Blanck Mass is a one-man electro powerhouse – Benjamin John Power. Mr. Power was one half of Fuck Buttons and is now making his own stunning dark electro. His material is full of heavy bass, horror movie synths, and exciting beats. I’ve wanting to see him for a couple years now, so I’m glad to have the opportunity at Levitation Chicago on March 11th.
Keep your mind open.
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Health (Benjamin Jared Miller, Jake Duzsik, John Famiglietti, Jupiter Keyes) are a noise rock / dark wave band full of powerful drums, purposefully vague vocals, dubstep synths, and metal guitars. It’s hard to describe without hearing it, but there’s a heavy sense of danger whenever a Health song is played. It sounds like a fight is either happening or about to break out any second.
Health’s playing at Levitation Chicago on March 10, 2016. I’m sure it will be a wild set.
Keep your mind open.
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[Rewind Reviews are reviews of albums over a year old that I haven’t heard until now.]
You know a John Carpenter film score as soon as you hear it. His themes for Halloween, Escape from New York, and The Fog (among others) are unmistakable. He, his son, Cody Carpenter, and his godson, Daniel Davies, all got together without interference or input from any film studio and put together Lost Themes – an outstanding collection of instrumental music ideal for films never made.
The album’s opener, “Vortex,” is perfectly titled. Its mournful piano, synths beats, and electro bass pull you down into something dark and brooding. Don’t have this on your iPod during the zombie apocalypse. It will cause you to panic and make some stupid decision like opening that door to see what’s making that weird noise.
“Obsidian” is keyboard-heavy, or perhaps I should say the keyboards bring a heavy of paranoia to the room. They build to frantic pitches as prog-rock guitars snake around them, and then they drop out and become something you’d hear inside a theatre during a Dario Argento film. You can’t miss Carpenter’s love of Goblin (Argento’s frequent composers for his films) and their influence on him throughout this record.
“Fallen” is something from a sci-fi film Carpenter has rolling around in his head. The synths and bass are perfect for a spaceship landing sequence and the exploration of the creepy landscape outside the ship. “Domain” keeps up with the sci-fi groove and races at a pace best suited for a post-apocalyptic action film until it turns into a spaghetti western theme for a moment.
“Mystery” opens the second half of the album, plunging you into some frightening place where a masked killer the size of King Kong Bundy is stalking you and not one person is answering as you run down the street banging on every door. “Abyss” is strangely upbeat for the first half, with almost New Age piano and more progressive rock drumming, and oozing with menace in the second half. You could put this at the end credits of nearly any action or sci-fi film in the 1980’s.
“Wraith” conjures up images of its namesake as it moves around you like some ethereal creature. The synths on it are otherworldly and mix with bass that seems to come from an opening dimensional portal. “Purgatory” might be something you’d hear there as you stroll down dark halls and through madness-inducing mazes. The drumming on it is some of the heaviest on the record as the synths hiss at you.
The closer is “Night,” and it’s a horror doozy. It brings to mind gritty dark streets, trench coat-clad vampires, and hideous shapes lurking in shadows. The guitar work on it seems mistuned low, giving it a weird vocal-like effect. The synths invoke images of a setting sun that brings dread instead of wonder or amazement.
Carpenter has announced Lost Themes II will be out April 16th of this year. It’s already high on my must-own list, as this should be on yours.
Keep your mind open.
Dark wave rocker Luis Vasquez, otherwise known as The Soft Moon, has started a GoFundMe campaign after his band’s van was broken into during a gig in Oakland on January 26th. The total loss was well over $10,000 and included not only instruments and Soft Moon merchandise but also luggage and personal effects.
Please consider donating to help them recoup the loss. Go see them on tour if you can’t make a donation, or at least spread the word about the campaign.
Tour dates as of today:
2/1/16 — Portland @ Holocene
2/2/16 — Vancouver @ Venue
2/3/16 — Seattle @ Barboza
2/6/16 – Denver @ Marquis
2/8/16 — Minneapolis @ Amsterdam Bar & Hall
2/9/16 — Chicago @ Thalia Hall
2/10/16 — Columbus @ Rumba Café
2/11/16 — Toronto @ Lee’s Palace
2/12/16 — Montreal @ La Sala Rosa
2/13/16 — Brooklyn @ Market Hotel
2/14/16 — Brooklyn @ Saint Vitus
2/16/16 — Philadelphia @ Boot & Saddle
2/17/16 — New Haven @ Bar
2/19/16 — Pittsburgh @ Cattivo
2/20/16 — Baltimore @ Ottobar
2/21/16 — Norfolk @ Work Release
2/22/16 — Chapel Hill @ Cat’s Cradle
Don’t miss them if you have the chance to see them. A Soft Moon show is a visceral experience.
I haven’t picked up a dark wave record in a long while. The last record that might come close is a Bauhaus collection, and that’s actually a goth record. Chelsea Wolfe’s Abyss is a great way for me to get back into the dark wave game. It’s a stunning, sexy, scary debut.
“Carrion Flowers” slides into your ears with bass and drums you might hear from the armies of Mordor as they cross the Misty Mountains. It grabs your attention and won’t let go. “Iron Moon” moves from Wolfe’s near-lullaby vocals to some of the heaviest doom metal riffs you’ve heard since your last trip to Norway. “Dragged Out” is a great title for the third track, as the bass and pace sound like some…thing dragging itself out of the primordial ooze to bellow at the moon. “Maw” opens with Wolfe’s Dario Argento film-style vocals before floating into a pretty space that reminds me of cathedrals and dust seen in the light through stained glass.
“Grey Days” introduces some cello to excellent effect and keeps the album from having too much low-end guitar as the main force behind Wolfe’s vocals. “After the Fall” could be about a fallen angel. It definitely belongs on the soundtrack to that new Lucifer show because it’s dark and brooding.
“Crazy Love” seems to be Ms. Wolfe’s tribute to Mazzy Star. Her vocals curl around the track like clove cigarette smoke and the instrumentation reminds me of a creaking haunted tall mast ship. “Simple Death” is another quietly disturbing, yet lovely track that shows off Wolfe’s vocal talents. It needs to be on the soundtrack for the Twin Peaks relaunch. “Survive” might be the most haunting song on the record. Wolfe’s vocals are often layered in reverb as the drums and synths build to ritualistic fervor.
“Color of Blood” pays tribute to another woman who has obviously influenced Ms. Wolfe – Siouxsie Sioux. The song is like a snake in a dark corner – dangerous, menacing, and mysterious. The title track closes the record, and it’s complete with creepy, slightly out of tune piano that’s right out of that creepy clown dream you have at least once a week.
The Abyss is a great name for the record, because it’s easy to fall into it and get lost. Wolfe has spoken openly about her struggle with sleep paralysis and how this record is her exploration of her affliction and dreams. It’s like pitching over the edge of the Marianas Trench – terrifying at first and then strangely peaceful as you let it consume you.