Letter From the Editor Hello my Darlings! It always amazes me how one moment I have nothing of interest to put in the fanzine and the next I have interviews, reviews, etc, all lined up with people actually asking to be a part of it. One thing I need more of...cover models. I must apologise for putting myself on the cover of this issue, I am in dire need of cover ideas so feel free to send me your photos! Anyway, each issue makes me happier than the last and this is no exception. I had the opportunity to hear some amazing new bands, speak to amazing people, and write about things I love. Sure, I get cliché and sometimes my reviews sound identical, but that's because these talented people cannot be described in words so I have to use the best I can find. The next few issues I can promise will be pretty exciting, including an issue dedicated to a certain band making a big comeback. Thank you to you all for reading my words and caring what I have to say. Hannah TheBatGirl@live.co.uk
Reviews Lupine The music of Lupine is very standard for a good goth club. With deep male vocals and just the right balance between electronic and instrumental, this four piece is rather reminiscent of Star Industry. Though they rarely deal in mp3 format, there are a few free songs on their website which you can download. Amongst these are “X” and “Broken Wings”. I found “Broken Wings” to be very dance worthy and I loved the balance of male and female vocals. This is one track every Goth should have in their collection. “X” is a good song...but it made me blush. The lyrics are certainly daring! But the sound is, again, just what it should be. A bit more on the electronica side, this track belongs in Goth clubs everywhere.
Grotesque Sexuality
So I had heard of these guys a long way back but was always put off by the name. Maybe I'm just a prude, but I always thought it was a rather
unpleasant description of something so personal. However, upon listening to Grotesque Sexuality (I still cringe to type the name) I was enamoured by the guitar skills and instrumental combinations. The language suits the
DeathRock sound very well and is reminiscent of Brazilian DeathRock in spite of being from Russia.
Vocally, the tones are full of character and personality.
In spite of my dislike of the general band name, the music speaks for itself with strength and there is no denial that lyrically (when in English and I understand it), vocally, and instrumentally, it is DeathRock to the Nth degree and is rather fun to listen to!
By.Polar.Bares If you are into EBM at all, or anything on the fringes of industrial, you have got to give this band a listen. I first heard their song “Still” and it is one I play continually. Finally, I acquired more tracks from these guys and there is not a note that will disappoint. Probably the only EBM band that I outright love, they have all the electronic elements but with a fantastic edge to make you dance with a stomp. “Return Me to Myself” is another great track with a pulse that I love and can be heard on their facebook as well as soundcloud. The brainchild of Rich Holloway and lyrics by Corrie F, this match brings a perfect sound that followers of many genres could love. I highly recommend you have a listen and give these guys a chance, you will not regret it and they deserve the recognition.
Strap on Halo Pure DeathRock for the Masses If you are looking for a great new female fronted DeathRock band, look no further than Strap on Halo. Scheduled to perform at the first ever Age of Decay event, this group has the perfect sound that we all love. The album “The Dead Don't Lie” we immediately get a sense of what this band is about and the vocals of singer, Layla, compliment the deathrock drone of the guitars with perfection. I particularly love the drums throughout this album. “Empty Hallway” takes me back to the early nineties of Goth with bands like Switchblade Symphony. It makes me happy to hear some of this reinvented and not following in the same sound of so many deathrock bands that seem stuck in a rut. Strap on Halo really does what the genre needs by bringing something unique in vocals and rhythm, not writing every song at the same BPM like so many others. Suddenly, out of no where, we have a sixteen beat drum click taking the band in another direction somewhere between The March Violets and Cinema Strange. I guess we can call it “Lenore”. Each song keeps that traditional deathrock sound but adds elements of so many other generations of goth. In listening to Strap on Halo, I hear The Cure, Danielle Dax, Escarlatina Obsessiva, and so many others. It really is like the melting pot of goth. If there is one reason to go to Age of Decay, this is the band. But don't wait that long before you give them a listen, every goth needs this album in their music wardrobe and you can shop at bandcamp to find it.
Band of the Month
Kidneythieves- The Invisible Plan I am usually way behind in the music scene and rarely do I get to eagerly anticipate an album release. “The Invisible Plan” by Kidneythieves was one that I discovered just two days before release and had to suffer in wait for it to be released on Amazon. By the time you read this, you better be buying it. The Goth purists among you may find this to have too much electronica but “Never and Me” is the beginning of the immaculate vocal effects and skilled programming that is to follow on this five track album. The title track is high energy with heavy guitars and more beautiful vocals. “F 2the F” is the next track and perhaps not my favourite, but as my readers know, that's just because I am uncomfortable with music that has sexual content. For a normal human being, it is a slower, more melodic track with just the right amount of attitude to balance it out. “Floating Angels” is either deeply personal or extremely imaginative in its paradox of simplicity and complexity. The verses are light and 'floaty' while the chorus is heavy and full of passion. Quite simply, I love the moment the chorus comes in. The final track “Underneath” has lyrics that are easy to relate to and a beautiful music box effect. It's just that good.
Deathrock designs In this issue the designs are all about bleach. It's amazing how bleach can turn a boring top into something unique. Whether you like your tie-dye, simple effects, or making a formal statement, there is tons you can do. My main bleach recommendations are:
-generic brand thick bleach -Liquid bleach -bleach pen Thick bleach allows controlled patterns, liquid bleach is great for a more random, tie-dyed look. My favourite is the bleach pen, with which you can write or draw anything you like.
Opportunities to be Heard If you read Issue 5 you will know about the compilation album involved (if you haven't, go check it out!). I would love to do 3 or 4 compilation albums a year that are directly associated with DeathRat bands. If your band would like to be reviewed and involved in the compilation, please let me know as I will involve anyone who asks. Another opportunity which may be a bit more restrictive is a Self-Harm Awareness Compilation being distributed by Departed Sounds (who released the DeathRat Compilation and all The Batonist recordings). If your band has written and recorded any songs on the theme of self-harm, please send an mp3 to thebatgirl@live.co.uk. Any genre is welcome so if you have friends who may want to get involved in this they are welcome no matter their sound. As this is a serious issue, some lightheartedness is welcome, but no mocking will be tolerated. This compilation is also meant to combat the stereo type made popular by over dramatic teens and boy bands so we would appreciate submissions by serious musicians who have something to say and reasons to say it. If neither of these interest you but you would just like to be reviewed in DeathRat, send your music to the email address and let me know!
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The Hungry Gorge Pt. 3 Victoria set down the articles, holding her aching head in her hands. She had glanced through her father's journal once but was unable to read it. She walked slowly down another hallway and heard humming from one of the rooms that lined the area. The door was cracked open so she gave it a little tap and heard it creak as the gap widened. She squinted her wrinkled eyes in the darkness, holding her candle out in front of her as she heard a gasp from inside the room. "Hello?" came the Ukranian voice. "Who are you?" Victoria asked rudely as she stepped inside. "I am ze maid of zis household. twenty-something young lady.
And who are you?" retorted the
"I am the owner of this house and I have not employed any help," she informed the woman, offended by her suggestion of having hired her.
"I vas employed by a Miss Mildred Blakely." Aunt Mildred. Victoria had never liked her. Three months of living with her in London resulted in the worst years of Victoria's life. She hadn't minded so much when, ten years ago, the witch of an aunt passed away. "So vat are you doing here?" the maid inquired. Victoria rolled her eyes. "I would appreciate it if you would not to speak to me so. Mildred died ten years ago." "Oh, really? That vould have been just after she hired me. seventeen and-"
I vas
"I was just leaving," the elegant matriarch interrupted. "O, well, goot, I cannot vork ven zere are people in ze 'ouse," she replied. She was pretty, the maid. This annoyed Victoria a little, though she would never admit to envying a maid. Life had taught her to hold herself in high esteem over such people. But she was aging fast and this place reminded her of her youth. Of her love.
The journal Markus was told to keep 3rd of November 1883 My creator told me I should keep a journal of things to come. So I have chosen to follow his advice while I remain in hiding, writing in a journal he had purchased specifically for me. He said his journal has given him great comfort during difficult times and he recorded all of his scientific breakthroughs in it. I am seeking his daughter but she has been taken away somewhere to be kept safe from me. They all think I will kill her because I must be a barbarian. I do have a brain. And a heart. I am not a man made from bits and pieces, but rather a dead man simply revived with new parts added and exchanged. So I must follow the plan and find his daughter. He told me in his last few moments that she was the only one who could help me and I would also need her to retrieve blood for me. I have enough to last
me a few days, but I am finding the Rhesus positive to be much more to my satisfaction than that without the D antigen. My creator, Peter Blakely, stood before me when my eyes opened. I had no memories of a former life, but knew immediately how to speak and walk and live. My need for blood was a strange and foreign intensity I had never experienced, not that I had experienced much in those few moments, but I don't think this body has ever needed it so. He handed me a cup...full of it. He informed me it was always waiting for me in the cold room where he kept the body of his would-be wife. So I brought it all with me when I had to go. But that in itself was a strange thing. Peter had to step out of the room for a moment in order to write down a few things. I heard a loud crash and followed the sound. I saw him there, lying dead. And I knew they would come for me. >~< 4th of November I still have not heard from as it is already too dark. awake at night. I find the out anyway, it is better in feeling the sun gives me.
Victoria. I cannot write as much tonight I spent the day resting. I prefer being sunlight hurts my skin. I have to sneak the dark. But I am tired of the burning
I do love this castle dungeon that I stay in. I sleep in a coffin, which many would think barbaric, but I find it suits me as I truly am dead. Merely alive. It makes very little sense to me. Have I a soul? Or is it one and the same as the man whose body I share? It is very cold in here. And I don't think my body is well-equipped for dealing with the chill. This body I reside in is very thin. There is nothing to add protection against the cold. I am warmest at the spot where stitches bring two ends of flesh together across my chest. It is mostly healed but I was warned that evening, as I was brought to life, that it would be some time before my eyes and chest were fully healed. The blood needed to circulate and all sorts of scientific jargon that I didn't quite understand. >~< 8th of November Victoria rescued me today. I spent that last few days in depression, lying in the coffin awake for hours, barely drinking anything. I felt terrible. And then a shining light found me.
The beautiful fifteen year old girl came into the room and everything changed. Her green eyes grew wide when she saw me. "You are not at all what I expected," she stated in an accent mixed of English and Ukrainian, the result of her parents and her home. "What did you expect?" I asked her. "Someone older, perhaps," she replied. "Before...he, before your father left, he gave me some information on who I was before. My body was that of an eighteen year old young man who died of some heart defect. But he has fixed that. My eyes are from another man, slightly older I believe." "They are such a brilliant green! I admire them and wish father had been able to give me such a colour," she said attempting false humour. I looked her over; a black corset with purple flower detail covered her top and flowed into a long black skirt. Flattering, I must say. My eyes must have been healed just at the sight of her. She truly is beautiful and her eyes are a far greater shade of green than mine. They are shockingly dark and almost disturbing. Her natural black hair flows elegantly down her back in a wavy style, contrasting her pale skin and I cannot help myself from feeling something strange. After she fell asleep, I wandered the castle for a few hours and found many pictures. There was one of her with her father, she seemed happy but there was still a sadness in those mossy eyes, represented by black and white ink. Then I saw one where she was a few years older with the woman I assume to be her aunt. She looks stiff and unhappy, posing for the photograph. The photos gradually become less and less joyful, her rosebud lips turning to frowns.
Perfect Eyebrows Anyone out there like me who obsesses over their brows? Last week I was in a gym session. It was a super intense work out and while I usually stay for quite a while, it was only half an hour in that I noticed I a small rub of black on my forehead. The inevitable had happened. My eyebrows were melting. This has been a huge fear of mine after moving to this desert climate of Washington State. I have tried primers which work well to a certain extent, but have only recently found my favourite brow product. My highest recommendation for drawing on your brows is to use Wet and Wild's H2O Proof eyeliner. I've used a good five or six different kinds of liner and this is by far the best. It stays on even during an intense work out. It's great for a dark line and is easy to shape. These photos are with different pens (sorry for blurriness)
Interview with Lady Amaranth Was it always your dream to be a model? Not really. I mean along with being a ballerina and a movie star it was one of those things girls think about, but I was never even remotely serious about it. The first ambition I recall, was wanting to be a scientist, then I settled into
business studies and envisaged owing a huge conglomerate. These days neither are that appealing and I’m happy with my Marketing focused career, with some fun pastimes
fitting around my day job. I wouldn’t even say to this day that I’m a model in the real sense of the word. I don’t have the right figure or body type for it and my
whole ethos behind doing it is for personal satisfaction and artistic endeavour. How did you get interested in Goth? My elder sister dated a Goth. Up-until then I had no knowledge of the subculture at all (being in South Africa it was far more underground). He fascinated me and
we got along quite well, so much so that after my sister left he and I continued to be friends. Through him I discovered this amazing world with beautiful and
interesting people that somehow seemed to resonate so much more than anything else that was on offer. The music, the clothes, the whole idea behind it lit my
passions and made sense to me. It took me a while to really feel like I fit in, but
being an awkward introverted teen I wasn’t really fitting anywhere at the time
and the Goth scene seemed littered with people going through the same sort of thing! These-days it’s a home – I couldn’t live anywhere else.
Can you tell us about your name and interest in the Amaranth flower?
I found my name in a book of short stories – this one was called “The Lady of the Skulls” and the heroine was a barmaid called Amaranth who had been cursed to
live in a tower by a magician whose advances she spurned (as she had many men before him). In this tower was a great deal of treasure and heroes would come from far and wide to try and claim it – only to meet their demise. Amaranth
would grow plants in their skulls, from seeds blown to her by the wind, with the
tower holding the only water source for miles. This was a haunting image to me, but what appealed to me even more, was that the tower was ultimately of her
own making. We all build walls but some end up locking us in instead of keeping us safe. I then researched the name and fell in love with it even more, a never
fading flower, love-lies-bleeding, a red hue. Each description seemed as though it were written for me.
You are pretty much the face of Goth, modeling for so many brands and being on the cover of the new book, “Worldwide
Gothic”, when did you realise just how big you had made it?
When you asked this question! *laughs* I don’t really think I’d say “I’ve made it big”, and “big” can be defined differently by
different people. There’s always someone
more successful or talented than you, and from your vantage point, they’ve “made it big” but they’ll be looking upwards to
someone else thinking exactly the same
thing. I’m fairly well known in the UK goth scene, but that’s hardly an achievement. Let me cure cancer and I’ll come back to you on this question!
What do you enjoy when you are not in front of the camera? For relaxation I really enjoy sleeping or curled up in front of the TV. I also really enjoy going out exploring new places with my fiancé and taking photographs.
But there are many other activities I carry out such as writing, designing, photo editing, marketing etc. that keeps me busy most of the time away from the camera.
For the aspiring Goth models, what advice do you have? This is a question I get asked so much and am a little tired of it. Perhaps because
I’ve been there and done that and realise it’s not really such an amazing thing. So I would advise they get a more commendable aspiration. Alternative modelling is fun and can be personally fulfilling but is hardly a laudable aspiration. Aspire to
much greater things and then you can always fall back on being in photographs – as the saying goes: aim for the moon...
How have you gotten involved with so many brands?
Networking, socialising. I don’t just model the alternative style, I live the alternative lifestyle. And generally those brands I associate and work with do the same. I much prefer companies that sell to the alternative scene be alternative themselves – there’s an authenticity in that.
Do you think you will remain a prominent figure in British Gothic fashion? Perhaps if Granny Goth becomes popular ;)
Have there been any obstacles in your career? I would assume you are referring to my modelling as my career, although I
wouldn’t exactly define it as such. The only obstacles there are pretty-much self created ones. I have so many different avenues of interest as well as a day job; to sufficiently dedicate myself to just one would be at the detriment of the others
and I’m not really prepared to do that. Then there is the obvious of my body type, and chosen look. If success in modelling means gracing the cover of Vogue et al. then I’d have to conform and be stretched on the rack for a good while! These things are not on my agenda in the near future.
Who are some of your favourite Gothic influences?
Mortica Addams: beautiful, graceful, classy and macabre with a great dash of
humour and her family and partner as top priorities. Those are all the things I hope to be.
What can we expect to see in the future from Lady Amaranth? More wrinkles! (thank goodness for photoshop ;)
Interview with Sacre Noir's Carrie Beattie How did the idea of Sacre Noir come about and why did you choose this name? Sacre Noir began in 2003 after my band at the time split up. I felt like I needed an outlet for my musical ideas and decided to learn how to use software programmes like Cubase & Logic at the same time. I was used to playing in grunge and post-punk style bands but had always wanted to have an electronic based project with a more dance-based vibe, whilst still holding onto the D.I.Y ethics and dark sounds that I loved so much. Over the years I’ve played in a few electronic projects so I had a rough idea of how to go about getting my musical ideas into some kind of audio representation. After a while I let some friends hear my creations and one thing led to another, before I really knew what was going on I had put together an EP and decided to self-release it in 2005. After that I took to the rehearsal room and started putting together a live set. As for the name… I really just wanted something that suited the sound and the mood of the music. I was watching a programme that featured Sacre Coeur (a large cathedral in Paris) it is an amazingly dark place and I loved the sound of the word Sacre…it means sacred. Noir comes from the French for black. So the name literally means sacred black, but it stands for the darkness that lies in us all. Can you tell us a bit about your extensive music history? I started singing when I was quite young in school shows etc. and had lessons from the age of 6. When I was in high school I got together with a bunch of mates and we started jamming Nirvana and Soundgarden songs. It sounded pretty awful but we played a bunch of gigs and this was when I first realised that fronting a band was what I wanted to do for the rest of my life. When I left high school I spent a year doing a Drama & Theatre Arts course before being accepted at Perth College where I studied for my BA Music. I spent 4 years at Perth College and had the opportunity to work with an amazing bunch of musicians. At the time it was the only college in Scotland where you could study popular music to degree level & it had an amazing reputation for staff, facilities and previous students, so I was really excited to be able to study in such a great place. Whilst living in Perth I joined a couple of bands; first was E.S.M a live dance act with scratch DJs and beat poets and then Drum Monkey, a more traditional Alt. Rock band playing Alice In Chains type stuff. During my final years at college I was involved with drum n bass & trip-hop bands and this was really when the ideas for Sacre Noir started forming. In the bands we had live electronic drums, synths, samplers & keyboards, electric guitar, bass and vocalists and we played covers of Portishead, Faithless, The Gorillaz etc. it was great! The reaction of audiences was brilliant because it was so different to the usual guitar based rock bands that were so popular at the time. Once I left college I focused on my original bands which were grunge / post punk in style; Icarus Falls and then Guantanamo Bay (the later going through a couple of line up changes and supporting some very cool bands including The Fire Engines and KT Tunstall). After Guantanamo Bay split I started writing material as Sacre Noir and the rest is history… Who were come of your main vocal role models growing up? Growing up I loved American artists like Diana Ross and Tina Turner and as I got older I started listening to guitar bands like Whitesnake. In my early teens I discovered Nirvana and Pearl Jam whist at the same time listening to artists like Tori Amos & Kate Bush, so it was a real mish-mash of styles. When I arrived at college I was exposed new genres and artists that I’d never really given a chance. I got really into Soul & Motown music at college and studying vocalists gave me a strong awareness of
how various techniques can be key to certain genres. For Sacre Noir the main influences that seem to be most obvious include Beth Gibbons (Portishead), Lesley Rankine (Ruby), Martina Topley-Bird and Shirley Manson (Garbage). Tell us a bit about the two labels Sacre Noir is on, especially the one situated in your home. I work with two different underground labels; Savage Recordings (Edinburgh) and Dejine:Rec (Japan). Savage Recordings was set up by Alexis Beattie (my husband and drummer) in 2002 & brings together a selection of international artists from a diverse range of genres. Alexis works with most of the acts featured on the label producing remixes and original material for release with his collective Savage Sound System, and the bands associated with the label can also sell their own music via the Savage Store. I think it’s useful as a platform to reach different audiences around the world, because the label has a diverse range of artists and we each get the benefit of the collective fan base. Everyone is pretty open-minded about music and are generally keen to experiment and trying new things. The other label is based in Japan but works with some of the same artists. The relationship is kind of like Hassle & Vagrant Records…based in different countries but with similar goals and tastes in music. Dejine:Rec is run by a collective of like-minded musicians who produce both original & remix material for release. They also have pod-casts that you can download of DJ sets and mixes they’ve created. The Sacre Noir track that is featured on the Death Rat Compilation is a remix from their camp…Kellen are Yoshiyuki Hayashi (Programming, Scratches & Field Recordings) & Hideyuki Honda (Guitar, Bass, Programming). Having recently been on tour, can you tell us about the places you went and how people responded? Touring was great and we’re off again at the end of November. We’re heading back to The Vibe Bar in London and Belushi’s Bar in Paris, so I guess they liked us enough to have us play again. We played at three venues in London and although they were all really different, everyone seemed to enjoy our sound and got where we were coming from. We also played at Paris Plages, which is an event in Paris that runs for a month every summer. They turn the space alongside the Seine and St Martin’s Canal into a beach with loads of bars, cafes and water activities. That was really cool – playing out doors in 35-degree heat to Parisians just having a day off. We’re also going to Berlin for the first time and are really excited to see what kind of response we get there as it has a great reputation for producing electronic music and the scene is much bigger than in Edinburgh so hopefully it’ll go down well. Are you planning any more recording in the near future? Yes, were actually working on a new album at the moment. We’ve been playing a few new tracks in the live set and they’re sounding great. We’ve decided to take a bit more of an up-beat and dancey direction but still sticking to the dark side of electronica. Alexis is taking a bit more of a hand in the production side of things this time round & we plan to get all the tunes into the rehearsal room with Phil (guitarist) before starting any final recordings, which will be a bit of a first for Sacre Noir. Usually I just get all the tracks ready in the studio and then we work out how to reproduce them live. Sometimes it works, sometimes not so much. So a more traditional route for the next album. As you are also a vocal coach, what have been some of your success stories about people you have taught.
I’ve had a few students go on to study at some of the UK’s greatest institutes (RSAMD & LIPA) and others have gone down the TV Talent show route (X-Factor & Britian’s Got Talent) and managed to get quite far. I’ve also had some students who have gone on to work in the session industry but I feel that the most successful students are those who are gigging and recording original music. It’s an incredibly difficult industry to work in and anyone who is able to do what they love, even if it’s not their main job or in their preferred area, is doing great as far as I’m concerned. Where do you find all of your masks? I mainly just get basic costume masks and embellish them with feathers and sequence. I like the idea of it being original and that I can design. I’d love to be able to make all my stage clothes, but don’t really have the skills. Sometimes people donate stuff and that’s always appreciated!
Do you think the mask is significant to the performance and does it make you more comfortable? I love having something a bit unusual about the stagecraft of this project. In the first two gigs I had a tiny top hat and just a plain mask and as we’ve gone on the masks have gotten more elaborate. I think it helps create a vibe for the audience (we usually have a movie or some other kind of visual element in the background too) and definitely help me to maintain the difference between Sacre Noir & Carrie Beattie. We all have ‘masks’ that we wear for different occasions, this is just more literal and sparkly. Has the blog made a difference in increasing your fan base? The blog started off as a way for me to start writing again and also as a bit of an excuse to keep looking into new music. It actually gets a good few readers, which I find unbelievable considering the amount of blogs that are out there now. I try to write about music I really love and so it’s inevitable that there will be some similarities with the Sacre Noir sound or even that I’ll be inspired by these acts and the new album will be heavily influenced by their style or production etc. I’m not sure it’s brought the band any new fans as such, but it can’t be doing any harm. Amongst your extensive equipment set up, what are some of your favourite pieces of equipment to use in your performance? I love my Green Bullet mic and also the mini Kaoss pad cause they bring so much to the sound… The
mic was originally released in 1949 and is designed to amplify a harmonica, so you get a soft distortion when it’s used as a vocal mic. The mini Kaoss pad is an effects processor with an intuitive touch-pad for control. It gives me lots of reverbs and delays to play with. My current live set up includes: Mac Book Laptop (running Logic) AudioFire4 Sound Card Shure 520DX Green Bullet & AKG D65S Microphones KORG Kaoss Pad KP1 &Kaoss Pad Mini Akai LPK25 Mini Keyboard Panasonic SX-KC200 Keyboard dübreq Stylophone™ - S1 & Beatbox Yamaha MG10/2 Mixing Console & RM1X Sequencer Sennheiser HD 201 Headphones Touring Drummer (Alexis Beattie) set up includes: Roland V-Drums with Koby Kick Drum Module. Panasonic RP-HTX7 Headphones Pro-Mark Sticks DW Kick Drum Pedal Plus we use lots of found and junk instruments, Theremin App & iPod Touch, stands, leads and cases etc. Sacre Noir started as a studio-based vehicle, fuelled by lo-fi aspirations and a non-conformist attitude. Home recordings of loops and samples from field recordings merged with ambient atmospherics and found percussion, infused with the layered vocal parts to produce dark haunting soundscapes. Since the debut release in 2005 the music and technology used have come along way. What's next for Sacre Noir? More touring at the end of November and the new album for spring next year (hopefully). We’re always on the look out for new collaborations and sync opportunities so who knows what might happen.
Until Next Time........