Category Archives: New Wave / Dark Wave

The City Gates – Siegfried 1969 (Velouria Recordz 22 July 2020)

Montreal’s The City Gates unleashes ‘Siegfried 1969’ feat. guest appearances from Vlimmer and La Mécanique members

Montreal-based postpunk shoegaze band The City Gates present their new single ‘Siegfried 1969’ via their own imprint Velouria Recordz. This is a hard-hitting track that surrounds Cold War thematics about the stark contrast and juxtapositional realities between East and West during that time.

This new collaboration features contributions by Francis Nothingwater of Canadian cold wave band La Mécanique and Alexander Donat of  German alternative music outfits Vlimmer, Whole and Fir Cone Children and owner of Blackjack Illuminist Records.

This single previews the collective’s next album, which is expected to be released in autumn of 2020. This newest offering thematically follows up  singles ‘Checkpoint Charlie’ and ‘Cape of Good Hope’, the latter of which will also appear on their forthcoming long-play and was released in 2019 on ‘Zeitgeist vol. 10’, released via Cold Transmission, and on ‘Northern Noise Vol. I’ (Velouria Recordz).

Well known for heaping on the reverb, fuzz and delay, The City Gates can be described as a modern answer to Phil Spector’s infamous “Wall of Sound. Their music is intense, powerful, melodic, moody, textured and raw. With a sound esthetic and lyrics deeply rooted in the cold war era, they sway between dark melancholic guitars and glimmers of nostalgia.

photo by Suzy Guevin

“I have German ancestors and have much love for the Neue Deutsche Welle, and German 80’s post punk / darkwave / cold wave music scene, such as Xmal Deutschland D.A.F., Grauzone (actually from Switzerland) and Asmodi Bizarr. I took a German language course at university back in the day, but it’s not really good enough for a full song in German. So I asked my German friend Alexander Leonard Donat of Vlimmer to give me a hand with this,” says Maxime Wingender.

The seeds of this collaboration were planted when Nothingwater and The City Gates frontman Maxime Wingender organized the Montreal-based postpunk / shoegaze / cold wave Velouria Fest, where the two bands shared the stage. Shortly after, Nothingwater created a drum machine loop track for a demo Wingenger sent him. German lyrics were added later.

“The lyrics are about my grandfather who was one of the most famous pianists in the German Democratic Republic (GDR) during the Cold War era. In the song, I compare the Berlin Wall with his personal life. He recognizes that he tries to shut out people, similar to what the Socialist Unity Party of Germany (SED – the only party option in the GDR) did,” says Alexander Donat.

“People from the GDR were not allowed to go to Western territories. The Berlin Wall was heavily guarded. People who tried to flee were shot. For artists like my grandfather, it was easier to travel the world. He played in Syria, Australia and many more places. Most Eastern European people were not able to travel to Western countries. They could only travel to Eastern destinations like Romania, Bulgaria and Russia.”

The City Gates acknowledge the financial support of FACTOR, the Government of Canada, and Canada’s private radio broadcasters.

As of July 22, ‘Siegfried 1969’ will be available via online stores such as Apple Music and streaming platforms such as Spotify. Until then, it can be pre-ordered directly from the band via their Bandcamp page.

Written and produced by The City Gates
Maxime Wingender: Guitars, vocals, bass, keys
François Marsan: Guitars, bass, vocals, keys
Justin Morneau: Drums, keys
Lyrics and back vocals by Alexander Leonard Donat
Drum machine by Francis Nothingwater
Mixed by François Marsan
Mastered by Harris Newman at Grey Market Mastering (Montreal)
Cover artwork by Geneviève Trottier Longpré
The City Gates acknowledge the financial support of FACTOR, the Government of Canada, and Canada’s private radio broadcasters. Ce projet a été rendu en partie possible en partie grâce au gouvernement du Canada

Keep up with The City Gates
Facebook | Bandcamp | Instagram | Twitter | Soundcloud | YouTube | Spotify | Northern Light Records | Booking contact | Press contact

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Posted by on July 15, 2020 in New Wave / Dark Wave


New Clan of Xymox album and video

Over the years, Clan Of Xymox has always been revered for their signature melancholic sound that in 1985 was aptly dubbed as “Darkwave” by British radio icon John Peel. Following their recent singles, both “She” and “Lovers”, 2020 witnesses the release of the brand new album “Spider On The Wall.” Both dark and intimate, Xymox leader Ronny Moorings and the band continue to masterfully explore their Electro meets Gothic sound first mined on their debut 1985 self-titled album released by 4AD and now finds them releasing their sixteenth studio album “Spider On The Wall.” Additionally, Clan of Xymox have just released a new video for the song “All I Ever Know” from the new album. “Spider On The Wall” will be released by Metropolis Records on July 24th through all digital and streaming formats as well as on CD.

Formed in Amsterdam in 1984, Clan of Xymox became one of the mainstays of the 4AD label. Along with label mates such as Cocteau Twins and Dead Can Dance the Clan’s dark electro-gothic approach to music quickly became the benchmark by which all other bands to follow were judged. Prior to their 4AD days, Clan of Xymox released “Subsequent Pleasures” on their own label in a limited run of 500 vinyl copies. Their self titled debut, released in 1985 on 4AD, was highlighted by the club classics “A Day” and “Stranger“. In 1987, the band was included on 4AD’s popular “Lonely as an Eyesore” compilation with “Muscoviet Musquito“, as well as releasing their darker follow-up CD, “Medusa” and the 12 inch “A Million Things“.

In 1988, Clan of Xymox changed labels, moving to Wing, a subsidiary of PolyGram, and shortened their name to Xymox. Modifying their sound to appeal to a larger audience, their 1989 debut record for Wing, “Twist of Shadow“, sold in excess of 300,000 copies. Following up the album was three extremely successful 12 inches: “Obsession”, “Imagination”, and “Blind Hearts“. “Phoenix” followed two years later, but without the same clout as their three predecessor albums.

After leaving Wing in the early nineties, Xymox became the sole signing to the independent label, Zok Records. They released four recordings, primarily in the dance genre: “Metamorphosis”, “Headclouds”, one remix CD, and they re-released “Subsequent Pleasures“.

In 1997, the band reclaimed their original name, Clan of Xymox, and began the work of reclaiming their original sound and glory. “Hidden Faces“, produced by Dave Allen (of Sisters fame) and John Rivers (of Love and Rockets note) hearkened back to the 4AD years, and although it did not completely regain the power of their initial sound, it was clearly the best work they had done since “Medusa”. This release was followed by a number of American and European dates, including co-headlining the Zillo and Leipzig festivals in Germany. In relation to these intriguing live shows, Pandemonium records released two singles “Out of the Rain” and “This World” which rose to the top 10 in the German Independent Charts.

In 1999, Clan of Xymox signed on with Metropolis Records, and delivered “Creatures” to a public that had been waiting for the true follow-up to 1985’s “Clan of Xymox” album for 14 years. “Creatures” not only captures the sound of their amazing debut (which has also been reissued in 1999 along with “Medusa”), but infuses it with the dark rock and Gothic guitar styles of such masterful bands as The Sisters of Mercy.

2000 marked a first for the Clan of Xymox. After thousands of requests from fans for a live album, Clan of Xymox returned with “Live“, a double live CD which featured nineteen tracks and two videos. All of the tracks were recorded during their Central and South American tour in 1999. A re-issue of the ever increasingly hard to find Subsequent Pleasures EP featuring many obscure pre-4AD demos, as well as a new single, “Liberty,” followed.

Metropolis’s second studio album by the Clan of Xymox was 2001’s “Notes from the Underground.” A double remix CD was released the year after titled “Remixes from the Underground,” featuring the mixing talents of Front 242, Beborn Beton, Iris, Assemblage23 and many more. Clan of Xymox spent the two years following “Notes from the Underground” to work on the next record, “Farewell,” which was released in 2003.

One year later, the band released their first ‘best of’ CD simply titled, “The Best of Clan of Xymox.” In the words of Ronny Moorings, “The most difficult task was to pick the best of songs…but with the help of our fans who voted for their favorite songs on-line we finally got the resulting tracks… Whilst listening to the final running order as listed here I just got swept from period to period, remembering all kind of people and situations. I am sure you too will have memories with certain tracks, so all I want to say to you now is: cherish your moments in life!

For 2006, Clan of Xymox released the “Weak In My Knees” digital single as a precursor to the album “Breaking Point.” The album exhibited a more mature sound than on its predecessors, and leaned more towards dark rock than gothic rock.

In 2009, the band’s twenty-fifth year, Clan of Xymox presented “In Love We Trust.” The stunning opus adroitly combined the early melancholic 4AD sound of the band with the glimmering synthesizer sounds of the 90s and the power of classic darkwave. Past and present were perfectly combined to showcase the music that has kept Clan of Xymox relevant and popular after all this time. With the release, Clan of Xymox demonstratively returned to its roots while nevertheless remaining up to date. After spending the past two and a half decades forging a path for others to follow in the dark music scene, “In Love We Trust” proves above all that their creative potential is a long way from coming to an end. This holds true with 2011’s Darkest Hour and the covers album Kindred Spirits, a collection of covers from artists that the band cherishes such as the Sisters Of Mercy, The Cure, Depeche Mode, David Bowie, Joy Division, Nine Inch Nails, Test Dept., and more.

In its long and storied history, Clan Of Xymox has developed a signature dark electro-gothic sound that has made the act adored around the world. With the new album, Matters of Mind, Body and Soul, the band explores its signature, melancholic sound, as evidenced by standout tracks such as “I Close My Eyes” and “I’ll Let You Go.”


Vision Video – In My Side (single, out now digitally)

Athens-based post-punk new wave outfit Vision Video present their debut single ‘In My Side’, a shimmery pop number reminiscent of early Cure, along with an equally impressive b-side ‘Inked In Red’.

Vision Video is vocalist and guitarist Dusty GannonEmily Fredock on vocals and keys, drummer Jason Fusco (Shehehe), and bassist Dan Geller (I Am the World Trade Center, The Agenda). These tracks were recorded and mixed by Tom Ashton (The March Violets, Clan of Xymox) at Sub Von Studios, and mastered by Joel Hatstat at High Jump Studio.

Not afraid of the dark, Video Vision pays homage to 1980s new wave and gothic-rock with heavy influence from 2000s emo and disco punk. They synthesize a masterful blend of gothic rock, shoegaze, pop and punk rock. With depth and originality, they aren’t afraid to write a hook, resulting in their own unique flavor of accessible and dancey goth-pop.

Having served in war-torn Afghanistan as an Army Infantry Officer, an experience that left an indelible mark on his psyche, Gannon returned home to serve on a new frontline as paramedic and firefighter. These experiences inform Vision Video’s songwriting, resulting in a serious look at the dark side of humanity processed through a retro-goth filter.

“Lyrically, ‘In My Side’ is about trying to find normalcy in relationships that are inherently toxic or detrimental. I think it’s easy to conceptually understand that someone isn’t right or healthy for you, but the reality is often so much more complicated because we don’t choose who we love. I likened this to being hunted down by a serial killer in the song. It’s also sort of my homage to 80’s horror and slasher flicks. The idea is that you can try all you might to get away from this person, but sometimes there’s no denying it, no running from those feelings, despite the red flags,” says Dusty Gannon.

“B-side ‘Inked in Red’ is a song I wrote about trying to find meaning in post-war life. I was trained to be a soldier, whose job it is to kill, for such a long time. Once that experience ended, I had a lot of difficulty seeing myself fitting into civil society. This is a song about feeling like you’re just in the wrong place and time, and that it’s just not ever going to change, even though you’re doing everything you can to find new meaning and contentment.”

Vision Video formed in March 2018, named for a now-defunct local video rental store out of nostalgia for a fave Friday night ritual of renting horror movies, thereby keeping a piece of Athens history alive through the band’s name. Their music is influenced by Bauhaus, Joy Division, The Cure, The Smiths, Type O Negative, The Clash, Washed Out and New Order.

Dusty Gannon explains how things came together: “I worked with Jason at the Georgia Theatre bar and told him about some goth-rock and post punk songs I had been working on. He was quick to offer to play some drums. Eventually we had quickly written 3 or 4 songs very organically and effortlessly. Dan heard about us through mutual friends. He had sworn to never play in another band, but we brought him out of retirement, so to speak.”

Emily soon joined and everything came full circle. “I used to sneak into Go Bar to see Dan DJ parties and play with his synthpop band ‘I Am the World Trade Center’. I was fascinated by how well they got a crowd going. It had a huge impact on my desire to play music. Little did I know I’d be close friends and in a band with him 12 years later,” says Gannon.

“I met Tom Ashton at a Goth Night that I DJed a few years ago. I have been a big fan of The March Violets since I was a teenager. Pretty bad-ass to record with someone whom wrote music that helped shape your musical taste.”

‘In My Side / Inked In Red’ is out now across digital platforms, including Apple Music and Spotify. Their debut album is expected later this year.

Written by Dusty Gannon
Performed by Vision Video
Recorded and mixed by Tom Ashton (March Violets, Clan of Xymox) at Sub Von Studios.
Mastered by Joel Hatstat at High Jump Studio

Dusty Gannon – Vocals and Guitar, Emily Fredock- Vocals and keys, Jason Fusco- Vocals and drums, Dan Geller – Bass

7″ Single Cover Art by Ryan Dunn
Photos by Jaysen Michael of Secret Playground Photography

Keep up with Vision Video
Bandcamp | Facebook | Instagram | YouTube | Soundcloud | Spotify | iTunes |  Press contact


You can watch here the documentary about Klaus Nomi, “The Nomi Song”

I discovered today a link for “The Nomi Song” the only Klaus Nomi documentary available out there.


The documentary is directed by Andrew Horn.

Andrew Horn was born on September 16, 1952. He is known for his work on The Nomi Song (2004), Doomed Love (1984) and We Are Twisted Fucking Sister! (2014). He died on August 24, 2019 in Berlin, Germany.

Among the people that speak about Klaus Nomi is American singer, songwriter, musician, poet and artist Kristian Hoffman from NY, member of Mumps, The Swinging Madisons and Bleaker Street Incident bands that were active in late ’70s and through the ’80s.

Also Ann Magnuson, a performance artist and one-half of the founding members of the former psychedelic rock group Bongwater. The characters she has played before-the-camera include, David Bowie’s victim in the vampire film in “The Hunger” (1983), a cigarette girl in Susan Seidelman‘s independent film “Desperately Seeking Susan” (1985), Mel Gibson‘s greedy, money-driven ex-wife in “Tequila Sunrise”, a madam in “Tank Girl” and a real-estate agent in “Panic Room” (2002).

Storyline taken from IMDB – Written by George Darley

Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin’s Deutsche Opera, he would serenade the staff after the ‘real’ performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late ’70’s East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, first launching himself upon an unsuspecting public at the New Wave Vaudeville in 1978. The hip and cynical young audience was stunned by this weird combination of falsetto arias, booming classical orchestration, Kraftwerk-style electronica, futuristic costumes and outer space imagery. An odd assortment of artists, choreographers, designers, songwriters and musicians jumped on to the Nomi bandwagon and the phenomenon began to take off – first attracting thousands to South Manhattan events (including performances at the legendary Max’s Kansas City) and culminating in a recording contract with the French division of RCA. With the release ‘Klaus Nomi’ in 1981 and ‘Simple Man’ in 1982, it looked as if Nomi was on the verge of superstardom. Having established himself in Europe, he made a triumphant return to New York City. But Nomi’s moment of glory proved to be his swansong. Within only a few months Nomi had succumbed to the ravages of AIDS. One of the first celebrities to be killed by this mysterious new disease, Nomi died a lonely death, largely abandoned by those who had seen him as a passport to their own success. Today, the otherworldliness of ‘The Cold Song’ and ‘Dido’s Lament’ is like an ethereal voice calling from beyond the grave.

Enjoy the documentary here


Ελληνικό Punk: Μια pub διαφορετική απο τις άλλες

Η δεκαετία του ’80 είχε κάποια στέκια με ιδιαιτερότητα. Ήταν κάποια μαγαζιά που συχνάζανε πάνκηδες και new wave άτομα και ένα απο αυτά ήταν το Pub Blue Note στην οδό Ίμβρου κοντά στην Πλατεία Αμερικής.

Pub Blue Note menu


(Οι τιμές είναι σε δραχμές φυσικά, ενδεικτικές του κόστους της εποχής…)

Το μαγαζί ήταν ένα νεοκλασικό, μια μονοκατοικία με κάποια δωμάτια δεξιά και αριστερά της εισόδου, ένα μεγάλο σαλόνι στο οποίο υπήρχε το μπάρ στα δεξιά και άλλο ένα δωμάτιο στο βάθος το οποίο είχε τηλεόραση και έπαιζε μερικές φορές βιντεοκασέτες με ξένα συγκροτήματα.

Το σημείο στο οποίο άνοιξαν το μαγαζί ήταν λουκούμι για τις παρέες εκείνων που άραζαν στην Πλατεία Χαλεπά, καθώς και εκείνων που περνάγανε την ώρα τους στα Goody’s της Φωκίωνος Νέγρη.

Φυσικά ήταν ιδανική η θέση του και για όσους έμεναν στο κέντρο.

Εγώ με την παρέα μου πηγαίναμε στο δωμάτιο με την τηλεόραση που βρισκόταν στο βάθος για να δούμε κανα συγκρότημα και επειδή ήμασταν πάντα άφραγκοι, προσπαθούσαμε να μπερδέψουμε τον νεαρό που ερχόταν για να πάρει παραγγελία, λέγοντάς του «θα παραγγείλω σε λίγο» και με το που έφευγε πηγαίναμε και καθόμασταν σε άλλο μέρος του μαγαζιού.

Όταν μας ξανάβρισκε του λέγαμε τα ίδια και ξανα-μανά αλλάζαμε θέση.

Επειδή είχε μουστάκι, έπεφτε σύρμα πως «έρχεται ο μουστάκιας». Ποτέ δεν έτυχε να μάθω το όνομα του ανθρώπου…

Κάποια στιγμή φυσικά παίρναμε κάποιο ποτό αλλά είχαμε ήδη ροκανίσει τον χρόνο.

Κώστας Starman / Elton

Υπήρχαν άλλες φορές που πήγαινα και καθόμουν στα σκοτεινά με τον Δημητράκη και τον Κώστα από τους Αούσβιτς,

Δεν μπορείς να πεις πως το μαγαζί έπαιζε πανκ, περισσότερο post-punk, Siouxsie & the Banshees, Bauhaus και new wave έπαιζε.

Δεν ξέρω γιατί πήρα μαζί μου αυτόν τον μικρό κατάλογο. Απο εφηβική αφέλεια φαντάζομαι. Τον ποστάρισα και πριν κάμποσα χρόνια εδω στο Tribe4mian και να που έγινε η αφορμή σήμερα να ρωτήσω τον Κώστα τον Starman που πέρασε κι απο εκεί σαν DJ, να μου πει καμιά ανάμνηση του:

«Το Blue Note μετά άλλαξε όνομα σε Muswell’s» είπε ο Κώστας και πραγματικά, αυτό το θυμάμαι κι εγω. «Θυμάμαι πως σύχναζαν οι South of No North, Forward Music Quintet, Alive She Died, Last Drive, o Λωρης απ τη Di Di Music, o Δασκαλόπουλος κ.α. Εγω επαιζα μουσική από το ’84 μέχρι το ’87 περίπου…» συνέχισε.

Νομίζω πως από κάποιο σημείο και πέρα άρχισα να αραιώνω τις επισκέψεις μου γιατί ήταν μακριά απο εκεί που έμενα και άρχισα να πηγαίνω στο Ελλάς, ένα καφενείο στο Παγκράτι, λίγο πιο πάνω απο το Bright Shoe, με την παρέα των Film Noir.

Ρώτησα τον Κώστα αν έχει να μου δώσει καμιά φωτογραφία του Blue Note ή του Muswell’s απο την εποχή εκείνη.

Τι στο καλό; Εδω το άτομο έχει βγάλει φωτογραφίες τον Joe Strummer στο backstage του Rock In Athens και τους Bauhaus στο Σπόρτιγκ, δεν θα έχει απο εκείνο το Blue Note / Muswell’s;

Και να ομολογήσω πως έχω σκεφτεί, οτι επειδή έχω δεί κατα καιρούς αρκετές φωτογραφίες που έχει τραβήξει, μάλλον είχε μια έφεση σε αυτό.

Πραγματικά ξέθαψε κάποιες φωτογραφίες, αυτήν εδώ την αφίσα του Muswell’s και είχε την καλοσύνη να μου δώσει μερικές να τις χρησιμοποιήσω σε αυτό εδώ το κείμενο.

Με τούτο και με εκείνο, θυμήθηκα πως είχαν παίξει και οι South of No North κάποιο βράδυ εκεί μέσα και ο Κώστας μου είπε πως έχει ο Tax μια αφίσα εκείνης της βραδιάς.

Ρώτησα τον Tax και… voilà…

Είχε δίκιο, οπότε και ο Tax είχε την καλοσύνη να μου δώσει κι αυτός αυτήν εδώ την φωτό απο την εμφάνιση των South στο Muswell’s Pub, στις 13 Μαρτίου του 1987

Τόσες φωτογραφίες και αναμνήσεις με την ευκαιρία ενός χαζού καταλογάκου που σούφρωσα απο ενα μαγαζί πριν 30+ χρόνια..


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Η νέα κυκλοφορία των NØIR

Οι NØIR έχουν σαν βάση τους την Νέα Υόρκη και η τελευταία τους κυκλοφορία έγινε το 2017.

Αυτή την εποχή ετοιμάζονται να κυκλοφορήσουν ενα ΕΡ με έξι τραγούδια που θα τιτλοφορείται “A Pleasure“.

Ο ραφιναρισμένος σκοτεινός ηλεκτρονικός ήχος τους ολοκληρώνεται με την φωνή του τραγουδιστή Athan Maroulis (έχει υπάρξει μέλος των Spahn Ranch και Black Tape for a Blue Girl) και με την συμμετοχή στο programming του παραγωγού Erik Gustafson (απο τους Adoration Destroyed και Grendel),της Kai Irina Hahn (των The Sedona Effect) στα πλήκτρα και τα φωνητικά, καθώς και της Demetra Songs, επίσης στα πλήκτρα και τα φωνητικά.

Το “A Pleasure” συμπεριλαμβάνει το τραγούδι “A Pleasure to Burn” με ρεμιξ απο τους FIRES και το συγκρότημα Seeming καθώς και ενα νέο τραγούδι με τίτλο “Luxury” γραμμένο με τον Jean-Marc Lederman (των Weathermen) και με την Tracey Moth (των Antidote for Annie) στο τσέλο.

Αφιερωμένη στην γνωστή Αγγλίδα ηθοποιό Julie Christie, αυτή η κυκλοφορία συμπεριλαμβάνει ακόμα, μια διασκευή του τραγουδιού του Fad Gadget,Back To Nature“.

Το “A Pleasure” θα κυκλοφορήσει ψηφιακά απο την Metropolis Records στις 15 Νοεμβρίου και για να προωθήσουν την κυκλοφορία οι NØIR θα κάνουν μια σειρά εμφανίσεων.


Athan Maroulis

Η φωνή του Athan Maroulis θα είναι για πάντα συνδεδεμένη με το επιδραστικό τρίο απο το Λος Άντζελες, Spahn Ranch. Μέσα από πέντε άλμπουμ με κορυφαία τραγούδια όπως το “Vortex” και το “Heretic’s Fork” οι Spahn Ranch υπηρέτησαν την industrial σκηνή των ‘90s με μια τολμηρή μίξη από σοφιστικέ ηλεκτρονικούς ήχους με σκοτεινή διάθεση.

Μετά την διάλυση του συγκροτήματος ο Athan επέστρεψε στην Νέα Υόρκη όπου έκανε ένα διάλειμμα από την μουσική για σχεδόν μια δεκαετία πρίν να ενταχθεί στο δυναμικό των Black Tape for a Blue Girl για δύο άλμπουμ και εμφανίσεις από το  Austin μέχρι το Βουκουρέστι.

Κατόπιν,δημιούργησε τους NØIR σαν ένα project που θα συνδύαζε το industrial και Goth παρελθόν του Athan με το ηλεκτρονικό παρόν.

Οι NØIR πρωτοεμφανίστηκαν με το σιγκλ “My Dear” στα τέλη του 2012, για να ακολουθήσει το 2013 το επιτυχημένο άλμπουμ “Darkly Near” για το οποίο το περιοδικό Side Line έγραψε πως  “οι NØIR είναι το πιό οικείο electro σχήμα απο οσα έχει συμμετάσχει ο Athan Maroulis. Ακούγονται σαν να αποκαλύπτει τις πιό προσωπικές του σκέψεις, μεταφερμένες με ηλεκτρονική χάρη και μουσική ποίηση“.

Προσθέτοντας στην σύνθεση την Demetra Songs και την Kai Irina Hahn, και οι δύο στα δεύτερα φωνητικά και τα πλήκτρα, οι NØIR ξεκίνησαν τις ζωντανές εμφανίσεις στην Νέα Υόρκη αλλά και στις υπόλοιπες ΗΠΑ.

Το 2014 ολοκλήρωσαν το βίντεο του τραγουδιού “My Dear” και ακολούθησε το βίντεο του “Timephase” μαζί με την κυκλοφορία του RE:MIT:TENT, το οποίο περιείχε ρεμίξ απο τους Assemblage 23, Dead Voices On Air, Ludovico Technique και πολλούς άλλους.

Το 2016, οι NOIR με το “The Burning Bridge” το οποίο ήταν αφιερωμένο στον David Bowie, σύστησαν τον συνεργάτη τους Erik Gustafson (16volt, Adoration Destroyed).

Συμπεριλαμβάνοντας το τραγούδι του τίτλου και την διασκευή ενός τραγουδιού των Ministry από το 1982 που είχε τον τίτλο  “Same Old Madness” καθώς και μια διασκευή του “The Chauffeur” των Duran Duran, η κυκλοφορία ολοκληρωνόταν με την διασκευή που έκαναν οι NØIR στο “In Every Dream Home A Heartache” των Roxy Music ηχογραφημένη ζωντανά στον ραδιοφωνικό σταθμό WFMU το 2013.

Το 2017 κυκλοφόρησε ενα βίντεο για το “The Burning Bridge” και την ίδια χρονιά το συγκρότημα ηχογράφησε την διασκευή του “Back To Nature” για μια συλλογή-φόρο τιμής στον Fad Gadget με τίτλο “Under What Flag“.

Η Πέμπτη κυκλοφορία των NØIR, “Reburning” συμπεριλαμβάνει διάφορα ρεμίξ του “The Burning Bridge” απο τους The Rain Within, Decoded Feedback, Panic Lift με ενα αποκλειστικό ρεμιξ στο “Same Old Madness” απο τους Bestial Mouths.

Ακόμα, στο “Reburning” συμπεριλαμβάνεται μια ακουστική εκτέλεση του τραγουδιού “The Burning Bridge” ενορχηστρωμένη απο τον κιθαρίστα Ron Cardazone με την συμμετοχή της τσελίστριας Tracey Moth.

Μπορείτε να παραγγείλετε το “A Pleasure” απο την σελίδα των NØIR στο Bandcamp.


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Οι Goodbye Mr MacKenzie, η πρώτη μπάντα της Shirley Manson, ανακοίνωσαν την επανακυκλοφορία του πρώτου τους άλμπουμ

Ένα από τα πιο γνωστά ροκ συγκροτήματα της Σκωτίας, οι Goodbye Mr MacKenzie θα επανακυκλοφορήσουν το πρώτο τους άλμπουμ “Good Deeds and Dirty Rags”. Ορμώμενοι από τη μεγάλη επιτυχία της περιοδείας τους για την επέτειο των 30 χρόνων τους, κάνουν μια επανέκδοση σε βινύλιο και CD το άλμπουμ απο το οποίο ξεκίνησαν όλα. Ο ήχος εχει ξαναμαστεραριστεί και για τα δύο format στα οποία θα κυκλοφορήσει. Η CD έκδοση θα περιλαμβάνει 3 επιπλέον κομμάτια από αυτά τα πρώτα χρόνια, τα οποία δεν συμπεριλήφθηκαν στην αρχική κυκλοφορία.

Στην σύνθεση της μπάντας ήταν ο Martin Metcalfe στα φωνητικά, ο John Duncan στην κιθάρα (έπαιζε στην πρώτη σύνθεση των Exploited απο το 1979 ως το 1984, ως “Big John”), ο Fin Wilson στο μπάσο, η Shirley Manson και η Rona Scobie στα πλήκτρα και στα φωνητικά ενω ο Derek Kelly ήταν στα τύμπανα.

“Αυτή η επανέκδοση του Good Deeds ήταν τόσο μεγάλη έκπληξη για εμάς όσο και για ολους τους άλλους. Πήραμε μια γρήγορη απόφαση να επανασυνδεθούμε τον Ιανουάριο και απο τότε βρισκόμαστε σε περιοδεία. Μας πήρε χρόνο να αποκτήσουμε τα δικαιώματα της επανέκδοσης, αλλά τώρα που τα πήραμε είμαστε πραγματικά ευχαριστημένοι. Στις συναυλίες οι οπαδοί μας φέρνουν τα πάνω – κάτω, τραγουδώντας μαζί μας κάθε λέξη », λέει ο Martin Metcalfe.

Goodbye Mr MacKenzie (1989) – photo by Simon Fowler

Τριάντα χρόνια είναι μισή ζωή πίσω, αλλά αισθανόμαστε πως οι στίχοι μας εξακολουθουν να έχουν σημασία. Δύο τραγούδια, το “Good Deeds” και το “Goodwill City” τελειώνουν με στίχους σχετικά με την ψεύτικη γνώση που μας δίνουν στην εποχή μας και είναι πολύ σχετικά με τα σύγχρονα “fake news”. Αλλα τραγούδια μας, εξετάζουν το φαινόμενο της τότε ανόδου της χριστιανικής δεξιάς στις ΗΠΑ και τον τρόπο με τον οποίο τα ΜΜΕ πληρώνουν τους λογαριασμούς τους εκμεταλλευόμενοι τις τραγωδίες… Όλα αυτά συμβαίνουν και τώρα. Ζούμε σε τρομακτικές εποχές και το αποκαλυπτικό τοπίο του LP φαίνεται να το αντικατοπτρίζει αυτό.”

Το “Good Deeds and Dirty Rags” ήταν το πρώτο album των Goodbye Mr MacKenzi, το οποίο κυκλοφόρησε το 1989. Έφτασε στο νούμερο 16στα chart της Μεγάλης Βρετανίας και η μπάντα γρήγορα προσέλκυσε ενα μεγάλο πιστό ακροατήριο οπαδών βόρεια των Αγγλικών συνόρων. Απίστευτες ζωντανές εμφανίσεις και singles όπως το ‘The Rattler‘ που μπήκε κι αυτο στα 50 πρώτα, στερέωσαν περισσότερο το συγκρότημα στις καρδιές πολλών.

Μια πολύχρωμη και ποικίλη σταδιοδρομία ακολούθησε με την κυκλοφορία άλλων 2 άλμπουμ μέσω μεγάλων εταιριών, μπήκαν κι άλλα singles τους στα Βρετανικά chart, συνεργάστηκαν και ηχογράφησαν με μέλη των Talking Heads και περιόδευσαν κάνοντας συναυλίες με συγκροτήματα όπως οι Blondie, οι Ramones, οι BAD, οι Afghan Whigs, οι Aztec Κάμερα και άλλοι.

Goodbye Mr MacKenzie – photo by Andrew Barr

Όπως αναφέρει η λίστα με τα 50 μεγαλύτερα σκωτσέζικα συγκροτήματα, “Οι MacKenzies άφησαν πίσω από το πιο περίπλοκο και συναρπαστικό αποτύπωμα απο οποιαδήποτε άλλη σκωτσέζικη μπάντα. Στα live ήταν εκπληκτικοί. Ο ηγέτης τους. Ο τραγουδιστής Martin Metcalfe έμοιαζε με MC κάποιου ιδιαίτερα εξωφρενικού θιάσου. Ενώ οι Σκωτσέζοι ομολόγοι τους εμπνέονταν απο την soul και τους Steely Dan, οι MacKenzies έπαιρναν την έμπνευσή τους απο τους Pixies και τους Birthday Party ».

Σχηματισμένοι στο Bathgate, κοντά στο Εδιμβούργο, οι Goodbye Mr MacKenzie εμφανίστηκαν στο προσκήνιο στα τέλη της δεκαετίας του 1980, και υπέγραψαν με την Capitol Records μετά την κυκλοφορία των δύο πρώτων τους singles σε ανεξάρτητες εταιρίες. Αεικίνητοι, κυκλοφόρησαν συνολικά 6 άλμπουμ πριν τελικά μεταμορφωθούν σε Angelfish στις ΗΠΑ με τη σύνθεση των Manson, Metcalfe, Wilson και Kelly και με την  Manson να αναλαμβάνει τα φωνητικά.

Οι Goodbye Mr MacKenzie έδωσαν την τελευταία ζωντανή τους συναυλία στα τέλη του 1995 και η Shirley Manson έφυγε για να κάνει τεράστια επιτυχία με τους Garbage, ενώ οι Martin Metcalfe, Derek Kelly και Fin Wilson επέστρεψαν στη Σκωτία για να σχηματίσουν τους Isa and The Filthy Tongues. Τώρα λέγονται απλά The Filthy Tongues, ένα τρίο που εξακολουθεί ακόμα να ευδοκιμεί. Ο Big John Duncan έγινε τεχνικός των Nirvana και έπαξε κιθάρα μαζί τους στην συναυλία που έδωσαν το 1993 στο Roseland Ballroom, της Νέας Υόρκης, και συνεργάστηκε ακόμα με τους Twisted Sister, τους Foo Fighters και τους Ministry.

Το “Good Deeds and Dirty Rags” θα κυκλοφορήσει μέσω της Neon Tetra Records την 1η Νοεμβρίου. Ενώ μερικά από τα κομμάτια από την αρχική έκδοση κυκλοφορούν στο Spotify, η νέα εκτεταμένη και remastered έκδοση διατίθεται αποκλειστικά από το κατάστημα της μπάντας.

Μετά από μια σειρά από sold-out πρόσφατες εμφανίσεις, οι Goodbye κ. MacKenzie θα κάνουν περισσότερες συναυλίες αργότερα φέτος στη Σκωτία και την Αγγλία. Μέχρι τότε, οι Filthy Tongues φαίνεται επίσης να έχουν μια σειρά από εμφανίσεις τον Σεπτέμβριο.

01  Open Your Arms
02  Wake It Up
03  His Masters Voice
04  Goodwill City
05  Candlestick Park
06  Goodbye Mr Mackenzie
07  The Rattler
08  Dust
09  You Generous Thing
10  Good Deeds
11  Open Your Arms (1987 Demo) – bonus track
12  Diamonds (1987 Demo) – bonus track
13  You Generous Thing (1987 Demo) – bonus track

All tracks produced by Mack, except ‘Wake It Up’ produced by Terry Adams
‘Goodwill City’ and ‘Good Deeds’ initial production by Terry Adams, additional production and mixing by Mack
‘Goodbye Mr Mackenzie’ initial production by Kevin Maloney, overdubs by Terry Adams
and additional production and mixing by Mack
‘The Rattler’ production by the Mackenzies, extra production and mixing by Mack
Recorded in Munich , West Germany and Edinburgh, Scotland
Neon Tetra Records. Licensed from Capitol Records/UMusic 2019

Photography by The Douglas Brothers
Sleeve design by Goodbye Mr Mackenzie/Peter Barrett & Andrew Biscomb
2019 Art Refresh by David Wells

Martin Metcalfe – vocals
John Duncan – guitar
Fin Wilson – bass guitar
Shirley Manson – keyboards and backing vocals
Rona Scobie – keyboards and backing vocals
Derek Kelly – drums
Demos produced by Terry Adams 1987
Guitars on demos by Jimmy Anderson
Additional bass on demos by Neil Baldwyn

Sept 12  Aberdeen, Scotland – The Tunnels (as The Filthy Tongues)
Sept 13  Edinburgh, Scotland – The Voodoo Rooms (as The Filthy Tongues)
Sept 15  Dundee, Scotland – Church (as The Filthy Tongues)
Sept 19  Dunfermline, Scotland – PJ Malloys (as The Filthy Tongues)
Sept 20  Glasgow, Scotland – Oran Mor (as The Filthy Tongues)
Nov. 02  Middlesbrough, England – Westgarth
Nov. 08  London, England – Dingwalls (with The Cesarians, Seil Lein)
Nov. 09  Corby, Northamptonshire, England – The Raven
Dec. 20  Glasgow, Scotland – Barrowlands  SOLD OUT

New photos by Karen Lamond
Album photo by The Douglas Brothers
Brandenburg Gate promo photos by Martin Becker
Old black and white photo by Andrew Barr
Old colour photo by Simon Fowler
Capitol Records photo by Kate Garner

Keep up with Goodbye Mr Mackenzie
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LUCKYANDLOVE – Transitions (SRD – Southern Record Distributors 24 May 2019)

LA synthwave duo LUCKYANDLOVE announce new LP, preview single ‘Soul Alive’

Los Angeles’ LUCKYANDLOVE have announced their sophomore album ‘Transitions’, slated for release in late May. Offering 10 new tracks in this sonic neon rainbow, listeners will be immersed in a spectrum of fuzzy sunset synthgaze, blueblack neon darkwave, and tigerprint electro punk. Ahead of this, the duo are previewing the first single of this album – ‘Soul Alive’.

This album takes you on a mulit-city adventure. Within the recesses of your mind, you’ll find yourself jetting around to Chicago, LA, and DC… in a pop underground, clubbing in Chinatown, basking in the south of France, moonlight trekking in a Burmese jungle, having a spiritual love connection, or provoking the DMT molecules that are naturally inside you.

LUCKYANDLOVE is vocalist & multi-synth-pedal-instrumentalist April Love and drummer & multi-synth instrumentalist Loren Luck. Originally from Silver Lake, California, the band formed in 2014, named for The Good Luck bar, where they met. Many mai tai’s and 2 full-length records later, the band is now set for this new release, along with third west coast tour and first UK tour.

“This is a very transformational record. Making it was an emotional journey with both heart-breaking and fun experiences because we are always in transition,” says Loren Luck.

This album follows up the synthtastic debut album ‘Lucky+Love’ and debut video for ‘Digging in the Earth’. As with their debut, the duo reconded ‘Transitions’ with Grammy winning engineer Be Hussey of The Comp-ny Studio, going to extremes in writing and performing live on this record, often finishing songs in one complete take.

Continually inspired by 21st century music from Chromatics, Washed Out, Tycho and Phantogram and still obsessed with UK 20th century gems from Cocteau Twins, Human League, Gary Numan, LUCKYANDLOVE’s sound dichotomy is dancing with darkwave vs. synthwave, electropunk vs. indiepop, electronica vs. dreamgaze. This electronic music often sounds indie because their Kraftwork-like analog control voltage synth layers are often remIniscent of noise pop guitars.

“We’re having fun; at same time, there’s much reflection on fun moments, like dancing in clubs or going to the beach… But we transition, going deeper into the unknown. On our first debut record, there were a lot of sky and space concepts introduced. For this second album, we get down right spooky. Like my brain keeps imagining a transition into ‘rainbow body’ while I’m playing ‘Soul Alive'”  says April Love.

“I play typical loud and bassy, control filter synths, and Loren has psycho beats and our spoon bending lyrical concepts brush up against danger, and suspense like in ‘Dangerous Run Away’. These songs are up for interpretation cause this ride is totally up to you.”

With support globally from Southern Record Distributors and Forced Exposure, the ‘Transitions’ LP will be released on May 24 and will be available from a record store near you. In the meantime, it can also be pre-ordered via Bandcamp.

LUCKYANDLOVE will be supporting their new album with a string of live West Coast dates that kick off on March 30 at Synthplex L.A., the West Coast’s favorite analog synth festival and exhibition, which will also be featuring such music legends as Thomas Dolby. In June, their adventures bring them to the UK, where they will perform at London’s Synthwave Live Festival, co-headlining with B-Movie, among other appearances. More dates will be announced soon.

1.  Soul Alive
2.  Animal (Wanna See You)
3.  Dangerous Runaway
4.  Bottomline
5.  Dancing Alone Again
6.  Summertime Frolic
7.  It’s a Mistake
8.  Telekinesis
9.  Medicine Woman
10. Rosary

Mar 30 Burbank, CA – Synthplex L.A. Mariott Convention Center
Apr 2  Oakland, CA – The Golden Bull
Apr 3 Redding, CA – Armamdo’s Gallery House
Apr 5  Portland, OR – Out From the Shadows Festival, Tonic Lounge
Apr 6  Olympia, WA – Le Voyeur
Apr 7  Santa Cruz, CA – The Crepe Place
Apr 13  Highland Park, CA – Highland Park Bowl
Apr 27 Pioneertown, CA – Deathwave Festival
May 16 Los Angeles, CA – Downtown L.A. Art Walk, The Lash
May 24 Lost Angeles, CA – Record Release Show, Pop Obscure Record Store
June 22 London, UK – Synthwave Live 3, Electrowerkz
June 24 Manchester, UK – The Peer Hat
June 26 Sheffield, UK – The Mulberry Bar

Website | Facebook | Store | Soundcloud | YouTube | Instagram | Twitter | Spotify | Bandcamp

Keep up with SRD – Southern Record Distributors
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Posted by on March 29, 2019 in New Wave / Dark Wave


She Past Away U.S. Tour Dates Announced

photo by marilia fotopoulou

She Past Away have just announced a string of tour dates for North America with more shows to be announced soon.

These tour dates coincide with Metropolis Records reissuing both “Belirdi Gece” and “Narin Yalnizlik” from this beloved Turkish band.

Both of these albums will be released on January 18th, 2019 on CD, limited edition vinyl and through all digital formats.

July 17th-Brooklyn, NY @ Brooklyn Bazaar
July 18th-Chicago, IL @ Chop Shop
July 19th-Tampa, FL @ Crow Bar
July 20th-Austin, TX @ Elysium
July 26th-San Diego, CA @ Brick By Brick
July 27th-San Francisco, CA @ Neck of the Woods
July 28th-Los Angeles, CA @ Echoplex

Keep up with She Past Away

Facebook | Official Site | Metropolis Records

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Posted by on January 17, 2019 in New Wave / Dark Wave


Metropolis Releases Cabaret Voltaire Tribute Compilation This Week

Occupying the middle ground between punk and industrial, there was a British music group from Sheffield, England called Cabaret Voltaire.

While their earliest performances were Dada-influenced performance art, Cabaret Voltaire went on to blend pop with dance music, techno, dub house and experimental electronic music, evolving into one of the most prolific and important groups of their time. While their tenure was short, their impact was no less profound and influential to the bands they would help to shape in the future.

It is with this in mind that, “WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)“, was conceived.

Bringing together bands such as: AkA, Bestial Mouths, Bioassay, Black Agent, Canter, Elegant Machinery, God Module, Having Issues, Kriistal Ann, Maleagant, Manufactura, Microchip Junky, Mirland/Larsen, Missing Witness, NØIR, PulseWidthMod & Databomb, Snowbeasts and SØLVE.

Eighteen bands with different approaches to music, joined by the common thread of paying a respectful homage to one of the progenitors that they all owe a small piece of their sound to. “WHY KILL TIME (WHEN YOU CAN COVER CABARET VOLTAIRE)” will be available digitally through Metropolis on October 19th, 2018.

Click HERE for pre-orders