The Black Capes (Athens, Greece – in featured photo above)
The Black Capes album I have chosen to review is entitled All These Monsters. And I really love it. It was released in 2017 and produced by Peter Rutcho. I discovered it while in quarantine, because who isn’t finding new music while stuck at home? I mean, I’ve been baking a lot of cupcakes too (to pair with my wine), but that’s not the point. The Black Capes do have a more recent release entitled Lullabies For The Dead (darkTunes records 2020) but man, when I took a listen to All These Monsters, I was beyond hooked. The track Wolf Child hits the sweet spot. It chugs with determination and force. The vocals are exactly on, soothing yet intense and just fucking brilliant! THIS is gothic rock. And this is what we’ve wanted to feel from that sound. It’s tight, well-produced and professionally accomplished.
Every track on this album IS GOOD. Period.
(All These Monsters artwork by Seth Siro Anton).
Sarah The Witch is a magical adventure, a luring decent into a darkness that you have to travel yourself to understand. By the time this song has pulled you into the bridge segment, you’ll already be convinced to listen again. This project deserves a lot more attention, and I implore you to do just that–give it a listen. Buy it and the new one too.
(Lullabies For The Dead cover art by Angry Blue)
Jesucrisis (Pennsylvania, USA)
I meant to review this enigmatic project back in February before they were set to perform in Los Angeles with The Rikk Agnew Band. The album I selected is their latest, Archaic Fires To Awaken Being. It was released on December 25, 2019.
(Cover art by Roberto Mazuela)
This music is at times tribal, hypnotic. The track Sister Moon has a very deep, earthy feel to it. Spokoynaya Noch is pure beauty and you must take a listen. It almost brought tears to my eyes and I felt it taking me to a different place–away from all that has haunted us lately. Rose of the Monolith begins with such delicious darkness. The use of strings throughout is captivating and truly makes this project’s efforts stand out. The 80s/90s traditional gothic feeling is certainly there, although spiced with a mystical, distinct approach you must hear to understand. Their recording style makes an impact–you feel as if you are listening to this album’s performance live. I think, as we are trapped in the sorrows of today, something on this level, art that feels this genuine, is very welcomed.
Please visit their website for more info https://lisamilesviolin.com and more on their beautiful story.
Follow their Facebook here https://www.facebook.com/jesucrisis.banda/
Bathead is dark electro project with a horror-ific theme throughout. The album I will focus on is entitled Knife In Your Back (EP). The tracks will stick with you (no pun intended), dripping with an evil but pleasant aftertaste. The mixes are clean, nice sampling included in just the right places, the beats and synthwork are carved just right–this is an enjoyable listen and there isn’t a track I didn’t like. It has an energy. And any of the tracks on the EP are seriously something worth playing on a dance floor and for repeat plays at home. It was released on October 31, 2018 (nice).
Knife In Your Back, Ghosttown, and Night Of The Living Bats are the three main tracks on the EP (which also includes some remixes). Right away, Knife In Your Back should grab at you. Vadim is the man behind this project, his main project, because yes, he is busy at work on several others. His earliest work as Bathead is something I can’t not mention as it is also very alluring in its play on 1960s Americana, while at the same time, finding a way to sound as if completed by a sadistic madman bent on twisting our minds with his catchy beats (oh yeah!). The album is entitled Blood, Sweat & Hate and the cover art is just simply divine.
All of these projects are worth listening to and are all very stylistically different from one another. I placed them in no order of significance because they really are all deserving of your attention.
This article was written by Veronica Campbell, singer/songwriter of Death Loves Veronica
Originally published on May 6, 2020.