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Vision Video is back with a new video for “Organized Murder,” taken from the group’s debut album, Inked In Red.
This one ain’t for the faint of heart! “Organized Murder” is the fourth video released by Athens’ gothic rock luminaries, following videos for “Inked In Red,” “Comfort in the Grave,” and “Static Drone.” The song also bears the sharpest teeth when it comes to wrapping the group’s stylized mastery of darkness, light, and melodic hooks around a poignant statement.
The song opens with a chilling bit of dialogue taken from make-up artist Tom Savini’s reimagining of the classic horror film Night of the Living Dead. Ben, a character played by actor Tony Todd, delivers these particularly chilling lines while coming to terms with the zombie apocalypse that’s unfolding around him: “This is something that nobody has ever heard about, and nobody has ever seen before. This is hell on Earth… This is pure hell on Earth.”
Set to director Erica Strout’s visual accompaniment, “Organized Murder” leaps into action as a fitting metaphor for what the group describes as America’s fetishization of “violence, force, and warfare on behalf of ‘the greater good.’”
A statement released with the video goes on to say that: “This is a representation of my experiences watching systematic violence used on behalf of morally bankrupt political ideologies to meet their ends and economic hegemony by military domination across the third world.”
Press play and let it sink in.
Read the Flagpole Magazine feature story, “Inked in Red: Vision Video Processes War, Trauma and Loss Through Goth Rock.”
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Tears For the Dying‘s singer and multi-instrumentalist Adria Stembridge is living in Athens these days, methodically working with two new musicians—bass player Zakki Kartoffel and guitar player Morgona Widow—to solidify a new lineup.
The group’s latest single, “Mortuary,” has been making the rounds since May. Stembridge tracked the single by herself earlier this year, but with lyrics such as “Nowhere to run, nowhere to hide, purified flesh chase you tonight. No eyes to see, just slash and dine, screams on dead ears, kill to survive! Screaming bodies in the mortuary. Screaming bodies in the laboratory,” it’s no less vexing in its creepy and death-afflicted goth-punk and metal imagery.
“I loved the main guitar riff but wanted to add an extra strings track that subtly alludes to the B-horror movie soundtrack technique of shocking the audience with a sharp musical stroke,” Stembridge says. “I feel like everyone is zombied out, given the huge number of zombie movies and shows over the past decade or so, but I haven’t heard many modern goth/deathrock bands explore the vibe in music.”
Stembridge worked with legendary March Violets guitarist-turned producer Tom Ashton (Vision Video, Entertainment, Hip To Death) at Subvon Studio in Athens to record multiple versions of “Mortuary.” One is a raw, guitars-only mix, and a third version is synths-only. Keep an eye out for different versions of the song to appear later this summer.
With the new lineup in place, Stembridge, who has handled much of the guitar and bass playing duties in the group, will now focus mainly on guitar and voice.
A new album is also in the works.
In the meantime, the group’s first show back from the pandemic is Fri., Aug. 13, at Flicker Bar in Athens. Tears for the Dying will also appear at the forthcoming VOTH (vegan goth food + dark music festival) on Oct. 15.
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Vision Video’s singer, guitar player, and principal songwriter Dusty Gannon’s story follows a trajectory from listless teenager to Afghanistan War veteran to a firefighter and paramedic on the frontline of an ongoing pandemic. It’s an arc that’s perfectly illustrated by the euphoric pop and melancholy of the group’s latest single, “Static Drone.”
Taken from the group’s forthcoming debut album, Inked In Red (out April 16), “Static Drone” carries an intense release of physical and emotional angst; a real-time experience of grappling with deteriorating mental health while adapting to life and confronting mortality while working at a Metro Atlanta fire department. “I wrote ‘Static Drone’ in the middle of some intense manic episodes where my mental health had completely unraveled,” Gannon says. “There was this peculiar month-long period of time at my fire station when we were dealing with a death almost every shift, and it was mirroring my internal sentiment that I was beginning to feel like everyone was tragically fated to die alone.”
In light of confronting such heavy existentialism, though, “Static Drone” also brings with it a sliver of hope, and an outlet for exorcising these personal demons. “It’s one of my favorite songs to play, because I still feel that dropping panic when we shift to the chorus,” Gannon says. “It’s an intense, but cathartic track for me, and I feel like it truly set the pace for this record.”
In May of 2020, Vision Video’s “In My Side” b/w “Inked In Red” 7-inch stirred up an ethereal post-punk exuberance, underscored by new wave and goth-tinged pop melodies. The lead single, “In My Side,” is a direct descendant of New Order’s “Age of Consent” from the 1983 album Power, Corruption & Lies. On the B-side, “Inked In Red” channels the baroque and romantic pop atmosphere of the Cure’s ‘89 album Disintegration. Singer and keyboard player Emily Fredock, drummer Jason Fusco, and bass player Dan Geller pushed their burgeoning sound to bold and stately places.
Soon after, a cover of British post-punk outfit Ski Patrol’s 1979 anti-war anthem “Agent Orange” followed, capturing Gannon’s most vexed performance yet—made poignant by rich sonic flourishes courtesy of producer Tom Ashton (The March Violets, Clan of Xymox).
“Static Drone” raises the bar on all fronts. The song pops with shimmering confidence, energy, and a dramatic vocal attack that borders on the sublime while ascending to an ecstatic state of a macabre inward journey, further cementing the group’s place as the most exciting dance-rock act to sprout from Athens’ storied musical landscape in quite some time.
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Entertainment, for most intents and purposes, fell silent after releasing its 2009 debut album, Gender (Stickfigure Records, Adistant Sound, and Duchess Archive). Aside from playing shows in the Southeastern U.S., sharing stages with Modern English in 2016-17, the gothic-leaning post-punk outfit has remained far from the public eye for nearly 11 years.
In October 2020, two of the group’s founding members, Trey Ehart (vocals, guitar, bass, and synthesizer) and Bari Donovan (drums and percussion), along with Entertainment’s latest addition Jim Groff (synth) emerged from the void with a new single, titled “Maggot Church.” From the song’s hissing salvo — a deluge of sonic light and shadow — “Maggot Church’s” stark, effects-laden doom and ambiance are pierced by Ehart’s spectral moans of catharsis. Released with a handful of remixes by INHALT, Delphine Coma, and SubVon, aka producer and former March Violets guitar player Tom Ashton, “Maggot Church” is an empowered number cut from rhythmic grooves and distortion, and charged with intensity. It’s a twisted and contemptuous song that expands upon the group’s brand of gothic rock with an evolved and atmospheric makeover. It’s also the first cut from an upcoming two-part EP to be released in early 2021, titled Horror Parts 1 and Part 2. While preparing for the first EP’s January arrival, Ehart took a few minutes to talk about what the group has been up to for the last decade, and what Entertainment has in store for the future.
The two-part EP that you have in the works is called Horror. The video for “Maggot Church” opens with a quote from intro to the old television show “Tales From the Darkside.” I bring this up to get your thoughts on the EP’s title and the concepts that are at work here. … After watching “Maggot Church” I went down the Youtube rabbit hole, watching episodes of “Tales From the Darkside,” “Friday the 13th,” etc.
Those shows brought out a sense of chasing those childhood thrills of terror and elation at the same time.
I have always been obsessed with the intro to “Tales from the Darkside” — the negative trees, the way the music bends as the world turns dark, and the underlying context of the narration. In a weird way it helped shade the lens through which I see the world. There’s definitely that sense of terror and wonder, something dark lurking beyond you, mixed with childish wonder and elation, but there’s also a harsh existential truth buried beneath it.
Stephen King has a quote: “True horror is the coming undone of something good.” That, to me, is the essence of where we are as a band. When we started coming back out, suddenly I was hit with a lot of people affirming to me, for the first time, that we were something good, and we had completely come undone underneath that. The childish sense of blind self-assuredness had devolved into a sense of doubt, a black cloud hanging over me, like a Kafkaesque maze of conflict. Combine that with my love of camp B-movie horror from the ’80s, and that’s where we’re coming from now.
What prompted you to get the band back together and continue moving forward?
We never really officially broke up, but after touring behind Gender for two years our bass player Tommy bassist left. I moved back to Atlanta from Athens, and we struggled to regain momentum and maintain a reputation. We were working with DISARO Records, which was a huge accomplishment for us, but I lost faith and direction in our songwriting and position. We did meet our synth player Jim during this time though, and played SXSW twice, trying to find a new way forward. But our live presence almost completely dropped off, and I spent time working with Kris Sampson on nurturing our sound through recordings. Pretty soon the indie goth scene that we’d seen and been a part of in New York and Los Angeles started taking off in Atlanta, and I was asked to DJ at a few nights. I also started seeing more like minded musicians at the DKA nights at 529, and Silk Wolfs’ goth nights. That’s also when I started to realize we had a very underground cult following here. But the big moment was in 2016 when we got the opportunity to open for Modern English on the Southeastern dates of their Mesh & Lace Tour. So we grabbed Jen von Schlichten from Black Lodge and Hymen Moments, and went from nothing to the biggest tour of our career. It was unbelievable, we had everything and nothing to prove, and had to rely solely on the strength of our songs and live presence. We came back to Atlanta completely rejuvenated, played two sold-out shows at The EARL in one day, where half the crowd thought we were from the UK, and then we crashed back down to earth, went back out with Modern English in 2017, this time working with Henry Jack from Weary Heads by way of a connection through Dead Register, and we naturally started re-working and improving newer material. Once we came back from that tour we decided it was time.
How did you come work with Tom Ashton at SubVon Studio. Has working with him helped you realize anything new or different about your songwriting and the group’s sound and vision?
I met Tom through a mutual friend at a Peter Murphy show in Atlanta. Then we ran into each other again backstage at the Modern English show at the Earl, and again at the March Violets reunion show at the Masquerade, and the dots started to connect for me. I’m pretty shy when it comes to promoting our music, but once we started re-working our newer material I found the courage to reach out to him for help mixing and mastering the material Kris Sampson had helped us work up with the overdubs we did. He’s been a huge source of support and understanding for us. I originally approached him in a very nonchalant way, but March Violets is the ultimate street cred, and a very different approach from the way we do things. He has really helped to teach me strength and how to desaturate — to lean into the atmosphere of a song but also mind the hook — and to trust myself.
Do you feel like Entertainment is part of a larger community of like minded bands in Atlanta? I ask mostly because I have seen bands like Tears For The Dying and Hip To Death working with Tom Ashton as well. All three of these bands are quite different, aesthetically speaking, but there is an underlying thread of commonality — darkness, post-punk, gothic tendencies. Do you think of these bands as kindred spirits?
I’m pretty sure I introduced them to him, if I remember correctly. I love all those bands. We have all circled each other for years, and worked together pretty frequently. But there’s definitely a more concrete scene developing Out of SubVon, where we all have a place we can work. Honestly, I can remember seeing Hip To Death terrify kids at frat bars in Athens, and I’ve always admired Tears For The Dying from the time they used to rehearse next to us and Snowden in a warehouse off Howell Mill Road. And I think we’ve all developed separately, but we’re all hitting a certain level at the same time.
A little more than a decade has passed since Entertainment released Gender. Aesthetically speaking, how have things changed over time?
Not much, weirdly. I think I’m more inclined to be appealing now, much to the relief of the band. I still look to the artsy tension of bands like the Virgin Prunes and Bauhaus for inspiration, but I’m more interested in allowing people to enjoy us without having to be confronted. Leaning more into Japan and Psychedelic Furs. We were recently referred to as “the bastard child of Swans and Duran Duran,” rather than just “the sound of death,” so I think we’re moving in the right direction.
Do you have a favorite song amid all of the new material?
We have so much unreleased stuff at his point it’s hard to say. If you asked the band I think we’d all say something different, but our upcoming third single, “An Alter of Remembrance,” and the track “Distance” are two we tend to gravitate toward.
Have any of the remixes surprised you or revealed something about the music that you didn’t expect?
Yeah definitely! We’ve been lucky to have so many talented people support us and completely transform our songs. I love hearing how other musicians interpret and manipulate us. At times I am surprised and horrified at how desperate the solo tracks sound, or how small changes can really pull a chorus together in a much more accessible way. They really help put possibilities in place as we decide what the next sound is and get out of our heads.
Do you have a release date in mind for the EPs to arrive?
We have one more single before Horror Part 1 comes out, we’re waiting on a few remixes for that. Then Part 1 comes out in January and a third single and Part 2 come out in February.
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To herald the arrival of the autumn equinox, Hip To Death has unleashed a new video for “Burning Heart,” the first single and video from the group’s second proper album, TMI America. “Burning Heart” is a fiery and noirish affair, steeped in texture. The triple threat guitar assault from John, Kasey, and James Breedlove is thick with time-stretching distortion, billowing around a searing lyrical mantra: “This burning heart’s for you. Our love will always be this true. Cut my leather skin. Waste my weathered skin.”
Drummer Mike Pazdzinski and bass player Todd Caras drive the song forward with tight, constrictive rhythms.
The album was recorded on a 4-Track in husband and wife John and Kasey’s home in Roswell, GA. Later, the tracks were mixed and mastered by the Athens-based Leeds U.K. transplant Tom Ashton of gothic post-punk luminaries the March Violets. Ashton runs SubVon Studio in Athens, GA, and his touch rings loud and clear with “Burning Heart.” Each grinding moment unfolds with a stylishly murky traipse that evokes the sounds and vision of mid-’80s U.K. goth, while embracing the dark and aggressive immediacy of the here and now.
“We were definitely going for a different kind of sound on this record,” John says. “It all seemed to come naturally, though. I’d been a fan of the March Violets for a while, and I really loved the work he did with them. His guitar work on “Snake Dance” is rad, along with everything else they did. I learned from our good friend Trey Ehart from the band Entertainment that Tom was in Athens. I talked to Tom over the phone for an hour or so, and I instantly took a liking to his attitude. We vibed right from the get go—he’s a super positive dude. I hired him just to master the album, but he dug the songs so damn much that he ended up putting his touch on it and mixing and mastering the whole album. We all love what he did. He really listened to what we were going for, and he killed it!”
The video was directed by Kasey Breedlove, and features a cameo from Atlanta-based photographer, art teacher, and model Rose Riot. Press play and zone out.
TMI America is available now on Die Indy Records.