SFGothic.net
Contact:
  • Home
  • Gothic Events
    • Calendar
    • Clubs >
      • Clubs by Weeknight
    • Reoccurring Events
    • One-Time Events
  • Gothic Media
    • Music
    • Film
    • Literature
    • Art
    • Games
  • Gothic Services by Mr. M.
  • The Blog
  • Links
  • Contact Us
    • Privacy Policy

And in other news...

8/25/2012

0 Comments

 
"The only way to get rid of temptation is to yield to it... I can resist everything but temptation."
-- Oscar Wilde, The Picture of Dorian Gray


Busy! Busy! Busy!

(That's my pretend excuse for this latest bout of blog silence.)

Last night was spent waltzing my weasely little black guts out with the likes of the exceptional Alexis Berger, under the careful ministrations of DJ goddess Persephone and amazing guest DJ Joan Walton. A delightful evening, across the board, and useful practice as we get closer to PEERS' le Bal des Vampires.

Speaking of le Bal des Vampires, I purchased my ticket this week. As I've mentioned elsewhere, ticket prices go up on September 1st and are likely to run out as we get closer to the date (November 3rd, for those who don't know), so I cannot recommend strongly enough the purchasing of your tickets ASAP. Having gone last year, I know that this ball is extremely awesome. With the Nightfall Club downstairs, spinning Goth-y and New Wave tracks for those who like their vampires a little more like Lost Boys and the Hunger, and an amazingly large ballroom upstairs for those that prefer the grace and charm of a lost age. Go to the One-Time Events page for a link and more details!

In more scene info: last week I got a chance to hit the opening night of the Witching Hour out at the Cat Club. Going forward, it will be filling the 3rd Friday slot left open at the Cat with the departure of Dancing Ghosts. The latest brainchild of DJs Melting Girl, Daniel Skellington, and Sage, the Witching Hour sets out to embrace a two-fold goal:

1) Fade to Grey: playing older club favorites that don't really get much time in many other venues anymore; and
2) The New Black: exposing club-goers to new dark music that isn't exactly getting much play elsewhere and doesn't always fit exactly into the expected for a goth and/or industrial club.

I'm going to admit that I do somewhat agree with some of the criticism I've heard leveled concerning the former goal - nothing really stops the DJs (especially these DJs, who have a standing in the scene community that grants them a great deal of freedom, dare I say immunity, in their music choices) from playing some of these older "lost" hits at the other clubs that they're part of (specifically Death Guild and Dark Shadows). That said, it was nice hearing and dancing to some music that I haven't heard on the turntables in a while.

Regardless of all of that, though, I find the latter goal highly laudable. As much as I like to hear songs I know and love, it is a refreshing change of pace to hear something totally new (to me, anyway). I like getting some exposure to the direction that "goth" (that fuzzy word that many of us define in so many different ways) may be heading in the future... And even if it isn't, my tastes are wide enough that I can appreciate some of the truly amazing directions these acts are exploring. So, bravo for the so-called "New Black".

In further news: the week before that I was able to get out to the return of the Cell, that salon of dark dance and performance art.

The dark, ritualistic dance performance by Vulgaire (whom I'd never had the privilege of seeing before) and the light-hearted technical elegance of Shondell (whom I have seen and enjoyed in the past) was certainly what I'd come to expect of the Cell based upon previous experiences. Nor was I disappointed in the least.

Artistic performances by experimental cellist Angela Roberts, spine-chilling contortionist Michael Curran, and the sensual ululations and ritual chanting of Irretitus Fesol were stunning, disturbing, intense, and, in one case, more than a bit erotic. And, in this regard, this was the Cell truly embodying its highest form - that of a venue for performance art of a nature strange and sensual, deviant and delightful, haunting and perhaps a bit horrifying.

This is where we get to what some might consider to be "bad news" - due to the nature of its content, the Cell is choosing to become an invitation-only salon for the time being. Word is that invitees will be able to bring a single guest and that only by being brought a few times will said guest become a potential invitee to future Cell events.

In some ways this concerns me, for fear that this mostly-closed circle may result in the Cell losing a portion of its audience (some of whom are just "friends and family" of the performers). In others, though, I agree with Madame Anaid's reasoning and decision - as I suggested above, this last installment really waded into some fairly intense territory that may not really be palatable to those unused to or unprepared for the types of performance that the Cell seeks to make available. Also, the comfort of the performers is absolutely paramount and, in many ways, this is as much for them as it is for unintended audience members.

Ultimately, I applaud Madame Anaid's daring, extend my support, and hope for the best.

That said, I will be removing information about the locations and times of installments of the Cell. This will not preclude me from mentioning the artists or even offering my experiences on this blog, of course, but really, that can only wet the tongue to see that actual performances in person (at least, that is, if I'm doing my job correctly).

If you are interested in attending future Cell performances, I recommend finding an acquaintance among the invitees who is willing to initiate you into this lovely mystery cult that seems to be in the making.

For something in that actual "bad news" category: it sounds like Sacramento's Asylum, one of the longest running goth clubs in the area (running nearly as long as Death Guild), may be closing up shop within a few weeks. There hasn't been an actual "official" confirmation yet (supposedly that's set for this Sunday), but DJ Bryan Hawk and a few people "in the know" have made statements suggesting that this is definitely the case - at least at its current venue.

As we've seen, the club scene for us goth and industrial kids is often fluctuating and shifting as time goes on. Many good clubs and bad have vanished even in the short nearly-year-and-a-half that SFGothic has been around, and others have come into existence to replace them (and some have even been reborn).

But Asylum was Sacramento's "Death Guild". It was the weekly club out on the eastern end of California. So it carries a bit more of a  "holy fuck" element to it.

Some folks have already begun casting aspersions about the local darklings "not supporting" Asylum enough, which I do feel is more than a bit unfair. Especially since what might actually be at issue is the venue choosing to drop them or even the resident DJs just being tired of managing it any longer. Or, gods forbid, maybe the economy is still just doing its damage to the things we love (partly due to it stripping us, the clientele, of the finances that make hitting a favored event viable).

Unfortunately, this is, at this point, all just idle speculation. I may try to head out there myself tomorrow night to see if I can get the low-down.

Ultimately, I hope for the best for my fellow darklings in the capitol. And, with time and if Asylum is truly down for the count, perhaps another "central" club will arise from the ashes... and there's a good chance that Asylum itself will be reborn like the proverbial phoenix to re-take its own place.

But, until that time, it's a bit depressing.

-- Mr. M.
0 Comments

Another lovely evening at the Cell

8/5/2011

0 Comments

 
"In darkness my heart was won."
-- Dead Can Dance, The Ubiquitous Mr. Lovegrove

Last night's excitement comprised of my second attendance at the Cell.

Madame Deidre Anaid, as before, was a lovely hostess - a porcelain doll of delight.

And the venue - the Vagabond Ballroom - part combine-communal-flat, part mini-theater - is still just as awesome as it was before.

Now, onto the evening's performances, shall we?

Raven & Erin - These two lovely ladies specialized in a kind of metal-fusion belly dance for the evening for both of their performances. And, in both cases, it felt a little like watching an old music video in the wee hours of the morning on Headbanger's Ball - y'know, back when MTV used to show videos. For example, both of them dolled themselves out in the sexy-trashy look of the classic metal-moll (yeah, I just invented that term, but it works) and swung their hair around in a fashion that would have made Tawny Kitaen jealous.

But, and here's where the differences kick in, they both actually know how to dance.

In their first performance, they combined their metal-head sensibilities and their belly dance quite elegantly (I acknowledge that as a weird word-choice for a metal-based performance) in a way that made it hard to tell when they were doing one and not the other, moving seamlessly back and forth. And they took solid advantage of the asymmetrical structure of the guitar-riff-heavy music to combine entirely contrasting non-parallel movements into something that defied the conventions of synchronized dance, fit the frenetic mood and frantic style of the beat, and still looked good while doing it.

Their second act later in the evening comprised of a clearer division between the "metal" and "bellydance" portions of the performance, interspersing one with well-done-but-distinct changes to the other. Much more synchronized this time around, they still thrilled the crowd and made this audience member wish he was up there on the stage shredding away on a strat and banging his head to the beat with his hair down. Bravo, ladies.

IrinaXara (www.irinaxaradance.com) - This lady's two performances were a study in extremes.

Her first piece was billed as "an improvised performance". The music chosen was fractured, and, combined with the stark white-brick background of the stage, IrinaXara's performance had the feeling of an insomniac schizophrenic, trapped in an industrial madhouse nightmare. It was raw. It was exposed. And it was a bit uncomfortable. Fitting fare for a "dark dance salon" indeed.

Her second piece felt distinctly more politically-loaded. With a burkha covering her face, but dressed in a tight-fitting and tummy-baring pant-suit, this piece was distinctly more "belly dance" than the first. Backed with the solid beats of what sounded like a Middle Eastern female-vocalized hip-hop piece, IrinaXara showed off her fusion chops and fine lines. At the end, she stripped the one-piece to reveal a crescent-and-star stuck to one breast, a star of David stuck to the other, and an American flag covering her pelvis.

Combining art and politics is always difficult to pull-off well, and, while I'm not entirely certain she earned it here, I'm still thinking about the piece, rolling it around in my head, and contemplating the statement she seemed to be making - so she certainly succeeded in putting it in my head and keeping it there.

Shondell - Shondell's piece was accompanied by the musical talents of Levitating (her husband).

Combined with her petite stature and her gossamer-pink outfit, this performance started out feeling like I was watching a fairy princess elegantly combine bits of belly dance, modern dance, and ballet into something... fascinating.

The first portion of her performance struck this viewer as delicate, classical, sweet, and a little sad, with lots of ballet-sensibilities. Then the music shifted to a discordant harpsichord synth, and, while still very ballet-informed, her moves shifted from delicate to bold and sweeping. With the next shift (this time to a hard-beat new-wave sound) our "fairy princess" donned a crown, turning her "bold" into "saucy and playful", direct and with a hint of the sexual, transforming from "fairy princess" to "prom-queen-gone-punk" as the ballet elements disappeared.

And finally, for her grand finale, a harsh thumping beat kicked in and Shondell popped her groove. The "saucy" became "outright sassy" and the last bits of the fairy princess dissolved entirely to the rhythm with modern dance and belly dance elements strongly in the fore.

A statement on a girl growing up; innocence disappearing to be replaced by sexuality but also self-assurance and power? Am I reading too much into it? Probably. But this was my favorite piece of the night - so I can't help but analyze it over and over.

Blackhoodygrrl (www.blackhoodygrrl.com) - Blackhoodygrrl came out dressed in a fairly traditional looking belly dance outfit, complete with the "little vest/bodice". But it was distinctly informed by a gothic aesthetic, with dark colors and her a-frame haircut. Which, actually, sums up her performance pretty well, really.

She started off very traditionally, with a softer musical touch, the dangling lace from her sleeves making her look like an elegant gothic butterfly as she started with strong baseline belly dance moves. But then the next portion busted out a savage bass and she responded with razor sharp dancing - clean-cut, solid lines, well-defined, and no nonsense whatsoever in her steps and maneuvers and gestures.

And while I liked Shondell's piece the most, overall, Blackhoodygrrl's performance was bold, beautiful, and I couldn't take my eyes off of her the entire time. The lady had some undeniable presence on the stage, and it was a delight to watch.

All-in-all, I think these ladies were an awesome second experience for me at the Cell - just reinforcing my previous good opinion of this monthly event.

Also, further good news from the front - its sounds like next month's installment of the Cell will be featuring the wondrous dance-stylings of two particularly special ladies - the Unsinkable Molly Mitchell and the Cell's own promoter/mistress-of-ceremonies Madame Deidre Anaid. That being the case: I know where I'm going to be on September 1st, my little darklings.

What about you?

-- Mr. M.

0 Comments

The Cell - Everything that cultured gothic events SHOULD be.

7/8/2011

1 Comment

 
"I'm closing down my life, I'm making room for a brand new show.
It will consist of empty dreams, high fashion wars, and dollar smiles.
It will be filled with disco bombs. All I want is for you to be in the show."
-- Combichrist, In the Pit

So, I got the opportunity to go to the Cell for the first time on Thursday night (7/7/11).

The Unsinkable Molly Mitchell (who, I believe, occasionally performs there) actually let me know about it; mostly, I suspect, because she's just so damn awesome. So many thanks go out to her.

Venue: The Vagabond Ballroom

The Vagabond is a very cozy and classy little spot hidden inside a kind of "multi-warehouse" building right next to a little residential strip in Oakland.

Dominated by a small stage, with a nook bar to one side and pleasantly decorated all-around, the location serves as an excellent and charming space for Dark Couture. It's small enough to allow people to talk to one another while still hearing music and seeing performances, while still providing a surprising amount of open space (even with the furniture around the edges and near the bar).

My only complaint is that the bar has a very limited alcohol selection (though this may be something that changes from event to event). They had Bombay Sapphire, so I was safe - and scotch would probably have been limited to Johnny Walker Red... so it's still serviceable and we probably shouldn't hold it against them. I just really wanted some decent scotch that night. :)

The Vagabond is not a place for large crowds though. The space is small and best used for small gatherings and performances (such as the Cell and Club Solace).

The Performances:

Dark. Beautiful. Deviant. Elegant. Disturbing. Fun.

These are just some of the adjectives that came to mind as I watched the performances. Most of them were interesting goth and industrial fusion belly dance pieces, involving excellent musical choices and clearly skilled dancers.

There was even one "hip-hop" style piece, and, while I generally don't care for the style or the music, the dancer seemed technically proficient and was clearly enjoying herself and being enjoyed by the crowd.

If I knew the names of the dancers better, I'd really love to give shout outs on each performer. I recall one name, but to focus attention solely on her (even though she was exquisite to watch - I've seen her at some of my favorite events and my simple mind failed to recognize that her delightful dancing in those venues reflected a broader artistic intention) would be an unfair disservice to the rest who were also equally fantastic and enjoyable to behold.

EDIT:I've managed to get the names of the dancers I got to see at the Cell (Thanks to Mistress Paik!) -

Dusty Paik (www.snakechurch.com) - I missed Dusty's first performance of the evening unfortunately (as she describes it: a gory, grimy gypsy piece), and for that I am very sorry. But she was also our  "hip-hop" dancer mentioned above. I do want to make clear - despite my stated antipathy above to "hip-hop" dancing in general, Dusty was, in fact, a joy to watch. This latter performance was both saucy and fun. I hope to expand my appreciation of Dusty's repertoire in the future.

Ariellah (www.ariellah.com) - This dark angel is the one that I have seen dancing (and enjoyed watching) on the dance floors at some of my favorite clubs, all while failing to realize that she danced professionally. As I've come to realize, everything that Ariellah does is elegant and lovely. As with Mistress Paik, I missed her first performance as well as a performance by her troupe of students, known as Forlasi (For shame Mister M!! For shame!). But her second performance was one of a soft, understated, and dark beauty, supported with a somber music - like watching the ceremonial funereal dance for the dead emperor of a dead world.

Marjhani - This wondrous dancer came to us from the wilds of Arcata. I actually got to catch both of her performances, much to my immense pleasure. Marjhani's work was decisive, proud, and mysterious, backed by a solid industrial sound. And her intense eyes felt like they locked on you as you watched her, seducing you further into her power. I couldn't look away, and I hope to be so seduced again in the future!

Jodi Waseca - Jodi's piece was, in turns, haunting and disturbing, involving a cracked-faced porcelain doll, a black lace blindfold, and a blue shroud (really the only way to describe it)that she shed partway through alongside her blindfold. I honestly can't remember the music, because I was so rapt with her performance. I remember it being dark and moody and maybe a little fractured... which is fitting given that her portrayal was the same.

Final Thoughts:

The hostess (and occasional performer, though she didn't perform this night) Madame Deidre Anaid really has something to be proud of with the Cell. She's built something wondrous and darkly lovely with a feeling of neo-Victorian elegance and culture - exactly the sort of event that this self-appointed (and self-obsessed) art critic wants to see more of.

Concerts and clubs are awesome, of course. Don't get me wrong. But the style and intimacy of a salon is really an experience in itself and, as far as I'm concerned, we can all use a bit more art in our lives.

Ultimately, I'm hoping to see a broader range of performances at the Cell in the future (maybe small musical/vocal performances, poetry and other written art readings, single-scene single-act plays, non-dance performance art; just to name a few examples/suggestions) - but what I saw certainly sufficed for a first taste and a solid start.

As such, I'm adding the Cell to my own monthly "Grand Tour" of the Bay Area's Underworld.
1 Comment

    Author

    MisterMephisto is a pretentious prick. That's why his opinions are so much better than yours.

    (With the exception of the images, everything on these pages, including the identities/names “SFGothic”, “SFGothic.net”, and “Mister Mephisto”, is © 2011, 2012, 2013, 2014. Images belong to their original creators and/or owners.)

    Archives

    April 2014
    August 2013
    July 2013
    April 2013
    March 2013
    January 2013
    November 2012
    September 2012
    August 2012
    July 2012
    May 2012
    March 2012
    February 2012
    January 2012
    December 2011
    November 2011
    October 2011
    September 2011
    August 2011
    July 2011
    June 2011
    May 2011
    April 2011

    Categories

    All
    Abney Park
    Aesthetic Perfection
    Album Review
    Anti/Life
    Archpedant
    Asylum
    Ayria
    Ballroom
    Bloody Crumpets
    Club Nocturne
    Clubs
    Combichrist
    Concerts
    Dark Shadows
    Dating
    Death Guild
    Die Maschinen
    Dismantled
    Emilie Autumn
    Events
    Everything Goes Cold
    Fashion
    Front Line Assembly
    God Module
    Gothic Media
    Imperative Reaction
    Kmfdm
    New Wave City
    Pagan
    Peers
    Pics
    Polyamory
    Rammstein
    Reverence
    Rpg Review
    Shadowdance
    Solace
    Standfire Collective
    Steampunk
    Strangelove
    Swing Goth
    System Syn
    The Cell
    Unwoman
    Vespertine Circus
    Webmastery
    Witching Hour
    Wumpskate Sf

    RSS Feed

    Increase your website traffic with Attracta.com
Powered by Create your own unique website with customizable templates.