Deep in the heart of New York's post-punk underbelly lies an unstoppable beast that's soon to be unveiled. After countless buzz, prominent gigs, and a handful of previously released tracks, Blacklist's blend of anthemic post-punk and shimmering coldwave comes to fruition in Midnight of the Century, their coveted full-length record due for release on May 26th via Wierd Records.
Throughout the course of eleven tracks, Midnight of the Century both aims to please loyal fans from Blacklist's inception as well as win a new drove of devotees from the masses. The record's production, a departure from their more rough and tumble beginnings, may come as some surprise to the first flock of fans, but the glossy edge and tasteful use of soaring keyboard lines only adds to the band’s majesty and power, catapulting each track to the anthemic heights not seen since U2's early heyday.
Each track boils with the seeds of political unrest, reaching far outside the inner emotional turmoil of most of their influences and contemporaries. Meanwhile, the songs themselves call to mind a current and refreshing blend of effect-ridden guitars, thundering drums, and anchor-heavy bass. Sure, Blacklist's influences, including the likes of For Against, Sisters of Mercy, and the aforementioned classic period of U2, may be easy to pick out, but very little about this record is nostalgic, instead drawing from current soundscape and subject matter. This is very much a record for these times, potent and powerful to the last drop.
Previous fans of Blacklist will rejoice at the inclusion of several of the band’s live favorites. Midnight of the Century begins with "Still Changes," a particularly gripping track that sets the stage both musically and lyrically for the tracks to follow. Other familiar numbers, including a re-recorded version of "Shock in the Hotel Falcon," "Poison for Tomorrow" (once known in the live circuit as "Leaving Nostalgia"), and "Julie Speaks" make up the more recognizable half of the record. One would also be amiss to neglect "Language of the Living Dead," one of the band’s earlier gems, which appears in its original snarling form with a slightly tweaked mix.
Despite these tracks, which feel like a cozy sweater to familiar ears, the real standouts on the record are the newer numbers, which offer a fresh take on the band’s sound in both style and substance. The heavily-effected electric guitars are pleasantly off-set by the acoustic drive of "Odessa," which appears early on. Meanwhile, the band has saved the very best songs for the conclusion of the record, a fitting reward to an album’s worth of already stellar tracks. These moments are easily the band’s best, beginning with the moody call-and response number "Frontiers," which blends seamlessly into the album’s most experimental and free-falling track, "The Cunning of History," a song filled with heavy organic atmosphere and evocative imagery. Soon after the track’s whispering conclusion, so begins one of Blacklist’s live staples, the hauntingly catchy "When Worlds Collide." With an unstoppable chorus and powerful sense of finality, it’s of some surprise that it stands as the album’s penultimate track. Fortunately, the proper conclusion to Midnight of the Century, entitled "The Believer," is just as compelling as the preceding track, with prominent strings backing up an already beautiful arrangement. One might consider it a post-punk take on a classic rock number, as the acoustics strike some familiar sonic ground with the dark, introspective side of Fleetwood Mac, a truly winning combination that concludes the album with irrevocable finesse.
As one of the aforementioned early adopters of the band's prowess, it’s been an excruciatingly long wait; but Midnight of the Century more than makes up for its delays in both scope and execution, and will certainly cement Blacklist in a league both in and above their peers.
Records of Reference:
The Comsat Angels- Sleep No More
U2- The Unforgettable Fire
Asylum Party- Borderline
Blacklist Official Site
Blacklist on MySpace
FREE download of single, "Flight of The Demoiselles" HERE!
Shiloe - And Now The Screaming Starts (EP)
(2008 - New & Used Records)
Reviewed by - Andru Aesthetik
Hailing from Los Angeles, the dense sonic display that Shiloe put forth on their EP, "And Now The Screaming Starts" is something that grabs you right away but also has a growing effect as you listen to the songs over and over. Although their music evokes moments from the likes of The Pixies, Sonic Youth and My Bloody Valentine, Shiloe don't really fit into either of those bands one specific molds but carve a dark, droning & grungy path all their own on this EP.
On the atmospheric and erie opener "Gone", the band sets the pace with guitar textures and breathy vocals that just wash over you creating something of a dissonant beauty that sends you falling, not floating as this EP ain't no joyride, but rather like a journey into the unknown regions of the self in all its idiosyncratic glory. On the rollicking and ruthless edge of a track like "Alarms", with its raw staccato guitar riff that just rips through, you're thrusted from the falling sensation of the opening track to being face flat against a wall. Songs like "Character Witness" and "What Happened To The World In Your Hands" act to balance the record in a way with their mix of jangly guitars lunging back and forth into sonic noisescapes that grip and just smear thier attitude all over you. On the closing song "The Death of Madame Mustache" the band returns to the familiar ambient territory of the opening track but this one takes its time and stretches its wings over you slowly, never making much of stir but just enveloping you in its looming shadow as reverb drenched wailing guitars, tambourines and the whistling wind cascade in the atmosphere as the pulsating rhythm lulls you into a hypnotic state of submission.
I look forward to hearing more from this talented trio of guys and gal as it's nice to see an indie band for a change that puts the "rock" back into "indie-rock". Yes, they're not afraid to go there and neither should you be, if you dare.
Records of Reference:
My Bloody Valentine - Feed Me With Your Kiss
Sonic Youth - Daydream Nation
Ikara Colt - Modern Apprentice
Shiloe MySpace
Automelodi – Fait ses Courses (2009, Self-Released)
Reviewed by Frank Deserto
Along with Sean McBride (Martial Canterel, Xeno and Oaklander), Montreal-based musician Xavier Paradis has been a forerunner of the recent North American resurgence of Minimal Synth music since his days as Arnaud Lazlaud. His work has spanned a decade, and has not only uncovered and cultivated a series of forgotten heroes from times past, but it has also inspired numerous musicians to follow suit. Under new moniker Automelodi, Paradis has freshly unveiled a handful of ice cold, yet infectious tunes ripe for the masses.
Fait ses Courses, released independently and distributed in part by the pioneering folks at Wierd Records, is a slender, yet powerful five track EP. Automelodi's music is primarily influenced by the original French Coldwave movement, buried under layers of analog ice by an overindulgent New Wave. However, the record injects a hefty dose of minimal electronics and synth-driven hooks, invoking some of the very best Italo-Disco twelve inches. The result is a rather contagious phenomenon, injecting both the romantic and the gloomy with a glistening edge ideal for any self-respecting dance floor.
Despite these touchstones, Automelodi only looks forward in both sound and substance, as Paradis transcends his influences and other such genre trappings to make music meant for these times. With undeniably catchy tracks such as "Buanderie Jazz," "Out of Sync" (the only track sung in English), and "Schema Corporal" on its side, Fait ses Courses may be perfectly matched for us creatures of the night, but it should strike a heavy chord within any well-informed fan of music.
Records of Recommendation:
Babel 17- Shades
Stereo- Somewhere in the Night 12’’
Visage- Visage
E.K. Wimmer- What Was Once Veduta is Now Found (2008, Self-Released)
Maps & Mapping- Radiation Love EP (2008, Self-Released)
Reviewed by Frank Deserto
Allow me this pleasure to tackle two releases at once, folks, as both records on the slab here feature the talents of E.K. Wimmer, a multi-instrumentalist (and general renaissance man) based in Denver, Colorado, who has been recording music under his Veduta moniker since the turn of the century.
Wimmer's latest solo release, entitled What Was Once Veduta is Now Found is a collection of sorts, compiling some of his work recorded over the course of three years, dating back as early as 2005. Though Veduta was Wimmer's own solo electronic project, he has shed the moniker and released this particular record under his own name, treading similar aesthetic ground as Veduta. That particular aesthetic is indeed a successful one, blending soft synthesizers and subtle harmonies with warm acoustic guitars, post-punk bass, and the occasional pulsing drum machine rhythm. There are several stylistic shifts throughout the course of this record, yet the general minimal production remains steadfast to unify this collection of songs. Some may not find the stripped approach to their liking, but I particularly enjoy the more subtle, delicate layers of sound and instrumentation. If anything, this particular aesthetic choice gives Wimmer’s vocals a chance to stand out and display more heart than your average synthpop track, while equally adding a more relaxing and ambient feel to an otherwise abrasive-by-nature genre.
Standouts on the record include the driving "If It Was," the heartbreaking "Red Façade" (which manages to capture the heart mentioned above without the use of lyrics and vocals, even), and the aptly named "Distortion Song," which adds a distinctive layer of fuzz halfway into an otherwise building, lounge-style track. A curious, if but successful meshing of genres. Also notable is the track that follows, entitled "The Smallest Page," which bears a great and welcome resemblance to a Martin L. Gore ballad.
As mentioned above, Wimmer is a rather prolific artist, and alongside several other dabblings, he also makes up half of Maps & Mapping with wife Maria Rose, and though the general minimal production is shared between both solo artist and collaborative project, there are subtle yet key differences present. On Maps & Mapping’s latest EP release, 2008's Radiation Love, a more glam/dance influence is present, combing previous aesthetics with the likes of Japan and Clan of Xymox, though nowhere near as heavily produced. If anything, the addition of Maria's voice to the title track (though it seems less present in the otherwise similar sounding remix which concludes the three-track EP) adds a new dynamic to the mix, and I am most curious to see what the next year holds for Maps & Mapping, as a debut LP is currently in the works.
Records of Recommendation:
Japan- Tin Drum
Harold Budd- The White Arcades
Tuxedomoon- Half Mute
War Tapes - War Tapes (EP)
(2008 - Sarathan Records)
Reviewed by - Andru Aesthetik
Los Angeles based post-punk outfit War Tapes hail from the heart of downtown L.A. and nothing could be more fitting as they are at the center of a movement of local post-punk influenced bands who are poised to make waves in the music world. Its no surprise that they have already toured with the likes of mainstream acts such as Smashing Pumpkins, Tiger Army, Shiny Toy Guns and The Bravery and have amassed quite a following in a short time all without an official release of any kind. But that is about to change as their new self-titled EP just came out a couple months ago and demonstrates perfectly why they are destined for bigger things.
Clocking in at six songs, this EP manages to combine their alternative, punk, post-punk and new-wave influences into an amalgamation of memorable songs that remind you of many bands yet don't exactly sound like any of them. Yes, there are elements of The Cure, The Damned, Joy Division, The Misfits & My Bloody Valentine but War Tapes' sound is doesn't really fall into any one of those band's influential grasp.
What I find most striking about their music is how well they marry monstrously dark sound scapes with melodies that you can sing along to. Although I think the real weapon of this band rests in guitarist Matt Bennett's powerful playing that can go from discordant to melodic in almost dizzying fury, I would say their secret weapon is bassist Becca Popkin's beautiful harmonies throughout each song that so perfectly compliment her brother Neil Popkin's bombastic baritone croon which is very reminiscent of The Damned's Dave Vanian.
Although there is nothing obscure or pretentious about their music, that certainly doesn't mean its sugar coated as front man Neil Popkin's lyrics pretty much never venture beyond a feeling of regret, longing and heartache. I don't find it happenstance that the EP starts with the track "Mind Is Ugly" where with a sense of helpless desperation He sings, "everything's my fault, everything at all, tonight I'm giving up, tonight I'm losing control". Given the song title and those lyrics, it’s easy to see the mood that is easily captured and thrust upon the listener throughout this disc. There's a brutal honesty and personal transparency that I really admire in the songwriting as each song is just seething with urgency as it wears its heart on its sleeve and perfectly compliments the massive unrelenting sound that the band so deftly pulls off.
In essence, War Tapes are pure post-punk bombast with a knack for incredibly catchy melodies, dissonant guitar assaults drenched in reverb and a front man who can sing his despairing tales with a reckless sense of nihilism even when he's at his most vulnerable. I have no doubt that if this EP was on the racks of every major record store there's no doubt that it would fly off the shelves and end up in the pocket of anyone who's ever felt jaded, dejected or heartbroken. Basically, never has being depressed felt this good!
Records of Reference:
Echo & The Bunnymen - Heaven Up Here
The Damned - Phantasmagoria
U2 - Boy
War Tapes MySpace
Charles De Goal- Restructuration (2008, New Rose)
Reviewed by - Frank Deserto
I am generally wary of a reformed band. Far too often, the nostalgia involved in a band's second coming is at first soothing, but soon turns sour, as I realize that it's either an unnecessary cash in, or that the band's newest material just isn't up to snuff.
It's a rare treat when a resurrected band actually seeks a purpose and retains the same amount of vitality and fire they once had. Charles De Goal are one of those bands, through and through. Virtually ignored in the Americas, their first wave of heavily electronic coldwave has always perked up these ears, and after nearly 20 years, the band has dusted themselves off, and this year's Restructuration finds the band at the peak of their powers.
Even among their original peers, Charles De Goal's rough punk edge set them aside from the remaining coldwave acts, many of which veered into dreamy atmospheric directions as the years progressed. However, Restructuration sounds just as dangerous and edgy as it would have in 1980. The vocals are rough, harsh, and direct, while the guitars and synthesizers sound strikingly similar, thin and razor-sharp. All twelve tracks on the record employ this formula, but none sound like the last. Underneath the doom-ridden electronic soundscape, Restructuration is still chock full of melodies, which though menacing, are still memorable (e.g. 'Trop Tard') Even the slowest track, 'Figures Imposees,' builds slowly on simple, incisive riffs, and though the song never quite explodes, the tension remains steadfast.
Though Charles De Goal were originally slated to reunite for a one-off show, fans of stellar post-punk music should be extremely grateful for this sudden spark of creativity, and we hope it will be the first of several fine releases to come in the new millennium.
Records of reference:
Norma Loy- Rebirth
Sort Sol- Under En Sort Sol
Gang of Four- Entertainment
Dead Leaf Echo- Pale Fire EP (2008, Year of the Gallon Records)
Reviewed by - Frank Deserto
New York based Dead Leaf Echo's second EP is chock full of nostalgic dreampop for a new era. Six tracks long, the general layers of reverb, chorus drenched guitars, fuzzed out choruses, and dreamy vocal harmonies aren't out of the realm of expectation for the genre, but the EP still proves a welcome supplement to all fans of this resurgent style.
Though Dead Leaf Echo may not be bringing a ton of new tricks to the table on Pale Fire, there are several satisfying moments throughout the disc. The highlight of the short set is easily the title track (mixed by fellow shoegazer Ulrich Schnauss), which eventually builds to a percussive frenzy and soars beautifully for a few cavernous, driving moments. This sense of urgency is a welcome deviation, and this song is easily the meat and potatoes of the disc, though numbers 'Thought Talk' and 'Reflex Motion' also strongly stand out. The former locks in smooth rhythms with an equally fluid vocal, while the latter's prominent keyboards and swaying guitar lines call to mind some of the more reflective mid-era Cure numbers.
It is important to note that although there are few memorable hooks and jaw-dropping moments, Dead Leaf Echo are more keen to focus on both mood and soundscape throughout their EP, and though it may not grab listeners with an impression of exigency, those who appreciate a good atmospheric romp will find Pale Fire to be a gratifying listen.
Records of reference:
Piano Magic- Low Birth Weight
Slowdive- Just for a Day
Galaxie 500- This Is Our Music
The Bravery - (Live at the Corner Hotel, AU.)
Reviewed by - Adam Sharp
“Waiting for our ship to come, but our ship’s not coming back,” The Bravery – Believe
Sadly for The Bravery, they have repeatedly missed the boat throughout their short career. Their self-titled debut came less than a year after The Killers had trademarked new romantic pastiche with Hot Fuss. As such, they were harshly labelled as a second-hand duplicate, a Xerox of a Xerox if you like. Bravery front man, Sam Endicott, lashed out at this accusation and Killers’ leader Brandon Flowers like a jealous younger sibling. This led to a feud between the new-new-waves leading men that was more eyeliners at ten paces than fully-fledged vitriolic battle. Nevertheless, Flowers won the duel as his band went on to achieve mega stardom, leaving Endicott and The Bravery destined to dwell forever in their shadow.
They attempted to alter their course with second album The Sun And The Moon. The shift from brooding synth pop to a more readily accessible pop rock sound was a subtle one as they replaced intensity with insouciance in a manoeuvre that was intriguing rather than inspired. Neither the critics nor the fans were especially intrigued however as The Killers juggernaut raced further ahead of The Bravery dinghy.
Said dinghy has made it back to the shores of Australia and at the Corner tonight they seem free from all their troubles. Their set is fifty minutes of thoroughly enjoyable bravado and bombast. Public Service Announcement is pure fun. Fearless is all gutsy guitars and bold bass lines. No Brakes bristles with the ice cold synths and snappy drums of New Order. It would be futile to deny they are greatly indebted to their musical forefathers; from The Cure to The Clash, Duran Duran to Depeche Mode. In An Honest Mistake, they have a song that is arguably as good as, if not better than, anything their progenitors produced. The track is an exuberant thrill ride of thumping bass, precise beats and bleeps, and Endicott’s wistful vocals; pitched somewhere between the indolent mumble of The Strokes’ Julian Casablancas and the famous Flowers’ caterwaul.
They take a slight misstep with penultimate number Tragedy Bound. The title echoes the fate of the song itself as it becomes mired in highly questionable lyrics. They quickly recover to end with Unconditional which jerks, stomps and swaggers to its conclusion. Overall the show is a resounding success. Many more performances like this one and fortune may finally favour The Bravery.
The Wierd Compilation Vol. II: Analogue Electronic Music 2008
(2008, Wierd Records)
Reviewed by - Frank Deserto
Buckle up and prepare for another expansive treatise of the best underground minimal wave, for May 15th yields the anticipated release of the second Wierd Records compilation. Further pushing boundaries and eternally steadfast in their mission to shift the outdated perception of the analog synthesizer as a distant, cold, and futuristic instrument to a more organic and passionate tool of human expression, the compilation collects 39 solid tracks across four vinyl LPs, with a digital counterpart available via planet iTunes.
Though several of the best artists featured on the first collection appear once more, this compilation champions numerous unmentioned and exclusive gems, and expands its horizons to include several takes on drone, early industrial, and noise, including several offshoots from Michigan moguls Wolf Eyes. It is an ambitious collection through and through, marrying the catchy, cold, and romanticized minimal wave explorations that put Wierd on the map with grit, grime, and a fruitful experimental edge. Though on paper, these sounds may seem in stark opposition to each other, the underlying use of strictly analog synths and drum machines add textures and soundscapes that unify the collection, while the otherwise dynamic shifts in style keep the compilation from growing complacent and stale.
Highlights across the board include tracks from Cuban experimental outfit the Siamese Pearl, Russian minimal act Private Entertainment, and Detroit-based Hive Mind, whose takes on drone are sonically brutal, yet curiously comforting. The synth-based Wierd alumni also offer up several exclusive appearances, as Xeno & Oaklander, Opus Finis, and Sleep Museum all continue their DIY resistance to the digital and distant craft of modern music.
In line with the underground ethics of the bands etched on the grooves, the Wierd compilation is as elaborate in its design as it is with its musical statement. The 32-page booklet includes full information about each featured band, the remaining pages filled with shots from the weekly Wierd night in New York City. Also included is an essay written by Sean McBride of Martial Canterel/Xeno & Oaklander and label head/DJ Pieter Schoolwerth entitled, “2008: The Analogue Synthesizer as a Folk Instrument of Human Resistance,” which serves as a must-read proclamation for a must-hear compilation.
Though the vinyl price tag may seem hefty to untailored or unfamiliar fans, the sheer quality of this music, the intricate design, and the fervent ambition of the project more than make up for the cost, making this compilation absolutely vital for minimal wave and experimental enthusiasts both new and old. It serves well as both a fitting introduction and a collector’s dream. Naturally, treats like these are limited, so be sure to nab a copy before it becomes Very Rare forever…
Records of Reference:
OMD- Architecture & Morality
The Elephant Table Album: A Compilation of Difficult Music
Cabaret Voltaire- Red Mecca
Elika - Trying Got Us Nowhere (2008, Fiercely Independent)
Reviewed by - Frank Deserto
Shoegaze has come a long way since its early 90s heyday. Suffering a series of near-deaths, the genre soldiered on as more generations of musicians plugged in their delay pedals and cranked the distortion. To this day, some play it by numbers, retaining the same freak-out fuzz effects and airy vocals of the past, lacking any new or thrilling contributions. Meanwhile, other bands push the envelope a bit further, developing and mixing textures like a hell bent apothecary. New York's own he/she duo Elika are of the latter variety, and their proper full-length debut, Trying Got Us Nowhere is a pleasant addition to the fold.
Short, but sweet, this seven track record combines blissed-out musicianship and unfiltered female vocals with warm electronic programming. Instead of brusque, Curve-esque aggression, these percussive patterns and textures add a lighter and more dance-friendly vibe. In fact, Elika's approach is a more pop-oriented affair overall, for these songs are undeniably catchy. Just try to resist whistling along as 'Nowhere' comes to its beguiling conclusion, or withstand the toe-tapping potential of 'Let Down.' Other tracks, such as 'To the End,' hold several surprises in store, as a wall of guitars unexpectedly blooms from an otherwise mellow hymn, briefly launching the song into the atmosphere. I suppose one could say this is straightforward shoegaze fare, but I swear I didn't see it coming this time 'round.
The lyrics to these tracks are completely decipherable; an interesting diversion from typical reverb-drenched production. This is a blessing to listeners eager for a unique touch, as singer Evagelia Maravelias' vocals flirt with child-like melodies and mantras, thriving under such unadorned repetition. Though some devout shoegazers may not dig such a departure, it is this somewhat unorthodox production that makes Trying Got Us Nowhere stand out from the rest, as revivalists and classic dream poppers should otherwise find comfort in this record.
Records of reference:
M83- Dead Cities, Red Seas, & Lost Ghosts
Starflyer 59- Talking Voice vs. Singing Voice
Strawberry Switchblade- Strawberry Switchblade
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