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By Rick Polo (Editor-in-Chief)

Artist: The Apocalyptic Fist of the Black Death

Album: Volume II: Born of a Broken Jar

Rating: 9.5/10

Hailing from the Cuyahoga Valley, experimental metal act The Apocalyptic Fist of the Black Death provide an avant-garde approach to modern extreme metal. Through the use, and misuse, of odd time signatures, samples and bone crushing riffs, they have stamped out a often-attempted-yet-rarely-successful niche. With a sound and approach falling somewhere between The Dillinger Escape Plan, early Mastodon and the Mike Patton-led Fantomas, the band fully and equally embrace experimentation and brutality, sacrificing nothing in between. Their live shows are proof of this.

Recently, AFOTBD dropped their sophomore EP, Volume II: Born of a Broken Jar. On this release, the band have successfully expanded upon their earlier work, while showcasing their signature sonic intensity. In a nutshell, there is no sophomore slump!

Volume II: Born of a Broken Jar opens with the brief but mood-setting instrumental, “Haunted.” With a beautiful and eerie minor key piano piece, mood and atmosphere are immediately established, lending the perfect segue to the first full track, “The Whole in Things.” This proggy little number gets right to the point, with a barrage of slamming riffs that aim straight for the jugular. The drum and guitar work immediately catch the ear, as their interplay and odd rhythmic structure are utterly infectious.

From there, “Charlie Murphy’s ‘True Hollywood Stories'” is packed with blast beat-to-chugging riff/drum interplay, with a grinding riff that commands your attention. Finally, the EP closes with perhaps its most ambitious track, the ten-minute “Born of a Broken Jar.” Grinding, chugging riffs lead off the track, before an almost blusey, Zappa-esque lick takes the track in a more groove-heavy direction. By it’s middle, this track gets very interesting, breaking down with a quieter, Middle Eastern guitar lick, reminiscent of the more ambitious moments of Nile, before building itself back into a soaring and slamming conclusion.

It’s safe to say that The Apocalyptic Fist of the Black Death are, without a doubt, among the most ambitious acts to emerge from the Northeast Ohio music scene, of really, any genre. With Volume II: Born of a Broken Jar, the already forward-thinking act have pushed their own envelope, creating a small but loud statement with the confinements of an EP. It leaves you on the edge of your seat, desperately craving more.

Key tracks would include all of them because well, there’s only four, and they all stand out quite well. However, the massive crescendo that is “Born of a Broken Jar,” the EP’s final cut, is nothing short of a masterpiece, that only gets better with repeated listens. All in all, a must-have for fans of experimental, heavy, progressive music.

By Rick Polo (Editor-in-Chief)

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Artist: Third Class

Album: Virginia’s Playlist

Release Date: 1/1/17

Rating: 9.5/10

For nearly two decades, Northeast Ohio’s Third Class have dazzled audiences from across the region and beyond with a fierce passion. With an intimate and immediate delivery, Lee Echard Boyle and Co. consistently hit the mark with songs that boast as much dry wit as they do emotion. On their latest offering, Virginia’s Playlist, the Indie Rock mainstays craft a heartfelt, touching and often cynical story that takes the listeners across time and space, with all of the whirlwind emotions in between.

With Virginia’s Playlist, Third Class have taken their unique brand of quirky Indie Rock and Folk Pop and have sprinkled in subtle hints of Americana, Garage Pop and Baroque Pop for a 20-track massive opus. Not only is this perhaps their most ambitious record to date, but it serves as a refreshing reminder that the band is still searching, still hungry and still eager to push the limits of their songwriting one step further than the next.

Kicking off with the tongue-in-cheek “College Radio,” Third Class come out swinging in a charm all of their own. “We’re college radio but no one plays us, We never played a show where people paid us right, And in our pinky toe we’ve got more talent than you could ever know, Your bass rig towers high,” is a part cynical, part facetious, slightly-ambiguous look at either the local scene, or perhaps a parallel to the greater music scene in general.

A swarm of lush acoustic guitars and strings dominate “Radio to Cassette,” before the piano-driven “The World Sounds Like Poetry,” and the folky “Being and a Ball,” draw from personal reflection. From there, “Kiss You Until You Bleed,” “Lonely for You” and “Crying in the Dark” drive home the sincere melodramatic love songs that are trademark of Third Class. Somewhere between the brooding of Neil Young and the bluesy swagger of Springsteen, the songwriting carves its own niche of pure lyrical poetry.

The Neil Young-esque “Hardwood Sky” and the Baroque Pop of “Lonesome Dove” change the pace slightly, leading off the climatic second half of Virginia’s Playlist. “Colors of You” and “Better Mood Today” take a page right from White Album-era Beatles songwriting with a quirky baroque piano taking the lead on the former and a more subtle approach on the latter.

As the record draws to a close, tracks “Me and Wally” and “Witch Hunt” paint the melancholy picture of a summer sun setting of the reckless abandon of youth. Closing track “Sweet Potato” is a soaring glimmer of hope lead by a beautiful and frantic piano that fades off into the sunset.

Virginia’s Playlist is not a record you should put on at a party, and perhaps that is its most endearing quality! It is a record that demands your full attention. Best experienced by a few full uninterrupted listens. Third Class have crafted a record of continuity, a record that once heard in its entirety, it sticks with you. It is also evident on this record that the band have not hit their plateau in songwriting. Standout tracks include “Radio to Cassette,” “The World Sounds Like Poetry,” “Hardwood Sky,” “Grow Up in Portland,” and “Witch Hunt.” However, Virginia’s Playlist will leave the best impression if listened to from start to finish.

Virginia’s Playlist is available directly from the band at thirdclass.net.

By Rick Polo (Editor-in-Chief)

POTD

Artist: Psyclosarin

Album: Perceptions of the Damned

Rating: 9/10

Since 2011, Northeast Ohio Death Metal mainstays Psyclosarin have been offering up their unique take on the genre. With enough massive riff and slamming grooves to bring any mosh pit to its knees, the band have carved themselves a special niche on the scene. With dozens of high profile performances at notable venues such as the Agora in Cleveland, Psyclosarin have set the stage as one of the leading forces in a new generation of Extreme Metal.

With their latest release, 2016’s Perceptions For the Damned, Psyclosarin take the overt brutality of classic Death Metal and sprinkle in a slight but significant touch of the atmospheric drone of Black Metal for a refreshingly exciting collection of very heavy songs. Similar to the approach taken by acts like Behemoth and Vader on recent releases, Psyclosarin favor neither style over the other, but sacrifice nothing, keeping up with straight-forward yet extreme ethos of the hybrid sub-genre, Blackened Death Metal.

Perceptions of the Damned opens with the rousing title track. A true Death Metal Slammer complete with grinding riffs overtop blast beats for an unrelenting pulverizing track with a middle section vaguely reminiscent of Powerviolence and a closing guitar lead-to-final refrain that climaxes into the highest reaches of hell.

From there, the slow opening of “Limb from Limb” does nothing to prepare for the insanity that’s to follow. Crashing into a wall of chaotic, frenzied riffs, the track introduces some more Black Metal riffing styles for some serious textured sonic torture. “Thrown to the Wolves” offers more gigantic riffs while “All Hail None,” the undoubted standout of the first half of Perceptions of the Damned, boasts another wall of  massive guitars, but the real moments of genius hit just two-thirds into the song, as the song begins to shift into an unexpected slamming groove.

“Sever the Cord” begins with an interesting melodic swarm of guitars, taking a brief but welcomed left turn, before igniting into another nuclear assault of riffs and chaos. The Thrash-like riffs that hit by the middle of the song are also a definite highlight! “Born to Burn” showcases more of what Psyclosarin seem to do best, with twin guitar attacks shifts from Black to Death Metal-style riffing seemlessly. The album closes with the Thrashy “Rampage,” with riffs that rival the most technical and brutal moments from Machinehead.

All in all, Perceptions of the Damned is an unrelenting, ugly collection of songs that rarely comes up for air. Amidst the chaos, there are several moments of genius and some really well-crafted material that comes across to perfection. The production does great justice, by balancing the harsh technically to where nothing sounds sacrificed; a rare feat in the age of extreme digital compression. This record is Psyclosarin coming into their own, and serves as an exciting landmark of what’s they’ve done and where they’re heading. Standout tracks include “All Hail None,” “Thrown to the Wolves,” “Born to Burn” and the title track.

Watch the official music video for “Limb from Limb” by clicking here.

  1. David Bowie – Blackstar
  2. Nick Cave and the Bad Seeds – Skeleton Tree
  3. Nails – You Will Never Be One of Us
  4. Russian Circles – Guidance
  5. Danny Brown – Atrocity Exhibition
  6. Radiohead – A Moon Shaped Pool
  7. Deftones – Gore
  8. Swans – The Glowing Man
  9. The Body/Full of Hell – One Day You Will Ache Like I Ache
  10. True Widow – AVVOLGERE
  11. Emma Ruth Rundle – Marked for Death
  12. Neurosis – Fires Within Fires
  13. Leonard Cohen – You Want It Darker
  14. Frank Ocean – Blonde
  15. Cvttvnmvvth – VVVV
  16. Death Grips – Bottomless Pit
  17. Soft Kill – Choke
  18. Mississippi Gun Club – Shovelhead
  19. Descendants – Hypercaffium Spazzinate
  20. Opeth – Sorceress
  21. Dark Funeral – Where Shadows Forever Reign
  22. Helmet – Dead to the World
  23. Filter – Crazy Eyes
  24. Garbage – Strange Little Birds
  25. Red Fang – Only Ghosts

The best 2016 had to offer…

RICK’S PICKS:

Artist of the Year: David Bowie

Album of the Year: David Bowie – Blackstar

Song of the Year: Nails – You Will Never Be One of Us

Music Video of the Year: Anti-Flag – Without End

Rock Act of the Year: Nick Cave and the Bad Seeds

Alternative Act of the Year: Radiohead

Rap/Hip-Hop Act of the Year: Danny Brown

Punk Act of the Year: Descendants

Metal Act of the Year: Nails

Best Collaboration: The Body/Full of Hell

Best Live Act: Swans

Best Local/Regional Live Act: Mississippi Gun Club

Best Album: (Local/Regional Act): Mississippi Gun Club – Shovelhead

Comeback of the Year: Metallica

Best New Artist: S U R V I V E

Lifetime Achievement: David Bowie

 

SARAH’S PICKS:

By Sarah Sepanek

TOP 10 SHOWS OF 2016 (no order but yeah Boris/SunnO)))/Sleep wins)

Cobalt/Mantar @ Mohawk: This show was just volcanic. Everyone looked like melting plastic. It was like we were in musical lava. Charlie Fell was just in glorious agony, sealed himself as frontman.

Dragged Into Sunlight/Primitive Man/Make @ Paper Tiger, SA: Possibly the hottest show ever, in some loading dock windowless garage. Very cerebral. Make and Primitive Man both gave good doomface; Dragged, however, faced the wall so if they were making metal faces, I didn’t see. Some jags pulled down the giant candelabra in front of the stage and nailed me in the chest so hard I wondered if I cracked a rib. But I stayed in that dark hot hell room till the end. They easily outdrew Big Business in the room next door.

Reverend Horton Heat w. Jello Biafra @ Continental Club: I’ve loved the Rev for going on 20 years; still a solid showman. Still damn charming too. Sometimes it’s just fun to dance and goof around. Jello Biafra had his crotch three inches from my face for half an hour and stage dived on me several times, but it was neat seeing them do Dead Kennedys songs together. Also I duked it out with some drunk girl up front and won. Any excuse to spray up my hair is a good night.

Gatecreeper/Oathbreaker/Skeletonwitch @ Barracuda: Definitely a show where the openers outshone the main act. Gatekeeper and Oathbreaker had both just released amazing records, and they didn’t disappoint live.

Crawl/BLK OPS/The Body/Full of Hell @ Sidewinder: Broken strings aside, this was a sonic strobe flash of otherworldly noise. Only caveat was that since they were playing just their one album together, it was kind of short.

Annihilation Time/Fuck You Pay Me @ Barracuda: Confetti, Jimmy Rose, Ohio, Erba – a farewell of Cleveland proportions came to Texas for two nights and Night Two was wild as fuck. Austin for all its weird-bragging is lacking in pure crazy at punk/hardcore shows. Tony Erba bashing his face into a pole was met with more concern than enthusiasm, but there was confetti and toilet paper and it was amazing for the “last” AT show.

Grim Reaper @ Dirty Dog: I didn’t expect this to be as much fun as it was. I usually balk at nostalgia tours because I mostly feel guilty at bands having to slough through Spinal Tap-esque sets past their prime, but Grim Reaper was a shitload of fun. Steve Grimmett was still in excellent voice, and he poked fun at himself, made dirty jokes between songs, and had fun posing with fans holding a giant sword. He even used a goddamn selfie stick. Thumbs up from me.

Torche @ Barracuda: The first of 2 times seeing Steve Brooks and the boys this year, and the first time I had seen one of his bands in at least 10 years. Definitely reminded of why he’s one of my favorite people on the planet, as he rolled on the floor wailing solos Marty McFly-style.

Insane Clown Posse @ Empire Control Room: Shows in ATX are a lot less … unhinged than I’m used to, so this messy trash circus was a pleasant reprieve. ICP played all of Riddle Box, which I had on orange cassette. Jugglo fam was friendly and festive. Not used to that level of camaraderie here either. Everyone was happy. And wet. I sprayed gallons of diet root beer Faygo, sang all the words. It was Shaggy 2 Dope’s birthday. I’ve been to the Gathering when it was at the Ledges so I knew to warn an ICP virgin not to wear his good shoes. Walked to the car soaked, down with the clown.

Sleep/SunnO)))/Boris @ Mohawk: This show happened by accident, due to a festival rainout, and I got tickets by the grace of god. Hundreds of angry fest pass-holders were left SOL as they reorganized the fest acts into new smaller venues and did a whole new ticket sale. The stage itself was gear porn, loaded with amps and gongs and drums and stacks and backlined within an inch of its life. I got fog machine cancer and couldn’t hear for a week but it was so good. So good. Surreally good. Once in a lifetime.

HONORABLE MENTIONS
X_X/Obnox @ Barracuda
Fister/Aseethe/Clrvoyant @ The Lost Well
Sleep brunch @ Mohawk
Vermin Womb/Pornohelmut @ The Lost Well
Destroyer 666 @ Satellite Bar, Houston
ITCHY-O @ Scoot Inn
Goatwhore @ Grizzly Hall
High On Fire @ Grizzly Hall
Daikaiju @ The Grand
Wreck & Reference @ Sidewinder
Karma to Burn/The Obsessed @ Dirty Dog
Antwon/Fat Tony/Xetas @ Barracuda
SURVIVE record release @ Barracuda
Absu/Expander @ Sidewinder
Bongzilla/Lo-Pan/Author & Punisher/Black Cobra @ Swan Dive & The Lost Well
The Body @ The Lost Well

Most ridiculous/embarrassing: Tie between Taake and Millions of Dead Cops
Biggest letdown: St. Vitus @ Grizzly Hall
Best onstage coat wearing: Tie between Absu (Proscriptor!) and Taake (leather jacket w sleeves pushed up w no shirt)
Best show that never happened: Levitation Fest – Runner up: l.o.t.i.o.n @ Electric Church (waited til 5 am only to have amps blow out or something; in retrospect that place was a death trap)

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By Rick Polo (Editor-in-Chief)

A great perk to following a local music scene is the undoubted authenticity of hungry musicians. At nearly every turn, in every local venue, there are new and unique artists, experimenting with the future or improving on the past. Those who put in the blood, sweat and tears, especially while maintaining a family and a day job, is nothing short of impressive. But it’s the passion that keeps the scene alive.

Such passion can be unlocked in the music of Spy Convention. As one of the Valley’s most intriguing newcomers, Spy Convention consist of two local doctors, Asif Khan and Zafar Sheik, who, by near accident, decided to take their passion for music to the next level.

“We met by chance at a school function for our kids about 3 years ago, and one day Zafar came over with his family,” said Khan. “There was a guitar sitting in the house, he picked it up and started singing. I was totally impressed and shocked! I had no idea he could sing. We only started writing together in January of 2015, and wrote ‘You Are Not Alone.'”

Featuring a refreshing blend of Post-Punk and early Goth/Darkwave, tracks like “Baltimore” and “Gravity” channel The Psychedelic Furs and Echo and The Bunnymen, while “You Are Not Alone” hints at Interpol’s more updated Indie sensibilities.

With their first batch of singles, Khan and Sheik carve out a unique sound that’s both reminiscent of the past yet feels like the present.

“We both have influences that are quite varied. However, we think everybody has a connection with the music they grew up with and, being of a certain age, that 80s sound resonates with us. It’s kind of in our minds so it naturally comes out in the songwriting process,” said Khan.

Khan indicated that both Indie and Alternative music have both played a crucial role in their musical development.

“As fans of music in general, we have a tendency to search out new music, and there’s always lots of great music being made. We’re fans of indie and alternative bands so all those sounds we’ve heard from the 80s to the present is just a part of us,” said Khan.

With the music of Spy Convention relying heavily on atmosphere, covering such music depth as a duo can get tricky. However, Khan said that both him and Sheik have found a rhythm to crafting their sonic structures.

“We do everything ourselves, drums, guitar and bass primarily by me, and vocals synth by Zafar,” Khan explained. ” Zafar writes the music and lyrics as an idea for a song. We get together and start throwing more ideas out, very simple piano lines for example, and it starts to blossom from there. Our approach is to layer instruments together to get a full sound.”

He also indicated that it’s important to be their own worst critic and to keep it honest in order for the whole to be greater than the sum of its parts.

“Occasionally we will scrap an entire song and start over if need be. This happens rarely but needs to be done if we don’t like it. We also made it a point to criticize without any ego involved. If something is horrible, we say it,” said Khan.

Asif Khan of Spy Convention. Photo courtesy of facebook.com.

Zafar Sheik of Spy Convention. Photo courtesy of facebook.com.

He added that most importantly, they have to be having true fun in order to keep it worthy of their efforts.

“We started the project first as a diversion with no real expectations. We still really don’t have any expectations. It’s fun, and ZERO pressure. We have kids and lives that demand our attention, so music is purely an escape,” he said.

With the Post Punk Revival of the last decade or so, artists as diverse as Interpol, The Killers and Death From Above 1979, along with relative newcomers like Cloud Nothings, Health and Soft Kill, have in their own unique way, channeled the likes of 80s greats such as The Cure and Joy Division, but have expanded on those ideas to varying levels of success, both artistically and commercially. Spy Convention have focused on, if not perfected, the atmosphere of the era while giving it a new spirit.

Khan said it’s the impact of the song that transcends both genre and era.

“It’s not a style or genre necessarily, but the song itself. If you connect with the song, that’s what really matters,” Khan said. “We both love Interpol and The Killers. We don’t really focus on longevity of bands, but we appreciate the song. The song is what stands the test of time. There have been one-hit wonder bands and everyone latches on to it because it’s a great song. Nothing else, more or less.”

He explained too that what he found in the music that inspires him also had the ability to move him, and that good music lasts because of its ability to do so.

“What is it about that music that connects with people? Maybe it’s the simplicity of the music, like the driving bass line, or a well written vocal line that allows everyone to participate, sing along. Was it the production? It could have been current events. It’s hard to say, but for a song to move millions of people is quite amazing, and powerful,” he said.

Heading into 2017, Spy Convention looks to hit the stage, and is currently in the process of auditioning live members to round out a live lineup.

“We have desires to play live and are currently auditioning musicians,” said Khan. “Ideally, we’d love to play live in 2017; we’ll see what happens. We aren’t looking for much, but all the attention is great. We are grateful people like the songs and we’ll just keep writing as long as we can and have fun doing it.”

A full-length release is in the works for the next year as well.

“Our next phase is to complete an album of 7-10 songs,” said Khan.

Spy Convention have released a slew of singles, some of which have been in regular rotation on The Homegrown Show on 93.3 since August 2016. Those tracks, along with a cover of INXS’ “Don’t Change” and Rush’s “Time Stand Still,” can be streamed exclusively on the band’s official Soundcloud page by clicking here.

Mercury's Antennae. Photo Courtesy of the band's Official Facebook page.

                                      Mercury’s Antennae. Photo Courtesy of the band’s Official Facebook page.

By Rick Polo (Editor-in-Chief)

The mid-2010’s have proven to be a very exciting period for Alternative and Indie music. With the Post Punk Revival and Shoegaze Revival in full effect, the lasting influence of these illustrious sub-genres has broken down musical barriers never-before imagined (i.e. the fusing of metal and shoegaze with blackgaze and heavaygaze) and have continued to reach new fans through innovative reinventions that have allowed these sounds to flourish nearly two or three decades after their inception.

That being said, some of the most celebrated musicians of the Shoegaze/Dreampop scene have came together as Mercury’s Antennae!

Originally formed back in 2010, the Projekt Records act consisting of vocalist Dru Delmonico formerly of This Ascension), bassist Cindy  Coulter and multi-instrumentalist Erick Scheid, pull together a healthy combination of whirling Shoegaze guitar, Dreampop atmospheres and a unique ethereal-Goth sensibility reminiscent of This Ascension and classic Projekt acts. After creating a buzz across the West Coast and through the now-thriving Shoegaze Revival scene, Mercury’s Antennae are now ready to hit the studio to lay down their third release.

However, with such a lush and complex sound, it’s almost unfair just to slap any simple label on Mercury’s Antennae, as they really strive to push the boundaries of the music they love. The members weighed in on how they hear these sounds and formulate them into their own unique piece of art.

“I would describe our music as the soundtrack for two lovers in the middle of the ocean,” said Scheid. “Esoteric Shoegaze-Ritual Darkwave and Ambient Electronica with elements of noise, folk and Dreampop. For me personally I always have been drawn to create music that had a sense of space, atmosphere and shifting moods. A sound that is vulnerable, otherworldly, emotional and hopefully thought provoking. It sounds possibly cliché and overused in the adjectives but I guess that’s the truth. And like all artists, what has led me to create music is LIFE itself and all that it is or isn’t… the tension between the light and the dark.”

Delmonico added that the moodiness of bands like The Cure and Depeche Mode helped shape her creative angle.

“Coming of age in Southern California we had two modern rock stations that were pretty big at the time. While I wasn’t exposed to anything super obscure, I started to follow Depeche Mode, The Cure, Ultravox, a lot of so-called New Wave. Then I moved to a small town on the Central Coast where I could only pick up Classic Rock and Top 40. While I liked some of this too I missed the alternative ‘more weird’ stuff and a friend in L.A. would send me mix tapes to keep me up-to-date. I loved the moodiness, the artistic expression, the somewhat hidden aspect, although DM and The Cure both went on to be so big they sold out huge stadiums,” said Delmonico.

Earlier this year, the band released Beneath the Serene, their most sonically developed record to date. The record Beneath the Sereneis full of lush soundscapes and dreamy/ambient textures, yet also includes the somewhat traditional sound structures of popular music.

Beneath The Serene was an exploration into the questioning of all things of Beauty and realizing that Beauty and whatever that definition is, can be illusive and even toxic. Also I was questioning what connection/isolation means to me,” said Scheid.

“Most of the tracks were somewhat in tact by the time I was asked to join the band permanently, although they were largely in demo format,” continued Coulter. “I think as an artist there’s nothing more thrilling than having a blank canvas with which to work to create something that speaks to you and that you want to put out into the world. Erick and Dru have certainly provided me that in inviting me to collaborate with them. Erick has always kind of had the approach of ‘just do what you do.’ I think our arrangement works quite well and am excited at the prospect of making more music together.”

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Despite having an experimental edge sonically, Mercury’s Antennae, and Delmonico in particular, are not afraid to shy away from a good hook to help take a song to a whole new level.

“With Mercury’s Antennae, I feel like drawing out phrases more, repeating more. I think it’s okay to have those ‘pop’ elements, some of the music is genuinely hooky and catchy and it’s great. There have been a couple times with our music though that I have been stumped as to what to do. It’s forced me to sing in new ways and styles that aren’t in my normal comfort zone, which is good for an artist. That’s what happened with the title track Beneath the Serene–nothing was working at all, and it was the last track I had to put vocals to. I’d totally procrastinated ’til the last minute. But somehow something came together and while different  for me vocally, it’s really special,” said Delmonico.

In recent years, bands like True Widow, Nothing and A Place to Bury Strangers have helped bring Shoegaze back onto the scene in a big way. And since 2013, the reformation of genre pioneers like My Bloody Valentine, Slowdive and Lush have only furthered the excitement among fans. However, Mercury’s Antennae, though akin to these movements, are forging their own path regardless of what’s in fashion. Still, they’re happy to see it where it is and believe that there is a real demand for it.

“I don’t feel like Shoegaze ever really went away. But, I think part of it is that the folks that were really into that music back in the day, are a little older now (present company included ;))  and saw those bands when they were popular the first time around. Certainly there’s a desire there now that these bands are reuniting. Couple that with some of the newer Shoegaze bands like The Joy Formidable, Seasurfer, Ringo Deathstarr, Tamaryn, Beach House, and the like, and it’s not too much of a surprise that Shoegaze is getting some new interest from old school fans a and making new ones in the process as well. It’s an exciting time,” said Coulter.

“We are longing to hear music with depth and also with a sense of spaciousness and atmosphere. With all that is changing in this world we desire to hear/witness music that is real and honest again, even if it sounds like clouds in the wind, we all want to be romanticized. At least I do… sonically that is. Shoegaze represents that in lots of ways. Also I think ‘Shoegaze’ music fuses the feminine and masculine in subtle ways and music lovers out there want to embrace that,” added Scheid.

Mercury's Antennae performing live in 2015. Photo courtesy of facebook.com.

Mercury’s Antennae performing live in 2015.    Photo courtesy of facebook.com.

Mercury’s Antennae are part of the unique roster of artists featured on Projekt Records. Owned and operated by Sam Rosenthal, the mastermind behind not only the successful label but the iconic group, Black Tape for a Blue Girl. Delmonico recalled working with Rosenthal going all the back to her days with This Ascension.

“I’ve know Sam for years through This Ascension. Projekt was one of the first distributors we worked with and that was hugely beneficial relationship for us; this was before most people were on the web, which is hard to imagine now. Later, Projekt was also our label when he re-issued TA’s catalog after Tess closed. Sam was the first person I thought of when Erick and I started creating our first album. Happily for us he found it interesting, so released it as well as our latest. He’s been super supportive,” said Delmonico.

Despite having the backing from a great label, the music industry is still in a state of limbo, as distributors are often unsure the of the best platform to market their artists. Often times, it’s up to the artists to utilize unique ways to reach fans such as social media and crowd funding, depending on their individual goals.

Delmonico said that despite this disorder, there are more befits to music fans now than ever before.

“I think the changes in the industry have been a dual-edged sword. There is this wonderful openness and access to music now that is unprecedented. Just this morning I discovered John Fryer (Depeche Mode, Love and Rockets, This Mortal Coil, Nine Inch Nails) has an ongoing music project with various vocalists and musicians called Black Needle Noise, and I can listen to them all instantly on Bandcamp. It’s a great time for music fans,” she said.

She also explained that success in the industry can be achieved through hard work and smart/innovative decisions.

“As creators, bands like us were doing better in terms of financial success in the 90s. I think more artists are going to need to take regular and freelance jobs to continue to make music. There is this expectation now that people shouldn’t t have to buy music. Even good friends of mine think this. I’ve known bands signed to major labels that have trouble keeping their bills paid, but also independent artists who can make their living with a successful blend of touring, merchandising, creativity and some good fortune. It’s very hard though,” finished Delmonico.

Mercury’s Antennae just wrap up a slew of dates on the West Coast and are set to work on new material for their next release. Be sure to check back to their official Facebook page for all updates and live dates.