Posts Tagged ‘Liminal’

10th April 2026

Christopher Nosnibor

Postmodernism supposedly not only marked, but celebrated, the death of originality. Some time after the turn of the millennium, postmodern irony and the wit of parody began to evaporate, and now everything simply draws on explicitly stated influences. Art has become an endless treadmill of predictable recycling. There are rare exceptions, of course, and Chaidura is rare indeed.

Chaidura has been on the scene for a couple of years now, during which time he’s birthed an EP, Temple Paradise, and some standalone singles, showcasing styles ranging from JRock to emo, with his bio describing this work as ‘blending visual kei, emo, and alternative rock into a sound that’s heavy, emotional, and honest’.

Now resident in London, but raised in Asia, where, he says ‘beauty is often weaponized as a prerequisite for success’, ‘Plastic Beauty’ is the third single to be taken from forthcoming EP, Liminal. And what a single it is! It’s nothing short of an explosion of ideas– an entire album’s worth and more (hell, many bands with careers spanning decades don’t demonstrate this many ideas), packed into less than four minutes – leaping wildly yet also effortlessly and immaculately from one genre to another with each of the multitudinous segments.

And yes, the presentation is stunning – musically, of course, but also visually – taking cues from Adam Ant and Falco’s ‘Rock Me Amadeus’ – to forge something that is nothing short of spectacular, while at the same time presenting a strong message. Opening with a soft piano intro, we’re soon thrown into some loungey jazz with an understated drum ‘n’ bass beat before – a mere thirty seconds in – being hit with a ferocious blast of metal. The experience is akin to watching Roger Moore as James Bond being spun at organ-damaging speed in a centrifuge in Moonraker, one where you mind feels as if it’s been separated from your body and transported to another dimension. It’s like all of the new year’s fireworks from around the globe going off simultaneously. And yet, incredibly, it’s got a huge chorus with an instant hook that’ll be an earworm for a week. Nothing short of phenomenal. Now, excuse me while I go and lie down for a bit.

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Landscape

Twilight Music – 28th November 2025

Christopher Nosnibor

I’d apologise for being a little late to this one, but given that Corpus Delicti took some thirty years to reconvene for this, their fourth studio album, I think I can be forgiven. Formed in 1992, they kicked out three albums in quick succession establishing themselves as leading exponents the goth renaissance, or the next wave of goth (which wave is which… is a subject of debate, but that’s perhaps a topic for another time), before departing a short while after the release of Obsessions in 1995. During their time away, they’ve had more compilations released than they had albums, and it seems their popularity has grown significantly during their absence.

Their planned reunion in 2020 was scuppered by the pandemic, but they finally reemerged as a live entity in the spring of 2022 and now, finally – finally – they deliver Liminal. And if you’re into that later goth stuff – from Rosetta Stone to all things Nightbreed – it does everything you’d want it to.

From the outset, Liminal is dark and brooding, with fractal guitars and infinite reverb: ‘Crash’ brings the stark post-punk dynamics of X-Mal Deutschland paired with the soaring theatricality of The Associates, and it’s a work of high drama which evokes Bauhaus at their best. That’s by no means to suggest that it’s derivative, but it’s clear they know their heritage.

They also know how to bring kineticism and range, and how to sequence an album to best effect. ‘Room 36’ comes on like an industrial reimagining of Soft Cell, landing like She Wants Revenge cranked up to eleven, with lasers and guitars set to stun. ‘It All Belongs to You’ channels Bowie, but again via SWR and The Associates – at least vocally: instrumentally, there’s layered synth work and swirling shoegaze guitar all over. But for all the dark, Liminal is a work of magnificently-crafted pop.

‘Under his eye’ is an obvious reference to The Handmaid’s Tale, a book the which has become more resonant in recent times than could have ever been foreseen at the time of its writing and publication in 1985. Led by a rolling piano and augmented with sweeping strings, there’s drama galore. Between the driving guitar buzz and snaking bassline of the super-urgent ‘Chaos’ propelled by lolloping drums, and ‘Fate’, which brings an atmospheric shoegaze aspect to some trad goth stylings, there’s a lot going on here – and they pack in some really sharp hooks and strong choruses.

As an example of modern goth, Liminal brings so much of what’s missing from many recent releases in the same field – broad in range, big on energy, this is how it’s done.

Corpus Delicti are on tour in the UK in February, performing Edinburgh (19th), Newcastle (20th), Leeds (21st), Birmingham (22nd), Portsmouth (24th), Bristol (27th), and London (28th), with dates in Mainland Europe in April. Full details and tickets are available HERE.

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Band image - pic Loreleï J ade

Photo: Lorelei Jade