The Black Maria by Attrition

 

The Black Maria by British Darkwave pioneer group ATTRITION, is a haunting and immersive album that takes listeners on a journey through the shadows of the human experience. With a diverse range of styles, from industrial to gothic to dark ambient and a hint of nostalgia the album showcases the band’s versatility and depth.  The first track “The Promise” is an atmospheric track that lyrically delves into the themes of surrender and silence with whispered vocals adding to the overall sense of foreboding expectation.  “The Great Derailer” intertwines, snippets of political speech and the voices of disillusioned and concerned citizens. The juxtaposition of the dark, ambient melodies with the harsh industrial beats mirrors the conflict between hope and despair that often accompanies political discourse.  Delving deep into the intricate dynamics of human relationships “The Switch“ has a  hypnotic beat with seductive and provocative vocals.  “Pillars II” is an enthralling track that has melodic female vocals weaving beautifully with the layered ambient acoustic panorama.  The dreamlike mood and undulating soundscape of the song create a sense of introspection.    “The Alibi” is a daring and unconventional musical journey that defies expectations at every turn. The song begins with a childlike, almost off-kilter rendition of "Here Comes the Bride," setting the stage for what unfolds as a cacophony of sounds and delicious chaos.  The listener is swept up in a frenetic and confusing carnival-like atmosphere. The song, that is a riot of sounds, takes yet another unexpected turn, as a cacophony of vocals joins the mix, adding to the sense of chaos and confusion. The result is a wild and exhilarating musical ride that leaves the listener both exhilarated and slightly disoriented.  From the moment “The Reprisal” begins you get the sense of something lurking just beyond sight, something watching and waiting.  As the song unfolds, strange sounds and voices interject, adding to the sense of unease and paranoia evoking the notion of  the presence of something just out of reach.  The song builds creating a palpable sense of tension and suspense that is as thrilling as it is unnerving.  “The Zero Hour” hauntingly blends Darkwave ambience and industrial sounds with beautiful menacing  piano melodies and an enigmatic spoken soliloquy.  The mysterious ambience and vocals of the song  blur the lines between past, present, and future hinting at something just beyond the listener’s grasp.  The title track of the album “The Black Maria”  begins with chilling muffled industrial sounds creating a  sense of unease and foreboding.  Haunting high-pitched vocal floats eerily around the listener, creating a sense of disorientation and uncertainty. The gritty and dark male vocals seem to be giving a desolate sermon giving the sense of something lurking just beyond reach that is dark and malevolent.

The album The Black Maria sees ATTRITION founder Martin Bowes working with female vocalists including Emke from Black Nail Cabaret, Yvette from Vaselyne, Joanne Wolf and most notably the return of original ATTRITION vocalist Julia.  The album also includes special guest appearances from Alia Miroshichenko (Subterranea) Annie Hogan (Marc and the Mambas etc) on Grand Piano, Vancorvid and Marietta Fox on Violins, Ian Arkley (My Silent Wake, Guillotine Dream) on Guitar, Steve Clarke (Futumche/Octogoth) on additional guitar/bass, and Kris Force on Cello. 

The Black Maria is dedicated  to the Memory of Kerri Bowes (1982 - 2022)

The album The Black Maria  traverses the depths of the human soul and is sure to resonate with anyone  who has loved, lost and found beauty in the darkness. 

Links :

https://attritionuk.bandcamp.com/album/the-black-maria

https://open.spotify.com/album/0txU2xDGOrY8uyDcHQdPFV?si=n4uFT6PVT-iVpmh0htDNig

https://www.thecagestudios.co.uk/

Attrition

 

Martin, as one of the founding members of Attrition, how do you feel the band's sound has evolved since its inception in 1980, and what inspires the direction of your music today?

Well we started life messing around on guitar, bass drums and vocals... and played our first 4 shows as an anarchist post punk band in 1980/81... we soon discovered synths and electronics and disappeared for a while to learn how to use this new technology... we came back in 1982 with our own small studio with synths and drum machines... that was the birth of ATTRITION proper... we released a very experimental first few albums in This Death House (82) and The Attrition of Reason (84)... gradually taking in newer digital technology, and then bringing in guest instruments as we progressed... guitar (again) and Violin, Cello, Piano from time to time... I was inspired by some of the new electronic music... techno, drum and bass etc... so we incorporated some of that as much as we incorporated more classical music influences along the way... today it remains the same... I love to collaborate with external sources...people and machines. I cant see that ever changing.

Julia, as a classically trained pianist and violinist, how does your background influence Attrition's unique blend of dark ambient and neoclassical music?

Sadly, I can’t take credit for the wonderful piano and violin/viola pieces as I’m not classically trained. Martin has some wonderful guest artists that take the music to new heights. I can play keyboards and bass guitar a little, and read music, but it’s all mainly by ear. I have recently been studying music theory and have found it both interesting and helpful.

 

Attrition has been described as integral to the original UK industrial and post-punk music scenes. How do you see the band's role in shaping these genres, and what sets Attrition apart from other bands of that era?

When we started we didn't have a genre to fit into really... as much as we were influenced, first by punk, and then by the early electronic music of bands like the early Human league, Cabaret Voltaire and what is now called post punk (Magazine, Siouxsie and The Banshees, Wire etc)
The term Darkwave is often used to describe ATTRITION now, although it didn't exist when we started...i wouldn't claim anything at all but i think we may have had a hand in it's creation.
I think the difference in ATTRITION is the male/female aspect of the band, i've always felt that was very important...and I think there are a  range of influences. We use anything we want to.

 

Martin, Attrition has played early shows with iconic bands like Coil, The Legendary Pink Dots, and In the Nursery. How did these experiences influence the band's musical journey and sound?

When we first began there was no scene at all for the kind of music we did... it was hard to play anywhere, so as other more experimental bands emerged it was so good to meet them and to play with them... I think we all learned from each other back then...it felt like we were all exploring the same musical frontiers, in our own unique ways.

 

Julia, your lyrics often explore themes of darkness, psychology, and the human condition. What inspires your songwriting, and how do you approach weaving these themes into Attrition's music?

I’ve always been interested in psychology and various belief systems that explore how we as humans deal with finding a meaning and purpose in life. Sometimes lyrics come on their own often triggered by life experiences, but at other times they are inspired by pieces of music or they wrap around lyrics that Martin has already written. I have a deep respect for the profound lyrics that Martin produces as they are so unique. One tactic I sometimes employ when generating lyrics is to think of using another language rather than English, which can avoid clichés or sometimes they just fit better with the overall feel of a song. Regarding weaving the lyrics into a song, the dark and deep lyrics always seem to fit well with the minor keys and atmospheric rhythms that make up the music.

 

Martin, Attrition has released music through various international underground labels over the years. How has the band navigated the ever-changing landscape of the music industry, and what advice would you give to aspiring musicians?

Well its definitely been a learning curve! I started out running a music fanzine here in Coventry in 1979 (until 1981) and that did create some inroads into the industry... contacts in particular...i released a couple of cassettes as well so I started to get the idea. We did a lot of recordings in our small 4 track studio in the early 80's and appeared on a lot of cassette compilations.. and then vinyl compilations... and I would send out demo tapes every week to labels, gig promoters and magazines/fanzines... eventually we were offered our first record deal (With UK based Third Mind Records)...the debut album came out on vinyl in 1984. It went from there ?I think the best advice is to always be involved with the industry  networking and promotion and work as hard as you can... to this day I spend hours most days still doing that... if you can afford  a team of people to help out thats great... but there is no-one better than yourself.

 

Julia, Attrition's music seamlessly combines elements of dark ambient, neoclassical, and dark industrial music. How do you approach blending these different styles to create a cohesive sound?

Much of the credit must go to Martin who is an expert at production and mastering in The Cage studio. He has a great ear for detail, and an expansive knowledge of music software and analogue synths. But, I think you need to take a germ of an idea, whoever that comes from, and let it breathe in the mix whilst still adding other layers around it that compliment it. I have fairly eclectic and broad tastes in music but I definitely have favourite genres that I never tire of, especially interesting electronic music. It can take quite a bit of experimentation to develop the different textures and sounds until you find something that fits and this can apply to the vocals as well.

Attrition's music has been described as ranging "from dream to dancefloor." How do you balance the atmospheric, introspective elements of your music with its more danceable, energetic aspects?

It’s always been like that... as originally an art student I always draw? music...i still do... and I love working on more abstract soundtrack pieces as much as I do songs... We've written music for some short films over the years and had songs included in a lot of films... but I also love songs and performing them on stage is an important part of what I do. The albums often balance the two sides of ATTRITION's work. I like it like that.

 

Martin, as Attrition continues to evolve and create, what are some of the key influences shaping the band's music today?

The biggest influence is always my and our life. From everyday things to world events that shape us. The reflections and personal exploration and expression of that is what doing music has always been about for me. Technically I have my studio here (The Cage) and the technology has improved so much over the years, as our skills in using them have. I work with other bands too in production/mixing/mastering so I pick up things along the way.
The next record is always the most exciting adventure...

 

Finally, for both Martin and Julia: Attrition has toured the world extensively. What have been some of the most memorable moments from your tours, and how does performing live influence the band's creative process?

Julia: I tend to remember visual and/or audio snippets from across the years, such as long endless drives across the German autobahn with Kraftwerk playing on an 8-track in my parents car that we had borrowed with my brother driving. Sometimes touring can feel like yo are living in an alternate reality where days and places do blur into one, so it can be difficult to pick out distinct events and the tour tends to have an overall atmosphere of its own with its inevitable highs and low. There are also funny moments such as when you are trying to guide a rather drunk keyboard player with his gear to the flight home, and hoping he appears more sober than he is so we do make the flight! I do remember moments when everything comes together on stage, the sound is great and up with a slightly different version to the recorded version. It can be like you are almost hearing the song afresh for the first time and it gives you ideas for different arrangements. Before the live performance you also go over the song repeatedly, sometimes more than when it was recorded or if it’s an older song that you are bringing into the set. There are often a lot of discussion in rehearsals about what does and doesn’t work, and so that process helps us to learn how to work together creatively and build on each other our strengths.

Martin: We have played all over the world...i counted 5 continents... and i'm happy about that.... of course live performance and the adventure of travel and new experiences will always influence what we do. Its weird whenever people ask about tour stories I tend to go blank... I think its not knowing where to start... when I do start you need to shut me up .
Everything has been wonderful... even the horror shows have some silver linings.
In 2018 we performed a horror film score we wrote for a US film... at a festival in the mountains of Transylvania. I wish I could have gone back and told the 14 year old Martin that was reading Bram Stoker's Dracula that I was going to do that... he would have been pleased!

Thank you for the interview!
If people would like to check out more of ATTRITION please look up out various websites...

Martin and Julia. Coventry. England. April 2024

Links :

https://attrition.co.uk/

https://www.facebook.com/ATTRITIONMUSIC

https://attritionuk.bandcamp.com/

https://www.youtube.com/user/attrition

https://www.instagram.com/attrition_uk/

https://open.spotify.com/artist/5yAtVvdaWrTxW4GPC18643?si=SkEggxVuQu2C6mhHd5yfjw

https://www.thecagestudios.co.uk/

Her Slave by Meersein Feat. Corlyx

 

Dark wave artist Merseein has collaborated with Corlyx to create the sensual, thrilling dark synth pop track, “Her Slave”.

 

The song has a pulsing synth beat that drives the track forward, perfectly matching the brooding and provocative lyrics. The vocals are a kismet combination of the seductive and melancholic voice of  Corlyx lead singer Caitlin Stokes coupled beautifully with the unsettling, brooding and somber voice of Meersein.  The atmospheric synthesizer textures create an  immersive and moody soundscape with a breathtaking and alluring chorus. “Her Slave” has perfectly crafted synth melodies that weave in and out of each other in an irresistible and hypnotic dance that entices and enthralls the listener.

 

The sultry and dark video created by Caitlin Stokes for the track “Her Slave” is a stunning and arousing visual accompaniment to the track. The video features hints at carnal and forbidden pleasures and sensuous intrigue using dark, evocative imagery all wistfully placed among the streets of an ancient city.  

 

Overall “Her Slave” is a stunning example of dark synth pop, with intriguing melodies, evocative lyrics and bewitching, emotive vocals.  

Links :

YouTube : https://youtu.be/68KZLhigbSE

Webpage : http://www.meersein-official.com/

Sorrows by In a Darkened Room

 “We wanted to feel the beauty in this chance to create while untethered by the restraints of “normal times“, but the sense of ever-present doom on our doorstep weaved a constant thread of sorrow into our music.“ is how CJ Duron of  Texas based Dark Wave band, A Darkened Room, describes the genesis of their debut album Sorrows. Exploring the solitude and repetition suffered through the Pandemic, Sorrows embodies that dire and confusing time experienced by human kind.

 

“Descend“ is an introspective and melancholy track with a haunting melody and vocals that tug and wrench at the listener, dragging  them into a dark and shadowy soundscape.   With a hypnotic and repetitive beat that is elevated sporadically and teasingly, the gloomy lyrics of “Final Vow“ are delivered by oppressive, resonant vocals that inspire an almost funereal dread.  “Doom and Gloom“ has a reflective and atmospheric beat with languid and melancholic lyrics perfectly enhanced by the slow and reverberant vocals.  Creating a sense of sadness and yearning “Walls of Sadness“ features shimmering tone guitars and an incessant and provocative beat.  “Sleep Again“ starts with an upbeat tempo and a glimmer of something beyond the dark depths of the music with the echoing vocals seeming to encircle the listener in a dizzying evocative maelstrom.  A gentle and almost lulling beat the track “Burnt by the Sun“ undulate,  giving the listener a peek above the darkness only to be burnt by the sun and plunged once more into the depths.  “Hollow“ is melodic with a staccato beat and heavy brooding vocals, hinting at something emerging from the darkness but being somehow empty and hollow and forever changed  by the experience.  An anthemic beat and a heavy guitar riff heralds the track “Water Under the Bridge“. The vocals have a lighter more ethereal sound and the song inspires a feeling of emergence from a grim and gloomy place. 

 

 

With vocals by CJ Duron,  Svia Svenlava on bass and Kandi Keys on keyboard, the album Sorrows is a  testament to a sense of dark dreamlike introspection and melancholy woven carefully into the eight beautifully crafted songs of the album. 

Links :

Band Camp : https://inadarkenedroom.bandcamp.com/album/sorrows-2

Spotify : https://open.spotify.com/album/1OetO9FbhafseRpfBz1pGK?si=xVD3Tkj5Sdy5a7mYoPc7DQ

YouTube : https://youtube.com/@inadarkenedroom3143?feature=shares

 

 

 

 

Neon Funeral’s “A Void”

  

With themes circling around fear, spirituality, strength, passion and rebirth New Jersey band and Hardcore Darkwave pioneers, Neon Funeral have released their new single “A Void”.  The song addresses the notion of taking control of your demons and addictions before it ends in tragedy.  

 

With a narrator that is the void the song explores the idea that“someone so stuck in their ways, who is unwilling to change and wont submit to societal pressures and goes against the grain of normality”, eventually ends up succumbing to their demons and “ultimately becomes the demon” according to the band.  

 

“A Void” plunges the listener into a hypnotic fugue like state of melancholic inner monologue vocals interspersed with transmuting bursts of growling, gritty, taunting vocals.  With a somniferous beat that builds to a cacophonous delectable crescendo ultimately plunging the listener into a rampant and impending void.  

 

The single has a metaphorically satisfying accompanying video that has the bands front man Randy hallucinating a dark cult figure whose cult he joins, with the video brazenly questioning the human mind, society and its ensuing pressures as well as the dark paths one may find themselves lost on.  The video explores the notion of one actually being responsible for darkening their own light in life.

 

Take a step towards “A Void” and you will be doused by its dark melancholy and its ultimate enlightenment.    

Links :

Bandcamp : https://neonfuneral.bandcamp.com/merch

YouTube : https://youtu.be/I8tw0JYNNVI