EXCLUSIVE VIDEO PREMIERE: Ghostatic – “Catastrophic Love”

Cleveland electro-industrial rock artist Ghostatic has followed up his last single ‘Violence’ with a new single and video ‘Catastrophic Love’! The video is fraught with drama and feeling, complimenting the track. Watch the clip right now!

Quote from Adamo Fiscella:

“The Catastrophic Love video was actually shot at two locations: an abandoned house in the middle of nowhere in the mideast part of Ohio. My friend and videographer, Jeff, had showed it to me for my paranormal/urbex channel on YouTube(conveniently called Ghostatic) and an old victorian house in Dover, OH. The storyline was something thaas organically birthed by the song’s lyrics, but taken to the next level. It’s an extreme case of toxicity in a relationship that gets our of control. I directed it, alongside Jeff Hartman of Bitmod Studios(IG-@bitmod), featuring Jenny Lynn(IG-@fallenangel_7). They are very talented and great to work with. I also did all the post production work. It was a pain, but I had a vision in my head that I wanted to bring to life.”

Follow Ghostatic:

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Pinkish Black – Concept Unification

I basically came out of the womb listening to music. I was lucky enough to be one of those children that grew up being exposed to a multifaceted plethora of music genres. Today, when I started listening to the new album by Pinkish Black, Concept Unification (Relapse Records), I was caught up in a wave a delightful nostalgia. The music flooding my ear holes, created by the Fort Worth Texas duo of Jon Teaque and Daron Beck eerily reminded me of the solo work of one of my favorite bassist of all time, John Entwisle. Entwisle did an album in 1972, titled Whistle Rymes (MCA Records), that I feel the new Pinkish Black album echo’s. What am I trying to say here? I am saying that Concept Unification is fervently grandiose. Continue reading

Combichrist – One Fire

There are very few bands that seem to fly under the radar but yet are insanely popular. Combichrist is one such band. Mention the band name Combichrist to a self-proclaimed music buff, and you may or may not get acknowledgment that the person has heard of the band. Now, play a song by Combichrist to the same person, and that person will respond favorably, most likely saying something like “I fucking love this band!” Honestly, how can you not love a band that is absolutely fearless when it comes to penning lyrics. Frankly, Andy LaPlegua, the band’s founder and songwriting mastermind, is my spirit animal. Throughout his career, LaPlegua has always expressed exactly what he is thinking using his full throttle in your face style of Industrial Metal. Their new album, One Fire, (Out Of Line Music) continues the no holds barred, face melting journey fans have come to expect from this band. Continue reading

The Sisters Of Mercy Books London Shows This Fall

The Sisters of Mercy have booked headline gigs at The Roundhouse London on Friday 20 and Saturday 21 September 2019. They did a brief tour last summer, and have already been booked to headline a stage at this summer’s Hellfest. The band has been especially active lately on social media and their last full-length original album, 1990’s Vision Thing (East West/Elektra) was just released on streaming platforms for the first time last week. Tickets for the London shows go on sale this Friday 18th January 10 am local time at the link below.
Continue reading

MY FAVOURITE CONCERT MEMORY – Matthew Sutton (TAYNE)

Tayne is a London based Experimental, Noise, Pop outfit by Matthew Sutton. Tayne’s music is an aural assault that weld moody, atmospheric vocals, punishing guitars and overwhelming electronics, to pulsating rhythms that create an intense listening. Debut album Breathe (Strange Brew) is out now. Continue reading

Thomas Giles – Don’t Touch The Outside

It’s long past the time of day when Thomas Giles (aka Tommy Rogers of Between The Buried And Me) began being able to do whatever the hell he wanted. To be fair, to say his day job band has moments of eclecticism is like saying that Brexit negotiations have been a little bit difficult. And that diversity of spirit, of zig-zag, is absolutely at the core of fourth solo offering Don’t Touch The Outside (Sumerian Records), a record that is everything and nothing, and that is laissez-faire in respect of genre while being incredibly focused in trying to keep the listener moving. Continue reading

Gnaw Their Tongues – Genocidal Majesty

When a band that formed in 2006 have already recorded ten full-length albums and so many EPs and splits that I can’t be bothered counting them, it’s fair to assume that they’ve (I know, it’s only one person, but you use a band-name you get called by a plural – science) nailed their sound down by now. With Metal/Noise pioneers Gnaw Their Tongues, however, it’s a bit more complicated than that – they’ve somehow managed to develop a style that is instantly recognisable but changes subtly across each album, to the extent that you’re never sure exactly what you’re going to get when a new one is announced, and how heavily it will lean towards their disparate sides. Continue reading

The Faceless – In Becoming a Ghost

A five-year gap between records and a litany of line-up changes would slow down the momentum of any band, but Michael Keene has always been driven to make The Faceless work, even if it means taking on the majority of musical roles on himself. However, with a new set of musicians backing him up, Keene hopes to push The Faceless back to the forefront of people’s minds with In Becoming A Ghost (Sumerian) and prove that, despite the trials and tribulations of the band’s history, his ambition for creating the most extravagant music possible can still lead to great things. Continue reading

AFI Side Project Blaqk Audio Book Spring Tour Dates

Blaqk Audio photo credit BOOSTI ghostcultmag

Blaqk Audio (sometimes stylized as BLAQK AUDIO) has booked a slew of spring tour dates to support their forthcoming April release of their new album Material (Blaqknoise/Kobalt). Direct support will come from Night Riots on all dates. Blaqk Audio features Davey Havok and Jade Puget from AFI.

Focusing solely on electronica and classic industrial sounds of acts such as Daft Punk, Depeche Mode, Ministry, Squarepusher, Nitzer Ebb, and Front 242, Davey Havok commented on Blaqk Audio:

Blaqk Audio is pure electronica whereas AFI uses organic instruments. AFI has drums and bass and guitar and there’s none of that in Blaqk Audio.”

Being huge music fans and fundamentally driven by music in a creative sense, BA is a wonderful outlet for our long-standing love of electronic music. Were it not for BA, I’d still be writing this type of music, even if it never saw the light of day.”

Blaqk Audio tour dates, with Night Riots:

May 04: House of Blues – San Diego, CA

May 05: Observatory – Santa Ana, CA

May 06: Troubadour – Los Angeles, CA

May 07: Ace of Spades- Sacramento, CA

May 10: Doug Fir Lounge – Portland, OR

May 11: Croc – Seattle, WA

May 13: In The Venue – Salt Lake City, UT

May 14: Bluebird – Denver, CO

May 16: Turf Club – Saint Paul, MN

May 17: Bottom Lounge – Chicago, IL

May 18: Mod Club – Toronto, ON

May 20: Sinclair – Cambridge, MA

May 21: U Street Music Hall -Washington, DC

May 22: Bowery Ballroom – New York, NY

 

Blaqk Audio online

Blaqk Audio on Facebook

Blaqk Audio on Instagram

Blaqk Audio on Twitter

Blaqk Audio on YouTube

 

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Shihad – FVEY

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With a stellar canon in their back pocket, Shihad are arguably New Zealand’s greatest rock export, with five number one albums in their home country and a slew of alternative rock anthems to rely on for their vaunted live performances. While FVEY has been available in the Southern Hemisphere, since August last year, 2015 sees it breaking through the surface in the northern half of our planet via a PledgeMusic campaign.

The first thing to note is that Jaz Coleman (Killing Joke) is once more at the production helm, turning in a crystal clear, juddering sound that particularly suits the heavier, clanking grooves of the opening tracks, of which ‘The Big Lie’ takes the most plaudits with powerful heaves of guitar mugging before Jon Toogood invites you to share in a great chorus. Elsewhere, Coleman adds touches of appropriate class as the adrenaline drains away to more mid-paced lurches as the album progresses, ‘The Great Divide’ in particular touched by the dark rock of Coleman’s day job.

Kicking out the jams with the rockers and a run of songs that are reminiscent of Filter at their loudest, the album turns more brooding as it progresses, while still maintaining sufficient energy to stop matters from tailing off before ‘Model Citizen’ convulses and spits to pick up the aggro, and ‘Wasted In The West’ has a neck-snap that builds to an understated, chorus over a barrel of guitar.

FVEY (or Five Eyes – a reference to an intelligence alliance comprising Australia, Canada, New Zealand, the US and the UK) adds the nous and cynicism of a band with their heads and foil hats screwed on to the class and depth of seasoned professionals yet manages to avoid sterile songwriting, even though the album pacing could have been helped by one of the rockers appearing later down the order.

At this stage in their twenty-six year career, Shihad could release good albums in their sleep; their stomping intros, questioning verses and intelligent choruses could almost write themselves. Yet their renewed focus and vigour, aided by the cerebral touches of Coleman’s production, answer the question the band themselves pose in ‘Think You’re So Free’, where Toogood hollers “Do you think we’ll wake up?”

Shihad are wide awake, five eyes open, and back at the top of their game.

 

7.5/10

 

STEVE TOVEY