Similar Artists: The Clientele, Pelle Carlberg, Shout Out Louds.
Recording Year: 4AD, 2009.
The Scottish ensemble Camera Obscura formed in 1996, when vocalist Tracyanne Campbell, percussionist John Henderson, bassist Gavin Dunbar, and guitarist David Skirving began creating lush indie pop with orchestral flourishes and romantic lyrics. They went on to release a number of singles, one of which included contributions from Belle & Sebastian's Richard Colburn, whose band served as a stylistic touchstone for the young Camera Obscura. Three years after the band's first releases, Lee Thompson joined the lineup as a permanent drummer and David Skirving jumped ship, only to be replaced by Kenny McKeeve. Keyboardist Lindsey Boyd also climbed aboard not long afterward, defining the band as a six-piece.
Camera Obscura received an influential endorsement from John Peel in 2001, when the British DJ deemed them one of the most promising bands of the year. Their first full-length album, Biggest Bluest Hi-Fi, was released the following year through the AndMoreSound Records catalog, with production help from Belle & Sebastian's Stuart Murdoch. Trumpeter and percussionist Nigel Baile joined the band soon afterward, swelling their ranks to seven. The group's next effort, the luminescent Underachievers Please Try Harder, was released by Spanish label Elefant in 2003; an American release followed in 2004 by the stalwart label Merge, which also reissued Biggest Bluest Hi-Fi. For the band's third John Peel session in early 2004, they were asked to put music to the words of Scottish poet Robert Burns, a task they enjoyed so much they ended up recording studio versions of two of the songs: "I Love My Jean" and "Red, Red Rose."
After touring the world and reaping critical success, the band returned to Scotland and suffered two losses: first, the death of Peel, one of their biggest supporters; second, the defection of John Henderson. The band released the I Love My Jean single as a tribute to the late Peel in early 2005 and decamped as a six-piece to Sweden to record with noted producer Jari Haapalainen. The resulting album, Let's Get Out of This Country, was released in June of 2006 on Merge and Elefant. A series of singles and EPs followed, culminating in the release of 2009's full-length My Maudlin Career.
Die Laughing originally formed in late 1986-early 1987 (in the flat above the RSPCA in Radford Road, Hyson Green) from the remnants of Vital Stance - a punk band consisting of John Berry (guitar & bass), Ian Fletcher (drums), and Tina Thurman (vocals.) Vital Stance recorded one three-track demo and played a few gigs around the Nottingham area, but soon after the demo was recorded and with the introduction of Stuart Salt (Johns cousin) on bass, it was a unanimous decision that Alison Turner would replace Tina on vocals, and with this came the change of name and musical direction.
Most people automatically think that the name Die Laughing came from The Missions Wake this is not the case. The name was decided when Alison fell about in an uncontrollable fit of laughter.The rest is history. This line up played many gigs and released three demos, including one for a single called Insomnia that never happened, and also recorded a track called Wake which featured on a very rare compilation album called Underground Resistance. During this time the band had only one line up change with Rick Martin replacing Ian on drums towards the end of 1987. The band split in 1988 after the release of their final 4 track demo Of Hearts & Tears, when Alison left. Auditions were held but a new vocalist was never found and the line up members simply moved on.
Four years later in 1992 the line up everyone knows as Die Laughing was born when John Berry (guitars) teamed up with Rachel Speight (vocals) and formed the song writing nucleus of the band. Within a few months a newly-acquired bass player in the form of Dave Shiner, keyboard player Ruth Tyson and drummer Tom completed the line up. The band recorded their first demo Poems Of Your Life at Cage Studios in Sheffield (recording four early Die Laughing songs) as an experiment to see how things would work. The recording went well but the drummer disappeared soon after and was never heard of again and to this day we have no idea what happened to him!! After purchasing a drum machine (Dr Duck) and a crash course in drum programming the first gig was on 12 February 1993, held at the famous Narrow Boat public house on Canal Street in Nottingham. From the band's point of view this gig was very successful and would spur them on for several years to come. The band's second demo Love Amongst The Ruins was recorded in March 1993 and came with a choice of two coloured sleeves, red or blue. The demo contained four brand new tracks highlighting the band's writing capabilities and received excellent reviews from fanzines and underground publications around the world, pushing the band to new heights within the scene. The band continued writing inbetween a hectic gigging schedule around the UK and late 1993 saw a return to Cage Studios for a self-financed single Nemesis. Four tracks were recorded with the addition of a live session drummer but unfortunately touring and studio costs took their toll on any finances the band had, and the single idea was shelved and the tape released as the Nemesis EP in October 93.
Heavy touring around the UK during the summer of 1994 with Children On Stun had urged the band to bring in another guitarist, Ian Holman, which would add power to the live performance of the band. Due to the success of the tour, it was decided Ian should become a permanent member and contribute to the writing of the songs with John and Rachel. October 1994 saw the release of the Shadows & Silhouettes cassette which featured a new recording of Nemesis (back with the drum machine) and two new tracks. Ian made his recording debut with Die Laughing on the band's final visit to Cage Studios in 1995 after the band had been approached by independent London label Grave News Ltd and 'Gothic Rock's Mick Mercer.
Following impressive reviews and gigs the band were asked (and paid) to record two new songs, Harlequin for the Dreams In The Witch House compilation (Grave News), and Safe Little World for Mick Mercer's Gothic Rock 2 compilation (Jungle), both released in 1995.
Die Laughing were now getting worldwide attention and Nemesis was receiving lots of airplay in the clubs of New York, and with this came mail and fanzine interest from the United States and Europe. Things were looking good and the band was signed by Grave News to release a seven-track mini-album Glamour & Suicide.
The band spent one week recording the 13 tracks but opted for a month break before returning to finish and mix the album. The album was released in May and saw Die Laughing embarking on a short but very successful first trip to Germany with Vendemmian to promote the album in Europe. On returning to the UK it was announced that the success of Heaven In Decline as an import was so good the licence had been bought by a Japanese label to manufacture and distribute the album for the Japanese market.
Spawned by the fertile L.A. alt metal scene, Orgy adds catchy melodic hooks to the familiar mix of crushingly loud riffs and electronic-tinged production. Formed in late 1997, Orgy consists of vocalist Jay Gordon, guitarist Ryan Shuck, guitar synthesist Amir Derakh, bassist Paige Haley, and drummer Bobby Hewitt. Shuck had collaborated on material with Korn lead singer Jonathan Davis, while Derakh had produced several records for already-signed L.A. bands, so it was no surprise that Orgy became the first band signed to Korn's Elementree subsidiary of Reprise Records. Their debut album, Candyass, was released in 1998. Their cover of New Order's "Blue Monday" and second single, "Stitches," instantly pushed them into the mainstream. Dates supporting Love and Rockets and shows with Korn's Family Values Tour only fueled their popularity into the next year. Their experimental sci-fi sophomore effort Vapor Transmission, which hit number 16 on Billboard's Top 200, followed in 2000. Two years later, Jay Gordon and his Dad, Lou Gordon founded their own label, D1 Music. Founding drummer Bobby Hewitt also left the band for a three-month stint in Snake River Conspiracy although he participated in the recording sessions for Orgy's third album. Punk Statik Paranoia was planned for a February 2004 release.
It was only a matter of time before someone added obvious hooks and electronic smarts to the post-industrial roar of alt-metal. That's exactly what Orgy does on its debut album, Candyass. It's hard to call this stuff industrial, since its sensibilities are directly out of metal -- hard-hitting riffs, big hooks, and tight songwriting -- but since Orgy is living in the electronica age, everything is given a computerized surface, complete with processed guitars and thundering digital bits. It's a now sound, no two ways about -- it's of the moment, totally 1998, and that's why it's hard to actually judge its merits. Candyass has the intoxicating rush of a new sound, but it's hard not to feel like all of its pleasures are on the surface. Still, you take pleasures where you can get them, and Orgy offers more than expected on this promising debut.
Similar Artists: The Clash, Band Of Susans, Scritti Politti.
Recording Year: Dutch East India Trading, 1990.
In later years, some bandmembers claimed that the best Gang of Four album of all was, in fact, this collection of three separate sessions from 1979 and 1981. It's little surprise why -- recorded with brisk, blunt immediacy, Peel Sessions is both a showcase for the band's sheer power and amazing transformation of funk and punk for its own virulent ends, with all three sessions featuring the full original lineup. Good production from Bob Sargeant, who produced all tracks except the last three, helps immensely, while there's no track repetition at all. A gripping version of "I Found That Essence Rare" begins the collection, Andy Gill's guitar slashing like a vicious weapon and Jon King's vocals getting even more wired and intense as the song continues. As for the Dave Allen/Hugo Burnham rhythm section, it sounds like it could beat down walls. From there, Peel Sessions serves up one highlight after another. Also from the first session, "Return the Gift" builds to a powerful climax, King's plaintive call "Please send me evenings and weekends" echoing into the distance, while "At Home's He's a Tourist" is stripped-down aggression at its finest. On the second session, "Natural's Not in It" is the standout, featuring some of Burnham's best drumming ever, while Gill's clipped riff gets a deservedly strong performance. King's singing sends everything over the top, while his work on "Ether" is equally strong, balanced between collapsing quaver, simmering outrage, and smooth passion (consider his delivery of the final "white noise in a white room" in the midsong break). His occasional melodica, as heard on "Not Great Men," adds to the performances nicely. As for the last session, the murky, dislocated performance of "History's Bunk" makes for a fascinating, weird listen, while "To Hell With Poverty" tops things off with some brutal disco.
Style: Experimental, Avant Garde, New Wave. Similar Artists: Tirez Tirez, Peter Principle, Mikel Rouse. Original Recording Year: Crammed Discs, 1986.
Tuxedomoon was an avant-garde, electronic-oriented collective whose music ranged from new wave pop to jazz fusion to more experimental synthesizer soundscapes (usually including saxophone and violin), which were frequently married in concert to performance-art shows. Tuxedomoon was formed in San Francisco in 1977 by two electronic music students at San Francisco City College, Blaine L. Reininger (keyboards, violin) and Steven Brown (keyboards, other instruments). Brown's local theater connections supplied equipment and occasional vocalists in Gregory Cruikshank and Victoria Lowe, plus more frequent contributions from singer and performance artist Winston Tong. Punk and new wave were opening up the San Francisco music scene at the time, and Tuxedomoon landed an opening slot for Devo in 1978 at around the same time they cut their first single, "Pinheads on the Move." Lowe quit the band before their first EP, No Tears, which featured off-and-on members Michael Belfer (guitar) and Paul Zahl (drums). Tong and Belfer departed temporarily, and Peter Principle (b. Peter Dachert) joined as a full-time member. Tuxedomoon signed to the Residents' Ralph Records in 1979, which eventually got them overseas exposure. Feeling that their ideas were more in tune with the European electronic music scene, the band toured Europe after 1980's Half Mute, for which Tong returned with filmmaker and visual artist Bruce Geduldig. After 1981's Desire, the band relocated permanently to Rotterdam, where Reininger began to branch out as a solo artist. Tuxedomoon was also hired to score a Maurice Bejart ballet, the results of which were released in 1982 as Divine. Reininger left for a solo career in 1983 and was replaced by Frankie Lievaart and horn player Luc Van Lieshout. In between side projects and scoring, the band sought an international deal for their forthcoming LP Holy Wars; it was eventually released in 1985 and became the band's biggest commercial success. Tong left the group for good that year, leaving Brown and Principle the only remaining San Francisco members; multi-instrumentalist Ivan Georgiev was hired to replenish the group's sound for 1986's Ship of Fools album and tour. 1987's jazz-fusion-oriented You was Tuxedomoon's final studio album, although scoring work from past projects was subsequently reissued in Belgium. In addition to Reininger, Brown, Principle, and Tong have all recorded as solo artists.
Similar Artists: Last Dance, A Split Second, Siouxsie and The Banshees.
Original Recording Year: Nesak International, 1984.
Sounding like howling witches burning at the stake, the ghoulish shrieks of Xmal Deutschland's 1982 debut single "Incubus Succubus" immediately won the approval of goth rock connoisseurs. The German band wasn't able to maintain its black-clad sound, selling out to pop before the inevitable breakup, but Xmal Deutschland competed with Siouxsie & the Banshees for goth royalty. Xmal Deutschland was formed in Hamburg, Germany, in 1980 by Anja Huwe (vocals), Manuela Rickers (guitar), Rita Simon (bass), Fiona Sangster (keyboards), and Caro May (drums). Originally an all-girl lineup, Xmal Deutschland added a male when Simon was replaced by bassist Wolfgang Ellerbrock.
In November 1982, Xmal Deutschland opened for Cocteau Twins in England, and the group caught the attention of the Twins' label, 4AD Records. The band was signed to the label and released their first LP, Fetisch, a year later. Fetisch hit number three on the U.K. independent charts. Xmal Deutschland headlined a U.K. tour in 1983 and recorded a live session for renowned British DJ John Peel. Percussionist Manuela Zwingman quit the group, and Peter Bellendir became the band's new drummer. The similarly gloomy Tocsin followed in 1984. On 1987's Viva, Xmal Deutschland hit their creative peak, puncturing their doom rock sound with the eerie hooks of "Matador" and "Sickle Moon." However, Xmal Deutschland's Halloween days were over by 1989's Devils. Despite its ominous title, the group cheered up, dropped the German lyrics for English, and lost all of their credibility. They disbanded soon thereafter.
Xmal Deutschland's second full-length album is a creative high point, a Teutonic marriage of Siouxsie & the Banshees' inviting Goth-pop and the majestic sonic spaces of the Cocteau Twins. Less offputtingly bleak than the quartet's earlier records, but without the unfortunate candy coating of the albums that followed, these 11 songs are precariously balanced between neo-psychedelic pop in the traditional 4AD style — the opening "Mondlicht" would not sound out of place on a TMC album — and the more aggressive, artsy sound of their first EPs. The former is clearly winning; "Incubus Succubus II," a much glossier remake of the song that first garnered U.K. attention for the group, features a less tortured (but still German-language) vocal from Anja Huwe over a smooth, throbbing pulse that trades in the spiky scrappiness of the original for a clean, but not antiseptic thrust. The clash of styles actually works quite well, giving Tocsin a palpable creative tension that adds a frisson of intensity to what might otherwise be just another collection of Goth-pop tunes.
Similar Artists: Funker Vogt, Haujobb, Front Line Assembly.
Original Recording Year: Metropolis, 2003.
:wumpscut:'s distinct, dark electro sound has been such a force in the industrial scene that it has become a reference point to describe other acts. Characteristically dark yet never quite standing still, Rudy Ratzinger's inflicted expressions bind together anguished synths and a vocal style that is the voice of an imagined genocide. This is the shadowed corner in which Wreath of Barbs lurks.Ratzinger finds new ways to torture his hardware by walking a path between :wumpscut:'s earlier, bleak electro sound; the noisier feel of releases such as Embryodead; and a new glimmer in the darkness. "Opening the Gates of Hell" is an expected :wumpscut: crafting of rough electro and punishing beats painted over with something goth and could be opening the gates if it was meaner and had teeth. :wumpscut: depart from formula, with the (deservedly) title track "Wreath of Barbs" presenting more than the usual routine — the sonorous bass and slow avalanche tempo impel the track into a beautiful disquiet. "Deliverence" is likewise a commanding track, operating in a smoother dancebeat territory than usual for :wumpscut:.Unfortunately, Wreath of Barbs is not just about :wumpscut: hitting new heights. The addition of Aleta Welling's female goth-esque vocals is an experiment that will only work well for the conditioned :wumpscut: fan, and then only some of the time. "Dr. Thodt" is musically an interesting enough track, but the misplacement of the vocals and uninspired lyrics together relegate it to the filler track category. "Line of Corpses" suffers even more, with even less happining lyrically and musically and both vocalists unable to save the track. The better formula would seem to be to leave the vocals at the minimum and work up the music — the heavy synths of "Troops Under Fire," reminiscent of a veteran working over early Mentallo & the Fixer, do not lie. All of this makes Wreath of Barbs a bipolar release of peaks and troughs. There is no question that when it's on, it is some of :wumpscut:'s finer vintage. When it is all averaged out, Wreath of Barbs continues the tradition well — except with more than the a few memorable moments for those who are up to the task.
