Music Reviews



Alessio Santini: Kenter

 Posted by Stuart Bruce (@)   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Nov 21 2017
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Artist: Alessio Santini
Title: Kenter
Format: CD + Download
Label: Elli Records
“Kenter” is a four-track EP constructed solely from electric guitar and acoustic drums (and occasional vocals if we’re being pedantic), but processed filtered and post-produced extensively to fill it out into a rounded production of glitchy modern darkwave.

“Ffar” revolves around an ominous three-note theme that’s ‘bad guys slowly marching’ in film language, but second track “Sul Mae Nero” is more stripped back, with quieter drones, no central pattern, and this gives the glitchier sounds and atmosphere more room to breathe. The main distorted guitar re-appears with high shock value, with just an edge of gothic vocal that sounds like it happened to be recording in the room next door. Short third track “Sndaz Majorii” is equally open, but with whispered threats and more distortion to make something properly unsettling, before final track “Destroy Destroyers” is, despite its title, a lighter piece of soft pad-like guitar reverb tones and frenetic high-pitched drum glitching.

An impressive exercise in guitar processing and drum glitching, “Kenter” lives in very well-trodden dark and ominous territory but manages to forge its own unique tone nevertheless.

The Cascades: Diamonds & Rust

 Posted by Steve Mecca   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Oct 29 2017
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Artist: The Cascades (@)
Title: Diamonds & Rust
Format: 2 x CD (double CD)
Label: Echozone (@)
Rated: *****
If you're from America it is likely that you've never heard or heard of The Cascades. Das ist eine Schande because you've been missing out on a great German Goth band...with a capital "G". The Cascades were formed in 1988 but didn't put out their first album until over a decade later in 2001. I first heard about them a little while back when I reviewed M.W. Wild's 'Third Decade' (solo) album here. Wild was (and now is again) the lead vocalist of The Cascades. At the time of the review I searched out some music by The Cascades (whatever I could find on YouTube) and said I wasn't overly impressed by them. Well, I don't remember what I listened to but it wasn't what's on this magnificent 28-track double CD. This is some of the finest Goth I've heard, period! 'Diamonds & Rust' is both a career retrospective and prospective of the best of the band's output from way back when until the present now. There are early demos, best cuts from the official albums, and also some brand spankin' new material. The Cascades band lineup now is: M. W. Wild- lead vocals; Morientes da Silva - Guitars; Markus Müller - Keyboards / Programming. Supplemental musicians are Tommy Dietweger - Drums, and Esther Widmann - Backing Vocals. (Of course there are a good number of musicians passed through the band over the years who are somewhere on some of the tracks of these CDs but I'm not naming them all.) Of the two CDs 'Diamonds' seems to be the more potent one as it consists mainly of the newer material. 'Rust' find the band at its beginnings but is still quite interesting to hear how they sounded and evolved in their early days. On a good chunk of the material The Cascades sound a lot like Sisters of Mercy due to Wild's vocal similarity to Andy Eldritch and Morientes' muscular guitar. The earlier material is less Sister-like because it's kind of obvious the boys were experimenting, and that's actually a positive thing. I think they were still searching for their identity which incorporated some electro elements, as well as influences from bands such as Fields of the Nephilim, Killing Joke, Bauhaus, and other similar goth luminaries of the '80s and '90s. During the period when Wild left the band (ostensibly to pursue a solo career) he was replaced with vocalist Ben Richter (2007-2010) and you can hear him on one track - "Everyday". Truth be told it's the weakest cut on both albums as he sounds a poor substitute for Mr. Wild in a lackluster performance. (Kind of reminds me when Rozz left Christian Death.) First of the new tracks (on the 'Diamonds' CD) is "Wenn Der Regen Kommt" ("When the Rain Comes") obviously in German, and the other "Phase" (Demo) is in English. Both are enhanced by the backing vocals of Esther Widmann. (Oddly enough in my review of Wild's solo album I mentioned that he could have benefited from a female backing vocalist on the order of Patricia Morrison...hmmm, possibly advice taken?) Both songs are very good in different ways, although I prefer "Phase" not just because the vocals are in English, but because there's a tinge of Bowie in it. This album won't be officially released until November 11, and if I were you I'd be counting down the days until its available. It is ever so worthy.

Sweet William: Organic Shades

 Posted by Steve Mecca   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Oct 22 2017
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Artist: Sweet William (@)
Title: Organic Shades
Format: CD
Label: Datakill Records (@)
Rated: *****
Although Sweet William's 'Organic Shades' is touted as their "acoustic album," it isn't entirely acoustic. There are electronic keyboards for string sounds, and some electronic processing on the acoustic guitar here and there. That should be of little consequence though as the songs on 'Organic Shades' have a gentler and milder tone overall. The album is collection of tracks of which some are covers of other bands and the remainder Sweet William tunes that have been reworked to a more acoustic format. Beginning with "A Face Without a Name" from their 'Time' album, the song is a semi-stripped-down version of the original, and if you never heard the original, you might actually like this one better. Whitesnake's "Here I Go Again" is virtually unrecognizable from the original...Whitesnake unplugged? Nah, not really. Although Heuer injects some soul into this '80s hair band classic, this version makes you realize what a weak tune it was in the first place. "My Ignorance" (from 'Time') seems a bit more poignant in this quieter version than it did in the original. A definite misstep was doing a low-key version of Joy Division's "New Dawn Fades". I get it; you really, really like the song. It lacks the teeth it really needs though to get the point across. I think a better choice might have been Duran Duran's "Come Undone," but that's just my opinion. Covering Nine Inch Nail's "Hurt" is kind of a calculated risk. Sweet William's version has neither the angst of the original, nor the pathos of Johnny Cash's version, but it still manages to have an impact. "Ocean" (from their 'Ocean' album) is well done, but superfluous. It just sounds like an alt-take. Why Oliver and company chose to cover ELO's drowsy "Big Wheels" is absolutely beyond me. It's one of those songs that heavily relies on ELO's patently overblown sound, and try as they may, it still sounds lame. "Kind" was a great song on their 'Time' album and one of the few songs on this album that really deserves a mellower, simpler version to put it in a different perspective. Final track, "The End of the West" is a moody instrumental with ostinato acoustic guitar and moody synth strings....with bombs at the end!?! Overall, 'Organic Shades' is okay but not great, owing more to the choice of material than its execution. There are many great songs out there aching for a (acoustic) remake, and likely some from Sweet William's earlier repertoire. Maybe next time...

Sweet William: Ocean

 Posted by Steve Mecca   Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Oct 22 2017
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Artist: Sweet William (@)
Title: Ocean
Format: CD
Label: D-Monic Records (@)
Rated: *****
ot long ago I reviewed Sweet William's recent 'Time' album and someone from the band's team informed me that they sent a couple previous albums to Chain D.L.K. for review, but they apparently never got reviewed (things sometimes slip through the cracks) so they sent me copies of 'Ocean' (2013) and 'Organic Shades' (2016) which I'm grateful for because these albums deserve some attention. In my review of 'Time' I spent some time briefly describing some of the history of this seminal German Goth band, but no point in regurgitating that again. While 'Time' covers a lot of ground, moods and form, 'Ocean' is predominantly stark old-school Goth. This is an album that sounds as if it could have been made in the early '90s. It's basic, visceral, and intense. 'Ocean' is supposed to be a concept album but unlike many of those that seem to have songs in them merely to further the concept, the songs here all stand on their own. At first I wasn't wild about 'Ocean' because it didn't seem as polished or refined as 'Time' but after repeated listening, I find it just as good, if not better. There is a rawness about 'Ocean' that really cuts to the bone. Even the instrumental track "Tsunami" has a certain harshness and alienation about it that is just chilling. There is much that is similar in flavor to '80s-'90s wave/goth bands we all know and love- The Cure, Echo & the Bunnymen, Clan of Xymox, Siouxsie & the Banshees, Bauhaus, Joy Division and numerous others on this album. For nostalgia's sake (and likely because it's a great song too) there's a cover of Joy Division's "New Dawn Fades" which in my opinion is even better than JD's original version, being much more powerful, although I'm likely to take some heat for that from Curtis's rabid fans. Although there are a few throwaways (kind of natural on an album of 18 tracks) on the album the majority of the tracks are very good, with some such as "Ocean," "Insane," "New Dawn Fades," "Welcome to the Show," and "over" being quite compelling. Oliver Heuer and bandmates Frank Breuer, Markus Gerlach, and Marius Nagel are all in top form on this recording. 'Ocean' is a moody-broody album, but then again, aren't all the best Goth albums?

Atariame: Fear is the World

 Posted by Vito Camarretta (@)   Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
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Oct 14 2017
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Artist: Atariame (@)
Title: Fear is the World
Format: Tape
Label: Constellation Tatsu (@)
Rated: *****
The St.Petersbourg-based singer and producer Atariame is one of the "brightest" stars in Constellation Tatsu spring/summer bunch. I decided to use quotation marks as you won't maybe label her as a serene artist, but I won't see is a sort of black hole, as her light is not that dark. If we have to use one of the typical ways to file stars, she could be matched to a white dwarf more as she emits some shining rays of light, but some technical improvements of the music surrounding her crystalline voice could let her shine more. Anyway, the dried elements that orbit around her voice is something that could evoke an almost empty space around both the sound of her voice and the intuitions and the emotional depths she enlightens. Her style could sometimes resemble some known voices floating in the oceans of dream pop, sad core, bedroom music and darkwave such as Chelsea Wolfe or Lotte Kostner (particularly when musical dress is close to folkish sonorities - in songs like "Sweet Taste of Being Accepted" or "Travel Burnout") or some stuff on the notorious label Kranky, but electronics (even if sometimes rough) often set different settings for her vocal emissions/emulsions. I particularly enjoyed the ghosts of 80ies dark wave evoked in "Fluffy Paws", the grey drones of "Always the Youngest" or the intimate magnetism of tracks like "Lying Awake" and "The Pretty Takes It All", but the whole album sounds consistent with the nature of the emotional set that Atariame explores. Once upon a time, Atariame should have been labelled as a 'next big thing'.


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