Where would heavy music be without singular visions and the lure of the willfully perverse? Formed in Los Angeles, California, in 2010, Ides Of Gemini have built a formidable and enigmatic reputation by stoutly refusing to conform to anyone else’s idea of what lurks in the shadows-with a sound that elegantly salutes the greats of the post-punk and proto-goth eras while simultaneously harnessing the oomph and clangor of underground metal. The ornate sparkle of something else, something irresistibly alien has long ensured that Ides Of Gemini have stood proudly alone, and yet their stately invective has clearly connected with the discerning masses.
Even the haziest of musical entities undergo some process of regeneration between records. Ides Of Gemini are no different, but their journey from their stunning 2012 debut, Constantinople, and its formidable follow-up Old World New Wave-both released via post-metal mavens Neurosis’ Neurot Recordings-to brand new studio album Women, the band’s first for Rise Above Records, has been a turbulent and challenging one. Original drummer Kelly Johnston-Gibson incurred a career-threatening injury while on tour in the US in 2015, causing Bennett and vocalist (and then-bassist) Sera Timms to reassess their next move. After enlisting Scott Batiste of Saviours as a stand-in drummer for a short West Coast tour, a new alliance was formed and Scott soon became a permanent member. The band then expanded to a quartet for the first time, as Sera relinquished her bass-playing duties to newcomer Adam Murray.
Still recognizable as the work of the band behind those early triumphs, the new Ides Of Gemini album is both a dramatic leap forward for these idiosyncratic spirit guides and their most direct and impactful collection of songs to date.
Produced by the inimitable Sanford Parker, Women also features guest appearances from Tara Connelly of Clay Rendering (on “Queen Of New Orleans”) and bewitching singer-songwriter Emma Ruth Rundle (on “She Has A Secret”). As ever, Ides Of Gemini‘s new songs uniformly fizz and crackle with a storyteller’s verve, as Timms‘ emotionally devastating delivery and Bennett‘s scabrous riffs paint vivid images of womanhood’s multifarious routes to the gates of Hell and beyond. As a result, the new album’s title was a no-brainer.
