REVIEW: ‘THE END IS THE BEGINNING’ IS JUST THE BEGINNING FOR MIRROR OF HAZE

 

WRITTEN BY JAE F (@_THEGHOULNEXTDOOR)

The End Is The Beginning is the stunning debut album of Norway-based post punk artist Vadym Markov, also known as Mirror of Haze. The album, released on February 15, 2021 by Wave Records, is a perfect nod to some of the post punk and goth bands fans of the genres (myself included) listen to and love.

Read on for a track-by-track analysis.

 

 

 

1. Drifting into the Void

The intro track “Drifting into the Void” is a stellar 80’s goth anthem, complete with gloomy, Andrew Eldritch-esque vocals and swirling guitar tones. This song truly captures the essence of the early goth scene and is the perfect segue to a collection of songs that makes you long for the days of smoke filled, dimly lit goth clubs. So grab your fishnet stockings, aqua net, and eyeliner and dance the night away.  

 

2. Merry-Go-Round Spinning

“Merry-Go-Round Spinning” (featured on the Darkness Calling playlist) is one of my favorite tracks on The End Is The Beginning. It features a stripped down, minimal post punk/darkwave sound that fans of Twin Tribes and Clan of Xymox would easily recognize. Vadym’s haunting vocals and ethereal guitar tones lure you in and keep you asking for more. 

  

3. Upside Down in the Air

“Upside Down in the Air” is a beautiful and moody track with vocal stylings that fans of She Past Away/Volkan Caner would appreciate. The song is captivatingly dark and atmospheric, while still keeping the listener entranced with melodic guitar solos and dark synth sounds. It’s a perfect addition to any darkwave compilation. 

  

4. Prisoners of the Maze

“Prisoners of the Maze” takes a slightly different direction, steering away from the previous darker and more goth-tinged sound. Vadym’s vocals are lighter and much more inviting in this new wave inspired piece.  

 

5. In the Hyacinth Garden

“In the Hyacinth Garden” is a somber song that conjures images of long, flowing black velvet gowns, clove cigarettes, and evenings spent in a fog-laced graveyard. The ethereal presence and dark imagery reminds me of Faith and the Muse’s “When We Go Dark.” It’s an absolute must listen track!

  

6. Forgotten Places, Forgotten People

“Forgotten Places, Forgotten People” is a darkwave gem with captivating synth sounds, Clan of Xymox style guitars, and brooding lyrics that remind us of our own mortality. 

 

7. Listen to the Trees

“Listen to the Trees” could easily be a track on the Sister’s of Mercy’s Floodland, with a bass so unrelenting, Patricia Morrison herself would be proud. A faster and more upbeat song than the previous offerings, this song is meant to be played LOUD with the bass turned up. 

  

8. Thunder Without Rain
 

Finishing up a truly incredible album is the last track, “Thunder Without Rain.” This is a dreamlike song that reminds me of The Cure’s Disintegration album: eerie, beautiful, and perfectly executed. 

 

If you are a fan of darkwave, post punk, or captivatingly beautiful music with equally haunting lyrics, The End Is The Beginning is an absolute must listen.

INTERVIEW: DOLL KLAW TALKS NEW EP ‘THORNS’

 

“I love the duality, because I feel it’s also a mirror image of myself.”

— DOLL KLAW

Earlier this month, I was introduced to the music of Doll Klaw — a Los Angeles based artist who specializes in tantalizing synthpop. But don’t underestimate this music: there is a definite bite to it that can’t be ignored.

I was lucky enough to chat with Doll Klaw about their latest release: an EP entitled Thorns, which was just released today. You can purchase it on Bandcamp now, and as soon as it’s released on Spotify, you can be sure to find a track on the Darkness Calling playlist.

To sample Thorns and learn more about this unique artist, read on below. 

 

 

DARKNESS CALLING: Doll Klaw, thanks again for chatting with us at Darkness Calling. For newcomers to your sound, can you sum up your career so far, and what listeners can expect to hear from you on Thorns?

DOLL KLAW: Doll Klaw began a few years ago from songs I would create and record in my bedroom. I started off playing backyard shows, then began playing at bars and art galleries with my theatrical, avant-garde performances. Thorns is the representation of the new, polished era of Doll Klaw where I finally was able to find the balance of my heavily synth-derived sound while showcasing my vocal capabilities.

DARKNESS CALLING: I like how your somewhat bright sound is juxtaposed with the darker image you portray in your photoshoots and cover art. Do you have anything to add on this topic, such as your inspirations or thought process in building the "Doll Klaw" persona?

DOLL KLAW: Well, that can be tied in with one of the many meanings behind the name “Doll Klaw” itself. Cute, sweet, innocent — yet sharp and something you might need to [approach] with caution. I love the duality, because I feel it’s also a mirror image of myself.

 

DARKNESS CALLING: Your songs fit right in at Darkness Calling. We love dark-yet-dancey material that gets stuck in our heads. As soon as your track "Inside" started up, I knew it would be a great fit for our playlist. Can you tell us anything about this track in particular, in terms of the writing and production?

DOLL KLAW: “Inside” is the only song in the EP that I actually created with intention. My music is usually the result of me processing and venting. I never am like “I’m going to make a song sound like this.” It usually just comes out on its own naturally and writes itself. I wrote “Inside” a couple of weeks before I went to the studio, because I realized I needed a song that people could dance to.

DARKNESS CALLING: I always like to ask at least one potentially cliché/dumb question. If you could work with any artist or producer right now, living or dead, who would it be and why?

DOLL KLAW: You’re going to laugh but I would love to work with The Weeknd. When I was younger, I used to be against popular “mainstream” music, but I feel as a musician you can recognize whether a song is good or not, regardless of the genre. I actually used to cover “Happy House” by Siouxsie and the Banshees before realizing he sampled that song in “House of Balloons.” [I especially enjoy] how his newer music is sounding even more obviously 80’s influenced. I respect what he has accomplished. I also think we would get along and make some sick-ass songs [Laughs].

[Editor’s Note: I wouldn’t laugh at all! See this tweet for reference.]

DARKNESS CALLING: Thanks again for your time! What's next for Doll Klaw? Do you have any music videos or livestreams on the way?

DOLL KLAW: Yes! We are doing a livestream show for the Thorns EP release party! You can catch it 8pm (PST) 02/16 on twitch.tv/dollklaw

REVIEW: THE SPLENDIDLY SOPHOMORIC SOPHOMORE ALBUM ‘NO GLORYHOLES IN HEAVEN’ BY GOD HATES UNICORNS

 

“This is an insult to all I have created.”

— GOD

What can be said about this album? Really? What can — or should — be said?

Would you ask someone to review the Mona Lisa? What about Beethoven’s Fifth?

This is the dilemma I face on this drizzly Friday morning. Having spent last night in bed listening to No Gloryholes In Heaven (in both earholes, I might add), I find myself fundamentally changed, shaken to my core, and irrevocably disturbed.

And I think I want to listen to it again.

 

You can stream the entire album now, but before you do, let me give you some background on what you’ll be stepping into.

God Hates Unicorns aren’t particularly gothy or darkwavy in the traditional Darkness Calling sense, but there’s no denying the dark, sometimes nihilistic tone of these songs, even if singer Joshua Hartz keeps his tongue planted firmly in-cheek. The sound of God Hates Unicorns — on this release in particular — is very grungy, distorted, and rock-driven, sometimes calling to mind 90’s greats like Primus and Veruca Salt.

There’s also an old-school punk rock element to the whole affair, heightened by the presence of co-vocalist Jessica Zoric. She previously provided vocals in the electronic-rock outfit The Molecule Party. Here, she channels a different energy entirely: one that feels right at home in the God Hates Unicorns landscape. Her vocal parts are some of the album’s most fun, as they’re dripping with attitude and a winking charm. She also injects a much-needed feminine touch to tracks like “Not Your Day” that would be hard to pull off otherwise.

This band is no joke, either. Marcus Gabriel Dryburgh, Jeff Zambon, Timothy Saunders, and Matthew Crippen provide some bone-shattering riffs and funky rhythms that will have you unsure if you should dance or headbang. (Why not both?)

Some of the album’s instrumental moments, namely the jam session that closes out “Heaven Scent,” feel reminiscent of (hear me out) early KoRn — in the sense that these guys aren’t afraid to create musical moments that are a little jazzy and a little grungy, with some 90’s hip-hop flavor thrown into the mix. 

 

ALBUM HIGHLIGHTS: 

 

Manners: When Josh and Jessica give us that “It’s called manners” chorus, it’s a seriously badass moment. There’s also a brief but face-melting guitar solo.

Not Your Day: What a song. Ask White Zombie to re-work “Baby It’s Cold Outside” and you’d probably wind up with this. It’s a wild, theatrical track that makes me wish I could see these guys live.

Walk It Off: Another great, catchy chorus. These guys really have a knack for getting words stuck in your head that you wish weren’t in there. And more stellar guitar work propelling the song into fist-pumping territory.

God Hates Unicorns 2: This back-and-forth dynamic is something that wasn’t always present in God Hates Unicorns, but it really adds to the comedic, fun nature of these songs. I went back and listened to the original “God Hates Unicorns” from the first album, and it’s very impressive to see how much they’ve evolved. This album is tighter, better produced, and more insane all at the same time.

It’s Not Real: This is perhaps one of the album’s more serious tracks, focusing on the religious indoctrination of children, but it’s an anthem if there ever was one.

There are also two bonus tracks: “Man, I Feel Like A Woman” (yes, a Shania Twain cover) and “Chipped Ma’am” (a much superior re-work of a previously released song). I see why these were included, as the Shania Twain cover would be a real hit in a live setting, and “Chipped Ma’am” really benefits from the added presence of Jessica. Going back and listening to the original “Chipped Ma’am” was an interesting experience. The band had more of an electronic sound in those days, and while the humor was still present, the vibe was more Smells Like Children and less “Wynona’s Big Brown Beaver.”

REVIEW: MORE’S ‘FROM THE PAST’ COULD JUST AS EASILY BE FROM THE FUTURE

 

“My heart keeps beating on and on and on...”

— "THE END?"

MORE is a Swedish synth-pop band that Darkness Calling listeners should be familiar with. They first impressed me with their single “Constant Loop” back in September. Since then, I have been eagerly awaiting their debut album, as I had a feeling that there would be more (get it?) beneath the surface.

(Seriously, guys. You set yourselves up for a lifetime of “more” puns.)

Luckily, my instincts paid off. From The Past is a solid collection of 11 songs from the trio, and you would never suspect that these guys are a new act, having just formed within the past year. In that time, they’ve released a handful of singles, an EP, and now this. They deserve a round of applause for their hard work and dedication, if nothing else.

Below, you’ll find embedded links to all 11 tracks so that you can listen along with me. I’ll also be providing short reviews of each track. While I’m critical of certain elements in the name of “laying it all out there,” make no mistake: I fully endorse and support this album, as someone who’s heard more indie music in the last year than some people will hear in their lifetimes.

Let’s get started!

 

 

1. THE END?

 

“THE END?” is a fitting beginning for this solid collection of synth-pop tracks. While it’s not one of my favorite tracks on the album, it does serve as a memorable opening. It begins with only vocals — “My heart keeps beating on and on and on… On and on…” — before pulsing synths and moody basslines crawl to the surface.

If this track doesn’t hook you right away, keep going.

 

2. Constant Loop

 

I’ve heard “Constant Loop” dozens of times. After all, it was MORE’s new single when I interviewed them some months back, and it received regular rotation on the Darkness Calling playlist. With that said, it’s still a fun track to listen to after all this time. There have been quite a few mornings where I found myself singing: “Oh, it’s a constant loop that leads us right back here…”

If you haven’t heard this track yet, you’re in for a treat.

 

3. Legacy of K

 

“Legacy of K” was previously teased as the instrumental b-side of “Constant Loop,” but I didn’t give it enough attention at the time. While it’s not as catchy or toe-tapping as the beast that is “Constant Loop,” it’s not really designed to be. This track has a lush musical palette: a bit softer, a bit gentler, but full of masterful songwriting.

“Memories all gone, like a phantom: the legacy of you.”

 

4. Sentimental Sounds

 

Wow. I can’t tell you how many times I’ve listened to this song in the last 72 hours.

“Sentimental Sounds” was the debut single by MORE, but I somehow missed out on this listening experience until now. In a way, it’s actually a bit of good luck, as this song wasn’t already “spoiled” for me going into the album.

In my opinion, this is when From The Past really hits its stride. “Constant Loop” was the height of the roller coast in terms of energy. “Legacy of K” was good but a bit sleepy in comparison. “Sentimental Sounds” taps the listener on the shoulder and says, “Hey, we’re going to stay in this slower lane for awhile, but we’re going to do it really, really well, okay?”

 

5. The Common

 Another strong synth-pop track to keep the party going. I love the little choir voice effect that plays throughout the song, and the way the chorus vocals match the synth line. While “The Common” is a somewhat bouncy/poppy track, it also captures a little more of that “goth” element that I love to hear resurrected in modern music.

 

6. Multiplied Lies

 

This may be my second-favorite track on the album, and its placement at #6 proves that this album has been masterfully sequenced to satisfy the listener all the way through.

If I have any complaints, it’s that it goes by so quickly. “Multiplied Lies” is less than three minutes long. Meanwhile, I would love to hear a seven minute extended live version in a Swedish goth club. Maybe one day…

The little beep-boops during “They’re closing the borders. They keep us in folders…”

Genius! And fun. 

 

7. Story Goes On

 

I adore the first twenty seconds of this song. There’s a cool moodiness to it that might overshadow the rest.

Then again, the last bit of “I’ll always be here… There right by your side…” is one of the album’s standout moments.

In the end, I suppose “Story Goes On” has moments that work better than the song does as a whole. It may be a little less cohesive than the other tracks so far, or maybe I’m just trying to find anything potentially critical to say about this top-notch debut album. 

 

8. One Lap

 

“One Lap” is undeniable fun, even if MORE’s status as a bilingual band is a little more apparent on this track. Really, that might somehow make the track better. There’s something wholesome and hopeful about the delivery of: “What do we see from the start point of our lies? And where do we go from the starting point of our life?”

The sentiment of the lyric is clear, even if the exact phrasing is a little “off.” Still, it’s a real testament to MORE and their ability to not only come together to make great synth-pop music, but to do it in a language that isn’t their first language. I can hardly sing in English. Imagine if I had to write lyrics and sing in Swedish! Yikes.

Major props to MORE and their vocalist.

 

9. Blank Line

 

This is another one of my favorites. The flat-out statement, “You are dumb. So dumb,” surprised me with its frankness and sincerity. I don’t know if this is another language barrier issue, or if there’s some seething emotion behind what could otherwise be described as a love song.

Either way, it makes for an interesting dichotomy and a fun listen. Once again, I find myself wishing that this song was a bit longer. I suppose that’s proof that I’m really digging this album.

I realize that I do a lot of description of the lyrics and vocals, but I want to make it clear that the music is stellar, as well. I really have no complaints. This is top-tier synth-pop in my book, sounding both classic and new.

 

10. Bottomless Low

 

This song really shines in its chorus, once again having the vocals match a bright, catchy synth line. Perhaps that is MORE’s “thing,” if I had to pinpoint something that defines their sound.

“Bottomless Low” conjures up dramatic images in the mind — I can almost picture a music video reminiscent of Baz Luhrmann’s Romeo + Juliet.

“I don’t wanna die alone tonight.”

 

11. Macclesfield 

 

From what I understand, “Macclesfield” may be the next single, and that could prove to be a wise decision. It has a unique sound compared to the rest of the album in some ways. The verses feel almost like a funeral dirge, and the chorus finds a way to be very catchy without being too poppy or optimistic.

Something about the instrumentation feels more organic to me, and I respect MORE’s decision to end the album on such a somber, seemingly “final” note. There’s a sense of heartbreak here — the feeling that nothing is going to be okay again. Pair that feeling with the album’s cover, and you’ve got an idea of what makes From The Past such a special album.