This summer has been an interesting time for music.
In my personal life, I’ve dedicated myself to cultivating my baby brother’s blossoming interest in different genres. His journey began with a timid interest in trap metal and currently spans numerous metal subgenres, experimental music and classic punk.
He’s also acquired a taste for 2000s-era emo music.
It’s amusing — and existentially terrifying — to see my fourteen-year-old brother listen to the same razor-edged songs I listened to over eight years ago.
I guess good music (and teenage angst) really does transcend generational gaps.
In the name of broadening his musical horizons, I’ve started taking him to shows. Of these shows was that of Black Bouquet, a Raleigh-based gothic rock band, at Durham’s The Pinhook.
Unfortunately, COVID-19 necessitated the show’s cancellation. So while this article was originally intended to be a concert review, I’ll take the opportunity to shine some light upon an excellent (and underrated) local band.
Black Bouquet
Black Bouquet defines itself with many labels. Among these are “gothic rock,” “post-punk,” “jangle pop” and — what my brother most appreciates — “emo.”
Having listened to most of Black Bouquet’s discography, I definitely see the band as more emo than goth.
I largely attribute this to the work of lead vocalist Violet O, whose beautifully moody voice evokes the sensitivity and raw emotion that defines the emo genre.
Cover for “Haunt Me Once More” by Black Bouquet
The band’s gothic slant derives from their use of synths and melancholic string instruments, with their track “Footsteps” presenting a bass strain reminiscent of Lebanon Hanover’s “Gallowdance.”
However, where Lebanon Hanover delves deep into a cemetary-like gloom, Black Bouquet’s sound is upbeat and transcendent.
Discography
The band debuted in October 2020 with the single “Until You’re Gone,” an exuberant track with jangly instruments and a beautiful harmony between Violet O, drummer Michael Rumple and Violist Laura Mooney.
The EP consisted of “Until You’re Gone,” “Just Kids” and several new tracks.
Cover for “Until You’re Gone” by Black Bouquet
The band’s latest release, their 2022 single “Footsteps,” is another impressive addition to their lamentably short discography.
An energetic, rock-inspired guitar contrasts with a morose and cold bassline before the rhythm takes on a pop-like beat. O explores the harsher side of emo vocals with several evocative screams, which accompany a vigorous guitar and drum combo.
Though “Footsteps” isn’t my favorite Black Bouquet song, it demonstrates the band’s experimentation with different qualities of the genre.
Student radio station WKNC 88.1 FM HD-1/HD-2 and Visit Centennial Campus have partnered for WKNC’s Local Lunch Live, a weekly lunchtime performance showcasing NC State student musicians. The fall series takes place Wednesdays at noon from Oct. 11-Nov. 15 at The Corner, an outdoor venue on the corner of Main Campus and Research Drives. All WKNC Local Lunch Live events are free and open to the public. Bring your lunch or grab a bite at one of the food trucks often parked across the street.
WKNC is actively seeking solo and duo musicians for the event. Email wknc-manager@ncsu.edu to get paid to perform.
This summer, many bands I listen to have been hard at work putting out new releases. Here are my thoughts on three new singles by three great artists.
Vandal Moon
Vandal Moon’s newest single, “Heroine Dancer,” came out on June 30. The six-minute track seems handcrafted for the dance floor.
Cover for “Heroine Dancer” by Vandal Moon
With weeping synths, industrial-style percussion and a sensual beat that thrums throughout, “Heroine Dancer” compels the listener to dance themselves.
A simple song about dancing and love, “Heroine Dancer” is something to get lost in.
Active since 2014, Vandal Moon describes themselves as “propagating our sound through the use of synthesizers, guitars, chant, tambourines, drum machines, vodka and psychedelics.”
While I don’t see “Heroine Dancer” as psychedelic or particularly enigmatic, it’s certainly a fun song.
The track certainly stays true to ULTRA SUNN’s signature style. With cold rhythms and echoing vocals, “Broken Monsters” is both danceable and sensual.
Cover for “Broken Monsters” by ULTRA SUNN
A contemporary EBM/coldwave duo from Belgium, ULTRA SUNN spearheaded their career with the release of the single “Night is Mine” in 2019. Since, they’ve released several singles and EPs.
While I won’t say “Broken Monsters” is their best work, as I prefer their second most recent release, “Kill Your Idols,” the track definitely succeeds in capturing the essence of ULTRA SUNN. I hope that as their career progresses, the duo experiment with other musical substyles.
Male Tears
Songs by Male Tears go one of two ways for me. Either I love them instantly, or they become something of an acquired taste.
Self-described as a “California synth duo,” Male Tears started their career in 2021 with their first self-titled album. Since, they’ve made waves in the darkwave scene with their uniquely camp style.
While I like the sweet melancholy of the song’s melody, I find that the vocals straddle a thin line between lo-fi and simply poorly executed.
Cover for “Sad Boy, Paint My Nails” by Male Tears
Songs by Male Tears typically feature stronger vocals. “sad boy, paint my nails” attempts to capture something more plaintive, which I appreciate in essence but find myself struggling to connect to.
While part of me likes the song, I’d probably skip it if it came up on my streaming feed. I anticipate that in the fall, which tends to turn my tastes towards the morose, I’ll have a greater appreciation for this track. However, right now I definitely see it as one of the band’s lesser releases.
