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Music

Death RockMusicPost-Punk

by Oliver Sheppard Blue Cross began as a side-poject of Ottawa, Ontario’s Germ Attak. While Germ Attak played loud, brash, hard-drinking punk rock and roll, Blue Cross employ a darker approach: Their sound is pure, modern goth-punk. The dark and echoey female vocals lend the songs on their 2011 Mass

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Death RockMusicPost-Punk

The S-Haters were a British dark punk band that existed from about 1976 until 1985. They played — well in advance of the trend — a type of gothy punk rock that would later be called, by others, “deathrock,” “gothic punk,” or just “goth.” In many ways the band has

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CrustDeath RockMusicPost-Punk

(Note: This interview first appeared at the No Doves Fly Here site a few months ago.) The Bay Area’s Alaric have received positive attention on CVLT Nation before; their recent split with Atriarch, reviewed here, was amazing. Members have played in such great bands as Noothgrush, Dead and Gone, and

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CrustDeath RockDis-beatHardcoreMusicPost-Punk

What would it sound like if Killing Joke and Motorhead had collaborated in 1982? You know, when Killing Joke were working on their apocalyptic, postpunk Revelations LP and when Motorhead were coming off the ungodly high of having finished their Ace of Spades masterpiece? You could argue that Montreal’s The

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MusicNeo FolkReviews

by Oliver Sheppard There aren’t a lot of American neofolk bands, let alone many that are very good. Wisconsin’s Wreathes, however, are both American and very good. Unlike recent US neofolk acts like Cult of Youth and King Dude, who have put a new and uniquely American spin on the

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Death RockMusicPost-Punk

Vancouver, British Columbia’s Spectres released one of the finest LPs of 2010, Last Days. “[T]he dark side of 80’s anarcho punk and the coldness of early 4AD and Factory records releases,” Interpunk says of the album, not inaccurately. Likewise, the Spectres’ 2007 “Cold War” EP opened a lot of eyes

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