Spotlight: Weeping Rat – Forced Vision/Fractured Zones!


Melbourne, Australia. As the sun sets, the Weeping Rat comes out to feast. Having recorded music under this name since 2012, with their first release “Blood & Fog“, a duo consisting of Jacob and Michael – slowly, over time became a whole group. After having released their second release “Empty Hearse/Funeral Train“, it took them about one year and a half to return with a track with the name “Light Of The Moon“, in January of 2014. Since those releases, they’ve slowly moved away from the rock-aspect of death-rock, having more of the atmosphere which can be conceived in such a genre – to their advantage – which in turn created a rather sense of urgency beneath a layer of coldness. This resulted in a double-EP released in the month of April. The first EP to be put up was “Forced Vision” and the second one was “Fractured Zones“. There is a noticeable difference with these two releases, as they stray away from the grittiness of the death-rock sound, paving a way for a death-industrial-esque trip between the living and the dead. Focusing more in “Fractured Zones” on the general landscape of sound being conceived with the experimentalist notion of decayed noise in a dark ambient landscape. Whilst the other EP, “Forced Vision”, focuses more on the rock’n’roll aspect – wishfully entering the same realm – but on different conditions. Which makes these two releases quite different, even though much of what they have in common is rendered, abysmally.


Though a lot of their sound might have a few things getting used to, it doesn’t sound flawed at all, but rather delivers an intermingling of genres seldom expressed by the artist – into such a sound-scape. Brooding is the total industrial transformation of Weeping Rat. Giving away a uncompromising and outdrawn sound, a secret that is being unveiled when you listen to it, making you feel part of a darker adventure. It doesn’t really make itself that great in text when trying to explain the picturesque landscape of decaying rot that these Australians produce. But it is a milestone in their own discography, making it perfectly clear that even they can change their outfit for better or worse – into something that is so out of touch with their ordinary, by now; memorabilia. Stream both EPs down below and listen to it, so you can discover a whole other side of their sound.

Part [II]: Channeling the power of Nostilevo!


Suffice to say, this is the second part of your indulgence with Nostilevo. I’ll keep pressing it to your face, so you can hear it for yourselves, as you roam your apartment late at nights. Peacefully, you’ll sail with me on the wide oceans that is the Spring batch of tapes from this label. Controllable, uncontrollable – everything is relative, but relatively hopeless. Everything from the purest of experimental endeavors, to scarred Gothic delights, topped of by industrial heaviness. For those of you that haven’t checked it out yet, Part II includes reviews (and only reviews) of the following artists/groups/bands: Pure Ground, Ritual Howls, Church Shuttle, Mammal and The Glass Path. Enjoy it while its enjoyable, return when you feel like returning – and read when your eyes aren’t shut.

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Exclusive Stream: Catholic Spit – The Devil’s Pact


Since the last time we heard about Catholic Spit and their label Bad Touch Records, they had just released a single titled “I’m Your God Now/Die Alone” . The label-manager also revealed that he would be releasing a debut album with the same band, which as of yesterday came true. If you didn’t know, Catholic Spit is one of the most fascinating new wave of death-rock bands from Southern California and they’re releasing a 7-tracked album titled “A Pact with the Devil” on the 20th of April.

It can already be pre-ordered, alongside with an exclusive package containing the opaque white vinyl copy limited to 100 pieces, a test-press copy with an alternate cover, signed by the band themselves. Alongside with this, some exclusive goodies will be planted in the package for those that pre-order it. Pretty cheap, only 30 dollars, considering that you get the vinyl itself and it’s test-presses – along with other exclusive goods plus digital download. However, there are also other options for pre-order, you can also choose a black vinyl for 12 dollar or the opaque white vinyl, also for 12 dollars. Read the rest of the information over at their bandcamp.

In collaboration with Bad Touch Records, Invisible Guy is premiering exclusive streaming of a track today on the 12/3 – which is: The Devil’s Pact. You can listen to it down below.

Mini-Harvesting #1: You’re making me Peter Out!

This is a mini-harvesting for all you harvesters out there that haven’t gotten your daily doses. I promise to make this a continual experience for you all, but until I’m done with the main harvest, you’ll have to enjoy the mini-harvest instead. There’s a lot of these coming your way too and this is the first edition of the mini-series that I will be doing on a regular basis. In this edition you’ll get this: The Peter Out Wave and Monument. Both released by the eminent Peter Out Records, which you should check out if you have the time, they release some good stuff.

VA – The Peter Out Wave

An all-out flirt with the darker sounds. Starting out with The Death Notes and their song “In The Spider’s Web“, which has a perfect intro that surely phases you into their post-punk sound. Their combination of soulful indie-rock sounds and goth makes this feel like a nostalgic piece with their own touch to it. But the overtly expressed alternative rock sound is as prevalent as the other genres they’ve combined. Somehow the singer seems to epitomize the great about all genres and the good sounding goth-loving that would be preferred. With a hard edge to their baseline and an almost outright contemporary drumming, which brings together the unconventionality and fuels the sound-scapes splendor and greatness even more. Even though the singer sounds pretty remote from what they’re trying to convey, I must say that I appreciate her addition to it. It feels a little bit like they’re trying to cope with the great sound of early Witching Hour but at the same time they’re scratching on the walls of The Pixies. Combine that, and you’ve got something to strive for. The fact that the singer is so far away, but so close from anything they’re doing, makes this a great song to listen to and really enhances the listening process even more.

As I move further into the compilation, there’s a band called Der Noir and their song is called “Desire“. They’ve got a whole other combination going on, moving from pop to the wonders of cold wave. Feeling like the melodies entwine with each other and the chorus, which is an experience that needed to be felt. With their own take on the minimalistic drum-machine, riffing away into oblivion but at the same time containing the catchy pop-melodies and rhythms that makes the whole sound-scape breathe and open up itself to the listener. Bringing together the darker elements of the mix and fusing it with the angelic synth and pop-vocals of Manuele Frau. It feels like they’ve conveyed the catchiness of the “new-wave” of cold wave sounds that are out there. Besides having the almost impersonal edge of cold wave brutality, lightened up with a fuse of the sphere that makes that kind of music and the more lighter bedroom pop side of it. Pretty unconventional, but it works for me. Yet another genre that had to prove itself in combination with my favorite cold wave, which it did and got me even more hooked.

Let’s move on to the next song, which is by Agent Side Grinder and it’s called “Telefunk“. I don’t think I’ve ever heard them in this shape or form ever, which makes this even more interesting. The harsh post-punk vibes are melted together in a steel factory filled with the minimalism of electronic body music and including the minimalistic wave music in the middle of it. There are lots of interesting things going on, like short-circuited synths and a trembling bass. All fitted with an arpeggio synth that phases into the sound-scape like no tomorrow, which also makes the rhythms feel more sinister. Also, the desperation in the vocalists voice makes me feel like the visual picture of this is based in a factory, where they continually pluck the bad elements out of this mix and melt the other together. Both a visually enhancing and musically sinister experience of the highest degree.

Now we’ve come a little bit lower on the steps, time to introduce Monument and their song “Teeth and Tails“. Like a playful mix of the most eclectic vibes you could ever find in a post-punk haven. Together with some almost naive synths and an interesting singer, within a minimalistic sound-scape filled to the brink with both distortion and the generic post-punk bass you’d find in any goth song of the last century. Since everyone seems to want to compare anything even remotely “gothic” with Siouxsie, I’ll have to say that this isn’t the case. It’s more of the eclectic combination of Skeletal Family‘s singer Anne-Marie Hurst and the strong but delightfully dark voice of Eveghost from Christ vs. Warhol. Even though there are some uninteresting moments within this song, I must say that they’ve done a great load of work on it. Because at the same time, there are some really interesting passages. At all times, there’s always something dark lurking behind the next corner. The lyrical content is also intriguing and makes me press my headphones closer to the ears, just to get the joy of hearing the lyrics. Since this song is a wee bit down-tempo, we’re going to bring this to a closure.

Time for the next song by The Gaa Gaa’s which is titled as “Hypnoti(z)ed“. With a great deal of wailing and a tempo that cannot be disliked, these up-tempo knights of the dark seem to have found some elements from dark cabaret and a lot from the post-punk sphere. There’s also some goth rock involved in this mix and the sinister sound of the wailing singer, with overtly ridiculous throwback 70’s sound in the sound-scape, you just can’t dismiss them. I also love the eclectic climax which is noticed further into the song, but in the meanwhile I’m traveling on catchy riffs and in melancholic realms. Add a little bit too much fuzz and you’ve got this band summarized with fewer sentences. No, I admit, that was a little bit too cruel of me. I love the fuzz that’s been added to the vocals when he reaches a climax even I can’t ignore, and you shouldn’t even walk in my shoes. Listen to this and feel at home, that is if you like it on the darker edge of things but with some familiarity from older times.

Time has come for the death-rockers whom go by the name of Belgrado, and their song “Clockwise“. They’ve tried to make the traditional death-rock sound their kind of thing, blended with heavy rock-influences. But they’re not the kind of band that just copies, no, they’ve got their own thing going. It’s by all means the most traditional thing I’ve heard on this compilation so far. The almost naive but delicate sound of the singer’s voice as the up-tempo washes me away with the sheer speed of it, makes this more enjoyable to listen to. A combination of the down-tempo elements and the up-tempo that create a moving rock that grows bigger the further in you get. Take all the traditional death-rock and fuse it together with the uniquely sounding Belgrado and you’ve had your dose of today. Perforating the shell between traditionalists and newcomers, which means; not dividing but uniting.

Now we’re heading into other territory, as we step into the band Wieze Fabryk and listen to their song “Poczucie Zagrozenia“, which I would say is polish. The singer is wonderfully eclectic and I love when a band sing in their own language, since it makes things a little bit more freaky than it would’ve been otherwise. The English language is pretty good for either death-rock or goth-rock, but I must say that they’ve got a contender and they’re called Wieze Fabryk. At times it feels like the singer went into the wrong studio, since he packs a punch like the Oi-Punk guys with a lot of stomach, but it’s useful in this sound-scape too. He gives everything and the sound-scape forms after the shape of his vocal chords, it seems. Pretty good song overall but the vocalist is definitely the man that keeps you listening to the song, the sound-scape feels secondary without him.

Since we’ve come through the thick of the almost non-electronic sphere of this compilation, we’ve arrived at the more electronic one. The band Led Er Est shows off their song “Lonesome XOXO“, which would be the epitome of naive. With a minimal wave kind of thing going on, the singer is eclectic but at the same time utterly naive. It feels like the music is his stepping stones and he’s afraid of stepping wrong. There is a sense of melancholy to it, it feels like he’s going to take the same steps for an eternity. At times it feels like I’ve taken the time-machine back to the 80’s quirky minimal wave, but with a more underground touch of course. They’ve got all those qualities and a little bit more, but it feels a little bit ridiculous at times. However, the vocalist is doing his own thing and for that I must applaud him. Quite an interesting song if you count that factor out of the music.

Which makes us delve even further into this sphere, with the band Naked On The Vauge and their song “Circling Eyes“. An experimental dose of fractionated minimalistic wave, covered with some industrial over it. Featuring a heavy bass and some really scary samples, combining the lighter sense of the sound-scape with the bombastic. Not really my type of thing when everything comes around, but it’s pretty intriguing with all the experimentalism going on around me. Feels like my chopper is going down and something else besides a rescuing-crew has found me. Which could be translated into the fact that the sound-scape is provocative at hand, making it feel like its fighting for its own survival when it comes down to business. Like taking its last breath and trying to survive on artificial life-support. Don’t know if I should say that it’s malplaced, but every compilation need its experimental dose of the day.

Leading me into the band Dr Arthur Krase and their song “Deported Soul Deprivation“. A remotely sounding and heavy path of quirky, but menacing industrial. The theme of this song seems to be insanity, which they’ve managed to pull out with excellence. At times, the singer sounds a little bit like Andrew Eldritch, almost copying his barytone on the spot. But with a whole other edge to it, a detached but at the same time personal voicing. The edgy drums are combined with a somewhat quirky synth and a minimalistic approach when it comes to the singing. With a drooping and hopelessness to be found within the sound-scape, as if they’ve given up on everything. As the song fades out, I’m reminded about how fragile the human mind can be.

This takes me to whole other realms as I tune out and tune in for the band Lost Tribe and their song “Forever“. A song which could be perfectly played in a catacomb, far beneath the premises of the earth and cities as whole. It also marks the shift from the more electronic to the non-electronic and more death-rock/goth rock oriented music. Once again, I’m stomping my feet to an overtly distorted and interesting sound-scape where there’s loads of things going on. Even though the singing might not be my cup of tea, it quickly develops into something obscene. Hinting to an even more punk-rock influenced sound-scape as a whole. Caressing the earlier death-rock influences and making it more punk and even more up-tempo than some of the more delicate sounds I’ve heard earlier from other musicians on this album. A great song overall, but there’s a lot of repetitive elements, which can be charming at a low frequency. I guess we’re not completely through with the electronica, since the band Linea Aspera continues along that path with the song “Detachment“. I must say that it sounds like a combination of the slimewave from Seacrypt, but at the same time the angelic feeling I get from the wonderful Xiu Xiu. With a hectic and up-tempo sound clashing in between the singer’s sincerity. Like a minimalistic wave song gone berserk on so many levels, conjuring one of the most catchy sound-scape but at the same time taking a little bit of my own focus from the singer’s modesty. Continually paving its way through with a spastic feeling to it, which I feel doesn’t really match the singer that well. But at times, when both collide, there’s always a great feeling coming out of it. Pretty good song, repetitive and packs a lighter punch – but still makes it in my book. Even though it has to drag itself over here.

Next up is the band Long Bone Trio with their song “Peek-a-Boo Widow“, which amounts to a great degree of ridiculousness. I don’t know if they’ve attempted to do a psychedelic rock song or if they’ve tried something else. This is probably the weirdest song I’ve heard on this album so far, but at times it can be catchy and actually give something. Only thing I don’t like is the weird lo-fi sound-scape, the singer and the weird lyrical content. Amidst all of this, I must say that something about it is catchy. There’s always something in me that can’t take this seriously for some reason, even though it should be pretty obvious by now if you’ve listened to it. However, I’m fascinated by both the weird sense of the sound-scape and the lo-fi sound-scape quietly making itself heard. So, let’s move on to the band Joy/Disaster and their song “Suicide“. I thought for a second that this would be Joy Division, but I needed to adjust my eyesight and found out that it wasn’t the case. I’ll have to say that this song is one of the least intriguing songs on this album, there’s something so basic about it and the singer is overdoing his singing at times. Like a pop-song trying to be something else then it should be, trying to move into post-punk territory and claim to be something it isn’t. Only good thing about this song is the potential it could’ve had, or the potential it shows sometimes when you listen through it. But I really didn’t like it and there was a missing sense of personality, nothing really special about it. The singer had some potential in him but squabbled it away in the end.

We’re heading on to the Swedish sphere, or yeah, one of the few Swedish bands on this compilation. Their band is called Svarta Hundar and their song is “Mörkt Vatten“. Actually reminds me of one of the punk-bands I had on this blog a while ago, their name is The Dead, and this is their counterpart. At least when it comes to the punk-rock vibe this song gives me, and it also reminds me of the old school new-wave/post-punk bands from Sweden. When it comes to the singing and the sound-scape as a whole, they have some kind of 80’s sound incorporated within the mix. They have some of the old-school Reeperbahn feeling to it, which would make them a new-school variation on Nürnberg 47 (the old name of Reeperbahn). I think they have the same ambitions and have learned to express them well, together with the post-punk edginess and the old meets the new. So there’s a little bit of a throwback sounding, moody punk vibe to this band and almost borderline goth at times. The rhythms and melodies are excellent, the band is unique in the sense that the formula they’re concocting haven’t been tried successfully for a while. I like their own personal touch to it too, it makes it stay afloat so they don’t drown in nonsensical nostalgia.

So now it’s time for some more electronica, in the shape of the band Lebanon Hanover and their song “Fuck The Future“. Which is quite a German way of saying: fuck off, I don’t want to live in this world. The drunken singing and the continual stomping of the electronic elements are a perfect catalyst for the depressing lyrics. With a lot of focus on reverb, minimalism and sampling, combined with the awkwardness of the sound-scape as a whole, they manage to create a dimension that I, myself, wouldn’t even step into with one toe. A scary reminder of how things are and how the future isn’t looking that nice to begin with. Giving me a shitload of angst while listening to it, which is probably what they tried to purvey with the music. A stalemate between deciding how things should be yourself and the force-fed nothingness of total apathy. Moving to the last song on the album which is created by the band M!R!M and is called “O-Dio“. It’s a strange symbiosis between punk and synth, a strange romance between the two of those. Stressing on the same level as the track before this one, but keeping it up-tempo and making it a fairly interesting endeavor. Almost reminds me of the seriousness in KaS Product and the total anarchy of Atari Teenage Riot. Instead, they’re stepping stone between regular punk and the post-punk with a driven baseline that is distorted beyond imagination. Delving into an almost listenable musical creature which is in between unmistakeable noise and catchy synth-punk.

Overall, I think this compilation is well worth to buy. There’s something for everybody and I believe there’s a huge variation of both underground and more well-known bands. So head over to their bandcamp and order the physical CD for 15 euros.

Monument – Teeth & Tails 10¨

An interesting release from 2010 which borders on goth rock and finds itself with post-punk. Starting off with the first song on this record, which is titled as “Jennifer“. It starts off in a great fashion and delves within both spheres of post-punk and goth rock, however, I think the singer is on the border of being ridiculously close to the generic symphonic metal bands when it comes to singing. Even though she strays away from this further into the song, I hear a hint of it anyway and that is basically what annoys me a little bit. But I like how the drum-machine sounding beats converge into the riffs and the singer’s ambitions of sounding a little bit like the more traditional death-rock and goth bands. She doesn’t make it all that way up, but she picks off a little bit on the scale that could potentially take her there. It seems like this is some kind of almost pop-oriented version of the traditional sound, or at least an offspring that is running in that particular direction. However, the sound-scape is getting held up by the slowly-paced baseline which fills up the rifts that can be heard. They have a pretty long way to go, but I can’t say that this song didn’t intrigue me, because then I would be lying. But there’s a lot of ground to be gained before they’re on the top of the hill.

In the next song “Drenched In Blood“, this ambition can be heard even more. They’re trying to be something they cannot accomplish just yet. It actually feels like she’s deliberately trying to sound like Siouxsie, instead of making her own use of the influences she’s taken from her. It feels pretty impersonal to say the least and there’s a rift that’s opening, getting wider and wider. Some of the sounds in the sound-scape sound like they’re heading the “right” way at times, but there’s a lack of something uniquely defining in this song. I mean, they’ve got everything going for them and the sound itself is pretty unconventional, but there’s something about the sound-scape that turns me off. It’s like they’re trying to combine elements that don’t belong within goth rock and that they’re leaning more to the alternative rock side of it. Which I don’t like as much, since I think it sounds too basic for the average listening experience of the traditional goth rock sound. But hey, the further in you get into this song, the more potential they have of turning the whole ship around. So there’s not only negativity involved when I listen to this song, they’ve actually got some potential that could be developed into another sphere. There are lots of influences that collapse and go for each other head on, which makes it pretty ghastly at times.

Last songTeeth & Tails” is a more moving piece, where they show how they want it to be. This is how they sound when they’ve realized the potential they’ve got. It’s not as up-tempo as the other songs, but it lacks the more mainstream kind of thing that goes on in the other songs. Here, the elements are on the right path with each other, which form a minimalistic head that paves the way through the different riffing and the added effects. I also like the singer a lot more here, since her voice reeks of sincerity and the lyrical content is up to par with the sound-scape as a whole. Also, the sound-scape folds together both the traditional sounds of older bands an the more new sound which have clear influences from other bands. So there are many reasons for them not to head on to this path, since this seems to be the path that fits them the best. Until they manage to get the rhythms and sinister melodies of this song, they’re unfortunately not heading anywhere. Even though I’ve already said this, the album might attract the alternative rock fans more than anything else. Because I don’t think they’ve managed to convey the sound they want, it feels like they’re still searching.

You should buy this album from their bandcamp if you’re interested in that side of the coin. Either buy the digital download version or the physical limited edition 10¨ vinyl.

Review: Horror Vacui – In Darkness You Will Feel Alright

Warm but dark music straight from the haven of the dead. First song “Intro + Black Rivers” contest itself by leaving me with awe, as I hear the baseline and the screeching riffs thrashing around me in a down-tempo fashion. Even though it sounds gothic, it also includes some of the vibes that you can get from deathrock. There’s also an alternate approach to the vocals, since it sounds more like something you’d hear straight out of a new wave-record. It’s everything I’d ever want to hear from a record that’s new and isn’t just going with the conventional traditional gothic sound. I must say that this is one of the best songs I’ve heard in a while from that genre, the riffs are great and the singing is entrancing at best. There’s something calling me from inside, and it’s the old fused with the new. They manage to keep the sound-scape at a level of enjoyability almost making it up to the top, by the greater The Sisters of Mercy and the likes of it. But there’s too much down-tempo in this song for my liking, I’d rather enjoy the thing they manage to do after the chorus, where they speed it up a bit and make it feel almost punk-ish with the great drums. I notice how they blend the earlier punk-influences they’ve brought with them from their former bands, within the song “I Like It When A Soldier Dies“, which is a perfect example of that kind of attitude but featured in a gothic environment. Here’s where the more deathrock influences come in, as the enthralling space between me and oblivion forces itself closer. The boundaries are no match for them, as they drag themselves through the conventions and smash them with their own sound.

It also becomes clear to me why they’ve chosen the epithet “peace punk“, because the songs pretty much revolve around it. With clear anti-war messages. Their song and sound, however, sounds like something in between Screaming Dead and Stiff Kittens, whereas the vocals are almost on point with the latter. Whilst the next song, “Corvus Corax“, is almost a repetition of the two first ones, I am still intrigued by the sound. I cannot let it go, somehow, but it’s still a chip on my shoulder. There are some good passages, like the chorus, where I find myself singing along with: “Are you singing for me? Are you looking for me?“. Still, I feel like there’s some kind of influence that I cannot pinpoint, that disturbs the whole formula. I know there’s sincerity within their music, but somehow it fades away because it sounds too desperate. But the sense of sincerity is quickly saved by the song “Everytime“, that employ a kind of old-school post-punk melody and rhythm that I recognize from other songs. When it couldn’t get darker, it gets darker.

Here, I’m swayed with a moral dilemma that is the theme of the lyrical content. I must say that their lyrical content is pretty good even though it can get ridiculous at times. The slowly-paced riffs in the background make for the more traditional goth rock sound, and the stomping bass continues in the same direction, as the repetitiveness is matched with the more melodic side of the song. Finally, I can say that they’ve managed to put the dots over the o (ö – like we do in Sweden), with the song “In Darkness”. As the intro is a very good reminder of what Horror Vacui could be and should try to be, at times at least. With a tempo that is unmatched within the other songs, but being contrasted by a catchy melody.

I feel at times that the peace-punk ambition harm the lyrical content at times, because it frankly sounds ridiculous at times. The only thing that saves it is: “In darkness you will feel alright“, which feels like it is the whole theme of the record as it is titled in that way. The next song “Yersinia” is also a tempo-ridden beast that just smashes its way in goth favor, lending its arms out to the death-rock influences. They’ve really managed to get it right within this song too, since they do not sway away from having a little bit of tempo. But surely, it fades away somewhat, but I like the melody of it since its catchy and give my ears a good rubbing. Also one of the more intriguing songs I’ve heard on this album. Once I manage to get all the way to the song “Arabian Spring”, there’s a sense of that they’ve managed to get the forceful momentum of the down-tempo into the up-tempo. In other words, they’ve managed to fuse those two together and create a greater sound. There’s not much you could wish for anymore, since this is the epitome of what they do. I feel like there’s a hint of Bauhaus in the singer’s voice, specifically in this song, and I wonder for myself once again: how come that this record is so overlooked?

I don’t have any good answer to that question, unfortunately. As I continue down the path of ultimate darkness, the last song before the outro, “Leave Me Alone“, is being played. I can’t really get enough of this, and it’s here where I realize how much potential the singer has and how he holds up the sound-scape. In total harmony with the other instruments. At times, in the other songs, his voice could fade away and I wouldn’t care the least for it. Here, I sense another sense of desperateness, where the singer really reveals everything in his arsenal. It makes for a totally great song overall and I’d paint my face in white, while treading around the cemetery, just for the perfect atmosphere to have when listening to the song. Even though the “Outro” of this record makes me want more of them, it’s not really a good closer for the album.

But what the heck, this album delivers much more than that. They uphold their promises, even though the peace-punk formula, at times, can sound a little bit too ridiculous. However, I’m not here for that, I’m here for the deathrock and goth rock influences. Because I think that’s what they manage to pull of like a charm. You should check out this record and buy it, because it’s a really great record. So go over to their bandcamp and order the digital download version or go to AVANT! Records and order the real deal.

My New Fascination: 45 Grave – Sleep In Safety

45 Grave – Sleep In Safety (Re-Issue)

This album is one of my all-time favorites, so I had to feature it in here. Headed by the influential Dinah Cancer, making a name for themselves once again with the newly released album “Pick Your Poison” which was released in August, this year. So they’re pretty much alive, once again. But I’m not here to talk about their latest album, I’m here to talk about one of my favorite albums. Namely their first album “Sleep In Safety” from 1983, but I’ve picked the re-mastered version from 1993 since it’s the one I’ve got in my hands right now. I like this album because it introduced me to the death-rock genre as a whole and they’ve had a huge influence on many bands that came out of L.A. at that time. Therefore, I have them to thank for making me discover other bands in the same genre. One of the significant differences between this band and other bands, is that they withheld the general rock-oriented sound and slowly but surely introduced the purveyor of the death-rock sound as it could sound back then and very much sound like in these days.

First song on the album “Insurance From God” is really intriguing with the organ-playing and the overall nocturnal goth sound that its got embellished on itself. I like how Dinah Cancers vocals sound like something in between a punk record, but still keeps the kind of high-pitch blended with low-pitch trademark that was and probably still is 45 Grave. The sound-scape of this song quickly shifts from a full frontal attack, to a more slow-paced and rock-oriented song focusing on solos and eager riffing, quickly jumping back to the wagon and introducing the fast-paced baseline groove, with a stickier sound of extremely nice drums and guitar-riffs. So, if this isn’t the epitome, I know what is.

The song “Evil” is really a tongue-in-cheek, almost sloppy song that attaches itself by force to my brain and ears. And it’s not sloppy in the way that anything is done completely without feeling, it’s just that its got that wonderful blase-sound. As if they don’t care anymore, they’ve had this evilness for too long. I also like how the music is a blend of horror-themed songs you could encounter in movies about vampires and other horror-flicks from way back. Third song “Party Time” reminds me very much of a death-rock version of the Joan Jett and The Blackhearts song “I Love Rock’n’Roll“, because it’s got everything that rock sounded like but it’s got an unconventional approach to it, blending both the classic rock sound and their own sound into a fabulous mix of the darkest things imaginable. Maybe I’m wrong about it, because they’re two separate songs, but I believe they’ve got the same spirit when it comes to rock and how it sounds. Now I must say that the fourth song on the album “Violent World” has an abysmal intro that frightens me in one sense and fascinates me in another. Unleashed is a punk beast with a cheeky synth waltzing with it, into a whirlwind of bats and brazen punk attitude. Another song that is very good on this album is the song “Phantoms“, which I believe is the epitome of the 45 Grave sound.

Here is where they sounded best, and this album is a great mark of their success when it comes to the musical aspect of it. Such a unique but overlooked band. Even though I like rock, I must say that I’m moved by the sound of death-rock at its earliest stage. I’m also thinking of checking out their latest album and reviewing it for everyone of you readers, so you know what you’re getting. You should get this album in any way you can, if possible, because it’s one hell of an album.