Tag: post-punk

Goths in Devizes: Deadlight Dance at The Southgate and Vinyl Realm

Every weekend is a dilemma, with so much going on. Invitations to see The Beat at the big Cheese, Sorrel’s book launch in Lockeridge, but sometimes I just wanna go where…. .. cue the theme from Cheers…..

And they’re always glad you came, at the Southgate in Devizes, a truly landmark tavern for bringing the town a steadfast, free and happy music venue. With a spectacular month’s line-up, incredible yet forever modest hometown singer-songwriter Vince Bell today at 5pm, those flip, flop flying Junkyard Dogs next Saturday, outstanding virtuoso Ruzz Guitar the following Saturday, grungy Cobalt Fire nestled between them and the legendary Jon Amor Trio’s monthly residency shifted from the usual Sunday to Thursday 7th to allow a convenient opportunity for the incredibly cool Ian Siegal, yeah it caters for the town’s historic penchant for the blues and prog-rock, but the Southgate never stands on convention; last night proved this.

What Devizes anchors in blues, each local town has its own niche, Chippenham, folk, Trowbridge, indie, but eastwards, Marlborough way, the tendency leans towards post-punk and gothic. It was something intriguing, if a smidgen eerie to me, drafted there at a tender age from suburban Essex, only knowing black eyelined boys with wicker necklaces and stormtrooper boots from vampire movies. Accepting gothic was a necessity if I wanted to fit in, get off with “posh” girls, and avoid being bitten by the head vampire down Figgins Lane; none of which actually happened!

Something to look back on and laugh with Tim Emery, one half of duo Deadlight Dance, who was one of those goths in my school year. The other half, Nick Fletcher, arrived at St Johns for the sixth form but I was outta there by then. Together they formed teen bands, nowadays they’ve reunited to form Deadlight, playing here tonight after making a morning in-store appearance at Vinyl Realm, which I missed; could still taste the toothpaste.

In fondly reviewing their wares and gigs they’ve made me realise what I missed by only calling a meagre compromise of liking Robert Smith and teetering on the edge of full blown gothic; hence my reasoning for making a beeline to the Gate.

When the cumulation of the gig came to pass and Tim and Nick paid homage to their influences, I confess I’m in the dark about Sisters of Mercy or Fields of the Nephilim covers, but being in the dark for goths is a good thing, I thought?! I can, though, appreciate the more commercial or pioneering quarters, as they covered The Velvet Underground’s Waiting for my Man, or electronica classics from OMD and Joy Division; you know the ones.

Covers were sprinkled to begin with, as Deadlight Dance delivered their originals superbly, from a forthcoming album and their debut one, Beyond Reverence. With acoustic beginnings they built in layers from emotional melancholic expressions, on subjects like loving rain (despite wearing shades throughout the gig!), revolution, burning like fire in Cairo, and even a gothic sea shanty, to backing tracked beauties to enhance the second half of this poignant show with the new wave electronica and ethereal wave, and roused the crowd.

With a sorrowing rendition of Heartbreak Hotel, as found on their album, and these breathtaking impressions of gothic rock and electronica of yore, Deadlight Dance put the breath back into a genre often overshadowed these days by shoegazing pop or grunge; indie subgenres surely derivatives of post-punk but not as memorable for me.

If anyone’s going to bring out my inner-goth, it’s Deadlight Dance…pass my blood rose lined black corset and skull and cross pendant, pronto, because last night was another great night at the Southgate, again offering diversity to our town’s entertainment program. Bringing a touch of Marlborough to Devizes is a welcomed rarity imho, it often feels as if there’s an ocean between Avebury and Beckhampton rather than just a flooded roundabout!

Thanks to the Gate for parting the sea, and thanks to Nick and Tim for a splendid evening. Even got the opportunity to briefly chat with two other bands on our ever-growing must-see list, The Radio Makers and Static Moves; watch this space!

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Book Review: Dave McKenna’s Death Wish

It was back in March last year when I last mentioned Devizes author Dave McKenna, reviewing his debut, The Killer & The Catalyst. He’s returned…

My Reflection on the Fate of Carnivals

It’s Saturday morning on the 13th July 1985, and there’s a dilemma brewing in my household I’m indifferent with. I’m twelve, aware I should…

Deadlight Dance: Innocent Beginnings

Marlborough’s darkwave-goth duo, Deadlight Dance push their boundaries to new limits with their second single, Innocent Beginnings this week, and it’s a corker of goth perilous poignancy…..

Echoes of Human League synth prowess rain from this sombre tune, with foreboding warning vocals of Joy Division, yet the theme is environmental, something though historically consistent in pop, generally, surprisingly overlooked by the alternative subgenre of post-punk gothic of the eighties. You’d have thought with the stereotypical gloomy disposition of the genre, climate change was a missed opportunity for electronica, and/or post-punk goth subject matter; though maybe you know different, I’m no expert.

While it has been done, eighties misconceptions of the subject often obscure the severity of the topic, and place them subtly irreverent by today’s standards. Best I can conjure from memory is The Pixies’ track Monkey Gone to Heaven, of which the context of pollution and the depleting ozone layer is missed amidst the screeching vocals of Black Francis, A Forest by the Cure, which always felt more Little Red Riding Hood than eco-warrior, Talking Heads’ (Nothing but) The Flowers which is all too satirical art-pop, experimentally awash with soukous, for some bizarre reason, and even to endure ten minutes of Giorio Moroder’s less-inspiring disco synth moment in Cerrone’s Supernature only to discover elements of environmental concerns conclude with humankind obliterated by some kind of “creature from below!” 

It makes this single of an interesting composition, sounding so retrospective; precision with environmental subject matter came much later than this track imitates, therefore musical trends had changed by the time it’s more astutely covered. Ethereal nineties and noughties alternative rock certainly made full use of the topic, from Mors Syphilitica to All About Eve, but Innocent Beginnings, as is Deadlight’s design, it seems, is to recreate the sound of alternative eighties, leaving you pondering if Joy Division were at their peak now, climate change would have been the theme of Atmosphere, and might have come out sounding akin to this. Not forgoing, environmental groups would clasp hold of it, rather than just the creators of Stranger Things!  

Though, having said all of the gloomy irreversible theme of Innocent Beginnings which basically suggests it’s all too late to do something about it now, the video is contradictorily recorded in the setting of the pretty village of Aldbourne; hardly the dystopian landscape of a post-apocalyptic earth wrecked by our own hand! And in turn, makes me come over all Greta Thunberg and contemplate at least if we try, we can say we tried; put that in your pipe and smoke it, Nick Fletcher and Tim Emery of Deadlight Dance! Damn good track though, guys, and produced by Nick Beere at Mooncalf Studios, we look forward to hearing more from these guys.

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Speed Reduction on Caen Hill to 50mph

Be honest now, who likes to bomb it up and down Caen Hill dual carriageway like they’re Lewis Hamilton on a promise? Who thinks once…

Jamsters Festival at The Southgate

January last year, The Southgate Inn Devizes announced Jamsters, a monthly Friday night platform for loose groupings and associations created at their regular jam sessions…