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Current Issue: VOL. 3 - NO. 1 January 18th – February 14th, 2006



Have you purchased your tickets for Nine Inch Nails?  Bauhaus opens for NIN's tour, get your tickets now at TICKET MASTER (  RED BLOOD Gothic Radio will be at the CA, Shoreline Ampatheater show.   


Keep an eye out for Diva Destruction's third cd, out soon.  You can interact with the band at their yahoo group, located at


Check out Collide's “Euphoria” video at:  


Also KaRIN is on the cover of issue #6 of FIEND MAGAZINE ( Australia's only dark alternative music and culture magazine.


Your RED BLOOD Reminder:


Please, do drop by the RED BLOOD GOTHIC RADIO site at: Your feedback is always welcome.  Don’t forget to add yourself to our MySpace site at:



Your 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 Scabbia.

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 many ways.

 Having 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.


Having the 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 Down'.

Line up 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..


That same 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.


1997 would 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.


Clepoatra 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 looked.

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.


However, 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 America. 


Best 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.


Conversely, "Oddities", 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 -

Morose industrial, without overt droning. Architect's Eye would likely find an audience to some extent, more outside of Europe than within.


Some tracks 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


Having 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.  



(as of: 6-02-2006)

1. Love & Rockets - Coming Down

2. 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