Cloak & Dagger 2018: She Wants Revenge, The Faint, TR/ST, Christian Death + More

Spaceland & Restless Nites Present

Cloak & Dagger 2018: She Wants Revenge, The Faint, TR/ST, Christian Death + More

She Wants Revenge, The Faint, TR/ST, HEALTH, Christian Death, Drab Majesty, Boy Harsher, Tamaryn, Death Bells, BOAN, Black Mare, SRSQ, Body Of Light

Sat November 10, 2018

Doors: 3:00 pm / Show: 4:00 pm (event ends at 1:00 am)

Los Angeles Theatre

Los Angeles, CA

$49 Early Bird GA (sold out) / $69 GA / $75 At The Door / $65 - $175 Res Balcony

This event is 21 and over

Cloak & Dagger
Cloak & Dagger
*
She Wants Revenge
She Wants Revenge
*
The Faint
The Faint
American indie rock/synth punk band, formed in Omaha, Nebraska in 1995.
TR/ST
TR/ST
TR/ST is the musical project of Canadian artist Robert Alfons. The debut album TRST received widespread acclaim for its convergence of pop, goth and dance dynamics, overlaid with the menacing and enigmatic vocals that Pitchfork likened to a "goth version of Eeyore". Joyland, the project's sophomore outing, was an even deeper foray into the gender-bending underworld of Alfons' fantasies. 2017 saw TR/ST perform at FYF & Cloak and Dagger Festivals in Los Angeles ending the year by sharing upcoming single 'Destroyer' in the Nowness premiered short film of the same name starring and co-directed by Ryan Heffington (Sia, Arcade Fire, Baby Driver) and Justin Tyler Close (The LAB). His hotly anticipated 3rd album is scheduled for a 2019 release.
HEALTH
HEALTH
HEALTH are the new frontier of noise rock. Formed in 2005, HEALTH self-recorded their debut album over the course of 9 months at Los Angeles D.I.Y. venue The Smell, birthing an urgent and extraordinary album which seethed with ghostly, epic pop and spurts of chaotic noise. Their shows grew wilder, kids danced & moshed, blogs freaked out, critics raved, and everyone wondered how in God's name HEALTH was going to follow it up. While the anticipation continued to build, HEALTH released a critically-acclaimed remix record HEALTH//DISCO, toured with the likes of Crystal Castles, Nine Inch Nails, and Of Montreal and played over 420 shows!

In April of 2009, HEALTH emerged with their first new single since 2007: "DIE SLOW" received immediate accolades from Pitchfork & NME, with the effects rippling across their DIE SLOW THROUGH EUROPE tour, resulting in a near-riot in Eastern Europe. The song's infectious fusion of noise and dance was the most fully-formed and undeniably rad piece of music from HEALTH yet. And it only served to rile up their fans more. The new full-length was desperately needed.

On September 8th 2009, HEALTH answer the call and release their second album GET COLOR. Recorded in an especially gnarly part of Lincoln Heights, L.A, GET COLOR is an exuberant proclamation of noise, rock and electronic splendor. It's a celebration of sound; pretty, harsh, soft and basked in a blanket of ethereal vocals. GET COLOR is the manifesto HEALTH have been promising since their inception. HEALTH are the band. GET COLOR is the record. NOW is the time.

Two years after releasing the revered noise/dance record HEALTH//DISCO, HEALTH return to the remix realm with DISCO2 on June 22, 2010 on Lovepump United Records.

Curated and produced by HEALTH, DISCO2 features the epic noise jams of GET COLOR remixed by electronic luminaries Tobacco, Crystal Castles, Salem, Javelin, and Gold Panda (among others), morphing 2009's GET COLOR into an electronic masterpiece.

DICSCO2 leads off with the killer new HEALTH single "USA BOYS", mixed by legendary producer Alan Moulder (My Bloody Valentine, Nine Inch Nails, Depeche Mode). HEALTH have turned the dancefloor filthy again. It's going to be a noisy summer.
Christian Death
Christian Death
CHRISTIAN DEATH Consistent members: Valor - Male lead vocals, guitar and multiple instruments Maitri - Female lead vocals, bass guitar
"The founding fathers of American goth rock, Christian Death took a relentlessly confrontational stand against organized religion and conventional morality, with an appetite for provocation that made Marilyn Manson look like Stryper. Regardless of who was leading or performing in the group, Christian Death set themselves up to shock, both in their cover art and their lyrics, which wallowed in blasphemy, morbidity, drug use, and sexual perversity. Their self-consciously controversial tactics set them apart from the British goth scene, having more to do with L.A. punk and heavy metal, and thus the band dubbed its sound "death rock" instead; however, their sensibility was ultimately similar enough that the "goth" designation stuck in the end. Their music also relied on slow, doomy, effects-laden guitar riffs and ambient horror-soundtrack synths, and their theatrical performances were strongly influenced by British glam rockers like David Bowie and Roxy Music, as well as industrial provocateurs Throbbing Gristle. The latter was especially true of the band's first incarnation, led by vocalist and founder Rozz Williams, - When Williams left in 1985, guitarist Valor Kand took over leadership and sent the group in a more intellectual, political, and metal-oriented direction. A subsequent dispute over ownership of the Christian Death name, - lead many of their fans to take sides. - Christian Death had an enormous influence on the American goth scene, shaping the sensibility of countless goth, metal, and even industrial acts that followed. Sadly, the Kand-Williams dispute ended in tragedy in 1998, when a heroin-addicted Williams took his own life.” ~ Steve Hue VH1,
ROLLING STONE There has been a ridiculously huge revolving door of membership in the Los Angeles band known as Christian Death. In the beginning, not long after the local California release of the first album, “Only Theatre of Pain”, the band irrevocably and formally broke up. This left “Rozz”, at home with his overtly religious parents in Pomona California, to contemplate his insufferable boredom, his only relief being found on the pages of his lyrics. After being invited to the record release party for “Pompeii 99”a band already enjoying success in L.A., where Rozz met band leader, singer and guitarist “Valor”. Before long they were inseparable friends and Rozz was invited to join Pompeii 99. Together as Pompeii 99, while rehearsing for a planned European tour, the head of a French record label that Valor had been negotiating with, proposed the notion of renaming his band Christian Death. Neither Valor nor Rozz wanted to entertain this, however, the incentives proposed by the label eventually prevailed and thus Pompeii 99 was reborn as Christian Death . The second Christian Death album, “Catastrophe Ballet”, which resulted from this deal, was recorded in Wales UK, (a place where several future Christian Death albums were also to be born). A month before the release of Catastrophe Ballet, the French label head released a compilation which he called “Deathwish” comprised of previously recorded, unreleased outtakes and single tracks he had licensed.
Recording the second album was followed by the very first Christian Death tour which began in Paris and on to most European countries. The emotional stress of this first tour was hard on Rozz causing him to return to Los Angeles months before the other members that remained in Europe. Upon Valor’s return to Los Angeles, work began immediately on the third album, “Ashes”. Meanwhile, the release of a “live” album called “The Decomposition of Violets” recorded in Hollywood was also released.”
After the release of Ashes the following year, plans were underway for the second European tour when, Rozz, just weeks before the first scheduled date in Italy, announced his plans to quit the band. With no intention of cancelling the tour, Valor returned to lead vocals, the bass player became the guitarist and the guitar tech became the bass player and the tour proceeded as planned but without Rozz.
Now fronted by Valor, they left California and settled in London England which they used as a base to tour Europe relentlessly in the midst of controversy, riots, bomb threats and protests by extremist Christian groups. Many concerts were canceled as a result of direct pressure by influential religious organizations.
From England a further “nine studio albums” and four live albums were released in the territories of England, Germany, Italy, France, Japan and USA with each release in each territory having different art work, configurations and bonus tracks. Among these releases was the critically acclaimed album “Sex and Drugs and Jesus Christ” which depicted Jesus shooting heroin and the single “Church Of No Return” which went to No.12 in the UK charts which landed the band numerous spots on MTV, VH1, Super Channel, BBC and countless other Euro television and radio shows. Meanwhile in the USA, Christian organizations began burning their albums in public and on Christian Television networks.
In 1994 Valor relocated Christian Death to the USA centered around himself and Maitri on bass and vocals. “He returned with 1994's Sexy Death God, which many longtime fans greeted as his best and tightest effort in quite some time.”~ Steve Hue VH1
Once again based in the USA, for the first time, it was possible to do full North American tours, of which there were many, which also included Mexico where the live album “Amen” was recoded at the first ever show in Mexico City for Century Media. Later to be followed by the studio album: “Pornographic Messiah” which was also recorded in Mexico, then mixed in Holland.
“In 2000, they added drummer Will "Was" Sarginson (ex-Cradle of Filth and Blood Divine) and toured Europe alongside Britain's Cradle of Filth, one of the more popular black metal bands of their time. The two groups got along well enough for several Cradle members to guest on Christian Death's 2001 album Born Again Anti Christian, helping it become one of the most metallic records in their catalog.
The following year, female vocalist and bassist Maitri, by then the second most continuous member of Christian Death, issued her black metal-influenced solo album “Lover of Sin” (confusingly labeled on the cover as "Christian Death Presents..."). In 2003, Cradle of Filth guitarist Gian Pyres officially joined Christian Death for their European tour.” ~ Steve Hue VH1
In response to the post 911 period, the album “American Inquisition” recorded on Season Of Mist was the offering. The tours for this album included new territories for the band: Brazil, Chile, Peru, Ecuador. Australia, and New Zealand. Around this time Christian Death released multitrack versions of several songs for the “Rock Band” video game series as well at that time bootleg figurines of both Rozz and Valor began to appear.
In 2012 Maitri released the album second Lover Of Sin album ”Horny Beast” the project featured members of Nile, Morbid Angel and other popular Death Metal Bands.
2013 full tour of The Americas into 2014, with a full back catalogue digital global release. Culminating the year at "Hellfest" supporting "Kiss", "Rob Zombie" and "Limp Biscuit".
With the 2015 Release of the album “The Root of All Evilution”, and the tour for that album which began that Autumn in Europe through into North America in 2016 and again returning to Europe and finishing in Israel.
The song “Between youth”, re-released in 2017 was featured in the Vice TV series on HBO “Balls Deep”. Later that Autumn, Christian Death completed the longest North America Tour to date. The tour included “Lords of Acid”, Combichrist and En Esch.
2018 - New Album underway. Touring in 2018 The Death Romantique began at the “Underworld” in London, England. of this 12 nation tour
Stay tuned to the following Christian Death social media pages for further European dates and other territories updates:

VIDEO from the latest album:

https://www.youtube.com/watch?v=JQTdnV5sNPU

https://www.facebook.com/christiandeath
https://twitter.com/ChristianDeath
https://www.instagram.com/christiandeath.official/
Drab Majesty
Drab Majesty
Drab Majesty began as a warbled transmission received via 4-track cassette in a dim, Los
Angeles bedroom in 2012. The entity known as Deb Demure, an interdimensional muse of sorts,
lent an otherworldly vision to a human contact; one to be realized through meticulously
composed lo-fi recordings. Focusing on the aesthetics of cult ritual and the devastating power of
music, Deb sought an alternative way to share the cosmic agenda. Culminating in a cassette
titled Unarian Dances, Drab Majesty’s manifesto to humanity was revealed: revel in the power of
artistic influences that reside beyond the self.
In 2015, Drab Majesty released Careless, the first LP which was received and recorded solely by
Demure on living room floors and in cluttered spaces across the city. Careless remains a fixture
in LA’s somber yet sublime nightlife and a noted contribution to the murkier subcultures abroad.
From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered
machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo,
employing the keyboard accompaniment of far-out twin, Mona D – filling out frequencies and
upping the spectacle of the live performance.
January of 2017 saw the release of Deb’s second album entitled The Demonstration, recorded
by Josh Eustis (NIN, Telefon Tel Aviv).
Boy Harsher
Boy Harsher
BOY HARSHER is a dark electronic duo that produces gritty dance beats infused with ethereal vocals, creating a sound that is eerie, intense and incredibly danceable. Augustus Muller develops the underbelly of sound with minimal beats and grinding synths, where Jae Matthews whispers, screams and chants on top. Together, the music created is somewhere between industrial, drone and confessional storytelling. Muller and Matthews both have a strong background in film and their cinematic approach translates effectively in both their recordings and live performance.
Boy Harsher started in early 2013 under the name Teen Dreamz. The project was based on short stories written and read by Matthews then live scored by Muller. As the project matured the instrumentals became more dance influenced and Matthews’ delivery became more dynamic and spontaneous. In January of 2014 Teen Dreamz took on the moniker Boy Harsher.

Yr Body is Nothing, Boy Harsher’s debut LP, was released by Atlanta’s DKA Records in June of 2016. The LP has been described as a “darkly beautiful and very emotional new record” by Gorilla Vs. Bear and as “highly danceable fantasy narratives of desire and nuanced discomfort” by Decoder Magazine. The album was recorded at home in Northampton, Massachusetts with additional recording and final mixing done at Dollhouse Studios by Peter Mavrogeorgis. The first pressing quickly sold out and a 2nd pressing was released January 2017 ahead of Boy Harsher’s US tour.

Their first EP was mostly recorded at home in Savannah using small collection of cheap synthesizers. These recordings were fleshed out in the studio under the guidance of veteran engineer and producer Peter Mavrogeorgis at Dollhouse Studios. After a short, but productive mixing and mastering session Boy Harsher completed their EP Lesser Man. Lesser Man was originally released by Savannah’s Soft Science on small run cassette. St. Paul’s Night People re-released Lesser Man in April.
Tamaryn
Tamaryn
Time and changes distance Tamaryn’s Cranekiss from her earlier efforts, and for that matter, from everyone else’s. Time, by way of the long period spent crafting this material, both on her own and with Weekend’s Shaun Durkan, who with producer Jorge Elbrecht (Violens, Lansing-Dreiden), make up the creative team behind Cranekiss. Changes, by relocating across the country from San Francisco to New York City, by expanding the approach taken on her two previous albums (2010’s The Waves and 2012’s Tender New Signs), by making music that pulls you closer to it despite the enormity of the sounds within.
Tamaryn’s first two full-lengths stood out in a crowd of shoegaze/ethereal revivalists as much for what they were (careful, gorgeous, thrilling tapestries of guitar-based textures) as what they weren’t (simplistic, trendy, disposable signposts made to be broken). With Cranekiss, Tamaryn emerges from her past in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, the result of long nights grinding it out at the Brooklyn studio Gary’s Electric, where the record was born. The Waves and Tender New Signs focused on the sounds Tamaryn and her group could coax out of guitars, but with Cranekiss her sonic palette has exploded with maniacal abandon, pressed into service of a post-adolescent love letter to all the music that she and her collaborators hold dear, drawing influences from the feelings that fell out of her. Anyone familiar enough with those times should be able to draw their own comparisons, recognizing the modes of musical respect and adoration flashing past as the record spins. From there, though, Tamaryn has modeled these elements into simulacra, where despite the nods and glances to the past, play as a totally new sound.

Lyrically, this is Tamaryn’s most personal collection of songs to date, and Elbrecht has placed her voice front and center across the entire record, elevating her presence like never before. Cranekiss explores dark rock, dance pop, and glistening melancholy with a uniformly commanding presence across it all, in stormy, unsettled brushstrokes that apply pressure behind Tamaryn’s words.

Cranekiss represents a long journey, and a new phase in Tamaryn’s music unfolding before you, a blood-red kaleidoscope of desire and late night abandon, a bold step forward.
Death Bells
Death Bells
Australian band based in Sydney, formed in 2014.
BOAN
BOAN
“The long awaited debut from Texas-based electronic duo BOAN has finally arrived, at last bringing their unique incarnation of minimalist synth-pop to an eager and international cult following. BOAN consists of José Cota (SSLEEPERHOLD) and Mariana Saldaña (ex - //TENSE//) who, outside of their lauded individual creative efforts, are widely known as two thirds of the now defunct electro-trio Medio Mutante. MM's critically acclaimed 2008 EP Inestable was released by Cititrax, an imprint of the illustrious Minimal Wave Records, and was the first modern album allowed into the label's celebrated cannon of classic reissues. On BOAN's highly anticipated debut LP Mentiras, Cota & Saldaña continue to deconstruct, sharpen, and enhance their idiosyncratic cold wave tradition by using all hardware electronics to sequence and arrange infectious live dance music. Cota's vivid analog compositions form a solid foundation for Saldaña's indelible and predominantly Spanish vocals to sink into, reflecting a unique confluence of Texas' vibrant electronic music scene with its rich and inextricable history of Hispanic culture.

The album's title, Mentiras (translated as "lies"), accurately sets the tone for the dark romance of Saldaña's alluring vocal delivery that seamlessly oscillates between the sanguine and the apocalyptic with cold, stoic detachment. As a fitting counterpoint, Cota's bass-lines and sequences fuse into dense melodic structures that lock-in with his signature half-time drum beats, propelling each piece forward with aggressive momentum. Medio Mutante, in the tradition of bands like Absolute Body Control, Fad Gadget, and Snowy Red, exclusively used vintage equipment of the era and worked within the given hardware limitations as a defining compositional tool. BOAN however, is free from any genre specific formula and embraces an array of modern synthesizers, sequencers, and effects in conjunction with the warm and classic analog tones that came to be synonymous with MM's sound. By employing a variety of punchy downtempo swing rhythms BOAN establishes an innovative vocabulary of beats that make room for deeper melodic refrains to confidently emerge while simultaneously drilling themselves deep into the unconscious. Pieces such as Babylon and BOAN Acid are impossible to forget, standing out as the most energetic and arresting works on the album, while Secretos and the title track Mentiras are impassioned pop ballads that fully display the vulnerable yet vicious polarity of the full-length's emotional spectrum. Saldaña manages to perfectly suspend her lurid and haunting lyrics above Cota's rich bass lines and arpeggiator hooks, creating lush and complex melodies that are meticulously integrated with massive drum hits and intoxicating effects processing. Engineered and produced by Michael Stein of S U R V I V E at Omniverse Studios, Mentiras is deeply saturated with stereo chorus, reel-to-reel tape delay, and countless other elaborate studio experiments in order to create nuanced layers of vocals, drums, and musical phrasings that continually unveil refined subtleties with every repeat listen.

Thoroughly versed in the history and form of electronic music, BOAN have tirelessly continued to develop their song writing and arrangement process while rising to the top of the crowded Texas synth community, cultivating a rabid following both locally and abroad. Medio Mutante fans will finally be satiated as the matured, expansive sound of BOAN's debut Mentiras not only meets the lofty standards set by MM but delves further into Cota & Saldaña's unique and highly addictive electronic minimalism.”
Black Mare
Black Mare
Black Mare is a solo project of Sera Timms. She released her debut "Field Of The Host" in spring 2013.
SRSQ
SRSQ
Drab Majesty began as a warbled transmission received via 4-track cassette in a dim, Los
Angeles bedroom in 2012. The entity known as Deb Demure, an interdimensional muse of sorts,
lent an otherworldly vision to a human contact; one to be realized through meticulously
composed lo-fi recordings. Focusing on the aesthetics of cult ritual and the devastating power of
music, Deb sought an alternative way to share the cosmic agenda. Culminating in a cassette
titled Unarian Dances, Drab Majesty’s manifesto to humanity was revealed: revel in the power of
artistic influences that reside beyond the self.
In 2015, Drab Majesty released Careless, the first LP which was received and recorded solely by
Demure on living room floors and in cluttered spaces across the city. Careless remains a fixture
in LA’s somber yet sublime nightlife and a noted contribution to the murkier subcultures abroad.
From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered
machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo,
employing the keyboard accompaniment of far-out twin, Mona D – filling out frequencies and
upping the spectacle of the live performance.
January of 2017 saw the release of Deb’s second album entitled The Demonstration, recorded
by Josh Eustis (NIN, Telefon Tel Aviv).
Body Of Light
Body Of Light
Formed in 2012 in the wasted sands of Tempe, Arizona, electronic dance faction Body of Light have proven to be a teeming creative force within the present-day electronic landscape. As the archaic drones and abstract measurements of their earliest collections have evolved into to prodigious cinematic pop ballads and darkwave compositions, it’s clear that the two brothers, Alex and Andrew Jarson, are no strangers to blurring the compositional lines that confine underground music. Having worked together and separately over the years within the folds of the co-founded Ascetic House collective, Alex and Andrew have given life to a variety of projects such as Otro Mundo, Blue Krishna, Somali Extract, and Memorymann, and also have unveiled over a dozen visual, audio, and written works under various other monikers. Body of Light is simply another extension of their exercised method of immediate and natural experimentation.

After previous releases on Chondritic Sound and Ascetic House including Follow The Current, Lustre, Universal Sin, Volantà Di Amore,and Limits of Reason, Body of Light teamed up with Dais Records for their 2016 LP Let Me Go. This release shows the bands evolved sound from embryonic ideas to fully-realized synth-pop anthems and erotic aesthetics. Let Me Go came full circle under the production guidance of engineer Ben Greenberg (Uniform/ The Men), and each song follows the next with lucid moments of catharsis and romanticism that pull from their self-conscious mysticism and lawless spiritual hedonism.

Hesitant to define themselves strictly as a “synth-pop” collaboration, the brothers incorporate a wide variety of components into Body of Light’s sound. They attempt to formulate an unparalleled artistic direction filled with decay, warped tape loops, aging VHS home-movie sound samples from their childhood, primitive waveforms, and processed vocals tinged with harmonic specters. Their aim is to utilize past and present technologies in a way that feels unique, honest and sensible.

Body of Light are currently in the studio working on their 2nd LP for DAIS, due out 2019

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