Gary Numan - "Cars"

Here's a very old song by Gary Numan. It's one of the numerous iconic new wave songs from the old days, and it probably needs little introduction.

"Whitby Gothic Style"

Yes, I know, another played out "Gangnam Style" parody. Still, I like this. Don't judge.

Bauhaus - "Bela Lugosi's Dead"

This is arguably the most iconic goth song in history, so Bauhaus's "Bela Lugosi's Dead" probably needs little explanation.

Porcelain and the Tramps - "Gasoline"

This is another of my favorite Porcelain and the Tramps songs. Like I said before, I don't usually like posting videos where third parties take the MP3 and upload a video with it on YouTube, but in the case of Porcelain and the Tramps, you can't buy the song anywhere.

Marsheaux - "Popcorn"

If you liked the last Marsheaux I showed you, here's a video of their debut, when they did their own rendition of "Popcorn".

Tying Tiffany - "Lost Way"

It's been a little bit since I gave some Tying Tiffany love. As a result, you get "Lost Way".

Apoptygma Berzerk - "Unicorn"

This is easily my favorite Apoptygma Berzerk song. It's another sappy love song, but I like it.



(Sorry for the late update. I pressed "Save" instead of "Publish". Good thing I checked... x_x)

Voltaire - "Hate Lives in a Small Town"

This is one of those songs in which I think any commentary I might add may detract from it. All I will say is that Voltaire is known for being a goth musician, but he ended up making an album of country music with the same name as this song. So, enjoy.

Freezepop - "Less Talk More Rokk"

There needs to be less talk here and more "rokk", so I'll just leave this interesting video of "Less Talk More Rokk" from Freezepop's Future Future Future Perfect album here for you.

Dismantled - "Disease"

Here's some electro-industrial to get your engines going this morning. In this song from Dismantled's The War Inside Me, this song is about the obviously high opinion the artist has about himself. (There may or may not be sarcasm in the previous sentence.)

Thermostatic - "Driving"

Although they're broken up now, Swedish electronica band, Thermostatic, did put out some calm melodies that can soothe the soul and make you want to dance at the same time. "Driving" is one of them.

The Crüxshadows - "Cruelty"

Like I've told you before, I'm totally a sucker for 90s hacker culture. As such, I have to show off something with that theme every so often. Here's a video of one of the older songs by The Crüxshadows, "Cruelty", from The Mystery of the Whisper. As far as I know, the song has absolutely nothing to do with the video, but the video is just really fun to watch if you're into this type of thing.

Front 242 - "Lovely Day" (live)

If you're interested in some good old school EBM, look no further than Front 242's "Lovely Day", from their No Comment EP. Here's someone's video of them performing it live in 1985.

Chiasm - "Petals"

Apparently, Chiasm put out an album, 11:11, and I didn't catch the news. If the rest of the album is just as trippy as the song in the below video, I might just have to review it.

(Also, as a note, although I do have this update up, that doesn't mean I'll necessarily be on time for the rest of the weekend or even a couple days after that. Things are a bit touch and go for me at the moment. Once things are resolved on my end, I'll edit away all the stuff regarding my situation. Hopefully, nothing gets disrupted, but I want to warn you all in advance, just in case.)

Duran Duran - "Rio"

Although I will try to keep from going over the top with 80s synthpop, since there are tons of other places for that kind of thing on the Internet, I just felt like posting this for -- well, just because.

Eisenfunk - "Pong"

This is an Eisenfunk song. I think that's all you need to know.

Prometheus Burning - "Ouroboros Deathride" (live)

Someone did a recording of an excellent song by Prometheus Burning, called "Ouroboros Deathride". It's from their Plague called huMANity. The song seems to be about biding one's time when the world around her or him is changing, although there could be more to it.

Underworld theatrical trailer (2003)

As a continuation of this morning's theme, I wanted to tell you about another vampire movie that I like very much, Underworld. Kate Beckinsale's Selene is not to be underestimated in this movie.

Blade theatrical trailer (1998)

One thing that is within the realm of goth is vampires. As such, I think it's a worthwhile endeavor to mention the vampire movies that I think are awesome and that everyone should watch. Blade definitely falls into that category. Wesley Snipes's iconic portrayal of Blade cannot by matched, in my opinion.

Covenant - "Call the Ships to Port (live)"

Who wants to see a video someone recorded of Covenant singing "Call the Ships to Port"? The better question is "Who doesn't?"

Sebastian Columbine - "Sebastian is No Longer a Girl"

Sebastian Columbine, a prolific goth scene vlogger who I've mentioned before, made a video last night about how zhe's coming to grips with self-identifying as genderqueer. I think this is something worth paying attention to, because concepts of gender fluidity and other ideas that break the gender binary were something that used to be fairly commonplace within the goth-industrial scene, but aren't so much, anymore. I think people's reactions to this will be just as important, if not more important, than Sebastian's own actions in being able to get a feel about how the scene at large sees this kind of thing. Early trends show that most people are supportive about this, although there is significant backlash and confusion, as well. This is a topic I will likely revisit later.

Psy'Aviah - "Ok"

Psy'Aviah wants you to know that everything is going OK.

What would you like to see here?

This is more weighty than the average admin post, so I'm going to use this as an update. I want special attention given to this.

This is more for audience participation. I want to know what you want to see on this page. Although I don't have a huge readership, I do have readers now. I want to know what kinds of things you'd like to see here. Would you like to see more interviews? I could be more aggressive in getting those. Do you want to see more scene posts? I can do that, although that's the kind of thing that can get repetitive after a while, so I'd have to be careful about how I do that. Is there something else that I'm not providing that you'd like to see? I'm not going to do anything that's illegal or unethical, so don't expect me to start uploading albums for download here. But I want to make sure my readers are happy, and I know you don't want to music videos for every post, every day. Please give me some ideas to take into consideration. I want to give you all the best content I can, but I'd like some ideas on how to move forward in doing so.

kazlovesbats - "How Goth Are YOU?"

The kazlovesbats YouTube channel just put out another video that is definitely worth seeing if you're new to the scene. Although she mentions goth, if you're new to industrial, punk, electronica, or whatever, it still fits. She bookends her main topic with personal points, so if you want to skip to the main topic, go to about 3:20 or so in the video. I think what she has to say is sound advice, and I completely agree with it. Most people within the goth subculture (regardless of flavor) are going to be nice to you. If you do come across a jerk who wants to belittle you, just ignore that person. Such people are just practicing a form of bullying and do what they do because they lack self-esteem.

Client - "Can You Feel"

The British electroclash/synthpop band, Client, is known for its intentionally classy presentation in videos and on stage. In this video, they pull off the professional aspect once again, this time, being part of a miniature crime narrative. There are a couple of minor flaws with the logic of the video, such as a pane of glass didn't break when it clearly should have, and a timer should have been set to something way lower (or there should have been another means of conveying inevitability in that part). Still, I think the director did a pretty good job setting up the story, and this song is awesome driving material (even better than their "Drive", for that purpose, in my opinion). This is a love song, but it's not as sappy as you might expect.

Marilyn Manson - "The Beautiful People"

Just as I feel compelled to post about bands and musicians who are super indie, I also feel it's worthwhile to post about those who have gone super mainstream if I like the music or find something novel to talk about. Marilyn Manson is no exception. Although I wouldn't say Marilyn Manson is my favorite musician ever, I do like a few songs. If you're one of the three people in the goth-industrial community who hasn't heard this song, this one is about recognizing and owning your beliefs on beauty and not letting society dictate it.

Emilie Autumn - "Liar"

I'm such a liar. I told you I'd have Part II of my latest series up as a bonus update, but I ended up deciding against it. I had something written, but I really didn't like it. So, I decided to start over, but I'm not finished yet. I'm not going to give you a date on exactly which update the second part will be up this time, because I'm still trying to decide how I want to convey the tone I want to show. It will be soon though (as in "today/tomorrow/maybe the next day soon", not "next week soon").

But, I did say I'd give you a bonus update, so I have to give you something. So, here's live footage I found on YouTube of Emilie Autumn's "Liar" from Opheliac. It's my favorite Emilie Autumn song. Enjoy.

SebastianTheGirl - "How to Be the Most Perfect Goth Ever"

You all are going to get a special bonus update a little bit later today in which you get Part II of my series on the balance between self-expression and maintaining livelihood. To tide you over though, you all get to see Sebastian Columbine's comedy video on how to be a perfect goth. Although it's way over the top, and there is no way anyone with a brain could possibly take the first half as serious, I think she makes some good points. Goth, like other subcultures, isn't about how to be just like everyone else, and it isn't about how if you like anything that isn't informally sanctioned "goth material", you're not goth.

Cesium_137 - "Unwanted"

Some of this Cesium_137 stuff reminds me of Flesh Field, except without the female vocals. Although Wikipedia classifies Cesium_137 as futurepop, I have to say there's sometimes a fair bit of aggro to their music, depending on the song. These people seem more like the Apoptygma Berzerk flavor of futurepop as opposed to the VNV Nation type. The song I'm sharing is "Unwanted," which nails you with scratchy vocals and fast beats. The narrator feels rather tossed aside and wants to lash out as a result. (Click on the little triangle in the circle. It's MySpace's bizarre way of making embed code, if you're not familiar.)

Unwanted

The balance between self-expression and making it (Part I)

(Photo by c_ambler, CC 2.0)

This is meant to be more of an exploratory piece. This is something for which I don't claim to have the definitive answers, but I think it's worth having a discussion. The subject for the next three afternoons is what it means to be within the scene while having to be part of a greater world. I intend to focus on interaction with employers, because that's where there is the most conflict that I feel self-expression isn't going to necessarily win a significant portion of the time.

First, I'll need to explain a bit of background about myself to give people some context about where I come from in regard to what I'm going to say. I'm in my late-twenties. I have a bachelor's and an MBA. I have a day job in an office, I utilize my skills from my training, and I make an adequate living. I'm not married, and I don't have kids.

All that being said, I think the first thing we need to focus on people's definitions of two things: happiness and success. What makes you happy? What makes you not necessarily happy, but at least something you can live with? What do you find intolerable? Does success directly correlate with happiness? What do you consider to be success?

There was a study done a few years ago that tied money to happiness in which a person would be less likely to have daily emotional downturns as he or she made more money up to about $75,000 per year. I won't go into the details here, since I provided a link for you, but in short, the idea is that the more money someone makes to a certain point, the less he or she has to worry about survival needs. At about the $75K mark, one doesn't have to worry about basic survival anymore and worries generally involve things tied more to greater enjoyment of life. I'm not going to attempt to argue that exact number here, because there are a slew of different things that can make that number go up or down. The point I want to drive home is the general concept that there is a certain income point in which your worries stop being about surviving and primarily involve living. Until then, the amount of money you make has an effect on your day-to-day happiness. (Of course, I'm making the assumption that your life doesn't have any sort of extreme circumstances. For instance, you could be making $250K per year, but if your sibling is dying from cancer, your daily happiness has much different stimuli that work on it.)

For most people in an individualistic industrialized society, such as that of the US, money is a big part of life. Your quality of life is directly related to how much money you make. Pooling of resources is kept to a minimum and is frowned upon in many cases. As such, the money you make purchases your status within society. Your ability to live starts and ends with your pocketbook.

So, I've sufficiently beaten it into your skulls that money really does matter in regard to happiness. What's my point? Obviously, the next logical step involves the fact that you have to have to find a way to get the money you need to live a lifestyle that you can reasonably tolerate. For most people, that involves finding employment that pays a sufficient wage to live. If you're someone who has inherited a fortune, born into riches, married someone with money, or is otherwise independently wealthy from ways outside of direct employment, this series of posts is going to mean nothing to you.

At some point in your life, if you aren't already an adult who takes care of himself or herself, you will be. You will have to find some means of employment, whether it's working for someone else or working for yourself. The vast majority of people are employees of someone else, and even among those who are exclusively self-employed, they still have to answer to other people, even if those people aren't direct bosses in a chain of command. As such, because you have to answer to other people by virtue of laws, company policies, and good business practices, you do not have full control over how you operate within the confines of the workplace environment if you wish to keep your job.

I know you're thinking, "I get where you're trying to go with this. Why don't you just cut to the chase?"

That's more for tomorrow's post, because I want to set up a good base, today, for people think about exactly why I'm saying the things I'm saying. I want people to really think hard about what it actually means to be happy and successful, particularly in a country like the US, and what you have to go through to make it happen. We'll get to the goth stuff tomorrow, but today, just think about what you think I'm going to say. Think about what your priorities are in life, but more importantly, think about how you will actually go about achieving the goals you want to achieve. Remember that I mention "balance" in the title of my entry, and that is something important you have to consider.

Waves under Water - "Tomorrow"

Now here's a goodie that I'm sure that most people haven't been exposed to, but really, really should. If you want to hear a splendid electronic goth sound with unique, projecting vocals, I have a band for you. Listen to Waves under Water, a Swedish goth/synthpop band. This video is called "Tomorrow" from their album, All of Your Light. I will warn you though that if things that blink bother you, you may want to just start playing the video and put it in a background tab.

Freezepop - "Bike Thief"

Someone did a live recording of Freezepop at PAX 2008. This song goes back and forth between the perpetrator and the victim of a bike theft.

Marsheaux - "Hanging On"

Who likes synthpop? Well, here's a talented duo from Greece, Marsheaux. Oddly enough, based on the YouTube comments, I think the conversation on the phone is in Swedish. This video comes from the album, Peekaboo.

Seven songs that motivate me

(Public Domain License)

Although it was very tempting to make this a three-video Thursday, I practiced restraint and decided to make a post discussing ten songs that get me going while I'm at work. I have a day job, and while I'm at my desk or walking on my way to and from work, there are some songs that just get me going. Now, I've completely fawned over some of those songs in previous posts, but I want to talk about the songs that might not get as much love elsewhere. Mind you, there are also plenty of videos or album reviews that I post of songs that I like, but I might not listen to very often. This is a list of things that I listen to on a daily or nearly daily basis. In a way, this is meant to be an "about me" post.

(One thing to note is that these songs are also not in any particular order.)

1. "Playing the Fool" - Unter Null - From Sacrament, this song gets me particularly pumped up when I'm in a less than stellar mood, especially in regard to things in my personal life. The lyrics clearly state that a former significant other has been so deplorable that it has caused Erica to completely lose respect for him and remove him from her life. It's not the kind of song that I play for inspiration as much as it is to channel irritation, particularly the kind that is specific and pointed, into something tangible and stop thinking about it.

2. "Better Off" - Alice in Videoland - I won't lie. This song is kind of depressing, but it has a certain calming beauty to it. Although there is discussion that floats around about what the real meaning of this song is, I think it simply has to do with having to put up a happy front when you're feeling sad or depressed and getting emotionally drained by it. By the end of the song, it seems like the narrator just doesn't care about putting that front up anymore. This song has a fair bit of that kind of chiming, whistling Swedish electronica charm to it, and I think that's part of what makes me feel happy, even though the song is really very melancholy.

3. "Once in a Lifetime (Extended)" - Wolfsheim - If you went to goth nights in the early part of the 2000s, you probably noticed this played almost every week. This song is dark, with snappy, clicking beats in the foreground and synth bass in the back. It brings in a mood of pure despair about how a man who has lost his family to the ocean in some sort of tragedy is contemplating suicide, because nothing can console him now that he lost everything that matters to him. Obviously, this is another grossly depressing song, but it brings about this sense of nostalgia for me from a good time in my life, back when I started getting into the goth scene.

4. "Hydroelectric" - MDFMK - As far as I'm concerned, this is one of Lucia Cifarelli's best vocal performances. This song seems to be about a general sense of being able to give yourself up to someone. Although the imagery that MDFMK provides is very "them", when you move all that aside, you actually get an emotionally charged song that can make you feel good.

5. "Voices" - Helalyn Flowers - This song holds more value in its beat and melody than in its lyrics. I always want to bob my head or tap the desk whenever this song pops up. There is a definite futuristic sound to this, but it also sounds like it could be pop music, given a different circumstance. The way the song seems to want to beat you in the head with the fact that everything is done with electronic or synthesized guitars, drums, and other instruments almost creates a sort of novelty to it. I admit that I've gone the whole song not even paying attention to the lyrics sometimes, just trucking along with the task at hand while letting the beat sizzle through me.

6. "Liar" - Emilie Autumn - This is my favorite song from Opheliac. Let it be known here that Emilie Autumn is probably one of the best (if not the best) musicians I've ever heard in regard to being able to convey high drama in music form. "Liar" is probably her best song for that. That scratchy violin cuts through me like a knife. All the booms and pings add incredible atmosphere. And she has a singing style that just runs me over. I love listening to this on my walk to work. It gets the blood flowing and wakes my brain up in a way that feels more like having a healthy breakfast, instead of something merely loud and banging, which is more like waking up with a Monster drink and a donut.

7. "Unicorn" - Apoptygma Berzerk - This is the token sappy love song of the list. Well, it's as sappy as Apoptygma Berzerk can be, I guess.

So, anyway, if you want an idea of what I listen to on an everyday basis (and I went out of my way to not put in an I:Scintilla or Tying Tiffany song), here's a good sampler.

I:Scintilla - "Ammunition"

Just because I've not made enough I:Scintilla posts...

This was from Prey on You.

The Azoic - "Conflict"

Do you just want something fun to dance to this morning? I think "Conflict" by The Azoic fits the bill nicely.

The lyrics talk about inner conflict that the narrator feels from early life, possibly from parents or from a friend or significant other in younger days. Really though, I don't listen to this song for substance. It's all about the beat.

Tying Tiffany - "New Colony"

Since I already showed you all "Drownin'" and "5 AM", it's only fair I show you the other music video from Dark Days, White Nights, "New Colony".

Although "Drownin'" is my favorite song by her, I think "New Colony" is my favorite video. I love the avant-garde aspects with the stock footage. Just watch it! You'll love it!

Interview with Kaia Young

As usual, I consider it a great day when I'm able to share an interview with you all, and this is no exception, by far. Today, we get to hear from Kaia Young, the artist behind The Luna Sequence.

Audio Cantrips: So, there are just so many things we could discuss. You released an album in 2012. You're in the process of putting out another album. You have some strong opinions on a number of issues that are within the scope of this site. You did a fantastic remix of a song by one of the bands I mention every once in a while on this site. And you have definite insight on a particular market niche that goes neglected at times, that being electronic instrumentals.

Without further rambling, first question: For those readers who might not know who you are, could you give a brief introduction?

Kaia Young: Hello, I’m Kaia, a racially ambiguous, ex-fundamentalist, lesbian, transgender, social worker and part time photographer whose life is saved by music every day. 

Audio Cantrips: The next couple of questions are really sets of closely related questions. As someone who does pure instrumentals, how do you best gauge change and growth in your work over time? It's easier when songs have lyrics, because people can see subject matter differences, for example. But people have to entirely interpret your messages through the music itself. How does someone best understand the ideas you're trying to convey? How do you get your points across without words? Do you think there's a difference in how much personal meaning the listener projects onto the interpretation of instrumentals?

Kaia Young: My songwriting ideas are definitely theme based, buts it’s interesting that you bring up the listener projecting personal meanings onto the songs. Most of my songs are tied to specific memories or image. I design the songs (and albums) to narrate the sequence of moments to tell the story. Over time, my production and writing skill has increased, so I have been more able to gets what’s in my head onto the computer. I’ve been very happy (and a little surprised) that a lot of people pick up on the narrative quality, even without knowing the specifics of the images.

I had recently written out a huge blog post about the stories of some of the songs on the new album, but decided not to post it after receiving quite a few emails from people expressing what the narrative meant to them. I even received one email that more or less exactly followed the narrative of particular song that I hadn’t talked about publicly. That level of connection fascinates me, and I’m not even sure that I understand how it happens! The point of the music has always been the emotion, not the specifics, so I don’t want the specifics to become a barrier to the overall experience. 

Audio Cantrips: How do you market your music? Do you find it more difficult to sell instrumentals? What have you found to be the best ways to convey value in your releases?

Kaia Young: Interestingly enough, marketing isn’t something I had really thought about until the past year or so. I didn’t start producing instrumental music to be “successful” because I honestly didn’t think it *could* be successful. My fanbase largely developed by word of mouth, though it has been interesting to note some particular trends that intersect with some of my other interests. There has definitely been interest from the gaming community, as well as many forums for literary/visual art inspiration. Even just casually glancing over the market demographics, it’s very apparent that instrumental music has more appeal to people who are artists, musicians, or writers themselves.

Selling instrumental music has definitely had some unique barriers to overcome. Most popular music is generally very vocal-centric. The hooks are vocal, the melody is vocal, entire genres can even be defined solely by the style of vocal delivery. It’s pretty rare to hear an instrumental electronic piece outside of certain niche markets, unless it’s meant to dance to.

It seems that many people have trouble relating to music outside of the context of vocals. At least half of the places my songs are posted will have multiple comments like “where are the vocals? Why is this instrumental, where is the real song?” From a marketing standpoint, it would definitely make sense to just add some vocals, but I’ve really come to enjoy the challenge of trying to make music that people find engaging without relying on vocals. By intentionally denying people their expectation of vocals, you interrupt the script of what a music listening experience is supposed to be, which gives you an opportunity to take the listener on a journey that they might not have otherwise. I think that different approach has actually become one of the primary selling points of the music.

Audio Cantrips: You have another release coming soon that you've been working on, if I'm not mistaken. What can you tell us about it?

Kaia Young: The title will be “The Day the Curse Grew Stronger”, and it will feature to 10 new instrumental tracks. Overall, it is a bit more straightforward and targeted than “This is Bloodlust.” During much of the writing process, I was also working on material for my other hardcore/punk band, so I think that some of the same ideas carried over. There is definitely a lot less wandering around, it’s very up front about what it is. The orchestral elements I’ve always played with definitely have a much bigger role on this album. I’m currently in the mixing phase and am anticipating an April or May release. One of the things I’m actually most excited about is that I completed a series of concept photos to go along with the release. The music has always had a visual component in my mind, so exploring the same ideas in a different medium was an interesting diversion from my normal workflow. The pictures will be part of the package, and I may do a release on physical media if there is enough interest.

Audio Cantrips: This Is Bloodlust seems to be a little more smooth around the edges than your previous releases, in my opinion. Even though this album is still very much your style with the punk and metal influence, there's a little bit of softness in some places, and there seems to be a hint of ethereal influence. Am I off the mark? What would you say makes This Is Bloodlust unique?

Kaia Young: With that album, I was going for a more balanced approach to songwriting. Instrumental albums can quickly become repetitive in tone and direction, or gimmicky by trying to do too much, so I wanted to experiment with a very broad range of textures while still keeping a unified theme and focus. The album was really designed to be one complete work, rather than a collection of individual songs. It’s actually interesting that you would describe some of the passages as ethereal, as that’s exactly what I was going for! In exploring my own biases, I found that I had always worked hard to try to keep the listeners interest, so I wanted to make an effort to become more comfortable with just sitting in the moment with nothing specific happening. 

Audio Cantrips: I was completely floored by your remix of I:Scintilla's "Skin Tight". You turned what was dark and sultry into something high-energy and flat-out rabid. What went into transforming the song like that? Also, what was it like working with I:Scintilla? Do you intend to work with them again?

Kaia Young: Usually when working on a remix, I only use the vocals, and let them guide the writing process. I really liked the original track, but definitely wanted to try taking the song in a different direction. The melody was very simple, so there was a lot of room to experiment with movement, tension, and different chord progressions in the accompaniment. I was instantly in love with the pre-chorus vocal bit, so I knew right away that it would be the driving focus of the song. Once that was in place, the rest flowed organically. Brittany has a fantastic voice, so coming up with ideas was not difficult at all. Overall, they were happy with the mix, and some guest vocals were offered, so I may have to take them up on that in the future!

Audio Cantrips: You are very much open about your stances regarding eliminating social injustice, particularly in regard to race, sexual orientation, and gender identity, both in general and within the scene. If you had to summarize what you stand for though in a nutshell, particularly to the readers of this interview who don’t know you, what would you say?

Kaia Young: I stand for full equality in every measure. I stand for equal opportunity in access to employment, housing, healthcare, education, legal rights, and quality of life. I want to combat negative media images and stereotypes. I want the counter culture to actually be countercultural, instead of mirroring mainstream society’s ideas, biases, and power structures. 

Audio Cantrips: As both a musician with a meaningful following and someone who is biracial and has satisfied the L and T components of LGBT groupings, have you found yourself to be a role model to others? Have people sought help from you? Has your status in one role aided in your success in the other? Also, in general, what advice would you give anyone still struggling with the things that you have struggled with, yourself?

Kaia Young: Being a minority of a minority of a minority does make me stand out a bit, which has its positive and negative sides. Being a role model isn’t really something you choose, it’s kind of an expectation that is put upon you. My success in music and other areas has definitely made me more visible, but I’m still in kind of a weird position due to my personal intersectionality. Media entities still tend to sensationalize transgender people and issues, so I often have to be careful to keep any dialog in balance. While I’m very open about my transgender history, it’s not *all* that I am. Even though I’ve been out for years, it’s still not uncommon for comment threads to devolve into speculation about the state of my genitals (and I’m trying really hard not to call out one particular country that is notorious for this…). Surprisingly, even my race can still be an issue for some people. The last time I played a show in Chicago, I was interrupted while setting up my gear multiple times by people commenting that they didn’t think that the band I was playing with was big enough to have a roadie.

The midwest can be an exceedingly hostile environment to be trans (or any minority) in, so privacy and stealth are generally very high priorities when you are still in the vulnerable stages. Despite that, I actually have been approached by people, some in the process of transition, others who are afraid to start the process or even come out. Some need help with practical things, but many just want someone to talk to. Sadly, many of them have actually been turned away from their local LGBT resources. There’s still quite a bit of trans discrimination, even from within the LGBT community. Most viable supports and resources for the trans community are solely operated by us, so even though there is a lot of crossover with the L’s and G’s, there has not been a lot of reciprocity. Things are getting better though. I’m encouraged and humbled by many of the people who are brave enough to keep up the fight, even when it seems hopeless. 

My advice? Don’t give up. Refuse. Resist. Thrive. Understand that you are beautiful, and that your experience makes you stronger than your oppressors can ever comprehend.

Audio Cantrips: When you were in more tumultuous times, particularly when you were still coming to grips with your own sexual orientation and gender identity, did you seek encouragement, inspiration, or assistance from musicians or other entertainment figures?
         
Kaia Young: When discussing trans visibility, you almost have to break it up into pre and post Youtube. Sadly, there weren’t a lot of easily visible out trans musicians when I was a kid (back in the dark ages before the internet and cell phones), so I’m thrilled to see so many now, particularly in the various subcultures such as Mina Caputo and Laura Jane Grace. 

Ironically, my struggles are what got me into underground music in the first place. I was definitely attracted to the open-mindedness and lack of judgment in the goth/industrial scene, particularly regarding gender. It was also a convenient excuse to explain away wearing makeup or fingernail polish! As the scene has adopted more mainstream influence, it also picked up some of its misogyny and racism. I’m happy that there is a conversation about it, but where are the minority voices? I don’t really go to many shows any more, the harassment has been pretty severe at the last few.

Youtube and blogging in general really revolutionized trans visibility. The availability of such resources finally gave trans people their own voice without it being filtered through mainstream media. Loneliness was a major struggle for me, even with the support of my partner. The hostile environment here keeps people hiding (I didn’t have a face to face conversation with another trans person until I was 27… in Bangkok), so youtube channels and blogs *were* my support. I learned how to navigate the system, voice, basically everything by other people just telling their stories.

Since surviving transition, I have reached out to a few musicians/entertainers that had similar experiences. There are definitely some unique challenges within the punk, metal, and (increasingly) the electronic music scenes. Music has always been a bit of a boy’s club, but there’s definitely a level of hyper-masculinity that comes with these cultures that can be very toxic to those who don’t fit into it, particularly when you have people looking up to you. Laura Jane Grace’s story really moved me. I had actually been a fan of Against Me for years before she came out, so it was inspiring and heartbreaking to see someone have to go through the same thing I did, but on a much larger scale. I actually saw them live back in November, and almost punched some guy on the front row who was yelling some pretty rude things. So, if you’re reading this Laura, call me if you need a hug, or someone to be punched!

Audio Cantrips: Finally, I have no qualms with saying that I think your music sounds like it should be in video games. Has anyone else told you that before? Do you see where my assessment is coming from?

Kaia Young: I actually get that quite a lot, and I don’t disagree! I’ve done my fair share of gaming, so I’m sure that it had an influence on me. I’d totally be open to doing some soundtrack work for a project I can get behind. Once I get this album finished, I fully intend on hitting up a few companies looking for work!

In Strict Confidence - "Silver Bullets"

I talk often about bands that really care about making art for art's sake. In Strict Confidence is one of those bands.

As far as I understand, this song is about being turned into a werewolf and having to suffer the torture of that. Honestly, I'm not really sure what the video really has to do with the song, but I don't think it was meant to be terribly related. I think it was just meant to be something artistic and intriguing, and they did not disappoint in that department.

Android Lust - Crater Vol. 1

Do you enjoy everyday sounds being mixed beautifully into experimental electronic/industrial music? Do you like esoteric songs that tell stories with a minimum of lyrics? Do pretty instrumentals get you going? What about water? Do you like water? No -- seriously, do you like water?

If you said "yes" to any of the above questions, Android Lust's Crater Vol. 1 is the album for you.

(Property of Android Lust, used with permission)

[Tracks] - [Time]

1. My Kingdom for a God - 3:44

2. Vereor - 3:01

3. Water Whispers - 4:38

4. I Need to Know - 4:47

5. From the Other Side - 4:11

6. First Man - 2:02

7. When the Rains Came - 5:27

8. Yaakuntik - 1:00

9. Here and Now - 4:15

10. Precipice - 8:05

I hope you're a nature lover, because this album is going to make you feel like you're surrounded by it most of the time. This is not the cold kind of industrial that makes you feel like you're in a jungle of steel, but rather, this is warm throughout. It makes you feel like you're one with the Earth.

The opening song, "My Kingdom for a God", is solid. To be perfectly honest, the piano is downright creepy, but I wouldn't have it any other way. This is the kind of song that would have felt right at home in a Parasite Eve game, because the mix of the piano, scratchy electronic background beat, and faint, almost ghostly vocal track in the middle to end gives the sense of desolation in a place where there was life. This really sets the tone for the rest of the album, which shows almost a forced sense of nature for the listener. You're not surrounded by nature because this is a happy weekend camping trip; you're surrounded by nature because everything just got obliterated around you and turned into nature.

"Vereor" sounds like the theme for someone walking across a barren wasteland. The raspy beat juxtaposed with the flowing melody and occasional piano bits makes for the feeling that you're just walking with no direction other than to not find your final resting place. It feels bleak and hopeless, like what is necessary to endure to survive.

As for "Water Whispers", remember when I asked if you liked water? Here's the first of multiple "water songs" in this album. The entire song is primarily made up of the noises of dripping and running water mixed with traditionally Middle Eastern instruments, mild chorus-like vocals, and electronic percussion. Let it be known to the world that Shikhee knows how to utilize the sounds of water to their fullest extent in her music. I'm not entirely sure if this is supposed to be related to the other two songs in the sense of being part of linear storytelling, but I just enjoy this song because it sounds incredibly relaxing. Perhaps the idea is that the hero or heroine is resting for the night.

The next two songs feel kind of like asides, as if the addition of vocals is supposed to make us stop and listen for something in particular. I think "I Need to Know" is a song about questioning if a relationship is going to go the distance. It's melancholy and conveys doubt throughout. The song does feel like a frozen moment though in an album that had been previously focused on movement. As for "From the Other Side", there is clear and obvious despair over a current situation with the periodic assertion that "there must be another way". This song kind of splits the album into two halves from the world of collapse and desolation in the first half to the world of acceptance and rebuilding in the second half.

"From the Other Side" doesn't have a fade at the end and goes directly into "First Man", which sounds like the noise of an engine firing up and then goes into harsh industrial noise and symphonic horns, almost reminiscent of commercials for sci-fi films involving extraterrestrials. This does feel like the first glimmer of hope in the whole album though for our hero or heroine who doesn't want civilization to collapse.

Our second water song for the album is "When the Rains Come", which -- I'll give you three guesses -- utilizes the noise of falling rain throughout, particularly in the first half. If some TV show about wildlife had a major special, I'd instantly recommend this song for a montage. This is the song where you can just picture a video of all the vegetation regrowing and the fauna starting to come back. The melody that's created by what sounds like a softened electronic xylophone in the second half of the song completely nails it for the song's mood. This is probably tied for my favorite song on the album with the first, "My Kingdom for a God".

The single-minute "Yaakuntik" gives me kind of the same feelings that "Water Whispers" does, except this is a more peaceful, less stressed respite. The sitar really does it for me. Also, even though this is a short song, I think this is meant to be a stand-alone. It's not like "First Man", which was meant to be closely related to "From the Other Side".

"Here and Now" is the third and final song in the album where Shikhee's vocals shine. She talks about a choice that is simple and necessary. In regard to what the choice is, I think it may be left open to interpretation, but I think it has something to do with the healing process from trauma suffered. Within a grander narrative of the world's destruction, there could be a choices in regard to how to rebuild and bring Earth back to its former glory. From a more micro-level narrative of personal trauma, such as the relationship Shikhee mentions in "I Need to Know", this could be her choice on whether or not she is going to break up with her significant other. Either way, this is probably the most sultry song of the album.

Finally, the eight-minute-plus "Precipice" is the last of the water songs. Trickling creek noises and wind blowing opens the song for about a minute and a half until the piano comes in once again to give us that real epilogue feeling. Afterward, we get a little bit of cymbal action going with the trickling water keeping up with the beat as opposed to just providing ambiance. After over halfway through though, we go back to the soft noise of weather and nature, and I feel that brings the song through to the end on the necessary note. We're rebuilding the world slowly after something catastrophic. The song shouldn't convey the rise of a stunning metropolis, but rather the quiet of slow, steady progress. It's supposed to be peaceful, and that's exactly what we get.

All in all, this album has everything you could possibly ask for in an Android Lust release. It has beautiful instrumentals. It has a little bit of Shikhee's wonderful voice. It tells a great story. And it has water. Lots of water. If you want to experience lots of water and other stuff, Crater Vol. 1 comes out January 29, 2013!

Imperative Reaction - "Surface"

For those of you in the mood for something a bit more aggro than what I've been sharing today, I think you'll like tonight's dose of Imperative Reaction.

The lyrics are fairly simple and straightforward. He's being told that things will get better, but he isn't so convinced. Then, things go badly for him. The video itself is fairly simple, too. It's a band playing video, but they make good use of lighting and camera effects. What I find novel about the song though is the way that these people can manage to make industrial that sounds like modern alternative rock. Although these guys toured with VNV Nation and Psyclon Nine, couldn't they just as well tour with a mainstream alternative band like The Killers and fit in fairly well? I think this is the kind of sound that can make industrial be more visible to the mainstream.

Ego Likeness - "Aviary"

Is anyone in the mood for a second helping of some sultry goth music, today? Well, even if you're not in the mood, you're going to have to put up with it anyway.

I think Ego Likeness's "Aviary" is meant to be a commentary about the beauty and misery in what naturally occurs in a person's life. The meaning isn't meant to be overly complex, but the song is largely about perception. This idea is boosted by the band's comments on the video on YouTube. The video itself is a bit of a blood frenzy, so if blood isn't your thing, you might want to sit this one out. Still, this video feels very -- them. I recommend giving it a watch.

Interview with Stacey Campbell

For most of you, if Stacey Campbell's name rings a bell, you're probably thinking, "Oh, didn't she used to play guitar and backup vocals for The Crüxshadows?" Yes, that is correct. But what a lot of you may not know (unless you read my previous article about her) is that she has been making a fair amount of music since leaving The Crüxshadows. Her project, Spider Lilies, has been going on for a while now. But you don't really need me to explain it to you again, do you? Why have me talk about it when Stacey can talk about it much better than I can?

Audio Cantrips: Although the intention of this interview is to be forward-looking and talk about your new stuff, admittedly, a lot of people out there may not even know you've been making music or doing anything at all since your exit from The Crüxshadows. Could you briefly explain in just a general sense what you've been doing since then?

Stacey Campbell: I resurrected the Spider Lilies project because I was inspired to finish some of my own musical ideas, and create new songs, with the ability to see them through to the end.  The Spider Lilies has gone through some lineup changes, and I think each member has had a positive influence on the Spider Lilies sound.

Audio Cantrips: I've been listening to "Serene", and I can't help but to think there's a bit of industrial influence in it. There's a bit more scratchiness and buzzing to the background, and from 0:07 to 0:13, that almost reminded me of something I would have heard from a slower nineties-style Nine Inch Nails song. Am I completely off my rocker here? Even if you don't believe there's a distinct industrial influence, it does sound more electronic than what I've been used to hearing from Spider Lilies. Is that a new trend?

Stacey Campbell: I've always liked industrial music, but it doesn't come through in my music so much, maybe because I incorporate such strong melody.  I am honored that you hear some 90's NIN influence!  I love Nine Inch Nails for their harsh electronic sound, but sexy rhythms.  For Serene, I used dubstep drum loops, but nothing too extreme.  Serene has kind of a sexy rhythm too, I think.

Audio Cantrips: Is it safe to assume there's a new album coming in the near future? If so, what can you tell us about it?

Stacey Campbell: I am working on some ideas for a new album, but I can't say when it will be finished.  Serene will probably included.  I have another danceable track I've been working on, and a ballad.

Audio Cantrips: What can you tell us about the inspirations for your music? In particular, I'm very curious about about the lyrics. Many of your songs seem to be about pain or revenge. Are these songs derived from personal experiences?

Stacey Campbell: Yes, they are mostly derived from personal experiences, or an interpretation of an experience that didn't happen to me, but I found inspiring.  Sometimes I take inspiration from other art and string it together in some kind of poetic collage, to ultimately form some kind of surreal vision or journey.  My hope is that even if I don't spell out a situation entirely, the listener will feel and imagine things as they listen, and then my songs will develop a personal significance for them.

Audio Cantrips: I'm under the impression most people are capable of reading your "About" section on the band's Facebook page, so I won't ask you about who your influences are musically. But I was wondering if you could tell us a bit more depth in how they influence you. What would you say you like about what other musicians do and try to incorporate in your own work?

Stacey Campbell: Some artists are strong lyrical influences certain artists like The Cure, Stevie Nicks, Sinead O'Connor, Ego Likeness, and Nine Inch Nails encourage me to try to open up and write lyrics that have poetic quality, but are also raw and truthful as possible, even if the truth is hidden in metaphor.  A lot of the darkwave/EBM influences I've listed (VNV Nation, Covenant) encourage me to create rhythms that make people want to dance and move, to make the live experience fun and exciting for us and for the audience.  Many of these bands are ones I sing along with in my car.  I often think of it as a sort of vocal training, so of course they are influences!

Audio Cantrips: I haven't heard of you all touring much as of late. You've only played a few live shows right around the DC area. Do you intend to go on tour anytime soon? If not, do you intend to do more live shows locally, at least? What about Dragon*Con?

Stacey Campbell: I would like to finish the next album, and plan more of a tour when its done.  Until then, we've been playing shows every so often around the region.  The DC metro area is a good place for random shows, because we have DC, Baltimore, Virginia, and the New York metro area to book, without having too far to travel in a short amount of time.  We play whenever there's a good opportunity that we are able to take.  We still have to work music into our lives with full-time regular job schedules, and Chad lives a few hours away, so scheduling can be challenging.  It's also difficult sometimes to switch gears from writing to performing, psychologically and temporally.  Practicing, planning, promoting, booking and performing live shows is a different mindset than dreaming and writing, so if possible, I prefer to get the writing done first, and then take the results on tour to share with the world.  It just takes longer that way.  Sorry about that.

Audio Cantrips: You all did a gig at the Multiple Sclerosis Fantasy Ball in October 2012. It was part of a major event for charity, and there were a number of bands there. Could you tell us a bit more about your show there and what it was like?

Stacey Campbell: The show was a lot of fun, and for a good cause.  We played a short set, and had some unusual technical difficulties resulting from interference with my wireless microphone.  Even so, it was a great experience, and we'd love to do it again! I still have tons of pictures I need to post from the ball.

Audio Cantrips: What has been your most memorable Spider Lilies live event?

Stacey Campbell: DragonCon, definitely.  It was fantastic to be up on stage with Rachel McDonnell again for that show.  The crowd was excellent, and filled with some of our biggest fans and dear friends.

Audio Cantrips: Finally, what are your future plans for the short and long-term?

Stacey Campbell: I'm not sure whether these goals will end up as short or long-term achievements, but I'd like to finish the next album, do a short tour and more shows in the region to support it, and build up our live show with more members and perhaps some enhanced visuals.  Then... do it all again!

Big stuff coming!

So, I have to tell you all that we have two interviews coming this week. There's one coming Monday morning (1-14) and one on Wednesday morning (1-16). You don't want to miss them! Both are musicians, and both have plenty to share with you all.

Nine Inch Nails - "We're in This Together"

Regardless of whether or not you like Trent Reznor, think he's any good, sold out, "isn't really industrial", or what have you, you do have to admit he's probably one of the biggest reasons, if not the biggest reason, why people who aren't within the scene even know what industrial is. Honestly, both of the updates for today are really introductions for articles I intend to do in the future. Just as the morning update showed off Alaina Beaton's work, which is a bit of a sore subject for a certain group of people, Nine Inch Nails is also a subject that can cause a lot of controversy when it's introduced to the scene audience (and at a scale drastically higher than Alaina Beaton, obviously).

This video shows off one of Nine Inch Nails's bigger songs though, which is from the The Fragile album and the 3-disc single, We're in This Together. Sit back and enjoy -- or not, depending on your opinion of NIN.

Porcelain and the Tramps - "My Leftovers"

Eventually, I intend to go more into detail about Porcelain and the Tramps, because I think the shift of Alaina Beaton's project from Porcelain and the Tramps to Porcelain Black is interesting. But today, I'm going to show off my favorite song by Porcelain and the Tramps, "My Leftovers".

It would have been nice if there was a music video, live recording, or streaming for this song, but this is all there was. Moreover, these songs were offered for free on her MySpace, anyway, and one cannot actually buy these songs anywhere on the primary market. It's physically impossible.

This song is how the narrator wants to teach another woman a lesson about messing around with the narrator's ex. The lyrics are a mix of threatening and taunting, but what I like is the melody and composition. This really is a mix of industrial and pop, which kind of got me thinking about the musical themes I saw in a certain band I mention way too often for my own good.

Assemblage 23 - "Damaged" (Live)

I found a pretty clear recording on YouTube of Assemblage 23 playing at a club in Tuscon, AZ.

"Damaged" is one of this guy's most popular songs, and it comes from Meta. This is one of his most powerful songs, because it speaks to those who have to deal with loss and pain and those who are still trying to return to a state of being a whole person in aftermath. The tune is clearly a dramatic one with the same type of futurepop expectations like you'd get from VNV Nation or Covenant. It's one of those songs that anyone who likes this kind of music needs to listen to at least once, just to feel that emotion, even if you're not big into the musician, himself.

Commentary on LeahMouse's "What Goth is NOT!"

Last week, I took a look at goth is, but this week, I think it's worth it to look at what goth isn't. Before you read the rest of the article, you may want to watch this YouTube video by LeahMouse, "What Goth is NOT!" because this post is essentially a commentary on it.

First, I want to touch on her explanation that it's a misconception that goths are innately depressed. I wholeheartedly agree with this. Based on personal experiences in the club scene, interacting with people regarding my musical interests, and dealing with the business of this site, I have no reason to believe that goths, as a whole, are overwhelmingly, overtly, and expressively depressed. I do know goths who do suffer from depression, but these people are certainly not depressed because they're goth or because they're trying to project a goth image. These people may have been somewhat attracted to the goth subculture due to their depression, but that relationship seems secondary to other reasons, such as the enjoyment of art and affinity to the music and style.

Most people who I've spoken to within the goth-industrial subculture, regardless of faction or fine-tuned identity, have been relatively well-adjusted people who lead happy lives and have a healthy self-esteem. The people who do have problems are those who have problems in regard to things that have nothing to do with the goth subculture, but from other internal or external causes. Of course, I do not claim to be the definitive expert on all people who identify as goth, but speaking from my own personal experience, I agree with LeahMouse on this point.

In regard to her next point about the religion and religiosity of people within the goth subculture, I think that's one of those points that has been beaten into the ground a bit over the years, especially in regard to goths in the US. The US has become more secular of a nation over time, and from my observations, the goth community has just as significant of a secular influence as everyone else does. From my observations, the only people who really care about the religion of a goth person are the people who care too much about the religion of anyone else. It wouldn't matter if the people in question were goths, preps, geeks, or whatever. It's not the kind of thing I would lose too much sleep over, because there is no pleasing that group of people who likes to stick their noses into the religious practices of others.

As for the points about troublemaking and delinquent behavior, I think LeahMouse could have been a little more eloquent and worded her presentation a bit better, but I agree with the ideas she presents.

People tend to look at the outside of a person and make immediate judgments based on it and previous knowledge and experience. Many people have preconceived notions of what "goth" is, and will make automatic attributions on sight. Obviously, it's unfair to judge someone by the outside, but everyone does it. I do it. You do it. If you say you don't do it from time to time, I'll immediately call you a liar. The key thing is recognizing that you do it and making an attempt to dig deeper. In regard to the goth subculture, that means that people should try to educate themselves on what it means to be goth. I don't have wild expectations that people are going to dedicate vast amounts of time delving into books, articles, and videos about every part of goth subculture, but even just a little bit of passing interest would go a long way and help to wipe away a lot of misconceptions. There are a number of misconceptions (e.g. widespread practicing ritual sacrifice) that would go away in a person with even the tiniest modicum of education on the goth subculture.

As for finding appreciation in darker beauty, I think that is part of why people who are outside of the scene get confused in regard to what it means to be goth. For instance, a goth person may find aesthetic pleasure in skeletons or blood, but that doesn't mean he or she has any interest in killing anyone to make these aesthetics come to realistic fruition. Those two things have absolutely nothing to do with one another, but a lot of people who don’t get the subculture can't really wrap their heads around it. Again, based on personal experience, I have no reason to believe that goths would have any greater propensity to perform violent acts than a non-goth, but some people tend to get worried by the level of comfort that goths have in regard to discussing the darker and sometimes more grotesque parts of life.

Finally, goth is not all about dressing in black, as LeahMouse said. There isn't a whole lot I can say about this that would not completely dominate the post, because goth fashion is something that entire magazines and websites are devoted to talking about. But in short, ignoring those who are not presenting as goth at all from a fashion standpoint, even among those who are trying to present a goth image, it's not always about dressing in all black. Depending on the type of goth, you may not even dress in black at all. There is just such a wide variety.

In short, watch this woman's video. She brings up some excellent points about what goth is not. If we want to set boundaries for the subculture, it's just as important to figure out what goes out as to what goes in.

The Birthday Massacre - "Looking Glass"

And here is something from the Looking Glass EP, "Looking Glass".

The song has something to do with a relationship that went bad, but I have still yet to really figure out the subtleties of it. I only just saw the video, today. I like the imagery, which is one thing that The Birthday Massacre does incredibly well in producing videos. If anyone wants to take a stab at exactly what the song is about, I'd like to hear your opinions.

VNV Nation - Automatic

Last I checked, VNV Nation was a thing. So, I figured I'd talk about their latest album, Automatic, from 2011.

(Property of Anachron, used under Fair Use for direct, substantial commentary on product)

[Tracks] - [Time]

1. On-Air - 3:26

2. Space & Time - 4:53

3. Resolution - 6:14

4. Control - 5:50

5. Goodbye 20th Century - 4:27

6. Streamline - 6:06

7. Gratitude - 6:05

8. Nova (Shine a Light on Me) - 6:06

9. Photon - 5:52

10. Radio - 7:47

First, as an aside, am I the only person who thinks it would be hilarious if VNV Nation were to make their next album with a Streamline Moderne theme to counter Automatic's Art Deco? Maybe VNV could make an album cover that remixes this image. But I kid. I kid.

VNV Nation takes its theme seriously in this release, beginning with the "dawn of the modern age" feel of the opening song, "On-Air", an instrumental that mixes radio static with a piano tune. It's seemingly meant to evoke feelings of being brought into this modern world that these musicians want to guide you through.

"Space and Time" is probably my second favorite song ever by VNV Nation, only trailing behind "Standing (Still)". It's quite poppy, but I like this more hopeful, less angry version of VNV Nation. In this song, Ronan sings about something that everyone should be able to relate to, the ability to look at one's past and wonder if all the decisions made were the best. As the lyrics explain, through this type of looking back, one can manage to feel "lost" and get swept away in the feeling. It's the kind of song that everyone can listen to and be able to think about in their own way with meaning and purpose.

As for the beat and melody, I think this is the kind of song that should be in any goth-industrial DJ's back pocket when there is a need to fill in a middle-speed gap with something inspirational and highly danceable. This song does tons of different things and changes directions a number of times, which keeps ears pretty occupied, too. You want fast booms? You got it. You want clear vocals against a soft beat? Got it. Like significant synth work? Got it. Want an instrumental section that is seemingly self-aware? Got that, too. This is the kind of song that I admit that I'm a complete sucker for, and if it's done well, it will force me to gush almost every time.

The very next song, "Resolution", is another excellent song for which I cannot say enough praise. It's about the need to maintain pride and fighting spirit in the face of adversity and loss. There is a certain type of beauty to this song that is difficult to find in a lot of music, particularly in futurepop. In my opinion, the electronic processing that goes into futurepop (or synthpop or EBM) makes it difficult to convey artistic beauty of the self, which this song does. Often, it's hard to experience the story and be able to float through it without being aware that you're within the presence of a song. I feel like "Resolution" does this though, or at least it comes very close. Even the fast beats are soothing and subdued, and when I listen to the song, particularly for the second or third time in a short period, it can cause a somewhat hypnotic dream state. The time just passes, and I can just picture the story as it relates to my life and memories.

"Streamline" is another good one. This is part of a greater commentary about the betterment of humankind. VNV uses imagery of futuristic technological improvements to explain the advancements in how people think and feel. There is a variable, slightly noisy vibrating beat in the background that adds to the feeling of the somewhat commercial-like feeling of the song. (To clarify, the presentation feels a little bit like one of those commercials during one of the Sunday morning news shows in the U.S. in which the company advertising seems to always talk at length about all the things it's doing to make the world better.) This is more of a "listening" song than the last two that I mentioned, but I still like it.

Now, if you want a song that will pick you up after you feel like you've been punched in the gut by your significant other, "Gratitude" is the song for you. The melody in the beginning is pretty, and the lyrics have that half-sincere, half-sarcastic vibe that makes this song wonderful. The lyrics basically boil down to, "Thank you for screwing me over. I've learned a lot." This is another one of the numerous songs on the album in which the tune seems to just blend in with the environment and create a mood for the listener. The beginning and end are overt, as if they're intentionally trying to break you in and out, but the rest of the song, with mostly soft percussion and cuddly synths, just provides the backdrop.

Finally, I find myself talking about "Radio", which is an excellent song to end the album. It slowly fades in and slowly fades out, giving off that impression of denouement for the album's story and cooling down for the listener. The general theme of the song is loneliness and the desire to put a message out there that may mean something to someone, someday. One is meant to feel hope, even after the story ends. This song is different from the others I've mentioned, but it does the job that it's supposed to do, which is to bring you out of the album and back into your normal day.

Obviously, I've gone into way more detail about this album than I have about a number of other albums. But I feel like there's just been that much to say. VNV tends to create a lot of depth in their albums, and it's hard not to get carried away at times. That's not to say that I think other bands don't make substantial music, but it's just that VNV Nation creates the kind of music that almost forces out an opinion from the listener. While others can just sit back and enjoy a lot of other artists, VNV finds a way to get people talking.