RED SUN REVIVAL: Identities (Selfreleased 2015)...

I met this British at last year’s Semana Gótica de Madrid. I had hear a few songs but I admit they haven’t grabbed my attention. Classic British Gothic music, male and dramatic voice, occasional violins… A lot of the same old. But the Madrid Gothic Week came as their show. With a lack of a “real” drummer, subject to the drum machine, they made a spectacular show. I ended in the hands of this Victorian Gothic that they play, and I felt in the nets of incontestable songs like My Child or Mistakes, just to give only two examples.  From there, to soak up with Embers (their 2014’s EP) and Running From The Dawn (the debut álbum in 2012), and my ears couldn’t stop waiting to hear their new works.   While waiting, a few weeks ago, it came to us Identities. And since then, this record has been played over and over, trying to get into all its nuances, in all it has to offer: Premonition, the opening song, is an amazing litany, full of epic and 19th-century’s decadentism, for me one of the keys of the band. The luminous guitars on Echoes don’t hide the underlying darkness, the intensity and melancholic in a some-kind-of procession of feelings that Poe could sign if this was a tale: “Should I remember you today? The sacrifice you made. I’m helpless but I’m not afraid. Are you an echo of the past, returned to me at last from all these years apart.”   Four walls comes with the same target. Relatively slow rhythms, between mid-time and the typical epic tune, melodies supported by Mr. Leydon voice and in the guitar lines of Matt Helm, the bass pointing the way (great work of Panos Theodoropoulos) and, in general,...

STILL PATIENT?: Shape Shifters (Dark Dimensions 2015)...

Once the 90s has started, a certain transfer of the neuralgic center of Gothic ortodoxy started to be produced. This center not only was in the United Kingdom; centers or “scepters” could be found in Germany. There was an “ideas gap” and a lack of nerve no freshness in UK, and the mixture with electronics hard guitars (almost near to metal music), ended in consolidating a new way of understanding the dark rock music: The Gothic rock. This was the “Second Big Wave” – or whatever you wanted to call it-. The new sounds -at this time- (the long shadow of Eldritch and of McCoy was present), exploration of new horizonts … the necessary regeneration. Of all those bands that assimilated some dance music and hard rock’ styles, Still Patient? highlighted. Four discs and an one EP, fulled of amazing songs and a broke up in 1999 that left, a decade later, a certain sensation of orphanhood in a subkind of music in which in these ten long years they had stood out.   More than one decade of silence later, much more than desired, it happend in 2012 (with a compilation), when they met and recorded a new version or remixing form of the hit song “Mascara Osiris”. They re-discovered vocations, played at the Treffen, granted an interview with us and, already in 2014, launch Selective Perception. An EP and a compilation (Retrospective 88 2 99) that allowed they to make an European Tour again. They were at the 2014’ SGM and demonstrated all that we knew yet, giving an astonishing show. And now, more than twenty years after their debut record, they will present in a few days (September 25) “Shape Shifters”. From the first song, “Seconds Of Fame”, you can appreciate...

NEAR EARTH ORBIT: End Of All Existence (Solar Lodge 2015)...

What happens if you put together Ashley Dayour (Whispers In The Shadows, The Devil & The Universe) and Artaud Seth (Garden Of Delight, Lutherion, Chaos GOD, etc in the past; and right now Merciful Nuns)? Just what had to happen, a new example of what creativity, talent, composing and instrumental power and the pleasure for the esoteric and apocaliptic stuff and in general the conceptual work, can project. Near Earth Orbit is one of those bands in which the idea goes before the band itself. The concept before everything else, or almost. In this case, the concept is as clear as odd. The future presences of both musicians emit this album from the future (well, in fact, it is already being emitted) to warn the world of its extinction, that will happen suddenly on 16 March 2034 and it seems we can do anything to avoid it. This new extinction is scheduled from the beginning of time by the (extraterrestrial) Gods. Yes, those who were responsible of our creation and who come from outer space. The well-known Annunaki, from Nibiru, etc (note: check the past discographies of both forefathers to know more about them). In this way, this End Of All existence becomes a diary of destruction and a warning of it at the same time. In addition, the design is planned to be developed in three albums: the next one will appear on October (Trans Neptunian Objects) and the last one on May 2016 (Near arth Orbit, as the project itself).   Musically, it is perfectly equidistant from the sounds Mr. Dayour and Mr. Seth accustomed us to: dark and cold atmospheres, more or less dreamy or distort guitars, deep basses, voices near from litany and the recited song… What I have already...

GEOMETRIC VISION: Virtual Analog Tears (SwissDarkNights 2015)...

For some time, Italy has become a swarm of new dark bands, you could almost say that two of every three bands that emerge (and there are a lot lately) come from this country. Specially when talking about minor genres like coldwave, afterpunk, and in general, the 80’s revival. It could be the climate or the water or who can say, but they’re welcome. Mostly because the average level is very high, I don’t know if there are a lot more bands underneath them, but they don’t arrive to me… The italian trio Geometric Vision gave us a pleasant surprise two years ago with their debut, Dream. Then we mentioned that it was some of those bands that had the weird (because of it not being very common) quality of carrying you to other worlds, other times, other atmospheres. I really wanted to check if in the second CD (so difficult, so many times) they were able to keep doing it. And, of course, they were capable of maintaining a very high level, an horizon of insulting creativity, a breaking resounding landscape with mature origin. With class, style and savoir faire. In summary, they were able to repeat the strike they made with Dream. They’ll play again in SwissDarkNights, which is a guarantee, at least in part.   Black Heaven gets back the 80’s atmosphere since the beginning, in the sound and the structure. Deep basses, keyboards and effects, clear and blurry guitars, the voice reminds us of the first The Cure (for example). The elements and features existing in Dreams, repeat the beginning of this album. However, an evolution can be appreciated, the aim of taking those influences beyond. They carry the 80’s style without forgeting that thirty years have passed since then....

WINTER SEVERITY INDEX, 28-03-2015, ROCK PALACE, MADRID...

On few occasions I’ve been lucky enough to enjoy a concert of a band that I really love. This was one of them. Since 2011 I follow this great band that makes me shake an vibrate with every composition they make. Finally I had the chance to enjoy their live.   My good friends from De Profundis (who are celebrating their 8th anniversary as event and concert promoters), brought us this girls from Rome during a promising evening. In addition, I was invited to collaborate with them as DJ in the after-show party. It was a night in which we would meet a lot of life-long great friends making the most of this event. The chosen hall, Rock Palace, small, but special for concerts like this one. The night was promising, yes, and a lot… Already on the small stage of the hall and facing the expectant public, even though it wasn’t very numerous, Simona with the guitar and Alessandra with the keyboard, they seemed to be accompained by Giovanni Stacone with his bass, which would give a lot more strength to their songs live. “The Gift”, outstanding and touching song from their EP “Survival Rate”, is the chosen one to start their concert. True and deep Cold Wave, sounding at last in Madrid.   A spectacular beginning for what promised to be a great performance. Simona’s voice was marvelous and surrounded everything causing a lot of sensations. I wasn’t surprised by them starting with this song, in fact I think it is the one that reflects the band’s spirit.   This expected beginning (for my part, at least), was followed by “Bianca”, song which was the beginning of their last and praised work “Slanting Ray”. Songs followed one another facing a public that...

DOUBLE ECHO: La Danza (Gothic Music Records 2015)...

Double Echo. From Liverpool. Name and origin sound good. Created in 2012, they have published 3 EPs so far, but on 25 April, “La Danza”, their first LP is going to be released umder the brand of Gothic Music Records. Chris Luna and Ash Lerczack are the members and performers of the project, being in charge of the bases, programming, voices and sythesizers, with Roland in charge of the drums machine. The first song of the album, with the same name as this one, is a good introduction and sample of what we’re going to find throughout the CD; goth sound from the 80’s, with their sythesizers, guitars and emulated basses and lyrics, and a sound that is totally The Cure but with feminine voice. I personally loved it. Even though I couldn’t avoid to remember Joaquín Reyes imitating Robert Smith and saying that his favorite era is the “dindondin” one, but this is because I link weird stuff. I Used To Be In Pictures follows the same line than the classic bands of our little world, but printing their own brand. I know there’s a lot of people who are upset because actual bands sound “just like” and they don’t take a risk with what they call “new sounds”, but this doesn’t bother me. And Double Echo are one of those bands that could have sounded 20 years ago and now, and their music would be equally great. The Sentence is another one of those songs that at the 20″ it causes you that pleasurable sensation that can only be provoked by some chords, specific sounds, to those who like this type of music; this few notes make you feel like home, songs that are a welcome sign themselves, enjoy it. The Waiting...

INTERVIEW WITH AEON SABLE: “We smoke, we drink and we do dark rock”...

Aeon Sable will play in October during the Gothic Week in Madrid and they are responsible of some of the best albums of the last years. For that reason, we decided to interview them. Behold the result. (audio, here it is)   I imagine that at this point, everyone who read laletracapital know you, but if someone has been left behind, introduce yourselves please. We are Aeon Sable. We are 4 guys with 2 guitars, 1 bass-guitar, 1 microphone and a drum-machine. We smoke, we drink and we do dark rock. You are one of the bands that somehow lead the goth rock’s Third Wave. We think that we’re living one of the most prolific stage regarding bands but not regarding the amount of public ¿Do you agree? The first Wave was a motley crew of people trying out dark tunes in all sort of ways. The second wave mostly rescaled it to a more “sisters of mercy”-like core, while the third wave is eager to break the boundaries of styles again. So yes, we are in a very prolific stage, where musicians takes a step ahead with the knowledge of the past two waves. The  amount of public is connected to the particular times. Since the internet and it’s overwhelming input of information and bands, everyone has a hard time of getting heard, clubs, musicians and artists alike. . You have maintained a steady rhythm of album releasing, Per Aspera Ad Astra (2010), Saturn Return (2012), Aequinoctium (2013), Visionaers (2014)… Nowadays those are a lot of albums. Making music is our primary purpose in life. We do what we like, and discovered we are good in what we do, since people like it. We try to find a routine in our albums, that...

PODCAST CAPÍTULO 16 BIS: SPECIAL INTERVIEW WITH AEON SABLE...

GOOD EVENING, VISIONARIES to our podcast’ 16th chapter: SPECIAL INTERVIEW WITH AEON SABLE. They will play in October during the Semana Gótica in Madrid and they are responsible of some of the best albums of the last years. For that reason, we decided to interview them. Behold the result. Also we’ll listen to some of their songs making a non-exhaustive review of all their discography. We don’t know if the chosen songs are the best ones, but they seemed to be in the moment we chose them. Maybe tomorrow will be other ones. Or not.    You can listen at Mixcloud,   LALETRACAPITAL PODCAST – CAPÍTULO 16 bis – SPECIAL INTERVIEW WITH AEON SABLE by Laletra on Mixcloud     Or at  Ivoox, just below.     Songs: Dawn Of An Era – Aeon Sable de Visionaers Secret Flower – Aeon Sable de Aequinoctium Agnosia – Aeon Sable de Per Aspera Ad Astra Visions – Aeon Sable de Visionaers Quaalude Tango – Aeon Sable de Visionaers At The Edge Of The World – Aeon Sable de Per Aspera Ad Astra Dancefloor Satellite (Over Russia) – Aeon Sable de Dancefloor Satellite (Over Russia) Exodus – Aeon Sable de Per Aspera Ad Astra Tenfifteen – Aeon Sable de Aequinoctium Star Casualities – Aeon Sable de Visionaers + BONUS TRACK   Covers:...

HAVALINA: Islas De Cemento (Origami Records 2015)...

Many of the people who have seen that I was publishing this review put their hands above their head. Many of you have thought what has Havalina to do with laletracapital or with its regular readers: those who like to listen to gothic rock, neofolk, dark ambient, deathrock, postpunk or any other label you would like to set to the music you like to listen to. Many people have thought that we (I) have gone crazy or that we (I) have changed or that we (I) have pervert all what this ancient webpage means. You can stop reading this, you can stop entering the website when you want to. No one has ever forced you to. But I want to ask you first, just before leaving behing this letters forever; before, a moment before closing the browser and stop reading this site (maybe forever); before choosing the words to curse us (me), listen to Islas de Cemento. Look at the magnificent jacket by Elba Fernández, pay attention to the lyrics (six of the eleven songs are adapted from the “Manual Para Conductores Borrachos” by JJ Cabezalí) or (and) take the trouble to listen to Un Reloj De Pulsera Con La Esfera Rota in Youtube (for example): https://www.youtube.com/watch?v=uyiPZmaNvQY. After doing this you can decide if you’ll keep reading or if you give up on us (me, again). At least it will be a reasoned decision. And that is that Mr. Cabezalí and his trip mates (Jaime Olmedo’s bass and Javier Couceiro’s drumsticks) did it again. They have perpetrated a small musical masterpiece. They have collected some hard-to-label, complex songs, full of shades, songs for anyone who is able to appreciate what those nine lyrics mean. Dark when they have to be. Clear when the chance...

NEW BREED: From The Vaults (Selfreleased 2015)...

The norwegians, New Breed, released in January this old song compilation, only available for direct download and with the intention of releasing songs that, for some reason, have been forgotten. Not so long ago we commented their last album, the Pleasure & Pain remaster eleven years after its releasing. So this is the last snack before an LP with new songs, we wish it will be soon. It urges us. This need is because with this scarce eight songs, the ones from Stavanger show us again how the lifelong goth rock has no secrets for them, and they do it with a song compilation that brings together the best parts of the said style: powerful guitars, deep voices, strong basses and sharp percussion. In such way, the fact that Tilt is almost instrumental or that Rain has in its shattered epic all the coldness of the best tunes of the Scandinavian scene doesn’t really matter. The powerful bass and the tremendous guitar guide a sober, intense and projected voice, that reminds you the great ones without you missing none of them and with the dark key factors (specially in the last third of the album). Outside has in its initial keyboard a differential point, of the noir-rockers’ line Les Fleurs Du Mal, an important detail that doesn’t fog up the guitar’s melody. It has less appeal than Rain, but not less emotion. That’s why we chose it for the sixth chapter of the podcast. Electra is slower, even darker, less impressive in its structure but full of little details that make it great. Kristian Gundersen’s vocal register gets more dramatic and near. Ecstasy is, for me, not the weakest song but the one that touches me less. The choir and the keyboard gives the...