Category: Band/Artist Profile

An in-depth look at bands and solo artists

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Band/Artist Profile

Artist Spotlight: Tassel

Cover for "Disorder" by Tassel

I’ll be honest. I haven’t been listening to many new bands lately.

In lieu of my duties as a DJ, I’ve mostly been streaming dreamy 80s pop. I find that the musical works of Duran Duran, Naked Eyes and Kajagoogoo are just enough to distract me from the sense of melancholia that emerges during the early winter.

Although I didn’t take the opportunity to compile an assortment of new bands over winter break, I did manage to stumble upon an group slowly gaining more prominence in the dark music scene.

Industrial Liturgy

Based in Phoenix, Tassel is a musical project “embracing pentecostal origins, punk ethos, unabashed queerness and the allure of mystery.”

The band released their first single in 2021. Titled “Steel Patch,” the track features upbeat instrumentals with droning, dispassionate vocals. Their sound reminded me of French Police, one of my most beloved post-punk bands.

Cover for “OLD COVENANT” by Tassel

Tassel calls its music “industrial liturgy,” a term which I took as an incovation of the band’s aim to sublimate ritual in music.

Other bands have taken on a similar goal, such as the aptly-named Liturgy. However, while Liturgy’s ritualism is evident in the band’s sprawling, hypnotic rhythms, I struggled to situate this concept within Tassel’s music.

That was, until I listened to some of their more recent material.

Cover for “NEW COVENANT” by Tassel

Tassel’s two most recent releases, “NEW COVENANT” and “OLD COVENANT,” are more darkwave and industrial than post-punk. Cold, metallic and entrancingly distorted, these two albums are more in the realm of Male Tears or Skinny Puppy than French Police. There’s more drama, more sensuality and far more emotion.

Tracks from both albums feature vast expanses of experimentalism, presenting a raw and unabashed sound.

While it seems Tassel originally branded itself as a post-punk group, it’s clear that its stylistic progression has led down the route of EBM and industrial. It’s clear to me from what I’ve consumed so far that the band is adept at cultivating both subgenres of sound.

Cover for “steel patch ep” by Tassel

Of the band’s post-punk works, my favorites are “ruminate,” and “reprise.”

From their latest albums, I particularly liked “only a word” and “unveiled.”

While Tassel is still relatively new to the scene, I certainly look forward to the band’s future projects.

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Band/Artist Profile New Album Review

“Swatta” by Chepang: Nepalese-American Grindcore

Chepang's album art for "Swatta" depicting a vicious boar, chicken and snake.
Chepang's album art for "Swatta"

Chepang is not a new band. They’ve been inhabiting Queens, NYC for about eight years now. The band members left Nepal and subsequently formed Chepang in 2016, and since then they have been grinding away and making their sounds known to the world.

Continue reading ““Swatta” by Chepang: Nepalese-American Grindcore”
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Band/Artist Profile

“Send in the Clouds” by Silver Jews

"American Water" cover art by Silver Jews.
"American Water" cover art by Silver Jews.

Silver Jews is probably my favorite band of all time. Of course I love all music and musicians for putting their gorgeous sounds into my ears, but Silver Jews has country vibes, amazing songwriting (by the one and only David Berman) and emotional satisfaction, all of which draw me deeper and deeper into my obsession. I’ve written about them before in an article about “The Natural Bridge”. Berman has now been dead for a little over four years. He struggled with mental health issues throughout his life. 

I wanted to write a small article on one song in particular that I have been enjoying a lot recently, “Send in the Clouds”. It comes from the widely acclaimed, “American Waters”, which was released in 1998. Stephen Malkmus of Pavement helped Berman write, produce and create the album. 

Posted on YouTube by Drag City Records. “Send in the Clouds” is by Silver Jews.

Both Stephen Malkmus and David Berman sing the opening lyrics to this track in unison. It creates an interesting bonded feeling to this song I would never have expected from just reading the lyrics.

Then, the duo goes on to sing this:

I am the trick my mother played on the world
Seventeen doctors couldn’t decide
whether I should be allowed in the game.

What can’t monsters get along with other monsters?
Soi disantra, soi disantra…

From “Send in the Clouds” by Silver Jews

I love the formation “Send in the Clouds” has within its line and as a written, living poem. It has a few tercets followed by a couplet, then another tercet, a quatrain and another couplet. It flows impeccably.

The lyrics themselves are an absolute treat to decipher too. Of course, being David Berman, the words have so many layers of meanings piled atop one another (most of them pretty damn sad).

Initially, the song talks about sending “in the Clouds” filled with rain for a dreary day with a lover in bed. Then we move to questioning the reasons for being born, wondering if the narrator is a curse and monster.

By the chorus, the narrator has decided “soi-desantra”, which is a made up word but close to the French phrase “soi-desant” for “self-proclaimed” according to Merriam-Webster. The narrator claims they are a monster, but are they really? How can we trust their word?

Berman and Malkmus amble on down the road of strange lyrics with this:

I know a puppy who walked from Kentucky.
Made to East Virginia by dawn.
He had seventeen ideas in his head.

Windex tears flow down the robot’s face.
He’s never felt a lover’s embrace.
My momma named me after a king.
I’m gonna bury my name in you.

From “Send in the Clouds” by Silver Jews

They explore the isolation of a dog wandering about the East Coast roads just thinkin’. A robot crying by using “Windex tears”. These lyrics are awe inspiring to me because of how much love can be felt through them. It takes so much craftiness to perfect a line of poetry, and Berman and Malkmus do wonders with this track especially.

If you’ve never taken time out of your day to listen to Silver Jews, well lucky you, Fall is one of my favorite listening periods for them. This song in particular is great with a nice cup of coffee and enjoying grey skies.

Clouds are like giant jellybeans when the sunsets hit,

Ben

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Band/Artist Profile

Obscure Artists Spotlight: Soma Cake, Datura and They Feed at Night

This may be surprising, but I really like music.

Partly as a function of being a DJ and partly as a function of being neurodivergent, I spend a lot of time “crate diving” through sprawls of Spotify playlists and recommendations.

While these efforts usually lead me to simply find more songs by artists I already know (for some reason, the algorithm really wants me to listen to Joy Division’s “Disorder”), there’s also the rare (but cherished) occasion that I discover an artist unknown both to me and by many others in the scene.

This week, I’ve put together a small selection of “obscure” artists I personally enjoy in the hope of growing their listener base and giving them some much-deserved recognition.

Soma Cake

With only 900 monthly listeners, this band is probably the most obscure on this list.

Based in Reynosa, Mexico, Soma Cake walks the line between the realms of darkwave, post-punk, dreampop and jangle rock.

The band hit the scene in 2018 with the release of “Manual Para los Reci​é​n Fallecidos” (“Manual For the Recently Deceased”), which features tracks recorded between 2016 and 2017.

Cover for “Manual Para los Reci​é​n Fallecidos” by Soma Cake

This album has a distinct gothic tone, though with jangly — rather than consistently distorted — guitars.

The presence of live drums, rather than a drum machine, is also an interesting touch. And while the band makes use of synths, their end product has more of a nostalgic deathrock feel.

While “Manual Para los Reci​é​n Fallecidos” is technically the band’s first release, they consider their first “real” album to be ”Girls Bite Harder.“

Released April 2018, the album is a stark turn from its predecessor’s clear goth influence. Rather, the album is a font of dreampop, jangle and shoegaze.

My first encounter with Soma Cake came with their 2022 album “Senza,” which blends the band’s dual atmospheres — gothic and dreamy — in beautiful harmony.

Recommended Tracks:

Datura

With under 4,000 monthly listeners, Datura is a gothic rock band from Wentachee, Washington.

Datura draws inspiration from goth legends like The Cure, Siouxsie and the Banshees and The Chameleons.

This influence can be clearly seen in their work, which has a staticy retro feel and upbeat, though still moody, vibe.

Cover for “Arcano Chemical” by Datura

The band released two EPs in 2020, followed by several singles before “Arcano Chemical,” the band’s first album, came out in 2022.

While some tracks on the album have more of an “alternative” than goth slant, there’s a consistent goth influence — distorted guitars, spectral ambience and dark lyrics — throughout.

Recommended Tracks:

  • “Phantasma”
  • “Chase”
  • “Sapphire”

They Feed at Night

Of the three artists I’ve presented, They Feed at Night is probably the most niche.

I’ll start out by saying that this band probably isn’t for everybody. Of all the goth subgenres, I find that deathrock is typically the least palatable for people new to the scene.

Experimental deathrock, by this summation, is even stranger.

As a lover of strange music, They Feed at Night captured my very heart with their frigid, weeping and harsh sound.

Cover for “Deprivation” by They Feed at Night

Though apparently no longer active (the band’s latest release was in 2016), the band started its career all the way back in 2009 with their debut demo “They Feed at Night.”

Taking a very literal approach to the term “deathrock,” each of the band’s tracks are angsty, frenzied and dramatic. Rough, screaming vocals meld with an accompaniment of distorted guitars.

Recommended Tracks:

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Band/Artist Profile

Artist Profile: Agabas

Photo by Sam Moghadam Khamseh on Unsplash

Agabas is a 6-piece Norwegian metal band that hit the scene back in April 2023 with their debut single, “Skamklipt.”

When I first heard the track, I found it fabulously raucous. A cacophony of extremity, both through vocals and instrumentation, the single proved a striking debut for the band.

Once the song hit around the 1:40 mark, things changed when from a flurry of energetic and extreme metal, a saxophone emerged like a swarm of tweaked-out wasps.

I’ve always loved a good saxophone solo, but I never fully grasped just how sublime a marriage of rock aggression and experimental jazz would be.

Cover for “Skamklipt” by Agabas

The result was intoxicating, and not just because it scratched the itch in my attention-decifit-hyperactive brain.

Agabas doesn’t pretend to be a regular metal band.

Clad in neat slacks and buttoned-up 70s-style floral shirts, the band’s image clashes severely with its unrestrained and often hellish sound.

This fusion of aesthetics translates into the band’s work, producing a fusion of genres as the band’s extreme metal foundation is infused with experimental jazz.

The result is a “disgusting harmony” the band has called “deathjazz.”

Deathjazz

While some may argue against the band’s marriage of jazz and metal, likening deathjazz to a musical Frankenstein’s monster, I disagree. If anything, it’s a perfect match.

Anyone who really listens to jazz is fully aware that the common perception of jazz as inherently smooth and delicate — the kind of music one listens to while reading a book at a coffee shop — isn’t wholly representative of the genre.

Cover for “A Hate Supreme” by Agabas

Jazz can get wild, blurring the line between order and utter chaos, completely unrestrained by rules and stricture.

With that kind of framework, I can’t think of a better match for jazz than metal, a genre which pioneers itself on the basis of its vibrant sensations.

The allure of Agabas’ music lies in its saxophone, which takes the place of the classic “metal breakdown” to lay out a convoluted and often (pleasantly) ear-piercing slurry of notes.

Final Thoughts

Since their start in early 2023, Agabas has produced two albums.

“A Hate Supreme” came out in September while “Voluspå” was released in mid October. Both albums present a rich landscape through which Agabas continues to develop their deathjazz style.

While some people may see deathjazz as gimmicky and unoriginal, I see it as an interesting opportunity to witness the intersection of two highly elastic genres.

I look forward to seeing how Agabas changes over time, as I’m sure they will, and what this will mean for the future of metal, jazz and their newborn child.

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Band/Artist Profile

Artist Profile: Sopor Aeternus & The Ensemble of Shadows

Cover for "In der Pal​ä​stra" by Sopor Aeternus & The Ensemble of Shadows

Sopor Aeternus & The Ensemble of Shadows is the musical brain child of Anna Varney Cantodea.

From the moment of its conception in Germany in 1989, the musical project defines itself through its basis in the “sacred trinity” of music, poetry and visual appearance.

Though arguably underrated in the goth scene, Sopor Aeternus is unequivocally striking both musically and visually, making it (in my opinion) one of the most important projects in the subculture today.

The project is best enjoyed holistically, affording appreciation of both its music and its stunning visuals.

Cover for “Mitternacht” by Sopor Aeternus & The Ensemble of Shadows

Sopor Aeternus, or Eternal Sleep

While Varney exists as the self-proclaimed “sole protagonist” of the band — the Sopor Aeternus, if you will — she credits much of her inspiration to the “Ensemble of Shadows,” whom she describes as the “spirits” who deliver her the ideas for musical compositions.

Varney also claims that the influence of this “Ensemble of Shadows” dissuaded her from suicide following the production of her second album, “Todeswunsch – Sous le Soleil de Saturne” (“Deathwish – Under the Sun of Saturn”) in 1995.

Cover for “Have you seen this Ghost?” by Sopor Aeternus & The Ensemble of Shadows

Though infused with elements of classical, baroque, medieval and even electronic music, Sopor Aeternus continually roots itself in a starkly “gothic” sphere.

Which makes sense, as the project’s basis lies in its purpose as an expression of “extreme, intense pain.”

On her website, Varney describes her musical project as “magic(k)al, spiritual work … a perpetual stock-taking … a constant analysis … crisis & observation … invocation & exorcism.”

According to her philosophy, “life” and “art” are inexorably linked. Each musical release represents Varney’s process of coming to terms and moving on from events in her life.

Discography

Many artists, especially in the goth scene, liken their musical process to ritual. Varney, however, takes this a step further by conceptualizing music as a deeply personal, intimate experience.

As such, she refuses to engage in live performances and claims to record all her songs in a single take, never revisiting them after leaving the studio.

Cover for “Vor dem Tode tr​ä​umen wir” by Sopor Aeternus & The Ensemble of Shadows

Varney’s current discography consists of a vast assortment of music, including three demo tapes, 16 albums, eight EPs and 11 singles.

My personal favorite of Varney’s works is her 2020 album “Island of the Dead,” which draws from her experience as a trans woman dating a married man.

Possessing a blend of humor and heartwrenching honesty, the album is theatre in its purest form, a prolonged dialogue between Varney, her lost love, and herself.

Final Thoughts

It’s difficult to describe Sopor Aeternus, because it stands as something so artistically rich.

Trying to confine it within the stricture of words is like trying to summarize the totality of a play or novel in a single sitting. It’s impossible to capture everything.

What I’d say is the best thing to do in order to gain even a sense of what Varney brings to the table is to listen through one of her albums with the awareness of its personal nature.

It’s not uncommon for artists to infuse their work with aspects of themselves. Especially in music, it’s a common practice.

But it’s less common to see the practice represented so holistically — the intersection of gender, sexuality and mental health made manifest — in an overarching musical “universe.”

Deeply philosophical, irreverently gloomy and subtly witty, Sopor Eternus & The Ensemble of Shadows is a “project” in the most literal sense, and one I highly encourage anyone with a taste for the avant garde to explore.

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Band/Artist Profile

Trapped in an 8-Bit Death Metal Realm

Gonemage's "Astral Corridor" album art.
Gonemage's "Astral Corridor" album art.

I can’t get out and I’m not sure I want to anyway. I’ve been stuck listening to two albums by an artist I’ve already mentioned on the blog here this semester, Gary Brents. This blog will dive a little bit into two other albums released by Brents this year: “Celestial Invocation” and “Astral Corridors“.

Just a little info on Brents if you haven’t read my previous article or if you forgot: he is a metal mastermind based out of Dallas, Texas with tons of projects that have been taking off recently like Memorrhage, Cara Neir, and this project, Gonemage.

Each of these projects focuses on a specific genre, sound or part of fantastical reality that Brents has created to explore his musical talents with. Using Gonemage as an example, Brents states it is “Rock/Metal/Chiptune convergence set in pixelated dream realms. Gonemage began as an alternate reality to my other project Cara Neir’s album Phase Out” (seen on Gonemage’s Bandcamp).

“Celestial Invocation“

This album’s unique qualities shine bright compared the darker depths explored in Gonemage’s other albums. It’s described as a “…lively pop space opera where the fate of planets hinge on an intergalactic basketball tournament” (again on Gonemage’s Bandcamp), and I don’t know if I could come up a more perfect setting for a space opera.

How in the world does anyone make music sound so majestic and thrilling all at once? One of my favorite tracks on this release is “6 PTS, 6 REB, 6 AST“. It’s dreamy, hyper, explosive, bumpy, jumpy, pretty much everything I could want from an epic reality based on intergalactic basketball.

“Astral Corridors”

This is the the moody, thought-provoking, emo older sibling 9by like four months) of “Celestial Invocation”. It’s a little more metal and 8-bit musically centered, but it has so many differences it feels like a completely different human being made this music.

If you take the time to look through the album descriptions in Gonemage’s discography, then the seemingly convoluted story descriptions become clear and fun to experience. Each of these albums has a set protagonist working through some Sci-Fi or Space Fantasy epic saga, which are all a pleasure to absorb.

My favorite track on this album is either “Dream Surfing in the Astral Corridors” because it sounds like high-tech Freddy Krueger on another mission of evil murders in the VR apocalyptic world we’re sure to see soon, or “Purple Lurker Bedside” because it sounds like a mish-mash of Grimace, the “Purple People Eater”, and “The VVitch” mashed together in an impossible conglomerate of cyberpunk horror.

I know Halloween is over, but if you feel like escaping into a dark fantasy world through music or basketball based space opera, then I know which albums I’d recommend to you.

play basketball and eat grimace,

Ben

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Band/Artist Profile Concert Preview

Concert Preview: Xiu Xiu

Cover for "Ignore Grief" by Xiu Xiu

October is proving to be a great month for live shows.

In the aftermath of midterms week, I’ve been keeping an eye out for the local musical happenings. The latter half of this month promises an awesome assortment of live shows, some of which I may attend myself.

Among them is an upcoming performance by Xiu Xiu on October 19 at Kings.

What is Xiu Xiu?

Named after the 1998 Chinese drama film “Xiu Xiu: The Sent Down Girl“, Xiu Xiu is the brainchild of singer-songwriter Jamie Stewart.

Xiu Xiu band member Jamie Stewart in Aarhus Denmark 2017, uploaded by Hreinn Gudlaugsson, licensed CC BY-SA 4.0

The band’s sound is esoteric and bleak, unspooling into sprawls of distortion. There’s a heavy air of pessimism and melancholy throughout, though with a more industrial (think Throbbing Gristle) than gothic slant.

Xiu Xiu hit the airwaves in 2002 with the release of “Knife Play,” an 11-track album of experimental desolation.

Stewart’s vocals are consistently plaintive, his lyrics blunt and sobering. The instrumental arrangement oscillates between rhythmically restrained — receding into the background amid simple drum beats — and wholly unleashed.

Jamie Stewart de Xiu Xiu, Adventures in Modern Music 2004, uploaded by Seth Tisue, licensed CC BY-SA 2.0

Xiu Xiu’s second album, the 2003 release “A Promise,” also contributed to the band’s acclaim.

Produced in the aftermath of the death of Stewart’s father, “A Promise” can be interpreted as a depiction of personal despair.

Xiu Xiu went on to release 11 more studio albums as well as three cover albums, two compilations and two EPs.

Their most recent release, the 2023 album “Ignore Grief,” will likely feature in their upcoming performance.

While I haven’t had the chance to peruse the entire album, what I’ve listened to thus far has been nothing short of chilling.

There’s a dark, borderline obsessive cynicism in this album; an ice-cold horror slant that rings perfect for the bittersweetness of October.

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Band/Artist Profile Local Music New Album Review

“The Magpie”: More of Raleigh’s Finest

The Magpie cover art for The Magpie
The Magpie cover art for their self-titled release "The Magpie".

Raleigh natives, The Magpie, released their first studio album this year through Firelight Records. We are taken on a ride through the band’s love of psychedelic rock, hardcore punk and everything hard rock n’ roll.

This album is yet another of Raleigh’s newest additions to the scene of heavy rock and metal (although a little on the lighter side of metal), so that’s why I’m taking a look at it today. 

The Magpie is composed of three band members: Erik Sugg (guitar and vocals), Brian Walsby (drums) and Mike Deloatch (bass and vocals). “The Magpie” (according to their Bandcamp page) was recorded and engineered by Mike Dean, a member of Corrosion of Conformity – another NC band, who is a metal staple with loads of influence.

Never judge a book by its cover or whatever that stupid cliche is supposed to signify, but I love the album art for this album. The art style clicked when I was looking for a local band to write about this week. The magpie perched a top the skull feels spooky and very autumn-y.

Let’s dive into The Magpie’s first album – “The Magpie”:

“Ceremony for a Fat Lip”

It’s the second track of the album and we already get Metallica-like vocals as emphasis behind Sugg’s warbling calls. “Ceremony for a Fat Lip” is a great blend of heavy rock guitar and drums with a more psychedelic rock vocal base reminiscent of Ween’s “The Mollusk” (to me at least).

“Just One Drop”

A slower start in this track, leads to classic rock n’ roll sounds emanating from The Magpie here. “Just One Drop” explores the mind in a fever dream state. After the first couple verses, Sugg begins repeating the chorus in a sickening repetitive pattern that leaves you questioning your senses for a minute. This track drips slowly into your system, filling you with hallucinogenic effects that don’t start infecting you until the last minute of the song. 

“Derailed”

The shortest song on the album starts off with a similar guitar intro to the rest of the tracks, but then blazes off course immediately. There are a few non FCC approved words in the song, but that’s because of its heavy punk influence. “Derailed” differs wildly from the rest of the album because of the vocal change-up into hardcore screams. I really enjoy The Magpie’s take on hardcore punk, and I’d love to hear a whole album like this from them soon. 

“Fix It”

A nice hint of vocal warbles and smooth guitar riffs bring forth sounds from The Magpie. It really shows their psychedelic rock sound spewing out. This track got more repeated lyrics than any on the rest of the track, but when Sugg belts out, “fix it”, I can’t help but rock my head forward to the beat.

Conclusions:

I thoroughly enjoyed this album. The Magpie did a wonderful job using their experiences from past bands and sounds to create a first album with such a wild ride like this. I hope to be able to catch a live show from them in the future. I know they frequent Pour House and other Raleigh venues, so if you’re from the area, be searching for The Magpie.

Drink crow’s milk — make ur bones strong,

Ben

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Band/Artist Profile

Track Review: “my little tony” by bar italia

Cover art for bar italia's single, "my little tony". Zoomed in redscale image of an open mouth.
Cover art for bar italia's single, "my little tony".

bar italia are going back to the garage.

For those unfamiliar, bar italia is a London, England-based band specializing in their own brand of moody, off-kilter and charmingly experimental guitar alt-pop. It’s hard to square them into a genre, but the ol’ reliable “post-punk” label may be a half-decent signifier for curious ears.

Recently, bar italia released their newest single, “my little tony”.

“my little tony” is the first single from their newly announced upcoming album, entitled The Twits (releasing November 3rd on Matador Records). “tony” throws aside the slick, dynamically matured and produced sound of their previous release, “Tracey Denim”, in favor of a surprisingly raucous sound and rawer sensibility. 

It’s a tune that rambles as much as it roars. 

Things kick off immediately upon hitting play. Guitars- already around peak volume- charge in, blended together with the delightfully distorted bassline in a thick soup of rock-and-roll bliss. The chords are a bit muddled in the cacophony, but not enough to warrant concern. It’s fun.

Nina Cristante’s playful and smoothly mocking vocals follow almost immediately; “your pretentious ways… make me die a little,” she sings, humbling an ambiguous subject (Tony? Is that you?). The rest of her first verse continues in a similar fashion, and her refrain “keep playing with my receiving hand… ‘cause you know you lost the game” plays well after the home-run hook that gets laid down by the band. Things repeat and continue.

The brief instrumental towards the end of the song provides a fleeting break from the loopy structure, but when the refrain begins again, you find yourself feeling as though there are perhaps adjectives besides “loopy” that better characterize the continual nature of the track. Maybe “awesome” is a better word. Or perhaps you’re too busy tapping your foot to care.

The track ends the same way it began: without apology.

Alternating between spaced-out, delightfully dusty yet infectious late-night-walk-home rock and lushly charged indie that nears a description of anthemic, bar italia’s last album “Tracey Denim” was a hooky, thoughtfully produced crop of moody bangers. Things seem to change with “my little tony”; whereas “Tracey Denim” recalled the darker, more geometric songwriting of early-2000s Pinback or Interpol, “tony” harkens back more so to loosely spun garage influences of the same era.

The band retains its edge and recognizability with their simple, catchy vocal lines and hallmark London aesthetics, and despite its heavy strumminess, the track fortunately manages to avoid straying too close to the unforgiving gravitational pull of the (arguably) overly revivalist (and now dated) garage rock sound of the 2010s. “tony” is familiar, but thankfully it doesn’t beat a dead horse. Both Tracey Denim and “tony” prove that a certain degree of referentiality is okay, and bar italia knows this more than anyone. 

Does it set off alarm bells for a shift in their sound? Perhaps it’s a bit early to tell. But make no mistake- this is still the bar italia we love- and they (and I) think you should stick around for more.

Watch the music video for “my little tony” below.

-mike utt