Halloween falls on a decidedly unfestive Thursday this year, but we imagine plenty of folks reading this are still finding plenty of methods of observance. At our end, we have a bunch of DJ gigs happening on the weekends before and after, but in general the actual Halloween ragers of our youth have been slowly replaced by binges of classic thrillers and more off-beat recent horror fare. With a recent navel-gazing discussion on the nature of goth still at hand we feel it’d be a bit indulgent to go on at length about what Halloween does and doesn’t mean to those of us within darker music cultures, but that might be something we’ll stick a pin in for next year. On with this week’s tracks!
Devours riding the Skytrain, it’s a Vancouver thing.
Linea Aspera, “Mycelium”
Linea Aspera are hands down one of the most influential acts of the millennium when it comes to darkwave and the resurgence thereof. Alison Lewis (aka Zanias) and Ryan Ambridge’s self-titlted 2012 LP opened the door to the style for countless acts, and was especially important for bridging the world of minimal wave, appealing to fans of both that austere style, and classic euro darkness. Their 2020 comeback was naturally pretty welcome and acted as proof that their initial run was no fluke, they had the goods when it came to lush, mysterious tunes that had club appeal and atmosphere aplenty. Hence our excitement at seeing the unexpected release of the mellow if sad “Mycelium”; it’s a lovely tune no doubt, but if it also signals a third album on the horizon, well, all the better.
Devours, “Swordswallower (Zendaya’s Fortress)”
The new era of Devours kicks off with “Swordswallower (Zendaya’s Fortress)”, a track that presages darker things for Vancouver’s synthpop gaylien. For one thing, it takes the project’s typically sticky melodies and sharp lyrics and then weds them to an especially long and ambitious arrangement that exceeds 7 minutes, with a massive breakdown and tempo change, with the dense punky rhythm of the track giving way to a big open space where a minor key melody that recalls The Fragile-era Nine Inch Nails plays out. It’s unexpected, invigorating and exactly the kind of massive artistic swing that has made Devours our favourite local act for several years running.
Involucija & Le Chocolat Noir, “Mit i iluzija”
There are a lot of different things to like on the new collaborative EP from West Balkan rhythmic industrial supergroup Involucija and EBM minimalists Le Chocolat Noir. Sure, you’re getting a couple of the tight and staticky basement rave TBM numbers you might expect from all these folks coming together for a release on a+w, but you’re also getting stuttering, processed industrial rock aneurysms like this, which are a reminder of just how far off the beaten track plenty of previous innovators from the former Yugoslavia have ventured.
MeLLLo, “Stories Of Ghosts”
Marianthi of our beloved, semi-dormant Marsheaux is keeping her hot streak going, with track after track of dreamy synthpop/electro-pop hitting an irresistible hot spot between pop hooks and atmosphere. This latest little treat’s no exception, finding a balance between a proximal, intimate nostalgia and a big and immediate anthemic chorus, with a few little reminders of Book Of Love’s classic “You Make Me Feel So Good”.
Die Selektion, “Mein Fundament (Club Edit)”
Last year’s Zeuge aus Licht offered plenty of club tracks to savvy body music selectors; no surprise given the quality control self-styled masters of prosecco wave Die Selektion have had on lock for more than a decade. Still, we’re always happy to be offered a few additional club reworkings, and this take on that LP’s closing track manages to keep the dynamics of tension of the original in place while also hooking clubgoers from the first beat.
Majestoluxe & EMMON, “Blood on the Ceiling”
Two Swedish acts we enjoy come together on “Blood on the Ceiling”, highlighting their common ground and their differences. From Majestoluxe we get the dense, DIY electronics that feel both propulsive and claustrophobic, while EMMON brings the club appeal via heavy beats and smokey vocals. Neither act could do something like this on their own, and the addition of metallic percussion sounds gives the whole affair an appropriately industrial edge. This the second collaborative track from the two producers, which begs the question, is an LP in the works?
