Posts Tagged ‘goth’

HOLYGRAM presents ‘A Faction’, the second single off their debut album, Modern Cults, which is released on 9th November.

This news follows the lead single ‘Signals’. Prior to that, the Cologne-based outfit released their self-titled EP in 2016. HOLYGRAM cleverly blends new wave and Krautrock with post-punk and shoegaze to achieve headstrong multi-layered bliss. This is a thoroughly contemporary homage to the sound of the ’80s with a resolute look to the future – the result is driving, dark and catchy.

Produced by Maurizio Baggio, who also produced The Soft Moon’s Deeper and Criminal albums, this long-play was recorded at Cologne’s Amen Studios. The new video for ‘A Faction’ is produced by WE OWN YOU GmbH and directed by Jan-Peter Horns with animation by Alison Flora.

HOLYGRAM is Patrick Blümel (vocals), Sebastian Heer (drums), Marius Lansing (guitars), Pilo Lenger (synthesizers) and Bennett Reimann (bass). Formed in 2015, the band’s approach to making music references the past, while remaining future-oriented. Hard-to-combine elements cleverly come together to become the soundtrack of a city that appears threatening in the twilight.

Watch the video here:

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Holygram

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A Storm of Light return with a new record. Five years after their last studio album (Nation To Flames, Southern Lord), Josh Graham and his companions Chris Common, Dan Hawkins and Domenic Seita have completed their fifth full length Anthroscene, to be released via Consouling Sounds (EU and UK), Translation Loss (US) and Daymare (JP) on 5th October.

Josh Graham explains the different mood on this record: "Anthroscene ignores genre and freely combines a lot our our early influences. Christian Death, The Cure, Discharge, Lard, Fugazi, Big Black, Ministry, Pailhead, Melvins, Pink Floyd, Killing Joke, NIN, Tool, etc.  Where Nations to Flames was a very a focused sonic assault, this record has more time to breathe, yet still keeps the intensity intact. We allowed the songs to venture into new territory and push our personal boundaries. It’s heavy and intense, but always focuses on interwoven melodies, song structure and dynamic. Bringing Dan Hawkins (old friend and high school bandmate) on second guitar and keyboards, has further expanded the album’s palette".

Lyrically the songs are an honest, brutal and emotional response to what is happening all around us: the disaster of American politics, racism, greed, climate change, climate change denial, nationalism, war, refugees, and how technology is actively changing us as human beings. 

Josh continues… “The current events happening across the planet right now are very overwhelming. It’s difficult not to feel very hopeless at times. This record is a big cathartic release….not offering much in the way of fixes, but serving more as a surreal document of our current times.“

Ahead of the album, they’ve served up ‘Slow Motion Apocalypse’  as a taster. Get your lugs round it here:

Christopher Nosnibor

Leeds synth-led post-punk outfit FEHM have mellowed a fair bit since they first burst onto stages in and around their hometown three or four years ago. New single, ‘Scarborough Warning’ may lack the abrasive edges and wild, wide-eyed bass-driven gothy mania of early songs like ‘Sinking Sands’, but that isn’t to say this more commercial sound is without edge.

This means that while Paul Riddle’s frenzied holler has softened to a brooding croon, and the instrumentation sounds less like X-Mal Deutschland and more like early Human League with a hefty dash of The Cure in the mix, not to mention a lead guitar part that’s pure (early) New Order, there’s a dark, melancholy edge to this slice of disco-pop. It’s heavy on reverb and imbued with a nagging wistfulness, and it’s also still deeply rooted in the first half of the 1980s.

I dig.

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FEHM will also be playing a handful of dates in August support of the release:

2nd: The New Adelphi, Hull

3rd: The Brudenell Social Club, Leeds (With full supporting line up including Drahla)

9th:The Underground, Newcastle

10th: The Castle, Manchester

11th, The Shacklewell Arms, London

FEHM

1st June 2018

Christopher Nosnibor

It all starts with an air-raid siren. A historical sound with connotations of WW2 for many, but still heard in places like South Korea and Japan, it’s a sound which provokes an almost biologically-wired shudder of unease. They may only be tests, but the sound of sirens in the last 12 months reminds us that stability is but precarious. And then the snaking, surfy bass strolls in, awash with reverb… and then the guitars… It’s all pinned to a locked-down groove, and Trond Fagernes’ voice rises up from amidst it all as if from the back of a cathedral. You saw it all coming, right? They obviously did and approach by stealth, before building to a whiling cacophony by way of a climax. But for all of its noise and tension, this feels more introspective than anything they’ve done before.

Norway’s Mayflower Madame draw heavily on post-punk influences – music born out of the dark days of the early 80s, corresponding with the period when cold war tensions escalated to warrant the labelling of ‘the second cold war’, and the economic boom years widened the chasm between the haves and have-nots was rendered more conspicuous by the rise of the yuppie. And so on.

What Mayflower Madame bring to the gothy party is a potent dose of Nordic noir psych and a dash of shoegaze, all doused in massive reverb, and the four tracks on Premonition continue the trajectory of their 2016 debut album, Observed in a Dream.

The claustrophobic focus continues on the swirling, shoegazy ‘Before I Fall’; the guitars twang through a gauze of drifting synths and echoey fx that create a certain distance between the listener and the actual song, an unusual sense of both space and an absence of space. ‘Alma’s Sermon’ is centred around a backed-off yet insistent motoric beat and has greater immediacy and – it’s all relative – upbeat vibe. But then closer ‘Siders Seek’ plunges deeper into darkness: a paranoid shiver runs down the spine of the track’s tremulous guitars, and everything about the song’s construction seems to be about concentrating the tension. And yes, this is tense.

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Mayflower Madame – Premonition EP

Having released one of our favourite albums of 2016 in the form of Observed in a Dream, Norwegian band Mayflower Madame return with their new Premonition EP on 18th May.

Through four tracks of psych-theatrical ingenuity, shady shoegaze and 1980s dark romanticism, the EP conveys the wintry feeling of their home country – icy and gloomy, haunting and majestic.

Title track ‘Premonition’ is an apocalyptic love song where dark psychedelic post-punk combine with haunting vocals to create a feeling of impending doom.

Stream ‘Premonition’ here:

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MayflowerMadamePremonitionEPcoverart650

Warren Records – 16th March 2018

Christopher Nosnibor

We think we may have mentioned Cannibal Animal once or twice before here on Aural Aggro – and there’s a very good reason for this: the Hull band make a dark, dense, swampy post-punk racket that owes as much to The Cramps and The Volcanoes as anyone else, on account of the serpentine lead guitars and reverb-soaked surf sound. With a thunderous rhythm section, it’s more like surfing a tsunami than coasting on the crest of a wave, mind. Throw in a dollop of early 90s underground noise – think in particular early Therapy? And you’ve got the measure. Their latest offering, ‘A Decline in Morality’ is a belter. As if lead single ‘Ellipsisism’ didn’t already demonstrate it already.

The band explain that ‘Lyrically these songs are about the moral compass of specific fictional characters’, with ‘Lack of Skin’ turning focus to ‘the candle burning nymphomaniac’. If ever a track distilled a potent blend of tripwire tension and a loose, near-tribal groove, it’s this one, with bone-rattling beats and a fat, fuzzy bass driving a fury of guitar bathed in cavernous echo. The effect is one of terrifying entrapment, but edged with a twist of sleaze.

The desperation and anxiety that drives the band’s work has hit critical mass here: it’s less about sonic density and thick, overdriven guitars, and more about scorching, wild-eyed mania. And I can’t recall the last time I heard a conventional fade-out…

https://open.spotify.com/embed/track/2gS3ogYcsSaW67jmKTcLAz

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Cannibal Animal -Decline

13th April 2018

Christopher Nosnibor

Being a Sister of Mercy is a long way from being a full-time job, an even Andrew Eldritch must have a lot of time on his hands these days. Ben Christo isn’t one to sit idle, though, fronting Night by Night between 2008 and 2015, before founding Diamond Black the following year, as well as working alongside Raymond Watts on Pig’s Prey &Obey.

With their second single entitled ‘Ghost in the Glass’, it all hints at something that’s a bit, well, stereotypical goth, you might say – something The Sisters have always tended to avoid, despite being saddled with the somewhat ignominious tag of being the godfathers of the genre. But you’ll not find any bats or graveyards or introverted moping in the Sisters’ back catalogue, and thankfully, Diamond Black are more about the hard edges of polished steel than the soft feelings of doomed romanticism and despair.

‘Ghost in the Glass’ is built around a very contemporary Sisters-like guitar riff, a driving rhythm and spindly lead line creating a distinct dynamic tension. The guitars are up-front and pack some grit and heft, making this a more overtly ‘rock’ proposition, but the first point where Diamond Black clearly depart from The Sisters is in the live drumming, which, tight as it is, gives a freer feel.

The second and perhaps most obvious point of departure is in the vocal style: singer J.I.Turunen is Finnish and brings a quintessential mainland Europe rock delivery: strong, but clean and melodic. Proper singing, if you will. If it carries echoes of classic 80s rock, it equally suggests that their biggest audience lies cross-channel, rather than domestically. This isn’t a criticism, not least of all because I must confess to having a soft spot for Andreas Bruhn’s solo album – and this, with its punchy rock attributes, is way better.

The production’s expansive, but doesn’t detract from the forward thrust of the guitars and the result is a song that’s simultaneously widescreen and punchy. The bottom line is that Christo has a knack for a chunky riff and a decent tune, and it’s great to hear some of them being recorded and released. More, please!

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Diamond Black