Formed and lashed together in early 2014, Curse of Cassandra has become a staple in the Dayton darkwave, electro-goth circuit playing any and all venues that allow the gothic, burlesque hedonistic crowd that follows.
Jacob and Nicole Richter (a.k.a. Asher Black and Electra Complex) have established their following through the smooth, seductive sounds from the keyboards and electric musings onstage incorporating a classical gothic vibe with shadowed hints of S&M interplay with themes of love, dominance and unique lifestyles. A little bit of blood-letting, vampiric or otherwise is a kin for the show.
Described as witch-dance and grave-wave, their electro dark dance tunes combined with industrial dance pop, bring the bones out to the dancefloor, releasing those private, innermost thoughts that would most likely best lay hidden otherwise.
Their second record Cult of Cats pours and purrs with electronic satisfaction, hissing with claws out when threatened. There are some stories going on here that rarely get out of the underground club or private dungeon.
Richter’s vocals are subtle, breathy, seductive and sexual throughout with playful interplay, implication and exploration. A bit on the pop side at times but the lyrics and music give her delivery more depth than simple, happy love songs.
There’s an indie pop vibe on Carpe Noctem starting with a banging bassline opening with whispered witch like vocals, sending incantations into the mic like trailing incense. There’s a haunting simplicity in delivery, casting late day visuals of lonely travels in the woods, watching the sun fade through the tree branch hands. A ceremonial enchantment hides treacherous warnings as the sun sizzles on the horizon.
Dragon on a Leash has a personally freaky choice of flavor and Eurythmic charged opening like knives slashing through a curtain and keyboard effects hitting like oncoming traffic. It’s playful in its sarcasm with hints of Fergie and Maria Brink in attitude. Not acting one’s age is part of the experience.
Ghost of You slithers and recoils with groove experimenting with jazz and R&B. Richter’s vocals carry a submersed quality like voices swept into the ocean or dark liquid abyss, fading away like hookah smoke or last remains buried in everlasting obsessive love.
The tribal dance is done against the fire and flames in open air celebration of deity’s and astrological relations on We will not Hide. We are who we are. Pop diva sensations and sentiment come out, staying mature.
Jacob gets the chance to weave some spells on Falling. Nicole joins the chorus like merging liquid.
Stardust’s electronic, sensory neurons fire off like computer language. Evolving beeps and swirling audio shapes infiltrate the ears as Richter’s voice sneaks in, flowing on audio waves, let it rain down.
Darkborn’s depressive distilled vibe clanks with industrial pipes (possibly literally), with wailing words echoed from the ether or the womb.
Hold Me, Kill Me Slay Me ends with a psychopaths, serial killers and/or sociopaths love letter with tit for tat, eye for an eye, in any situation or the whip for a kiss. The wails of past seduced, used and discarded victims roam the air like poetic karma.
