Infest – Saturday 26th August – Reviews

Even Stormtroopers laugh at our aim!

Now I’m safely installed in the University Halls (cheap and cheerful, for £65 you basically get a room with a mattress for three days!) I can concentrate on the Infest experience. I signed up for a Laserquest match on Saturday because all the cyber stereotypes are quite true.

A couple of the bands even turn up, and perform as very efficient space marines! It was a brilliant, hilarious and exhausting experience that I hope returns next year. I’ve put some photos at the bottom including our results.

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Infest – Friday 25th August – Reviews

We’re clattering down the A1 towards Yorkshire, Bradford, and Infest 2017. We had to leave after work, and delay after delay is hitting us as we struggle towards the biggest, best industrial / EBM / electro festival in the UK, if not the world.
As a result, I miss the opening two bands – so without further ado let me refer to you to the talented Adam Williams and his excellent review of the festival, for his own blog Just, promise me you’ll come back for the rest of my review!

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Silhouettes and Statues: The Compilation Review

Some time ago the Cherry Red Records team approached me with a very generous offer – a very advance listen to Silhouettes and Statues, the magnum opus of goth: a five-disc über-compilation of the finest new-wave, post-punk and proto-goth tracks spanning the earliest era, 1978 – 1986.

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“Some Girls Wander By Mistake” – New 4LP Vinyl Boxset Release

You can now pre-order a four-record boxset of vinyl from Rhino Records, titled Some Girls Wander By Mistake, that will cover the earliest singles and EPs of The Sisters of Mercy, from 1980 to 1983.
Available from 1st September, for the princely sum of £35.92, it is titled the same as the 1992 compilation album released by the band and includes much of the same music. However, also included is the 1992 version of Temple of Love with Ofra Haza and the Canadian Club Remix of Vision Thing – released as a club single in ’91.

There is also a re-release of Under The Gun, the very last single from The Sisters Of Mercy, released in 1993. It includes both the Jutland and Metropolis Mix, plus the 1993 remix of the floor-filling classic Alice. So, in a way this box-set will bookend the career of The Sisters of Mercy, containing their first and last officially released singles – at least until the ‘newer’ songs see some kind of publication… if ever.

The Sisters of Mercy, Nov 2016

Rhino have form with this – they released another four-vinyl boxset in 2016 covering the last studio album, Vision Thing, which included the album, the singles, and a few bootlegs and remixes as well. So, is this a chance to experience a classic recording amalgamated with choice extras, in a remastered design, with an upgraded sound?
I reached out to audiophile, Sisters scholar and singer of Terminal Gods Robert Cowlin for his professional take on this release and whether it was a completist’s goal, a purist’s dream or a blatant extortion effort.

The Blogging Goth: Hi Rob, thanks for taking the time to talk to us. So, first off, you’re a Sisters fan of impeccable auditory savvy. Will this reissue see an improvement on the quality do you think?
Rob Cowlin: Hopefully this reissue will see an improvement in sound quality if the label follows the same route as they have for the previous three LP/digital box sets. The difficulty with these early singles is that the masters are scattered and the original release of SGWBM used (not very good) needledrops as the sources.
The three 12 inches were originally cut at MPO (a French vinyl processing plant that handled the original releases), which is still in operation. I hope Rhino has been able to salvage the original vinyl cutting masters from MPO and used them for this release (if they still exist). The Damage Done and Body Electric are trickier, both were mastered at small London studios, who knows what has happened to their production parts.

The Body Electric master turned up on the CNT compilation, “They Shall Not Pass”, and sounds a lot better than the mess on the original SGWBM compilation. If they have to use needledrops that is okay, but hopefully they will make better transfers than the ones used in ’92. If they’re able to use original tape sources (either masters or vinyl cutting tapes) then this release should beat the original compilation for sound quality, and could potentially sound better than the original singles depending on how good the mastering is.
Thankfully, the other three titles in this series have been mastered to a good standard with healthy dynamic range and appropriate EQ. If the early singles receive a similar treatment then these could be the best they’ve ever sounded.

The inclusion of Temple of Love ’92 and Under the Gun is a head-scratcher. From a sound quality perspective, the original CD singles are excellent and I can’t see them being improved upon.

TBG: I was curious about including the later singles – are they just filling space do you think, enough to bulk out another four-record collection?
RC: Purely filler in my opinion. They should have just reissued SGWBM and Overbombing as standalone releases.
TBG: Do you think Rhino will release a box-set for A Slight Case of Overbombing as well?
RC: They’ve nothing left to pad a box out with. Hopefully they will reissue it on its own as originals are hard to come by!

TBG: So this is more for audiophiles and completists then?
RC: Not at all. Any fan of the band (particularly the obsessives who know the songs well) will be able to hear the difference in sound quality between the reissue, original compilation, and original singles – for better or worse.
I’ve shared some of my needledrops of the original singles and fans have been surprised at the difference in sound quality achievable simply by sourcing mint condition originals and using competent equipment. If Rhino use good tape sources then there should be an easily quantifiable uptick in sound quality.

With the original singles getting harder to find in mint condition, I should think this reissue will appeal to quite a few fans and of course modern vinyl enthusiasts. For what it’s worth, I don’t understand the fans on message boards or Facebook who go “I’ve got the original 12″, 7″, promo, test pressing, cassette, bootleg – why would I buy *this*?!” Hypocritical much?

TBG: What do you think the band’s strategy is for this re-release, if indeed they’ve been involved at all?
: I doubt the band has been involved, though the box set’s release is due to coincide with their Roundhouse residency!
TBG: Yeah, Rhino scheduled this well. Thanks very much for your time, Rob!


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Infesting 2017: The Blogging Goth Goes To Bradford

Tim Sinister, 2017

“There goes Tim Sinister”, you’ll say. “Stereotype Trad Goth,” you’ll say. “Wishes he was Eldritch but, you know, still with hair. ” You’ll be right too, and it’s only a matter of time I ink myself with the head and star and wish I was back in the Eighties.

I harbour a dark, dark secret though. Long before the appeal of aviators and cowboy hats, before I had an inkling of the dark side, I was into another robotic beat – the type Germany exported so successfully in the late Eighties and early Nineties. So it was no surprise I should find a welcoming home in the cyber-goth end of the market, and got into a fair amount of EBM and electro stuff.

Tim Sinister, 2010

Like so many before me, I made a pilgrimage to Leeds – Goth City – so the world-famous Infest was right on my doorstep. Running since 1998, it was originally suggested as a bit of DIY local promotion for West Yorkshire’s still burgeoning Goth scene. When they booked Apoptygma Berzerk in ’99, the transition to full-on bleep was pretty much complete. Now it’s a three-night extravaganza, jammed full of world-class heavyweight bands, crazed DJs determined to shatter bones with heavy beats, and a market boasting all kinds of shiny clobber destined to make your bank balance sob.

I made it to the tenth anniversary and came back a few more years, always loving it – the music but also the social angle. Anyone can tell you Goths are gregarious creatures and nothing brings us together like booze and a boogie. Eventually though time, costs and a relocation further North made it harder to get down and get down.

Until the stars finally aligned. My blog began gathering speed and followers, and I started posting regular – if incoherent – live reviews from Whitby Goth Weekend. I made friends with Chris M, one of the original Infest founders. Other friends were driving down from Newcastle, and the accommodation – if you catch it in time – is laughably affordable.

So I’ll be racing down on Friday 25th August to gather my first ever Press Pass for Infest, and you’ll be able to follow me through my myriad social media channels as I browse the stalls, drink the booze, watch the bands, drink the booze, listen to the DJs, booze the drink and generally get into mischief whilst attempting to scrape together a review that somehow encapsulates the FIFTEEN PLUS bands that are the beating heart of Infest 2017. Beating pretty fast as well I don’t doubt. I’m especially holding out for heavy-hitting headliners like Die Krupps and Rotersand.

Tickets are still available – just – so get yourself a place at the festival of the future. See you there!

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