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It's Cheaper Used: Classic and Out-of-Print Goth & Industrial Titles in Stock at Amoeba Hollywood

Posted by Aaron Detroit, June 9, 2010 05:03pm | Post a Comment
Looking to stock back up on some dark classics? Maybe looking to try something you overlooked long ago? Well, if you’re a fan of classic Industrial or Goth, or just looking to be adventurous, we’ve got some great deals on some hand-picked, used and out-of-print titles for you in our little dark corner of the Goth/Industrial section at Amoeba Music Hollywood*.

Front 242 Tyranny >For You<
Ten years after the group’s genesis, Front 242 released their most commercially successful album with their 1991 major-label debut, Tyranny >For You<. Though not as solid as the band’s 1988 essential Front by Front , Tyranny is a relentless and charged slab full of EBM bangers including “Moldavia,” “Tyranny (for You),” and the club hit “Rhythm of Time, “ which some may recall from a memorable scene in the 1992 camp classic film Single White Female. The album has surprisingly aged very well and sounds pretty damn great nearly 20 years later -- the slow-burn “Sacrifice,” the minimal pulse and melodic sway of “Soul Manager,” or the chaotic blasts of hidden track “Untitled” (there are 3 unlisted ‘hidden’ tracks here –every bit as intense as the rest of the album). Listening to this album now, really makes me wish some youngins would mine these sounds again. Tyranny >For You< is currently out of print on CD but Amoeba Music Hollywood has it in stock used for just $4.99!*

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Forget Chillwave; Wild Nothing's 'Gemini' is Heartfelt Dream Pop

Posted by Aaron Detroit, June 3, 2010 02:00pm | Post a Comment
Wild Nothing Gemini
Chillwave” in 2010 is as embarassing a genre tag as “Shoegaze” or “Grunge” was in 1991. It sounds more like a vile blue-colored slushy drink from a convenience store than a musical genre. I feel bad for the contemporary Dream Pop bands that have to endure being cast as such. Chillwave is the new Nu-Rave, i.e., nothing more than loosely similar bands being forced into corners by lazy bedroom bloggers. While many young bands, as of late, have been heavily borrowing sonic textures, recording aesthetics, and ideas from those bleary bands of the late ‘80’s and early 90’s, Virginia’s one-man band of Jack Tatum, aka Wild Nothing, has succeeded in making a record that pings the right amount of lilting and forlorn nostalgia via its familiar Dream Pop haze yet is complex enough not to fatigue attentive ears. Gemini, released this week, has all the shimmer of early Cocteau Twins, the bounce of mid-era Cure, and the rough charm of a C86-era mixtape. This is the sort of record I wish Beach House would make.

Gemini’s success as a great Dream Pop album is also highlighted by what it is lacking. Tatum avoids the cloying cutsey tweeness of last year’s retro-darlings The Pains of Being Pure At Heart and instead delivers a breezywild nothing Jack Tatum melancholy. Sincerity is a breath of fresh air here as well -- while essentially postmodern because of its pastiche, Gemini obviously springs from Tatum’s heart, carefully avoiding the irony so many young bands rely on and hide behind. On the slow-crawl of “Pessimist,” Tatum wears it on his sleeve with the line “Boys Don’t Cry/They Just Die” without a hint of a grin. However, the album is never oppressive or dreary, even when Tatum is bummed out; it truly is a great feat to make a record that plays perfectly on a summer drive to the beach or home alone on a rainy day.

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Amoeba Hollywood's New and Featured Goth / Industrial Releases

Posted by Aaron Detroit, May 26, 2010 05:15pm | Post a Comment

Rome
Nos Chants Perdus[Trisol] CD


Over a series of remarkable concept albums, the Luxembourgish band Rome has developed a totally unique ‘poetry of longing’ which rings out from the dark melancholic mist of rootlessness and which gives expression to a comprehensive feeling of modern forlornness. The protagonists of their music are the unintentional ‘rebels’ of Camus (L’Homme révolté), contemporaries from the turbulent epochs of the 20th century: the banished and the hunted, the despised and the misunderstood – ceaseless enemies of dictatorship. This is what the songs of Rome frontman Jerome Reuter are about, rooted firmly in the tradition of his declared heroes Jacques Brel, Léo Ferré, Tom Waits and Nick Cave. With regard to content, Rome derives inspiration from world literature and an observant listener will be able to detect references to Camus, Proust, Sartre and Jean Genet. Following hot on the heels of their EP L’Assassin, the band assiduously develops its sound further on a minimalistic yet richly textured, simple singer-songwriter album Nos Chants Perdus -- slowly leaving the apocalyptic realms behind them. Catchy melodies impress themselves on the memory and Reuter’s gothic tenor is currently peerless. Apart from the French song titles the lyrics are primarily performed in English, while the music is constructed primarily with acoustic instruments: piano, guitar, touches of strings, accordion. They have largely relinquished electronic elements, which marks Nos Chants Perdus out as a further and remarkable stride in the work of the band. Check out samples of Rome’s previous efforts here and here

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Christ Vs. Warhol's Impressive Debut Disc

Posted by Aaron Detroit, May 20, 2010 01:15pm | Post a Comment
Christ vs. Warhol
Although the members of Los Angeles-based Christ vs. Warhol all sport mohawks and/or various body modifications, there’s nothing scrappy about the quartet’s debut full-length disc, Dissent. Instead, one will find this well-oiled 4-headed beast firing on all cylinders on 13 solidly produced and politically-minded tracks.

There has been a glut of silly, style-focused and, frankly, dumb Deathrock bands vying for attention for the last few years and for a genre that isn’t all that crowded, that’s a pretty sad state. Christ vs. Warhol avoids these pitfalls by mostly avoiding navel-gazing and instead delivering incendiary, topical and thoughtful lyrics bathed in cascading riffs and wet bass lines. Vocalist and lyricist Eveghost (formerly of Scarlet’s Remains) aims her firing sights at a multitude of topics, like blind consumerism, media-manufactured beauty standards, talk radio windbags and their corporate bosses as well as those
“tossing tea into the harbor/…masquerading as the voice of the working man.” 
Her voice alters between a witchy affected howl to an occasional but impressive Liz Fraser-esque swoop.

Dissent was produced by Faith & The Muse’s William Faith, whichChrist vs. Warhol probably explains some of the shimmer and gleam the album carries. His presence is certainly felt on the opening track, “A New Model of the Universe,” a dirtied Dream Pop instrumental, all tribal drums and soaring guitar effects bookended by chiming finger cymbals. “And If You Forget,” one of the few tracks concerning personal issues (here it’s a damaged lover) has a similar dreamy-lean with a swirling arrangement and Eveghost hitting the notes in her lovely upper register. The band excels on these airier tracks; it’d be interesting to see the band focus on and hone these elements for future efforts.

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'Out of a Black Cloud' Comes a Great Album: Ruby Throat's Sophmore Triumph

Posted by Aaron Detroit, May 12, 2010 08:15pm | Post a Comment
Ruby Throat KatieJane Garside
Last week, I posted details
about the new limited deluxe vinyl edition of Folk-Noir duo Ruby Throat’s cult-classic debut, The Ventriloquist. This week , Amoeba Hollywood has just received quantity of Ruby Throat's sophomore full-length recording, Out of a Black Cloud Came a Bird. The album was released in a limited Special Edition CD run in November 2009, but has now been issued in this standard digipak CD edition.

Ruby Throat vocalist KatieJane Garside became quite prolific this past decade with three separate musical projects running in tandem  with each other (as well as a one-off LP with Hector Zazou - R.I.P); the long-running Queenadreena with former Daisy Chainsaw cohort Crispin Gray, her solo project Lalleshwari, and Ruby Throat with guitarist Chris Wittingham. While Queenadreena is a bombastic, cathartic and lustfully-charged rush bemoaning innocence lost, Lalleshwari revealed a more rudimentary, internal and transitive process of the artist. With Ruby Throat, Garside draws the characters in her songs as reflective, self-aware and with a sense to the nature of their struggles, though still very much struggling.

Black Cloud finds Garside's unsettling fairytale-stylings firmly rooted in her usual but always powerful psychosexual minefield of hushed lullabye, bluesy belting and bat-shit babelouge. Wittingham's Ruby Throat Out of A Black Cloudpsychedelic soundscapes and dreamy dark Americana-influenced arrangements are richer and fuller here but with the same minimalist bent and care as on the group’s debut.

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