RED BLOOD GOTHIC
RED BLOOD RADIO NEWS:
you purchased your tickets for Nine Inch Nails? Bauhaus opens for NIN's tour,
get your tickets now at TICKET MASTER (www.ticketmaster.com).
RED BLOOD Gothic Radio will be at the CA, Shoreline Ampatheater show.
eye out for Diva Destruction's third cd, out soon. You can interact with
the band at their yahoo group, located at
out Collide's “Euphoria” video at: www.scottlandes.com/collide/Collide-Euphoria(medium).wmv.
KaRIN is on the cover of issue #6 of FIEND MAGAZINE (www.fiend-magazine.com)
Australia's only dark alternative music and culture magazine.
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RED BLOOD Reviews:
Lacuna Coil ~
If you ever thought
that Evanescence might have been a whole lot better if they had some
bite, Lacuna Coil is the band for you. Purveyors of fine Goth pop-metal
Italian style, Amy Lee wilts when compared to the fetching Cristina
Fortified with a twin guitar attack of Cristiano Migliore and Marco "Maus"
Biazzi, and alternating male/female vocals, provided by Scabbia's
masculine counterpart, Andrea Ferro, LC has set themselves apart in
first come together in 1994, the band changed identities and members prior to
their breakthrough album 'Comalies'. Lacuna Coil translates to 'empty spiral'
and in 2002 'Comalies' translated to international acclaim. Following three
previous albums, ('In a Reverie' in 1999, and 'Unleashed Memories' in 2001 ) and
a pair of EPs (1998'self-titled debut,and 2000's 'Halflife' ), 'Comailies' drew
attention throughout both the Metal and Goth worlds.
dubious distinctions of video airplay on MTV's 'Headbanger's Ball' and a spot on
the 'Ozfest' tour, they achieved first rate exposure. 'Comalies' even cracked
Billboard's Top 200, at #178 largely of the strength of standout tracks
'Heaven's a Lie' and 'Swamped. LC was a godsend
for their lifelong label Century Media, as Last month's release of the more
progressive oriented 'Karmacode' was well received. It promised to vault Lacuna
Coil to larger scale, perhaps mainstream success.
Lady J must have foreseen
this, as LC has been a mainstay on Red Blood Gothic radio for six years.
Switchblade Symphony ~
|| One of the
seminal Gothic rock bands to come from the West Coast in the last 20
years, Switchblade Symphony set a standard for the post-new wave Goth
sound in the 90's. The pig-tailed pair of composer / synth-player Susan
Wallace and vocalist Tina Root wove the little-lost-goth-girl pretense
that would provide the foundation to their image and subject mater -
Eerie nursery rhymes at a medium/slow beat; ideal for the ever-popular
slow motion dancing.
Together, they sought
to expand on the inroads made years before by the Siouxse and the
Banshees. Over five years of toiling in the diverse and crowded
underground circuit of San Francisco was rewarded with a contract with
Goth-mongering label Cleopatra. This resulted in 'Serpentine Gallery',
as good a debut as most bands could ever hope for. Complete with all the
tracks from both of their self-released EPs, with soon-to-be club
standards as 'Gutter Glitter' and the haunting 'London Bridge is Falling
changes followed, and both a new guitarist and drummer contributed to "Bread and
Jam for Frances". Times had changed, and Switchblade Symphony attempted to catch
the wave of popular 'trip hop' acts in favor at the time. 1997's sophomore
effort boasted a harder beat, courtesy of new percussionist Scott van Shoick
(whose predecessor, departed for the Blue Man Group (!)) delivered by no means
an inferior offering. However, little would compare well to so auspicious a
debut. The album did well enough, in fact, to justify their inclusion on a
package tour along side, Big Electric cat, and Goth legends Christian Death..
year, Root was enlisted to lend her vocals to a Das Ich track. Tours supporting
the likes of Type O Negative and Gary Numan followed including an infamous
appearance in from over over 4000 at Dark Harvest III opening for notorious
'Not-Goths' Sisters of Mercy.
turn out to be the band's high water mark. The release of 'Three Calamaties' in
1999 showed the disparities in the bands musical direction, that first began to
appear on 'Francis', had
widened. Root's operatic background was exerting itself, while Wallace was
headed in a more progressive direction. While growing as musicians, the band
itself had stagnated. The official end came in November of 1999.
attempted to mine the Switchblade vein one more time by issuing a rather bad
album of remixes in 2001. Root went on to form Tre Lux, while the guitarist
became a member of Candymachine88.
To this point in time, chances
of a reunion anytime soon do not appear too good.
London After Midnight ~
Perhaps the single
biggest proponent of 'Gloth' (a combination of Glitter/Glam and Goth)
London After Midnight manages to be Goth without really sounding like
it. Drawing their name from a great 'lost' Lon Chaney horror movie, it
could be argued the L.A. based band has been equally lost and over
Now, half way
through their second decade of existence, their sound is decidedly up tempo,
with only brooding lyrics of tragedy and angst. Relying more on a guitar driven
80's sound wrapped in classic Gothic trappings, the band led by
singer/songwriter Sean Brennan made a big splash in the L.A. club scene upon
their inception in 1990. A popular cassette demo fed their growing reputation,
and two years later the release of their debut 'Selected Scenes from the End of
the World'. The eight song album raised the ire of some initially for sampling
part of a speech from Adolph Hitler, yet the band has proven to be politically
aware. But as they say, 'Any attention is good attention'. The fact that the
album included some out standing songs like 'This Paradise' and 'Your Best
Nightmare' shone above the mediocre production.
tastes and fashions are fleeting , especially in tinsel town, and while they had
succeeded in making them staples on the club circuit, major success eluded
them. Perhaps because of this collective snub early in their careers, they have
since taken an 'anti-label' stance. Not to be deterred, LAM doggedly continued
to gain exposure and widen their fan base. Touring Europe, and being one of the
few bands to make the sojourn south of border, playing a number of gigs in Latin
described by reviewer Steve Landau as having a vocal range "somewhere between
that of Peter Murphy and Axl Rose" the photogenic Brennman began gaining notice
in other media as well. 1995 saw German label 'Apocalyptic Vision' (now Trisol
Records) release 'Selected Scenes from the End of the World' in Europe with
resounding success, and subsequent tour.
The follow up
album, '"Psycho Magnet," the title a sardonic self-effacing inside joke,
appeared the following year. Defying the sophomore jinx, the material proved
well thought out, if more industrial sounding, and not prone to the tendencies
to sound just like their debut that plague so many other bands. The song "kiss"
shows the depth of arrangement, and the height of their ability.
released the same year, proved both confusing to dedicated fans, while
providing compelling listening for the uninitiated. This was their first
offering since signing with the Metropolis label, which preceded
store-release of their catalog. Brennman has maintained a somewhat fluid
lineup over time, which currently includes guitarist Eddie Hawkins. Besides
being virtually a resident guest at the annual Zillo festival in Germany,
LAM last garnered attention with the inclusion of the song 'Fear' on the
soundtrack to the disappointing horror film 'Saw II'.
Architect's Eye ~
|| The product of
reclusive Frenchman and former "Fallen Tear" member, Jean Paul Braghin
Architect's Eye surveys a variety of menacing elements, marking out a
found-sound/industrial plot, enveloping darkly whispered vocals. A well
produced array of synthiesizer in foreboding arrangements that meet with
varied success. At times, appealing to the point of dance club appeal,
with tones of Depeche Mode, albeit at a dirge clip; At worst sounding
like an oil slick of pointless synchronized loops -
industrial, without overt droning. Architect's Eye would likely find an audience
to some extent, more outside of Europe than within.
sound something akin to avante gard improv jazz, with duplicity of tones and
rhythms. The debut, the ironically titled 'Decline' was released to relatively
little fanfare in 2002. It is included, in it's entirety on the latest release
"Motel Architecture" late last year on
penned all the songs, as well as producing,, with only some contributed guitar
work, otherwise very self-contained. The new material includes a plodding cover
of the Cure's "Lulaby". Given time and consistent, or at least more
consistently discriminating material, Monsieur Braghin may be on to something.
BLOOD'S TOP 10
(as of: 6-02-2006)
Love & Rockets - Coming Down
Blutengel - Black Roses
3. Juno Reactor - Mona Lisa
4. She Wants Revenge - Tear You Appart
5. Trisomie - Youth Calls to Age
6. Ayria - Horrible Dream
7. Bauhaus - Stigmata Martyr (mix)
8. The Crüxshadows - Bloodline
9. Dark Sanctuary - Presence
10. Love Like Blood - Killing Joke