To celebrate the recent release of their new album Fiber, Atlanta’s Dead Register teamed up with Ghost Cult to give away a prize pack including a CD and a t-shirt. The winner is Jonathan Meyer of Montclair, NJ! Congrats Jonathan and thanks to all who entered. More contests are in the works so follow Ghost Cult for more prizes!
Formed in 2013, Dead Register plays a mix of goth rock and doom, sometimes described as “post-Goth” “doom-gaze”, that will find fans from bands such as Type O Negative, Soundgarden, Killing Joke, Skinny Puppy, Pinkish Black and more. The band is comprised of front man/bassist M. Chasta, his wife Avril Che, and drummer Chad Williams. Stream Fiber (AVS Records) at this link:
Atlanta, GA Gothic doom band Dead Register released their début full-length album last week, entitled Fiber (AVR Records). Now the band has teamed up with Ghost Cult to give you chance to celebrate that release with them by winning some music and merch from the band. Just share this post on Facebook or Twitter with the hashtags #DeadRegister #Fiber to enter. One winner will be chosen at random. The contest ends on May 12th at 5 PM EST.
Formed in 2013, Dead Register plays a mix of goth rock and doom, sometimes described as “post-Goth” “doom-gaze”, that will find fans from bands such as Type O Negative, Soundgarden, Killing Joke, Skinny Puppy, Pinkish Black and more. The band is comprised of frontman/bassist M. Chasta, his wife Avril Che, and drummer Chad Williams. The streamed their new album last week which you can hear at this link:
Mick Moss has created a delicate, involving and contemplative sixth Antimatter album. Opening up, just as he does with many of his lyrics, to Ghost Cult, the English songwriter took the time to discuss the heart, soul and creation of ‘The Judas Table’ (Prophecy)
“The Judas Table absolutely needed to be recorded. Those songs had festered in my head for too long and I needed to clear the decks out.
“The second need was to get the songs recorded in a manner that was interesting to myself despite the fact that I had heard them again and again within the jukebox of my own brain. Job done. Both of them.”
While intrinsically melancholic art rock, Moss has brought together another album of personal, introspective reflection and revelation.
“It’s good to get things out, of course, but it’s not so much catharsis as hardcoding my realizations into lyrics so that I can live those empowering conclusions again and again. I actually want to revisit these realizations rather than to spit them out and be done with them. Hopefully if the listener can relate to my conclusions then they can use them to their own benefit.
“I wouldn’t call it selfish, but I absolutely must think of only myself whilst working” states Moss when asked what his consideration when writing is. “The ‘listener’ is potentially everybody else in the whole world. Therefore, it would be impossible for me to work whilst always considering the listener in the back of my mind, as it would be impossible to please everybody, or worry about not pleasing everybody. I would go insane.”
That said, there is an acceptance that the nebulous “listener” plays a hidden role in the workings of most musical craftsmen.
“Admittedly, there are some incidents during the writing or construction process where I’ll come up with something that I feel is moving, and I’ll get excited and wonder if it will move the listeners the way it moves me.”
“During the writing and construction process of any piece of music, I always work to how my body and mind are reacting to what I’m writing (and) playing. This is how I navigate a piece from start to finish, trying to manipulate my inner feelings through the sounds that come back to me. So, yeah, it is an intention that the music is uplifting for myself. I then assume that if it can do that to me, it will do the same to some of the people who hear it.”
A similar assumption allows Moss to be fully expressive and personal in his lyrics; to exhibit a bravery in allowing his vulnerabilities and reflections to be exposed to others. “It’s all I’ve ever done, so it’s not scary to me, no. Since my very first songs in 1996 I’ve been pouring my heart, fear, pain into my lyrics. Sometimes if I’m writing (something) too personal I can always wrap it up in metaphor, to protect myself I guess. But that’s something I’m doing less and less as I get older, and I’m making the lyrics more direct. I wrote the lyrics to ‘Epitaph’ from Planetary Confinement (The End) 30 minutes after I was notified of the death of a close family member, so I’m not sure if there’s anything too personal for me to write about.”
As far as Antimatter goes, Moss has always worked alone; he is neither distracted nor persuaded by the whims of others, but instead is able to hone and lead the path his music takes, keeping it a pure, personal vision. As such, there is a palpable bond between albums, with familial resemblances evident, a shared genetic make-up, alongside progression and development. The Judas Table, for example, bears the hallmark of its forebears but continues the evolutionary arc. “Any new album carries over some traits from its predecessor. But there’s also a natural urge to go to new places that weren’t previously explored” Moss considers. “Plus, before Fear Of A Unique Identity (Prophecy) was recorded, the majority of Fear… and Judas… both existed in my head at the same time, so there’s going to be some links between the two there.
“After the frenetic arrangements of Fear…, I focused on simplicity. The brief that I set myself was to have everything nicely arranged and with no crazy tangents – although two songs did end up with a slight detour – (and) also to let a song tick over and explore that space with ethereal melody, as was successfully done with ‘Hole’ and ‘Little Piggy’.”
“There’s no real rule, except that I tend to know what I want to write about, and this flows out in a kind of stream-of-consciousness jam with myself. I then adapt the acoustically written songs to the full-band scenario based upon the drumbeats and dynamics that I hear in my head. I make a demo at my home studio and then record the album based on the demos; it’s a well-oiled way of working for me now, things just flow.
“Apart from the drums, which were recorded at (the) prestigious Parr Street Studios, Liverpool, I recorded the album in my home studio. I decided early on that, after the ‘Too Late’ single, which was partially recorded at home, I would do everything here where I would have the time needed to get everything just right rather than looking at the clock in a studio and having to pack up and leave at a specific time. It turned out great, actually, and has given me the courage to go on to do more here.”
Mick Moss of Antimatter, 2015. Photo Credit: from www.facebook.com/antimatteronline
For those of us of a heavier, more rock/metal background, the likelihood is we were introduced to Antimatter due their association with Anathema, being the project Duncan Patterson turned to after leaving the progressive metallers, teaming up with Moss for the first three albums, with Moss continuing alone for the subsequent trio.
Interestingly, though, while they shared writing duties, they didn’t necessarily collaborate in the truer senses of the term. “When Duncan and myself worked together, we didn’t actually work together… I would craft half of an albums worth of complete songs and Duncan would do the same” confirms Moss, reflecting on any potential for expanding his song-writing to include collaborating with other artists.
“Ergo when he left, I didn’t lose a composing partner as I’d always worked 100% on my own material. The only thing that changed upon Duncan’s departure was that I then composed twice as many songs, which wasn’t a struggle as I already had a good archive of work by that point. In some ways it was actually better for me as then I had complete control over the album as a whole rather than it being two separate visions fused together. “I can’t imagine myself ever working with somebody to write a song from zero, it’s such a personal experience and it takes a certain vision to get it finished. I would imagine that there would be quite some disagreements. And I certainly wouldn’t involve anybody else in the creation of what is known as ‘Antimatter’
“If I were to work with another person then it would be under a different moniker, such as the Sleeping Pulse project I launched with Luis Fazendeiro in 2014. Despite what I say about not wanting to compose with somebody, Sleeping Pulse was a fantastic opportunity to work with Luis’ existing music and then craft vocal melodies and lyrics over the top. A wonderful experience that allowed me to operate fully as a vocalist and lyricist, and to put all of my energy into those jobs alone without having to worry about all of the other instruments, like I do in Antimatter.”
Antimatter, 2015. Photo Credit: Caroline Traitler
The Judas Table is a beautiful, reflective and uplifting album that works as an immersive experience, or, through its delicate melodies, as a calming influence. Aware of previous comments Moss had made, that, for him, success of an album isn’t measured in terms of personal profile or “fame”, just what would “success” for The Judas Table look or feel like, or is it something that has already been achieved in its creation? “That’s a difficult question, as success can be judged in different ways.
“The album I made was better than the album in my head, so that alone is quite a success. Again, most reviews are positive, some are overwhelmingly positive, the fans have received it with love and enthusiasm, and the live sets are now stronger due to the inclusion of songs such as ‘Can Of Worms’, ‘Killer’, ‘Stillborn Empires’, so, again, I would declare it a success. How it does commercially is a different matter, and I have no way of knowing that at this time, but even if it sold just one copy I would still love the album completely.
“One by-product of taking the new songs out on the road, one thing I’m not sure I had really expected, was that the addition of this new material strengthened the Antimatter setlist like crazy.
“It was like a shot in the arm.
“The setlist we now have is like none I’ve ever had in the past, and one thing I’m thinking lately is I just want to enjoy this moment live for a year or so, really celebrate the place Antimatter is with these new songs in the repertoire.”
Babylon Whores are the single most underrated band of all time, and Cold Heaven (Misanthropy, though recently re-released on vinyl by Svart) is the greatest undiscovered gem of all albums, so it is with anticipation most foul that Sleep of Monsters’ debut Produces Reason (Svart) saunters into our musical consciousness, being as it is the new vehicle for the distinctive crushed velvet pipes of Ike Vil, former ‘Whores mainman.
It can often be unfair to compare a new venture to a participants old wares, but when the vocal cords are as instantly recognisable and perception shaping as Vil’s it’s hard not to. Accompanied by songwriter and guitarist Sami Hassinen (Blake) and former members of Waltari and HIM, Produces Reason kicks off with a pair of rockers, as if Ike’s former occult troupe had been polished by the HIM hit machine, ‘Nihil Nihil Nihil’ dark, catchy and understated, with a strong vocal chorus hook.
As the album unveils, the rock element is toned down and replaced by a more gothic, sedate feel, led by Vil’s characteristic delivery and melancholic lines, and flashes of Sisters of Mercy, Beastmilk and even Simple Minds decorate their Gothic rock. ‘Christsonday’ liberally dips its toe into Queensryche’s ‘Eyes Of A Stranger’ and emerges with the guitar motif intact, dropping the familiar lick over their death rock, while ‘Magick Without Tears’, the true closer for this album (additional track ‘I Am The Night, Colour Me Black’ is superfluous and dynamically doesn’t work) kneads in the vocal talents of the “Furies”, a trio of female vocalists whose harmonies proliferate the album at various points, over a Pink Floydian organ-led flick.
Managing to retain the core elements of its participants former endeavours, weaving and celebrating their individual talents and ideosyncracies, Sleep of Monsters have produced a credible dark pop debut, reflecting the pasts of its’ creators, and one that leaves the promise of something even more grandiose and fruitful in their future.
Now apparently, this latest effort from Leaves Eyes vocalist Liv Kristine has been sold to us as ‘Ambient doom’. I can safely say that no version of doom has been anywhere near Vervain (Napalm) but within is a sound of some melancholy, despite adding only a touch of gravity to the more expected symphonic template.
Opening track ‘My Wilderness’ houses a sense of despair, lush keys creating a stirring atmosphere while Liv’s heavenly tones are accompanied by haunting backing vocals. The ensuing ‘Love Decay’ features dramatic 80s goth vocals from End of Green‘s Michelle Darkness, adding to the dark pop-rock feel which is given further piquancy by an spiky riff and crashing drums. The title track’s strange synths and gentle but driving beat underpin a gorgeous vocal which is Tori Amos-like at its height: indeed the quirky Goddess is evinced on a number of tracks here, not least in the roughed-up dub of ‘Creeper’ and closer ‘Oblivious’, both full of sparing leads and woolly key fills in the worst traditions of 80s AOR.
It’s a plaintive sound, that largely gothic instrumentation and dark, icicle-drop keys giving the style expected to the Benatar-ish ‘Stronghold of Angels’, which is given a harder edge by a wonderful contribution from Doro Pesch and some heady harmonies. Though devoid of extremity, even weaker moments such as the occasionally feeble ‘Hunters’ are given a little oomph by Kristine’s soaring, crystal-clear voice, full of emotion; the layered backing vocals; and those ‘riff and rhythm’-laden choruses. There’s a hint of Kate Bush also on the edgy ballad ‘Lotus’, evincing a bitter coffee in a lonely Parisian cafe.
There’s an unmistakable air of European rock about it all, even when that riff kicks in, yet it’s emotive despite the clinical over-production and delicious for devotees of heartfelt operatic rock. Liv’s honeyed notes are effortless, even aching on the mournful ‘Two and a Heart’, and overall it’s fairly pleasant though not the sort for rough old me. Catchy, sweet, and choc-full of darkness and melody, it’s Gothic Symphonia with an even softer heart.
Ghost Cult last caught up with In Solitude at the start of the cycle for Sister (Metal Blade) when Gottfrid Åhman spoke about the musical developments and progressions that led to the critically acclaimed release. Closing up the circle, frontman Pelle Åhman opens up about introspection and the fundamental heart of the band…
“We were surprised how people have really taken us seriously and tried to grasp what we do. You can call it maturing but it feels like coming home to our roots. It is a very primal thing.” The lanky figure of In Solitude front man Pelle Åhman is sitting next to me wearing a Darkthrone long sleeve. He looks very much like a typical early twenty-something heavy metal fan. Yet spend any time in his company and you will quickly become aware that this tall, softly spoken Swede is anything but ‘typical’. “I love Gospel and Blues music as it is very simple. People singing these repetitive lyrics and clapping their hands on songs like ‘Jesus Make My Dying Bed’. They remind me of certain mantras in eastern religions. That dark and brooding form of prayer is very inspirational. These primitive forms of music have the same appeal to me as acts like Darkthrone.”
As the scent of incense sticks and pungent aroma of hash fills the air of the venue’s backstage area, talk turns to the band’s third album Sister (Metal Blade), a record which has brought many to lavish attention on the quartet. Influenced by the blues, country and the occult rock masters, Sister is a very mature record for such a young band. Åhman mused thoughtfully on its conception: “My family have a cabin north of Uppsala where I go to relax and write. It is very isolated. You can’t get any phone signal up there. I go there for the same reason the swami sit in caves and my uncle goes to fish; for refuge from this world. People need to have those places where they have peace and forgiveness. You are truly able to start over because you cannot be bombarded with information the way you are when are in a big city. When I go up there it is like I get baptised.”
Seeking sanctuary in isolation may be nothing new but in an age where everyone is posting an update online regarding what they, eat, drink and think all in the public domain it is hard not to admire this young man’s steadfast resistance to the status quo. “You can be introspective and get a sense of how things are,” Pelle muses. “People have lost that now. Social media allows people to present a false sense of who they are. Look at the way people update their status on Facebook! They feel they need to be seen and heard all the time when they aren’t doing much at all. People have become frightened of introspection. They see it as a negative thing but we heartily embrace it. When I am at home I love to get away from all of this. You cannot check your email at our cabin. I enjoy meeting people and seeing different places when I am on tour but when it all stops I may not come back!”
The stylistic shift Sister took from its more overtly metallic predecessor The World. The Flesh. The Devil. (Metal Blade) may have been surprising to some but for Pelle, this was a natural part of the band’s evolution. “The World. The Flesh. The Devil. is a good album but not long after it we realised how we could define our sound. In retrospect I think we were looking for a certain atmosphere with that record which really came to life on Sister. How next album will take shape yet is unclear but we have begun piecing the fragments together”.
Despite their tender years, In Solitude have already been a unit in one form or another for over a decade. So many acts come together later in life that we forget there are still a few prodigious talents which were reared together. The Åhman brothers on vocals and guitar may be the main driving force behind the group’s creative process, but Pelle is insistent that it is the collective which makes In Solitude what they are. “We definitely have a gang mentality. We played together since we were eleven. Our drummer and I have been friends since we were very young. Our parents knew each other before we were born! I think we all found our identity in this group. We constantly spend time together walking in the woods but when we write we all disappear to our own corner and bring ideas back to the group. When I look at my life from afar it is strange to see how we have developed. It is a very natural and creative place for all of us. We replaced Mattias (Gustavsson, bass) the last time which worked because we did not understand each other to the degree we do now. I think if we were to lose a member of this band then it would cease to exist as we need each other for this to work.”
Speaking to Åhman, his unwavering conviction and commitment to this tight knit unit couldn’t be any more apparent. Conjuring up romantic notions of walking in the woods of Sweden side by side with his brothers in arms, Åhman does at no point sound trite or sentimental when it comes to discussion of In Solitude and their craft. Talk then turns to the inspiration for the opening track from Sister, ‘He Comes’. On the face of it this is another proclamation of Lucifer’s power but once again there is more to it than meets the eye. “Gottfrid had written this song with just a tambourine and acoustic guitar. It was going to be a big electric rock song at some point but it had an energy about it all its own. The lyrics were a poem I had written. The song really concerns all of us (in the band) – we wrote the song with me playing one note on piano and the guys were playing percussion on their guitar cases. The Devil inspires me more than ever before! He is the one that stands upon the threshold of things. My vocabulary has evolved but his influence is more important than ever!”
You know that feeling… The one when you’ve waited a long time for something and you soooo want it to be great but, when it arrives, it turns out to be less than great and, whilst it’s not terrible, it’s merely alright?
Well, a whole load of THAT.
I had high hopes for The Perfect Cult (Nuclear Blast), the latest album from Sweden’s industrial/pop/metal overlords Deathstars, but whilst it is as efficient as a Volvo it, disappointingly, leaves me as cold as a Scandanavian winter.
If you have been a long term supporter of this band then I suspect that The Perfect Cult will be a welcome arrival in your record collection but, overall, this is the sound of a band just doing their thing. It sounds exactly like what you think a Deathstars album might sound like. And herein lies part of the problem.
Although there isn’t anything on The Perfect Cult that really drives me mad, there just isn’t anything I can get genuinely excited about either. There is a lot more of a pop sensibility (I mean the songs have choruses), and there is a familiar croakiness to Whiplasher’s vocals, but if they aren’t your bag (and they aren’t my bag) then this record is going to grate on you like nobody’s business. Much of the band’s leitmotifs are solidly in place – anyone with a Rammstein or Type O Negative record will probably warm to the riffing on ‘Explode’ or ‘Asphalt Wings’, which chug along quite nicely without really setting your ears on fire.
Performance wise and performance wise, there is a real sense of this record sounding like it was done “as live” in the studio, which certainly brings a different dynamic to the album but surely the whole point of this industrial malarkey is that it doesn’t sound like it was done organically. I want my industrial to sound other worldly, alien, detached and relentless. I don’t want it to sound like a pile of musos throwing shapes in a studio down the road.
On the plus side, the second half of this record indulges a much darker and more gothic persuasion which is quite welcome, and you cannot deny that Deathstars have a very clear aesthetic that they maintain throughout.
The problem for this particular listener is I find the aesthetic not particularly compelling. Their shock rock tactics aren’t particularly shocking and I’m left with a gnawing but undeniable feeling… if I wanted a Rammstein or mid period Marilyn Manson album then I would put on a Rammstein or mid period Marilyn Manson album.
Sorry and all that, but The Perfect Cult is just a little bit meh.
When the time comes for a band to make a new album, the same questions rears its head each time; innovate, or stay the same? For German goth rockers Lacrimas Profundere, the answer was the latter.Continue reading →
I know a lot of people out there scoff at the notion that there was a time before the internet and music downloading existed, but this era did actually happen. Before technology made instant experts of everyone, music got churned out by labels and fans gravitated to whatever captured them. We have actually reached a mark in our current time when fans are feeling nostalgic about some these bands, with the higher quality ones are still around and kicking. Thus, you can understand the demand for this bill, from which the two co-headliners once toured constantly together from 1996-1999.Continue reading →
When the time comes for a band to make a new album, the same questions rears its head each time; innovate, or stay the same? For German goth rockers Lacrimas Profundere, the answer was the latter.
I know a lot of people out there scoff at the notion that there was a time before the internet and music downloading existed, but this era did actually happen. Before technology made instant experts of everyone, music got churned out by labels and fans gravitated to whatever captured them. We have actually reached a mark in our current time when fans are feeling nostalgic about some these bands, with the higher quality ones are still around and kicking. Thus, you can understand the demand for this bill, from which the two co-headliners once toured constantly together from 1996-1999.