Bennett’s guitar tone and style moves into a George Lynch/Dokken direction, giving the track a near anthem-like quality. With more musical references to Plasmatics, “The Adversary” also tosses in a touch of Glenn Danzig for good (evil may be more apt) measure. This is by far my favorite song on the record. “ May 22, 1453” is a pulsing, throbbing slab of Gothic perfection, with evil sounding guitar and a more prominent vocal than the rest of the album. Ides of Gemini (Sera Timms, Jason Bennett, Kelly Johnston-Gibson) (photo credit: DAVID LEE DAILEY) The primal beat underscores a classic metal guitar sound which eventually morphs into a fuzzy, feedback-drenched Neil Young-like riff. “White Hart” features mystical, medieval Sherwood Forest lyrics with just enough echo on the vocals for a nice, creepy vibe. With a liberal dose of floor tom propelling the tune along, the vocals, lyrics and guitar stop just short of turning “Seer of Circassia” into a mammoth Gothic tune. The dirge-like and Sabbath-heavy rhythm section (Timms on bass Kelly Johnston-Gibson on drums) of “The Chalice and the Blade” turns into a black-hymn grinder with appropriately atmospheric guitar from Jason Bennett. “ Black Door” is a throwback to the final couple of Plasmatics records with bludgeoning metal riffs and tough, anthemic vocals as Sera Timms seemingly channels the spirit of Wendy O Williams. The sound of OLD WORLD NEW WAVE is, at once, like nothing you’ve ever heard before yet reminiscent of everything that you’ve loved about music from… well, forever. You know that nothing’s going to hurt you, but you still find yourself looking over your shoulder or jumping at any little sound. Listening to Ides of Gemini’s second full-length is like turning out the lights and watch ing one of those great Universal Gothic Horror classics like DRACULA or FRANKENSTEIN.
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