Nachtmahr live @Encore, Austin,TX 6/23/2010

Great show on Wednesday! Here's some video from the show:
'Tanzdiktator':

'I Believe in Blood':


Here's what they played that night:

Edit this setlist | More Nachtmahr setlists

The Foxglove Hunt- 'Built My Fortress' EP (2009)

The Foxglove Hunt is a neo- New Wave duo consisting of Rob Withem (former frontman of Christian indie/post punk band Fine China) and Ronnie Martin (the one man synth pop machine behind Joy Electric). Carving out a niche unto themselves in a little bizzaro world where 1983 found a young Morrissey forgoing the Smiths to front New Order, Foxglove Hunt quickly found themselves near the top of my 'must listen' list last year. The two have recently returned with a follow-up EP to their full-length debut 'Stop Heartbeat,' consisting of two previously import-only tracks, a new song, and three "mixes" of stuff from the debut.

'Built My Fortress' follows the same forumula explored on their 2008 debut: catchy song structures featuring lush vocal melodies that would make Morrissey blush, irresistable New Order-esque choruses, all wrapped up beautifully(in the band's own words) "using the latest technology from 1983." The first song, 'The Time Redeem,' continues Withem's idiosyncratic penchant for mixing Christian spirituality with impenetrable yet whimsical new wave poesy; musically, it could almost be New Order's 'Theives Like Us' meets 'A Concealed Weapon, part deux,' with the drum machines, lush synthesizer strings, and Ronnie Martin's pristine programming. 'Alone and You Like It' and 'A Building Collapsing' follow the same pattern, nicely complimenting the debut CD, but lacking the power of something like 'Life Highrise' or ' The Pure in Heart.'

As far as the mixes go, well... I didn't care much for the piano mix of 'A Concealed Weapon'- it was good, but lost was the fun and urgency of the 'Stop Heartbeat' version. The other two are a different story- I thought they were really great all around because they sound like they easily could have fit on Fine China's 'You Make Me Hate Music' or 'Jaws of Life' albums, showcasing Withem's talent for writing maudlin Smiths/Echo & the Bunnymen dirges with all the catchiness of a Robert Smith circa 1986. 'That's Getting Personal' comes off like a track from 'Hatful of Hollow,' and it is here that Withem's breathy, lush vocal tones revel in full-on Morrissey worship. The 'rock mix' of 'It's Not Effective' explores more indepth what was only implied in the original version- a post-punk rocker in the vein of 'Charlotte Sometimes' that would not be out of place on Fine China's 'When the World Sings.'

In conclusion, 'Built My Fortress' is a pretty nifty CD, packed with the same catchy choruses and amazing drum machine handclaps you found yourself in withdrawal from if you went without listening to 'Stop Heartbeat' for more than two days. Fans of this synth pop duo will be more than pleased, and it's also great because it showcases a different side to some of the cooler tracks on 'Stop Heartbeat.' It's well worth a purchase- but will it keep us satiated until the next Foxglove Hunt full length?

Apoptygma Berzerk live, @ Elysium Austin,TX 09-11-2009

It was rainy, dark, and I was hella tired from getting up @ 6 in the morning to go to work, but I dragged my ass to the Apoptygma Berzerk show @ Elysium on Friday. This was easily one of the top three shows I've ever seen in nearly twenty years of concert-going, based on the band's energy, Stephan's stage presence, and the crowd interaction. I went into this one a bit worried- mostly due to little things like: (a) lack of cool merchandise, and (b) crappy opening prog rock band, but Apop didn't disappoint in any way, shape, or form. There was something for just about everybody in the set they played, and I was glad they didn't compromise by playing just the old favs that would appease the goth/industrial crowd, but that they also included a large portion of YAMATW and three of the best tracks from 'Rocket Science' right along side old hits like 'Deep Red' and 'Eclipse.' Not that Apop had to worry: the crowd was singing every word to all the songs, and enthusiastically cheered for 'Apollo' right along side old gems like 'Love Never Dies.' For me, the highlights included an incredible version of 'Shadow,' the stonkin' set opener 'Star Sign,' with its incredible energy, and 'Mourn' stole the show, but it was all so incredible, no one wanted Apop to be done, and they played for nearly two hours. All the while, Stephan and his brother Jonahs interacted with the audience and encouraged them to sing along. The band itself had this almost supernatural energy that punctuated their irresistable synth pop hooks. I'm a little hazy on the order, but from what I remember, the setlist contained these songs:

Edit this setlist | More Apoptygma Berzerk setlists

Magenta- Art & Accidents (2009)

One of my favorite albums of 2009 has to be Magenta's 'Art & Accidents'- along with Midnight Resistance's 'Remote,' I've been playing the shit out of it more than anything else for months. For those uninitiated into their musical magick, Magenta hails from Norway, and is composed of songwriter/guitarist Anders Odden, guitarist Daniel Hill and vocalist Vilde Lockert.

I've always been a big fan of Magenta's sound- their early stuff (i.e: 'Secret Sky,' 'Eccentricity', 'One Mind') comes off like a trippier, goth version of Garbage- a sound aptly demonstrated on their 1997 Magenta EP. Their newest sound, heralded by the song 'Friendly Fire', the B-side on the now classic 2005 Apoptygma Berzerk single 'Shine On,' is what I consider their best yet. Combining the winding, chugging guitars and aura of FALAA era Sisters of Mercy with the catchy synthpop hooks of Human League, 'Art & Accidents' finds Magenta improving upon the irresistable synth-rock formula of Apop's 'You & Me Against the World' (a formula Anders Odden helped pioneer, as he co-wrote 'Y&MATW's more memorable tracks, such as 'Into the Unknown' and 'Tuning into the Frequency of Your Soul'), and giving it a harder, more metallic shean in places.

'Darkest Dream' gets your attention right away: an urgent drum machine and "spooky" gothic keys lead you into a false sense of security, until thundering guitars rain down upon the landscape and drag you into one of the catchiest dark pop choruses ever as Vilde implores: "Send me to heaven." The ballad 'Untouchable' starts off similarly, with heavenly keys and an incredibly heavy synth bass led on by fercious Sisters-esque guitars verging on metal; Vilde leads what sounds like a children's choir in the chorus as she tells the object of her affection "you own my soul."

The Sisters have been mentioned quite a few times in this review; that's because 'Arts & Accidents' is permeated with their influence- nowhere more evident than in the track 'To Die For.' The guitars wind up and down much like a FALAA track such as 'Nine While Nine' or 'Floodland's 'Driven Like the Snow' until erupting into a chorus worthy of 'This Corrosion' It's a good track, but what ruined it for me was the pseudo-Eldritch vocals in the chorus; something all goth bands should take heed of and realize only Von Eldritch himself can pull this off. Here, it just sounds silly, and I prefer the original version, which is included at the end of the album, without the cheesy male vocals on top of Vilde's already great voice.

'The One' is another great synth rock ballad, perhaps closest to Magenta's early sound, but also in that irresistable formula with its eccentric drum machine and thundering synth bass, accompanied by a Human League-esque chorus and more rocky guitars. 'In Your Arms' 'Black Tomorrow,' and the amazing 'Fallen Angel' continue the metal elements Magenta adds to the synth rock equation, while 'Massive Enigma' stands and falls on being the most experimental track on 'Art & Accidents.' 'Wasted Heart' is decent- if a bit predictable- gothic rock which fails to match the majesty of the other tracks here. 'No One is With Me' is a great way to end things, being the most quirky and "synth pop" song on the record, with a great chorus and playful lyrics about post-apocalypticism and love, with Vilde singing how "the world is ending- now, today... I know no one hears me, there's no one here anymore." 'Art & Accidents' is rounded out by a metal Oingo Boingo-sounding track I didn't really dig called 'Electric Fear (Elec This Mix)' and a cool electro remix of 'Darkest Dream,' as well as the superior original version of 'To Die For.'

There are two kinds of people: those who hated Apoptygma Berzerk's 'You & Me Against the World,' and those who absolutely fucking loved it. I fall into the latter camp. If you do too, then check out Magenta's 'Art & Accidents', because it's a natural progression of the sound Anders Odden helped create there. To put it another way- if 'Rocket Science' was a step in the wrong direction, 'Art & Accidents' is a step in the RIGHT one, and takes it a step further. Hell, even if you have no fucking clue who Magenta is- or even care- check out ''Art & Accidents'. Its irresistable combination of synth rock and dark, catchy choruses and thundering guitars is simply too good to be ignored. You can check out their myspace page @ http://www.myspace.com/magenta

Cyberpunk Babylon part I: Nemesis IV: Cry of Angels

What I intend to do is make this a first in a series of reviews of Albert Pyun's Nemesis movies.

I have a soft spot for the sequels to Albert Pyun's cyber-punk classic. I know most people consider them crap- and with good reason. There's just something about Sue Price. I don't know if it's because we share the same birthday, or I have a thing for muscular women, but I find Sue Price just awesome. Parts two and three of the Nemesis saga were fun, if unoriginal, Predator rip-offs with little of the spirit of the original film. In Nemesis IV: Cry of Angels, Pyun takes the lore in an entirely different direction, making an- dare I say it?- "arty" and trashy pseudo late night Cinemax Euro-skin flick.

The ending of 'Nemesis III: Time Lapse' promised Alex Raine's (played by female bodybuilder Sue Price) return to the future to be savior to mankind from the cyborgs. Pyun even showed Alex holding a big ass gun shooting at the screen and blowing shiznit up in the background. Instead of the war and redemption of mankind, we get a cheap looking (even by Pyun standards), excessively talky exercise in mediocrity, with Sue Price walking around naked in high heels 90% of the film somewhere in a deserted Eastern European country.

The screen announces that it is the year 2080, the humans and cyborgs live an uneasy peace, but in the wake of this war, mercenaries (both cyborg and human) have gone to work as assassins for various crime cartels. Enter Alex Sinclair (Sue Price), a sadistic assassin who is looking at one last job before retiring on the advice of her boss, played by Andrew Divoff. Alex kills the wrong target, and subsequently has to ward off all the assassins who come out of the woodwork wanting to collected the 100 million dollar bounty placed on her head. Unfortunately for them, Alex has enough more than enough gratuitous death-by-crunching between her muscular thighs to go around to all these suckers. All the while, Alex is constantly haunted by this lady in black who appears watching over her- is it the angel of death coming to do her in? You'll have to watch this wretched piece of shit to find out.

There were so many problems with this movie- where do I begin? How about the fact that all of Divoff's scenes are close up head shots? I kid you not, I almost feel Pyun pulled a Bella Lugosi and took Divoff's screen test and made it part of the picture. How about the fact that Sue Price is dubbed for no good reason? I prefer her actual voice, and the "sexy" voice they gave her just made for lots of unintentional laughs. The special effects were zilch, and just gross. I've seen better special effects from high school theater productions. There's a truly cheap and hilarious scene where Alex shoots a helicopter and the most unconvincing explosion ever happens on screen. The weird spike that comes out of her tits to kill baddies was a nice touch too. Oh, did I mention the laughable sex scene between Alex and the cyborg assassin where he has a synthetic cock and it goes in a hole in her stomach? The fact that it was excessively talky to try to mask the fact that they had a total of 10 dollars left to make this after they spent all the budget on the first half of 'Nemesis II'?

What I DID like was that Sue Price walked around naked most of the time (very hot) and that her lover was named Johnny Impact, and played by this guy who looked and dressed like Martin Gore from Depeche Mode.

This movie suffers from, what I call in Pyun film terminology 'Kickboxer IV Syndrome.' That is, the fourth movie in the series has little if anything to do with the past films, thereby requiring a huge suspension of disbelief on the part of the baffled (and probably pissed off) viewers. The same suspension of disbelief that would have us accept that, in Kickboxer IV, Tong Po had gone from a speechless Thai kickboxing champion to a "visionary record producer," "board certified psychiatrist" and Mexican drug lord in a few short years. Or that Sasha Mitchell would go from gym owner to DEA agent and prisoner in the space of three or four years. As such, I refuse to believe this movie was originally conceived of as part of the Nemesis saga. For one, Sue Price isn't Alex Raine (named after Gruner's character in the first), but Alex Sinclair. For another, her muscular physique is explained as having been from her excessively working out in this, whereas in parts two and three, it was because Alex was a genetically altered mutant. Price has a drastically different appearance here- gone is the earth mother/huntress get up, and in its place is this trashy S&M outfit and Marilyn Monroe white dress. Alex is also drastically different- she likes to have sex with her targets before killing them- or as one of her adversaries says to her "fuck 'em before really fucking them." One thing that annoyed me about her character was always asking her victims "did you hear the angels cry?" We get it, mr. Pyun. There are maybe three sets in this movie- and they're all this crumbling Eastern European ghost town where Sue Price can walk around naked and kill priests.
Like 'Nemesis III: Time Lapse,' 'Cry of Angels' suffers from the same problems as many Pyun films (think Max Havoc)- excessive flashbacks to other movies and scenes you've watched literally five minutes before in order to pad out an obviously short movie. Even with flashbacks and cuts to the other sequels, this movie runs less that 72 minutes. Fortunately, Pyun learned his lesson from 'Time Lapse' and didn't subject the viewer to THIRTY MINUTES of flashbacks in the first half of the film. Overall, I can't recommend this unless you liked 'Nemesis II and III, or really like to see hot female bodybuilder nudity. I'd like to say this was a new low in Pyun's filmography, but then again I've seen 'Deceit' and his Snoop Dogg movie.

I went to see the TSOM this past tour, and found myself scratching my head, for several different reasons. One, I have been more or less OBSESSED with the Sisters since I first discovered them, and there was a feel of dreaded disappointment; a feeling I fought hard mostly from fanboy devotion than anything else. The sound was muddled, at times horrible, inaudible and mixed way too low at others. However, there are ALWAYS moments of shear brilliance and what rock should be when you see the Sisters. Sadly, the enchantment began to wear off after another round of monotonous drum machine beats and hard metal guitars bashing out decade old hits and unrecorded gems. I felt kind of like in 2006 on the 'Bite the Silver Bullet' tour, when I wondered how many times they could churn out a three minute version of an eight minute song, and rush through their setlist. I could not, however, say the show sucked.


It's the nature of the Sisters as an entity of rock history now, and their place (or lack of place) in a music industry that never really moved with them- forward. The Sisters embody frustration for those devoted to their idiosyncratic form of pop: they refuse to release records, even though they have more than enough material for it; they have the chops to put on absolutely mindblowing shows, but choose to bury it beneath dry ice, poor sound, and apathy. Their shows, anyone can tell you, range from the ecstatic to the excremental in quality, sometimes in the same gig, or one after the other. As they pounded through Dominion, I pondered walking out and didn't feel sad (and that makes me sad) because I felt I wouldn't really miss anything and I had seen this before from them. I felt the same way during Summer. And then Flood II. And then Something Fast. And Vision Thing. And then it was over, and I was frustrated because I felt like I had been tricked again, suckered into bed by this charming entity that is the Sisters. And they left me with a disconnected phone number and a disheartening realization that Eldritch and company really can't continue on doing music the same way they've been doing it and still be the Sisters as we remember and love them. I felt the same way in 2006. "The Sisters are a joke now." I wrote. It is something the 2008 me returned to often during the show, but also the excited 16 year old fanboy was side-by-side with his jaw on the floor. I came to the conclusion that the Sisters are like that friend you can't give up on. Or maybe that's just bullshit. It's the Sisters, man. Take them for what they are, or don't. I choose to.

Edit this setlist | More The Sisters of Mercy setlists

Crucial Music: John Foxx- Metamatic (1980)
One of the reasons I wanted to start a blog was to shine a spotlight on some of the albums, movies, and books that I found interesting, influential, etc... Stuff that people may be quite familiar with, know about, but otherwise tend to overlook for their importance; an importance that may stem from my own idiosyncratic tastes, but still have an air of the "crucial." Hence, the first installment of "crucial music."

It is fitting in many ways that John Foxx's first solo album post-Ultravox would kick off this segment. Early Ultravox had a monumental effect on my formative years; the first three albums: 'Ultravox! (1977),' 'Ha Ha Ha (1977),' and 'Systems of Romance'(1978) seemed to capture in their quirky, mechanical beats, detached lyrics, and peculiar melodies everything I loved about dark music. Only David Sylvian and Japan came any closer to fully embodying that spirit.

I argue that 'Metamatic' is Foxx's most realized work; saturated in the grey, existential cyberpunk tones of J.G. Ballard, drowned in colorless monotone drum machines that hypnotize, and wrapped in a haze of 4AM, you can't get much better than this. From the very beginning, 'Plaza' hits the veins like a sweet taste of heroin.