Giving The Horizon a Good Kick to the Ribs.

Album: Suicide Season
Artist: Bring Me the Horizon
Genre: Fauxcore
Year: 2008
Label: Visible Noise

The cover of Bring Me the Horizon’s latest release, Suicide Season, has a photo of a girl whose guts are spilling out of her stomach. The wound looks pretty bad, and I see some serious intestine in that mess. It’s a genuinely disgusting image to look at, especially when coupled with the girl’s blank expression. The feelings of revulsion I felt upon seeing the cover accompanied me into the album and refuse to abate. Bring Me the Horizon are one of the numerous Fauxcore bands that populate our zeitgeist and they are making a serious attempt for worst album of all time. I have never before heard such completely unlistenable music in my life. Just the thought of it is painful. My animosity towards Bring Me The Horizon goes beyond mere dislike and into full fledged hate. Make no mistake, I’m going to destroy this band and nothing and no one can stop me.

Where do I start? The obvious place I suppose: The vocals. Bring Me the Horizon is fronted by Oliver Skyes, a misogynistic bastard that no one in their right minds should let near a microphone. Hearing him scream is physically painful not just to the ears but to the throat as well as you can imagine his vocal chords tearing apart under the strain. He’s trying nothing short of decapitating his audience and it feels like it’s working. I just checked my ears, half expecting them to be dripping blood. The music doesn’t make the situation any better as it falls under typical Fauxcore styling of hard edged guitars over pummeling blast beats. It sounds like a bunch of skater kids hopped up on PCP, taking chainsaws to the heads of innocent bystanders. Furthermore, the songs are unintelligible from one another and in turn are unintelligible from other Fauxcore bands. It’s not Metal, it’s not Hardcore, it’s more like rusted blades carving up your eardrums. This music is garbage, total trash. If you thought Slipknot was bad then you have never experienced Bring Me The Horizon. Why on earth would a human being willingly expose themselves to this shit? I didn’t think it was possible but this band has made me look back fondly on my hour with Dragonforce. Sure they’re the Kenny G’s of Metal but at least they’re funny and fun to make fun of. Listening to and writing about Bring Me the Horizon, all I feel is sickness.

There was a time where it meant something to be Hardcore. In the days of Black Flag and Minor Threat when you made fast, dirty music on your own record label because everyone else hated you, you could hold your head high and say that you were Hardcore with pride. These days, Fauxcore kids around the world have stolen and bastardized the word for their own sick purposes. It means nothing to be Hardcore anymore if that means you associate yourself with such bands as Bring Me the Horizon. If you see copies of this album, break them. If you see this band live, throw food at them.

All Hope is Indeed Gone

Album: All Hope Is Gone

Artist: Slipknot

Genre: Nu-Metal

Year: 2008

Label: Roadrunner/Nuclear Blast

I would be lying if I said I wasn’t looking forward to this. After all, if there’s one thing in this world I derive pleasure from, it’s breaking crap records and throwing them on the fire to cook. And this record, All Hope is Gone by Slipknot, is going to be roasted like the pig on a spit that it is. Slipknot is the last gasp of the Nu-Metal era. Poor, brutish and short, the Nu-Metal era was a blight upon the musical landscape that allowed the world to know the horrors of bands such as Korn, Mudvayne, Disturbed and worst of all… Limp Bizkt. The reign was marked by travesty, controversy and misery. We are all lucky to have survived it intact. But though we struggle to move on with our lives, some people refuse to let it go. These people remember this time of grief, agony and debauchery and see their kingdom. These people would seek to resurrect the false gods of Rage Rock and restore their power, plunging the world into a second era of bleak wretchedness. If I have anything to say about it, this will not happen.

Slipknot hails from Des Moines, Iowa and they never should have left there. If they hadn’t, they wouldn’t have infected the world with their evil and perhaps we would have been spared the musical carnage they have wrought. A nine member band, Slipknot are my second favorite kind of band to review because they are bad, no bones about it. They sound like a pack of rabid animals trying to form a metal band and failing. Itchy and scratchy, these animals turn on themselves and those around them in an effort to spread their disease sonically. This disease causes the gut to clench, eyes to water and ears to bleed. If there was ever music that deserved a biohazard warning, this is it. What’s worse is that people like it. All Hope is Gone debuted at #1 on billboard 200, which means there are lots of people out there willing to expose themselves to harmful materials. It makes me gag, but I can sort of understand it to a certain extent. Slipknot is an extremely commercial band; if you want metal that’s easy to swallow and stomach turning all at the same time, they’re your men. There is a certain visceral appeal to the music as they’re almost animalistic in nature, but they ruin themselves on the choruses, which are obviously meant to draw crowds of consumers into their web. What’s more, the lyrics are ridiculous. Rage Rock is DEAD. I don’t know how to spell it out for you any clearer than that. It was never truly alive to begin with and centering your lyrics on all your favorite violent tendencies is absolutely childish. Corey Taylor’s voice can’t decide if it wants to be Phil Anselmo or Chino Moreno, and it doesn’t do either very well at all. Listening to the man is aggravating as he’s got the most annoying growls in the world and when he sings my ears feel like they’re being chewed on.

Is there anything, at this point, that I can say in Slipknot’s favor? Shockingly, yes. They’ve got a pretty good drummer. Some have called him the fastest drummer in the world which he’s not by any means, but he’s pretty damn speedy and while speed does not equal skill, there is some actual talent behind his ferocious battering of his kit. If the rest of the band was this good, there might have been some real power here but sadly, all the musicians manage to fall short of the mark. Slipknot are a bunch of speed-freaks who haven’t quite realized their time is over. We don’t need them, never did in the first place. If you haven’t yet caught on, they’re, stick a fork in it, done. And so is this review.

The Dub Trio: Let Your Heavies Out

Main Act: Dub Trio
Opening acts: Witchburn, Middle Class Rut, Black Cobra
Venue: El Corazon
Date: December 1, 2008

Let me start by saying that I don’t think I have ever attended a heavier show in my life. The Dub Trio play a masterful combination of Dub Reggae and Heavy Metal and both these genres together make for some extremely low-tone music. This was also one of the weirdest concerts I have ever attended because there was nobody there. You know that feeling that you get at some shows where it feels like you’re the only person in the audience? Well, at this show, you really were the only person in the audience. There were only about fifteen people at the show and being at El Corazon, the place was far from packed, which was actually pretty cool. The crowd was extremely chill and there were no psychos or super-fans to distract from the band. There was one guy who was clearly hopped up on something but he mostly kept to himself and didn’t bother the rest of us.

It was also cool to be as close as I was to the band. I’ve been in front of concerts before but never at El Corazon which allowed me a totally unobstructed view of the band’s performance. The Dub Trio knows how to throw down, being, again, probably the heaviest band I’ve ever seen. All three of them are skilled musicians, but it’s their drummer who really caught my ear. I don’t know why, probably because the drums were my first love, I’ve always paid close attention to drummers and this guy was a piece of metal. It pays to be patient when playing Dub and the drummer was both patient and powerful, putting his share of the weight into the mix. This band is a trio, though, and no member really takes center stage. There are no solo wankers, just team players and their cohesiveness was amazing to witness. Dub is difficult to do live as evidenced by the sea of effect pedals laid out before the guitar player. I can’t even begin to guess what they did or if he even used them all-but a lot of what I saw was him looping his guitar. It was cool. He did have some trouble: one of his toys-a magnet used to stimulate the guitar strings-didn’t seem to work that night, but he had plenty of other tools to warp his guitar into new and unusual sounds.

While I enjoyed the Dub a lot, I really liked their Metal. These guys are heavier then a granite slab and make bands like Metallica look downright kittenish. Speaking of Metallica, my friends and I speculated on the lack of crowd density and realized, after the show was over, that both Metallica and the Wu-Tang Clan had been in town that night as well. What’s more, it was Monday night and the Dub Trio don’t exactly fit into the Metal or Dub worlds perfectly, so they’re without the built-in fan base that doing just one of those things might allow for. It’s a real shame because they’re much better then Metallica and deserve to be known by more people. All these factors make it even more impressive that the Trio gave the show their all even with so few people in the crowd. After it was over, the drummer came out and thanked us all for coming and for not going to the Metallica show. No problem my friend, no problem. The best tracks they played include Bay Vs Leonard, Not For Nothing and No Flag.

Into the Estradasphere!

Album: Palace of Mirrors
Artist: Estradasphere
Genre: Avant-Garde/Genre Blender
Year: 2006
Label: The End

Estradasphere is a band that wants to do it all, and more impressively, can do it all. Originally hailing from Santa Cruz, California, Estradasphere is an ensemble of multi-instrumentalists who play music that trains you to expect the unexpected. Like their forefathers Mr. Bungle and Secret Chiefs 3, Estradasphere loves to do crazy things with genres. What sets them apart from being a poorer version of Secret Chiefs 3 or Mr. Bungle is this: While Mr. Bungle would jump through a dozen genres in a single song and Secret Chiefs 3 keeps their hopping to a minimum and mostly between songs, Estradasphere takes on the difficult challenge of warping and combining genres, while still jumping around a lot. This is most evident on tracks like Smuggled Mutation, which begins as a Gypsy fiddle dance but quickly evolves into a Black Metal crunch while leaving the fiddle spinning wildly out of control, and The Terrible Beauty Power of Meow, which at first appears to be a mournful string symphony before transforming into a surf rock stretch that would make the Beach Boys proud.

This latest album, Palace of Mirrors, is perhaps Estradasphere’s most consistent release to date. The only other album I’ve heard by them is Buck Fever, which, while also excellent, doesn’t hold together in quite the same way that Palace does. This is because Palace of Mirrors manages to maintain the Estradasphere sound, each track sounding like it all came from the same band rather then a bunch of individual groups. As with all Estradasphere releases, despite the lack of words, there is a definite narrative here. Estradasphere’s work is often very cinematic, on Palace of Mirrors more so then ever before. Excellent examples of this come from the spy thriller romp of Colossal Risk or the credits roller and title track, Palace of Mirrors. There is something very sinister in Estradasphere’s music. This isn’t always evident, but it does come out from time to time. Buck Fever was more overtly sinister then Palace is but it’s still there, hiding, waiting to reveal itself. We get tastes of it throughout the album, but it is never more present then on the Palace of Mirrors Reprise, which amps up the suspense and terror to levels only imagined before in nightmares.

With all of this musical strength, is there anything wrong with Estradasphere? Not really. Some people may have trouble tracking the genre changes or may become annoyed when they blend together things like Gypsy Folk and Black Metal, but if you’re open minded you won’t be bothered by that. It’d be a shame, but Estradasphere could probably make it as a band that just played Death Metal, or just played Surf Rock or even Gypsy Folk. So it’s even more impressive when you hear them doing all of these things, sometimes in the space of a single song.

I Like Intimacy (and Let’s Face it, Who Doesn’t?)

Album: Intimacy

Artist: Bloc Party

Genre: Indie Rock/Dance Punk

Year: 2008

Label: Witchita/Vice

I’ll be honest, I was not sure what to expect from Bloc Party. An English Indie Rock band, Bloc Party has met with resounding popularity both in their native land and over seas. Popularity means jack-squat to me and is, these days, often a sign of over-hype rather than actual talent. This being said, I like Bloc Party. I think they’re a quartet of talented fellows who share my appreciation for the Post-Punk scene circa Entertainment!-era Gang of Four. In some ways I find that Gang of Four could be the original dance-punk band (though credit is due elsewhere) and the gyrating spirit that they brought to their music is similar in style to what Bloc Party does today.

Previous to Intimacy, the only Bloc Party track I’d heard was “Hunting for Witches”, off of their 2007 album, A Weekend in the City. “Hunting for Witches” is a bad ass combination of dance rhythm funk and snaking guitars which had me moving for weeks. The overall effect of Intimacy is to get you to move and it does its job extremely well. Almost all of the tracks are infectious, almost feverishly danceable, notable exceptions being the slower paced “Biko” and the epic “Zepherus”, which sounds like Bloc Party hired a church choir. Good drumming is paramount and Bloc Party’s drummer is a beat machine, banging out hyper fast rhythms for the rest of the band to rock over. The guitars often sound like they’re being fed through a distorter, giving them an even more electrified feel than they would have normally. The problem with Intimacy (besides it’s obvious complicating effects) is that none of the tracks make me want to move in the same way that “Hunting for Witches” did. Maybe that’s a fluke, maybe I’d hate the rest of A Weekend in the City, but the fact is that none of the tracks are quite as infectious as that one song. But this album does have both “Trojan Horse” and “One Month Off”, both of which contain that fever pitch rhythm I want to hear from Bloc Party. One Month Off does come extremely close to “Hunting For” Witches and is probably the best track on the album as a result.

Maybe I’m not being fair though. Maybe I shouldn’t be comparing a whole album to the one track I’d heard before. But it’s my only frame of reference and I have to go with what I’m given. I could have gone and listened to A Weekend in the City as well, but I only have so much money. Regardless, comparisons aside, Intimacy is still a great, dancey album and it will make you move like a motherfucker.

Guns N’ Roses: Rusted and Wilted

Album: Chinese Democracy
Artist: Guns N’ Roses
Genre: Butt-Rock
Year: 2008
Label: Geffen

This was never supposed to happen. Guns N’ Roses was never supposed to release Chinese Democracy. I was never supposed to hear it. You were never supposed to hear it. Slash was never supposed to leave the original G N’ R. Axl Rose was never supposed to form a new band and call it G N’ R. Buckethead and Bumblefoot were never supposed to join. Dr. Pepper was never supposed to give everyone a free can if the album came out. Hell was never supposed to freeze over. But now it has, and now we have to live with the consequences.

On November 23rd, 2008 Chinese Democracy was released to the world after fifteen years of false starts, do-overs and anticipation. Fans and critics alike descended upon the album like a rabid hoard of Red Soxs fans that had waited years to see their team win. I was incredulous. As I said, this was never supposed to happen. Chinese Democracy is the first album of new original material that G N’ R has released since 1991’s simultaneous release of Use Your Illusion I & II. I was born in 1991 folks; it’s taken Axl Rose my entire lifetime to get around to this.

After fifteen years, numerous questions have arisen about the album. The main and most important one being this: Is it any good? If you like Butt-Rock, it will always be good. If you’re a G N’ R fan from way back, it might be good. If you love Axl Rose and still wear that shirt that he signed for you in 1987 at that one show in Seattle, you will adore this album like a nymphomaniac adores sex. You will put this album on and be transported to a world of guitar rock bliss that you haven’t felt since Appetite for Destruction was released in 1987. This album will be like a shot of heroin directly into your brain. For seventy-one minutes you will feel a high you didn’t think possible. After the album ends you will feel cold and shaky, everything will hurt and all you will be able to think about is your next fix. However, if you’re like me, then this album won’t make you happy, it won’t make you ill; it’ll make you blink and wonder what the point was.

Axl Rose is, and always has been, an absurd human being. He destroyed the original Guns N’ Roses and has been coasting on the profits reaped from Appetite for Destruction his entire career. He made his name synonymous with ridiculousness and now is asking us to take him seriously for the first time in over a decade. I just can’t do that. To call this album a Guns N’ Roses album is ludicrous as Guns N’ Roses have been disbanded for a long time now. This new band, Axl Rose N’ Friends, have released their debut album and are asking us to regard it in the same light as Appetite for Destruction. This is pure silliness and kind of insulting. Yes, Buckethead, Robin Fink and Bumblefoot are great guitarists but really, this isn’t a showcase for anyone but Rose and watching him run around felating his ego is the last thing I want to do. If you do decide to get this album, please consider that you are simply pandering to a man who has taken excess to new levels in a country where we are now in the greatest economic crisis since The Great Depression. If you must get this album, steal it.

Feelin' Dandy?

Album: …Earth to the Dandy Warhols…

Artist: The Dandy Warhols

Genre: Psychedelic Garage Rock

Year: 2008

Label: Beat The World

I don’t know what the Dandy Warhols sound like. Well, maybe that’s not true… I guess ultimately they sound like themselves, but coming up with some fancy metaphor for their sound is currently escaping me. A Psychedelic Garage Rock band, The Dandy Warhols have been recording and touring since the 90’s and have amassed a large fan base. They’ve been all over, toured with big names like David Bowie and the Rolling Stones but before this album I’d never heard them. Oh, I’d heard OF them, and people have told me before how much I’d like them, but I’d never managed to actually hear them till tonight. Weird. I guess they just weren’t on my radar. I don’t know why this is, as I quite like this album …Earth to the Dandy Warhols. It manages to scratch that itch I sometimes get for spaced out Psychedelic music. Actually, considering that modern spaced out Psychedelic music can often be turgid and uninteresting, the Warhols get a plus for managing to hold my attention through some of their more jam heavy moments.

These usually aren’t nice, tight little songs; there’s room for weirdness and freak outs. A notable exception is the first single off the album, the two minute long “Mission Control”, which is sort of an odd choice, considering that it doesn’t accurately represent the rest of the album. It’s a short little Garage rocker, and they are a Garage rock band, but it doesn’t quite show off the Psychedelic feel that most of the album conveys. I notice bands doing this a lot. Of all the songs on the album, they choose the one that most mis-represents them and use it as their first single. Beck did this with Modern Guilt, but with him it’s excusable because, really, no Beck songs sound alike. But I’m getting off topic.

Courtney Taylor Taylor, the Warhols’ front man, has a deep, slurred voice which causes me to picture him staggering drunkenly around the recording studio. It’s a very appropriate voice for the music as it gives the already warped songs an even more twisted atmosphere. He also usually sings through some kind of filter, which gives his voice a distant sound, taking the weirdness levels from X-Files to Doctor Who in short order. What this album failed to do is wow me, which is OK; I don’t expect everything to be Return to Cookie Mountain or the second coming of Jeff Mangum. The Dandy Warhols are in the end exactly what their name purports them to be - just Dandy and if you like them, Psychedelic music or Indie Rock in general you’ll probably like this album too.

Andrew goes on an Inhuman Rampage and Delivers an Ultra Beatdown on Dragonforce.

Album: Inhuman Rampage
Artist: Dragonforce
Genre: Quest Metal
Year: 2006
Label: Roadrunner/Noise

Early morning. The dew still sparkles on the leaves; the sun is just creeping over the horizon. And then, BOOM! A drum beats, then another and another, in triple time no less. Guitars sound, two of them, moving at lightning speed across the grassy plains toward you. You try to run but they move so fast, they’re inescapable. And then the voice-shrill, whiny, a higher pitch then anything you thought possible-coming from a male voice. But you’re too busy trying to fend off the guitars, which have you in their grasp. As they continue to play, they seem to get faster, each one trying to get ahead of the other. The sound they create is incredible, because to credit it with anything would be heresy. As the guitars take flight, your sense of self worth is torn from your body like a dragon would tear out your vital organs. You think “surely I can still be taken seriously in the musical sense of the word; surely this is not the end of my credibility.” But it is. Because the Dragonforce has got you.

Dragonforce is a sextet of Quest Metal-heads from somewhere deep in Middle Earth… I mean, England. I’ll get the good out of the way now. Dragonforce is obviously a highly technical group of musicians because to play that fast you have to have some skill. What’s unfortunate about Dragonforce is what they do with that skill. I have never heard more wanktastic solos in my life then the ones on the song Through the Fire and The Flames. All forty of them. The music they create is ridiculously self-indulgent as evidenced by songs with dozens of masturbatory solos, each one minutes in length. What’s worse is that all of their songs sound exactly the same, because Dragonforce suffers from what I refer to as “Nickelback Syndrome”. One of the things that could save Dragonforce is a decent vocalist, but frankly, they haven’t got one. ZP Threat looks like Kenny G and sings like his balls are in a vice that is being slowly tightened over the course of the song. The lyrics don’t help the situation as they sound like they were torn from the Lord of the Rings and early Dungeons & Dragons. I like Lord of the Rings, but when set to metal the whole thing becomes an absurd self-parody the likes of which I should not have to hear. Also, the band features some of the fakest percussion you will ever hear on a rock record. I can’t stand blast beats and they’re used (like everything else) with reckless abandon on this album, giving the whole thing a really false, pretentious atmosphere.

The single thing that prevents Dragonforce from being completely lost to the fires of hell is this: They don’t take themselves seriously. This is shown by their utterly silly music videos, in one of which the band is featured as playable characters in a Guitar Hero-like video game. But does this save them from my ire? Hell no. They still create the absolute worst kind of pretentious self-absorbed guitar circle jerking, and all their songs still sound exactly the same. I barely even sat through the whole album once and have no intention of ever doing so again. I gotta unclench my jaw now, excuse me.

Dark Art: The Madness of Zach Hill

Album: Astrological Straits
Artist: Zach Hill
Genre: Schizodelic/Experimental Rock
Year: 2008
Label: Ipecac/Anticon

Necromancy is an art form that has fallen out of favor in recent years. Most people frown on bringing the dead back to life as it’s unsanitary, frightening and generally just gross. But Zach Hill is bringing Necromancy back in style. According to the Dresden Files, to summon the dead, one needs a pulse, usually provided by drums. Zach Hill is a drummer extraordinaire and while pulse isn’t the correct word to describe his schizophrenic staccato beats, the kind of invocation it provides will certainly suffice.

For those of you who don’t know, Hill is the drummer for the possibly defunct Hella, a math rock duo that in recent years expanded its line-up and went “Mars Volta light” according to some fans. But to say that would completely write off the fact that Hill’s drumming makes The Mars Volta look like the White Stripes. I first heard about him as a member of Chino Moreno’s band Team Sleep. When I saw Team Sleep live, one of the major highlights was Hill’s performance. Watching the man is like watching a whirlwind with a thousand arms. It seems impossible that anyone could move that fast, that deftly and manage to make every blow count. There are no excessive hits with Hill, everything is ultra precise.

On Astrological Straits, Hill’s first solo album, a two disc set, he’s in top flight mode, banging, beating and otherwise smashing his merry way through an hour and thirty-three minutes of percussive madness. The drums are the leading instrument and main area of focus, but not the only presence. Hill, on many tracks, also sings and plays all the other instruments. God bless multi-tracking. And the album is not without structure; most of the tracks have very strong song structure, with the exception of tracks like “Street People” and “Uhuru” which are both drum solos, and even those are tightly composed. And there are guests: Chino Moreno, Les Claypool and the guys from No Age are just a few of the names on the album. The good thing is that, while these artists are all big names, they don’t steal the show from Hill. I didn’t even recognize Moreno’s vocals as he sings them through a voice distorter on his song. The album is not a showcase for anyone but Hill and he uses his time very well.

The second disc is even more ambitious than the first as it takes Hill’s foray into the dark arts even further then before, with his Necromancer composition. At thirty-three minutes long, composed for Drums and Piano, the piece is a marvel to hear. You think, “He has to take a break eventually, doesn’t he?” But no, he just keeps going. Hill is touring a solo show now, expressly to perform his Necromancer piece. Everywhere he goes the dead are rising from the grave, flocking to the venue of his performance and moshing. How Hill manages to keep this up night after night is beyond me, but I’m sure it’s spectacular.

Black Earth, Red Lights and a Saxophone

Album: Black Earth
Artist: Bohren and Der Club of Gore
Genre: Noir Jazz/Dark Ambient
Year: 2002
Label: Ipecac/Wonder

I’ve always had a fondness for David Lynch movies. The atmosphere, the cinematography and the bizarre and often deranged characters are all things I’ve deeply enjoyed. I especially enjoy the soundtracks. The music Lynch and his frequent collaborator Angelo Badalamenti compose for the films are always spot on in its mood, tone and overall sound. It’s probably for this reason that I like Bohren and Der Club of Gore so much. Listening is like being transported into a Lynch film, a dark and highly surreal experience. Bohren and Der Club of Gore sounds like Lynch’s dream Jazz band as it is ambient, filled with tension and gloomy beyond reason. It like staring into a dark void, an empty vista of nothing stretching out before you, then, from out of the void comes the sound, familiar, yet alien. The sound is the Noir Jazz that Bohren and his Club specialize in. It’s haunting and beautiful and unlike anything you’ve heard before. The tracks are long, many reaching and exceeding the 8 minute mark. But these are long pieces that need time to develop fully. The drums and bass are played by the most patient men in the world, their minimal sounds providing a foundation for the other sounds to build on.

Another piece of this foundation is the Dark Ambient samples that the band performs over. It is the combination of these Jazz and Dark Ambient that gives the music its unique sound. The most distinctive elements though, are the keyboards and saxophone. Jazzy, yet lilting, familiar, yet strange and dark, very, very dark. These men are not musicians but rather dark warlocks who work their arts through musical instruments rather then spell books. It is a sparse sound but a deep one none the less. As there are no words, the stories conveyed in the music are in the titles. These titles included pieces like “Midnight Black Earth,” Vigilante Crusade” and “Constant Fear.” This is music to be listened to late at night, with the curtains drawn and all the lights (except the red ones) out. The clubs this band plays in must be spooky places to be in. Though, I cannot think of anything more Lynchian then a club haunted by the sounds of Bohren and Der Club of Gore. This is for anyone who enjoys David Lynch’s films or music, Lustmord or Noir Jazz. Be afraid; be very afraid of the dark.