CLUBS OF THE PAST: HEMLOCK, A NIGHT OF DEATHROCK
Modern Wav explores the legacy of Club Hemlock and San Diego’s deathrock scene ahead of June 5, featuring Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, and The Exile. Discover goth nightlife, deathrock history, and dark alternative culture in San Diego.
Club Hemlock, which brought Deathrock influenced bands and DJs to San Diego
For decades, San Diego’s goth and deathrock scene has existed through underground club nights, independent promoters, vinyl DJs, and passionate communities dedicated to darker forms of alternative music culture.
On June 5, Modern Wav brings that spirit back into focus with a special night featuring deathrock and synthpunk legends Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, and The Exile alongside all vinyl DJ sets celebrating classic goth, post punk, and deathrock.
The event pays tribute to the legacy of Club Hemlock, one of San Diego’s most influential deathrock nights, known for helping cultivate a deeper underground scene centered around deathrock, horror punk, goth, and darker post-punk sounds.
Ahead of the event, we caught up with Club Hemlock founder Javi Nunez to discuss the roots of San Diego’s goth scene, the rise of deathrock culture in Southern California, and why these sounds continue to resonate today.
Javi Nunez and Danny Lethal
1. Let us start from the beginning, how did you initially get involved in the Sd scene, and what led to the creation of Club Hemlock?
I have been attending club nights for over 20 years, all starting with my first 18+ event called Cathedral, which was at the Hot Monkey Love cafe, then graduating to SD mainstays like Club Sabbat when I was 21.
Around 2017, I feel there was a bit of a club night resurgence in SD. Many promoters and DJs were building really cool events. You had nights focusing on 80s, Post Punk and Coldwave, Aggrotech and Dark Electro, Futurepop…pretty much all the genres under the Goth umbrella, except for the little outcast known as Deathrock.
Photography by Aaron Truax
It was only meant for a 1off night. I used my birthday as an excuse to throw an event, and just play stuff I liked that you wouldn’t often hear, from Screaming Dead to Rudimentary Peni, 45 Grave, Ex-VoTo. There were no expectations, I was just having fun.
It turned out there were others that liked that stuff too, and although it was a Monday night, we had a good little crowd. The venue was happy with the turnout and offered a monthly. That was the birth of Hemlock.
Photography by Jeff Morris
2. How did you come up with the name Hemlock?
The waters aren’t that deep there, I just thought it sounded cool. It was different and original.
Ex-VoTo at Club Hemlock
3. Did you have any partners in Hemlock?
Definitely. This would have not been possible without the help of Robin Roth and Jamie Ryckman. They were there from day one and were pivotal in the growth and curation of the events. Aeroc Atone was also a huge help in building these events.
Teenage Goo Goo Muck at Club Hemlock. Photos by Jeff Morris
4. Throughout the span of Hemlock, which bands have you had the pleasure of working with?
Well, in chronological order, Bell Tower Bats, Ultima Circo, Spirit in the Room, Ex-VoTo, Teenage Goo Goo Muck, Not Breathing, Author & Punisher, The Wraith, Eyeliner, Jak Syn, Neon Kross, New Skeletal Faces, The Dirty Horror, Readership Hostile, Dominator, Killer Lords, Shrouds, Screaming Dead, Only Theatre of Pain,Frozen Charlottes, Deth Crux.
Author & Punisher
Jak Syn & Neon Kross at Club Hemlock. Photos by Oscar Aranda
5. Were there any performances that stood out to you?
They were all very special and personal. The beauty of it all is having worked with all these talented bands and DJs, ended up creating long lasting friendships and relationships that have lasted throughout the years. It has been a privilege to work with each and every one of them.
Limited screenprinted posters created by Javi Nunez
Event tees given away at each event. Designed and printed by Javi Nunez
6. The upcoming show on June 5th with Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, and the Exile, as well as the DJs involved is reminiscent of the Hemlock days. How does it feel helping put together an event like this?
It is a bit surreal to have Deathrock and Synthpunk royalty all on one bill. This is very special for San Diego, as I don’t know when a lineup like this will come around again. Pair it with a Few of the top vinyl selectors in Grimm Beatz, Errol Fritz and Vaughn Avakian, and you have the making of a truly memorable event. It has also been a pleasure to work alongside Grimm Beatz and Club Grave Beat. He put together this dream lineup, and is one of the most passionate and hard working people in San Diego.
Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, and The Exile in San Diego June 5th 2026
Bell Tower Bats final show at Club Hemlock. Photos by Oscar Aranda
Club Hemlock attendees. Photos by Oscar Aranda
Screaming Dead and Only Theatre of Pain performing at Club Hemlock. Featuring Gitane Demone, Rikk Agnew, and Steve Skeletal. Photos by Oscar Aranda
Shrouds at Club Hemlock. Photos by Oscar Aranda
7. Will Hemlock ever rise from the grave and make a return?
No. It doesn’t need to, as Club Grave Beat is carrying the Deathrock torch in San Diego, and carrying it well! Grimm and Errol put a lot of work into their events and the music is always top notch!
Grimm Beatz and Errol Fritz of Club Gravebeat
As San Diego’s dark alternative scene continues evolving, nights like this remind us how important community driven spaces remain for goth, deathrock, post punk, and underground electronic culture.
For Modern Wav, events like June 5 are not simply concerts. They are part of preserving and continuing the legacy of San Diego’s darker musical underground while introducing a new generation to the sounds and artists that helped shape it.
June 5 stands as both a celebration of the past and a glimpse into the future of deathrock and goth nightlife in San Diego.
Explore More from Modern Wav
Modern Wav is a San Diego-based platform dedicated to goth, darkwave, industrial, synthpunk, EBM, post-punk, deathrock, and underground electronic music culture throughout Southern California. Through live events, artist interviews, nightlife coverage, DJ nights, and editorial features, Modern Wav continues to support the darker side of alternative music and underground nightlife.
For more coverage of:
Follow Modern Wav for upcoming events, features, and underground music coverage.
Written By Alex Gonzales
Alex Gonzales is a contributor to Modern Wav covering goth, darkwave, industrial music, underground nightlife, synthpunk, post-punk, and alternative culture throughout San Diego, Los Angeles, and Southern California.
Related Topics
Goth • Darkwave • Industrial • Synthpunk • Deathrock • EBM • Post-Punk • Underground Music • Alternative Nightlife • San Diego • Los Angeles • Southern California • Nervous Gender Reloaded • Kommunity FK
ON THE WRONG SIDE OF POLITE
Synthpunk progenitors Nervous Gender Reloaded discuss their storied career, from the early days to the present day reincarnate, along with all the chaos in between.
Ahead of their upcoming San Diego performance, we catch up with Synthpunk progenitors Nervous Gender Reloaded to discuss their storied career, from the early days to the present-day reincarnation, along with all the chaos in between.
1. Take us back to LA in the late 70s. What was the landscape like for a young punk? Was there an existing scene at that time that catered to more experimental music?
I was a long-haired glam rocker when Luton spit me out onto the streets of Los Angeles, entrenched in Van der Graaf Generator, Hawkwind, and David Bowie. The first time I heard the Screamers and the Germs, I cut my hair, ripped my clothes, and didn’t look back. The Masque, Al’s Bar, the Atomic Cafe, and Random Studios became my regular haunts, and that’s where the more experimental stuff lived.
2. Nervous Gender has gone through many lineups across the decades. What’s the through-line, the creative DNA that’s carried from the earliest days into Nervous Gender Reloaded, and what made now the right moment for this incarnation?
Nervous Gender has had a perpetually volatile lineup throughout the years. The first incarnation was Gerardo Velasquez, Phranc, Edward Stapleton, and Michael Ochoa, with Phranc leaving about six months in. Paul Roessler joined in the early days, along with Don Bolles, and later Sven Pfeiffer. Later incarnations with all the lads from Wall of Voodoo (Wall of Gender) pushed the sound into a different world while keeping the same drive. Through all of it, the band was fueled by an intensely confrontational interest against everything held sacred by society, and that seeded the creative core. Today that ethos remains, informed by all the years between.
As for why now: in the late ’70s and early ’80s, the economy was in decline, social conservatism was on the rise, and trust in authority was eroding. When I met Matt Comeione in 2017, we started out revisiting the past, rerecording the Nervous Gender catalogue. The economy was recovering from the bank collapse, but the resurgence of socially conservative viewpoints and the rising attacks on the LGBT+ community paralleled the context of ’79–’81. We asked ourselves: why aren’t we doing anything new? We still want to attack their idols, their false prophets.
And after seven days and seven nights, Reloaded rose from the abyss.
Sven Pfeiffer
3. From the start, Nervous Gender helped define what came to be called synthpunk by pairing synthesizers with punk aggression. Reloaded has expanded that palette considerably, pulling in avant-garde classical, world music, even Gregorian chant. How is the sonic vocabulary evolving, and what’s driving that expansion now? Anything on Milking the Borg you’d point listeners to first?
The Screamers originally opened the door to synthesizers as part of the punk vocabulary. The nature of analogue gear opened the door to the realm of microtonal deviations from the Western European scale, and that discordant charm is what enhanced the discomfort of the original Nervous Gender.
When reworking “Gangs of Whores” from the live recording at the Scream, I noticed the resemblance to gamelan music in its tonal palette, something we emphasized in the newer recording. We also developed the tempo change between sections into a metric modulation. In some ways, the relationship to avant-garde classical and world music was already present in the original work but never emphasized. Both Edward and I have had a long-standing interest in this music, and rather than suppress it, we’ve brought it to the foreground.
From Milking the Borg, “Kyrie/Mantra” incorporates a chant from a Mantra Machine. Overlaid on that are melodic snippets of the Dies Irae, with the lyrics taken directly from an English translation of the Dies Irae. The Kyrie chant itself is quoted in its natural form in the middle.
Nothing is sacred. Appropriate everything.
Photo: @bumdogtorres
4. The Anti Club was a legendary early home for the band. Where does Nervous Gender Reloaded feel at home now, what kinds of venues, scenes, or audiences feel like the right context for the current work?
The Anti Club was one of the few clubs that allowed Nervous Gender to return. At the time, we even offended the punk audiences, so it truly became home. Even Fear used to ask us to play after them, so we wouldn’t scare off their audience.
Today, we’ve only been banned by Footsie’s. A few years back we were invited to perform at Church of Fun, a DIY performance space with an undisclosed address. The crowd was familiar with the legacy work and open to the new, and much younger as well. That show pulled us into an entirely new network of bands and venues: The Void, The Handbag Factory, Slipper Clutch, Monte Bar, and The Old Towne Pub in Pasadena.
5. This show with Kommunity FK has a personal history embedded in it. Edward and Patrik Mata go back to working together at Poseur on Melrose in 1980, and that friendship has carried all the way to your current collaboration as Gender-FK. Can you talk about that long arc, and what Gender-FK is now?
I met Patrik working at Poseur on Melrose. I’d been in Nervous Gender for about three years at that point, and Patrik was just starting Kommunity FK. We worked together for a few years, played some shows together, and kept in touch over the years. We’ve always been transfixed by Patrik’s voice, with its similarity to Peter Hammill’s.
When Nervous Gender Reloaded started performing live regularly, we had a few Zoom calls about collaborating, and the Gender-FK project was born. We’ve completed about four songs together, sending mixes back and forth between LA and New Mexico, where Patrik is based. The EP should be out soon. Patrik pulls the sound in another direction, somewhere in the space between deathrock and synthpunk (und DaDa ist auch dabei).
Poseur on Melrose
6. Given that this show is in San Diego, for the unsuspecting reader, can you share the story of the now infamous 1979 SD show?
Back in 1979, we got a random phone call from someone we didn’t know inviting us to perform in San Diego. We brought another band from Hollywood to open for us at what we thought was going to be the Lion’s Club, but turned out to be some bar in downtown San Diego. Although some of us enjoyed a night of debauchery in the local porn stores, the gig itself was a room full of unsuspecting local patrons, completely unprepared for what was about to ensue.
After sizing up the audience, we determined it was highly unlikely we’d make it past the opening band. To resolve this, we opted to have both bands perform their sets concurrently, ensuring we both got to play. The locals were absolutely horrified, and the waitresses were frantically collecting money to pay us to stop.
This was one of our highest-paying gigs.
Photo: @karin_lindberg_freda
7. Back in the original Nervous Gender days, the band ran with a particular constellation of LA artists and provocateurs. Who are the fellow travelers now, the artists Reloaded feels kinship with, shares bills with, or finds itself orbiting in the current underground?
In the early days we performed with people like Johanna Went and Monitor, though we weren’t always the easiest stage-mates.
Today we feel at home performing with peers like Roman’s Weirdos, Gitane Demone & Paul Roessler, and Los Microwaves, but also with the new generation: N8NOFACE, ICBM, Diesel Dudes, Period Bomb, Blotchouts, Soiled Doilies, and Super Violate. Our drummer Ian Bain plays in both ICBM and Period Bomb, and the new generation of bands has been an inspiration to us. This show kicks off a series of dates with Kommunity FK.
And we’re proud to be part of the incestuous musical cesspool
8. As an originating synthpunk band watching the sound evolve, are there current or emerging artists you’d say are carrying that synthpunk energy forward? And given this bill with Kommunity FK, do you see overlapping territory between the synthpunk and goth/deathrock undergrounds, then and now?
Diesel Dudes bring a high-energy performance at punk tempos, informed by intense noise. Their shows are acts of frenzied acrobatics with masks. N8NOFACE brings the Screamers’ hysterical synth patterns with a street culture shift. Super Violate brings in more diverse underlying rhythms along with aspects of no wave and noise.
As for Kommunity FK, we have a kinship with Patrik aligned by a shared interest in DaDa and musical exploration. There’s a deeper parallel between Nervous Gender and the goth/deathrock tradition too. Catholic imagery runs through both, and so does the disdain for it.
And the latest incarnation isn’t opposed to slowing the tempos down to revel in the abyss.
9. Nervous Gender Reloaded is carrying real momentum right now. What’s on the horizon, new releases, collaborations like the unreleased work with Michael Intriere, or new directions like the live visual system you’ve been developing?
We’re currently waiting for the release of a 12″ 45 RPM split with Puss, a NY/Sacramento-based experimental no wave and avant art rock group formed in 2010. The split will be released through Hate Mail Records and includes “Angelus,” a new 8-minute song we’ll be performing in San Diego. The title is taken from the hypocrisy associated with the Angelus bells in Ireland.
We’re also hoping to release the Gender-FK EP later this year, though that hasn’t been finalized yet. And we’re planning a summer mini-tour with Kommunity FK in Northern California. Details to be posted soon.
We’ve been working on a live video system as well, for venues that support it. It’s a work in progress that we plan to open-source for anyone who wants to build on it.
Nervous Gender Reloaded
Explore More from Modern Wav
Modern Wav is a San Diego-based platform dedicated to goth, darkwave, industrial, synthpunk, EBM, post-punk, deathrock, and underground electronic music culture throughout Southern California. Through live events, artist interviews, nightlife coverage, DJ nights, and editorial features, Modern Wav continues to support the darker side of alternative music and underground nightlife.
For more coverage of:
Follow Modern Wav for upcoming events, features, and underground music coverage.
Written By Javi Nunez
Javi Nunez is a contributor to Modern Wav covering goth, darkwave, industrial music, underground nightlife, synthpunk, post-punk, and alternative culture throughout San Diego, Los Angeles, and Southern California.
Related Topics
Goth • Darkwave • Industrial • Synthpunk • Deathrock • EBM • Post-Punk • Underground Music • Alternative Nightlife • San Diego • Los Angeles • Southern California • Nervous Gender Reloaded • Kommunity FK
I’LL WAIT FOREVER
Ahead of their upcoming San Diego show alongside Kommunity FK, Nervous Gender Reloaded, and the Exile, we catch up with the legendary Ex-VoTo to discuss all things Deathrock!
Ahead of their upcoming San Diego show alongside Kommunity FK, Nervous Gender Reloaded, and the Exile, we catch up with the legendary Ex-VoTo to discuss all things Deathrock!
BIO:
Ex-VoTo was formed in 1982 in Los Angeles by Larry Rainwater, Linda Patti and David Rhine. Disenchanted with the current Punk rock scene of the early 80s in Los Angeles, Ex-Voto set out to forge a sound on the darker and more macabre side of alternative music. Incorporating drum machines and keyboards with heavy guitars and rock dance beats that are now common in music were met with much disdain from the mainstream population at the time. That disdain did not last long as this combination proved too infectious to be denied its place in music. Thus came the birth of Deathrock. Over the years the categorizations have changed; Goth, Gothic, Industrial Goth Rock, Bat Cave, and full circle back to Deathrock, as a whole new generation re-discovers a genre that has been overlooked by most.
1. Deathrock has come a long way since the term first started popping up in early 80s Los Angeles. With Ex-Voto being one of the progenitors of the scene and sound, can you give us some insight as to what Los Angeles was like in the early 80s, and what lead to the formation of Ex-VoTo?
Los Angeles was all over the place in the early 80s, like anything goes. It was very exciting, very energetic. We'd all been in punk rock bands before. Then we tried our hands at other types of music and nothing really stuck. Then I just decided I was just gonna start writing my own music and be a kind of solo writer. From other people quitting bands on me all the time I realized that I had to take charge.
Gallery photos by Elena Beaudry of Digital Dark Skies Photography
2. In the present day, we are very fortunate to have many clubs, events, and shows to be able to enjoy Deathrock and Goth, as the music is widely accessible and familiar, although that hasn't always been the case. How was the initial deathrock sound received amidst the LA punk scene? Were there any venues or clubs in particular that were welcoming of the new Deathrock sound?
Well, you have to remember that the whole term “death rock” was a derogatory term that the punk rockers used to use to describe us. It wasn't a cool thing. It was like they were making fun of us -“Oh, you guys are all gloomy!” And a lot of people I played in punk rock bands with were not into what I was doing. People didn’t know quite what we were. We were kind of controversial when we first started, because a lot of people really were angry that we were a rock band and didn't have a drummer. We took a lot of heat for that, back in the early 80s. Now nobody cares if you have a drum machine. But back then, there are a lot of people who used to yell “get a drummer!” while we were playing. But most of the club owners accepted all this new vibrant art and stuff that was going on at the time, so it was it was pretty cool to be a part of it.
Ex-Voto 1989 Dee Madden, Larry Rainwater, and Linda Patti during the filming of the music video “If I Never”
3. With LA being a hub for deathrock in the early 80s, were there any notable bands that Ex-VoTo were able to play with and/or experience?
The first big show that we had, as Ex-Voto, we opened for The Jesus and Mary Chain at a small club in Huntington Beach. We played with a wide variety of bands because people didn't really know where to put us. We're kind of a rock band, so they booked us at Scream with Jane's Addiction, even though we're nowhere near the same kind of band. But we did numerous shows with Christian Death, Death Ride 69, Screams for Tina, and so many other bands. We even played with Nine Inch Nails before they got big.
Gallery photos by Grimm Beatz
4. It has been more than 4 decades since the inception of Deathrock and it doesn't seem to be slowing down any time soon. Are there any current bands you have been following that you feel are carrying the iconic deathrock sound?
13th Sky reminds me of a lot of bands we used to play with in the 80s. Our old guitarist Dave Rhine plays in Vision of the Void and they are great. This July we’ll be playing with Strange Boutique and The Rope. They are both really good.
Ex-VoTo gig flyers throughout the years
5. Ex-VoTo and Patrik go back many years. Can you tell us about how you first met?
The first time I saw Kommunity FK was at the Whiskey a Go-Go, because they got to open for Killing Joke, which was such a cool show. He and I were in the same scene, so we got to know each other. At one point, after Kommunity FK had dissolved, Patrik wanted to bring it back for some shows. So for a brief time Ex-VoTo’s entire line up actually was Kommunity FK. I played bass, Linda played keyboards, and Dee did drum programming and guitar, and of course Patrik sang. We practiced a lot at my house, but I think we only did 2 live shows! So I've known Patrick for a long time. He’s an incredible talent with a great voice.
Kommunity FK & Ex VoTo
Kommunity FK and members of Ex VoTo
6. For me, "If I Never" Will forever be a dancefloor hit, as it will always be one of my favorite selections when I want to invoke that quintessential Deathrock sound. Are there any particular tracks that will for sure get you out on the dancefloor? Any tracks that are personal favorites? (Hoping one of the DJs playing the event will have it stashed away in their crate...)
Heather doesn't let me dance, for good reason! But there's a lot of songs I like that really get me pumped up. I'm a big Red Lorry Yellow Lorry fan. I always like when I hear any of their stuff played. So I’d say “Talk About The Weather”. We had that song play at our wedding reception so you’d probably get me and Heather dancing with that one.
7. This upcoming show on June 5th is very special to us, as it has been many years since a legacy Deathrock show of this magnitude has hit sunny San Diego. When was the Last time Ex-VoTo played in SD?
It was 2017. Before that we played in San Diego a couple times in the 80s. So this will be the 1st time we've been back in almost 10 years
Ex VoTo playing club Hemlock San Diego 2017
Club Hemlock gig flyer 2017
8. On top of the upcoming shows Ex-VoTo has lined up, is there any additional news and/or updates you would like to share with your fans?
It’s exciting because we have a couple of new releases coming out. Our EP ‘Laodicea’ features 4 brand-new tracks and 4 remastered tracks that appeared on compilations but were never released on our own. That will be available as a limited edition vinyl and CD. PNV Records is putting out an LP with bonus tracks called “Don’t Look Back 1982-1990”. It includes the songs from our first studio release and has a bunch of rarities and outtakes from our early years. We are also thrilled to be headed to Mexico again this October. It’s been a busy year for us. We are so thankful for all our passionate fans who make it possible for us to keep making music after all these years.
Modern Wav continues to bring the best in deathrock, goth, industrial, and darkwave to the underground.
Ex-Voto Live - June 5th
Deathrock event at Queen Bees.
Tickets available at: www.modernwav.com
YOU AIN’T NO PUNK YOU PUNK
Grimm Beatz reveals all, from the birth of Club Grave Beat, his early introduction into Goth and Deathrock, and the importance of preserving that old school club feel for generations to come!
Ahead of our Legacy Deathrock show in San Diego on June 5th, we sit down with Local DJ and co-promoter Grimm Beatz to discuss music, goth club culture, and the importance of all vinyl DJing.
1.From the bands you have played in, the talent you have booked, to the monthly club nights that we all enjoy, you have been a staple in the So Cal Goth/Deathrock community for many years. Now, we all know the name Grimm Beatz today, but take us back to the beginning, to where it all started. Where did your love for Deathrock begin? Was it a particular band, album, book or magazine perhaps? What was the spark that started this journey?
It all started a long time ago in a galaxy far far away... the mall! I was working at Virgin Records at The Block at Orange in OC, CA. I was 19 and was coming into my own as far as fashion and music goes. I was into grunge and metal at the time. I enjoyed the music and going to shows, but never felt quite at home. I had never heard of deathrock or 80s goth before. I would dress alternative in big boots, fishnets, and cut up shirts. I befriended an elder goth who dressed similarly that worked at a different store. We were pretty much the only 2 guys in 2005 wearing makeup and fishnets in Orange County. when we first talked music, he was naming off so many bands i had never heard of. I was excited to dive into a new cave. I vividly remember when we first hung out at his house. The room had a dim yellow light coming from the corner. Band posters and fliers were covering the walls and ceiling. Incense dancing in the air. He had made me a mix tape. He pushed play and my life changed instantly. Out came the relentless bass line from Romeo's Distress by Christian Death. I had chills all over. I couldn't stop smiling. Next was Spy In The Cab by Bauhaus, followed by The Wait by Killing Joke. I was hooked! I soaked up everything I could about deathrock and post-punk!!!
Grimm Beatz at Club Grave Beat
2. As this journey progressed, so did your record collection. Can you tell us a bit about how you got into record collecting? Do you remember your first record, and are there any rare gems you are particularly fond of?
I was a late bloomer when it came to music. I was 17 when I got into buying CDs and records. My first ever CD was Spice World by The Spice Girls. Scary Spice is my favorite!! My first vinyl record was the 7-inch single We Got The Beat by The Go-Go's. I found it at a thrift store for a quarter. I would frequent swap meets a few times a month. It was easy to find records from 2005-2012 or so. Records weren't "cool" again yet. Almost no smartphones were being used to scan or price things. I bought nearly every Bauhaus, Siouxsie, and The Cure album for $1-3 each. I would pick up albums not just based on their cover, but by their label, distribution, and who they thanked in the credits. I saw it as collecting audible art.
Some notable rare records I've found include the Theatre of Hate flexi disc with the original Love Is A Ghost take, Transylvania by Johnny and the Dingbats, and first pressings of Only Theater Of Pain + The Adolescents blue album - got those 2 for 50 cents each! My prized records are the first-ever vinyl pressings of the albums Sylphes and Twilight from my favorite deathrock band, Corpus Delicti. Limited to 100 copies each!
DJ Grimm Beatz & The Rise of San Diego Goth Nightlife. photo by Princess.madi
3. I am sure those boots of yours have graced many dancefloors over the years. When it comes to Goth culture, the Club reigns supreme, as it is the preserving lifeforce for the music and the community, from the old guard to the baby bats. Can you tell us a bit about the first club you attended?
My first ever club I attended was in West Hollywood called Rage. My sister and their friends brought me along. It was a top 40's gay club. I didn't know the music or scene at all. I had fun dancing either way. My first ever goth club was El Chamber held at Club Bravo in Anaheim, and they're still going strong many decades later! The resident Dj's back then were Gerber and Franck H-Bomb. They focused on EBM and harsh industrial. I remember my first time going there. I was enamored with their fog. I would go and twirl around in my skirt when it went off. I loved the dim lights and moody beat of bodies swaying in the night. My first deathrock club was Release the Bats in Long Beach. I loved going there to get my fix of the music I loved. Dj Dave Grave was my favorite. He was the only dj that played Klaus Nomi and Inflatable Boy Clams.
Grimm Beatz at Club Hemlock Photo by Oscar Aranda
Grimm Beatz and DJ Camilla Robina at Club Hemlock Photo by Oscar Aranda
4. When it comes to clubs, there are many elements that come together to make a great event. Everything from promotion, venue, production, authenticity, sound, format...the list goes on! As someone who attends as well as promotes, What makes for a good club night?
Music. That has to be the focus in my opinion. I love when there are fliers being handed out for upcoming events. I wish more clubs would put that effort in to promotion. Online is ok, but in person promo speaks louder to me. Some of the funnest times I've had were at tiny venues like Que Sera (Release the Bats). All you need is a few speakers, and djs who know how to keep the crowd moving. I like clubs that keep it simple. Good music, djs who know what they're doing, and promoters who interact with and make attendees feel welcomed.
A tag line we have at Grave Beat is "Music First, Fashion Last. Not All Clubs Are Built The Same". I know so many people who are incredibly knowledgeable and passionate about goth music that simply want to wear jeans, sneakers, and a sweater to clubs. And I know people who go all out with lavish make up and flashy pvc outfits that don't know much about the music or bands. And I love both types. Come as you wish to Grave Beat. We strive on being all inclusive and making a safe space to be YOU.
"Music First, Fashion Last. Not All Clubs Are Built The Same"
5. On the topic of clerbs, I heard Grave Beat is one of, if not the last remaining all vinyl, old school 80s-90s, all killer no filler goth clubs in California(possibly the USA) ? Can you give us a rundown on the birth of Grave Beat, what to expect, and why for some reason venues keep on inviting you back?
Club Grave Beat
Grave Beat was born out of necessity! In 2019, I was hungry for good old school goth clubs in OC/LA. There was a big surge of cookie cutter clubs playing new "dark wave". Literally multiple events of the same genre every weekend. Its a sound that does nothing for my winklepickers at all. I had pitched the idea around and had our first night at B+B Music Studio in Orange. It was a space I rented for the night. All ages sober space. We did it there a few times and had a blast! People were hungry for it. I got so many thanks for hosting it. We moved over to Alex's Bar in Long Beach for a few months. Then the world shut down. Fast forward to life happening again, my old friend and bandmate Errol Fritz had asked if I wanted to bring Grave Beat to San Diego. At this time, Club Hemlock (the best old school goth night of its time!) was no more, and there was no outlet for the wicked who wanted to hear the sounds of The Batcave and beyond. So we gave it a try, and it was a huge turnout!! We had so many people saying it is their favorite night and how good it felt to hear dance floor classics that no other club in town played. The whole idea of Grave Beat was to give this generation a glimpse into the past. Not just with all classical Goth music, but with our day-glo decor, VHS tapes playing, fog, and moody lighting. We make it look like you're walking into a goth club in the 80s and 90s!! There's no club like it! Venues have been so welcoming to our unique approach. We have found Kensington Club as our home every third Friday of the month after a few years of being at Til-Two Club.
6. Grave Beat definitely keeps it old school and we love you guys for that. In the broader club landscape can you talk about the importance of preserving that old school vibe, and why Grave Beat always has and always will be vinyl only?
Vinyl snobs! Yes, but no? We definitely pride ourselves in being an all Vinyl club night. Its a spectacle in itself to see a dj pull out a record, cue it up, and watch the mixing go down. This goes hand in hand with wanting to provide a true old school goth experience as you would have seen 30-40 years ago. A glimpse into the heyday of deathrock! Its also a feeling of satisfaction knowing I bought my records. I always support artists directly when they released new or reissued albums. I wouldn't feel right blindly downloading and using digital files to use at Grave Beat. I've been actively djing vinyl exclusively for 14 years and have no interest in changing that. I will hunt down records and pay up for those rare titles i need for my sets! I love bringing an all encompassing vibe to a throwback night.
Grim Beatz with the quintessential Virgin Prunes photo by Princess.madi
7. Speaking of old school, you have managed to curate one of the biggest Legacy Deathrock lineups to hit SD in recent years. Having a lineup with genre pioneers in Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, paired with Santa Ana Deathrockers The Exile in 2026 is definitely a testament to the staying power of the genre. Paired with the recent interview of Patrik Mata done by Billy Corgan, Dare we say, there may be a bit of a Deathrock resurgence happening?
This event will be one for the ages!! I'm still on cloud nine for being a part of this epic night! A HUGE shout out to the boys at Modernwav for setting up the venue and making this night possible . There will be so many great dance floor bangers played live this show that we frequently play at Grave Beat. The OG goth band, Kommunity FK, will grace San Diego with their entrancing live show and classic deathrock sounds. Ex-Voto are gunna pack a punch with their hits!!! Nervous Gender Reloaded bring you a glimpse into their experimental 80s drone beats and haunting sounds from beyond. And The Exile are my favorite band that has come out of recent years. Think Southern Death Cult meets Siouxsie.
Kommunity FK, Ex-VoTo, Nervous Gender Reloaded, and The Exile live at Queen Bees June 5th 2026.
San Diego goth events by Modernwav
I HOPE that more deathrock and true post-punk bands start to form, we are overdue for a resurgence out here. There are amazing goth bands from across the world that have popped up not too long ago like Illegal Funeral, Natures Mortes, Eat My Teeth, and many more... Deathrock isn't dead, it just took a nap.
8. On top booking bands you have also shared the stage with a few of the aforementioned artists. Can you give us a bit of insight on your projects, past and present, and how you first started playing music?
Bell Tower Bats was my baby. We were around for ten years giving you sounds a la 45Grave and Bauhaus. A 3 to 4 piece band. Drums, guitar, bass, vocals. Bare bones deathrock. Shrouds is still active, yet dormant for the time being. A 3 piece suit that has played all over and delivers dirty deathrock to your doorstep. I formed a Cramps tribute band called Teenage Goo Goo Muck about 8 years ago. We are active in SoCal, come check out some absolutely unpredictable antics if you love Lux and company!
Bell Tower Bats live at Club Hemlock Photo by Oscar Aranda
Teenage Goo Goo Muck live at Club Hemlock Photo by Oscar Aranda
Shrouds live at Club Hemlock. Photo by Oscar Aranda
I first started playing music out of a need to express my art in a different way. I was into painting and sculpting all my life. I wanted a new outlet. I formed my first band, Heidi Wu, with my old schoolmate Josie Wreck. It was primitive grunge rock. We had fun! I'm glad I picked up an instrument. It has taken me to several countries to perform. I'm eternally grateful for that.
9. Lastly, for the reader out there that may not be too familiar with the Deathrock genre, from books, bands, to quintessential albums, any recommendations to start with?
Deathrock. The bastard son of punk, with eyeliner. I don't read, so I can't recommend books... Look up The Batcave London for insight on the birth of what we know as goth.
Gateway albums are Only Theater Of Pain by Christian Death, Sleep In Safety by 45Grave, and In The Flat Field by Bauhaus. Looking for less obvious recommendations? Check out Fields Of The Nephilim, The Nosferatu, Screams For Tina, and Skeletal Family.
This legacy is still alive today through San Diego goth events, vinyl DJ nights, and underground shows curated by Modernwav.
Be sure to catch Grimm Beatz behind the decks on June 5th for the Legacy Deathrock event at Queen Bees.
Tickets available at: www.modernwav.com
Glass Spells: Review of the Album 'Crystals'
Photography by: Christina Rubalcava, Designed by: Javi Nunez
Glass Spells is a synth-pop band from San Diego, California. The band is comprised of two members, Anthony Ramirez and Tania Costello. Anthony is the instrumentalist of the group, bringing his vast array of skills to the production of their unique sound. Tania is the vocalist, providing the powerful and emotive lyrics and melodies that have become a hallmark of the band. Their music mixes modern synth-pop and retro-inspired sounds, emphasizing dreamy atmosphere and infectious hooks. Together, they have created a sound that is both innovative and nostalgic, gaining them a devoted fan base.
Released July 18, 2024, Crystals continues to carry the synth-driven sounds of its preceding albums. The sounds produced by Anthony on synths in conjunction with Tania’s dreamy yet playful vocals create a contemporary style that has become synonymous with Glass Spells while giving a nod to the freestyle and hi-NRG influences of the 80s.
Photography by: Christina Rubalcava
Since I was born in 1985, I could not grace a nightclub dance floor in Miami when freestyle reigned supreme; however, I have seen movies. The opening track, “Without You,” immediately takes me to the nightclub scene in Scarface at the Babylon Club. The scene displays an 80’s Miami nightclub with a packed dance floor; now, you must replace “She’s on Fire” with “Without You” and notice how it works. From the era, the vibe, the sound, it works.
Now, notice all the sweet polyester shirts in that scene. Notice all the sweet polyester shirts Anthony wears on stage? Coincidence? Maybe. Anthony’s subtle nod to that particular 80s era? Possibly. Either way, that works, too.
Scarface aside, Glass Spells produces catchy, contemporary synth-pop with nods in all the right directions, as this is very apparent in Crystals. Whether it be the Babylon Club in 1980s Miami or your local 80’s goth club, throw on Crystals, and you will get the bodies moving.
Trust me, I’m a DJ
Catch Glass Spells as they take the Music Box stage in San Diego on Wednesday, December 3rd, along with Secret Lynx and Nonexistent Night. CLICK LINK BELOW TO BUY TICKETS !
Photography by: Christina Rubalcava
Full track listing for Crystals:
Without You
Venom
Glow
Before Dawn
Crystals
Consequences
Hechizos
Haunting
MACHINE OF VISION: VOID PALACE
Cover Design by Javi Nunez , Photo by Kristian Bahoudian
Let's talk lineup; how did the current formation of Void Palace come together?
Currently, the live act is me, Sebastian Siverand, and Ailzeh Winter. Alizeh has been a dear friend of mine for years. She joined Void Palace as live support for a tour through the southwest in early 2024 and has been an integral part of the show since!
Void Palace brought a new EP, Machine of Vision, in 2024. The title track, which is the same name, screams of late 80s freestyle and dark EBM attributes. We see a lot of modern acts (i.e., Kontravoid) bringing back the 80s freestyle beat into dance cuts. How did you come to incorporate this contagious beat into the album?`
Im simply just addicted to dancy music. Years ago, I used to DJ many parties in LA, and my sets were mostly inspired by Electro acts like Djedjotronic, Maelstrom, and Jensen Interceptor. When I started experimenting with adding vocals to my music, I knew I wanted to build on top of the existing electro sound while leaning into some of the Daker industrial influences as well. I am really happy with the resulting Void Palace sound that came together and looking forward to expanding upon it.
Every city will react to live shows in its own unique fashion. While currently touring stateside, what do you hope the audience takes away from your shows?`
It's always a pleasure to experience different cities. I grew up in Houston, and I loved it when bands came to connect with the underrepresented communities within the fringe dark music scene. In addition to bringing the sound of Void Palace across the country, I am also looking forward to sharing the story of Machine of Vision with everyone. I love seeing which parts of the story resonate with different people.
In the time between your first EP, Hex Machine, and the new EP, how has Void Palace grown to its present-day status, becoming one of Southern California's hottest dark wave favorites?
The success and growth of Void Palace are strictly possible because of the support of the scene and my friends. There have been so many times when I have leaned on others for guidance and support, and it makes a world of difference. Since the Hex Machine EP, tastemakers in LA, such as John from Das Bunker, have given me a platform and pivotal chances to grow into a more experienced artist, thus empowering me with the attention that propels Void Palace into other regions. There is a lot of love in the scene, and I am thankful to prosper as a result of it.
We are excited to have Void Palace be a part of our first-ever two-day event. Is there anything, in particular, you are looking forward to, whether it be taking the stage, seeing a particular artist, new modern way merch that is rumored to be dropping(waiting on Javi), or seeing Domina Death execute the People's elbow? Maybe all of the above?`
Modern Wav is such an infamously iconic event. I'm so happy to be there to see the culture that you guys have been fostering in San Diego, whether we are performing or not. The media and experiences always seem so spectacular, and I'm excited to see how everyone's going to push the boundaries on the production and performances. What I'm looking forward to most is making new friends and being inspired for this new record I'll be working on when I get home. (also, I definitely need modern wav merch ;) )
Photo by Kristian Bahoudian
Are there any projects or collaborations Void Palace has in the works in the near future that you can let us in on?`
I can't say quite yet, but on this next EP I am planning on focusing a lot on collaborations with different artists. Right now I'm in an exploratory phase working with new ideas and new people and feeling great about it so far.
ALL AT ONCE: ROBERT ALFONS & THE MUSIC OF TR/ST
Design by Javi Nunez, Photo by Renée Parkhurst
As we delve into the latest release, "Performance," by electro-goth artist TR/ST, we are invited on a compelling journey through a spectrum of emotions. The album effectively navigates from feelings of gloom and somberness to moments of elation and vulnerability, enhancing our anticipation for TR/ST's upcoming performance on the Modern Wav stage this Saturday, November 23rd.
Photo by Renée Parkhurst
Your new album “Performance” evokes a wide range of emotions. For instance, "Warp" transports me to the streets of downtown on a cold evening, while "Soon" immerses me in the heart of a dark dancefloor during peak hours, moving and sweating to the rhythm. Los Angeles has a rich musical heritage and a captivating lore, influenced by its diverse culture—from the glamour of Hollywood to the hidden corners of Downtown LA. Since moving to Los Angeles from Toronto, how has the city's culture shaped TR/ST's current sound and creative direction?
Things in LA are more spread out, there is stillness especially at night, a loneliness even. It sometimes feels like a small town. I think that is a big difference to other places I've lived. Some of my favorite LA moments are driving around at night or walking the hills at night with music and getting super dreamy.
You have remixed various artists, from Feist to Ionnalee. Are there any current collaborations in the works? Is there an artist or influence that tops TR/ST's wish list?
I really appreciate all the times I've been able to collaborate, it really is humbling as I realize how much I don't know about making music. I think it's a good time to start a new album, I have lots of ideas that I want to explore.
Your music showcases a wide vocal range, featuring deep, somber tones as well as bright, atmospheric melodies. This unique style is distinctly yours and appears challenging to execute. Has your vocal style evolved over the years? Are there still vocal boundaries you aim to push that we have yet to witness?
I think that over time I've been more open to attempting to make brighter music, more direct. I think when I started out I wanted it to be as murky as possible. I have noticed that as I age my higher range is much harder to maintain and so that's something to witness changing.
Photo by Renée Parkhurst, Art Direction Jamie Parkhurst
The music video for “Performance” is hauntingly beautiful. It is difficult to feel vulnerable when stepping on stage, whether in front of a few strangers or thousands. The feeling of vulnerability is relatable and is known all too well by many. However, as the song progresses, that feeling dissipates and is replaced by a sense of comfort. The song and video display this perfectly. Was there anything in particular that inspired this creative direction?
Brian did a fantastic job I think! I knew that I wanted to stay in the same creative world as the album cover, so that was really the jumping off inspiration.
Let’s chat about your production process! Which digital audio workstation (DAW) does Tr/st like to use? Do you have any favorite pieces of gear or software that you rely on? I’d love to know if there was a particular instrument or software that you found yourself using often while working on your latest album, "Performance"!
I use Ableton mostly now to record onto. The Moog Matriarch is my newest addition so that was used a lot on the album and in the live show. As well as the 2600. And always the Nord Lead 2x, which has been used throughout the entire catalogue.
From films to hobbies, even what is currently playing in your headphones, when you are not creating or touring, what do you enjoy during your leisure time that helps you unwind?
On these tours I've read both Bernard Sumner's and Peter Hook's New Order books, which have been both fantastic and entertaining. And i've listened like 1000 times to this late 70s Italian electronic recording Prati Bagnati del monte Analogo by Raul Lovisoni and Francesco Messina.
The music of TR/ST transcends any specific scene and is appreciated on various dance floors, ranging from queer spaces to alternative clubs, both in the US and internationally. Whether among the LGBTQ+ community or goth culture, your appeal is widely recognized and continues to grow. As you evolve as an artist, where do you envision your music taking you in the near future?
I have an idea of what kind of album I want to make so I intend to go work on that. I'm really grateful to be able to tour this music, the shows have been so fantastic really, so ideally I would like to take the show to new places.
Be sure to catch TR/ST in San Diego this Saturday, November 23, when they headline our first-ever Modern Wav festival! Act now and click the link below!
OH HAI MARC!: MODERN WAV IN FILM & MEDIA WITH MARC ACES
Marc Aces, Photography & Design by Javi Nunez
We are lucky to have our resident city correspondent, Marc Aces, to give you some helpful tips for those planning to attend Modern Wav. He will break down the event with one of his famous rants and dive into a few scenes that paint a picture of the evening.
Stefon - City Correspondent
Oh my God, you guys, this Event has everything...
If you’re tired of your usual night out at the goth club—one smoke machine, elites arguing over their favorite Sisters song, candles only there for aesthetic because, hello, fire hazard—why not step into Modern Wav? Do you remember the nightclub scene from The Matrix Revolutions? Picture this: instead of rolling greens and clinking martini glasses, you’ve got a black and red color-themed post-apocalyptic Dark Wave rave dungeon that’s like a Hot Topic on Trenbolone.
Street Fever at Modern Wav, photography by Chad kelco
This place has everything: leather trench coats, sunglasses worn indoors at night, a DJ called Soft Faith who only spins tracks made entirely of industrial noise, Dark Wavy beats, and pure existential dread. There’s a big bouncer, but instead of just checking IDs, he’s got body piercings that could double as USB ports, and he asks riddles about the nature of reality.
And the go-go dancers. Oh my God, the go-go dancers? They’re like... the fever dream of someone who just discovered bondage but hasn’t read the instruction manual.
These dancers have everything: platform boots so high they could step over traffic, fishnets so shredded they look like they were attacked by a pack of cyberpunk raccoons, and leather harnesses that scream, “I shop exclusively at the post-apocalyptic farmer’s market.” They’re gyrating in cages that they wish were suspended from the ceiling because nothing says “party,” like the constant threat of plummeting to your doom.
Modern Wav Go-go’s - Vannah Vicious,Venus Rx, Lady Sex Wax, and Bloody Wallflower, Photography by Mike Legend
And their moves? Honey, they’re not just dancing; they’re summoning the spirits of angsty poser ex-boyfriends and failed art school projects. It’s all hips, hair flips, and aggressive stomping—like someone taught them choreography by yelling, “BE SEXY BUT MAKE IT ANGRY!” While the lovely DOMS Gisella Thorn and Domina Death are there to let you know where you stand with them, and if you are lucky, maybe one of them will acknowledge you and make you a slave meat puppet like Salma Hayek in From Dusk Till Dawn. These dancers and Dom's are not here to make you comfortable. They’re here to remind you that PAIN is fashionable, and latex is breathable (it’s not).
And then we have the crowd. Oh, honey, they’re not wearing polos. These guys are decked out in outfits so tight they look vacuum-sealed. This crowd has everything: sweaty techno vampires straight out of Blade who are hoping for blood to fall from the ceiling but instead settle for drinking clamato juice, dudes in trench coats who spent three hours perfecting their brooding stares, and women wearing corsets so tight they’re internal organ rearrangers. There’s a guy and girl in the corner with a mohawk that looks like it was styled with engine grease, and someone else is wearing sunglasses inside at night because eye contact is apparently for the weak.
Stephi aka ohemgee_its_stephi & Jamie Ryckman aka 7th Stranger
And the conversations? Honey, if you’re not talking about Nietzsche, the heat death of the universe, or whether the Matrix is a metaphor for capitalism, then what are you even doing here? One guy is chain-smoking in a corner, probably named Lucian, saying things like, “Life is just a simulation, bro,” and you’re like, “Okay, but did you pay for those drinks, or is that simulated too?”
Venus Rx can & Domina Death, photo by Chad Kelco
Oh, and don’t forget the hardcore cosplayers. There’s always one Irish guy who comes dressed as a Neo/Blade and keeps dramatically adjusting his sunglasses, waiting for someone to notice, and a girl who showed up as Trinity but is clearly just here for the pics. Meanwhile, the randoms in the back are trying to blend in by wearing all black, but their sneakers are giving them away.
It’s a mix of theater kids gone goth, mall goths grown up, and philosophy majors who peaked in college, all writhing together under strobe lights that make you question if you’re having fun or just a mild seizure. Truly, it’s the who’s who of who hurt you.
The whole vibe? It’s like if Burning Man hooked up with a haunted escape room, then had a baby that was raised by a goth IT guy. But honestly? For all its chaos, pretension, and questionable fashion choices, this event somehow makes you feel like you’ve stepped into a living, breathing work of art—a wild, dark synth symphony where everyone’s playing their dramatic note, and for two strange, surreal nights, you get to be part of the performance. Modernwav is truly the place to be this weekend.
Panther Modern, Photo by Chad Kelco
1. First impression when entering Modernwav: “A Night at The Roxbury.”
Walking into Modern Wav for the first time reminds me of the Butabi brothers (yes, they’re brothers) as they enter the elusive Roxbury club for the first time. They are simply in awe and captivated by everything, from the people to the ambiance, the music, and the venue. Our lasers will be in motion, and Go-Go cages will be active, as the stage will be nonstop with both artists and kink performers, all while Soft Faith takes the DJ booth through the evening. It will be hottie overload, so be sure to pace yourself, Steve.
2. That moment you notice Domina Death or Giselle Thorn onstage: “Wayne’s World”
Picture this: you are at Modernwav, beverage in hand, mingling with the crowd in anticipation for the next act to take the stage, when you look up and notice that Domina Death / Gisella Thorn are center stage, engaging in one of their performances. You realize you are caught off guard yet cannot look away, captivated by what is unfolding. Whether it be Giselle Thorn elegantly weaving a web of rope around one of her performers or Domina Death executing a form of punishment on her sub, little by little, you become more immersed in their world. Your reaction will be similar to that of Wayne and Benjamin, where the only words you will be left with will be, to quote Wayne Campbell, “God, she’s amazing.”
3. Seeing the dancers at Modernwav: “Sin City”
You will see them at the event, whether walking amongst the crowd, enjoying the music, or dancing inside the custom steel cages draped in black chains. From the boots, fishnets, latex, and leather, they carry an exotic, intimidating presence. This presence reminds me of the “Women of Old Town” from the film Sin City. They all possess their distinct look and style while carrying a sense of strict confidence. Although they are friendly and kind, always be sure to be respectful, as in the case of Jackie Boy and deadly little Miho. Should you not come correctly, the consequences could be dire!
Don’t miss out on Modern Wav on November 22nd and 23rd! Join us for an unforgettable evening featuring sensational performances by IAMX, TR/ST, MATTE BLVCK, SPIKE HELLIS, LOUISAHHH, NOX NOVACULA, DIE SEXUAL, and VOID PALACE. Enjoy a captivating DJ set by Soft Faith and additional live acts from Gisella Thorn and Domina Death. Plus, be mesmerized by our stunning go-go dancers: Vannah Vicious, Bloody Wallflower, Venus Rx, and Lady Sex Wax. Get ready for an electrifying event you won’t want to miss! Click the Link BELOW!!
IAMX: LIFE BEFORE DEATH
Photography by Unfall productions , design by Javi Nunez
Since the inception of Modern Wav, we've always known that IAMX was an artist we wanted to bring to our stage. Our vision has always been to elevate art and bring it to the forefront, all while putting San Diego on the map as a vibrant hub for alternative culture. While the city is often celebrated for its stunning beaches and sunny atmosphere, there's a dark undercurrent that pulses through the unexplored corners of San Diego—one that thrives in the hearts of those who embrace the alternative scene.
In just two weeks, IAMX will grace our stage, and we couldn't be more thrilled to witness this vision come to life. Ahead of the performance, we had the distinct pleasure of sitting down with Chris Corner, the creative force behind IAMX. In our conversation, we dove deep into his multifaceted approach to art, film, and inspiration, touching on everything from his creative process to the themes that shape his latest studio album, Fault Lines2.
This is a night not to be missed as we celebrate the intersection of music, art, and alternative culture. We can’t wait to see you there.
Photography by Kris of MorgueDoor
How do you sustain your creative momentum after producing and releasing such a prolific body of music?
I have a hyper selective memory .
Nostalgia annoys me and I live in a bubble . I don’t listen to other music anymore apart from when I create my own . I’m not cynical I’m just protective . I get deeply sucked in and super self conscious .
I never intentionally look back .
I adore movement and progress .
I’m also high functioning autistic and being creative is how I process my world . I communicate through it where I cannot communicate through social interaction . The idea of making something new propels me and gives me a clear purpose in life .
I am here to create . I accepted this pretty young . It is what I am meant to do and I cannot not do it . My drive for this has forced a very narrow window of what is possible for me to do so I lean in .
The more I witness the chaos and pain of the world outside the more I want to go inside . I go inside I explore I come back out . My hope drags me back out to reality every time .
But when I am inside I revel in it . I make something, it makes me want to weep or dance or fuck .
I know this will do the same for someone else and it is my offering to the world .
Creation is simultaneously my hyper stimulation and my calming retreat , my safe space where I can risk and fail and be purely authentic with the added bonus of being loved and accepted by others .
"Fault Lines" showcases a cinematic orchestral quality and an emotive soundscape while still capturing the essence of IAMX. One album that genuinely resonates with me is "Metanoia," especially the track "No Maker Made Me," which has served as a significant source of inspiration in my own creative journey. I'm curious about the strategies or practices you employ to continuously inspire yourself and generate fresh, innovative ideas as you navigate the creative process. What methods help you overcome any creative blocks or maintain your artistic vision?
Perseverance and experiment .
I trust myself even when I have no idea what I’m doing . Which is often . I trust the work . I know my talent is to channel something beyond my conscious and I know if I squeeze and mold and endure it eventually comes out , even if what comes out is simply the journey of not being able to get it out .
That to me is the key . The golden ticket to creativity . Everything is interesting . If you can’t write , write about not being able to write . The world is full of beauty and wonder and awe and pain and suffering and beauty and awe …..
Curiosity can be boundless . Mine is . I am looking at my breakfast bowl right now and I think of the designer and the factory and the shape and the care .
I am curious to a fault . That intensity is challenging in social situations .
I’ve also learned to ride the waves of anxiety and self doubt and self vitriol through the work ethic . I gained this from my upbringing , intensely working class and zero bullshit .
Which led me to a strong focus on completion above all . Completion and release .
An artist must complete and must release , be witnessed . Succeed and fail and grow .
I admire the strong emphasis you place on visually representing your music and the way you craft your content and live performances. It truly reflects an ongoing transformation. Does this passion arise from your love of film? I'd love to hear about any particular genres or directors that inspire you, whether it's comedy, horror, anime, or arthouse, and discover some of your favorite movies!
I adore film . I enjoy it more than music . I’m fundamentally a visual processor. I remember details of movies from childhood . It’s an odd trait . When I make music I often have imagery in my head . It guides me as I write or produce sounds .
They are intertwined as one and the same .
So much can be communicated through connecting music with image . Photos , videos , stage visuals . It’s another communication tool . What you can’t quite say with the music you can say with the visual . It gives a more complete picture of the project . Maybe a song seems super intense and heavy and serious at first but put against a backdrop of something frivolous or sexual or stupid , it can help paint a more engaging wider concept . An insight into a wider view in the art . Make people think , wonder , laugh , throw up . Challenge the level that they view the music on . “Oh I thought he was this kind of musician , but actually …”
Opens the playing field .
Photography by Unfall productions
Going to an IAMX show is a special experience. It's clear to see the dedicated fans who proudly show off tattoos of the IAMX logo. These tattoos reflect the strong loyalty and devotion of the fan base. Can you remember a moment when you first noticed how deep this dedication runs? How has this understanding changed you, knowing that many people not only appreciate your art but also strongly relate to it?
I can’t tell you the relief and satisfaction I feel when people get it . It’s obvious to say but it’s just primal validation .
I recognized pretty early the transience and danger of the music industry . I had success with my first project Sneaker Pimps and that was a fast track to knowing exactly what I don’t want . But I never felt anything deep and tangible . The machine it was built on was constructed for others . I needed my own secure and sustainable thing .
I saw the real connection in my first few self booked and managed shows with IAMX . Ten people at the front but those ten people had understanding and love in their eyes . They got me . There may be no better feeling in art . This is what I yearned for .
I was well aware of the limits of such a niche project . I stopped caring about getting as many people as possible to listen and started to focus on getting to the people that care and invest . The ones that will stay and will truly support . This project is built on love in the end . When you show yourself fully the right people come .
The live shows are sublime in the sense it is where we coalesce and express our mutual love . We all get to show ourselves fully , theatrical cross dressing , LGBTQ, naked- neuro-art -freaks , whatever . It’s safe and beautiful .
Photography by Kris of MorgueDoor
Do you have other outlets or interests outside of music that help you maintain a work-life balance?
Aside from film , architecture and art (in the sense of video sculpture installation) I love nature and landscaping .
Taking raw land and developing it conscientiously with my bobcat .
Rock formations and boulders , desert wildlife . Hiking through the cholla .
A wide silent arid view .
Making Trash metal sculptures and retrofitting vintage trailers also keeps me active .
I live in SoCal on an old horse ranch and spend a lot of time outside . When I can’t go outside I have a converted barn with all of my creating tools at hand . Cameras, lights costumes paint ,
Projectors stage lights .
I make the live visualands the official videos here and also throw events for fans .
Living with animals , loving and kinking with people and connecting deeply with my audience . These are my passions .
Photography by Unfall productions
Let's dive into your gear and recording process! Are there particular pieces of music equipment that have become essential for you while making "Fault Lines2"?
I leaned heavily into modular synthesis when I moved to the US .
There were small elements of it on Metanoia as I was getting started with it though it really became a serious tool for me when I made the instrumental album UNFALL .
I’ve never been a gear fascist . I very rarely care what I use as long as I have something to get my idea out . Nice gear helps though it can be a total distraction from completion . My drive is to connect with a message. Sometimes that message is the message of not caring about production value .
In a sense that’s why I like modular , it has a certain flawed grimy quality that doesn’t care if it’s recorded correctly .
There is one granular sampler manipulator called Morphagene that I adore . I adore it so much I called my cat after it .
I particularly adore my vocals mangled and unrecognizable through it .
I'd also love to hear about your current approach to working on projects. Do you prefer creating multiple sketches and organizing them in a folder, or do you focus on refining each piece until it develops into something special?
I have a multitude of sketches .
Usually start with a scratchy programmed loop or a baby language iPhone melody or an acoustic guitar sequence .
And often spill over from the last album . Songs that are not quite ready to be heard . My music is ahead of me . It knows me better than I know me . So often I recognise a more educated wiser version of myself in a song , that I just wasn’t ready to be at the time I wrote . I write both about who I have been and who I am turning into .
These multiple sketches are slowly filtered down into less and less . I cannibalize one for the other . Bounce ideas between them .
It’s tough to realise a song you believed was amazing was just the chorus to another one and that you have to give it up to the ether .
I have become more ruthless these days . Life is short , time’s running out , so many ideas .
BOUND, I RISE: INSIDE THE MUSIC OF DIE SEXUAL
Designed by Javi Nunez , Photo by JPEG @jpeg01
From Los Angeles, Die Sexual is an electronic duo that rose from the ashes of the renowned Black Light Odyssey. Rosselinni and Anton Floriano have conjured up a growing fan base that rides along the palette of Modern Wav fans.
Let's talk about the formation of Die Sexual. How did the question come up to form a band? Was it over dinner one evening where one turned to the other and said, "You know, we have similar tastes and styles, why don't we join forces?" Additionally, in doing so, would you find that blurring the lines in the work/life balance is something that you two have found to be challenging or advantageous?
Doing this project together was something we always talked about since we first met, we have a lot of love for the same artists and a united vision for what we wanted to achieve, it was just natural to start writing and producing together and once we got off the ground, it came together rather quickly. At this point, we are living Die Sexual, it's no longer a separation of work and life.
Photo by JPEG @jpeg01
Hailing from Los Angeles, where the dark electronic music scene is vibrant and abundant, how does Die Sexual manage to carve out its own unique style?
We listen to a lot of different music, not just dark electronic, and it all influences us in some ways. That's the beauty of LA, right? But not just LA, of course; we have many influences that hail from all across the world. I think we found our own style by doing what comes naturally and doing whatever the fuck we want.
Regarding nightlife, LA is a haven for fans of EBM, Industrial, and synth music. Do you like to frequent any particular events or clubs when out and about? Equally as important, where does one go for some good, post-club, late-night eats(preferably tacos)?
Oh, hell yeah! We love to frequent Doom and Boom, an event that JPEG and Noizith started along with their most recent night, Black Lips, which, if you know, you know ;) We attend those a lot and, of course, the occasional underground warehouse party. As to the all-important late-night eats, to be honest, we spend most of our time driving around looking for places that are open and almost always end up resorting to going home -- cause there, at least, we know where we can have all the late-night snacks. You are most welcome at our house!
Die Sexual carries a solid visual aspect that complements the music, from style to design elements. When you see a Die Sexual graphic, you can envision the music, inversely, when you hear the music you can visualize the artists. How important would you say having a cohesive visual presence to compliment the music is, and who would be the creative visual force behind Die Sexual?
Wow, well, we appreciate the compliment! In our opinion, it is very important to have that cohesiveness between music and design. Rosselinni has an extensive background in photography and design, so it's almost something that is embedded in nature to see things in an abstract or artistic way. Moreover, we've been super lucky to collaborate with like-minded individuals who have the same visions, such as Javi from ModernWav. Who designed our logo, JPEG, who shot and directed our latest photoshoot, and Robert from Defiant Digital, who filmed our music video for "Darkest Hour", a track from the newest EP, Electric. We hope to collaborate with tons of new creatives in the future!
Photo by JPEG @jpeg01
Your latest EP, "Electric," comes right out the gate with dancefloor-ready heaters. Whatever the Rosselinni x Anton formula is, it's working, and we're here for it. What can we expect to come out of the Die Sexual lab in the near future?
Thank you for that; dancefloor heaters are what we're here for! We're pretty much on tour for the rest of the year, and we are already booking our next tour, starting in February, along with several festivals booked for 2025. Somewhere in there, we'll have some time off, and we'll begin work on new material. Pylon Records (Nitzer Ebb, Xymox) is doing a *very* special vinyl release in December of all our tracks so far; details coming soon on that. We're very excited to see you and all the San Diego fam in November!
You can catch Die Sexual on Friday, November 22nd, at Music Box along the side of IAMX, MATTE BLVCK, LOUISAHHH, and SOFT FAITH. Tickets are now on sale! Click the link Below!
INSIDE THE WORLD OF PAIN & PLEASURE: DOMINA DEATH & GISELLA THORN
Photo By Mike Saavedra, Design by Javi Nunez
As of the present day, it is safe to say both of you are prominent figures within the San Diego alt/kink community, actively involved in events, photography, workshops, and performances. Let's start from the beginning...whether it be shibari, BDSM, performance art, or seductive photography, what was your first foray into the world of kink?
My experience in music performance has made me well acquainted with the stage. It was natural for me to bring my passion for BDSM into the spotlight. Honestly, my friend circle is full of burlesque and pole dancers, kinksters, and all-around creative brains and weirdos, so there's usually something fun in the works. I've had an eye for Fetish Photography for as long as I can remember, and modeling has been a fantastic way to claim my power. I was fully introduced to the world of Shibari and BDSM about six years ago and am completely hooked. It requires excellent focus and practice, but it can be euphoric once I'm in the flow.
I made the conscious decision to dive in during COVID-19, educating myself by taking classes and networking online with a Fetlife. I also began immersing myself in documentaries, movies, books, and music. Before that point, I wanted to be a domme since I was too young to know what one was by US standards due to my European & straightforward upbringing as well as my mother being a domme before me. My goal was to be at a certain point where I knew it would fuel a healthy lifestyle. I've been enjoying the amount of self-discovery & growth I can experience simultaneously in this world as in any of my other realms. I mean, it's all personal, but I love to compartmentalize.
Gisella Thorn, Carrie Wilds, and Anna Rose at Modern Wav - Nitzer Ebb 2023 Photo by Chad Kelco
Domina Death at Modern Wav - Nitzer Ebb 2023 Photo by Chad Kelco
What would you say to the unsuspecting Modern Wav attendee who is about to experience one of your performances for the first time?
When it comes to my scenes, they are absolutely directed by me in real-time and very minimally choreographed aside from the flow of things prenegotiated to ensure comfort and consent. There's absolutely a mix of seduction and brutality, yet cheeky, sadistic fun that really takes everybody on a journey. I've developed a formula and structure for my scenes that do feel like they tell a story or have the elements of a song. I have signature moves, yet other elements I like to keep evolving. My last performance I incorporated, jiu jitsu, submission moves which will I do it again? We will see! Either way, expect a fully harmonious dynamic on stage, built on trust and, dare I say, vibes!? Yeah, I said it. Please enjoy, and remember everyone is safe and having a blast.
Enjoy the story and the view. My kink partner and collaborator for Modern Wav, Carrie Wilds, and I carefully construct a scene that takes the viewer on an artistic journey through pleasure and pain, desire and sensuality. It is a beautiful, sometimes brutal, and unique display of intimacy and connection.
Gisella Thorn at Modern Wav - Nitzer Ebb 2023 Photo by Becky DiGiglio
Domina Death and Little Grudge aka Venuz RX at Modern Wav - HEALTH 2023 Photo by Becky DiGiglio
When it comes to this type of performance art, amidst feelings of pain and pleasure, also lie feelings of trust and comfort between domme and sub. Can you talk about the emotional connection that exists while performing, as well as the importance of aftercare post performance?
This is such a crucial question and one of my favorites to answer, and it'll get a bit personal to me and absolutely won’t be what everyone does. First, I will absolutely say the universals, which are very common sense, are R.A.C.K, Risk Aware Consensual Kink. Since I do impact, it is very important that the people I do impact on are fully consenting and enjoying what I'm giving them safely. I'm very thorough with my pre-negotiations, which is where we lay everything out and consent to everything, including our limits. I'm considered a high protocol Domme, not only because I do it as a profession but because that's just the way it should be. Okay, more on connecting with my subs personally. SO! As much as people feel BDSM is inherently sexual, I'm on the part of the spectrum that is not. It is more about power exchange, catharsis, control, and HUMOR. The way I can connect with my subs is through strong platonic humor and by not taking each other so seriously. My style of domination is having a blast while I am making them suffer or feel like a pain slut, just absolute torture. I can play the role of a severe domme and be terrifying, too, but that's going to cost them. In all senses of the phrase, haha. Still safely, of course!
Trust and care are crucial in any domme work. We are the ultimate caregivers. The trust my submissive gives allows the emotional connection to form. It is an ongoing relationship. Aftercare depends on the needs of everyone involved and what we have done during the scene. It can extend into the following week. I always check in the following day to debrief on how everything went and what we want to do more of in the future together.
Carrie Wilds and Gisella Thorn Photo by Mike Saavedra
Bibi, Domina Death, and Little Grudge Photo by Mike Saavedra
There are many contraptions and tools used in your performances. Do each of you happen to have a tool or method of choice?
There will always be an element of rope involved in my performances. It may be more ornate and decorative or used as a direct tool of domination.
My implements include a lot of impact tools and some sensation. I love my heavy chain leashes. I have things as simple as a riding crop or cane. I have a leather paddle that has more bark than bite for warmups and a bamboo paddle with holes that everybody hates, which only makes me love it more, of course! I have a beautiful pair of almost vintage Victor Tella flogs that were gifted to me as my first pair. I ordered a three-foot indoor single tail from him, and he literally passed away right after I received it, so I have one of the last he's ever made. Black with purple accents, of course. When I do get to use it, I have the best time. I also have xenomorph-molded handle floggers made of firebird leather. I have to wear gloves with those because they do a number on my knuckles, but it's worth it. I know how to do florentine, but not much else flog flow-wise besides figure eights, or I can do from behind the neck aiming flogging, which is also pretty subtle, but it still impresses the masses. I also have a 3-foot dragon tail whip, just a run-of-the-mill from the stock room in LA, as well as a mini hand-held dragon tail, but it is from American Ruin in Ventura. I also have a fluffing from Firebird Leather that a good friend sent to me. That sucker is so heavy and thuddy, I almost need two hands to swing it! Maybe I'll put in the work on stage, showing that one off! I also have German pinwheels, they're very pokey and very fun. I also have a zipper, which is clothespins on a string in the shape of an upside-down cross, which I pinch onto the skin and then RIP! It's really fun to have so many weapons of (m)ass destruction.
I am sure you have experienced many different pain tolerances throughout your years. As a domme, how do you correctly and safely determine one's pain threshold?
Informed consent and negotiation are the first steps in any kink scene. Carefully reviewing this information and having clear check-in cues (nonverbal for loud venues) during a scene are necessary. My performance partners are long-term relationships that have grown over time. While I know their needs well, our negotiations are always revisited for every scene.
I have different methods for different environments. Sometimes, I am faced with volunteers at a loud & busy event with expedited crowd play. For this, I have a very condensed prenegotiation and gauging of their experience level. For the pain threshold, I have them give me a number between 1 and 5 after a couple of strikes so I can gain immediate control of my muscle memory for the few minutes I have them for an optimum experience. If I'm in a private session, I can really take my time and have fun with it. It comes naturally to me to read people's body language with their pain noises, twitches, and squirms; there are so many different signals they give with each touch and strike. It's one of the things I love about being so in tune with what I do. That's what makes me a professional. That and I will just stop everything and talk about something if I need to. I'm not afraid to do that, and I don't think it breaks the fourth wall, and I don't think it does anything but make the person feel even safer as well. I've also had submissives that went beyond my own threshold of being able to hit them! It's definitely still a two-way street.
Carrie Wilds and Gisella Thorn Photo by Becky DiGiglio
Let's talk about misconceptions and etiquette. For those who may only know the tip of the kink iceberg, are there any misconceptions you would like to dispel? When watching a kink performance, what would be considered to be proper and respectful etiquette?
I love this question, as I have touched on it before. BDSM is a spectrum. There is no linear way to experience it, and its absolute core value is self-discovery, self-love, and understanding, even processing the trauma from which these decisions may or may not come, just like dating in everyday life. Now that I've said those things in the same instance, BDSM is also not inherently romantic or sexual. My subs are very strong platonic connections, and not just because that's what I thrive on, but because it helps me be a better professional by keeping it that way. It's not to say I don't engage in it in my personal life at all, but being a domme is not my entire personality or my life, and it is for other people, but it doesn't make either of us more or less of it. Everybody just is when they want to, and it is absolutely acceptable in every way. Another big basis for this is processing our shame. Shame is what makes us feel horrible and turns us on at the same time. The excitement of something being taboo, the different realms of role-play or fetish. It's all just so much more open and vast than anyone could ever imagine from the outside looking in. The best way I could describe etiquette is to be open-minded, ask questions instead of assume, and remember that our judgments on things reflect how we feel about ourselves or past experiences. If anyone is doing a scene, we do not address them or touch them unless the place is on freaking fire; even then, just yank the alarm, and they'll get it. Consent is everything, there's an entire video on consent compared to someone wanting a cup of tea, you can find it on youtube and I highly recommend watching it. As far as watching a performance like mine on stage barricaded away from the crowd? The only etiquette I will ask is, please don't boo me, or I'll cry. Thank you!
Every person and kink relationship is unique. Don't make assumptions that "all submissives" or "all dominants" enjoy the same things. We are all individuals with different needs. Your gaze is all I ask for while enjoying a performance. Allow yourself to be present.
Domina Death at Modern Wav - Nitzer Ebb 2023 Photo by Chad Kelco
If there was one song that would best describe and define each of your performances, what would it be?
Gisella Thorn:
OOooh, this is difficult. PJ Harvey's Long Snake Moan. I've been on that entire 90's album for a minute.
Oh man, do I have a list? It's on Spotify, and it's long. But I have a few favorites, including Louisahhh, whom I'm excited to see that Friday; Chaos is the track, of course. Other tracks I've performed to and love are:
Bury Me in Leather by Lucille Croft
Fab Tool by Carpenter Brut
No Miracles by SDH
I am a God by WHIPPED CREAM
In Your Lungs by Street Fever
This shit will fuck you up by Combichrist
Du hast by Rammstein
Army of Me by The Great Discord
Lovesong by Snake River Company
Blood By In this Moment
Domina Death Photo by Mike Saavedra
Gisella Thorn Photo by Mike Saavedra
After experiencing your performance in November, If people would like to educate themselves further on the kink lifestyle and community, what trusted resources would you recommend?
There are a lot of classes on Fetlife nationwide. Club x is local, SD Bad Intentions, SD Femdom Alliance, and a few others. You can go from there if you find any of these on Fetlife. Generally, they all vet each other and go from collective to collective. There are so many message boards on there. I have found some great people through those communities, but one still has to have street smarts online, just as much as in person.
The Rope Collective offers classes and workshops. Shibari Study has some fantastic online resources. Hire a professional domme for a private session!
Don't miss your chance to experience Domina Death and Gisella Thorn live at Modern Wav on November 22nd and 23rd! This event features a steamy lineup, including Tr/st, IAMX, Matte Blvck, Spike Hellis, Louisahhh, Nox Novacula, Void Palace, Die Sexual, and an exciting DJ set by Soft Faith. Click the link below to secure your tickets!
LOUISAHHH: FROM CLUB DJING TO THE BIRTH OF SOLO HYBRYD
Art Designed by Javi Nunez at Modern Wav & Photography by Adrien Renaud
The sounds of Louisahhh have been reverberating, and, well, we have been listening. From the clubs to the Boiler Room, Louisahhh will soon make her way to San Diego. Join us as the techno queen hits the dark alt scene with her American Solo Hybrid debut at Modernwav. We had the pleasure of interviewing Louisahhh before her debut, talking about everything from music production to collaborations and what it takes to push yourself past creative boundaries.
Love is Punk is one of my favorite records from the last five years. This record combines elements of EBM, punk, and industrial with techno fundamentals. The lyrics and vocal arrangement are placed so eloquently, and you can really feel the emotion behind them. I'm curious to know how this album came to be. What is your process for writing lyrics? Was it a challenging album to create?
Aw, I’m so glad that you love ‘Love is a Punk’! This song was actually a very last-minute addition to my debut album, ‘The Practice of Freedom.’ We’d already begun the mixing process with the legend Dave Pensado when Vice Cooler, who produced the record, sent over a little DFAM drum loop, and the song kind of poured out very naturally and ended up being the lead single. Touring this album, this is the track that opened every show, and I’m so glad it came to me in the nick of time.
In terms of process, I try to write every day with a morning pages practice (if you haven’t checked out ‘The Artist’s Way’ by Julia Cameron, it’s worth getting into), and I also keep a note on my phone of anything that comes to me while I’m running around. Good ideas from either place will be then transferred into a private blog that I can refer to whenever I need a seed or a starting point for a song. I think a lot of songwriters or top liners begin with ‘mumble tracks,’ where they kind of find the melody of the song and find the words after; I usually start with words and allow the way the language falls to dictate the energy or the meaning of a song. Words have always been very important to me and it’s been a lot of (joyful) work to get my voice and performance chops to the point where I can feel confident on stage, but it’s really my favorite thing on earth to do, and I feel really lucky to get to roar these words like prayers at an audience.
As a prominent figure in the techno scene, you have been DJing for many years. How have you managed to navigate both the production side and the performance aspect of your music career within the world of techno? How has the techno scene influenced the way you express yourself in your current work?
It’s funny; I started out as a DJ both because I felt like I had superior music taste to almost everyone (lol), and because I was socially awkward and needed something to do in da club to avoid having to talk to people. It turned into a kind of spiritual pursuit in that it’s something that really saved my life at certain points; music generally, but also the practice of healing and being healed in club spaces, of connecting and feeling and moving in ‘collective effervescence’, or being a channel of that.
I previously mentioned Julia Cameron’s work, and she talks about this idea of ‘The Shadow Artist’, which is where an artist chooses a career that’s close or parallel to the work they’re meant to be doing, but not the work itself, as a way of avoiding the terrifying, vulnerable, challenging labor of digging into the real stuff. For me, in some ways, DJing was a proxy for being a live performer, and it took a long time to get brave enough to get on stage and sing my songs and put myself out there in the context of the ‘LOUISAHHH LIVE BAND’ or Live Hybrid with Maelstrom, or now my solo hybrid project (which will have its American debut at Modern Wav!).
‘Post-Covid’, I also felt a lot of disillusionment around the idea of being a DJ and the techno scene in general as it started to feel like something I didn’t really relate to and I felt less confident and able to connect intuitively to the audience like I once had. I also felt like in order to make the live projects work, I would have to make a choice about what I was selling and how; promoters will typically go for the easiest idea to communicate (who can blame them?) so if I gave an option between a DJ set (what I was known for) and this new, more challenging, confronting, expensive thing, they’d always choose the DJ set and I would never get to perform the live show. Let me also mention that with the live iterations of performance, I started to feel like I had access to a braver, more feral, more present part of myself that I hadn’t previously experienced, and I was unwilling to cage that part again (because spitting blood and rolling on the floor during a DJ set is apparently frowned upon).
I turned down a lot of DJ sets in order to get to play with the band, or to perform the live hybrid with Maelstrom. I think this was a good choice and I don’t regret it, but at a certain point I did start to miss DJing and every time I got the chance to do it - usually by accident because there would be certain circumstances that the live options would be impossible - it was so fun and easy and playful.
Kind of full circle, it has become necessary to have a live expression that it is possible to perform solo, and it’s kind of the most obvious path of really braiding together my lovingly honed DJ skills and my absolute obsession and infatuation with roaring at a willing audience, and thus the ‘Solo Hybrid’ is born. I made techno edits of much of my previous work and figured out how to perform in the context of a DJ set without compromising the level of expression I want to deliver, and it’s different than I thought it would be, but it feels really right and I’m really excited to play this show, to live in this sweet spot for a minute.
Your album “Sustained Resistance” is visceral and rich in production. How did you meet Maelstrom, and what is it like to partner with him in creating art?
Mael and I were introduced by Louis Brodinski shortly before I relocated to France from Los Angeles as a potential collaborator on my ‘Transcend’ EP. I showed up on his doorstep on the second day I was in this new country, kind of like a techno foreign exchange student, and he took me into his family and we made two tracks in four days and kicked off our musical journey together.
We have vastly different sonic backgrounds and influences - he comes from a ‘free party’ tradition where people travel around France in giant soundsystem trucks and throw illegal raves, and I come from seedy downtown bars of New York City during peak ‘indie sleaze’, but our tastes and talents conjoin in a way that feels really magical. On a personal level, I learn a lot from Mael about boundaries and support and moving through successes and challenges with grace. I think we teach each other how to fail better, and are constantly trying to grow and learn how to be in a healthy partnership. I admire him tremendously, and I feel like he is my biggest champion; we are in a kind of constant dynamic trust fall with one another: we play and tour together, we create music and run a label together, and I can’t think of anyone on earth I’d rather be in this with. Sustained Resistance was a celebration of that, released almost a decade to the day after we met.
Throughout your career, you've been involved in numerous significant features and collaborations. Have there been any specific collaborations that stand out to you where you and another artist had an incredible synergy and connection? Additionally, are there any artists or idols that you are particularly eager to collaborate with in the future?
I love a collab, ha. Part of this is because I don’t consider myself a very strong producer and I prefer to work with people who I think have more skills than me in that area because I believe I bring a lot of other stuff to the table as a songwriter and vocalist. I try to play to my strengths but I’ve been working on growing in confidence and ability on the production side.
Regarding specific collaborations, it’s been really exciting to work with so many people I admire and I feel like there have been a bunch of career changing connections that I owe a lot to. Of course, Danny Daze (‘Your Everything’) and Brodinski (‘Let the Beat Control Your Body’) are two very important ones that really altered the course of my life, and on a more personal level, Shelter Studios and Vice Cooler have been my principle partners for ‘solo’ releases, and I owe a lot to their ability to translate and express ideas that sound like me better than I could express them.
At a certain point, I think my work with Maelstrom has kind of taken on its own character, beyond collaboration and more like a singular entity that’s separate from our individual practices. I am really excited to see how that evolves because it’s been such a vessel for monumental growth on creative, professional and personal levels.
Obviously the dream collaboration is Nine Inch Nails, but I think if I keep talking about it, it will never happen because I’m too much of a stan, so I’ll shut up now.
In recent years, the music industry has suffered the loss of numerous talented artists to drug addiction, particularly due to the fentanyl epidemic and the increasing popularity of substances like Cocaine and Ketamine. Notable figures such as Luis Vasquez of the Soft Moon, John Mendez (Silent Servant), and his partner Simone Ling have tragically succumbed to this crisis. We commend your courageous decision to pursue a sober lifestyle. What words of wisdom would you offer to struggling artists and DJs who are grappling with addiction and are apprehensive about seeking sobriety, fearing that it might impede their creativity and ability to perform in the vibrant nightlife scene?
Thanks for your kind words. I want to be clear that it’s not so much virtue but necessity that I no longer drink and use, and it’s by sheer grace that I get to stay sober and clean one day at a time. For me, without sobriety, there is nothing else: no career, no creativity, no relationship with my family, no integrity, no health. I was a daily cocaine user and helpless scoundrel, super dysfunctional and self loathing, and it felt really scary and out of control. I learned early on in this journey that whatever I put before my recovery I will lose, but if I put my recovery first, I can have anything (except of course drugs and alcohol), and I really believe that, so staying clean and helping other alcoholics and addicts to get clean is a big part of my life - maybe the biggest - and certainly the most rewarding. If you or a loved one is struggling in this area, my DMs are always open and I am happy to help however I can.
All that being said, I don’t believe everyone who uses drugs or drinks is an addict, but unfortunately we live in a new and horrible reality where even recreational users can be killed with a casual line. There is fentanyl in everything. If you’re gonna use, please don’t use alone, test your drugs with fentanyl testing strips and carry Naloxone. Try to stagger use so that if someone is OD’ing, there are people there to help. All of this sounds like a real vibe killer, but I guess so is dying, so please try to use responsibly.
There are a lot of resources available for San Diego county, please check them out: https://www.sandiegocounty.gov/content/sdc/hhsa/programs/bhs/BHS_Harm_Reduction/About_Naloxone.html
https://www.sandiegocounty.gov/content/sdc/hhsa/programs/phs/od2a/community.html
What are you most looking forward to about coming to San Diego and performing at Modern Wav?
I love San Diego! Amazing food, a great tradition of music and a rad epicenter of cholo goth culture, which is the coolest. I am stoked to go run by the ocean and scream at the top of my lungs and eat vegan mexican food and rent a muscle car. I am really excited to play the new Solo Hybrid show here and to see so many awesome acts. I’m also bringing my (French) partner for his first time in San Diego, and it’s gonna be his birthday, so it’ll be super cute. I really can’t wait.
Lastly, how is everything looking for Louisahhh's next phase? Do you have any exciting news to share?
The next phase is an exciting one. Maelstrom and I started a new project tentatively called “Pain Magazine” with our pals in French post-hardcore band Birds in Row, and we just finished making an album together. We gotta figure out how to release it and tour it, but it’s some of the work I’m proudest of being a part of. Stay tuned.
On a totally other tip, alongside my musical practice, I’m working as a consent educator, and I really love teaching this stuff. The concepts surrounding that have (of course) seeped their way into my creative life, so I’m presently trying to get funding for a multi-disciplinary performance (music, dance, AI) that I really hope will get off the ground eventually. It’s pretty ambitious, but I’m learning a lot - mostly that you gotta try. In closing: keep trying, kids.
Louisahhh will be taking the stage on November 22, 2024, accompanied by IAMX, MATTE BLVCK, and DIE SEXUAL. Secure your tickets now by clicking the link below!
NOX NOVACULA: FEED THE FIRE
Hailing from Seattle, Nox Novacula have established themselves as a growing force within the dark alternative music scene. Their latest release "Feed The Fire" continues to carry their iconic deathrock sound, serving as a testament to the staying power of their sound and style in the ever-evolving landscape.
1. Let's talk Seattle! What is the current music scene like? When Nox has a weekend off, are there any venues, bars, or places you would like to frequent?
(Charlotte)
Seattle isn’t the biggest city, but I think we have a pretty cool and diverse music scene. It definitely has a bigger metal and hardcore scene than goth, post-punk, or electronic, but more bands are popping up all the time, and because the pool isn’t as large as some bigger cities, we end up with more mixed bills, which I think is pretty cool. As far as venues, Seattle, like many cities, is becoming less and less affordable, meaning many of us have had to move farther outside the city and even to neighboring cities like Tacoma. Many venues have suffered because of this as well, and Seattle desperately needs more small independent venues. That said, I enjoy catching an all-ages show at Lucky Liquor, seeing more prominent bands at the Showbox, where I also work or dancing at one of the DJ nights at Pony on Capitol Hill.
(Ezra)
I moved to Tacoma about 30 minutes south of Seattle a few years ago. We have some cool venues there: Overkill Lounge, Real Art, New Frontier, The Church, and the Valley, to name a few. More and more artists and musicians are moving down as they’re getting priced out of Seattle, and I look forward to seeing our little city get cooler and cooler!
2. The deathrock genre is one of the myriads of genres that fall under the all-encompassing "goth" umbrella. Throughout the years, it has had a very dedicated and loyal following. Nox, along with a few other notables(New Skeletal Faces, Detoxi, Da'at, Shrouds, and Horror Vacui, to name a few), have been true to keeping the deathrock sound alive. Do you see the genre continuing to thrive? Outside of the aforementioned bands, are there any other contemporary bands that have been carrying the deathrock torch?
(Charlotte)
I think that deathrock will always be a pretty niche genre, I feel like even in its heyday it was pretty niche, but I agree that it’s a genre that has always had a loyal base of true believers. I think as long as people are still making guitar based music, there will always be some people who are drawn to the darker and more macabre elements of punk and rock and roll.
As far as bands that fit the genre, you definitely named most of the bands playing currently, and funny enough, or maybe unsurprisingly, I feel like all the bands I know of currently playing Deathrock we are most likely friends with and have probably played with them at some point. I will add a few more to the list: Nyx Division out of Portland, H.A.L.T. From Vancouver, B.C., and Destros from Milwaukee are all excellent and definitely worth a listen if you like darker guitar-driven music!
(Ezra)
We could be here all day naming great bands that fit under the deathrock umbrella that we have played with, but, a few more would be Tears for the Dying from Athens, Cemetery Sex from D.C., long time staples Altar De Fey from Oakland, and Oracion Funebre from El Paso.
3. Goth culture exists. Lifting culture exists, however, that venn diagram does not seem to overlap. Sure, you have your occasional #healthgoth lifter in the gym, but let's be honest you don't see too many gym goers in a 45 Grave tee stacking plates on the bench or squat rack, however, vocalist Charlotte is the embodiment of both. Charlotte, how did you get into powerlifting? During strenuous touring, are you able to maintain your lifting and nutrition? Are there any other lifters or fitness enthusiasts within the Nox camp?
(Charlotte)
Yes, we certainly are all active in our own way, though I will admit touring is really tough when it comes to trying to maintain strength and stay healthy in general. I will admit that even though I always try to keep some sort of routine on tour, I typically end up giving up pretty early on; maybe one day I’ll figure it out! As for me, I got into powerlifting maybe 6 or 7 years ago. I just wanted to start going to the gym. I didn’t know anything about working out or lifting weights, and I’ll admit I was super intimidated at first, but I was naturally drawn to lifting, probably because I’m a little bit lazy and I absolutely loathe doing cardio, so powerlifting with its low reps and high amount of rests just made sense for me haha. Then, once I started feeling and looking stronger, I became hooked. Taking multiple breaks from touring and life stuff, in general, has meant that progress hasn’t always been linear, but now, the act of lifting is super important not just for my physical health but for my mental state as well.
(Ezra)
I did Boxing for years before some injuries made it much more difficult. These days, you’ll find me in the gym, usually four days a week, when we’re not on tour. As Charlotte said, and especially as I’ve gotten older, it’s a must, almost more for my mental health than the physical benefits. Zu is an extremely avid hiker. You’ll find her on top of mountains from Canada to Chili.
4. The Nox Novacula sound tells me that there are overlapping influences rooted in 1980s goth and deathrock between all band members, however, you all seem to have your distinct style and personality. Common influences aside, are there any outlier bands, influences, or genres that each of you have that the casual fan may be completely unaware of? Any secret die-hard Dolly Parton fans?
(Charlotte)
I mean, who on this earth isn’t a Dolly Parton fan?? For real, though, I know I’m not the only one in my band who has an extremely eclectic taste in music. If you popped into our tour van, you might find us listening to literally anything from Death Metal to Hip Hop to Country to 90s House music or Detroit Techno and everything and anything in between. I don’t know if it would be surprising or obvious, but we are all big Danzig fans and I think he’s definitely had a bit of an influence on our band, Ian Astbury of The Cult is a big vocal inspiration for me, probably unsurprisingly I would think. I also take a lot of inspiration from Sinead O’Connor and Nina Simone. Maybe not necessarily in the way our voices sound, but in the way they were able to express emotion while singing.
5. Since its inception, Nox has been gaining much well-deserved momentum and does not seem to be slowing down anytime soon. On the heels of this latest release, what does the future hold for Nox Novacula?
(Charlotte)
That’s a good question but a hard one to answer! We’re still recovering from all the work that went into writing, recording, and putting out the last record and the US tour we just got home from. Right now, the future is very open and full of possibilities! We would really like to play some dates outside of the US, and we’re working on making that happen. I am excited to start working on new material. Besides that it’s hard to say, we’re just chugging along at this point and seeing what comes our way.
Don't miss your chance to witness Nox Novacula at Modern Wav in November. The event features a stacked lineup with TR/ST, IAMX, SPIKE HELLIS, MATTE BLVCK, LOUISAHHH, VOID PALACE, and DIE SEXUAL. Secure your tickets for the single-day or two-day event now. Act fast and click the link below before they're gone!
SOFT FAITH: CONFESS THY SYNTHS
Photography by Axel Ghxst
1. Alright, Aaron, from San Diego to Los Angeles and now residing in New York, what brought the move to the East Coast?
(AARON)
I’ve always had such great love for my hometown of San Diego, and I still have my 619 phone number! But to be honest - I didn’t feel like LA was my home, and I was ready for a change. My wife is from the East Coast and has lived in New York for many years. She felt the same way about LA, so we decided to make the move! It’s been almost three years of living in Brooklyn, and I love it so much - it truly feels like home.
2. Los Angeles and New York are both primary markets for music, rich with respective histories and thriving scenes. From the people and nightlife to the music industry as a whole, how would you compare the two? Was it easier to find your footing in one city than the other?
(AARON)
When I was younger, LA was a lot of fun. As my local San Diego band (The Stranger’s Six) grew a bit in popularity, we became part of the LA scene in the mid-00s, and it was a blast playing Hollywood and all those legendary venues and being up in the mix of the industry. When I moved to LA ten years later, especially post-COVID - I found it challenging to re-find my musical footing. When I moved to NY - I simply posted on my IG story, “I’m here who wants to start a band,” and within the first year here, that’s how I met Kenneth and Soft Faith was born! So, for me, NY has provided me with not only an amazing new musical project but also a great friend.
3. Coming from the Pop Punk scene in the mid-aughts with bands like The Stranger's Six and Fenix TX, to the present day being fully submerged in Synth-pop music, what caused the shift in influence and/or artistic style? Was it a specific band that triggered it, or the sounds of the Sub 25 that served as the catalyst?
(AARON)
I must thank my first goth girlfriend when I was young for kick-starting my love for this kind of music! She introduced me to bands like VNV Nation, Covenant, Sisters of Mercy, and Depeche Mode - so even when I was playing in pop-punk bands, I was always listening to darker stuff with heavy synth elements. To this day, VNV Nation is a top 10 all-time band for me. I’ve probably seen them live 15 or so times over the years. Then, later in my life, I was doing film scores in the adult industry and using lots of synths, and from there, I got inspired to start making my own darkwave music, which I released under the name Empty Streets on Cleopatra Records!
(KENNETH)
For me, it was this natural progression from punk to post-punk. When I was in college, there was this sort of 80s nostalgia thing happening, with artists like the Killers and Interpol gaining popularity, and I started listening to Joy Division and the Cure a lot. From there, it was New Order and eventually Depeche Mode, and by then, I had quit my band and bought an Oberheim DMX drum machine.”
4. Kenneth Fletcher of The Neuromantic Boys brings his own arsenal of production and artistry into the mix. How did you two end up coming together to create the force that is Soft Faith?
(KENNETH)
Initially, Aaron and I discussed trading features for our respective projects (Empty Streets / the Neuromantic Boys). Empty Streets leans a little darker and industrial, while NB has more of a new wave-influenced sound. Aaron did some demos for his NB feature, and I liked the way his voice sounded. I asked him if he would record lead vocals on a synth-pop track I had just written, which I thought had potential but didn’t sound suitable with my voice. He agreed, and that track became Soft Faith’s debut original single ‘Tears of the Fall.’”
5. Let's talk gear. One synth is never enough, as we see you guys are packing some heat with a Sub 25, Juno-106, and Prophet Rev2, to name a few. Is any synth in particular considered a favorite, and are there any rare gems out there that you would like or will be adding to the stable in the future?
(KENNETH)
The Rev2 will always be a favorite. The 8-voice desktop version was my first ‘real’ analog synth. We actually just upgraded to the 16-voice version with the keybed for our ‘House of Faith’ studio. The Juno 106 is a dream synth. We just got it completely redone, so it’s basically brand new on the inside. Last summer, we picked up an SQ80 for dirt cheap with an extra cartridge filled with many amazing custom sounds its previous owner made. I like to think of it as a poor man’s Emulator. We just got an original 707. We’ve been using the samples since we started this project, so it only made sense to get the real deal. I’d love to get a 727 to match it. I really want to add one of the newer Oberheims to the studio. Originally, I was looking at the Ob-6, but now I’m leaning more toward the TEO-5. If I’m being honest, I also just think it would look really cool next to our Pro 3!
Modern Wav proudly presents Soft Faith's DJ set at this year's highly-anticipated two-day event on November 22nd and 23rd. Featuring an impressive lineup including TR/ST, IAMX, Matte Blvck, Spike Hellis, Louisahh, Nox Novacula, Void Palace, and Die Sexual, this is an event not to be missed. Join San Diego's vibrant gothic and alternative music community for an unforgettable night. Step into the dark corners of San Diego and secure your tickets today! Secure your tickets today!
PANTHER MODERN: CHAOS AT CAPACITY
Photography by Sarah Pardini
Panther Modern is a thriving presence at the intersection of techno and goth culture worldwide. He pushes boundaries not just within his music but also with his collaboration with the talented Melissa Scaduto in Sextile. Their high-energy performances and stellar tracklists have created eager anticipation among fans in San Diego, who are eagerly waiting to embrace the relentless electronic chaos that Panther Modern brings.
Modern Wav is excitedly anticipating Panther Modern's pivotal presence on April 6 at Music Box alongside powerhouse acts Health, Pixel Grip, and Street Fever. So, if you're a fan, don't miss out on the call to witness Panther Modern's full-capacity performance!
1) How do you feel about Panther Modern's widespread appeal among diverse fan bases worldwide, including admiration from goth, techno, and EBM enthusiasts in the United States?
I'm super grateful to have a fan base, period. Honestly, I have no clue what I am doing, and I am just kind of winging it. I know how to conjure moods with sound, but I have to discover them before I can connect with them and then disperse that energy into a room. Either way, I feel a sense of success knowing that my music doesn't fit into a particular niche genre. I'm a fan of each, but I want to push the boundaries of what they are. Some chaos
2) When dealing with two exceptional acts, how do you determine which elements are suitable for inclusion in Panther's projects and which are more fitting for Sextile's endeavors?
It's actually been increasingly more difficult than I had anticipated. At the moment, they kind of bleed into each other. I think my answer a year ago would have been, well, SEXTILE uses guitars. But I have been so over guitars that I don't pick it up when it comes to writing, and now SEXTILE is becoming more focused on synths. I mean, let's get real: the guitar was invented in the 15th century. The synthesizer and subwoofer were invented 50 years ago. I want to do shit that millennia of humans were never ever able to do. I get excited when I think 1000 years ago, I would have been burned at the stake for shaking a whole room with subfrequencies using a small black device; they would have thought I was a witch. Thats cool.
So, to really answer your question, Panther Modern has been getting my more experimental, harder electro tracks. SEXTILE is Melissa and I writing, working in a way that kind of feeds our need to create more melodic music.
3) You have recently released a new work called "Deluxe" that gives off a completely different vibe and mood than your previous works. I couldn't help but notice that the influence of breakbeats, Detroit, and Berlin techno is heavy, yet you have managed to maintain the unique sound of Panther Modern. Can you tell us what inspired you to move in this direction and what tools/gear you used to achieve this distinctive sound?"
Yes, the breakbeats!
It all started with entering into a deep depression during the pandemic. At that time, I was messing around with crypto and NFTs, which I wouldn't recommend anyone ever do. I bought the tech smoke and mirrors of royalties in perpetuity and a new paradigm for artists. As all of us know now, it was bullshit. I entered into the depression because I watched as hundreds of thousands of dollars were being thrown at the most useless projects instead of going to real art. I started to believe that art was dead, music was dead, and the world, when presented with the opportunity to back real art and real artists, turned a blind eye and threw it at shit that is worth absolutely nothing now. They would rather gamble, and they still do.
I struggled to get out of the depression, I struggled to make music, I was gaining weight, I wasnt connecting to myself - it all sucked. Maybe I heard it in a movie, or someone once said this to me, but the phrase “You got to get back to your roots, where it all started, where you first fell in love with music.” was just repeating in my head and it made a lot of sense. So I started listening to the music I used to when I was growing up. It was mostly East Coast 90s hip-hop like Smiff n Wesson, Mobb Deep, Gang Starr, and then 90s Trance like ATB, Alice Deejay, Paul Oakenfold, The Matrix soundtrack, and then getting back into Drum n Bass, or Prodigy and Slipknot as well. I mean I remember this profound moment of hearing Drum and Bass for the first time and just being SHOOK. It was at a festival in DC, I walked into this dark tent with black lights, neon everywhere and this producer Diesel Boy was spinning - I had never heard bass like that. I had never FELT bass like that before. It changed my life and it is the reason I wanted SEXTILE to tour Florida this upcoming tour. Diesel Boy is from Florida, and there was a huge DnB scene there. I feel I need to go pay my respects.
So, back to the depression. I'm depressed. I'm starting to listen to all the music I grew up listening to, and now I want to start making music the way I used to when I first started. That was sampling and getting creative with found sound because I couldn't afford a synth at the time, let alone any instrument. I was also super into Brian Eno, who I related to because he described himself as a non-musician and used the studio to create his treatments. I related to this because I have never been a technically skilled instrument player. I can't play piano with two hands, I don't know the scales on the guitar, and I couldn't solo to save my life, but I can record a bunch of sounds, arrange them in Ableton, and make something sound like a song. So my first sampler was the Roland SP-555, I got it cause I heard Panda Bear was using it. At the time, he had just released a track where the beat was a looped recording of someone riding a skateboard, and my mind was blown. I was also super into the Art of Noise manifesto at that time, so it was kind of like a perfect synergy for the type of sound art I was trying to explore.
Flash forward to today and I'm back to sampling breaks, trying to incorporate some of my favorite things about the music I loved when I was growing up and it has helped me immensely in reconnecting with myself and why I make art in the first place.
In terms of tools/gear I used, of course my Korg MS20 and MS10, a beatstep pro, a keystep pro, an emu polysynth, Ableton and a custom drumrack I built using samples of 808s and 909s I recorded myself.
4) In 2019, I stumbled upon a video titled "Ask Yourself" that immediately caught my attention with its unique branding and aesthetic. The visuals were a perfect blend of sinister, sexy, and chaotic, leaving me intrigued about the process behind its creation. I would love to learn more about the creative process involved in crafting the stunning 3D visuals and branding of your videos.
Ah that particular video I do cherish very much, but making those 3D scenes and editing that video was hell on earth. I had little knowledge of what I was doing at the time. That was my first time ever comping green screen footage and adding 3D scenes behind it. It took hours of motion tracking the footage and even more hours to render the 3D scenes, which I did on a single computer.
The worst part was that during that summer, while it was rendering, I had the touch choice between rendering the video or air conditioning. The power was so bad at my apartment that I couldnt run both at the same time, otherwise it would trip the circuit for the whole unit. To top off, while the computer is rendering, all it's doing is blowing oven-hot air into the room. I slept sweating with no sheets for 4 weeks. This is probably why I haven’t attempted to make another video quite like it.
Making music is much more gratifying and immediate. In terms of tools used for 3D, I used Cinema 4D and Octane Renderer. If you are just getting started with 3D, I would suggest using Unreal Engine and a new platform my friends and I created called HEAT. HEAT allows anyone to use their phone to capture a move or dance and bring it onto a 3d character without having to know how to code. Something I desperately needed 5-6 years ago.
Photography by Sarah Pardini
Don't miss out on Panther Modern's captivating journey back to his roots with his latest artistry, "Deluxe"! Experience it live at the Music Box on April 6th, where the three floors will buzz with excitement, thanks to Modern Wav at the helm. Health, Panther Modern, Pixel Grip, Street Fever, Baby Magick DJing, and a kink performance by Domina Death will make it an immersive and high-caliber experience.
This event promises to be another memorable addition to Modern, and you do not want to miss it! Don't wait; secure your tickets now to ensure you're a part of this special event. I always say, "Regrets are forever; presale is not."
STREET FEVER : Beneath the Veil of Absolution
Photography by CDIGI
As we gear up for the next edition of Modern Wav, our core values remain unchanged - experience, lasers, fog, cages, steel, leather, and faux leather from our vegan comrades. And let's not forget the most important element - sound. To be fully immersed and have your senses heightened by the mystique of the evening is what we strive for. Street Fever, with its artisanal mystique, is all set to rock the Modern Wav line-up on April 6th.
Behind the mask of the anonymous producer, cohesive art flows through a black canvas of dark electronic beats. Street Fever recently dropped a visually impressive video for their latest single, "Sinner" which is guaranteed to make you scream 'Daddy' in no time. And with tracks like "In Your Lungs," you'll definitely be coming back for seconds.
We had the chance to speak with Street Fever for a few seconds, and let's just say, the conversation was nothing short of amazing. So, let's talk shop.
Can you please tell me about the inspiration behind your new single 'Sinner' and the visuals used in the video? The track uniquely blends genres such as EBM, Drum n Bass, Industrial, and modern goth. I am curious to know about the story behind the creation of this remarkable video. Could you share some insights about it?
This video was a collection of footage I shot on tour over the last few years and some studio sessions at the art gallery I helped curate. I wanted to almost re-create certain situations in a real-world setting that I just used to go out and do myself without cameras. These poetic expressions were in real-world scenarios, and I feel it’s important to disrupt and confront people and institutions in power, so we did just that.
I think it’s our job as artists to use the privilege we have and the voices we are allowed to use and use them to our utmost ability. The amount of freedom we have to express ourselves is something I don’t take for granted. It is something I’m continuing to push myself to use and also pushing myself to see how far I can go in these sorts of grey areas of “is this legal or is this not?” and tapping into what we can get away with in the streets in broad daylight has been a very exciting journey.
Photography by CDIGI
San Diego has made its scene its own with several regular goth nights and alternative events such as Modern Wav. So, what are your thoughts on sharing the stage with the impressive lineup in the great city?
I’m extremely grateful to be playing this show and exploring new territory and playing a new space in SD. I’ve been a fan of Health for a long time and these other acts are really special as well. I’m extremely humbled to be invited to play such a carefully curated event and I’m even more excited to just check out the music and enjoy myself.
Photography by CDIGI
The music industry is a unique place for artists, as they all have their own individual experiences. So, what are the key pieces that you've learned from that keep Street Fever moving forward?
I’ve learned that it’s important for me to show up and support other artists. I think for me personally, it’s something that I truly enjoy about music, which is just connecting with others talking about art, and sharing stories. I think what keeps me going is the love and connection I get to build with other artists and the lifelong friendships I get to cherish. The music industry can be a confusing place and a really hard place to thrive if you don’t have the right people around you.
Lastly, what exciting projects does the future have in store for Street Fever that you want everyone to know about?
Well, I’ll be releasing my debut album “Absolution” out on April 2nd and touring the US and EU all year and probably for the foreseeable future. I have another album that I produced that will hopefully come out in the fall. I’ll be hosting events with @oil.move in my home town all year. I work intimately with an amazing community of artists that are a part of a shift in the industry and I’m excited to be a part of that.
Street Fever is set to release its debut album soon, and we believe that they have a bright future ahead of them. We cannot stress enough how much we value the freedom to express ourselves, and we never take it for granted. Modern Wav's upcoming event will be a testament to the power of collaboration, as we will see what happens when many creative minds come together.
During the recent Modern Wav photo shoot, which featured San Diego's Becky Giglo behind the camera, we felt the energy that Street Fever brings to their music. When their track "Sinner" played through the speakers, the room came alive.
Don't miss out on the opportunity to experience this energy for yourself. Grab your tickets today and join us for Modern Wav's upcoming event, featuring Health, Panther Modern, Pixel Grip, and Street Fever. The event will take place on April 6th at the Music Box in San Diego. To purchase your tickets, click the "buy" button below.
From The Chicago Burbs to The Dance Floor: The Rise of PIXEL GRIP
Photography by: Riley Valentine
Every morning, I start my day with a playlist of songs that help me to get going. Pixel Grip's "Bet You Do" blasts through my car speakers, and I hope my friends and I will get lost in the electric beats and mesmerizing lights of a Modern Wav concert. It's like we're all part of a giant music box. The lyric "Baby, why you seem so dark? That's cuz you're standing in my shadow" has become my mantra.
Can you imagine the excitement when the iconic anthem 'ALPHAPUSSY' plays? The Modern Wav team is thrilled to announce that Rita, Tyler, and Johnathon will deliver some heavy beats on April 6th
Photohraphy by : Riley Valentine
Thank you for being a part of the Modern Wav lineup for the 3rd edition. I'm interested in hearing about how you came to work with Health and joining their tour.
For some context, the three of us are some corn-fed midwestern kids from the suburbs of Chicago. The first time I had been to LA was for Substance 2021. I didn’t really know anybody yet, and I think I accidentally crashed Jonny’s after-party. I realized that I was kind of being chaotic, so I decided to go up to him and be like, “Hey, I just wanted to introduce myself. I’m Rita from Pixel Grip, and I'm here with some friends. I didn't mean to crash your party but thank you so much for having me”. He was really cool about it and instantly was like, "Make yourself at home"! I wonder if he learned about us from that interaction or maybe from Substance 2022, but I heard he was talking about Pixel Grip in one of his livestreams as something he had been listening to lately. So, I think he asked us to open up for him because he genuinely likes the music, which is so sweet, touching, and affirming. HEALTH is absolutely iconic, and it's such a huge honor to share a stage with them.
I am curious to learn more about the song "ALPHAPUSSY". This club banger gets people going on the dance floor. It's a hit every time the opening hook plays. I want to know Pixel Grips's initial reaction when the song became popular.
“ALPHAPUSSY" was designed to get attention. At the time of recording 'Arena,'’ I think I felt unseen. I was watching so many people go viral or get a lot of attention for their music that just wasn’t happening with our project. I thought a lot about an interview that Lady Gaga did where she said that when she started to notice the crowd getting bored, she would start to take her clothes off. I started to implement that ideology. if there were a lot of people talking, I would just scream a blood-curdling scream off the mic, and it would instantly silence everyone in the back. I wanted to do that digitally as well on our Spotify page; I wanted an attention grabber. A piece of clickbait to lure audiences to our music. We lure you in with a completely unhinged title like ALPHAPUSSY, and then, as you listen to the record, you realize that there is a lot of depth and substance within the project. However, that’s not to say that ALPHAPUSSY is a joke song; I think it's a serious banger. I think it makes people feel sexy and empowered, and I hope people keep popping their pussy to it for a long time to come.
Going on tour can be a thrilling experience filled with adventure and fun. However, long hours of travel can be quite monotonous for musicians. It gives them a chance to reflect on their music and upcoming projects. I'm really interested to know what Pixel Grip has planned for the future.
A lot went down since ‘Arena’ and instead of going to therapy, I’ve been processing everything through songwriting. Bad for me, good for you, I guess. I’ve written a lot of music, and a portion of it has been selectively recorded. I can’t say for sure what’s next for us, but I can absolutely promise you some more music that is the best work of my life and something that I am extremely excited to share. I can also say that there is a headline tour in the works for late 2024. US and beyond? We shall see.
I have had the privilege of seeing Pixel Grip perform in a small club, but now, I and many others will enjoy their music on a much larger stage like the Modern Wav platform. What is Pixel Grip most excited about for the upcoming night?
As a band, we’ve played so many small rooms, empty rooms, basements, etc. Our climb to success has been a humbling one. The feeling of playing on a stage with a proper sound system and plenty of space never gets old and is something we have massive gratitude for. But not only that, we get to play alongside artists we look up to in fucking SAN DIEGO. The fans in San Diego are unmatched - the energy there is so ferocious and effervescent. So the thing that I’m most excited for is the joy, the feeling of belonging, the feeling of community. Sweating, dancing, and the feeling of release. I get so lonely here in Chicago and have a lot of steam I need to blow off. I can’t wait for the collective catharsis of the show.
Music is always prevalent in my daily routine. What song is currently playing on the Bluetooth speakers of Pixel Grip?
I'm attempting to get jacked for the tour, and the place I consume the most music is the gym. I need music that makes me feel sexy and horny, and empowered when I work out. Here’s a little glimpse of my gym playlist:
Work it (Soulwax Remix) - Marie Davison
Drugs in the Bathroom - xjermsx
Girl Crush (ft. Rico Nasty) - Boyz Noise
Stamina - Pixel Grip
Experience the unique vibe of San Diego as it comes to life with the Modern Wav music event. On April 6th, Health, Panther Modern, Pixel Grip, Street Fever, and Baby MAGICK will perform at the Music Box, making the city even more special. This is a chance to immerse yourself in a dark underbelly filled with fans of electronic music and alternative aesthetics. Don't miss out on this opportunity to witness the magic of Pixel Grip's performance and be a part of this unforgettable experience. Secure your tickets now before they sell out, and be a part of the action!
A MATTE BLVCK SHADOW HAS BEEN CAST OVER SAN DIEGO, AND IT CONTINUES TO GROW.
Photography by Alex Casillas
A Matte Blvck shadow has been cast over San Diego, and it continues to grow. They just released Proxy. An instrumental that has 'PAINKILLER' by Depeche vibes all over it like cat hair on my fit right before going out.
With selling-out show dates on the West Coast, San Diego local Matte Blvck is more than ready to celebrate the 40th anniversary of NITZER EBB with you at MODERN WAV along with the synth act, Normal Bias.
1) I love the new single. It's screams of the modern era of electronic/modern goth. I'm addicted to Proxy. Tell me you have new tracks coming.
We're excited to announce that we'll be releasing two new singles in the upcoming weeks. One of them features a legendary DarkWave artist, but we can't reveal their name just yet. Here's a clue: The band was established in 1981 and is widely recognized as the pioneer of Darkwave music. In addition to the singles, we'll also be launching a new album called "Vows" along with an Indie Gogo campaign that offers a variety of exclusive Matte Blvck perks.
2) Alex, you are also a founding member of MODERN WAV. Tell us how Modern Wav came about and how it blossomed to where it's at. Can you tell us what's in store for the future?
Through years of being in a band and playing numerous shows, I’ve witnessed the harsh reality of the music industry and how musicians are mistreated and underpaid. Behind the scenes, there are appalling practices taking place involving certain venues, promoters, and agents, leading to the downfall of fellow artists. However, my experiences with Matte Blvck and organizing our shows have allowed me to foster professional connections and collaborate closely with artists, agents, production managers, and venues.
I am seeking an opportunity to enhance the production of shows while prioritizing the well-being of all involved, including the artists and attendee experience. I have found a like-minded individual in Javi Nunez, based in San Diego, who shares the same values. I’ve been a big admirer of his events and strong work ethic, and now we’re joining forces for the greater good. As a musician, my aim is to abolish the "Two Drink Ticket Culture" and treat my fellow performers with the respect they deserve.
I am committed to bringing San Diego events that are founded on integrity, passion, and value.
Additionally, Modern Wav is organizing an exceptional New Year's party featuring a fantastic lineup and an astonishing visual display. Just wait until we announce these upcoming shows. You're in for a treat.
Photography by Alex Casillas
3) The band has been selling out shows in new markets. You're playing Catch One in LA with Black Light Odyssey, MODERN WAV with Normal Bias, and legends Nitzer Ebb. What do you make of the band's momentum?
To be honest, I'm feeling a bit of imposter syndrome and it's quite surprising. Nonetheless, I'm extremely proud of my bandmates who happen to be my brothers. We are three Mexican-American individuals from a small town, striving hard and taking risks to pursue our dream. Although we still have a long way to go, I'm glad to witness our progress.
4) I am always looking to see what my favorite bands are listening to. What are the 3 members of Matte Blvck currently listening to.
Louisahhh x Maelstrom
Normal Bias
Gerad Jugno
So Below
Clan of Xymox
So Much Blood
Matteo Tura
Local Suicide
The Agnes Circle
Ultra Sun
Grabyourface
Spike Ellis
Semantix
Creux lies
Panther Modern
I Break Horses
Undoubtedly, Matte Blvck is looking to raise the bar with its music and the values of destination events like MODERN WAV. September 2nd is already shaping up to be an experience like no other, with fetish performances, GoGo cages, lasers, so much fog, and EXCLUSIVE 40th Anniversary Nitzer Ebb & Domina Death merch.
If you have been fortunate enough to MODERN WAV with us, you will understand what a grand experience it was to host acts like HEALTH, Straight Razor, Soft Vein, and Patriarchy. Our guest buzzed about it for weeks, and now the buzz will be with you again on September 2nd at Music Box for the 40th Anniversary of Nitzer Ebb, Matte Blvck, and Substance artist Normal Bias.
As Labor Day Weekend approaches, Modern Wavrs from all over the West Coast buy tickets quickly. As previously, this event will sell out, and as I always say, “Regrets are forever. Pre-sale is not.”
See you Sept 2 for Modern Wav.
Tickets available at ModernWav.com
NORMAL BIAS BEGINS & ENDS W SEDUCTION
NORMAL BIAS BEGINS AND ENDS W SEDUCTION.
Being seduced by music with elements of Depeche, Camouflage & Nitzer Ebb and you will be reeled in. NORMAL BIAS released their S/T E.P. in 2022, and I am definitely late to the party. Just make sure to not be late to Modern Wav at Music Box 9/2 as they will be apart of the stellar lineup alongside electronic legends Nitzer Ebb and local starlets, Matte Blvck.
NORMAL BIAS crafted a dark banger with the track "Embody Control" that is regularly heard thoughout dark dancefloors + #healthgoth playlists. Once you hear it, you will be singing that verse and swaying in not time. Let's gets to know Chris of Normal Bias.
1) So tell us, how did Normal Bias start off. I love hearing how bands meet one another.
My previous band multiple man put out a record on Matt’s label DKA about 8 years ago. We were just boys. It was a good record but it was mixed like shit because I was 22. Matt offered to mix it so I guess we’ve been collaborating for almost a decade. I feel old. I need a drink.
2) Just by listening to Normal Bias, i know we have a lot of the similar tastes in music. What exactly is Normal Bias listening to?
I feel like all I listen to at home is some combination of Neil Diamond and stone temple pilots. If you’re talking influences I would put us in the realm of Cabaret Voltaire and severed heads. Anti tough guy, Mid 80s industrial that wasn’t afraid to sample silly bullshit.
3) Over the next coming months, NORMAL BIAS has some huge dates over the fall -- MODERN WAV + SUBSTANCE. Any new music or news on the horizon to accompany the massive shows?
We’ll have an LP done soon! Scared of how long record plants take these days. But we’re excited.
MODERN WAV scouted NORMAL BIAS for the monumental event on LABOR DAY WEEKEND 9/2 because of the incredibly music production that would sit at the same table as the many artists in your Spotify playlist. Don't miss them at
the next MODERN WAV.
SOFT VEIN: Lust, love, and the human condition.
Lust, love, and the human condition. SOFT VEIN's journey into darkwave and electronic has created a cult following with his project and the other live half of Harsh Symmetry.
Justin will perform live at Modern Wav on May 19th with Patriarchy, bringing his impressive March release 'VIOLENTIA' to the stage. Get ready for a dark and unforgettable experience.
Let's stab right into it.
1) Justin, I've repeatedly been listening to your latest song, VIOLENTIA, and I love how the production transports me to the world of SOFT VEIN. Can you share how you created this track?
Thanks for listening. VIOLENTIA came to me really quickly and the production really flowed and felt right as I was putting it together so I just went with it. I started with the drums and bass, which is my process for most songs. I looked for synth sounds that were haunting, and the sounds I found would really influence the recording of what’s become my first full-length album. Once I added those, I knew what the song was about and wrote the lyrics basically in a stream of consciousness, recorded the vocals in one take, added some guitar toward the end, and that’s it. It really helped break my pattern of overthinking things, and I’m really proud of that song.
2) As the tour life continues, what artists are you sharing the stage with are something that you find yourself amazed by?
I haven’t played many shows yet, but I’ve gotten to share the stage with Forever Grey a few times now, and they amaze me every time. CD Ghost is amazing as well; our show together at Rubycon Records in LA was a lot of fun. I’m really excited about some shows I have coming up this year.
3) Not only are you SOFT VEIN, but you are also fluid musically as a part of Harsh Symmetry. The bands have two different sounds. Is there a fine line between the two?
Harsh Symmetry is a solo project, like SOFT VEIN, and I perform as a live member. But I’ll say that performing that project has been such a positive and influential experience for me in so many ways. The two projects are definitely distinctive and what I enjoy most about performing with him is getting to do something completely different from SOFT VEIN, so I’d call it a bold line.
4) Would SOFT VEIN like to share anything or provide any exclusive information?
I'll l be announcing the release of my first full-length album soon. <3
It is highly recommended to arrive early at El Corazon Del Barrio this Friday, May 19th. You wouldn't want to miss any of the devilish performances from SOFT VEIN, Patriarchy, and the intimate show by Gisella Thorn. Additionally, we have a star-studded cast of DJs - Alex Gonzales from Matte Blvck, 7th Stranger, Javi Nunez, and Gothcheez - who will keep you dancing in your Demonias until the night's end. Be sure to dress for a lively funeral, as the second edition of Modern Wav is just around the corner. We look forward to seeing you in the fog.