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Black Light District's Best Dark Music Albums of The '00's

Posted by Aaron Detroit, December 23, 2009 12:45pm | Post a Comment
Last week, I posted Black Light District's year-end best of list, which was a breeze to compile compared to reviewing the last 10 years for this week's post -- the 20 Best Dark Music Albums of The Decade. I had to whittle away many great titles, but I believe these records have proven to be or will prove to be dark classics for years to come. See ya next year, kids...

1. Coil – The Ape of Naples / The New Backwards (2005/08)


John Balance’s passing was one of the great tragedies in the music world this past decade. It was especially sad to see one of his greatest works be released posthumously. The recordings on The Ape of Naples and its (later-released) sister album, The New Backwards (collected together in the limited Ape of Naples LP box set), date back as far as 1993 when the band was briefly signed to Trent Reznor’s Nothing label, but went unfinished until 2004 when the group returned to the abandoned material for their new album. Gorgeous Funeral-Folk, third-eye electronics and captured transmissions from beyond The Threshold.

Black Light District's Top Dark Music Albums of 2009

Posted by Aaron Detroit, December 16, 2009 01:22pm | Post a Comment
Folks at Amoeba Hollywood like to refer to the area in the store where the Goth/Industrial and Metal Sections reside as the "Dark Corner."  Black Light District is sort of a virtual extension of The Dark Corner (as well as its former resident, the Experimental section), so the year end lists here reflect those flavors and also include those darker-leaning titles from the creepier nooks in the rock section. Next week, we'll examine the 20 best of the decade. Now without further adieu...2009's greatest from the darker realms....

1. Cold Cave - Love Comes Close (CD/LP) [Heartworm/Matador]

Love Comes Close is an infectious slab of 9 inspired dark-wave and synth-pop anthems. Cold Cave couldn't have timed their debut any better either, with synthpop bound for a big comeback with the release of BBC's stellar documentary Synth Britannia. Read my review of Love Comes Close from earlier this year here.

Listen: Cold Cave "Heaven Was Full"


Skinny Puppy's Last Rights Gets Deluxe Vinyl Treatment

Posted by Aaron Detroit, November 30, 2009 06:00pm | Post a Comment

Skinny Puppy
As of this month, fans of Industrial Godfathers Skinny Puppy (without
whom there would be no Marilyn Manson or Nine Inch Nails), will no longer have to shell out $200+ for the incredibly scarce vinyl edition of the band’s last (and arguably best) “classic-era” LP, Last Rights. This past August, the band polled their most rabid fans on Litany.net, asking which Puppy LP they’d most like to see reissued on vinyl. Last Rights won out as the fan favorite with nearly half of the vote, leading the band to strike a deal with their former label Nettwerk to reissue the album. The resultant release (out now) is lovingly repackaged with I, Braineater’s (AKA Jim Cummins) original artwork on a gatefold sleeve, while the audio itself has been mastered specifically for vinyl and spread across two LPs cut at 45rpm for maximum mental deranging. The package also includes a bonus CD of the entire album. 

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Der Blutharsch's Psychedelic Farewell

Posted by Aaron Detroit, November 18, 2009 02:30pm | Post a Comment

Austrian apocalyptic-industrial collective Der Blutharsch have just released their follow-up to last year’s The Philosopher’s Stone. The appropriately titled, Flying High!, reaches a peak in the bad-trip psychedelic heights the group began maneuvering towards on 2005’s When Did Wonderland End? (which remains the group’s most accessible album to-date). High’s CD slipcover uncharacteristically features a tongue-in-cheek photo of a presumably hallucinogenic, heart-shaped cake with the album’s title written in blue icing - preemptively answering the question one might ask upon first listen of this disc: “What kind of drugs are these people on?!?”

Der Blutharsch began as a one-man project featuring only Vienna-based Albin Julius just prior to leaving the medieval/ritual duo, The Moon Lay Hidden Beneath A Cloud, in 1999. Over the last decade, Der Blutharsch sojourned through phases of dark-ambient, post-Industrial, martial-industrial, and neo-folk collaborations with Death In June’s Douglas P. before settling into the gloomy apocalyptic-rock the now-expanded-to-a-4 member group plays. Julius has caught a lot of flack over the years for his various aesthetic and stylistic choices, from the Laibach-like controversy caused by critiques over military-related artwork and samples to angering fans over his apparent all-together abandonment of martial-industrial, a genre he is often credited with helping found. Julius, seemingly unfazed by any of this, has delivered one of the strongest albums in his discography. This means the band will end on a “high” note, now that Julius has announced that this will be the last Der Blutharsch album of new material as he plans to retire the name and move on to other projects.

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Noblesse Oblige: 'Offensive Nonsense' Gets Reissue

Posted by Aaron Detroit, September 30, 2009 03:00pm | Post a Comment
Thank the fates for the explosion of deluxe edition reissues! While some serve as mere cash cows for record labels with unnecessary previously-unreleased-for-a-reason vault-raping bonus tracks for nerds, many give previously overlooked gems and obscure nuggets a proper introduction to music fans. Such is the case for the limited edition deluxe reissue of the Berlin-based Noblesse Oblige’s mischievous debut album. In 2006, the then London-based duo of German singer/songwriter/producer Sebastian Lee Philipp and French singer/songwriter Valerie Renay released a small-run of their debut LP entitled Privilege Entails Responsibility, via the obscure and now-defunct UK imprint Horseglue Records. The album of nighttime grooves and tri-lingual self-proclaimed ‘Offensive Nonsense’ slowly gained a cult following via hundreds of increasingly packed European live shows and steady word-of-mouth. The band eventually moved to Berlin and began work on what would become their well received, more accessible and quite excellent sophomore LP, 2008’s In Exile via Germany’s RepoRecords. On the heels of Exile’s success, Repo is reissuing Privilege this week with ten(!) bonus tracks including two brand new forward-moving tracks and padded out with eight additional remixes.

While In Exile explores the band’s love of dreamier and filmic music (which no doubt rubbed-off on queer indie-rockers The Hidden Cameras, whom Philipp worked with on tracks for their recent lush offering, Origin: Orphan), Privilege is an inviting and darkly comic (sometimes even knowingly ridiculous) yet misanthropic and intense ride via the Goth and Waver club dance floors of yester-year. Philipp pays homage to his fellow countrymen KMFDM on “Bite Back“ and “Bitch” with big cheese-rock riffs and tongue firmly planted in cheek while somehow remaining quite serious and sincere. “Fashion Fascism” sounds like it could be a cover of Madonna’s “Burning Up” on some obscure late-80’s Wax Trax 12 inch while Philipp invokes the spirit of Leigh Bowery on “Daddy (Don’t Touch Me There).” Sadly, the Minty-commissioned Noblesse Oblige cover/remix of Bowery’s “Useless Man,” which appeared as the b-side of N.O.’s single for the bouncy “Quel Genre de Garcon,” does not appear among the bonus tracks here.

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