The readymade entertainment to grace any Wickerman like pagan ritual or meeting of The Monster Club, The Spider Hole unveil a new carnival of dark deeds and imagination prowling adventures under the guise of To the Monsters. The band casts the listener into the heart of gothic tales and creature stalked escapades across the album’s eleven frightmares, each as compelling and arousing as another and all leaving these ears lustfully desperate for plenty more such devilish trespasses.
Hailing out of Phoenix, Arizona, The Spider Hole create a unique and fascinating sound which beguiled as it surprised with its inherent unpredictability within a voracious rock ‘n’ roll heart across To The Monsters. Inspirations to the band are said to include the likes of Tom Waits, Oingo Boingo, Siouxsie and the Banshees, Primus, The Pixies, Frank Zappa, and The Doors; some of which can be openly sensed within the lure of songs. To that we would suggest there are essences that remind of bands such as Helldorado, The Men That Will Not Be Blamed For Nothing, and even more so at times Th’ Legendary Shack Shakers but all spices in a proposition fiercely individual to The Spider Hole.
A mere breath was all it took for our ears and imagination to be coaxed into life as opener Werewolf Biker Bastard cast swarthy sighs of guitar, Kilen continuing to entice with strands of melodic intimation as the growl of vocalist Ethan Scott began its dark narrative. Keys add to the prelude of the adventure before things erupt into a tenacious stroll with its own eager swagger. Sweltering psych springs colour the climate of intimation as bold rhythms continue to prowl amidst the infectious landscape of suggestion and animation.
The outstanding start to the album is in many ways just an appetiser to things to come, each song setting out its own individual web of craft, magnetism, and dark endeavour as epitomised by next up Still Draw Breath, a slab of primal yet deviously designed rock ‘n’ roll with a blues lining to its rise through dank cold earth. The bass of XerXes Quinn is again a predatory lure easy to succumb to as equally the biting incitement of drummer Bobby Blades; the body secured in their trap as guitar and vocals take care of the imagination with their individual tales. With a Misfits-esque draw to its holler, the track just steals self-control like a puppeteer, bones jerking to his incitement as vocal chords eagerly joined with Scott in the track’s voracious carousing.
Hungover at the Eel GodFestival is a far calmer yet almost predacious proposition and it too left body and throat subservient to the thick web of temptation it casts with unscrupulous craft. There is menace in its heart and air to equal the seduction in its sound and stomp, band and album continuing to lead us on a salacious dance before Rock, Your Body sprung its own skilful scheming across a pop fuelled, virulently contagious rock ‘n’ roll saunter. An element of enterprise and contagiousness reminding a touch of Black Space Raiders on their last couple of albums only adds to the increasingly raucous and thrilling emprise of sound and manipulation.
The glorious fevered ballad of Chomp-Chomp is next to ignite the senses and passions, its calling swiftly becoming a boisterous blend of fifties inspired rock ‘n’ roll and Rocky Horror theatre and simply inescapably addictive while The Goat Witch of Cornman Road commands the same rich attention with matching prowess through its crepuscular serenade woven upon a skeleton of big rhythms coated in vocal passion and bound in the sonic and melodic intimation escaping guitar and keys. Both songs simply bewitched though they are still slightly eclipsed by the mighty cavort of The Leviathan Stomp. Bestial yet agile in its dynamics and twists, the track as to be honest all, simply had us gripped in its temptation soaked hands.
The cinematic fears of Devil By a Nail initiate a lively shuffle of funk and psych rock eagerness next, the song casting its own Machiavellian enterprise to enslave ears and involvement before The People Who Come Out of the Ceiling creeps into the psyche where it seduces with a tantalising and mesmeric croon with volatility in dark heart. At certain moments Scott’s ever riveting presence and tones are joined by the delicious lure of female vocals though we cannot give a name to their siren whilst in sound the song simply stalks and prowls with rapacious desire; it all together uniting for our favourite moment within the album.
Night of the Nighty-Night Slasher completes the plethora of ghastly tales, its blood strewn romp a tempestuous roar of Ripper like goodness bringing To The Monsters to a mighty and ravenously rousing close.
There are times when we are truly bowled over and lustfully devour the exploitation of our inherent weakness for rabidly inventive but organically hearted rock ‘n’ roll however it is designed and To The Monsters stamps down one of those; an instinctive love of creepy tales and horror fuelled rascality only added extra icing on the pleasure The Spider Hole has undoubtedly unleashed.
Darkly haunting and persistently mesmeric, The Lightning Echo is the new album from UK rockers Dark Stares. The successor to their acclaimed debut, Darker Days Are Here to Stay, the new release provides twelve tracks which lure the listener and imagination into the realm between warm and portentous dreams; each a siren of intimation and reflection which enjoyably proved rather hard to escape.
St Albans hailing, Dark Stares has been a persistent captivation from their early tracks and EPs such as Octopon and Soul Contract through to that creatively potent first full-length of last year. Looking back to Darker Days Are Here to Stay, there is no doubt that The Lightning Echo is the natural progression to its predecessor but equally it has evolved its own fascination and unique character of sound; a nagging seduction which wraps the senses like a crepuscular animal.
The album immediately strides through ears with You Know Me, the track’s high kneed beats stamping authority on attention as the fuzz bred grooves of Harry Collins wind around them and the equally magnetic tones of vocalist Miles Kristian Howell. From the single song alone it is easy to hear why Queens Of The Stone Age is often used as a comparison though there is no escaping the singular identity of the Dark Stares sound either.
The highly rousing start is prolonged by the similarly anthemic Dance, a tenacious command on the body bound in the dark climes of surf/desert rock. Again the imposing yet contagious lure of Brett Harland Howell’s bass and Taylor Howell’s spirited beats manipulate song and listener, the Middle Eastern lures cast by Collin’s guitar quite irresistible in one of the album’s major peaks.
Next up Spell You’ve Cast is a similarly beguiling temptress if a slightly sinistrous one, its body a writhing tease of grooves and enticing vocals across almost predatory rhythms while the following Crusader brings a dustier desert rock landscaped croon with volatility in its rich fertile earth. Each made for a riveting proposition if the first with fiercer temptation as too Mr Midnight with its rapacious crawl and tantalising menace. As those around it, the magnificent encounter spins a web of flavour and suggestion sparking imagination and appetite for its tenebrific charm and bait.
There is something of a Doors meets Muse shimmer to The Shadows and Faceless Man, the first with its mercurial climate and compelling sonic grumble breeding sheer dark captivation and through the second wrapping an emotive melodic shroud around ears before breaking out into its pensive musing. Sandwiched between them is Today, a song edging more firmly to the sixties psychedelia of Morison and co. and though it does not quite match up to those alongside one that only grips attention and enjoyment.
After them, In My Pocket initially shimmers before catching flame, repeating its persuasive melodic cycle with greater intensity as Zedi Forder-esque hues bring earnest breath to the increasingly compelling encounter while in turn intrigue soaked and with disquieting glamour Misty Lanes makes its potent play for best track honours.
The album concludes with the radiantly rapacious saunter of Dead and Gone and lastly the hearty rock ‘n’ roll of Rebel Angel. Both tracks hit the spot with the first another simply adding to the numerous reasons as to why The Lightning Echo should not be ignored.
Easily The Lightning Echo is the finest moment with Dark Stares to date, one which for us only gets more thrilling and addictive by the listen.
The Lightning Echo is out across most stores May 31st.
Hailing from Toronto, Canada, Gnostic Gorilla is a dark electronic project which wears unpredictability as easily as imagination in its ear gripping sound. Recently we had the chance and pleasure to talk about the solo project with creator Dean Mason, exploring its origins and music amongst many things as well as picking at Dean’s thoughts about music in general.
Hello Dean and thanks for taking time out to talk with us.
Thank you. My pleasure!
Can you first introduce the project and give us some background to how it all started?
Sure. As a teenager, I began exploring the idea of recording music. I was of course a major day tripper…I mean…day dreamer. Hahahahaha! So I ventured out to record two songs, Dark Hallway and Golgotha for a single. I had some excellent musicians join me in the studio (Dave Davidson, Tony Bourdeau, Shaun Saunders and Chris Byrnes) and with the help of my parents I released the 45 rpm under the so called label name “Lonely Ghost Productions”. That was my first experiment with recording music. I left it at that and went to school to find some sort of career. In 2012, I returned to recording, as a hobby and recorded exclusively electronic music with a dark bent. (Gothic/Dark Wave/Industrial) I released a few singles on iTunes etc. and then in 2015 I released the first album (St. Basil’s Asylum) using the project name “Gnostic Gorilla”. Before that I was using the project name “The Lonely Ghost Project” but that changed once I learnt there was an American band called “The Lonely Ghost Parade”. I wanted to avoid confusion. So that’s a brief history of “Gnostic Gorilla”.
What inspired the name “Gnostic Gorilla”?
As I mentioned earlier, initially my project was called “The Lonely Ghost Project” but I changed it to “Gnostic Gorilla”. I had a song called Gnostic Gorilla (now renamed Eye for a Lie) and I decided to use that name for the project. The idea behind the name is a sort of convergence of two world views: the religious ‘creation’ story and Darwin’s theory of evolution. “Gnostic” means “knowledge” or “to know”. That is a reference to the “tree of knowledge”. Obviously, “Gorilla” is in reference to the idea that we evolved from some sort of ‘ape’ species (not specifically the Gorilla of course) and here we are. “Gnostic Gorilla” is not about Gnosticism as some may think.
Was there any specific idea behind the forming of the project and also in what you wanted it and your sound to offer?
In many ways a lot of it was allowing the creative process to dictate where I wanted the project to go and how I wanted to sound. I started off doing simply instrumental/soundtrack type recordings. Then I decided to try and do a complete song with lyrics/vocals. The first song I did as part of this new electronic music pursuit was a song called Requiem for the Prophet of Doom which was a tribute to Peter Steele of Type O Negative who passed away in 2010. There were two versions of that track. https://www.youtube.com/watch?v=YEnSgqaI3JA & https://www.youtube.com/watch?v=V0N7Uxzg7ac
That was released under the name “Dean Mason of The Lonely Ghost Project”, as singles. Soon after this, I began to really become more interested in a sound that was more industrial and Gothic or Dark Wave and eventually after a few more singles I recorded St. Basil’s Asylum which is now rereleased by Cleopatra Records. Most of my music has been industrial or Gothic since then.
Do the same sparks still drive the project or have they evolved over time and equally since your early days, how would you say your sound has specifically evolved?
Sort of continuing on from the previous question…yeah…there was definitely an ‘evolution’ of sorts. I look back on what I did in 2012 and some of it doesn’t send me far, with the exception of Nietzsche’s Cyborg. I will always be proud of that song. It was a game changer. It’s on St. Basil’s Asylum even though it was recorded in the fall of 2012 and St. Basil’s Asylum was released in 2015 and then rereleased by Cleopatra Records in 2018. But back on track here, I guess for me, I became more interested in an abrasive and weird industrial sound. (Psalm for the Lost was actually more of a retro Goth/New Wave type deal though) My latest album, Freak’s Mind is in my opinion one of my strongest in many ways. The next album to be released by Cleopatra Records (Shaman Rave) will blow your socks off! Promise!
Has it been more of an organic movement of sound or more you deliberately wanting to try new things?
A bit of both… I don’t want to be boxed into a specific genre to be honest. So, I go through phases where I really like menacing and weird industrial and then other times I prefer a more velvety Goth or Doom Psychedelic type mood in my music. I have been inspired not only by other artists but also by some soundtracks like, the soundtrack for Sinister which is absolutely mind numbing! So sometimes I watch a movie like that or like Queen of the Damned and it gives me inspiration. So, yeah, there is an evolution of sorts but I never deviate too far from being a dark electronic act.
Presumably there is a wide range of inspirations; are there any in particular which have impacted not only on your music but your approach to and ideas about creating and playing music?
Well, one of my first inspirations would be Gary Numan. I mean, I was a huge KISS fan when I was still in diapers hahaha …but Numan was the one that inspired me to consider doing my own thing in music. That said, I don’t write and record in the style of Numan. I owe more to Ministry, Skinny Puppy and Rammstein as far as recording style goes. I also am very much inspired by Peter Steele of Type O Negative and Jim Morrison of The Doors, especially for their unique lyrical style. Did you know that the first time the term ‘Goth or Gothic’ was used in reference to a rock band was when someone did a review of The Doors, the day after (or close anyway) that Morrison had met Andy Warhol? Anyway…I owe a lot of gratitude to Nash The Slash for being an inspiration as an indie artist as well.
Is there a certain process to your songwriting?
I usually begin a track with a general idea of the kind of mood/style I want to pursue. Then, usually, the song ends up being something totally different than want I first imagined. I usually start with either synth riffs/loops and/or beats/drum patterns and build from there. Kind of difficult to explain how a song evolves and usually I look back and think, “how did I even come up with this”?
… And where do you draw the inspirations to the lyrical side of your songs?
Many of my songs address the human struggle. I never write ‘love’ songs or ‘sex in the corvette’ songs…there are ample of those so …why compete right? I usually write in sort of ‘mystical’ story form. I use a lot of imagery and I allow the listener/reader (of lyrics) to decide for themselves what it means to them, even though I may have a specific idea in mind. I often use religious imagery and also imagery of ‘battles’ or ‘war’ but not in the sense that they are LITERALLY about armed combat. The imagery of ‘battle’ is more of an emotional/psychological journey of that inner struggle. I use a lot of religious imagery, but I don’t push ANY sort of religious point of view…for or against. Again, I let people decide for themselves what any song could mean. I address the issue of mental illness and depression and even the tendency for despair. I don’t encourage ‘despair’ but that experience of wondering where there is hope is quite universal. As well, I often, in veiled language, address the ‘tribalism’ that we humans seem to cling to. I have a real personal distaste for hatred of any kind and the world is full of that. Religious people bashing and rejecting others for being ‘different’ or of the ‘wrong tribe’ and all the bigotry and racism and all the phobias that still exist in a so called ‘evolved’ modern world. That ‘tribalism’ isn’t just from those of a religious persuasion but it also exists among ,many ‘atheists’ and ‘secularists’ who can be just as hateful towards those of the ‘other tribe’. We just don’t know how to leave each other be do we?! Hatred of any kind is for the birds. Wait…not even the birds want it!
Give us some background to your latest release.
The latest release is Freak’s Mind. It’s very abrasive and weird and even at times ‘gothadelic’ (a term coined by Peter Steele by the way). That album is the album that wasn’t supposed to be. I never really wanted to record anything new but one song at a time, and I ended up recording an album’s worth of dark wave/industrial/Gothic madness and I’m really proud of this album. It touches on all those subjects I mentioned earlier. Womb To The Tomb is one of my favourites on that album. It’s a strange combo of wild 60’s psychedelic with raging industrial sounds. Veil is a powerful song, which was recorded in 2013 actually. It’s a good album and I’m not the type that easily says things like that about my own music.
Could you give us some insight to the themes behind it and its songs?
Womb to The Tomb is about the cycle of life more or less, but also looks at the life of a corrupt village and all its citizens, including the powerful who take advantage and the victims who are taken advantage of. It’s kind of inspired by modern day events, without being specific. Chaos Frankenstein is sort of a ‘mystical’ telling of conflict and chaos and suffering and deception. Finally, (I won’t dissect every song) Freak’s Mind, the title track, is more or less about someone struggling with some sort of psychological or emotional turmoil.
Tell us about the live side to the band?
At present, Gnostic Gorilla is not planning on any live shows. I’d need to lasso a bunch of musicians to do that and I don’t see it happening. I don’t think so anyway…Maybe a one off someday.
It is not easy for any new act/artist to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands/artists?
You’re so right. It’s not easy. I mean, as far as having an impact is concerned. It’s a different world… a different industry and there are many factors that make it very difficult to make a dent anywhere, even locally…especially if you’re in a bigger city. Technology and the age of communication (social media) make it so that anyone can set themselves up and do music and even videos and put it out there. It makes for a VERY clogged reality in cyberspace. There is SO much out there. Everyone wants to be considered the next big thing…Fair game. But here’s the thing, it’s all been done. After KISS and Sabbath, and Manson and Depeche Mode and Numan and NIN, Slipknot, Cradle of Filth, Madonna, Lady Gaga, Ice T, Eminem, Shaggy, Run DMC etc. …how does one come up with a unique style? I don’t want to be a pessimist but let’s be realistic. It’s VERY difficult to make a dent because it’s almost impossible to snap people out of an oversaturated “yawn…I’ve seen it all before” mindset. You can’t impress people easily. You can barely shock people unless you are involved in some sort of controversy or are pretty like a Barbie/Ken doll. Legends/pioneers are no longer being made and I know that would piss a lot of people off to hear that, but it’s true. As for my own situation, I must confess that as I proud Canadian, I am very unimpressed with the way I’ve been treated by the reps/labels in Canada. I have a label deal with Cleopatra Records (LA) for two albums, a deal with KL-Dark Records in Germany and Nowhere Now Records in Australia and have never even received a reply from the Canadian labels I sent music to. Kind of disappointing but I guess they’re all waiting for the second coming or RUSH or Justin Bieber or Gordon Lightfoot.
How has the internet and social media impacted on your project to date? Do you see it as something destined to become a negative from a positive as the project grows and hopefully gets increasing success or is it more that bands/artists struggling with it are lacking the knowledge and desire to keep it working to their advantage?
As I said before, the world has changed dramatically in more ways than one. The internet and social media have forever changed MANY things, not just music. Look at what it’s done to the world of politics! (not always for the better) Even the Pope has a presence on social media. Hahahaha. But more specifically related to the music industry…it’s a mixed bag I suppose. It’s great to promote one’s music/art but also you’re not the only one doing it. Millions are doing it. With regards to the reality of ‘streaming’ though, as an example…that too is a combination of blessing and curse. What’s happening is people don’t feel like buying music is even a concept. It’s not their fault. It’s the way things evolved. (There’s that word again…hahahaha) Younger people grew up knowing nothing else and so, even the concept of music as art is kind of challenged. It’s rarely seen as ‘art’ and just part of the regular noise and scenery of cyberspace all mixed in with the latest ‘app’. It’s like music is there for the taking the way fruit on trees is there for the taking…it’s just a part of the way life goes. It’s all there to snatch and rarely pay much more than a standard monthly fee or something and have unlimited music. Hey, I do it myself, so I’m not criticizing. Also, it needs to be said, with reference to struggling artists: there are also different organizations that promise ‘hi-fi mega stardom’ for a fee! Some of these take advantage of artists, even some of the big labels have jumped on that bandwagon. Don’t get me wrong, there are some decent, honest organizations that genuinely want to assist struggling artists, but there are also a lot of vultures out there cashing in on Wendy and Charlie’s dreams of “making it”. I guess in the end, like anything else, it’s what you do with it right? Maybe it’s just another challenge for artists to be creative, even with regards to promoting and marketing.
Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?
It is I who thank you! All I can say is that if you are a struggling artist…be true to the art, to being creative. I know that sounds like hippie bullshit, but it’s true. As soon as your goal is to become a ‘celebrity’ you’re setting yourself up for deception. Don’t dream about being a ‘star’. Instead, be creative and express yourself and be true to yourself…regardless of who does and who doesn’t approve. The rest will follow because in the end, authenticity speaks louder than the need to be ‘worshipped’. That’s what I believe.
It is probably fair to say that we did not make an immediate connection with the new album from UK based rockers Desert Clouds yet there was a certain lure which took us back to its atmospheric embrace with intrigue and enthusiasm. It was an essence which grew richer as band and release, Nothing Beyond The Cage, blossomed by the listen into a fascinating and increasingly persuasive proposition.
Formed in 2008 in Naples, Italy, Desert Clouds relocated to London two years later. It was a time which saw instability in the band’s line-up though things were far more settled by the time 2017 EP, Time Distortions, was released; an encounter which drew strong attention the way of the band, praise carrying interest which was only built upon by subsequent singles in Speed of Light and Under Tons, both unveiled last year. It is easy to imagine that Nothing Beyond The Cage will only increase the reputation and stature of the quartet within the UK rock scene with its multi-flavoured and atmospherically provocative adventure.
Nurtured in a mix of grunge, stoner, doom, psych and alternative rock, the band’s sound is a seductive trespass as forceful and mercurial as it is plaintively intimate and brooding. Often it comes over within Nothing Beyond The Cage like a raw Doors meets a predacious Kyuss aligned to the emotive howls of early Coldplay amidst the soulful winds of Soundgarden but emerging if not boldly unique certainly clearly individual to Desert Clouds.
The album opens up with The Outcast Trail (See you Chris), a sullenly thoughtful ballad built on a web of melodic imagination and vocal emotion which roars like a funeral pyre in fiery crescendos. Unsurprisingly there are thick Soundgarden hues to the outstanding track, a tribute to Chris Cornell, with its sonic and emotive heat evocative and invasive, its enterprise seriously magnetic led by the inescapably compelling vocals.
The following Speed Of Light opens with a just as dark air, the bass of Julius Caesar a portentous throb within the wiry web and earthier riffs of guitarists/vocalists David Land and Val L. Wallace. With every passing note and vocal lure, the song’s intensity and drama increases, brewing up into a controlled yet feral blaze spiked by the predacious beats of Andrea Orabona. Though it lacked the spark of its outstanding predecessor for our appetite, the song enticed and lingered behind its wake before next up Take Off harassed the senses with its moody almost irritable melodic roar. Grooved tendrils vine the track with increasing captivation, their incandescent lures lava-esque within the song’s muggy climate.
The calmer but mercurial balladry of Under Tons tempts next, its tenacious croon as untamed as it is intimately restrained with every moment contrasted within another twist courtesy of craft and imagination before Overmore springs its desert/psych rock exploits on ears. A certain QOTSA lining adds to a swift appeal while its successor The Judgement carries a Coldplay/Muse like spicing which grew more flavoursome by the listen. All three tracks flourished over time whilst equally sharing the, at times understated but certainly not hidden, broad palette of sound the band creates with.
Final track is Whistling In The Rain, an almost bestial encounter in its prowling gait and ursine-esque growl but lava-like in its sonic climate and scorching winds. From vocals to guitar, rhythms to atmospheric conjuring, the song is another mighty highlight to Nothing Beyond The Cage, a release which we might have needed time to take to but have with real eagerness once we clicked.
As part of the indie virulence that was Black Black Hills to his solo temptation, the melancholically clothed troubadour-esque Rooster Cole, vocalist/songwriter Mark S. Aaron has been a magnet to our ears and imagination. We can swiftly say nothing has changed as the debut single from his new project, Mount Sinai, has been unveiled; in fact the temptation might just be as rich as it has ever been.
Mount Sinai sees Aaron linking back up with long term musical collaborator Tom Windsor (Black Black Hills/Coin-op), with Alex Painter (Great Pagans/Speak Galactic), Max Numajiri (Spacenoid), and Jools Owen (Bear’s Den) alongside the pair. Musically Mount Sinai is a natural progression from Aaron’s Rooster Cole exploits; the swarthy psych rock flames and rich desert rock grandeur of first single Weightless bred in the more intimate but no less darkly dramatic sighs of his previous solo project. Even so, Mount Sinai is as individual as Rooster Cole was, a duskily lit almost saturnine proposition carrying its own minstrel like hue.
Weightless instantly lured ears with its initial melodic strum, its next joined by Aaron’s familiar and ever compelling tones. Unsurprisingly knowing his previous works, melancholy lines voice and melody but there is an edge to them which erupts as rhythms and sonic winds erupt. In full swing, the track becomes a heated draught across the senses; inspiring the imagination as much as swaying hips with its virulent temptation. Horns and the animated call of impassioned guitars only add to the track’s growing blaze, drama soaking note and syllable, melody and siren-esque lures all going to make for one striking debut.
Imagine a fusion of The Doors, Echo & The Bunnymen, and Helldorado and you get a shimmer of the Mount Sinai beauty going by the name Weightless; a proposition suggesting Aaron and co have started out on their greatest adventure yet.
Four years after Part I unleashed its “furiously agitated entrapment of industrial, metal, and electro rock”, a rousing accompaniment to an impending apocalypse, Part II of Visions Of The Blinded World is here to not only continue the arcane adventure but take it into a whole new level of dark deeds and senses trespassing contagion. The project is from Norwegian trio Spookshow Inc., a band which has been curiously ignored by bigger attention so far, a blind eye which if continuing after the full release of Visions Of The Blinded World will be criminal.
The beginning of Spookshow Inc. goes all the way back to 2003 when Lucky Spook (guitar, programming, songwriting, producer) and Soltex (vocals) came together and began creating and nurturing their individual fusion of industrial and heavy metal with electro rock. As proven by the 2014 released Visions Of The Blinded World pt I, there are plenty of other rich flavours to the band’s asylum of sound, Middle Eastern hues alone an inescapably alluring ingredient. With the band’s line-up completed by bassist/keyboardist Sharaz who featured on the final few songs recorded for its predecessor, the second part of Visions Of The Blinded World is an even richer affair of sound and styles, a bolder adventure in an already eager collusion of essences sure to appeal to any appetites for the likes of Pink Floyd, Prodigy, Rob Zombie, KMFDM, NIN, and Pitchshifter.
Visions Of The Blinded World pt I & II has been released as a complete package and should be listened as one to grasp its full dark majesty though each part firmly captivates alone too. It makes for a journey which leaves ears, body and imagination as aroused as they are disturbed, as inspired and animated as they are haunted. As we have covered part I previously, which you can readhere, we will explore the second part of the creative emprise, a canter through the haunting shadows and ravenous dissonance of a dystopian landscape lost in extinction luring bedlam. Note though that the first ‘side’ of the album contains two brand new tracks in the shapes of the Seven Trumpets, a track sparked by the biblical legend of the same name but an echo of a split personality, and the horror movie like Lizard Eyes.
Pt II opens up with Virtual Insanity, electronic sparkling the gateway to an infernal surge of electro rock predation as ravenously hungry as it is virulently catchy. Even so, its instinctive urgency has an underlying premeditation of devious intent, melodies and calmer but darker twists adding to the track’s inescapable invasion. Something akin to Rabbit Junk meets Fear Factory, the track instantly has the project’s second part off to a flyer but also connects seamlessly to the nature and presence of the first part of Visions Of The Blinded World.
Already breathless from the superb thickly rousing start, the band show no mercy as Devil’s Triangle surges in with similarly uproarious energy and intent, Spook’s guitar gnawing away at ears as beats swipe at the senses, Soltex’s vocals in turn matching their boisterous appetites with eagerness and attitude. Again momentary detours bring darker trespass rather than a chance to take a breath, it all adding up to another galvanic assault.
Next up Mindgame does bring calm, its melodic caresses courted by demonic tones of voice and intimation, a sonic Garden of Eden oasis in some ways. Featuring XRC, the track smoulders with toxic beauty; those Eastern hues enticing with siren-esque seduction as darkness await new arrivals. Enthralling and haunting in its distraction, the song slips away for the advancing savage addiction and voracious heavy swing of Little Pill. Eating away at thoughts and senses from its initial original cinematic drama to its esurient stalking, evil soaking every note and castigating syllable, the track with Subliminal Mentality guesting equally got under the skin and nagged away thereon in.
Blackbird From Karachi with D.Tschirner involved is a deceptive creature; evolving from its initial serenade into another predatory confrontation courting chaos and corrosion with almost pernicious incitement, every moment unpredictable and disturbing before the outstanding Prison Planet casts its specific trap. A galactic tango which had the body bouncing and imagination conjuring as intrigue and espionage fuel every contagious touch, it in turn departs to encourage the emotionally harmful but physically infectious dance of Falling Down Pt. I. All three tracks simply hit the spot, repetition occurring across the whole of the album as proven yet again by the dark carnival of Cold Frantic Boy, this another track mixing flirtation and catchy harassment with cinematic intimation as cold vocals bring their own toxic fascination pretty meaning submission to its dark glamour was inevitable.
Across the likes of Match Of The Century / A. Crowley Vs. A. Einstein with its increasingly volatile and ominous disquiet around a hypothetical chess game between the two protagonists and Kissing In Graveyards featuring Underworld, another slice of aural insidiousness, the album continued taking ears and pleasure into new dark corners, the release magnetically broadening its maze of sound and creative villainy before stretching it again with the glorious Midnight Tango, a mesmeric psych surf piece with a caress of The Doors and Calling All Astronauts to its dark rock ‘n’ roll.
The final pair of Follow Me, a carnal trespass of pestilence-laden temptation, and Battle For Babylon with R. Carey (an English- New Zealand based artist better known as Fiery Jack (The Teapot Goblins)) a guest in its stark yet rousing smouldering epilogue, provide a compelling conclusion to the relentlessly enthralling release. In some ways they lack the rousing bait of their predecessors but in just as many are cast in mutually potent lures of dark emotive suggestion.
As suggested the biggest rewards come from listening to Visions Of The Blinded World pt I & II as one but certainly not essential as proven by the individual galvanic prowess of each track. Spookshow Inc. has created a landscape bred in the world’s turbulence and destruction; Part I made us want to know more, the stunning Part II sparked the desire to be lost in its impeding tempest with the band’s sounds for company.
Though formed in 2011, it was the release of their debut album Observed in a Dream two years ago which awoke real attention upon Mayflower Madame, introducing them to a whole wealth of new fans, us included. It offered a compelling and increasingly gripping full taste of the band’s psych rock infested post punk. Ahead of a new album later this year the Norwegian outfit have unveiled the Premonition EP, a release which simply leaves that previous encounter in the shade and is already making anticipation for the band’s second album impatient.
Fresh from a US tour, the latest the Oslo quartet has undertaken beyond their homeland since the release of that first full-length, the band now no strangers to venturing across the UK, Europe, and N America, Mayflower Madame lures the listener into a new soundscape of their imagination fuelled sound with Premonition. Consisting of four tantalising propositions which can be, as the EP’s promo sheet suggests, “best described as apocalyptic love songs”, Premonition has a captivating calmness across its body which the previous release maybe evaded but equally a more virulent almost predacious craft and indeed seduction for a romance of impending darkness to embrace and fear.
The EP opens with its title track, a siren warning its arrival. From the midst of the threat an instantly compelling groove emerges, its calm but inescapable swing courted by additional melodic tendrils from the guitars of Håvard Haga and vocalist Trond Fagernes. It was pure temptation to our ears, the swarthy blend of their lures irresistible and swiftly complemented by the dark enticement of Kenneth Eknes’ atmosphere weaving synth and Fagernes’ potent voice. The rhythmic captivation of Petter Gudim Marberg’s bass and the crisp swings of drummer Ola J. Kyrkjeeide reinforced the grip the song quickly held, it only tightening its hold as the layers of psychedelically lit post punk infested body and psyche.
The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company. Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.
The best track to our ears is Alma’s Sermon, its swing and melodic dance manna to our musical instincts and passions. Flirting with both through something akin to The Orson Family assimilated by The Doors, the track ensnares ears with a hook which teases and pleasures as an insatiable creative appetite supports it from within a web of melodic suggestion from the guitars. All the while, rhythms manipulate attention and hips like a puppeteer with the tones of Fagernes as alluring as they shimmer and echo the song’s dark magnetism.
Spiders Seek with the opener is a close contender to that favourite track choice as it completes the release, the intrigue soaked encounter cinematic in its atmosphere, intimate in its breath. The keys simply seduced our ears, their seemingly familiar yet unique enterprise a spark for the imagination on their own, the suggested drama thoughts conjured only accentuated by the dark catchiness of the bass with Marberg back plucking the strings, the hypnotic stroll of the beats, and the guitar’s sonic wiring.
It is a superb end to a magnificent release. Observed in a Dream only pleasured and excited but the Premonition EP has left it in its wake with ease. Goodness knows what the band’s forthcoming full-length will do…We cannot wait.
The Premonition EP is out now digitally and on CD via the band’s own label Night Cult Records @ https://mayflowermadame.bandcamp.com as well as being available on cassette via Black Verb Records (Germany), SpiderChild Records (US) and Custom Made Music (US).
The outstanding start to the album is in many ways just an appetiser to things to come, each song setting out its own individual web of craft, magnetism, and dark endeavour as epitomised by next up Still Draw Breath, a slab of primal yet deviously designed rock ‘n’ roll with a blues lining to its rise through dank cold earth. The bass of XerXes Quinn is again a predatory lure easy to succumb to as equally the biting incitement of drummer Bobby Blades; the body secured in their trap as guitar and vocals take care of the imagination with their individual tales. With a Misfits-esque draw to its holler, the track just steals self-control like a puppeteer, bones jerking to his incitement as vocal chords eagerly joined with Scott in the track’s voracious carousing.
The highly rousing start is prolonged by the similarly anthemic Dance, a tenacious command on the body bound in the dark climes of surf/desert rock. Again the imposing yet contagious lure of Brett Harland Howell’s bass and Taylor Howell’s spirited beats manipulate song and listener, the Middle Eastern lures cast by Collin’s guitar quite irresistible in one of the album’s major peaks.
Do the same sparks still drive the project or have they evolved over time and equally since your early days, how would you say your sound has specifically evolved?
The album opens up with The Outcast Trail (See you Chris), a sullenly thoughtful ballad built on a web of melodic imagination and vocal emotion which roars like a funeral pyre in fiery crescendos. Unsurprisingly there are thick Soundgarden hues to the outstanding track, a tribute to Chris Cornell, with its sonic and emotive heat evocative and invasive, its enterprise seriously magnetic led by the inescapably compelling vocals.
Pt II opens up with Virtual Insanity, electronic sparkling the gateway to an infernal surge of electro rock predation as ravenously hungry as it is virulently catchy. Even so, its instinctive urgency has an underlying premeditation of devious intent, melodies and calmer but darker twists adding to the track’s inescapable invasion. Something akin to Rabbit Junk meets Fear Factory, the track instantly has the project’s second part off to a flyer but also connects seamlessly to the nature and presence of the first part of Visions Of The Blinded World.
The following Before I Fall makes a similarly magnetic entrance, the bass of this time Fagernes walking magnetically through ears with the melodic intimation of the guitars for company. Like a psych washed fusion of Dead Can Dance, My Bloody Valentine, and Fields Of The Nephilim, the song fascinated and tantalised in equal measure. Its heavy emotion and senses wrapping shadows unavoidably infested the imagination but equally the song tempted the body into calm but definite involvement even as its darkness consumed. The fact that the song did not bring the same lust as for its predecessor or successor is simply down to their might, the song only magnetism.