• Rats - Rasputina, Narrow's Performing Arts Center - Fall River, MA

    16 avr. 2007, 1h36m

    Thu 12 Apr – Rasputina

    Barring the fact that the band still refuses to play anything off of Thanks For The Ether, and though it lacked the intensity of the previous shows I've seen of them, this is perhaps the best Rasputina show I've seen in recent memory.
    Balancing nicely between the rock operas and the soothing cello ballads, the set list bounced back and forth, showcasing all of the band's strong points, from rocking out with electric cellos to the soft Victorian fables that made them a favorite among many. Definitely a recommended band, as they're always fantastic, and the new tracks sound wonderful!
  • A Terra-Fima Welcome (Placebo - Lupo's - Providence, RI)

    6 avr. 2007, 3h31m

    Thu 5 Apr – Placebo

    Placebo played an excellent show. Seriously, I didn't expect to enjoy it as much as I did. Molko, while not sporting the trash-glamor image of ages past, pulls off the Art-Rock-Kid aura quite well, and all the intensity is still there.
    Mostly focusing on the new album, Meds, there were a lot of tracks off of it displayed wonderfully here, and they translate superbly live. Meds, Follow the Cops Back Home, and Because I Want You were fantastic, as were the few classics they pulled out, such as I Know and Every Me, Every You.

    A wondrous experience that may have restored my long-lost faith in the trio, and re-kindled and interest I seem to have long forgotten.
  • A Trip Down Memory Lane (Type O Negative - Lupo's - Providence, RI)

    1 avr. 2007, 17h48m

    Wed 28 Mar – Type O Negative, Brand New Sin

    The opening bands were downright silly.

    But Type O proved strong, albeit a bit tired. They seemed a bit rough around the edges, but they put on a great show, when all was said and done - including a completely unexpected segue from Black Sabbath to Black #1 in the third encore, and their wonderful rendition of Cinnamon Girl.

    All in all, it was worth it's nostalgic value. Brings me back to being a kid again.
  • Which Of Your Top 50 Have You Seen Live?

    27 mars 2007, 6h03m

    The Legendary Pink Dots 2x
    New Model Army 1x
    Dead Can Dance 1x
    AFI 1x
    Faith and the Muse 1x
    Diamanda Galas 1x
    Lene Lovich 2x
    Nina Hagen 2x
    Cinema Strange 4x
    Edward Ka-Spel 1x
    Sunshine Blind 1x
    Rasputina 3x
    Bauhaus 1x
    Dresden Dolls 6x
  • Recommendation of the Week 2.11.07

    12 fév. 2007, 1h40m


    Brilliance is defined by an untame amount of genius. When music is added into the mix, brilliance is measured both by how much the music enriches the musical aspects of our lives and what we have to compare it to. But I challenge you to ask anyone how to start comparing an overstuffed, plush couch to a metal park bench. Or - more frighteningly - how to end.
    1994 was a very significant year for music. The Cruxshadows, Switchblade Symphony, and Rasputina all released full-lengths debut albums that, by the standards of the time, were both exciting and refreshing. All these releases were also, in retrospect, at least moderately respectable and wildly successful. One could attempt to compare and contrast Elyria to other releases of that year, but then we're talking couches and benches again. Elyria always did, and always will stand isolated from other released of that year, decent as they were.
    Faith and the Muse begins it's subtle aural war with a title track to put all other title tracks to shame. With no decipherable lyrics, Monica's simple vocalizing serves more purpose than the lyrics of the world's greatest lyricist would. Sparks is the first one that grabs you long enough to entice you to ascertain that this will be the best song on the album. You soon realize that you've been saying that for 5 tracks now.
    All Lovers Lost is a pessimistic anti-love song that creeps along hauntingly and slowly raises the tone until it's subdued in moments. Monica's vocals are just stellar. Iago's Demise is charming in with feminist undertones (they do that occasionally). But with a breakdown you'll be trying to replicate for weeks. Unquiet Grave is instantly the most fun song on the album, a old take on an song about a dead lover (the Irish really were the gothest people out there, yes?) But the flute... if you're not moving, you're as dead as the woman in the lyrics. But the bigger purpose is to follow a song called Vervain which is undeniably perfect, in every way. Seven minutes is not a long time when the gradual buildup brings you to a place that "Vervain" does. It's positively orgasmic.
    Then, the trilogy. When To Her Lute Corinna Sings segues into Caesura and finally, dramatically, into William Faith's epic track, The Trauma Coil. Mostly medieval in nature, there's an element of explored here. The darkest parts of the album are given way to rusty violins and dramatic formal drumming. "The Trauma Coil" positively bleeds black blood as a song of torture and repent unfold in a wall of electric guitar. Never since have we heard William so emotional and so caught up in a song. He feels it. You can tell. The man really makes his one song per album worth it, but never as he did on Elyria.
    The follow up is almost an epilogue or post script, and is clearly and undoubtedly the stand out track on this album. Mercyground is both lyrically and musically a work of art. You get lost in visions of cemeteries and funerals, and in a rare moment of lucidity, you realize that you're listening to one of the best songs this goth genre ever gave us, and feel thankful for it.
    Ending the album, lyrically, is the short and wistful Heal. With hopelessly hopeful lyrics that swoon over acoustic guitar, there was never a more perfect ending to a perfect album.

    To wrap it up, this album will change the way you see goth music.
    That is, if it doesn't ruin it for you.

    Choice Cuts:
  • 2/4/07 Recommendation of the Week

    4 fév. 2007, 6h10m

    This is the first one, so let's start this off good, eh? What better way to do so than with Nick Cave and the Bad Seeds?

    The Good Son

    This is an album I purchased after having it on my computer for ages. I'm trying to complete my Nick Cave collection of at least the Bad Seeds stuff, so this was the next installment.

    "The Good Son" explores a kind of Deep South style that had been a constant theme in Cave's albums up until that point. It had a much more subtle tone with the styling than, say Your Funeral... My Trial and had really culminated in the previous album, Ghosts Of The Civil Dead. This one, like Tender Prey, explored a very specific aspect of the Deep South, as opposed to making what essentially amounts to Johnny Cash-esque Country music. The themes on this album are certainly plentiful, and every song has a charm and allure all its very own. There's sort of a back-alley do-wop feel to some of the songs, and a Gospel-love song feel to others. All the songs are sing-along songs, even if it is just the chorus, and all songs are worthy of repetitious play until CD or record is thoroughly warn out.

    The Weeping Song
    The Ship Song

    Choice Cuts
    The Hammer Song
  • Leonard Cohen Advice

    3 jan. 2007, 6h37m

    So, after hearing a few covers of his songs, namely Concrete Blonde's cover of "Everybody Knows", I've decided I have neglected Leonard Cohen for too long. What albums of his are good starters?

    For reference purposes, here's the cover:
    Everybody Knows
  • Corpus Delicti Reuinion?

    16 jui. 2006, 23h20m

    I heard a rumor that France's best band of all time, Corpus Delicti is reuiniting for a new album. Now, I'm not sure where the person who told me this heard it, and I cannot remember which label they were on (I know that Cleopatra put out a "best of..." disc, but that's not to say they were ever on Cleopatra), and I can't find anything on their website, but if this is true, I am one happy monkey. Now, their website looks more like a defunct fansite or chronicle site anyway - there isn't even a "News" section where something like that would be listed, but if anyone's heard anything about it, then I would greatly appreciate any information and/or confirmation (or denial, as sad as it would be - at least I'd be sure).

  • Faith and the Muse - The Burning Season Review

    16 jui. 2006, 23h18m

    Faith and the Muse
    The Burning Season

    Oh my dear God. They're still going at it, aren't they? Still stuck on Boroque soundscapes and Ethereal wisps, yes? Not that I'm complaining. Faith and the Muse rank up as one of the most brilliant bands that goth offered us in the 90s. One of the only ones really worth owning everything by. How often do those bands come around? Not nearly often enough, I'll say. There's a certain charm with this pair, ands a certain enigmatic factor that's really not worth the hours of reflecting I've given it. William Faith - ex-Christian Death, ex-Shadow Project, ex-Mephisto Walz, ex-Wreckage, and so on down the line of other noteworthy and comapratively resectable bands (I hear these days he's working with Jarboe - doesn't really surprize me. One genius/insanity tightrope walker deserves another, yes?). Monica Richards - ex-Strange Boutique (brilliant, by all accounts. Mark Burgess was damned proud), ex-Madhouse (ooh... DC crust-punk, nothing compares). Okay, so post punk//general goth-related subset credibility is intact. These folks know what they're doing. They have no choice but to. It's a wonder this new Deathrock thing doesn't embrace them more than they do. Well, c'est la vie, I suppose. Genius is still genius at the end of the day.
    But Faith and the Muse aren't known for that. It may strike one as surprizing, but frankly, it's more amusing than anything, and inspiring comes to mind when two with such agressive backgrounds combine into what can only be described as beautiful. Study Elyria</i>, and you might get an idea of what I'm talking about.

    But back to the topic at hand, The Burning Season strikes as something of an anamoly, and signifies a one-album experimental stage much like what Siouxsie and the Banshees did with Kaliedascope, but much more tame. An album like this deserves a song-by-song analysis, though I usually loathe that approach.

    Baith and Switch, and Sredni Vashtar open up the album as a sort of pairing. Two seperate songs, but one real cohesive "piece". Almost reminds me of heavy metal for a minute there, with Monica vocalizing wildly in the background. The lyrics to the latter are menacing, primal, and seductive all at the same time. The message is clear, "This is the where we're going". Glorious.
    Boudiccea shines beautifully with it's feminist undertones and real lush fills. It's beautiful, even if it'll never be a dancefloor hit. They continue with that trend in In The Amber Room, which, while being pretty, bores quickly. Over 6 minutes seems too much. Not that it's not killer, in the right setting, mind you. I'd like to say the same thing about Gone To Ground, but the fact is, I can't. So much more jazzy, Cabaret-like in it's subtle assault, and Monica does a stellar job of evoking that "smokey jazz bar" vibe that I love so much simply with her voice. I suppose the piano helps, too.
    The real standout tracks consist of the primal, tribal, and intense title track, which is foreboding, but charmingly passionate, with an edge for the macabre. Relic Song really shows the self-rightous side of the two, going on about punk rock and the old school and whatnot. But you look closer, and it really could've been a March Violets song, and the lyrics are kind of cool in that wish you was there when it was good sort of way. Condescending as it may seem, you can't help but respect them for it, as they seem intent on continuing it through a "new generation", as they put it. Visions tops my list as the other standout track, with the charming keyboards and synthetic drums, complimented by the violin, which is an odd stature, but it works - don't ask me how. Most likely to get played in clubs? More like most likely not to get played in clubs. Whispered In Your Ear is the dancefloor hit that should have been but never was. Again, don't ask me how.
    Prodigal sees Faith and the Muse taking a more approach to the entire thing, scrapping the guidelines and starting at square one. Who can blame them, really? But the lyrics are positively clever, and not without the hints of sarcasm that we love.

    So, in all fairness, it's an earnest release. Perhaps not the most solid, and perhaps not even the best that we're accustomed to from these two, but it does the job, and I enjoy it. Pick it up if you get the chance.
  • Misc Stuff

    23 juin 2006, 9h55m

    I just finished downloading the new Legendary Pink Dots album that they didn't have in stock when I went to see them. I'm going to upload a track or two here for you, namely this one in particular.
    Anyone remember this passage from my entry talking about the Dots show?:
    There was this one song that I don't know, that maybe someone here could help me out. It was a song about Jesus and how much he loves everything. Really biting and sardonic. But at the end, the refrain that he keeps singing is "We do not deserve this, we do not deserve him. We are so unworthy of his endless mercy.". Now, I'm almost positive that I have never heard this song before in my life. But at the end of the song, KaSpel went absolutely crazy and started screaming mercy at the top of his lungs. It was intense and awesome. But I'm pretty sure I don't know this song, otherwise, I've never paid attention to it because it's much different on CD, but can anyone tell me which song that was? I need to own it.
    Well, I found out which song it was, and it's off the new album and it's called No Matter What You Do. I'm uploading that because it was the best song they did live, I thought.

    Band: Legendary Pink Dots
    Song: No Matter What You Do
    Album: Your Children Placate You From Premature Graves
    Year: 2006

    Okay, in other news, Cinema Strange is putting out a new album that's set for release in early July. I cannot wait. I am ridiculously excited about this, and I'll be getting it the day it comes out, you can guarentee that. I know it'll be excellent, because those boys are incapable of putting out bad music... I think that's pretty obvious.

    Over the past few days, I've gotten a few new CDs, which I'll share here.
    Halber Mensch
    Silence Is Sexy
    Futile Combat
    Southern Death Cult
    Bigger Giants
    The Best of Theatre of Hate
    Everything Is Beautiful (A Retrospective 1983-1995)
    Murder Ballads

    ...and others I'm surely forgetting.