This is the third album by Libitina, a UK goth band, Libitina. As one of the rising goth acts of our time Libitina combines elements from the more traditional goth-rock sound with modern rock and synth elements. This album sees a bit more focus on the electronics but without losing any of the traditional goth heart and soul. Late 2002 saw the retirement of their previous frontman Peter and this is the first album to feature Phill (Thank the gods it's not Paul) as the main vocalist. Libitina would sit nicely next to bands like Behind the Scenes, Cruxshadows, Bella Morte, and Written In Ashes. I've always liked that Libitina is never too mainstream yet easily accessible while at the same time brings in elements of dark spirituality while not being overt and takes the subtle approach much like Faith & The Muse might. Goth music has always been that which approaches the darker sides of humanity while at the same time being unafraid to inquire about the unknown and Libitina does this nicely. Great to listen to in your bedroom, private dungeon, or stomp on the dancefloor to. The mixing of electronics into traditional goth-rock has somewhat blurred the lines between Darkwave and Goth but it seems to be suitable when bands like Libitina can maintain the more traditional sounding elements of the Gothic genre without losing it to the coldness of electronics. Nicely done!

Amsterdam-based multi-million units selling label and production company TV Matters' new label imprint Dutchi records, starts out really well with the release of French ethno-electronica band Asura's second full lenght CD "Lost Eden". After their well received debut "Code Eternity", on the French label Ultimate records in 2000, and a few line up changes after that, the trio is now back with nine gorgeous tracks (plus one bonus track) of what is best described as a blend of dance-friendly electronica, synthetic soundscapes, downbeat lounge chill out, ambeint, trip hop and world music (references from Australia, Africa, Turkey and other far off places), fusion/jazz performances, classical arrangements, gregorian chants. The way all these styles interact with each other is really where the grandiosity of it all comes into play. As it always is with these albums, they have to be experienced, rather than described, so I suggest you look for this because it is definitely one of the best in its kind I've had the pleasure to listen to lately. The US version of this album is distributed by Navarre and comes with a nice white digipack cover with a green snake, while the European version of it has the same version with the apple instead of the snake, and we all know what that means... Two thumbs up!

This compilation comes from the new label Silver Plastic Records who by the enclosed letter obviously have a sense of humor. They describe the release as, "Lazy day beats meet up with post-punk electronica in a fusion that can only be described as permanent wave". We have all heard of New Wave, later called Retro Wave. Of late the 'Wave' genre has been termed Synthpop to get away from the ties to it having only been the result of an era, the 80's of course. While Synthpop has taken the genre to new levels it has mostly been promoted by labels like A Different Drum. Now fans of the 'era sound' that is sometimes lacking in the more modernized version called Synthpop can capture that with Silver Plastic Records who bring into the genre what it is often lacking and we've only barely gotten in pop-culture by bands like No Doubt. It's like reliving the future! The first band, PsychoSomatic Breakdown, could easily be placed on the Hymen label while Burn Like Nero, which seems to be the label's feature band are very reminiscient of Joy Division meets Gary Numan on "Faded Away". They then trade out the male vocals for female on "Small Details". "Desperation" gets a little Devo in the intro then takes off into uncharted territory very rapidly with vocals that reflect an early Ian Astbury of The Cult with completely synthesizer backing. Only three tracks, two bands, and I'm hooked already! Let's jump around. Egg In Space get very Space Invaders on "Say Hello", while eH Factor focus on dancefloor beats and digitalia with smoothed over vocals on "This Desperation". Janosch Moldau's "Redeemer" gives pause to reflect while sneeking some, is this possible?, Wave-Trance on us. This track is followed by a twelve minute track by Lank called "Stress Relief Point" which is mostly-Ambient/Trance, unexpected for this project. However, they show another side to their works on the next track "012 (introvert)" with neurotically clicking beats and piano, something that sounds fitting for an Ant-Zen release; very Beefcake-like. The pace picks back up with onLoad's "Electrofish", bouncy 80's style synth and start-top vocals. The Signifying Monkey combines the elements of the entire project nicely with retro rhythms and crunchy noise fallout each measure. Vocally it reminds me of a more punk and guitar oriented Devo. Are we not men? We are The Signifying Monkey! Seems to be a connection there. Moving forward a bit we come to Bernie Lucas (aka the missing Kraftwerk memeber?). Both tracks begin with an electronic voice stating the name of the track. I must say one interesting and unique compilation. It should be interesting to see what this label turns out as it seems to be a bizarre culmination of A Different Drum, NintWave, Ant-Zen, and Hymen all in one monster, so far. I love it!! ...and it's only $10 at CDBaby!

Seattle-based struggling solo musician/producer/writer Nathan Scott, a.k.a. Aalacho, comes from previous rock experiences in his hometown of Detroit but, except for occasional guitar arrangements here and there, he doesn't let much of that bleed through the eight tracks of his second album "Electro", to be (self-)released August 17th. "Electro" is an appropriate name to describe this half-hour short full length album and its content. Entirely recorded on Mac's Emagic Logic 6 Platinum, the seven tracks contained herein (among which there is a Felix da Houscat mix and a cover version of Beatles' "Ticket to Ride") sport a pretty funky and happy blend of indie-electronics with pop vocals, guitar arpeggios and licks and electroclash beats and some influences from the past surfacing at times. The album features some guest musicians from bands such as Tryst, The Davenports, Jasper the Cat, The Vacants and a bunch of indie vocalists. Let yourself be lifted off the ground, just as the cover might subliminaly be suggesting... ;-)

Lilac Ambush is definitely a unique project from Gloucester, Massachusetts formed in 2001. They define themselves as Dark Pop however so far all their reviewers have defined them with post-punk bands like Soft Cell, Joy Division, Red Lorry Yellow Lorry, and even Clan of Xymox. To that I'd like to add Jesus and the Mary Chain while the first, second, and third are pretty on the mark but don't expect the clarity of Xymox here. With a sound that is very hard to describe, very raw and guitar driven yet dark, neurotic, and electronic driven at the same time and vocally apathetic. It's amazing that they are a new millinium band as their sound is derived mainly from the post-punk late 80's and early pre-grunge 90's. While they are neither Gothic nor Industrial they will most likely attract the attention of both groups due to their experimentation with sound structure and style as well as their overall dark and melancholic overtones. This album will be considered either rock-n-roll brilliance or complete crap! I'm still undecided, give it a listen!