Beryl Beloved

"Some days ago, Oskar Terramortis told me about this band and he described this one as: “Christian Death meets Bauhaus” and I totally agree. This is a fusion of the Gothic Rock and the Death Rock sounds, properly executed by really good musicians. I will add some other influences that came to my mind while listening to this record, but at the end they have developed a very interesting style. They have their own personality and they are easy to identify. Beryl Bacavis is on lead guitar and vocals, and he is the composer of all the songs in this album. He is accompanied by Hands Without a Face (bass), and The Mechanical Hound (Drums).

The album starts in such a great way with “Walls”. It has sharp guitars with driving riffs, strong bass lines, and the drums came with that mid tempo (but overwhelming) rhythm. The voice is one of the distinctive features of the band. “Prey” begins with honest old-school Death Rock feeling. This track has a very special energy. ”Ethyl Carbamate” has acoustic sound; and the voice will make you think in some playful Peter Murphy in his days with Bauhaus, doing magic all around.”Asleep”, is closer to the modern Death Rock style with those guitar riffs.”The Profiteer” shows the influence of Christian Death’s Rikk Agnew. Mid-tempo track with great melody and it’s finely built. “Count the days” has great rhythm and some raw sound, the energy goes in crescendo and has a climactic moment in the chorus.”Those wasted years” is definitely influenced by The Bolshoi, this acoustic track is really enjoyable.”Maybe (It’s love that frightens me)”, the title says it all: A love song in the style of Beryl Beloved, with intensity and feeling.”Open Hands” is Gothic Rock, a non-stop force from the beginning to the end. The band sounds very inspired. The final track, “Depart”; is such an elaborated and surrounding instrumental piece. This one could be part of some movie score.

Beryl Beloved has developed their own-unique style. They have some clear influences, but at the end; they don’t sound like some alumni of one of the great names of the scene. This record is quite good and it has variety, great songs, and is such an interesting discovery. Gothic Rock enthusiasts looking for new bands with refreshing sound and great energy: be welcome!" - This is Gothic Rock

Pros:A groovy mix of Bauhaus, Siouxsie, and Christian Death
Cons:None--I really dig this one a lot.

The Bottom Line: Looking for some goth that doesn't sound like the Sisters of Mercy, or The Mission, or Fields of the Nephilim? Check out Count the Days.

I don’t know: is there some secret goth rule stating that every goth band must be dark, gloomy, and morbid? If so, apparently Colorado-based Beryl Beloved never got the memo. Their new, 2012 release Count the Days is anything but. This thing is loud, simply for the sake of being loud. (What, goth bands can’t rock out too?) It’s noisy, it’s raucous (with a couple exceptions,) it’s full of boisterous guitar riffs that slam your eardrums into submission, it’s got fat, groovy bass lines, and a singer who sometimes sounds like Peter Murphy--although he would beg to differ—and it works. Beautifully.

The last we heard from Beryl Beloved, it was on their 2010 EP Dressed for Burial. On that EP the band made it clear where they were coming from—a little Bauhaus here, a little Siouxsie and the Banshees over there, some Christian Death for good measure, and it made for a nice little release. With Count the Days, Beryl Bacavis (vocals, guitars, keyboards, violin,) and bassist Hands Without a Face (they’re backed by a drum machine called The Mechanical Hound) took those influences, smeared them together and cranked the noise up to 13 (the album was intentionally released on Friday the 13th,) and rocked the hell out while still managing to satisfy most goth enthusiasts.

“The Profiteer,” for instance, chugs along in early Banshees fashion, with Bacavis tossing out tasty guitar riffs that would have made John McGeoch proud. In fact, “Prey” is eerily reminiscent of the early Banshees (perhaps it’s the drumming?) while “Open Hands” is a speedy, in-your-face slab of goth, much in the same way Children on Stun used to do prior to breaking up. And “Walls” is a glorious, chaotic guitar fest that Bauhaus might’ve released back in the day, only this is much, much louder than, say, “In the Flat Fields,” even. And the title track has a thick, nasty bass line and still more groovy guitar riffage to make it worth recommending.

The guitar-heavy “Asleep” rocks out with gusto, only slowing down long enough for a Bacavis violin solo. “Maybe (It’s Love that Frightens Me,) meanwhile, is an enjoyable slice of pop-goth that, if you give Bacavis a lower register, wouldn’t sound all that out of place on a 69 Eyes album, or (better yet,) if Bauhaus had developed the wicked pop sensibility that Messrs. Ash, J, and Haskins found when they founded Love and Rockets. Either way, this one would make for a nice single for play in the goth clubs.

On the other hand, it’s not all fun, noisy chaos. Bacavis has shown, intentional or not, a proclivity for sounding a lot like Peter Murphy, and he does a near-perfect imitation on “Ethyl Carbamate ,” a sparse acoustic guitar piece that eventually explodes into a fuzzy, distorted fury. And “Those Wasted Years” is a cool little acoustic number made fun by some programmed Budgie-style drumming. Meanwhile, “Depart” is a gorgeous piano and violin track that closes the album on a somber note.

I quite enjoyed Count the Days. Beryl Beloved could’ve taken the safe route and went all gloom and doom (and they’d probably be good at that as well) on us. Instead, they brought the noise and chaos while still managing to remain a goth act at heart, all within a scant 32 minutes. To paraphrase my fellow writer pyfr, it’s nice to see that someone is defending the walls of Castle Goth, and Beryl Beloved are defending them very nicely, thank you. If all you’re looking for is the next Fields of the Nephilim, or the next Sisters of Mercy, or even the next Mission, you aren’t going to find that here, although you should still find much to like. If you’re interested in hearing a young band taking over where Bauhaus left off, with some Christian Death and early Banshees added to the mi - Scott Ganschow, Epinions

Sometimes you have to go looking for good, new music. Sometimes, it just falls into your lap when you least expect it. Such was the case with new goth act Beryl Beloved and their Dressed for Burial EP—it was almost literally handed to me with the idea that I might like it. But enough about that; what’s most important is the music, right?

Right—the music, and the guys making it.

Beryl Beloved hail from Colorado, home to a fairly sizeable and enthusiastic (if goths can actually ever be referred to as “enthusiastic.” Hell, at the Colorado Dark Arts Festival a few years back, one of the organizers marveled at how many goths actually managed to get out of bed before 2 P.M. to show up) goth community. Consisting of vocalist/guitarist/keyboardist/violinist Beryl Bacavis, bassist/backup vocalist Vaux “Jimmy” Borden, and a drum machine called The Mechanical Hound, Beryl Beloved puts out old-school goth that proudly gives nods to their influences: Bauhaus, Siouxsie and the Banshees, Christian Death, the March Violets, etc.

All of which means that you shouldn’t tear open (or download, if you prefer) Dressed for Burial expecting goth of the Sisters of Mercy or Fields of the Nephilim (or even The Mission) varieties. No, these guys wear their influences well, and that’s not a bad thing.

Other than the fact that “Procession” can be a bit chaotic the way that some Bauhaus tracks could be chaotic, the main reason “Procession” sounds like early Bauhaus is that Bacavis sounds so damn much like Peter Murphy that I had to do a triple take and make absolutely sure just who the bloody hell I was listening to. Sure, Bacavis is playing some crashing guitar chords and running off some Daniel Ash-style riffage (not to mention, there are some gorgeous breaks,) but it’s those vocals that grab your attention first and foremost—if you have a Peter Murphy jones going, this’ll satisfy nicely. Meanwhile, “Roger Alan” channels the Juju-era Banshees to perfection: if you’ve ever wondered what might’ve happened had Murphy wrested control of the band away from Siouxsie and took over, well, here’s your answer. The Mechanical Hound sounds as if it was programmed by Budgie himself, while Bacavis’ guitar play takes a page from John McGeoch’s book (not to mention, Borden’s bass line, which Steve Severin might as well have stopped by and sat in for.)

As I said, these gents are extremely loyal to their influences.

“Cradle” is a theatrical slab of goth ala Rozz Williams’ Christian Death (as opposed to Valor Kand’s Christian Death, which wasn’t quite as theatrical.) Opposing Bacavis’ dramatic vocals are loud, at times wonderfully abrasive guitars and a hard-driving rhythm section that should make for a live favorite. “Askari Lullabies,” meanwhile, wraps it all up nicely in spectacular Bauhaus-meets-the-Banshees fashion: Borden’s bass riffs again remind of Severin’s, and Bacavis’ guitar play comes crashing in from all areas (sometimes aggressively, sometimes subtly,) while he’s at his Murphy-esque best.

And so what, you might ask?

Well, in a genre where seemingly everyone is seemingly going out of their way to sound like The Sisters of Mercy, this is actually a bit of a breath of fresh air. It’s nice to hear a vocalist that isn’t trying to ape Andrew Eldritch, for one thing, and whether Bacavis naturally sounds like Murphy or is simply an excellent mimic, he’s at least set himself apart from the likes of Marvin Arkham (perhaps the best of the Eldritch clones.) While Dressed for Burial might be directly full of influences, it unabashedly recognizes those influences rather than attempting to hide behind them. It’s an EP that’s piqued my interest and has me looking forward to the day these guys release a full album. If you’re a goth or former goth with a Bauhaus/Banshees/Christian Death bent, this is one you should look into, especially for the $5.00 pricetag.

berylbeloved.com
myspace.com/berylbeloved

Recommended:
Yes - Scott Ganschow, Epinions

Colorado based alternative outfit Beryl Beloved have followed up their debut EP 'Dressed for Burial' with a new full-length album; 'Count the Days' which they released in February.

Created with a unique mix of man and machine, Beryl Beloved stand as a beacon amongst the general static of alternative bands, proudly doing something different and making absolute magic in doing it.

The album opens with 'Walls', and a heavier electronic influence than the preceding EP. It's clear to find the progression and growth in the music also, with vocalist Beryl Bacavis making much more of his voice; drawing more from his versatility and talent as a vocalist.

The album has a mythic or fairytale essence to it, not coming across like a soundtrack to a story, but like the story itself. The nightmarish quality has been retained between the two releases, the sense of unease and being unsteady on your feet. Second track 'Prey' sees Beryl's voice mixed to the point of androgyny, like a duet between the two sides of himself, pulling the listener through more unknowns.

Title track 'Count the Days' is catchy and engaging, bringing through the alternative rock influences without losing that Beryl Beloved twist. It's the track that you'll be humming for days, with extensive guitar-led instrumental sections to allow Beryl to prove his range as a musician. 'Those Wasted Years' is another guitar-heavy track, because we mustn't forget that, besides the vocals and songwriting (along with S.M. Bacavis on track 8), Beryl also provides the guitars, keyboards and strings. And just wait for the final track, 'Depart'. If you really want to see what magical beauty Beryl Beloved can produce, this is the track for it. I'll say no more, get the album and listen to it for yourself.

Listening to Beryl Beloved is like vertigo, or like being lost in a maze. There's something unexpected hidden around every corner, and if you thought the journey would be easy, or would leave you unchanged, you were very much mistaken. 'Count the Days' is an impressive and satisfying album; retaining everything that makes Beryl Beloved who they are without just regurgitating what has been successful for them before. The progression is obvious and has been focused in exactly the right direction. It's all summed up rather neatly in the lyrics of 'Maybe (It's Love That Frightens Me)': "I'm so vulnerable / You've seen another side of me / Does it scare you, the way that it scares me?" - Exclusively Gothic Lifestyle Magazine

Most albums released in the States drop on a Tuesday but Denver’s prominent gothic rockers, Beryl Beloved, have released their first full-length album this Friday 13th. Does this gothic revival album have the fanged chops to honor this superstitious date?

In the darkest corners of the globe, young musicians return to the gothic music of the eighties. In Germany, where gothic subculture is close to religion, arose bands like The SlimP or Paralyzed Age. South America produced such luminary gothic bands as Plastique Noir and Escarlatina Obsessiva. Even Russia and the former Soviet countries gave birth to the likes of Voyvoda and the Forced Oscillations. Yet it was a band from my place of birth, Denver, Colorado, that most surprised me.

One doesn’t expect white faced, black clad musicians to emerge from the shadows of the Rocky Mountains, yet Beryl Beloved does just that and does it with theatrical flare. Their EP, Dressed for Burial, attested to their talent. Musically Beryl Beloved hits all the marks. The bass is pronounced, reflecting the post punk roots of Joy Division or the Lorries. Drums are tribal with splashy cymbal crashes that fill the atmosphere and linger hauntingly upon the ear. Distorted lead guitar cuts like a rusty razor blade, sharp yet somehow dirty. Above all, the voice of Beryl Bacavis is clear as glass yet has an edge that can draw blood.

Their first full length album, Count the Days, promises ten all new tracks. Walls opens the album with eerie guitar tones that bleed into a solid, post punk rhythm. The sound is cold and taut like steel bridge cable. The icy sharp sound is punctuated with a stop and start playing style that marries gothic sensibilities with a punk rock attitude. This is deathrock at its finest. Imagine distilling Christian Death and 45 Grave to their basest elements and then injecting that into your eyeballs.

Prey reintroduces the tribal drums to fill out the quieter moments of this urgent track. The overall sense is one of cat and mouse, though there is no certainty in who is the cat or the mouse. As danceable tracks go one can certainly dust the cobwebs to this one. In Asleep drum fills build to each new stanza. A track to pogo to if there ever was one, it takes a sudden turn in a bridge that brings the tempo down while introducing, of all things, violin and cello. The Profiteer and Open Hands both serve up a cold slice of traditional gothic rock. Beryl’s voice is fattened with reverb. It’s a challenge not to reach for the volume button to really let these beasts roar.

The title track best embodies the percolating rhythms that dominate the album. At moments every other instrument than the guitar drop out, leaving just that buzzing electric wasp to play in your ears. Hairs on your arm will stand on end. Beryl stick tongue firmly in cheek for Maybe (It’s Love That Frightens Me), a song that reflects the dark humor of the gothic scene. It both honors and pokes fun at the angst in most love songs.

Count the Days is not without surprises. Beryl wrote Ethyl Carbamate at a very young age, yet the track has a degree of maturity in its deceptive simplicity. Beryl channels Deep era Peter Murphy as he croons over the sparse, yet intricately interwoven musical strains. Beryl goes unplugged with Those Wasted Years, one of the strongest tracks on this embarrassment of riches. At times he brings the tempo way down. Moreover, he layers vocals for pitch perfect harmonies over the lonely strum of the guitar. This is why we have music. What do you know? We can have nice things.

Strings return for the symphonic closing track, Depart. The snare drum sings and the cymbals once again splash like waves on the shore. As an instrumental piece one accepts that Beryl has saved his voice. It works without it and furthermore ends the album with a fitting denouement. As many sharp corners populate these tracks, the softer and rounder Depart takes the edge off much as the exhilarating plummet from an airplane is softened by the opening of a parachute.

In summation I can think of precious few other albums so deserving of a Friday 13th digital album release. At times raucous, at times somber, Count the Days presents all one can want from a gothic revival band. Like a finely cooked meal each ingredient compliments the next. The album is full bodied yet simple. It neither lacks anything nor suffers from embellishment. Again this modern gothic artist has reached the closest thing to musical perfection. - David S. Jackola, GeekPlanetOnline

"Meanwhile, Beryl Beloved fans will be pleased to know that Colorado Springs' favorite — and possibly only — goth act has a new album coming out this Friday the 13th. The Batcaved-out band's Count the Days will enter this world as a download-only collection via berylbeloved.com, with a proper physical release planned for later in the spring.

The two songs I've heard so far sound promising: "Ethyl Carbamate," written back when frontman Beryl Bacavis was an apparently angst-ridden 13-year-old, is all acoustic guitar, drum machine and echo-laden voice until a severely overdriven electric guitar kicks in midway through. "Asleep" is a full-on rock affair, more in keeping with the sound of last year's Dressed for Burial EP, but with some conspicuous violin thrown into the mix.

And while Beryl is probably still convinced his vocals are more in the tradition of Ian Astbury and Siouxsie Sioux than they are Peter Murphy, fans of the Bauhaus singer may have reason to believe otherwise." - Bill Forman, Colorado Springs Independent

"Beryl Beloved is great!!! Always spinning them at Black Blood right after Sex Gang Children and Martyr Whore." - Black Blood at Club Vlada (Miami, FL)

"I love your work.. Great mood" - Bassist for the band Strap On Halo

"This ["Last Rites"] is a powerful rock song which has atmospheric music and dark mysterious vocals. This has a 1980s feel to it and is passionate and interesting." - SoundOut Consumer Insight Report, Anonymous Reviewer, Age 25-34

The former Artist Development Consultant of Alpha Music Group (AMG), Sylvia Harris, wrote the following in regard to "Foot Stuck Child" -

"I just listened to your track and thought it was quite good. I liked your forceful riffs and the drive behind your lyrics. I chose another artist for the Tip Sheet, but I would really like to put your song in rotation on one of our new radio stations... Once again - good job. I really enjoyed your song and even though I didn't choose it for the Tip Sheet, I think there can be some other opportunities in the future of your musical career." - Sylvia Harris, Record Label Door

"This is certainly a unique and unusual song. This bare-bones approach to composition and performance is something that a few other bands do, but your style has a sound all its own. This is very good because your band can have instant recognition due to that sound. The vocals are also delivered in an individual way. I didn't really understand the meaning of the lyrics, but the vocal delivery imparted an uncomfortable feeling, and represented the lyrical content very well. The production is well-balanced and very complementary to the song, and the musicianship is very good. Because you have a very distinctive sound, I can see why you've been successful in getting your music heard around the world. You've succeeded in composing, producing and performing a song that has instant recognition. Keep up the great work!" - Leslie J. Bialik, San Francisco Bay area rock promoter

1. Hello! To start off, can you introduce yourself and your band?
We're a band based out of Denver. Our sound is post-punk oriented, leaning especially toward 80s-era gothic rock, deathrock, and all the rest of that ilk. I've been working with a bassist (Vaux Borden) and a drum machine - a machine rather than a drummer, because I like the atmosphere and precision it provides. Right now, I'm working on refacing the band with a rhythm guitarist, a keyboardist, and a new bassist. Looking forward to the new lineup and, especially, what we'll be able to do tour-wise by next year.

2. When and how did Beryl Beloved form?
Before Beryl Beloved I was involved with a project called Stiff Midriff and The Potentials and, before that, my solo work called Ayatollah Fetish. Around mid 2009, I started searching for other musicians to collaborate with here in Denver. I found our first bassist through the notoriously odd route of Craigslist. He and I had a fair number of similar influences and interests. So from a directional standpoint it seemed like the right way to go. We had our first show the following month at the Loft, an all-ages venue in Colorado Springs.

3. You recently opened for the Birthday Massacre. Did you enjoy this experience? Do you think that particular crowd responded well?
It was actually a great crowd. The audience was very young and receptive. Most of them certainly wouldn't have known where we're coming from musically, but the whole front row was clapping along with our cover of "Snake Dance." I even signed a kid's shoe that night.

4. Do you have any particular venues that you enjoy playing at most?
We played a venue called The Roxy in Denver where the sound was excellent. An incredible atmosphere. Our show with The Spiritual Bat was originally booked there, but the club was having trouble with the city at the time and we relocated.

5. What initially inspired you to start making music?
I started with music lessons pretty early on. First guitar, then piano, clarinet, and violin. I taught myself bass. So I've been playing for about 14 years. I started recording a few years into it, when I was 13. Even back then the biggest reason for getting into this was the need for a release. It was an awkward time in my life, I was trying to figure out everything about identity and social standing. Trying to find my place. It was the easiest medium at the time; just bought a multi-track recorder and dove straight into it.

6. You’ve recently released a new track – Last Rites – What was the inspiration behind this track in particular?
Musically, I felt this urge to start drawing from some songs by Mephisto Walz and early Christian Death. Lyrically, I was inspired by two sources in particular. There is a stylistic influence that comes from Charles Baudelaire's work Les Fleurs du mal ("The Flowers of Evil"). But the story deals with the theme of looming judgement for sin and debauchery. I took a lot from the book of Lamentations (The Bible) too. That book in particular has a lot of parallels with what happened in Jerusalem towards the end of the 1st century. So the song has a lot of biblical imagery, and it's a specifically apocalyptic type of imagery.

7. That being said, your songs all seem to have a deeper meaning behind them. Where do you take inspiration for your songs?
I find inspiration in all sorts of places. The storyline in "Procession" can find its root in the Jean Genet book Funeral Rites.
And then others, well... "Roger Alan" is obviously about Rozz Williams and his heroin addiction. "Cradle" was my way of grappling with issues concerning the relationship between myself and my mother; there's a lot of abuse, neglect, and denial in the song. The denial of wrongdoing. "Foot Stuck Child" has taken on different meanings with each performance. It was created with cut-up poetry. But "Askari Lullabies" is definitely the angriest of our tracks. That deals with the issues of Uganda, and the "Invisible Children" abducted and forced into war by the LRA.

8. Music aside, is there anything else you’re working on, or would like to do?
I'm looking to do a lot of traveling in the not too distant future. Especially Europe, as my family comes from Germany and Lithuania.

9. If you could see one major change happen in the world today, what would it be?
Could we go back and eliminate the origins of the Rave scene? Please?!

10. Where do you stand politically? Does any of your music hold political reference?
I think both major parties, in the U.S., are one and the same. So I tend to be more independent in my views. I just don't think it's a particularly interesting topic. As such, only "Askari Lullabies" could truly be considered political. But I think "Foot Stuck Child" would make a great political rally song!

11. How do you feel about the goth scene today? Do you think its going in the right direction?
Locally or internationally? Locally it can be pretty cutthroat. There's no support and it is dangerous to ally yourself too closely with other bands. There is a lot of cronyism surrounding the "well-loved" local acts. Internationally, though, I've encountered a lot more of a welcoming attitude. It's bittersweet when you can't get played at your local "Goth" club, but you're being spun at Dead and Buried in the UK. There is a strange disconnect there.

12. Was there any band in particular that got you into goth personally?
The first goth oriented album I bought was Siouxsie and the Banshees' "Tinderbox". After that I started getting into everything Rozz Williams. And then, of course, I picked up a number of compilations. Especially the Mick Mercer ones. My collection has grown substantially from there.

13. Apart from music, is there anything else you do artistically?
I do a lot of writing aside from lyrics. I also like to experiment with makeup and fashion. I take a lot of that not just from other musicians, but from film and some of the older club scenes, and interesting designers. My wife is the real artist, but with her I've done some cut-up style art that isn't total rubbish.

14. Where do you see yourself and Beryl Beloved 10 years from now?
I'd like to have some form of a record deal, and far-reaching distribution. I'd hope to be that much more integrated with fellow musicians and my fan base. I would love to be touring internationally on a regular basis. Certainly we'd be in the top 40 charts everywhere by then! haha

15. Is there any musician(s) above all that you’d like to collaborate with?
I've missed my chance with many of those as they've already gone and died. Jon Klein would be someone I'd enjoy working with. Oh, and I've always had this secret desire to have Mike Garson play on one of my tracks. He's collaborated with everyone, including Bowie.

16. How do you feel about labels these days? As an artist, do you think they’re too definitive?
Labels are obviously only for marketing purposes. Any old artsy-fartsy band will want to say they are unique and electic and all encompassing, but the truth is it makes it hard to market them to an audience if they don't allow for some labeling. That doesn't mean, artistically, I have to limit myself. I am interested in getting signed to an independent record label that can provide the freedom as well as the funding. I'm not too 'alternative' for money.

17. Now, let’s talk about ‘ Edward Cullen’s Dead ‘. I’ve heard both positive and negative feedback about you doing this song. What made you decide to do this song? 1,000,000 screaming Twilight fans can’t be wrong, now can they? ;)
It was actually just done for a friend.. who has a very big mouth. Within minutes it was everywhere so, instead of denying my involvement, I just went with it. It was a fun publicity stunt. I'm not sure it would have gone over so well if I hadn't nailed the voice.
But do the 100,000,000 fans of Twilight even know Peter Murphy is in the film? Was that his publicity stunt? And no, I will never play this track live.

18. Do you have any advice for people who want to start making music of their own?
No one needs to pay for promotion. If your music interests people they will be more than willing to help spread the word. Not to mention, a lot of the promotion should be done by the band themselves- you can't be lazy bastards!

19. If you had the oppourtunity to go back in time and completely change things from how they are today, would you?
Haven't you seen "Back to the Future"? That never works.

20. Any last words?
Yes- Everyone should buy our EP! A lot of blood, bats and tears have gone into creating it... I apologize for being so wordy! It's been lovely. - Dirty Weather Magazine

Beryl Beloved's Dressed for Burial EP listed as one of Dominion's 5 favourite goth albums, during the week of Sept. 5, 2010. - Dominion Magazine

"The lyrics are poetic and delivered with attitude and aplomb." - SoundOut Consumer Insight Report, Anonymous Reviewer, Age 35-44

"Good, definately worth a listen, not for everyone but i enjoyed it. I could listen to more of their songs. It's good and definitely David Bowie style or along them lines. Brilliant." - SoundOut Consumer Insight Report, Anonymous Reviewer, Age 16-24

"The guitar has a great piercing sound. Love the vocals; very strange and 80's sounding.This has a great rhythm... The guitar is rich... and the dynamics in the arrangement are great, it really builds up the tension...This has an authentic sound and is good material. Substance and direction; great combination." - SoundOut Consumer Insight Report, Anonymous Reviewer, Age 35-44

"Opens like a chainsaw cutting sugar cubes, Great guitar work and all the way through this song. Good opening... vocally sounds like a version of Gary Numan." - SoundOut Consumer Insight Report, Anonymous Reviewer, Age 35-44

"This EP is definitely worth a listen! I love it. It could be quite a devastating album for the crowd that thinks Goth is dead and buried. This EP assures us that Goth is quite undead! Forget the glowsticks and get back to the Batcave!

The two singles included as bonus tracks (Last Rites and The Bitter Hour) are also top notch. "The Bitter Hour" seems to deal with betrayal and a relationship gone very wrong. While "Last Rites" seems to be a ditty about retribution and the consequences that lie ahead.

Beryl's vocals are a beautiful mix of Peter Murphy and Siouxsie Sioux. I even hear a little Ian Astbury in there. The music is a blend of all the band's influences and while it hearkens back to another time (sounds straight out of 1983) the sound is still new and fresh. The tracks are indeed catchy, and they flow into each other as if together they're forming a twisted fantasy for the listener to indulge in.

I recommend this album to anyone who loves Bauhaus, Siouxsie and the Banshees, Rozz Williams, The Cure, Southern Death Cult, The Sisters of Mercy, Corpus Delicti, Specimen, or the Chameleons UK." - Amazon user review by A.S.M "SMopinions"

"Hard driving but simple bass-lines and drums, creative guitar work that has more than just the 3-chord progression of post-punk rock, and vocals with a theatrical flair to them... Dressed for Burial sounds like a 4 piece death-rock act hammering out a 5 song set at a show. The listener can feel the intense energy of the guitars and bass, and even visualize the antics of the lead singer on stage..." - Grave Concerns E-zine

"I enjoyed the songs very much. It was nice to see an artist who has a clearly defined sense of their sound, style and image and delivers everything with passion and confidence." - Gene Foley, Foley Entertainment, Inc. - Music Industry Consultants

As literally the only old-school type of Gothic act in Colorado these days, Beryl Beloved has had an interesting role to fill. When we started on our debut EP, the band was looking to capture the music community here with something unique. Since we’ve started, we were growing so sick and tired of all the neo-industrial and overly synth-friendly projects touting themselves under this banner, especially in the local press. And with that approach, of course, we recorded the Dressed for Burial EP - a disciplinary slap at our local Denver scene, and a sign of what the community-at-large can expect from us in the future.

Without a doubt, this entire project was shaped with a consistent theme. It's really a multifarious play in five acts. The title - which was derived from "The Angels," a Christian Death song from the 2nd Rozz era - evokes an imagery of ritual preparation. Every song from beginning to end is dealing with the personal demises of individuals. And all of them, in one way or another, are putting on these burial garments in preparation for that demise.

The opening track, "Procession," is the most direct in its funerary connotations. Its lyrics center in on the oblivious type; there's this girl who is unknowingly and endlessly participating in her own funeral. In a sense, she's continuously returning to the tombs, "running off again to where it all began," creating this picture-perfect setting of death, and always reveling in wretchedness.

"Cradle,” on the other hand, is about an abusive mother who victimizes her children. She’s digging her own grave because she’s setting herself up for eventual retribution.
"Roger Alan” obviously has the late Rozz Williams in view. It's a more straightforward track about his drug addiction, the last hours of his life (as imagined), and all of the pain associated with that struggle. He could scarcely escape it. Heroin, as it was, undoubtedly continued to be his safe haven. It was the stronghold that he couldn't break, and it may have been a factor that eventually led to his suicide.
For a great change of pace, "Foot Stuck Child" plays in to our surrealistic side. The music is far more biting and somewhat reminiscent of Scream-era Siouxsie and the Banshees.

"Askari Lullabies," at the climax of the record, is our one overtly socio-political track. It focuses on those children who were forced into war by the Lord's Resistance Army in Uganda, starting near the close of the 80's. The situation was horrible, where innocents were thrust into the conflict of some shameless and spineless rebel army. They were abducted in the night and forced to either kill or be killed themselves. Everything they had known before was stripped away in an instant.

The EP, for all its variation, still maintains an unmistakable theme. The mark of death is imminent; but not always - I might add - in ways that we typically expect.
Our influences are obviously there, and we've heard that said time and time again. We no doubt pulled our sound from all the Bauhauses, the Siouxsies, the Southern Death Cults, and the Christian Deaths that many have been captivated with over the years. The music draws so much from classic albums like Juju, In the Flat Field, and Catastrophe Ballet.

And then there's the addition of something new that I just can't quite put my finger on. It’s wholly energetic. It’s abrasive. But it’s romantic. It might even be heart-stopping at times. - Carpe Nocturne Volume 5 – Issue 4

Q. How did the project come into existence?
A. It was pretty simple. Out of the ashes of all our previous projects - and some ambitions built on everything we had always been wanting to do - this project came together. It was the first time that things were approached boldly enough to take our music and stage show to a much bigger level.

Q.Who are the members of the band if any and please tell us about it?
A. Currently, we have more former members than active ones. But I've been taking the Fall/Winter off to re-situate the band with an updated lineup. The former lineup was just a foreshadowing of what the new band will be.

Q How would you describe your sound/genre?
A. Trad Goth, Post-Punk, and all that sort of thing.

Q. What formal training or previous experience do any of the members have?
A. Growing up, I was involved with a number of instruments all through school - I flirted with the clarinet, but then picked up guitar, piano, violin, and bass... Private lessons, and simply immersing myself in the albums I liked, to get a taste for where I'd eventually choose to go myself in terms of direction.

Q. Are you working w/ a producer on your upcoming album?
A. I've worked with a couple of producers in the past, but for the time being, I've been assuming the helm and taking on production duties myself. Our recently released EP ["Dressed for Burial"] was self-produced and I was extremely pleased with the outcome.

Q. Who would you say has been the biggest influence on the bands sound or that you have used as inspiration for your music?
A. The biggest influence from any band definitely came from Siouxsie and the Banshees. There's this lush, multi-faceted character that we all loved and really couldn't help but have carry over into our approach. And it was that whole movement they were a part of in general (whether they knew it or not), alongside all those darker, DIY, theatrically-inclined bands who were moving beyond punk, so to speak. There's been nothing quite like it before or since.

Q.What advice would you give to others starting out?
A. Always approach things with that same do-it-yourself attitude. It's true that even the industry bigwigs appreciate that, you know, ability to sell yourself. We've also learned not to necessarily expect comradery among our peer bands - it's just not there anymore, and if it is, it's deplorably rare.

Q. Where can people go to learn more about you and hear your music?
A. Our MySpace page www.myspace.com/berylbeloved is really the most concise and complete. I can't say that it's always dependable, what with all the people using it and the constant bugs, but everything's there. People can also find us on Facebook and Twitter, and follow us directly there for constant updates.

Q. If you could play anywhere in the world or with anyone you wanted where and who would it be with?
A. Playing alongside Alice Cooper, or else opening for him and his band, would definitely be the height. Gigging with the March Violets in the U.K. (or here at home) would also be a treat.

Q. What has been your greatest experience so far either individually or as a whole?
A. Opening for the Birthday Massacre [in August, at the Marquis in Denver] was a great experience. Although it was one of our last shows for the year, and was a pivotal turning point in terms of the band lineup, it was a great indication of how far we've come in such a short period of time.

Q. Do you have any upcoming events or news you would like to tell our readers about?
A. We did release our Dressed For Burial EP in July, and that's still available for purchase at www.berylbeloved.bandcamp.com . We're planning a tour next summer with a new lineup. In the meantime, we'll be working on new material.

Q. Where do you see yourselves or hope to be in about 5 years?
A. The standard success, building an even larger fan-base, and putting out the records that we've always wanted to. Who knows what can happen in 5 years? But that's what makes it all so exciting. - AJ & DBS, Professional Talent Developers and Management

"Great slice of gothic, indie rock." - Host of UK based indie/unsigned music podcast

Beryl Beloved is a band that resurrects the classic goth sound—think Bauhaus in particular—for delightfully dark throwbacks to a simpler, spookier time in pop music.
Texas Chainsaw Massacre
“Chilling soundscapes, horrific visuals, and a perfectly dark atmosphere. Siouxsie And The Banshees’ ‘Carcass’ wasn’t actually inspired by the movie, but the rumored association was a great incentive to get us to see it. The film is effectively psychological, just like another all-time favorite—Hitchcock’s Psycho. It’s incredibly brutal, and yet there’s virtually no blood at all.” —Chris Bacavis, vocalist-guitarist - A.V. Club, Denver/Boulder

I managed to get my hands on a copy of "Sackcloth and Ashes" from the band Beryl Beloved. They are most certainly a post punk outfit with serious gothic overtones in their demeanor and sound. Minimalistic drums keep the pulse and helps pump bloody wet reverb splashes all over the sonic canvas as Beryl howls from the depths of his blackened soul. Beryl's unique vocal range runs the gamut from Cedric Bixler -Zavala to Ian Curtis. Beryl Beloved is certainly not just another post-punk Joy Division rip off. They truly are creating something all their own. Procession is by far the best song on the album in my opinion and really shows the positive direction the band is heading. The last song on the E.P. is titled Fine Lines and is really rough as far as production but you can tell Beryl really feels the music he sings. I really like the guitar tones on songs Procession and Roger Alan and they sometimes feel as though they are a mixture of post-punk and psychedelic surf...if you can imagine that!

There are two members of Beryl Beloved
Beryl Bacavis - Voice, Guitars, Keys, Violin

Vaux Borden - Bass, Voice, Keys

The drums are programmed on a "Mechanical Hound" and make for an interesting contrast against the warm organic guitar tones. The band is based out of Denver Colorado and will be playing the Roxy on July 23rd 2010.

If you're a fan of Bauhaus or Joy Division or Goth rock you will love this band! - Jason Avery, Sacramento Underground Music Examiner

"This band is full of all the wonderful strangeness that comes along with the genre. It is rock that dives right into the core of what we need to know as people. A sound with precisely controlled dynamics, and well executed talent. This is a band that has influences like Alice Cooper, and KISS, and then at the same time is influenced by the Beatles, and Bob Dylan. Beryl Beloved has a good intuition for how a song is put together. Every part has it's place, and the band puts them there. This is a band that proves that there is still drastic creativity left in rock'n'roll. Powerful and solid is how they feel when they pick it up. This is a band that can really appeal to many fans that feel put off from the mainstream line of lies." - Paul Ruth, The Independent Music Scene Blog

"I've been spinning 'Foot-Stuck Child' pretty heavily on Subculture Shock, and people seem to really be digging it." - Host of Subculture Shock, WNRN 91.9 FM in central Virginia

The band had contacted me a good while back and after a brief introduction, I was sent the EP via myspace and I must say I am thoroughly impressed! The music stays close to the roots of deathrock and goth without dwelling on past glories and helps shape a sound that can quite proudly fit into the deathrock "revival" or modern goth rock. The EP opens with the minimal and distant "Procession", a track that frames one man's fragile state of mind in a frame made of shattered glass and needles while the next track "Roger Alan", needs no real explanation as to whom it is about, nonetheless a beautifully crafted song that echoes rain on a dirty window in a dingy apartment. The next two songs are "Cradle" and "Foot Stuck Child", the former containing echoes of Pornography era Cure and the Cult, while the latter track bears more of a resemblance to bands such as California's Burning Image and a slight tinge of Lords of the New Church, though it may just be my ears, you be the judge.
The last track "Askari Lullabies" has a slightly more theatrical air reminiscient of Sex Gang Children combined with the musical sensibilties of Big Electric Cat's less bombastic tracks.

Overall I give this cd five stars due to it being diverse in it's inherit sounds and ideas plus the singers willingness to experiment with the vocals instead of resorting to the standards of either a high pitched voice or a very low, Eldritch-esque tone. - Dirty Weather Magazine

"It's great to see good goth coming out of the states again... One of the best [EPs] I have heard this year!" - Michigan-based Goth Rock / Deathrock / Darkwave / Dark 80's DJ of 25 years

Supported by a drum machine by the name of The Mechanical Hound, the two man set of Beryl Bacavis (vocals and guitars) and Vaux “Jimmy” Borden (bass and backing vocals) return to the early days of gothic rock. This is not as much imitation as revival. While other bands may feel free to tread the same path that their forefathers had laid with stuttered beat, flanged guitar, and pronounced bass, Beryl Beloved from Denver Colorado uses the same trappings, but in the spirit of the original artists. There exists in their music the spark of inspiration, of creativity. Each track of the Dressed for Burial EP speaks of an honesty that comes from within, while simultaneously paying homage to what came before.

Upon first listen, one is struck by the competency of musicianship. Opening the EP is Procession. At first, the unfamiliar ear may regard this song as being clumsy and awkward. The plodding beat and chaotic guitar suggests an immaturity. However, as the song progresses, gaps between the beats are filled. The guitar, once aimless, matches the rhythm of the beat. Beryl Beloved embraces that which is ugly and raw and turns our preconceptions upon themselves. Beauty lives in between the beats.

The next aspect of Beryl Beloved to strike the listener in Beryl’s superb vocals. In some respect, the young man captures the primal energy of Peter Murphy in the early days of Bauhaus. Elements of Spy in the Cab and In the Flat Field issue forth as Beryl croons the more impassioned stanzas. Askari Lullabies illustrates Beryl’s vocal talents. In a word, Beryl is pitch perfect, managing to emote the anger and the frustration written into each line. He gives the song life.

Beryl’s vocals are not just about passion. He tempers it with control. A weapon in the hands of the untrained will likely injure the wielder. Likewise, an energetic vocal style can cause a track more harm than good. With focus that same weapon not only can injure and kill, it can defend and save lives. Beryl sings with the music, not against it. The two work in tandem to create a dynamic that chills you to the core. This is music you feel in the soles of your feet. Cradle showcases Beryl’s voice well. He holds pristine notes that are so sharp as to cut glass. Yet, it never usurps its role. The music blends with his voice, pairing like skilled dancers.

Yet, one should not forget his partner in crime, Mr. Borden. While in most genres the bass guitar, while important, typical assumes a secondary role. In gothic rock, the bass guitar is king. Not only is the bass level pronounced, often the bass is the melodic component, working closely with the vocals. As such, Beryl and Jimmy form a team. The bass line forms the frame work of every great gothic rock song. Imagine Bela Lugosi’s Undead by Bauhaus or Nightshift by Siouxsie and the Banshees. Each is defined by the bass. Roger Alan spotlights Jimmy’s fingering well. The bass line is complex, here up and here down, but never straying far off the mark. It works within the context of the song. So it is throughout the EP.

Foot Stuck Child could have been lifted from the early eighties. The lead guitar adopts a punk rock, simple chord approach. The track is clinical, exact, piercing. This is gothic coldwave as Siouxsie and her Banshees pioneered so many years ago, only with that sharper an edge. It is reminiscent, too, of early Killing Joke. Foot Stuck Child is an anachronism, as true to the early days of deathrock one can get in this, the third millennium.

In short, Dressed for Burial is a work of unmitigated genius, a must have for any fan of traditional gothic rock. It is a rare thing these days to come across a deathrock band. Yes, there are The SlimP in Germany and Plastique Noir in Brazil. Yet, to have such a pure, gothic sound come from the Rocky Mountains lifts the spirits of a dark soul. - ObscureInternet

What's the meaning behind the band's name?
"Well, essentially, I chose "Beryl Beloved" because I liked that type of alliteration and how it could flow right off the tounge - it almost sounds like "Dearly Beloved." My given name is Chris. So around the time of high school I took the name Beryl from "Chrys"oberyl (a transparent green mineral). When I was fronting my previous project Stiff Midriff & the Potentials - an art-punk type of thing - I started using the name as my personal moniker. It just evolved from there... It's a precious stone with a lot of interesting connotations. In fact, there's even a Jewish writing called the Book of Tobit, where you can read that the 'streets of Jerusalem will be paved with beryl and carbuncle and stones of Ophir.'"

How the band started??
"Back when I was living near Kansas City, I was involved with fronting a couple of projects. Stiff Midriff, as I mentioned already, was one of them. The earlier one was called Ayatollah Fetish and that's where I drew a fair amount of our current material from. Our single "Foot Stuck Child," for example, was originally a demo that was recorded around 2004.
Around mid-2009, I moved to Colorado Springs and this interest rose up in me again to get something substantial together. I found my first bassist [Vaux Borden], we acquired our first drum machine, and then we took it from there. From the first show (in a humble indie club) onward, the reception was incredible. Now we're getting played on FM radio all over the place. We're being spun in clubs (especially in Europe) and already we've had the opportunity to open for a couple of international acts."

What's the message to transmit with your music??
"I can't say that there's truly a unified message throughout the EP. But each song has its own message, really - some zero in on topics like abuse and addiction, others deal with criticizing cetain mindsets that individuals have, and so on. It's not as cut-and-dry as just having one message. It's all pretty multi-faceted."

What's your method at the time of writing a song??
"It can vary. On the whole, I've tended to start with lyrics and then compose music to accompany those. With other tracks, like "Last Rites" for example, I'll listen to an instrumental mix and imagine the final product (with vocals) as I would most prefer it to sound. The process is different every single time - no formula."

Which is your music influences??
"Our sound is clearly drawn from so much of the first and second-wave Gothic Rock types of bands. All your Siouxsies, your Christian Deaths, your Bauhauses, your Specimens. I can't get enough of David Bowie or the Beatles either. And then a lot of literature is a goldmine for inspiration - surrealistic writers like Tristan Tzara, Jean Cocteau, Charles Baudelaire; futuristic books like Orwell's '1984' and Bradbury's 'Fahrenheit 451.'"

What plans do you guys have for the future??
"We're taking a bit of a Fall/Winter hiatus this year to record new material, and re-situate the band with several new members. So, when everything is all together, we may be looking at a regional tour and an album release within the next year."

Which has been the funniest prank you guys have been or took part while on tour or after a show??
"During one of our live performances (at the Black Sheep in Colorado Springs), we were covering the Virgin Prunes' song "Baby Turns Blue." My brother and sister-in-law were in town and so we had invited them to come to the show. Knowing that my sister-in-law is a diehard Marilyn Monroe fan, and that "Baby Turns Blue" is about drug addiction and dying young, we took that concept and decided to do something visual with it. We bought a giant Marilyn Monroe poster and some neon blue pudding. Near the middle of the song, our bassist unveiled the poster and started smearing the blue pudding (which looked like acrylic paint) all over Miss Monroe. In the footage of the show, you can hear my sister-in-law's terrified screams as we "deface" her idol! It was hysterial; I'm certain the floor of that venue is still dyed blue from the pudding."

If you guys were stranded in the middle of nowhere after a show or while on tour. The help is 65 miles away from where you guys are, ¿Who would you guys send to look for help? And if while the rest wait, there's no food and the only way to feed yourself is by eating each other, ¿Who would you eat first?
"If people are going to start becoming cannibalistic, I think I'd leave! The safest person would be the one going away for help. Usually when we're playing live shows, I'll have an entourage of friends. I'm sure I'd eat one of them first. Our former bassist was so thin that he'd probably be too gamey."

Which country you guys would love to play?
"Playing Germany would be exciting. In the not-too-distant future, we'd like to have the opportunity to be a part of Wave-Gotik-Treffen in Leipzig. England is also on the top of my list."

With which bands you guys would love to share stage??
"We've had some correspondence before with Death Rock Dive Bar (at Stork in Oakland, CA). At some point, being on a bill with Gitane Demone (of Christian Death fame) there would be a real honour."

Are you guys OK, with the direction the band is going actually?
"I can't complain! With such a growth of our fanbase over a short period of time, and a great amount of press coverage, it's really been heading in a positive direction. And although we're playing within a categorical niche, I don't think the musical direction is stagnant or dead-set against any type of change. I enjoyed reading from EGL Magazine [in a review from Sept. 2010] that "Beryl Beloved can turn their cards over and surprise you"."

Check out more of this band by going to www.myspace.com/berylbeloved - Vents

Definitely his deep and sonorous voice reminds us that Post Punk is not dead. It was like I dipped a little madeleine in a cup of tea, in the best style of Marcel Proust.

With their image and batcave sound it's inevitable that Beryl Beloved would be classified with the "goth" fashion, and probably lead to establish an eternal link with the goth tradition. This chemistry lacked a certain "je ne sais quoi" that keeps the public expecting something more from those guys, turning the musical experience into a question of faith. Their classy, gloomy and introspective sound takes me to the beginning when this type of music arose in the wake of punk's collapse, like Bauhaus or The Velvet Underground. - Isis Ledezma, The Batcave blog

(translated from Dutch)
Regularly we get requests for reviews from groups just starting up. They want to be reviewed in writing by our strict staff, and why shouldn't we review them?

We never want to prevent a novice group from getting an extra helping hand, especially if they tell us that they're in the batcave/death rock genre (if you think you're the new Bryan Adams, save us the trouble) which instantly sparks interest in what they've done.

And no, Beryl Beloved from Colorado have not disappointed us. On the contrary, this is a group with all the best qualities - although, the harsh truth is that they are a faithful copy of Bauhaus and it's really hard not to believe that these aren't unreleased songs from Peter Murphy himself when listening to them. But it's better that you sound like Bauhaus than the brothers Wauters [of Clouseau].

These bands are a dime a dozen, you say? Perhaps even more than thirteen but nonetheless worth listening to - and, believe us, you will not hear anything like this during Idol 2011.

Rating: 7/10 stars - Dark Entries Magazine, Belgium

Alternative band Beryl Beloved are bringing something rather unique to their home-city of Denver, Colorado. This two man and one machine line-up is pulling the dark, gothic sounds of the 1980s into the present day, filling them with theatrical extravagance and a 'screw you' attitude.

Their self-released EP, 'Dressed for Burial' came out in July 2010, and contains five tracks that somehow succeed in being raw and edgy and simultaneously tongue-in-cheek. With Beryl Bacavis on vocals, guitars, keyboards and violin, Vaux 'Jimmy' Borden on bass and backing vocals and their machine 'The Mechanical Hound' on drums, Beryl Beloved is like the result of two child prodigies gone very, very bad.

The child-like accent is carried throughout the track list; which brings to mind images of kids dressed up at Halloween - if you don't like their music, they're sure as hell not going to change just to please you, but they might drop by later to egg your house.

But that's not to say there's anything immature or under-developed on this EP; it's packed full of the complexities and self assurance that can only come with experience. There's something truly disturbing in 'Askari Lullabies'; a very deep, ancient kind of evil - it's not checking your wardrobe for monsters, it's the reason you're scared to step out of your house after dark. It's unsettling and truly paranoia inducing.

The EP's opening track, 'Procession' is nothing short of huge; the melody sweeps around you as if you could drown in it. Beryl's vocals are dramatic and sure; thrown boldly out into the world - but there's something that still draws you in towards them. It's a magnetism, a compulsion; something in the sound that creeps under your skin like a fish hook. The whole EP has this odd contradiction about it; you could play it as loud as you like, but there's still a feeling like it's a whisper in the darkness; like sharing secrets with the lights out.

Beryl Beloved's songs have received regular airplay on a number of alternative music radio stations across the States and 'Procession' has been played by UK DJ Martin Oldgoth on his weekly radio show 'thirteen13' on Radio Nightbreed. They have also been included on the playlists at Dead and Buried and Darklands here in the UK.

We also checked out their brand new track 'Last Rites', which has a much heavier edge; it's more heavy rock, a little more punk. Beryl Beloved can turn their cards over and surprise you; and this track sneaks in some quite unexpected guitar riffs and vocal attacks that shows that they've still got more to offer.

I can only hope that Beryl Beloved decide to cross the pond and play some live sets in the UK; the over-saturated music market is crying out for the bands that dare to do something different, to offer up their own world view. You can have Halloween every day of your life with this CD spinning in your stereo - but be warned, only the very bravest of you should listen to this with the lights off. - Exclusively Gothic Lifestyle Magazine

"I love your voice! You sound like my beloved Peter Murphy! And your brand new song ["Last Rites"] reminds me the old Post Punk! Superb! It's a pleasure for me to spread your music." - Host of La Baticueva/The Batcave, Venezuelan radio show broadcasting on www.twitradio.me

"Beryl Beloved at the Black Sheep... Just a tad different than the other holiday events this weekend." - http://www.coloradosprings.com/articles/falls-2508-seven-christmas.html

"Check the audio. This band sounds awesome! Gothic Rock" - @GothicMusic

"The music... is good, with some personal details." - Héctor Noble (Webmaster)

"I liked the punky vocal delivery. Good voice and phrasing." - Executive Director - GMP Consulting

"This ["Cradle"] is very powerful. I kept expecting it to explode with a fuller bass and drums feel but when it didn't I realised that this actually added to the intensity. Good recording." - Marc Smith, Musician/Composer - phonogenic.net

"Brilliant!" - Guitarist for The March Violets

"I really think that your vocals are outstanding and the bass on that particular track ["Procession"] is extremely good. Love the slower parts of the song, that is truly a moodsetter; makes me wanna open a bottle of wine and add some eye-liner and a scarf with some candles. Keep it up!" - Vocalist for the Stockholm band Valentine's Love Religion

In an interview with the U.K.-based DJ, he responded, "At the moment as far as new bands go... Beryl Beloved seem to be doing great things in that genre [post-punk] too..." - Midnight Calling E-zine

"Beryl Beloved is officially my new favorite band of the week." - Host of "Dark Entries" on WUSC 90.5 FM Columbia, SC

"This is really old-school stuff here - even though they're a new-school group, very old-school sound. Actually, a lot of Bauhaus influence to it... I've been listening to their stuff in my van over and over and over again just because it has that sound that I grew up with. Excellent, excellent sound to it." - Denver-area DJ, host of Night of the Baby Bat

"Been listening to it [Dressed for Burial EP] and can say I like all the tracks. It really does have a great, almost 80's, gothic sound to it. I hope to play all the tracks on my DJ appearances starting this Saturday @ Darklands in York. I hope you eventually put together an album." - Renowned Goth DJ, Promoter, and Reviewer (Leeds, UK)

Dave: "You all know by now how much I rave over bands keeping the Gothic Rock, Deathrock, and Darkwave scene alive - you know, the Post-Punk scene... so imagine my delight when a band comes from my homestate of Colorado, my city of Denver, with some classic, traditional Goth...

Beryl Bacavis has such great vocals. In one respect, you can hear this - and any self-respecting Goth will know this - that there's this Peter Murphy quality to it. He's got that power, and the presence, of Peter Murphy. But that's not all. He also has this clarity and control and purity in his voice, that I equate to Athan Maroulis of Fahrenheit 451 (he's also the vocalist for Spahn Ranch, Executive Slacks, Tubalcain and some other bands - he gets around!) And you may not be as familiar with that name, but he's a jazz-style vocalist. And so he has that purity and that control. To combine those two traits into one voice, oh, it's just stirring... Amazing stuff. And it's so gothic that you can hear those elements of Bauhaus. You can hear, in one other track, this very specific rhythm guitar sound that's reminiscent of Killing Joke. There's some 45 Grave in there, there's Christian Death in there. So, it's so gothic, it borders on Deathrock..."

Brandi: "And the thing that I really liked about it was, yes, you could hear the influences. But at the same time it was its own thing."

Dave: "And there's a lot of variety on the album, because there's a very angry song, and then there's the song "Procession" which is kind of almost anti-rock. It's very punkish in that it assaults your standards of music taste, because of the rather lazy, almost clumsy beat. But towards the end of the song it starts filling in those gaps and becomes full. So, you know, people who aren't Goths might be a little turned off by it. But Goths are gonna go, 'Ah, I see what they're doing there!' because it's turning ugliness into beauty. And it's just, it's a gorgeous EP, and I very much recommend that people pick this up." - GeekPlanetOnline: The InsideOutcast

"Platinum Auddy™ denotes clear mathematical hit potential. The underlying musical patterns of this song are similar to songs that have been hits for a long time." - uPlaya Music Universe