose of reverberated post-punk, with more intensity in its delivery; having a certain punk-heavy simplicity that would appeal to fans of say, early BAD RELIGION. If it’s throwbacks you were after though, look no further than “Umgekehert Kontrovers” which roughly means ‘conversely controversial’ and it delves deeper into the genre’s origins audibly. The tinny, slightly-off key guitar with deeper, darker atmospheric tones harks back to those early days of JOY DIVISION, sounding like it’s been plucked straight out of the era itself; thematically it’s been wonderfully recreated to its credit.

There are one or two lesser tracks offered up but they don’t exactly ruin the album so to speak…”N.I.W.E.S. (Nicht Ist Wie Es Scheint)” or ‘Nothing As It Seems’ is a predominantly slower more lethargic track, with arguably the albums weakest vocals; there’s a bleak drone to them at times, all the while sounding pained and shouted as opposed to sung. Technically then, there’s nothing WRONG with “(…)-?!” per se other than its name…I mean seriously I can’t pronounce that in fucking English let alone German! Am I to literally call it “Left Bracket Ellipsis Right Bracket Dash Question Mark Exclamation Mark” or just guess some sort of bilious guttural noise? Pronounce it like I’m actually vomiting into the microphone? Fuck knows…before we then finish up on “Die Lösen Sich Ja Selber Auf” or, ‘They Dissolve Themselves’ which again, is appropriate as the album dissolves into a brief, quirky bass-heavy outro track, ending the album on a rather abrupt note.

The combination of using the German language lyrically, and playing a style and genre that’s nostalgic and underground at best isn’t going to find DEW a great deal of commercial viability, but post-punk, as dated as it is by today’s scene’s standards has always had a loyal cult following, which should in all honesty accept DEW with open arms. Their sound has been brilliantly crafted to be right at home among those early 80’s playlists and could easily find themselves mentioned alongside the likes of THE DAMNED. DEW haven’t reinvented the wheel, but they are due some recognition. [6]