Over 100 minutes of JOY DIVISION live from 1979 to 1980 – nuff said! Now watch and let this awesome footage take your mind to another time…get lost in isolation!
Anasazi: A little bit Virgin Prunes and a strong helping of Southern Death Cult — add in liberal amounts of Christian Death, nuke it all in a microwave for a few minutes, and the finished result might look something like this New York City cult-punk-cum-deathrock outfit. The brainchild of urban warrior/poet/necromancer Chi Orengo, Anasazi’s discography (two 7-inch releases, two demo cassettes, and one split cassette with the band Survival) and song titles like “Horror at the Mass,” “Desecration,” “Bone Collector,” and “Mausoleum” tell the tale of Anasazi’s gloomier sonic inclinations. Recently I interviewed Chi about the band’s output and what inspires it.
NYC, of course, has been a natural hotbed of dark music since the days of Velvet Underground. Follow that lineage through to the late 70s punk and no wave scenes that produced everyone from The Cramps, to The Mad, to Lydia Lunch, to DNA, to Klaus Nomi, on through to the 80s NYC deathrock and goth scene that included bands like the Naked and the Dead, Of a Mesh, and Scarecrow (all ably documented in the excellent Dark New York compilation I reviewed earlier for CVLT Nation here), on through to current bands like Rosenkopf, and Anasazi doesn’t seem so out of place. Anasazi’s latest release is a 7-song demo on Inflammable Material.
Interview conducted by Oliver in July, 2013.
Oliver: Chi, let’s some get some basic information out of the way first for readers. How long has Anasazi been around, and who is currently in the band?
Chi: Well, Mr. Oliver, Ansazi was started in 2010 originally with the darkest rain storms and the howling of many trees. It was with myself, current geetarist, and creator Keegan and our friend Mikkey C. on bass, and Eddie from Psychic TV on drums. We jammmed awhile but that didn’t work out due to bears eating them in Jellystone Park.
2011 came around and we got new members. I got the talented Bread Barrely on drums, Jasper on bass, and Christian on synth — members of The Hunt. This began our journey. It was a perfect fit, like OJ’s glove. We started playing shows in summer 2011. Magic moons and whisps of violent ways were in hand, potions were boiled and 420 smoke in basements were in full effect. I KID! We recorded our self-titled demo in the famous weird night basement where the ghost of a lil’ girl roamed. Then Jasper and Christian passed on. RIP. Then the wonderful Haydne from Dream Affair stepped in on bass, then stepped off a ledge. Also RIP. Now we have the great Jess from Survival on bass, who is a delight and a awesome friend. AND DAT IS DE LINE UP NOW! (“SHHH” — MY MOM.)
The Banner is one of the greatest hardcore bands ever. Period. Don’t believe me? Pick up any one of their three albums, Your Murder Mixtape, Each Breath Haunted and Frailty, and you’ll be blissfully hating yourself or someone else by the end. Next month will see the release of the band’s first material since Frailty in 2008 with the release of Born to Ruin I, the first in a series of three. With the cassette’s release fast approaching, I took an afternoon to discuss the EP with vocalist Joey Southside, in addition to The Banner’s influences and recent adventures.
Born to Ruin I is almost upon us. What can you say about the cassette at this point, what can fans expect?
I can say that it’s six tracks and I guess I got a little bit out of my safety zone with this one. It’s nerve racking but I’m looking forward to seeing what people think.
So far, based on the tracks released last year like “Negative Zone” and “Lilith,” Born to Ruin I looks to be one of the band’s most unique releases yet. What new influences have found their way into The Banner’s sound?
I would say it’s more of our old influences becoming more prominent. “Negative Zone” was written the day Peter Steele passed away so that’s how I approached the vocals for that track, as an homage of sorts. That sort of just opened the flood gates for me just writing whatever the fuck I felt might not bore me to death. Plus the off chance of alienating our fans always appeals to me as a masochist.
One of the best products of the contemporary underground dark punk/postpunk scene, Portland’s Bellicose Minds’ debut LP, The Spine, has been a long time coming. Although it was recorded over a year ago, in June 2012, it has slowly trickled out to the masses via mailorder and smart independent record stores that have an ear for good music. I interviewed the band almost a year ago for CVLT Nation when the only release under their belts was the excellent self-titled 2011 EP (and a demo tape); the 2011 EP had been previously reviewed by the late Kenn Kroosaficks for CVLT Nation. Bellicose Minds were one of his favorite bands, and they’re also one of mine. Although The Spine was technically released late 2012, it’s good enough to be on my own personal “Top 10″ list for 2013.
Whether you want to call it dark punk, dark postpunk, or goth-punk — and any of these terms would fit — The Spine recalls a time when bands like Vex, The Dark, and The Mob circulated freely between the punk and postpunk scenes simply because those scenes had not split apart into their own distinct worlds yet. (I’m speaking of the early 80s, when segments of the British music press referred to bands like UK Decay and Sex Gang Children as “gothic punk” and “positive punk.”) That’s the fine music and cultural line that The Spine treads – and it does so wonderfully.
I remember the day when I first heard KUKL, my mind just melted and Bjork’s voice had my young mind in a trance. Something about this band drew me into their world, and the fact that they were fronted by a teenager made me like them even more. KUKL music even then was hard to put it into a box but all I knew is that I couldn’t get enough. Today CVLT Nation is streaming their 1984 performance in Paris…You can also download it…All HAIL KUKL! They still rule!!!
Music Source:Kill Your Pet Puppy
The first track of the CD version of Troller‘s self-titled LP is called “Milk”; it’s nightmarishly gothic and genuinely creepy. Horror movie sound effects (or noises that remind me of horror movie sound effects) slash across a dreary landscape of synths and bass guitar, and after a slow build up Amber Ormand’s vocals – echoey, despondent, and ghostly – announce the arrival of an LP that is at turns darkwave-y, shoegaze-y, and eerily psychedelic. It’s a good and darkly atmospheric album by a younger Austin, TX band on Denton’s Handmade Birds label. (The original cassette and vinyl came out on Holodeck / Light Lodge/ Living Tapes.)
There are 10 tracks total, 4 of which are untitled dark ambient/instrumental pieces that thread together the 6 other songs with vocals, most of which have monosyllabic titles (“Tiger,” “Best,” “Milk,” “Thirst”). Although there is nothing quite as deathrock-sounding on the release as the opener, the rest of the LP is a multi-layered, lush journey through achingly sweet dark pop nostalgia (“Winter”) and early 4AD shoegaze-esque postpunk (“Best”). In fact, much of the music has a very Projekt Records “ethereal wave” vibe, a la bands like The Cranes – wails of tragedy and bliss awash in kaleidoscopic synths, vocals floating wraith-like above a melody anchored – barely – to earth by a drowsy, gloomy bassline. The Anti-Gravity Bunny blog called it “graveyard hallucination pop”. That’s not a bad description at all.
Text and photos: Darryl Reid
I show up to the show super late, France’s La Fraction are half way through their set. Before they can finish their set there is some drama – cops show up, find a bunch of punks drinking outside the venue, and fuck over Jo (half of Blue Cross and the man putting on the show).
For a moment, the night and the entire fest seem to be in peril. Fucking Pigs.
Soon as the pigs leave, La Fraction finish a killer set and Blue Cross sets up.
If you’ve been following Blue Cross you’ll know they aren’t the type to play live shows and I was curious to see how their sound translated live, since they are a two piece and use lots of drum machines and effects in their music. As mentioned elsewhere in the site, they borrowed a couple members from Asile, Pat and Joel (on Drums and Bass), to round out the band. The whole band were on point and played a blistering set.
I love this whole post punk/goth revival going on and Blue Cross are one of the best bands leading the revival. If you have the chance to see them live, do it – you won’t be disappointed.
by Oliver Sheppard
Ottawa, Canada’s goth-punk duo Blue Cross have just delivered their third full-length LP, “Conspiracy,” in under two years – a remarkable feat, considering that many bands nowadays take years to release new material. Originally a side-project of street punk band Germ Attak, Blue Cross’ music explores more mid-tempo postpunk and deathrock territory. Their sound, guided by Jess’ spectral vocals, recalls bands like the Superheroines, Madhouse, and more obscure early goth-y postpunk with female vocals like Your Funeral or Pink Military.
Chaos Rurale Records and Blue Cross’ own Bandcamp page have made “Conspiracy” available for streaming, coinciding with the physical release of the album. (Bruised Tongue is actually offering the LP on cassette!) CVLT Nation has been following Blue Cross since the beginning; the band’s debut LP, “Mass Hysteria,” was reviewed here; their second LP, “I am Death,” was reviewed here; and the band was interviewed by CVLT Nation last year here. Recently, Maximum Rock ‘n Roll also interviewed the band.
Click the graphic below to begin streaming “Conspiracy” now!
Hot damn, NO SIR, I WON’T is a fucking killer band that play some off the chain peace punk! They have a new 12 inch entitled Door coming out via Frame Work Label on June 25th! Right now I want you to check out their new song “Harry Harlow” streaming below…Oh yeah, their east coast tour started yesterday – peep the dates!
If you ask people my age what music first really opened their mind, many of them would say funk – it was our gateway to punk. P-Funk Parliament-Funkadelic created a universe that molded our minds into young weirdos. After seeing George Clinton and his band of freaks perform in outlandish costumes, how the Sex Pistols looked was almost normal. Musically, funk was all about self-expression, just like the early punk scene in both England and the States. The P-Funk all stars did not give a fuck, and created a dance beat that would had you under their spell. You could hear the influence of the bouncy, rolling baselines of Funk in early Post Punk and certain 80′s hardcore bands. There would not have been the Gang of Four, Talking Heads, Bush Tetras, PYLON, ESG, Maximum Joy, Glaxo Babies, Minutemen, Big Boys, PIL and many more without this influence. Not all of these bands had a political message, but many of them did, which sounded cool against their driving back beats. So part of Post Punk’s foundation can be found in in the words of Mr Clinton – free your ass and your mind will follow! Today we celebrate the Funk // Post Punk connection with a huge video essay that will tell the story better than my words ever could…Part 2 of this story coming soon: Post Punk and the Dub connection!