Tag: dark wave

Neon Coven releases new EP.

Neon Coven, the new industrial rock band from Los Angeles, CA, has released its debut EP “Risen” today via New Ocean Media. Recorded in Hollywood, the EP was produced by Jacob Bunton. The EP consists of 4 tracks ranging from songs about survival and balance to emotionally charged anthems.
The EP can be streamed at this location: https://open.spotify.com/album/1DSKprFqDMWhoj8ttiY5d8
Neon Coven is comprised of Anthony Montemarano (vocals), Jacob Bunton (bass), Ace Von Johnson (guitar), and Kyle Cunningham (drums).
The album’s title Risen is a dedication to the fallen and broken who refuse to back down and give up on their dreams. “The idea behind music is to connect, create and inspire” states frontman Anthony Montemarano. “Between life and death, we are always riding the quantum edge.”
“These songs reflect on the uncertainties of life and coming to grips with our own mortality” adds bassist Jacob Bunton. “The only guarantee we have in life is that one day it will end.  It’s up to each one of us to create our own destiny and live life to it’s fullest. The world is full of ups and downs, but I’ve always believed in the Rocky Horror quote ‘if you can dream it, you can be it.”
From Los Angeles, CA, Neon Coven abandoned much of the ethos of the tradition of heavy rock to create an intellectual and theoretical sound, linked to an emphasis on anthemic, synth-heavy dance-rock.
“Risen” track listing:
01. Down
02. No One Knows You’re Dead
03. Bleeding Love
04. Queen Of Scars
For more  information, check out the band’s Web Properties:

My top 25 live shows of 2016 – #’s 10-6

We’re in the top ten of the my favorite live shows of 2016.

#10 – The Flaming Lips at Middle Waves Fest in Ft. Wayne, Indiana September 17th

It was a triumphant return to Fort Wayne after nearly 30 years for them.  The show was big, bright, and full of love.  It was in the middle of the election season and just what we all needed at the time.

#9 – Earthless at the Empty Bottle in Chicago December 2nd

Earthless is easily one of the best live acts out there right now, and this was my first time seeing them in a small venue.  I don’t know how the Empty Bottle was still standing by the time they were done because it was among the loudest and heaviest sets I’ve seen there.

#8 – John Carpenter at the Masonic Temple Theatre in Detroit July 15th

“I got a movie and a concert,” my wife said after seeing a screening of Escape from New York and then John Carpenter, his son, his godson, and the rest of his band play a fantastic retrospective of his film score music.  It was also in a huge gothic structure, so that made it all the better.

#7 – Screaming Females at the Brass Rail in Ft. Wayne, Indiana June 26th

I’d wanted to see them for a couple years, and seeing them an hour’s drive away with my best friend in a venue not much bigger than the bottom floor of my house was one of my favorite memories of 2016.  They were even kind enough to let me interview in their tour van.  They crushed it, leaving most of the crowd dumbstruck.

#6 – L7 at the Metro in Chicago August 6th

Another band I’d waited years, even decades, to see was L7 and their sold-out reunion tour show in Chicago was one of the best performances I’d seen from any band in years.  They hadn’t lost a thing and showed pretenders how it’s done.

Good grief!  If these shows were so good, who’s in the top five?  Come back tomorrow and see!

Keep your mind open.

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My top 25 albums of 2016 – #’s 15-11

We’re halfway to #1 on the countdown!

#15 

The Kills released a great album for their 15th anniversary.  Ash & Ice oozes with their sweaty, smoky, whiskey-tinged rock and is one of the best albums about love and sex from 2016.

#14 

I didn’t expect a full record of shoegaze from the Duke Spirit, but Kin is the best shoegaze record I’ve heard all year (and probably of the last two or three years).

#13

All Them Witches released a live album last year (which I still need to get), teased a new album for this year, and started 2016 with Dying Surfer Meets His Maker – a great blend of stoner metal and blues voodoo rock.

#12 

Comacozer contacted me through this website and asked if I’d like to hear their record.  I’m glad I said yes, because this stoner metal album, Astra Planeta, is amazing.

#11 

The KVB make excellent dark wave and shoegaze.  It’s a bit difficult to believe at first that just two people produce that much sound.  Of Desire was recorded on vintage synthesizers and sequencers, and the rich sound produced is excellent.

Who’s made it into my top 10 for 2016?  Come back tomorrow to find out!

Keep your mind open.

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Night Club – Requiem for Romance

Night Club’s (Mark Brooks and Emily Kavanaugh) Requiem for Romance starts, appropriately, with “Requiem,” a song of dark synths that would be right at home in a John Carpenter film, and then launches forward with “Bad Girl” – a fetish club dance anthem for dominatrixes, riot grrls, and women who don’t care if you don’t like what they wear. “It’s so good to be a bad girl,” Kavanaugh sings over booming synths and electric beats, oozing sex with a hint of danger.

“Show It 2 Me” pretty much lets you know its subject with the title. You’ll probably hear this in a club scene featured in the next big budget vampire film you see. “If you like the fast lane, don’t be slow,” Kavanaugh sings. “‘Cause I’m giving you the green light to go. If you got something you want to show, show it to me.” Ahem.

The warped synths of “Dear Enemy” build to a wicked beat as Kavanaugh sings about a former friend who has finally crossed the line. “You know you’re a super creep, ‘cause the things you do won’t let you sleep,” she sings as Brooks puts down a groove Gary Numan would love.

The synths get bouncy and bright on “Psychosuperlover,” although Kavanaugh’s lyrics are still heavy: “You are the blackest hole, heart as dead as your soul. Did it burn inside when you left me here to die?” Brooks and Kavanaugh pull off the deceptive nature of the song’s subject – attractive on the outside, a monster within.

In case you missed the kinky vibe of this record, “Freak Like Me” will drive it home for you. The wicked groove and the chorus of “You know you want to be a freak like me.” make the song pretty much a required addition to any “freaky sex”-themed playlists you’re planning to make soon. “Magnetic” has Kavanaugh missing her lover and hoping for a fast return. Brooks’ synths are at times heavy and others bright on it and also on “Dangerous Heart,” which reminds me of tracks by The Knife and has Kavanaugh warning a potential lover of her wicked nature.

She shares the vocals with Brooks on “Pray,” a solid electro cut that would make Metric envious. The album ends with, of all things, a torch song. “Little Token” is a song of heartbreak and loss with minimal synths, subtle bass, and haunting piano behind Kavanaugh’s slightly echoed vocals. It’s a nice send-off and shows us that Night Club can do more than kinky electro.

The album is full of songs that reflect the title. Some of them are empowerment anthems and others are dire warnings. All are solid.

Keep your mind open.

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The KVB – Of Desire

I don’t remember where I first heard The KVB (Kat Day and Nicholas Wood). It was probably BBC 6 Music, but I remember immediately thinking, “Who is that?” within a few moments. Their blend of electro, shoegaze, and John Carpenter film score riffs grabs your attention right away, and their newest album, Of Desire, is a great introduction to them if you’ve never heard them before now.

“White Walls” starts with 1980’s no wave synths and somewhat distant vocals about Nicholas Wood letting a lover leave while he stays inside to do some self-imposed penance for saying some things he regrets. The synths soar and click in beautiful waves. I don’t know what will get you to like this band if this opening track doesn’t.

Peter Hook-like bass creeps throughout “Night Games.” It sounds like something Snake Plissken would be playing in his glider flight in Escape from New York. “Lower Depths” is a goth gem, both lyrically (“Don’t want the light. I see the inside. I’m lost in a hole. My head’s on fire.”) and musically with its industrial guitars, programmed simple snare beats, and synth drones. “Silent Wave” reminds me of the Knight Rider theme at first, but it’s Knight Rider with KITT being a hearse instead of a Trans Am and the hero being a 1980’s goth computer hacker instead of a guy who’s a pop star in Germany.

“Primer” is an instrumental appetizer for the lush “Never Enough.” It’s almost the opposite of “White Walls” (but the deep synths and shoegaze guitars remain the same), as Wood has now flipped the table on his lover who has ruined everything. “And it’s all too much, because it’s never enough. And it’s all your fault as it slips away,” he sings.

I’m pretty sure “In Deep” is about a ghost waiting for its lover to die so they can be together again (“Being here, not living, I see it brings you down. And I’m trying hard to help you, but I feel I’ve come too late.”). The synths are bright like the afterlife, but the electro-bass is rooted to the Earth. “Awake” brings back the John Carpenter soundtrack feel, and it’s a great song for dark nights, dark car rides, or dark rooms. “V11393” is a cool instrumental that has probably been remixed across industrial clubs across the world by now.

“Unknown,” a song that has Wood wondering about the future as he lies in bed with his lover, has some of the loudest guitar on the record, but it knows when to move out of the way and let the synth bass take the forefront. Another good instrumental, “Mirrors,” leads into “Second Encounter,” with floating synths and clear guitar that makes you wonder if the song is about a relationship coming to an end, death, heroin, depression, or all of the above.

Of Desire is aptly named because every song on the record is about lust, love, loss, or regret. It’s a gorgeous record and actually inspired me to buy DJ gear and begin making electronic music again. Let it inspire you.

Keep your mind open.

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Gary Numan’s new PledgeMusic campaign chronicles his next album from beginning to end.

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Rock / industrial / new wave / no wave / electro legend Gary Numan is putting together his 21st record.  He’s chronicling the entire writing and recording process through a PledgeMusic campaign, and he’s asking for fans to help him through the creative process.

Numan plans to keep contributors updated through videos, music clips, and campaign updates.  He admits he has no preconceptions for the record, according to the campaign’s page: “I have no idea how I want it to sound, or who will work on it with me, if anyone. It doesn’t even have a working title as yet. It’s as blank a canvas as I’ve ever had and everything that happens will happen with you as part of it.”

Most of the perks are already sold out, and there are still over 200 days until the album’s scheduled release date.  It will be worth the price of the download alone to watch his creative process…or pitch in a grand for a private listening party!

Keep your mind open.

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Phantogram’s new album drops October 7th

phantogram-three-album-cover-art-2016Electro duo Phantogram are set to release their third album, appropriately titled Three, on October 7th.  The first single, “You Don’t Get Me High Anymore,” is a dark track about a relationship that’s lost its fire.  I don’t know if the album cover image reflects that lost passion or a rekindled one, but Three will probably be one of the kinkiest records of the year.  Just watch the video for “You Don’t Get Me High Anymore” if you don’t believe me.

Keep your mind open.

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Rewind Review: Nine Inch Nails – March of the Pigs (1994)

Nine+Inch+Nails+March+Of+The+Pigs

This five-song EP / single (depending on how you think of it, I guess) from Nine Inch Nails contains the Downward Spiral album cut of the title track, which is one of Trent Reznor’s best cuts in terms of showcasing how he can go from industrial madness to quiet goth and back again in the blink of an eye.

“Reptilian” (a remix of “Reptile” by Dave Ogilvie) might refer to the deep part of our brains, or perhaps the way the song crawls around the room like a komodo dragon with its hisses, clanks, and snarls from Reznor’s guitars and synths. “All the Pigs, All Lined Up” is a remix of “March of the Pigs” that swirls techno, drum and bass, and industrial chaos around you with Reznor belting out the lyrics as sampled screaming masses cheer behind him.

“A Violent Fluid” is a quick (barely over a minute) instrumental that’s more or less an introduction to the longer instrumental of “Underneath the Skin,” which has similar themes to other NIN songs, including the gothic synthesizers, drums that sound like garbage cans, and creepy bass.

It’s a dark, brooding EP, but that shouldn’t surprise you considering the state of mind (drugged and otherwise) Reznor was in at the time it was made. The Downward Spiral is one of the best albums of the 1990’s, and this EP is a visceral slice of it.

Keep your mind open.

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John Carpenter – Lost Themes II

JCLT2John Carpenter’s first Lost Themes album was a delight for fans of horror films, film scores, and progressive rock.  Lost Themes II is another treat, as Carpenter, his son Cody, and his godson, Daniel Davies, return to bring us a record just as good as the first.

“Distant Dreams” could easily have been part of the Escape from New York soundtrack with its thumping bass.  It’s an excellent live track as well.  “White Pulse” has Carpenter and crew moving into industrial territory with heavy 50-gallon drum percussion and angelic synths.

I love the underlying menace of “Persia Rising.”  The low-end keys bring to mind something crawling from a dark, wet tomb.  I hope Carpenter was thinking of movies like Angel’s Revenge when he wrote “Angel’s Asylum,” because it would be a great song for any of those trashy 1980’s Angel movies.  It’s a great mix of action themes, mystery themes, and even a little sci-fi thrown in for good measure.

“Hofner Dawn” and “Windy Death” are quiet, mellow affairs.  “Hofner Dawn” borders on New Age with synths that evoke sunrise, while “Windy Death” is like the early winds that build into a tornado when the conditions are right.  You know something bad is looming, but you don’t know when it will arrive.

It’s easy to think of “Dark Blues” as a lost cut from the Christine score, as it starts with a revving engine and a car driving away.  The heavy rock guitar chords and the high-beam bright synths practically evoke Dean Cundey cinematography images in your head.  The song also features some of Davies’ best guitar work on the album.

“Virtual Survivor” brings to mind someone trudging through a dystopian wasteland in search of a secret that will save humanity.  Carpenter’s piano anchors the song while his son’s synths are perfect for a new sci-fi masterpiece.

It’s nice to hear one horror master acknowledge another horror legend, as Carpenter does on “Bela Lugosi.”  The stabbing synths hit like a stake through the heart.  The song has goth touches, of course, like the parts that sound like a child’s music box or others that remind you of a creepy circus sideshow.  Think more “Black Cat” than “Dracula” and you’ll get the idea.

“Last Sunrise” oozes dread, even with the light piano chords throughout it.  It would fit in well in the third act of that post-apocalyptic film I mentioned earlier. “Utopian Facade” is a nice follow-up to it.  I can’t help but think it has some inspiration from his soundtrack for They Live, which is a film all about how our seemingly happy existence in the materialistic, consumer-driven economy is a facade.  The Gary Numan-like synths blend well with the Vangelis-like electric piano.  It’s a good ending to the record…unless you got the digital download that contains the bonus track of “Real Xeno.”  It harkens back to his early horror work and seems to blend Halloween themes with In the Mouth of Madness ones.  Synths buzz like horseflies while weird things whisper in the darkness…and wait until the drums and guitar step in to turn it into a song for a bad-ass antihero.

Lost Themes II is just as good as the first one, and better in some ways (a more natural flow to the tracks, it seems).  It’s essential if you like Carpenter’s work.

Keep your mind open.

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Levitation Chicago artist spotlight: Chelsea Wolfe

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Dark wave siren Chelsea Wolfe creates hard-hitting songs about frightening topics like annihilation, sleep paralysis, purgatory, and shattered relationships.  Her voice grabs you by the throat and the heavy bass and synths in her work will make you submit.

Ms. Wolfe is performing at Levitation Chicago on March 12th.  I’m sure it will be a powerful set.

Keep your mind open.

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