Rock The Goddess
By Dave Wolff
Infinite Domain Music
Genre: Pop, Darkwave, Electronic, New Age, World
Release Date: 1995
This full length release is twenty-plus years old, but I was struck with a sudden urge to listen to it again. Considering my long-standing dedication to extreme metal you wouldn’t expect me to appreciate stuff like this. Well think again because this rare underground gem has sustained a profound impact on me. I first heard Rock The Goddess when I began visiting Manhattan’s pagan community around the time it was released. I was so engrossed I made a point of catching local performances whenever I heard she was playing. From 1993 to 2008 she released a series of self-produced albums recorded with various musicians besides a best of compilation. Her shows were always captivating and what she released on CD was not like anything I had heard previously. Each of her recordings sounded different from the last, in direct contrast to the formulaic rehashed pop of the Spice Girls and Britney Spears that has dominated radio since 2000. There is a need for artists like this to challenge existing standards while creating something truly multicultural and timeless, not packaged as such by corporations. This is not to say her recording career is unsung, as she has performed major events across the U.S. and is also an accomplished jazz singer. Listening to Rock The Goddess is like being transported into a centuries-old world that you find is still vibrant and alive once you cross the veil from the modern world. A world where the lines between past and present are blurred to the point of nonexistence, along with the divisions between cultures and religious beliefs. It’s hard to pin down any one song that does this the most convincingly, as they all add up to the big picture so to speak. What I can say is that you can write a song with keyboards, guitars, traditional instruments and elements of Celtic and Mediterranean music, and make it work. Rock The Goddess throws the rulebook out the window and starts from scratch. To this day it holds up as testimony that there are no guidelines a musician has to follow to leave a lasting impression. Rock The Goddess is available on several internet outlets including Amazon, iTunes, All Music and CD Baby and can be streamed at Youtube Topic. -Dave Wolff
1. Underground Ice
2. The Wheel
4. Invocation to the Moon Goddess (At the Sea)
6. Rock the Goddess
7. Ride My Broom
8. I Am Your Husband
9. Into the Cauldron
10. Little Witch House
11. Sun Eats the Moon
13. Rock the Goddess II
Rock The Goddess at Amazon: http://www.amazon.com/Rock-Goddess-Serpentine-Arborvitae/dp/B0018YDNQ0
Rock The Goddess at iTunes: http://itunes.apple.com/us/album/rock-the-goddess/280710982
Rock The Goddess at All Music: http://www.allmusic.com/album/rock-the-goddess-mw0001275607
Rock The Goddess at CD Baby: http://store.cdbaby.com/cd/serpentinea4
WITCHES OF DOOM
Love Will Tear Us Apart
By Dave Wolff
Witches Of Doom is a goth/doom/stoner rock band from Rome, Italy, who started in 2013 and released their debut single Needless Needle a year later. Since then they released two full lengths (Obey in 2014 and Deadlights in 2016) and recorded a cover of U2’s New Years’ Day with Paul Bento of Type O Negative and Carnivore as a tribute to the late Peter Steele. At the time of this writing the band are working on a new full length; in preparation for its release they have posted a new online single which they recorded at Hombre Lobo Studios in Rome last November. If you like post punk/new wave like Joy Division with unexpected twists, such as atmospheric keyboards, electronic effects and haunting vocals, you’ll want to hear this cover of Joy Division’s Love Will Tear Us Apart. Granted the band’s crossover between goth and doom rock is not for everyone, especially the volume of the guitars and the despondent air surrounding the musicianship. Still, the volume and despondency serves to enhance the emotions implied by the original version of the song. The process of fusing together three subgenres of rock, reinterpreting and rearranging the song and adding their own touch is clearly the result of a gathering of open minds pooling their resources. Unafraid to think outside the box, they create something fresh and inventive, testing how far bands can explore uncharted musical territory if they dare to try. The impressions of Sisters Of Mercy, Marilyn Manson, Soundgarden and The Doors brings the 1980 Joy Division classic to the present. If you listen closely enough you may hear some of those impressions, or maybe even impressions of other bands I hadn’t picked up on. Love Will Tear Us Apart is available for streaming at Spotify and Sliptrick Records’ official Youtube channel (where you can also hear their U2 cover), and can be downloaded at iTunes.
Witches Of Doom’s official site is http://www.witchesofdoom.com.
Love Will Tear Us Apart at Spotify: http://open.spotify.com/album/4kLzJXSs2kxm5h32XqP1Nd
Love Will Tear Us Apart at iTunes: http://itunes.apple.com/us/album/love-will-tear-us-apart-single/1334064949
Facing The Illusory Light
Release Date: January 12, 2018
By -Dave Wolff of Autoeroticasphyxium zine
Facing The Illusory Light is the third release I’m covering by Jaime Regadas, following his EP The Old Room and single Sigismunda Mourns (The Desolate Heart). It’s been a few months since his previous single and Facing The Illusory Light is showing improvement on his part, as far as representing where his music is headed. In some ways the formula is similar but this single is four or so minutes longer than the last, which makes more room for experimenting with new ways to convey older ideas. A concealed and contemplative air surrounds the instrumentation, enhanced by the vocals, with more scrutiny paid to Sigismunda Mourns’s classic rock elements. I most appreciate his avoidance of trendy commercial appeal in favor of music reflecting prog-rock musicians who wrote shorter, more radio friendly material without losing sight of their work from the early 70s. There were a few of these bands from 1980 to 1986; while it never caught on many of them composed better songs than many of their mainstream counterparts (Asia and GTR come to mind). I noticed the Rush and Yes influences are arranged with those commercial aspects more tightly and flows more steadily. Emphasis on tempo changes adds dimension and is helping to shape the musicianship into something anomalously stratified and multi-layered. The guitar solos, reminiscent of 80s metal, shine through this tapestry with far more brightness. The single’s release is accompanied by the lyrics, including them gives the song more weight. You not only get a lyrical interpretation of this piece but a broader picture mingling images of lost love with images of pure fantasy. The latter images are as theatrical as the song’s construction from commercial 80s music, classic rock and traditional heavy metal. And there is even some narrative added, with faceless characters facing the end of a tumultuous relationship. Facing The Illusory Light has interested me in hearing future efforts from Regadas.
This review can also be read at AEAzine
Eivør Pálsdóttir – Trøllabundin
A resurgence and fascination has grown with the “Nordic Noir” genre- the traditional Nordic music, language and instruments.
Beautiful and haunting- this genre can extend from traditional instruments and adaptions of heroic songs designed to transport the listener into a more ancient and far flung way of life.
Eivør is one such performer.
Hailing from the Faroe Islands, her extensive contribution to both the Faroese and Icelandic as a highly diverse vocalist and musician has been recognised in numerous countries.
Primarily, her first releases were in Faroese- which brings myself to “Trøllabundin”.
“Trøllabundin” displays the use of the traditional drum, and chanting expertly - a true expression of the English translation of the song title, “Spellbound”.
From the moment Eivør commences her hauntingly beautiful vocals emphasised by the simple drum beats- the listener is transported into a melodic and captivating harmony.
Once drawn in by the melody- the tone rapidly changes into one of terrifying mysticism, assisted by Eivør’s shift into guttural chanting and rapid beats of the drum.
An almost feral mood is broken by a vocal section of stronger, harmonious notes- in listening I feel drawn away by the spell myself, with no wish to return.
A return to the guttural chanting signals a close to “Trøllabundin” and leaves the listener awestruck by the sheer technique and mastery in such a short amount of time.
I freely admit to wishing that this track was longer.
I genuinely look forward to listening to more of Eivør’s material and exploring the resurgence of “Nordic Noir” further- as it is proving to be a remarkably diverse and creative field.