REVIEW: DON’T GET LEMON — “WORKING MAN’S BALLET”

 

WRITTEN BY RTM (@RYANTHOMASMITCHELL)

Those who have followed Darkness Calling from the beginning should be familiar with Don’t Get Lemon, one of the first bands we ever interviewed.

Their latest single “Working Man’s Ballet” can be heard on the Darkness Calling Spotify playlist. Alternatively, you can listen for free via the Bandcamp player below — or catch their DIY video as part of our latest Front Page Video Takeover.

As always, we strongly encourage you to support the band by purchasing their music directly.

Read our full review below.

 

“Working Man’s Ballet” starts off with a fast-paced drum beat before giving way to a delightfully catchy synth melody that weaves in and out of this irresistibly fun track.

One thing can be said for Don’t Get Lemon: when you hear one of their songs, you’ll always know it’s them when you hear another. They have a distinct sound despite their relatively new presence in the indie scene. The musical arrangements are a bit hyperactive and whimsical, while the vocal delivery is deep and monotonous in that classic 80’s post-punk sort of way.

I also must give them credit for their consistent visual presence — from the single covers to their music videos, Don’t Get Lemon have a unique visual appeal as well, and it somehow creeps into the music when you’ve familiarized yourself with this band enough.

While “Working Man’s Ballet” isn’t necessarily their strongest single yet, it isn’t dwarfed by their previous output, either. If the single can be knocked for anything, it’s perhaps too good at “playing it safe” and delivering the same Don’t Get Lemon formula listeners have come to expect. Also — maybe it’s just me — but I had a great deal of difficulty discerning any lyrics with this track, perhaps moreso than with any of their other tracks. I don’t know if it’s the mix or just my ears, but the Bandcamp lyrics were a savior this time around.

The final verdict? A solid 3/5 on the Bat Scale.

 

“DANCING ON THE EDGE OF A KNIFE” WITH CONTROL I’M HERE + BLOOD HANDSOME

 

“Where do I go when the music ends?”

— "SHAME"

WRITTEN BY RTM (@RYANTHOMASMITCHELL)

June 25th marks the release of Dancing on the Edge of a Knife, an exciting new EP from Hush Club’s Control I’m Here and Blood Handsome. The titular song is a spooky, hypnotic, and undeniably danceable track that blends the best of both artists: Blood Handsome lends his distinctly deep voice, which feels right at home in the brooding landscape of post-punk acts like Joy Division. Meanwhile, Control I’m Here blends his crunchy industrial mania with bright, light-as-air synths. It’s a combination that’s instantly satisfying and wholly unique — not quite like anything else that’s come to Darkness Calling thus far.

 

The EP also offers a companion track — “Shame” — which is somehow less and more accessible. The vocal delivery here is stylishly monotonous and harder to discern, though no less compelling. While some listeners may find the verses puzzling, there’s no denying the catchiness of the track’s simple but effective chorus:

“Shame
Shame on you
Shame on me
Shame on us”

A flurry of drum machine loops and programmed synths carry you the rest of the way down this mad spiral of a song.

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These two tracks are strong enough to stand on their own, but CIH x BH have also packaged this release with a pair of stunning remixes from Jackson VanHorn and Ex-Hyena. While it’s rare for any remix to outshine the original song, both VanHorn and Ex-Hyena have done an admirable job at re-imagining the sonic palette given to them and creating something satisfying and unique from its parts.

Ex-Hyena’s take on “Dancing on the Edge of the Knife” is longer and more bizarre than the original, and manages to incorporate some pleasing new vocal parts from the Boston duo. Meanwhile, Jackson VanHorn goes the other direction, shortening “Shame” to a four-minute version that’s more hyperactive but incredibly fun to listen to. 

 

This distinctive four-track EP would not have been possible without the chance encounter of Control I’m Here and Blood Handsome, which took place roughly four years ago, when BH opened for Skeleton Hands. CIH was in the audience that night, and he was unable to shake Blood Handsome’s set from his mind. When they found themselves booked together on another show, the pair instantly hit it off and began a friendship that would last to this day.

Despite a move to L.A. and vigorous work on his album Rituals, BH stayed in touch with CIH, and the pair eventually played some shows together in 2020 alongside artists like Scary Black, Bedroom Wounds, and Glyphics (Skeleton Hands solo project).

 

Despite all this history, Dancing on the Edge of a Knife is the first release by BH x CIH, and it’s one that was helped — in part — by the extra time afforded the artists by quarantine.

Looking back on the pandemic, CIH has “mixed feelings,” he says. “On the one hand, we had time to plan the label [Hush Club] and organize. On the other hand, we had to cancel plans for an even bigger tour in 2020.”

The silver lining? “Overall, it made us really think about what we wanted to accomplish.” Enter CIH x BH with Dancing on the Edge of a Knife.

INTERVIEW: ENTER THE “PHANTOM WORLD” WITH YAMA UBA

 

“I felt compelled to... explore grief and darker subject matter in a personal way.”

— AKIKO, YAMA UBA

WRITTEN BY JAE F (@_THEGHOULNEXTDOOR)

With Pride Month in full swing, I wanted to showcase a band that I believe truly encapsulates the spirit of the movement.

As a member of the LGBTQ community (I myself am queer and non-binary), I immediately resonated with Yama Uba’s music and felt a sense of solidarity with the band.

Their songs are deeply personal and beautiful depictions of life experiences and emotional and physical pain. The new single “Phantom World” is a perfect introduction to Akiko and Winter’s incredible artistry.

Read on to learn more about Yama Uba.

 

Photo by Kevin Brown

 

DARKNESS CALLING: What was the inspiration behind forming Yama Uba?

AKIKO: In 2017, I felt compelled to do a solo project that could explore grief and darker subject matter in a personal way. It started as a dark noise art project, with singing, spoken word and multimedia projection. I was doing performances of each set as stand-alone art pieces and writing it all from scratch each time, which was emotionally exhausting. After I purged enough shadows, I started moving more towards a more minimal darkwave sound so I could focus on vocals and lyrics. But during the pandemic, it started feeling lonely to work solo when everything else in life was also isolated. I really admire Winter’s guitar work and knew she’d be the ideal collaborator, so I invited her onto a few songs. It immediately clicked, and we’ve been working as a duo ever since.

WINTER: I originally saw Akiko perform in Yama Uba back in 2018 and I was completely blown away. I felt very inspired and empowered every time I saw them play. I've always been a huge fan of everything they've done and had the privilege of joining the band during quarantine. Now that we have been playing together as Yama Uba, it has brought me a lot of healing and empowerment and helped me to break the barriers of limitations.

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DARKNESS CALLING: What does the song writing process look like? Is it a collaborative effort?

WINTER: The song writing process can differ but usually it starts with Akiko and I playing together until we hear something that we both feel creates the atmosphere of what we are looking for. Sometimes, Akiko will have a beat and we play with ideas and possibilities. Other times, it starts with a simple synth, bass, or guitar line that expresses the feeling we want. We both collaborate on our ideas and are constantly growing from that.

AKIKO: It’s intensely collaborative. Songwriting and sound building are closely tied together in Yama Uba. We’re always texting about recording and live sound setups, sharing songs we love, and analyzing song structures throughout music history. So even when we’re not writing or practicing, we’re building the sound in our heads. When writing, I start with a basic beat, or Winter starts with an awesome guitar riff. We spend a long time on the basics, making sure there’s good flow, new techniques and some ear candy. Then I start messing around with vocals, and we write lyrics about a feeling the track reminds us of, or sometimes I have half-formed lyrics that go well with it. We discuss concept and execution, restructure as we go, and eventually it all comes together.

 

DARKNESS CALLING: Where do you draw inspiration for your songs?

AKIKO: I’ve been asking myself that question lately! The name Yama Uba is based on a myth, and mythical creatures have come up a lot in our songs: angels, witches, shapeshifters. Whenever I’m facing a rough patch in life, these archetypes show up for me, and I guess they end up in Yama Uba’s realm. Lyrically, I often connect disparate concepts that feel emotionally similar, maybe things I’ve experienced in multiple lives. Musically, in Yama Uba I’m about luxury, dragon energy. I’m into living in a dope ass cave, breathing fire, surrounding myself with treasures — treasures like snappy snare drums, crying guitars, fat synths.

WINTER: I draw my inspiration for writing in Yama Uba in so many different places I couldn't narrow it down to just a few. I’m very inspired by old 80’s new-wave and post-punk bands and movies. I love the soundtracks and the expressive feelings that can be heard and seen. I also gather that same inspiration outdoors in beautiful spaces like lakes, the ocean, the forest, and the mountains.

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DARKNESS CALLING: The new single “Phantom World” is a beautiful, dark, and deeply personal account of living with a chronic illness. Was this song written as a cathartic release?

AKIKO: When I wrote “Phantom World,” Yama Uba was still a solo project, and pretty much everything was a cathartic release. I was starting to play shows as Yama Uba but also super busy playing in Otzi, running my label Psychic Eye, doing some activism, and working full-time, and it was too much. There's a physical cost to anything I do. As I say in the song, I “pay in pain.” In writing the song, I learned to accept my pain flares as a sign to pace myself, to learn to say no, and to appreciate those periods of recovery as a time to wash away day-to-day problems. Chronic pain is something I now see as both a blessing and a curse — it’s the one thing that ensures that I prioritize my own needs. Since writing that song, I think I’ve been better about that.

“Chronic pain is something I now see as both a blessing and a curse — it’s the one thing that ensures that I prioritize my own needs.”

— AKIKO, YAMA UBA

DARKNESS CALLING: Both of you (Akiko and Winter) play in other bands (Ötzi and Mystic Priestess, respectively). How does the energy differ playing in Yama Uba rather than your other bands?

WINTER: I think both Mystic Priestess and Ötzi are a lot different than Yama Uba. Both Mystic Priestess and Ötzi are high energy bands with a lot of fast-paced changes. In Yama Uba there’s just the two of us, so I think it creates multiple possibilities and perspectives of what we want to do with the sound. A lot of my work in Yama Uba is more influenced by new-wave and some 80’s synthpop, while for Mystic Priestess and Ötzi there are a lot more elements of punk for me. In Yama Uba it is more focused upon post-punk, new-wave, with elements of deathrock in there.

AKIKO: It’s so different! Ötzi has always been more punk and very rooted in the present, very aware of what we’re up against as femmes in a male dominated scene. In both Ötzi and Mystic Priestess, I think we’re expressing some anger and stubbornness to survive under cis patriarchy and in the “real world.” We’re expressing our usually subdued power. But with Yama Uba getting into gear during the pandemic, there was barely any music scene to be aware of. So we had more freedom to explore and grow, to experience ourselves as just two people in a music studio that could exist at any point in time.

In Yama Uba, we get to imagine a world where there are no limits, where we can focus on our music as if we had the same resources as all the biggest bands in the world. Just thinking that way changes you. And you find that your music changes accordingly. Ötzi and Mystic Priestess feel more to me like hounds at the gates, barking at the moon, and Yama Uba feels more like a cat lying in the sun. Ultimately, both energies are essential to our survival, and we love the time spent in all of the bands.

 

DARKNESS CALLING: Now that the world is slowly getting back to normal, are there any plans to tour?

AKIKO: We have vague plans, but not until 2022, when things are more settled. Everything in Yama Uba so far has been about learning to take our time, so we try not to fall victim to FOMO as other bands announce dates. We have some US West Coast shows booked in April 2022, potentially an East Coast tour in May, and are considering Europe, Mexico or Japan for late 2022.

WINTER: We would love nothing more than to get back to touring once it is safe to travel around again. We've met many friends all over the word during quarantine that have been anxiously awaiting to visit!

 

DARKNESS CALLING: What’s next for Yama Uba?

WINTER: We’ll be releasing a limited edition 7" in the coming future. We are continuing to perform for Twitch livestreams until venues start to fully open back up again. In the meantime, we’ve been focused on planning this new release we are working on, and afterwards a full album. Thank you!

INTERVIEW: MALE TEARS ISN’T AFRAID TO “EMBRACE DEATH”

 

“And you know I welcome death again
I embrace it with both arms
And you know I wanted love again
But you know I will cause harm”

— MALE TEARS, "EMBRACE DEATH"

INTERVIEW CONDUCTED BY JAE F (@_THEGHOULNEXTDOOR)

INTRODUCTION BY RTM (@RYANTHOMASMITCHELL)

Male Tears submitted a song to Darkness Calling’s Spotify playlist like any other artist. But upon hearing “Embrace Death,” we instantly knew there was something special about it. As the days went on, more and more goth outlets picked up the song and were running with it. Clearly, this was a track that resonated with people.

The somber vocals, irresistible synths, and tight drum programming make “Embrace Death” an instant indie classic. Needless to say, we were intrigued and wanted to know more about this SoCal artist.

Darkness Calling contributor Jae F. reached out to Male Tears. Here’s what we learned:

 

DARKNESS CALLING: Welcome, Male Tears! How did you get started in music?

MALE TEARS: Thanks for having me! I grew up around dance music from the 1980's, so I suppose you could say I was trained to do this. Always a fan, but never a participant in the artform until around 2010 when I started writing songs at age seventeen. It took a long incubation period, countless setbacks, and many incarnations to get to the current Male Tears formula.

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DARKNESS CALLING: Who are some of your biggest musical influences?

MALE TEARS: Definitely the likes of new-wave heavy hitters like New Order, The Human League, and Depeche Mode. The real kicker is that I can't really say there's any one particular band I take more influence from than the other. The way I see it, the 1980's is no longer an era. It's now a genre of its own with micro-genres sprouting from its trunk, and I'm only one of many descendants.

“...the 1980’s is no longer an era. It’s now a genre of its own...”

— MALE TEARS

DARKNESS CALLING: The new single “Embrace Death” is a fantastic homage to the synth/new-wave bands of the 80’s. What was your inspiration behind the goth-pop hit of the summer?

MALE TEARS: The song was inspired by a film I saw earlier in the year called Valerie and Her Week of Wonders. It's a Czech arthouse film from the old times. There was just something so dark and unsettling about the protagonist's story, but the film's presentation was beautiful and hypnagogic. I was inspired to write a love song from the perspective of the titular character, Valerie.

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DARKNESS CALLING: What has been your favorite song so far to write/perform?

MALE TEARS: My favorite project is typically the most recent one. I haven't had the chance to perform it yet, but I will soon. So far, the most well-received song in a live setting is “Future X.” I can understand why; it's the danciest one I've got!

 

DARKNESS CALLING: Are there any plans for a Male Tears tour on the horizon?

MALE TEARS: I just want to build relations and cement myself gigging in Southern California for the time being. I'll eventually venture out.

DARKNESS CALLING: What’s next for Male Tears?

MALE TEARS: Creating new songs and performing is my prerogative.

TRACK-BY-TRACK REVIEW: THE SEA AT MIDNIGHT (REMASTER)

 

This review is somewhat out of the norm for Darkness Calling, as The Sea At Midnight’s debut album was released nearly a year ago. A superior remastered version surprised everyone last March, but even that was a quarter of a year ago. Needless to say, this review is well overdue — but it’s one that shouldn’t be ignored, especially if you’re not familiar with this LA post-punk act fronted by Vince Grant.

Of all the bands featured thus far on Darkness Calling, The Sea At Midnight perhaps best captures the true essence of 80’s post-punk: not just the instrumentation, but the longing, heartache, and sincerity that comes with it. There are glimmers of new wave on this album as well, and perhaps that’s a more fitting box to put the artist in, if you’re inclined to do so.

But why not make up your own mind? Join us as we dissect all 8 tracks on this stunning debut album. You can listen to each one for free using the embedded Bandcamp players below.

And if you like what you hear, don’t forget to support the artist directly by purchasing the album through Bandcamp.

 

 

REVIEW BY RTM (@RYANTHOMASMITCHELL)

  

1. Medicine

“In the morning with the rain
Here comes that pain again
In the night, in my veins
Here comes that pain again”

What an intro. If this debut album has a narrative arc, “Medicine” would certainly be a fitting start. We’re introduced to the “character” of The Sea At Midnight in a way: a man who’s been beaten down by life and has turned to substance abuse as a way to dull the pain. While there are certainly artistic flourishes and liberties taken for the sake of crafting a compelling song, this story probably isn’t far from the truth.

“Lyrically, many of the songs deal with my struggles with alcohol and drug addiction and coping with lifelong depression. I suppose there is a strong element of sadness to them, but I also feel they contain a glimmer of hope.”

— VINCE GRANT

The rest of the album certainly has those glimmers of hope that Grant mentions. However, “Medicine” is a bleak, dramatic track carried by plodding drums that could have been ripped from The Cure’s Pornography. Even the elegant guitarwork on “Medicine” can’t quell the sadness that looms over this song. But don’t fear — the ride is just beginning.

 

2. Melancholia 

“Melancholia” is perhaps a more somber track than “Medicine,” but it captures some of the bittersweet longing I mentioned in this review’s introduction. This could be considered the first love song on the album (of which there are many), but it’s interesting to note that the lover in this track may not be a person at all, but rather a manifestation of the narrator’s drug abuse. There’s enough ambiguity here to make the argument, and there’s yet another reference to veins:

“Well, we’ve met many times before
And we’ve danced a thousand dances
And we’ve held, held each other like lovers
With her venom deep in my veins”

The next passage seems to back up my theory: “I awoke at dawn to find her sitting at the edge of my bed / You see, she’s always leaving / Leaving me for dead.”

Could I be reading too much into this? Maybe. But it’s nice to encounter lyrics with enough depth and artistry that the listener is free to go on the ride they choose.

 

3. How Many Times

“Thought I’d come over
We could hang out and count the stars
Maybe read some poetry
Figure out just who we are”

“How Many Times” might be my favorite track on The Sea At Midnight. The frantic drumming kicks the album into high gear and shows a little more of that new wave side I alluded to earlier. There’s a certain swagger to Grant’s vocal delivery on this track in particular — a carefree attitude that is pervasive and addictive. Simply put, it’s a joy to listen to and it’s hard not to put this one on repeat.

The guitars on the chorus in particular call to mind A Flock of Seagulls in the best way. It’s only fitting that the single cover for this track features — quite literally — a flock of seagulls floating above the ocean.

This track may be simpler from a lyrical point of view, but it’s a top-notch single and it keeps the album from sinking too deeply into sadness.

 

4. Edge of the World

“Sometimes
I stand in the night wind
And I look up
Ask to be forgiven”

“Edge of the World” does that Cure thing, and by that I mean it hides a really emotionally weighty, powerful song beneath shimmering, bright, deceptively happy guitars. This, of course, is 100% a compliment, and something that I don’t know has been successfully pulled off by many other artists. Sure, there are lots of Cure imitators out there, but The Sea At Midnight doesn’t feel like that. Instead, this song captures the true essence of what that whole Cure thing is about without coming across as phoned-in or artificial.

There is real heart here, and it deserves your attention.

 

5. We Share the Same Stars

“In this loneliness of ours
We share the same stars”

In a world where no one knows what the words “big rock single” mean anymore, this deserves to be one.

While not my favorite of the bunch, if I had to pick one song to epitomize The Sea At Midnight’s sound for a casual music listener, this would be it. It checks all the boxes: lush, Cure-esque guitars, a killer synth line, a catchy chorus, hopelessly romantic lyrics.

This is probably the brightest spot on the album, too. While still poetic and hinting at the inherent pain of being human (Wow, did I really just write that?) this is unabashedly a love song first and foremost, and one that stirs up those teenage memories.

 

6. Afterglow

“Disappearance and deliverance
Sealed with a kiss”

As good as the album has been up to this point, right about here is where I find myself missing some of the darker overtones of tracks like “Medicine.”

But just as The Sea At Midnight runs the risk of becoming too syrupy sweet, “Afterglow” kicks in. While still ultimately a love song, the track begins with a mysterious, moody intro that lets you know right away that something is amiss…

The little synth line after the chorus is addictive and will get stuck in your head after one listen. There’s also a bass-heavy instrumental part in the bridge that is top-notch.

Killer stuff.

 

7. Anything About You 

“Anything About You” leans into the 80’s sonic palette with great results. The little vocal “call and response” effect in the verses is something that’s just too fun to deny.

There’s also a guitar solo that makes you wish you were driving your Corvette convertible along the beach (as you are wont to do).

This track, like many on the album, sounds fun and bright on the surface, but the lyrics reveal that more is happening beneath. What seems like a promising relationship with great potential is also fraught with hesitation:

“The problem echoes in my mind
The outcome is up to us to find...
I don’t know anything about you”

8. Sweet Addiction 

Okay, earlier I said that “How Many Times” was my favorite track. But that’s because my mind — in a form of self-defense — tried to protect me from this soul-crushing, beautiful ending.

“Sweet Addiction” is far and away the most powerful track on this album.

Bright little synth notes carry you on a little wave of optimism. Is the character of The Sea At Midnight coming out from the other side of his pain and addictions? Has he washed himself clean of the drugs and the despair and found a renewing love?

The song pauses at 3:07 (the best moment on the album — I’m not kidding) and then:

“Your heart’s grey, mine is blue
Hold me closer
Tie it off, let it burn
I’m not dirty
Three days out, now I’m back
I’ve been caught using
And I can’t stop, because it hurts
Sweet addiction”

It’s such a bittersweet, gut-wrenching moment for me. I imagine this narrator/Grant/whoever it may be clutching his new love on the beach, crying, pleading for forgiveness. “I’m not dirty” or, “This relapse isn’t who I am.” And the line throughout the track, “Hold me closer.” Such a powerful moment that brings me — someone who has never wrestled with these demons — nearly to tears at the weight of it all. “The weight of the ocean.”

All eight tracks on this album share a cohesion, whether it’s sonically, emotionally, or in tying it all back to the sea. It’s a fantastic journey that is captured here, and one that is often overlooked in today’s “albums,” indie or otherwise. I feel that many LP’s these days are merely collections of songs, not intended to necessarily work in tandem or tell a story. And while not every album needs to be a “concept album,” I think there’s something to be said for albums that at least feel like a collective unit, almost like one long song that works better than its individual parts.

The Sea At Midnight delivers on all of these fronts, and for that reason, I feel it’s only fair to give it a full 5 out of 5 on our COVID-free Bat Scale.