Independent Clauses | n. —unusual words about underappreciated music

Nightmare Fortress: Ghostly thrilling darkwave

June 9, 2015

Nightmare Fortress Album Art

I don’t think anything else would sound equally fitting as a horror flick soundtrack than Nightmare Fortress’s debut album The Wanting. I mean this with the utmost awe for the Seattle quartet’s ability to package such huge soundscape range into a dark pop/electronic record.

Alicia Amiri is like Florence Welch’s gothic sister. Full of alto depth that pairs well with her foreboding lyrics, Amiri’s voice embodies the album’s enticing gloom. “You can’t control what history knows/Disgrace, cover your face/Trying to hide what daylight knows,” she sings on opener “No Exit,” which makes clear that unapologetic exposure is a theme of this album.

The Wanting has strong gothic style with splatters of synth-pop and dance-ready beats, exemplified on “The Perfect Feeling” and “Crawl to Me.” “The Perfect Feeling” gets you amped-up on red lip-stained sassiness and don’t-mess-with-me attitude of which Amiri is a poster child. With the use of heavy organ, think modern-day Phantom of the Opera visits a warehouse party and fits right in. “Crawl to Me,” a dance-rock track, proclaims like an anthem with Amiri’s bold lyrics. Her opening line, “There’s a place where it always rains and when you’re ready to die/Just stand outside, mouth open,” is no doubt deserving of your attention.

The more dungeon-like tracks on the album include “Mourning Star,” which focuses on a man’s decline, and “After Death.” “After Death” builds suspense with a strong repetitive rhythm like the sound of someone stomping down an empty hallway, dramatized condensation dripping from a low ceiling, and then an eerie, escalating choir echo in the background.

Don’t think The Wanting is only meant for those attracted to the darker side, though. The atmospheric mood of “Terminal” and trance qualities of “Crusher” weigh on the opposite end of the spectrum. “Crusher” includes an array of sonic texturing, such as dial-tone synth and bouts of air being pressed and ushered over bass like overworked machinery in an engine room.

“A Life Worth Leaving” is a standout on The Wanting. With a blend of atmospheric guitar, bouncy rhythm, and 80s-esque vocals, it’s a testament to anyone who has ever known they deserved better in any relationship. “Scratching at my door, like a dog, always begging me for more,” Amiri sings, having no problem admitting, “Either way, you’re going to miss me when I’m gone.” Amiri is matter-of-fact, and it’s this cool admittance throughout the record that makes The Wanting so captivating.

Nightmare Fortress’s debut album leaves you strangely refreshed in its bluntness. Between Alicia Amiri’s scarlet-colored vocals and the band’s unique take on darkwave, get ready for something ghostly thrilling. —Rachel Haney

 

MP3s: Down Down

April 11, 2015

Down Down

Grainy” – Cotton Claw. You know that scene in action movies where the spy is in a club, and then he spots his guy, and then a noir-ish chase scene through a dark, glamourously-lit urban landscape erupts without the music changing all that much? Plug and play.

Rooftops” – Sick of Sarah. Is it a dis to say someone sounds like Paramore these days? If not, the confident vocals and tight dance-rock beats makes this tune sound like an enthusiastic Paramore club remix. If yes, this sounds nothing like that at all.

No Exit” – Nightmare Fortress. Dry industrial beats meet round, warm synths and biting alto female vocals; it’s oddly accessible.

Broken Angels” – Jade the Moon. Other than the wub in the bass, this is a vocals-heavy, female-fronted mid-tempo club banger from the ’90s. (That’s totally great with me.)

Raincoats” – Maribou State. Got me wondering: what’s the politically correct term for Tribal House these days?

Enchanteresse” – Scattered Clouds. Dissonant, disorienting flashes of guitar lightning crash on an ominous plateau of baritone speak/sing vocals and plodding bass. For fans of apocalyptic post-rock.

State of Low” – Cajsa Siik. I know this sort of delicate, feminine indie-electro-pop existed before I heard Frou Frou on the Garden State soundtrack, but I can’t escape thinking about Imogen Heap’s vocals whenever something this light (yet dark, always dusk where they are) appears.

Lost” – Zohara. An unusual fusion of pop chanteuse vocals, dissonant orchestration, and pleasant piano produces an enigmatic, interesting track.

Forest Fires” – Axel Flóvent. If you’re the sort of person who longs for winter as soon as it gets warm, this acoustic- and piano-laden track will give you all the snowy-cabin-folk chills you need to get you through the hard months.

True Colors” – Johanna Warren. Surprisingly technical guitar playing gets matched with calming vocals and very serious arrangements of piano and flute. This results in a tune that is both calming and unsettling.

Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.

Recent Posts

Categories

Independent Clauses Monthly E-mail

Get updates and information about IC, plus opportunities for bands.
Band name? PR company? Business?
* = required field

Archives