Dita Von Teese. Review by Bob Pomeroy.
Hum (Beyond Beyond is Beyond Records). Review by Laura Pontillo.
Sprinter (Partisan Records). Review by Jen Cray.
Night (Sony Classical). Review by James Mann.
A fascinating look at the melding of three seemingly disparate artists during a brief period of time that resulted in some of the most influential music to come out of the Seventies.
It’s easy to be jealous, but it’s probably better to follow Damon and Naomi‘s example of growing up and growing awesome in a musical genre overcrowded with manchildren, the ins and outs of which can be glimpsed on the 1001 Nights DVD.
Too young to be fully cognizant of the more embarrassing excesses of Gothic music over the past twenty years, the young Turks of NYC’s own Blacklist are, perhaps unwittingly, the best hope of redeeming Goth-metal. Fresh from a European tour complete with horned hotel antics, Blacklist frontman and provocateur Josh Strawn told Ink 19 all about how he learned to stop worrying and love Motorhead and Scott Walker equally.
Matthew Moyer finds himself in the same concert hall as Leonard Cohen, holy clown, dour prophet, borscht belt crooner, and true legend — in Tampa, Florida, no less.
Wouldn’t you like to view a gallery of coroner’s photos, featuring the artistically dispatched Amanda Palmer? Matthew Moyer knows you do.
Bolshevik Disco (Manimal Vinyl). Review by Matthew Moyer.
Live in London (Sony). Review by Jessica Whittington.
Dark Smaland (Orange Twin). Review by Matthew Moyer.
Open Field (Rough Trade). Review by Omar de la rosa.
Gives You: Music From the Dance Performance Pudel (Licking Fingers). Review by Aaron Shaul.
The Soft and the Hardcore (K Records). Review by Matthew Moyer.
The Weed Tree (Locust). Review by Aaron Shaul.
Singles Club (Neo International). Review by Matt Cibula.
Original Soundtrack (Hollywood). Review by Steve Stav.
Faith And Disease at The Cow Haus in Tallahassee, FL on July 3, 2001. Concert review by Matthew Moyer. Photos by Heather Lorusso.
From her days as a drawing card in the Velvet Underground to her haunting sol…
Performance Art for the quarantined.
When I Was a Writer (Pravda). Review by Bob Pomeroy.
