New Jersey-based darkwave/post-punk band, Neon Funeral has just unleashed their new EP, “Banned From The Goth Club” courtesy of Cleopatra Records. Neon Funeral is a darkwave/post-punk band with hardcore screamo/metal vocals “in the spirit of an angst-driven Ian Curtis” as the band puts it.

The EP’s theme is based upon the band feeling alienated from the goth scene. The name of the EP, “Banned From The Goth Club” was given because of the band’s challenge in finding their audience given their contradictory sound.

The band states, “The goth audience can’t exactly get fully immersed into the music because of the aggression and intensity of the vocals and the hardcore scene can’t exactly understand the softer and dance-driven instrumentals for moshing. We once performed at a goth venue and seemed out of place and out of touch with the audience. We then coined the phrase “Banned From The Goth Club” to welcome the eclectic sound and introduce it playfully.”

“Banned From The Goth Club” features a diverse range of emotional undercurrents in its songs. “Avolition” stands out with its rapid tempo and dance-centric vibe. In contrast, “High Tech Low Life” adopts a more contemplative and slower pace, culminating in a fusion of intense electronic beats and metal vocals. “A Void” delves into introspection, exploring themes of nihilism, drug addiction, and societal pressures. The EP concludes with a unique rendition of Eddie Murphy’s 1980s hit, “Party All The Time”.

The video for “Avolition” was filmed at a local vintage arcade and bar that the band felt would match their aesthetic well.

“Banned From The Goth Club” is available on all major digital outlets including Bandcamp.

Das Ich musician Bruno Kramm offers a tapestry of sound and narrative, as shown in his latest work, “Die Schöpfung und andere Kurzgeschichten”. The collection is a blend of dystopian melodies paired with short stories, each piece a window into Kramm’s expansive creative realm.

Within the anthology, “Eight Oscillations from the Latent Space” are stories crafted during Kramm’s tenure with the now-defunct Zillo music magazine. These narratives are a testament to his enduring connection to the music world. Meanwhile, “Seven Nightmares From A Random Forest” is a product of the isolation and global upheaval brought by the COVID-19 pandemic. Conceived amidst the grip of feverish illness, these stories delve into the eerie and uncanny, underscored by soundscapes that evoke the modern zeitgeist.

In “Die Schöpfung”, Kramm explores themes of creation and perception through the lens of a machine recognizing humanity as its creator. This story, unique in its German narration, resonates with the motifs of “Der Achte Tag” from the Das Ich album “Antichrist”, linking his literary work to his musical legacy.

Kramm’s literary influences are eclectic, drawing inspiration from the likes of Stanislaw Lem, Sabine Hossenfelder, and H.P. Lovecraft. His stories, according to Kramm, are the perfect companion to the restless and the insomniac, for times when the veil between reality and fiction thins, revealing a world charged with mystery.

The album is out now via the Danse Macabre label.

Das Ich: The Dark Wave Legacy of Bruno Kramm

Bruno Kramm’s involvement in Das Ich has been pivotal to the band’s influence on the German dark wave movement. Since its inception in 1989, Das Ich has been at the forefront of a genre that marries the gothic aesthetic with electronic music’s visceral punch. Kramm, along with vocalist Stefan Ackermann, has crafted a sound that is both avant-garde and accessible, marked by theatrical live performances and deeply philosophical lyrics.

Das Ich’s music often grapples with the complex relationship between humanity and technology, a theme that Kramm further explores in his literary work. The band’s influence has been profound, shaping the direction of dark wave music.

Out via Out Of Line is the Corlyx featuring Suzi Sabotage single “Kill Cave”. “Kill Cave” is the second single from Corlyx’s album scheduled for release in 2024. The single comes back by the previously released song “Wasted and alone”.

“Kill Cave” is a homage to the misunderstood and the marginalized, a narrative that resonates with the tales of witchy women throughout history. The music video was a joint effort with Caitlin Stokes at the helm of direction and editing. Her recent work includes the video for Lord Of The Lost’s “Dead End”.

Caitlin Stokes of Corlyx shares why the Finnish artist Suzi Sabotage was her first choice to join her in this song: “I love her powerful iconic energy, and she brought some fresh ideas to the song. We had a blast making the music video together, front women rarely collaborate, and I think we need to see more of this, our unique beauty in harmony is powerful and enchanting.”

Suzi Sabotage adds, “It’s been an unforgettable, wonderfully berserk experience to collaborate with Corlyx, especially flying over to Italy to film the music video with them. I handpicked the song myself out of different alternatives because it immediately took my breath away, sounding like a modern darkwave classic. They’re talented, lovely people who I think should become THE name on everyone’s lips in the goth scene.”

Check out the 2-track below.

Alaska’s goth rock duo, Cliff and Ivy have just unveiled their new single, “We Ignite”, featuring guitarwork from Jim Babjak of The Smithereens.

“We Ignite” is the first single from Cliff and Ivy’s next album called “Sinister Stars”, to be released early spring, 2024. The song is about lovers who escape to a passionate galaxy filled with dark glam rock-n-roll stars. Their love burns bright enough to own a universe of darkness.

Cliff and Ivy talk about their work with Jim Babjak: “We wanted to collaborate with musicians we’ve known for many years. Usually we work as a duo. This was an opportunity to do a classic rock style tune with a darker feel. Jim Babjak’s lead guitar for The Smithereens has always been an inspiration. We are from the same home town, New Brunswick, NJ. His style is pop and melodic yet still with a mysterious psychedelic rock edge. We wanted to make a song with a dark psychedelic rock feel so he could add his guitar. Brian Troisi is a long time collaborator and played drums with us in our first punk band and previous Cliff and Ivy releases.”

Jim Babjak states: “I’ve known Cliff since he was a 13 year old kid who used to frequent my record store in New Brunswick, NJ. This was in the early 80’s years before The Smithereens had a record deal. I used to call him a diamond in the rough after he would play me some of his early recordings. It’s so cool to reconnect after all these years and play guitar on this awesome record!”

“We Ignite” is available on all major digital platforms including Bandcamp.

(By our Norwegian correspondent Jan Ronald Stange. Photos by Tarjei Krogh, Truls A. Bakken and Jan Ronald Stange) After the successful shows in Langen, Berlin, Leipzig, Hamburg, Amsterdam, and Oberhausen earlier this year, Front 242 and Nitzer Ebb started November 2023 with the second round of the ‘Join The Forces’ tour.

They kicked off in Oslo, the capital of Norway, and then headed to Sweden, offering fans in Gothenburg the chance to experience this unique package. The tour’s final shows in Germany will take place in Munich and Heidelberg, being the last opportunity to see these two legends share the stage in a single evening.

The opening act in Norway and Sweden were the up-and-coming Swedish queen of EBM, REIN, bringing her aggressive voice and beats. Douglas McCarthy’s longtime collaborator Terence Fixmer will open the evening at the German shows.

Like many in the audience, I too was curious about the health of Douglas when Nitzer Ebb entered the stage and how it would affect his performance. We all noticed a somewhat frail frontman at the start, but as the show progressed and both audience and band were warmed up, he seemed better and better, leaving us very happy with their concert.

Front 242 started, as usual, with their waving flashlight in ‘First In/First Out’, and was energetic throughout their whole show. The highlight for most was ‘Headhunter’, making the whole audience jump and the floor literally moving!

Must also mention that Tarjei Krogh, the photografer of the NEP/F242 photos (here caught on camera himself taking these photos), also are a musician and producer in various EBM/electronic bands since the 80’s! Do check out his most recent project Norwegian Giants!

Former The Cure member Lol Tolhurst, former Siouxsie & The Banshees drummer Budgie, and producer Jacknife Lee have teamed up to create their debut album, “Los Angeles.” This 13-track masterpiece is out now through PIAS.

The trio describes the record as “a hard-hitting and compulsively exploratory 55-minute electronic mindscrew, founded on unrivalled rhythmic expertise, fleshed out with an armoury of synths, guitars (Jacknife’s forte) and supplementary percussion, often overlaid with elite-class strings and brass, then universally twisted, manipulated and quite masterfully sculpted by Lee, with his super-producer’s hat on.”

Joining forces with these music veterans are such artists as LCD Soundsystem’s James Murphy, Primal Scream’s Bobby Gillespie, U2’s The Edge, IDLES’ Mark Bowen, Lonnie Holley, Mary Lattimore, Modest Mouse’s Isaac Brock, and Pan Amsterdam.

The debut single, “Los Angeles”, features James Murphy’s lead vocals. The single comes accompanied by a music video, directed by John Liwag.

The tracklist for the album is the following.

1. This Is What It Is (To Be Free) (with Bobby Gillespie)
2. Los Angeles (with James Murphy)
3. Uh Oh (with Arrow de Wilde and Mark Bowen)
4. Ghosted at Home (with Bobby Gillespie)
5. Train With No Station (with The Edge)
6. Bodies (with Lonnie Holley and Mary Lattimore)
7. Everything and Nothing
8. Travel Channel (with Pan Amsterdam)
9. Country of the Blind (with Bobby Gillespie)
10. The Past (Being Eaten)
11. We Got To Move (with Isaac Brock)
12. Noche Oscura (with The Edge)
13. Skins (with James Murphy)

In related news, Lol Tolhurst, co-founder of The Cure, is to release a new book titled “Goth: A History” on September 23rd. The book is a historical account of the genre and culture of goth music, building upon his first memoir, “Cured”.

In it Tolhurst identifies key players in the establishment of the genre, referring to them as the “Architects of Darkness”. This group includes Bauhaus, Siouxsie and the Banshees, Joy Division, and The Cure. He further discusses a group of bands he labels as the “Spiritual Alchemists”, which includes Depeche Mode and Cocteau Twins, indicating their role in extending the reach of goth culture. The book also tracks the genre’s expansion from England to New York, Los Angeles, and other locations.

Spleen+, in collaboration with Alfa Matrix, is currently compiling “Resurgence.1”, a comprehensive compilation encompassing over 100 tracks. This ambitious project seeks to showcase a spectrum of genres including cold wave, post-punk, darkwave, ethereal, gothic, and minimal synth. Artists and groups with work in these genres are invited to contribute to this significant endeavor.

The final product will be presented in a deluxe box set, replete with an extensive booklet featuring band photographs and additional materials. “Resurgence.1” is set to be available in both vinyl and CD formats. While there is artwork associated with this announcement, it is provisional and subject to change as the project progresses.

How can you submit to this post-punk compilation project?

Submissions are currently being accepted. Artists can forward their music in WAV file format via download links to seba@alfa-matrix.com, ensuring that the tracks are named in the following format: BANDNAME_songtitle. It is imperative to use a file transfer service and not send files as attachments.

Post submission, Alfa Matrix will undertake the selection process and reach out to the chosen artists with an official licensing proposal and further details. It is important to note that this compilation does not operate on a ‘pay for play’ basis, distinguishing itself from numerous other projects in the industry.

If you want an idea how diverse such compilation can be, check out our very own “Post​-​Punk (Genesis)” Bandcamp compilation released in 2021 and which did extremely well on Bandcamp.

(Photo by Veronica) The New Zealand dark pop outfit Robots In Love today share their latest EP, “Gossip in Your Head: Remixed”. The EP is the follow-up to the title-track’s original single release in September. “Gossip in Your Head: Remixes” is out now on Bandcamp, Spotify, and all the usual digital music outlets.

The new remix EP is accompanied by a video for the remix of the title track by Auckland’s dark electro-industrial dance act The Mercy Cage. Premiering exclusively on Side-Line, the video is a DIY effort, created at home by Robots In Love’s Elenor Rayner, who says: “For some reason, that remix makes me feel really joyful, so the video is a bit of fun.”

You can watch the video below.

On the “Gossip in Your Head: Remixed” EP you’ll find four different workings of the song, featuring The Mercy Cage and UK electronic artist Max Rael of Decommissioned Forests and History of Guns. Also included are Elenor’s own ‘Permanent Rain’ mix, and the song’s original recording, first written by Luke Anlezark and Graeme Jack of fellow Ōtepoti (Sydney) band, The Sound Key.

Elenor: “I love the variety of the tracks; each one highlights a different aspect of the song. The Mercy Cage remix is so dancey and bursting with energy. It makes me feel really happy whenever I hear it. The Permanent Rain version is more of a classic goth mix. Max Rael’s remix has a touch of trance in it, which is very seductive; and The Sound Key show their style of grunge rock indie.”

Josh Wood from The Mercy Cage says: “Gossip in Your Head is a killer slice of synthpop, and it was lots of fun to pull apart and piece back together.”

Max Rael adds: “Robots in Love always have such exquisite electronic textures in their music, and harmonies to die for. It was a real thrill to get the chance to remix their new dark pop single ‘Gossip in Your Head’. I wanted to push the Lynchian dream vs nightmare quality in the first half into the middle section, and then pump the energy and take it in a different direction for the rest.”

About Robots In Love

Led by Australian artist Elenor Rayner, Robots In Love became Elenor’s focal project in 2017, following her move from Melbourne, Australia to Dunedin, New Zealand. Elenor is currently joined in Robots In Love by drummer, multi-instrumentalist and electronic artist Alex Burchell; and bassist Tony Lumsden.

Elenor began playing the Australian pub circuit as a bassist during the 1980s when she was just 14, before switching to producing music on an Atari computer, “which opened up a universe of creating sounds and moulding them into rhythms and melodies until they evoke the exact feeling I need.” She has gone on to release hundreds of songs, appearing on more than 50 CD releases, and has played literally thousands of shows around the world with multiple bands and projects, including Soulscraper (1991-1994), Sobriquet alias Sobriquet Nation (1998-2016), Snog (1999-present), and The Crystalline Effect (2002-2014), among others.

After moving from Melbourne, Australia circa 2015 to Ōtepoti (Dunedin), New Zealand, Elenor ultimately adopted the Robots In Love moniker in 2017.

Elenor recently contributed to the gargantuan Goths For Sanctuaries fundraiser project for animal refuges, and is a prolific remix artist, producing Robots In Love mixes for IKON (Australia), JA/VI (Sweden), Voidant (UK/US), Suburban Spell (Australia), Justine Ó Gadhra-Sharp (New Zealand) and several others in the last eighteen months alone.

Out now from the London-based alt.goth act Ray Noir, is a second single, “Latency”. The track is taken from the project’s forthcoming mixtape, “Scorpio”.

Ray Noir: “‘Latency'”‘ is more than just a song; it’s a voyage into the space where the elusive meets the profound. It encourages listeners to delve into the shadows, confront uncertainty, and ponder a mysterious question: Will it become reality, or vanish into obscurity?”

Originating from Oslo, Ray Noir’s musical odyssey is deeply connected to the Norwegian Black Metal scene. His sound also holds a fusion of diverse influences, ranging from The Prodigy and Boy Harsher to Nine Inch Nails.

The new single was again produced and mixed by KANGA just like the previous single “Pity Party”. The track was written by the usual duo consisting of Ray Noir and Madeleine Wood. Mastering was executed by Joe Farr. You can download it below on Bandcamp.

The Providence, Rhode Island-based industrial metal act FEBRVVM has released a first single from the upcoming third album of original material. The song is called “Throwing Up in Reverse” and is “one of the heaviest tracks recorded by FEBRVVM up to this point” so Alexander Febrvvm says. The full album “Cholera in the Time of Love” is scheduled for a February 2024 release.

You can watch the music video for the track right below and you can get the track for free or pay-what-you-want on Bandcamp.

This is the Bandcamp download.

About FEBRVVM

FEBRVVM is a predominantly industrial metal act, influenced by a wide range of music genres.

Alexander Febrvvm explains: “To be honest, for some reason the latest releases started to sound more and more like gothic metal, but, as you probably know, no artist will ever voluntarily admit that they play gothic music. Not even when you’re headlining Wave-Gotik-Treffen wearing leather pants and heavy makeup. So let’s leave it at “alternative/industrial” and ‘this guy just can’t make up his mind’.”

FEBRVVM released its debut EP “Secretly Dreaming of Freezing to Death” in 2017. The second EP “Ekpyrosis” followed in 2018, and the third, “Praemeditatio Malorvm”, in 2020. A debut LP “Apokatastasis” followed in February of 2021. The album mixes a wide range of influences, and 4 out of the 10 tracks are either reworks or remixed and reimagined versions of the material previously released on the preceding EPs. The rest of the songs were written specifically for this album.

The second LP, “Breaking the Broken”, was released the same year, in November. It features a darker and slightly more diverse material compared to the debut album. This was followed by a collection of cover versions “Cross Over and Turn: Cover Versions” in 2022.

(Photo by Ashley Alvarez) New York-based darkwave artist Caress has announced details of her debut album “Night Call” and also releases the first single “Mortal Flaw” today. “Night Call” was written and produced by Caress and will be released on Negative Gain Productions November 24.

Caress explains the new single’s theme like this: “‘Mortal Flaw’ is a song about destruction. I was inspired musically by goth industrial and dark pop. It’s packed with a lusting obsession to destroy and danceable pulsating rhythms I hope people can enjoy.”

Listen to “Mortal Flaw” on YouTube.

About Caress

Caress is the solo darkwave electronic project from Tara Jane, inspired by dreamy vintage 4AD goth as well as more contemporary dark pop artists such as TR/ST, Kontravoid and Boy Harsher. Jane also fronts the LA-based shoegaze act Blood Candy and with Caress. Her solo-project focusses more on eighties dark wave, industrial and modern synth pop.

Talking about the album, Caress says: “For the album ‘Night Call’ I wanted to explore different themes of being drawn to the dark. Each song on the album explores a unique subject of interest: heartbroken love spells, cold city nights, obsession, destruction, vampires and my relationship with myself and experiences as a queer woman.”

Her solo work first got some attention during the pandemic with her rework of Patti Smith’s “Dancing Barefoot”.

“For the production, I used a variety of synths mainly my vintage 80’s Korg Poly-800 and Casio CZ-101 which created this cohesive sound. I wrote and recorded all of the songs in my old apartment called ‘The Dungeon’ where I had only one barred window in this little loft in Echo Park with these crazy high ceilings and my home studio was built underneath the loft bed where I tracked and recorded everything in this pretty confined space.”

And she adds: “I’ve always been drawn to darkness in multiple forms if it’s humor, aesthetic, interests and the album so reflection of that, so I wanted the compositions to be energetic, dark and tender but wrapped in this like cloak of mystery and sensuality which really resonates with my personality and the whole essence of Caress. So it’s exciting to share this whole goth party that’s the ‘Night Call’ album.”

A few months ago, Helalyn Flowers‘ Noemi Aurora revealed the first song from her solo project, the upbeat pop-wave tune “Shining“.

It was the first teaser for the release of the solo-album “Kintsugi” from this Italian solo-project expected soon on the Belgian post-punk label Spleen+. “Shining” is also included in her new single “Blood As Lipstick”.

The new 3-track single “Blood As Lipstick” mixes the dark wave of the 80’s with cinematic electronic industrial. Included in this single is also her cover of The Cure’s classic “Friday I’m In Love”.

You can download the single right now from Bandcamp.

Noemi Aurora describes her new work as “an ouroboros of musical influences that started from my listenings when I was a teenager, while I wandered around the country with my inseparable cassette walkman, without any fear of being judged as the ‘strange’ gothic girl, wearing my headphones and listening to my 80s/90s mixtapes which contained from the most underground darkwave bands, to rock/alternative, non-commercial electronica, up to even extreme metal. My project was born from there, from the roots, and branches out until today…”.

The Miami, Florida-based electro act Deep Red is back with an all new single, “The Art of Lust”. The inspiration for the theme around this track was loosely based on the Stanley Kubrick movie “Eyes Wide Shut”.

The movie has a lot of recurring themes that inspired the band’s musical direction including mystery, secret societies and of course lust. “We often draw inspiration from all kinds of films and when we started to work on this song, it immediately gave us the feeling of this erotic thriller,” so the band’s adds.

Deep Red was formed in 1996 by Martha A. Hoffmann also of Distorted Reality and DC Astro of Element 104. Shortly after, their song “Holy You” would be included in Cleopatra Records’ “The Goth Box”. That paved the way to appearances in a slew of other compilations in the US and abroad (including also on our own sold out “Venusa XX” 2CD compilation from 2001 with the track “Spirits of the Past”) and eventually, being signed to Project Pitchfork‘s Candyland label and a European tour with them. The band released 3 albums and now after a long hiatus has returned.

The Art of Lust is available on Spotify and all major digital platforms including Bandcamp.

The Swedish gothic rock act Scheitan has recorded a cover of the Billy Idol track “White Wedding”.

Scheitan have recently returned following a 24-year hiatus, and will release a new album “Songs for the Gothic People” in Spring 2024 via the Greek independent label The Circle Music. The new album further explores the gothic vibe that was present on their ”Nemesis” album, released by Century Media Records in 1999.

Check out the lyric video below.

Guitarist, multiinstrumentalist & vocalist Pierre Törnkvist comments on the new recording: “Billy Idol has always been one of my favourite artists. It was the same for Oscar, Scheitan’s drummer who tragically passed away some years ago. And I think Oscar would have approved of this version of “White Wedding”. We talked many times about recording “Rebel Yell” with our other band Helltrain but I think this one will do equally good. I tried to go for a bit more “goth” than “rock” in the soundscape and vocals. Billy is an excellent singer so it would just have been stupid to try to replicate some of the stuff he does in the track. I know my place and capabilities. I’ve spent a lot of time with his newer material like “Bitter Taste” and “Running from the Ghost” and have to say it´s equally good as the tracks he delivered as a young artist. I will now keep working on the upcoming album and perhaps throw in one or two more cover tracks along the way.”

Listen to the singles “Fire at Dawn” and “Lost in Time” which were released earlier this year.

About Scheitan

Scheitan was formed in 1996 by Pierre Törnkvist (guitar/bass/vocals) together with Oscar Karlsson (drums). The duo started out as a black metal band but transformed during the musical journey into the fields of gothic/ambient rock. Both members had previous musical experience mainly from death and black metal such as The Moaning, Defleshed, The Everdawn and Gates of Ishtar to name a few.

Scheitan released its first album “Travelling in Ancient Times” on Invasion Records in 1996. The album was an 8-track black metal album except for the last track “Portals of Might” which was the first indication of Scheitan wanting to explore other musical realms. The second album “Berzerk 2000”, also released on Invasion Records in 1998, was divided into different styles. The first four tracks show a gothic/ambient Scheitan while the last three saw Scheitan bid a final farewell to its black metal roots. The first four tracks of “Berzerk 2000” saw a digital re-release in 2021 as the “Deathgoth” EP.

Century Media signed the band after the contract with Invasion was finished and in 1999 the band recorded and released “Nemesis”. The musical style was now completely devoted to the gothic/ambient/dark domain except for the vocals of Pierre Törnkvist who were still kept in the harsh style present on earlier albums. When it was time to write new Scheitan material after “Nemesis” both Pierre and Oscar felt that it did not fit into the project and therefore Helltrain was started, which is a completely different story.

Scheitan went on a 24-year hiatus but was brought back to life in 2023 with the single “Lost In Time”, a gothic rock track in the veins of Sisters of Mercy, Fields of The Nephilim and The 69 Eyes. A few weeks prior to the release of the single “Lost in Time” Scheitan signed to Greek label The Circle Music and is set to release a full-length album in 2024.

Gothic rock band Black Angel has released its fifth studio album, “Lascivious”. This album is a follow-up to their prior work, “The Black Rose”. Maintaining the gothic rock essence evident in their earlier albums like “The Widow,” “Kiss of Death,” and “Prince of Darkness,” “Lascivious” promises the same signature sound.

Matt Vowles, the force behind the ten-track album’s production and writing, chose to revisit Black Angel’s earlier sound from the “Kiss of Death” days. He emphasizes staying true to the core gothic elements that inspire him, drawing from iconic bands such as Siouxsie and the Banshees, Bauhaus, The Cult, and Sisters of Mercy.

Corey Landis, the band’s frontman and lead vocalist, collaborates with Maneesha Jones, who lends her voice for female backing vocals.

“Lascivious” can be purchased in CD and digital formats, and there are plans to release a vinyl version soon.

Portland post-punk act Sky Lions presents its newest single “Werewolves”, taken from their debut album “Inside The Circle”. The duo is made up of Radio Sloan and Outer Stace, who over the years have performed with or as a part of Courtney Love’s band, Peaches’ band, and more.

Outer Stace says this about the new single: “Werewolves, in part, is about the idea of shifting from our outer selves to our inner selves, the fleeting peace that can bring; transformation and adaptation… So, the art direction possibilities were pretty endless. It was a lot of fun to create the different versions of ourselves that we could be.”

Radio Sloan adds: “Our sound is that of accepting existence for all its flaws. Sky Lions has a darkness that isn’t entirely heavy metal, post-punk or darkwave. Rather, it’s a culmination of who we have been, who we currently are, and how we interpret the world around us”.

Apart from Sky Lions, Outer Stace is known to many as the vocalist for Portland electro-rock / gothic / post-punk band Photona and synth-drum duo Time Bitch.

You can download the new single via Bandcamp.

Below is the video for the new single.

Genre/Influences: Gothic, Goth-Rock, Dark-Wave.

Format: Digital, CD.

Background/Info: Five years after their previous full length album and one year after the excellent “Leitbild Angst”-EP we finally get the new opus by German Goth veterans Still Patient? The album deals with love, pain and melancholy.

Content: Still Patient? brings an album without true surprises but totally in the vein of the band. The songs are holding on the heavy Goth-Rock influences carried by solid guitar play and catchy elements in the choruses. The softer cuts are totally expressing the theme of melancholy although evolving into an outburst chorus.

+ + + : Still Patient? no longer has anything to prove. This band is just playing the music they like mixing different elements together although based upon a solid Goth basis. They sometimes remind me of the uncompromised approach of London After Midnight. The songs have been meticulously built up but always carried by impressive guitar play and deep, resonating, vocal lines. Songs like “Looking Glass”, “Sacrifice In Paradise”, the very Sisters Of Mercy-like “All Dead” and the EP-song “Trees Falling II” are great exposures of the band’s genius. And I also have to mention the opening cut “The Beginning” which sounds a bit different although being a master piece for its mysterious sound atmosphere.

– – – : There’re less songs to throw away which says enough about the high qualitative level of the album.

Conclusion: Still Patient? bring us a new master piece and according to me one of their best albums ever.

Best songs: “Looking Glass”, “Sacrifice In Paradise”, “All Dead”, “Trees Falling II”, “The Beginning”, “Firefly”.

Rate: 8½.

Artist: www.facebook.com/stillpatientt

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

Genre/Influences: Gothic.

Format: Digital.

Background/Info: German duo Oliver Uckermann – Birgit Strunz strike back with their first new work in fifteen years. The work features four new songs plus three little extras getting us back to the past.

Content: Stillste Stund sounds as time had no weight on their work. This is good-old Gothic music in the purest German tradition of the genre. It’s filled with bombastic sound arrangements and drama which you’ll notice in the vocals. One of the new songs sounds more Club-driven and features an irresistible Electro tune. The last songs are like a little bonus for the fans featuring a remix of “Marsch in Unscha​̈​rfe Verlorener”.

+ + + : Time hasn’t clearly attempted the band’s creativity and sounds like getting back to the 90s German Goth scene. I like the typical theatrical production of the vocals and dramatic moods recovering the songs. The new songs are pretty cool featuring the hit “Nacht & Nebel” which is an Industrial-Goth song for the dancefloors.

– – – : Stillste Stund sounds a bit outdated like a signal from a distant past although Gothic lovers will be pleased.

Conclusion: Stillste Stund makes a surprising but successful comeback.

Best songs: “Nacht & Nebel”, “Gru​̈​ß​e aus dem Fegefeuer”, “Marsch in Unscha​̈​rfe Verlorener – Legacy​-​Remix Uncut by Inanis Kurzweil feat. Die Kinder des Untergangs”.

Rate: 7½.

Label: www.darkdimensions.de /  www.facebook.com/pages/Dark-Dimensions-Label-Group/486014725206

Costa Rica’s goth / darkwave outfit Ariel Maniki and the Black Halos today announce vinyl LP pre-orders for their new live album: “Communion”. The live album will be released through Tumbas Eternas Records. The release comes ten years after their formation.

The vinyl LP comes in a limited edition of 300 copies: 150 copies are on black vinyl, and 150 on translucid blue vinyl. All are packaged in a gatefold sleeve, featuring a photo album from the concert, inner sleeve with lyrics, and a poster included.

Bandleader Ariel Maniki explains: “We’ve known for some time that we were unable to do a vinyl release with our previous label. On the side, however, we’ve been good friends with Peruvian label Tumbas Eternas for many years, and they have always manifested their intention to do a vinyl record with us, if the project is the right one. They originated the idea of doing a “best of” album, and we introduced the “live” aspect to it. The idea of the “live” format is just much more appealing to me than a regular “singles” collection. We all agreed this release had to be something that’s truly special and worthy of people’s vinyl collection.”

Communion was recorded live on 15 July 2023, at El Nico Baker, a small theatre in the trio’s hometown of San José.

Ariel adds: “The show took place just 5 minutes away from where we live near downtown San José. We booked this little theatre with capacity for 100 people: way over the expected attendance for local underground acts here in Costa Rica. We thought 40 to 50 people coming to see us would be just good enough to build up the right energy exchange between the audience and the band, and pull out a good live recording. When we climbed the stairs from backstage, we found the theatre cheering at us at full capacity. For us, it was a very emotional and magical evening. We are just so happy that we preserved it on this recording.”

The Communion LP can be preordered now from Tumbas Eternas Records via Bandcamp. Note that this is a physical vinyl release only. The band and their label have no intention of selling digital presales right now, but are obliged to provide this option for Bandcamp, so they added the digital download at a intentionally prohibitive price.

Negative Gain Productions‘ Total Chroma has just unveiled its new full-length release, “Lapland”. Total Chroma is the solo project of the Vancouver, British Columbia-based musician Isku ‘Robert’ Katerwol (Wire Spine & Weird Candle) who offers a synth punk inspired sound.

The 10-track album is an exploration of Katerwol’s Sami lineage. The Sami, for those unacquainted, are the indigenous denizens of the Arctic, a people whose song has echoed across the icy plains, fjords, and tundras of Scandinavia and Russia for millennia, and whose history, like the labyrinthine forests of the North, is both rich and shadowed.

Sonically, you can expect a mix of post-punk, synth-pop, EBM, and minimal wave. “Lapland” is available on vinyl LP format and digitally on all major platforms including Bandcamp via Negative Gain Records.

Here’ sthe video for the album track “Northern Lights”.

Out now is the brand new single from the UK post-punk outfit The Glass House Museum. The new single, “The Committee”, also features the co-founder of World Goth Day, Lee Meadows.

The Glass House Museum is a three piece band from the West Midlands, UK. They create original post punk / alternative rock music “because it keeps us off the streets & getting into trouble.” The members are Joe Cummings (guitar & vocals), Jon Cummings (guitar & vocals) and Lee Meadows (bass & programming).

The singles comes three years after their mini-album, “Artifacts”, was released in 2020. The new song was recorded in the studio of Allen Kent who produced the video for the 2017 track “Voyeur”. Says the band: “Kent produced and mixed ‘The Committee’, injecting his unique vision into the process to create an aggressive yet ethereal interpretation of a song that had been introduced into the live repertoire this year but never recorded in the studio.”

“The Committee”’ is available on all major streaming platforms including Bandcamp, now.

The New Orleans-based gothic rock duo, The Palace Of Tears, has just released a new single and video for the title track from the upcoming sophomore album, “Veiled Screen, Woven Dream”.

This version of the single is a more synth-heavy ambient mix, and comes in a shortened and condensed version adapted for the accompanying self-produced music video.

“Veiled Screen, Woven Dream” was originally a romantic song Erick r. Scheid and L.V. Darkling explain: “On the mundane level, it is about reuniting after prolonged separation and isolation, and the intensity that accompanies the experience, sometimes as a blissful revelry, while at other times it is almost painfully sweet. So sweet that it hurts, as if your heart were going to burst. On the arcane level, it speaks to those who have passed on, and our desire to commune with those we love and miss beyond the veil, and when you might meet again in another form.”

“Veiled Screen, Woven Dream” is available on all major digital outlets including Bandcamp. Below is the video.

You can download the new mix of the single from Bandcamp.

Progress Productions have announced a new signing to the label: the US darkwave act Vexagon. Vexagon is the project of Briar Moth from Los Angeles, CA, who explores ideas of identity, sexuality, & dealing with the modern world as an autistic non binary person.

An album is in the making called “A New Flesh Experience”.

Torny Gottberg/Progress Productions: “Only a few times in my life have a heard an artist and had the feeling after 30 seconds that I NEED TO WORK WITH THIS!!!!” Vexagon is one of those really rare moments and we are so happy to have them onboard Progress and to introduce them to a bigger audience here in Europe. “A New Flesh Experience” is a perfect introduction to the amazing world and sound of Vexagon. “

The material has been remastered in Svenska Grammofonstudion in Gothenburg, Sweden by Hans Olsson.

More news later. For now you can check the project’s 2022 single “Voyeur”.

Premiering today via Side-Line, downtempo / ambient-electronic duo Voidant share the Kubrick-inspired surreal Sci-Fi video for ‘La Loba (Decommissioned Forests Remix)’.

Voidant are Leeds UK post-punk pioneer David ‘Wolfie’ Wolfenden of Red Lorry Yellow Lorry fame (also of The Rose of Avalanche, The Mission, et al); and New Jersey US goth-rock / darkwave / folk-noir chanteuse, Caroline Blind from Sunshine Blind.

The remix of ‘La Loba’ from London’s Decommissioned Forests is taken from Voidant’s new remix EP, “Abandon Hope”, which also features Robots In Love (New Zealand), CWHK from Sunshine Blind (US), 2 Forks (US), and Max Rael (UK), along with a new remix from Voidant’s own Wolfie.

The new video has been created by New York visual artist and filmmaker, Tintin; a regular collaborator with Caroline Blind.

Caroline says: “Tintin heard all the layers in the music and incorporated that into his video. The alienation and dark harmonies in the music are well echoed by the outer space theme. He tied it in beautifully with the Voidant logo and this weekend’s solar eclipse.”

On the new remix of ‘La Loba’, Daniel Vincent of London outsider electronic trio Decommissioned Forests says: “Remixing tends to fall into two categories: augmenting material with new elements like drums, or leaning into the existing material and finding a slightly different interpretation. Given the strength of Caroline’s vocal and Wolfie’s instrumentation, it was easy to follow the latter path and lean into the inherent drama and mystery of the music and subject matter. Adding layers of reverb and modulation transformed the track into an ethereal slowcore murder ballad which hopefully stacks up well alongside the other remixes on the EP.”

Caroline adds: “I never know what people will do with a remix. My partner in Sunshine Blind, CWHK, used to do drone / ambient music pieces… one of them, “Chimera” opens our album Liquid. It was great to hear someone do that with one of these vocal tracks; it’s perfectly suited for it. Was a pleasure to hear.”

The Voidant EP ‘Abandon Hope’ is available now from Bandcamp: with Spotify and all the usual digital music stores to follow.

The Prague-based gothic rock band, Cathedral In Flames is back with a cover of Billy Idol’s classic, “Rebel Yell”.

In their version of the song, Cathedral In Flames toyed with tempos, added strings and flirted with blast-beats for the first time in their history. The track was produced by John Fryer and comes hand in hand with a comic book video.

Singer Phil Lee Fall says, “The songs were basically made to order. And we had a lot of arguments over it, we couldn’t figure it out for a long time, but when Gatsby threw in the tempo changes, everything clicked. And John added the blast beats symbolically at the very end.”

And Gatsby adds, “I’ve never liked this song, so I approached it in the end in the style of seeing if something interesting could be made out of a thousand times stale little ditty. How it turned out, judge for yourself. I’m washing my hands!”

Here’s the comic book video.

And here is the track for download on Bandcamp.

(Photo by Samantha Stephenson) NYC-based goth pop-alternative duo Frenchy and the Punk present their cover version of Siouxsie and the Banshees’ classic “Cities In Dust”, set for release on October 18, the 38th anniversary of the original release by this game-changing post-punk outfit. You can already pre-order it here on Bandcamp.

But we can already offer you the official video for this new single. The single comes with the B-side track “Monsters”.

Frenchy and the Punk is vocalist, percussionist and lyricist Samantha Stephenson and guitarist-composer Scott Helland, who co-founded Outpatients and Deep Wound (with Dinosaur Jr.’s J Mascis and Lou Barlow).

This release follows the duo’s seventh album “Zen Ghost”, written and recorded during the pandemic and released in October 2022. During these same recording sessions, they decided to record the Banshees’ cover seeing it was well-received during live shows.

Helland recalls first discovering Siouxsie in the mid-80s upon walking into his favorite record store – Main Street Records in Northampton, MA, noting “It was one of those things I’ll never forget. Seeing a poster of Siouxsie with her teased black hair and the song blasting throughout the store, it was mind blowing. I feel like I hadn’t really been exposed to female musicians in the punk or goth realm until then. She was instantly cool to me.”

While also a fan, Stephenson’s deep dive into the Banshees’ sound came much later. “I was aware of Siouxsie and the Banshees, but mostly for her stunning look. I loved her image. She seemed to exude fierceness and confidence but I wasn’t all that familiar with the band’s sound. It’s really because our fans constantly mentioned her name that got me falling down the Banshees’ rabbit hole some years ago,” says Stephenson.

About Frenchy and the Punk

Helland and Stephenson met in NYC in 1998, when Stephenson jumped on stage to accompany Helland during his solo guitar performance. The two decided to form a musical duo and began to tour.

With numerous recordings under their belt over the years, they’ve performed with Dead Can Dance’s Peter Ulrich and Dresden Dolls’ Brian Viglione, and opened for Thomas Dolby, Dinosaur Jr., The World Inferno Friendship Society, Rasputina, Cruxshadows, Hurray For The Riff Raff and The Young Dubliners.

After a full year of touring throughout the USA and Europe in support of “Zen Ghost”, Frenchy and the Punk are now back in New York, writing material for a new album they plan to release in 2024.

Tour dates:

• Oct. 21 Eastampton, Nj – Autumn Lands Festival
• Nov. 4 Pittsburgh, Pa – Witches’ Ball
• Dec 2-3 West Palm Beach, Fl – Steampunk Adventurers Weekend
• Jan. 13 Colts Neck, Nj – Big Top Circus Ball
• Feb 16-18 Gettysburg, Pa – Mythicon
• Apr. 6 Galveston, Tx – Galveston Steampunk Festival
• Apr 19-21 San Meteo, Ca – Clockwork Alchemy
• Apr 27-28 Holly Springs, Nc – Festival Of Legends
• May 18 Milton, Pa – World Of Fae Ball

Genre/Influences: Dark-Wave, Gothic, Post-Punk, Shoegaze.

Format: Digital, CD, Cassette.

Background/Info: Vlimmer is the main project of German musician and label owner Alexander Leonard Donat. After having released a unique series of 18 (!) EP’s in between 2015 and 2020 he since then released two albums. “Zerschöpfung” is Vlimmer’s third full length featuring nine songs about dark, existential, themes.

Content: The concept sounds dark and the album takes off this way as well. After a poignant, Gothic-like intro cut Vlimmer explores the darkest corners of Dark-Wave music. The album moves in a similar way although not always featuring a similar darkness. Guitar and electronics parts create a melodic but tormented sphere which might remind you of the 8os spirit. All songs are still sung in German.

+ + + : The debut part of the album sounds like Vlimmer at its best. I especially enjoy the tortured atmosphere emerging at “Flurfall”. You literally feel a kind of painful expression there. Other tracks like “Platzwart” are more melodic although still exploring the dark side of life. “Fatalideal” sounds pure 80s like and even evokes the imaginary hybrid between X Mal Deutschland and Cocteau Twins.

– – – : Speaking for myself I regret the album doesn’t sound as dark as “Flurfall” which sounds to me as a true referential song for this artist.

Conclusion: This is probably my favorite Vlimmer-album thus far which sounds as a production for dark souls.

Best songs: “Flurfall”, “Platzwart”, “Fatalideal”, “Losigkeit”, “Austrocknung”.

Rate: 8.

Artist: www.facebook.com/VlimmerMusic

Label: www.facebook.com/Blackjack.Illuminist

“Quanticode” is the debut album from 2 Forks: a brand-new dark electro-industrial project from Cleveland, Ohio, featuring past and present members of US goth rock act The Wake, among others. A concept album, “Quanticode” tells the story of the hunt for a fictional serial killer. “Quanticode” from 2 Forks is out now in CD and download formats from Bandcamp, and streaming from Spotify, Amazon Music, Apple Music, and all other major digital music platforms.

Daniel C. explains the concept of the album as follows: “The songs are not so much about the acts of a serial killer or the agents trying to apprehend the criminal, but are more about the thoughts and feelings behind these deeds.”

The new album follows on the heels of the band’s first two video-singles: July’s industrial rock track “Take It”, and the latest atmospheric dark synth offering, “I Feel Lost” from September. You can watch both videos for the tracks below.

About 2 Forks

2 Forks revolves around the central duo of frontman and multi-instrumentalist ‘Danny 2 Forks’ alias Daniel C – best-known as longtime drummer for The Wake (1989-present); alongside engineer, co-writer, programmer, and instrumentalist Gil Singer: a producer and beatmaker for local Cleveland bands at Compound Studio, including his own studio project Scrapdata. The project is augmented by guitarist Mark Gamiere, a former live member of The Wake (1996-2000), whose later credits also include Urban Needle and ( SIC ).

Daniel C, Gil Singer, and Mark Gamiere share a musical friendship stretching back to Daniel and Mark’s first high-school band together in the early 1980s, when both were just 14, which also featured Gil’s brother Guy Singer on vocals. Following a stint of ‘cover band’ gigs at local schools and community events, and with the addition of more “seasoned” players from their immediate circles, the band morphed into Midnight to Midnight (1985-86), who enjoyed some popularity in Cleveland, winning local talent contests and receiving regular airplay on local access TV.

Daniel and Mark would next go on to play together in K-9 Fire (1986-1988), who released one album and enjoyed marginal success via college radio and the local indie music scene. Daniel meanwhile departed Cleveland for Columbus in 1987, where he befriended members of what was then an up-and-coming local goth rock band, The Wake. Daniel was invited to join the group in 1989, and has played drums with them ever since. He was rejoined in The Wake by old bandmate Mark Gamiere in 1996, who took over from outgoing original guitarist Rich Witherspoon for live shows. Daniel C and Gil Singer later collaborated on ashort-lived studio project, Clair 63, around the early 2010s.

Fast-forward to the pandemic: The Wake’s scheduled European tourdates were being cancelled or postponed, leaving Daniel with time on his hands, and lots of it, for the first time in decades. Needing an outlet, Danny reached out to his childhood friend and former collaborator Gil Singer, and between them they conceptualised the new project. Once Daniel and Gil had written and recorded 11 tracks, their old friend Mark Gamiere was enlisted for additional guitars, completing the circle. In all, the new album “Quanticode” was created in under a year.

Taken from Alien Vampires’ recently released new album “Return Me To Hell”, comes the brand new 2-track download single “Witchy Bitchy”.

“Witchy Bitchy” features nobody else but legendary alternative sexy model and cage dancer Dani Divine on additional vocals. Coming from London, Dani Devine is a professional model who gained popularity in the alternative modeling scene (fetish, goth, steampunk…). She won amongst others the Ultra Vixen of the Year award.

The new single features an exclusive upbeat remix of the song by the band’s side-project Speed Injektion. Bandcamp fans will also receive the exclusive uncensored video clip that was made for “Witchy Bitchy” by Asako.

Below is the video you get as well via your Bandcamp download.

Since 2003, Nysrok Infernalien and Nightstalker have been delivering aggressive and powerful dark EBM music under the Alien Vampires moniker. They mix harsh distorted vocals with lots of sexuality and industrial dance.

VampireFreaks announces Dark Force Fest 2024, a 3-day gothic-industrial music festival and convention. Dark Force Fest will be held April 19th – 21st, 2024 in Parsippany, New Jersey.

In addition to live bands on two stages, Dark Force Fest also features drag queen performances, sideshow acts, a live bats exhibit, band meet-and-greets, DJ club events, 100+ vendors, panels, presentations, meet-ups, food trucks, and spooky crafting activities. Dark Force Fest takes place in Parsippany, NJ (1 hour from New York City), where goths from around the world congregate and take over the massive castle-themed Sheraton Parsippany—including 44,000 square feet of event space and all 370 hotel rooms. The castle will be adorned in gothic décor and art installations for an immersive experience. Rooms in the main venue sold out within 2 days of announcing the dates, but there are still overflow hotels in the area.

The festival lineup includes live performances from:

Stabbing Westward, Nitzer Ebb, The Crüxshadows, Leaether Strip, Gothminister, Das Ich, Priest, Vision Video, Vampires Everywhere, Then Comes Silence, Ayria, Ash Code, System Syn, Dawn of Ashes, FGFC820, Moris Blak, Danny Blu, Kanga, Auger, Creux Lies, Angels & Agony, I:scintilla, Ego Likeness. Abstinence, Nite, Al1ce, Astari Nite, Mechanical Vein, The Long Losts, October Noir, Biomechanimal, Eva X, Stoneburner, Oberer and Rabbit Junk.

Activities include:

• Over 100 Vendors
• A drag queen show hosted by Onyx Ondyx
• Sideshow performances
• A live bats exhibit and presentation by NJ Batman
• Dj club events playing goth-industrial music
• Panels and presentations
• Arts & crafts activities
• Food Trucks
• Karaoke

Post-punk/synthwave band, Supernova 1006 recently unveiled their new album, “Chains” via Negative Gain Productions. “Chains” is about the struggle for your happiness, about the struggle for silence and harmony with oneself.

Out now is a brand new video single, “Before I’ll Make You Cry”.

And here is the album “Chains”.

About Supernova 1006

Supernova 1006 came to life in September 2014, through the collaboration of Andrey Yukhovich (on guitar and vocals), Anton Korchevsky (handling bass and synthesizer), and Elena Polupan (managing drum machine and synthesizer). The same year saw them self-releasing their debut EP “Morphine”, alongside the single “Mistakes” and a full-length album titled “Bsides” under the Uncle Misha label.

However, 2015 brought changes to the lineup with Elena exiting the band, making way for Lisa Dolgikh. With fresh energy, Supernova 1006 unveiled their second LP “Talons” that year. But as 2016 rolled in, Anton parted ways with the group. Despite the shift, the band forged a new alliance with Werkstatt Recordings, leading to the release of LP “Talons”, EP “Ministry”, and the singles “Feel” and “We Are Free”.

In 2017, the musical journey continued with the album “Unique World”, a collaborative release with Werkstatt Recordings, Sierpien records, Other Voices records, and Orbita. This album found its way to fans on a variety of formats – CD, cassettes, reels, and vinyl. Later that year, the band explored new horizons with Gothic Music, which saw the re-release of “Unique World” on CD. They also dropped the single “Dope For Human” on a 7-inch vinyl through Other Voices records, followed by the LP “Blackout” on Sierpien Records, featuring contributions from Paradox Obscur and Kill Your Boyfriend.

Keeping the creative momentum going, Supernova 1006, alongside The Units, introduced a remix of the classic 1979 track “High Pressure Days” in a single. The summer of 2018 saw the release of the single “Gold” and the EP “Critical Distance”.

Their collaborative spirit soared again in the same year when they, along with Liars, released remixes of “New Kind Of Cross – Buzz Kull”. 2019 marked the beginning of a new chapter with Young And Cold records, culminating in the release of the experimental industrial album “Technical Support” on 12″ vinyl.

Fast forward to 2021, Supernova 1006 launched the synth-punk album “History Of Supernova 1006” via Sierpien Records, drawing inspiration largely from The Units. While the group took a step back from active performances between 2021 to 2023, they were quietly brewing new material.

As summer 2023 unfolded, Sofia Merkulova replaced Lisa Dolgikh, injecting new life into the band. With renewed vigor, Supernova 1006 announced their upcoming album “Chains”, set to release under the Negative Gain label, marking a new phase in their ever-evolving musical saga.

Washington DC-based darkwave gothic rock band The Neuro Farm has just dropped their latest single, “Panic”. The track delves into a childhood experience of fever-induced delirium and is set to be included in their forthcoming album, slated for a 2024 release.

The band brings a blend of vocal harmonies, sweeping violin tunes, pulsating rhythm guitars, and atmospheric soundscapes. Their sound however is influenced by a range of artists, including Joy Division, Radiohead, Nine Inch Nails, Siouxsie and the Banshees, Sigur Ros, Chelsea Wolfe, Portishead, and Rammstein.

The single “Panic” features performances by Rebekah Feng on violin and vocals, Brian Wolff on vocals and guitar, Tim Phillips on synths and programming, and DreamrD on drums and percussion. The track was penned by Brian Wolff and Rebekah Feng, recorded at The Neuro Farm’s own studio, mixed by Brian Wolff, and mastered by Rob Early.

Check it below on Spotify or go to Bandcamp.

Black Angel, the London-based gothic rock band, has just unveiled their fifth studio album, “Lascivious”, featuring 10 tracks.

Serving as the sequel to their previous album, “The Black Rose”, “Lascivious” marks a musical evolution for the band. They’ve returned to a lush, orchestral soundscape while maintaining their core Gothic influences, reminiscent of legendary acts like Siouxsie and the Banshees, Bauhaus, The Cult, and Sisters of Mercy.

Available in both CD and digital formats, “Lascivious” is set to make its vinyl debut in the near future. In addition, Black Angel is actively seeking partnerships with touring companies for their upcoming tour later this year.

Watch the music video for their single, “Killer”, right below.

You can order the album and merchandise right below as well from Bandcamp.

Korinthians is a Belgian formation from Ghent. The band name refers to the Corinthian people in antiquity. The band comments: ‘They were called barbarians by the Athenian elite, but actually they had a very egalitarian society. They tossed out their kings and ruled as a group. They gave women a prominent role in decision-making. And then you have the Letter to the Corinthians in the Bible, which many know as an ode to love. But it also contains a series of guidelines to the women in Corinth. That they should wear a veil, and pray, and are not allowed to speak up. Isn’t that ironic?’ In that case, Korinthians prefer to be barbarians of Corinth. After having released a promising debut album “Chaos Control” in 2020 they this year stroke back unleashing “A Major Walk”. This self-released new opus sounds as an offspring between different music genres like Post-Punk, Electronics, Indie-Pop/Rock, Cold-Wave… but as Mattias (vocals & guitar) and Kenny (drums) say:

(Courtesy by Inferno Sound Diaries)

Q: Who’s hiding behind Korinthians and what’s your musical background and eventually references when it comes to song writing?

Kenny: I was always a rock drummer. I had no background in the genre whatsoever. To not mess things up, I try to play as little as possible, which is always a good thing in the end. Plus, when I’m with other drummers discussing their gear and chops and shit, I honestly think I’m not a real drummer. When you add those things up, I get something that seems to work just fine for the band. When it comes to songwriting, I stay away from the lyrics as far as a can, but do my part when it comes to the arrangements. I know a good synth hook when I hear or play it, and I’ve been known for throwing out a verse or two to keep the song short and sweet, or, in case of the previous record, making Mattias play five-minute guitar solos.

Mattias: I suppose I am the songwriter of the band. As all four of us, I wasn’t ‘born’ into 80s music. I think we’re all kids of the 90s, really, which meant that we grew up with the sound of overdriven guitars, rather than analogue synths. I got into the music much later, when I discovered bands like The Soft Moon, Agent Side Grinder, Linea Aspera And Boy Harsher. Also acts outside of the genre are an inspiration, such as Mogwai, Goose, Kite and M83. In terms of song writing, I went from doing straightforward hardcore riffs in the 90s, to being in awe of compositions with many layers –Electric Light Orchestra, was an example for some time.

Q: Interesting to read you claim to be ‘children of the 90s’ as your music still sounds 80s Post-Punk-like with a catchy Electronic touch on top. What is it really all about?

Mattias: We definitely do not confine ourselves to the genres of Wave or Post-Punk. I spoke to a music journalist recently who declared himself a ‘fake goth’, since he liked so much music outside of the genre. To some extent, I identify with that term. Personally, I’ve never liked being put in one category. And I think that for the Post-Punk and Goth scene, which distances itself from the dominant Pop culture, it really makes no sense to put people in boxes.

Q: What’s the usual procedure to write a song?

Kenny:In terms of songwriting, the procedure has changed dramatically during the pandemic. Nowadays, Mattias brings his Ableton creations to the rehearsal, and then there’s three scenarios. One, we think it’s crap, don’t say it out loud, but waste a rehearsal to let Mattias notice for himself. Two, the composition is totally perfect and we have a new song within minutes. Three, I or someone else ends up re-arranging the song in Cubase or something, and Mattias approves, or not. Then of course, when we play through the song during rehearsals and each band member cleans up their parts. We also try to take the songs to the stage asap, to see how the audience responds.

Q: How do you perceive the evolution from your debut album “Chaos Control” towards “A Major Walk”? Did you want to improve and/or change certain elements of the production? 

Mattias:I think it’s very clear that this is a much more synth-driven album. Contrary to our debut album, on “A Major Walk” the guitar is subservient to the overall sound. Often guitar play is limited to an eerie Post-Rock tune.

Overall, the album also sounds a bit more Electronic, something we’ve trying to do from the start; play music with a classic trio of instruments (acoustic drums, bass, guitar) and then add synths and samples, so it starts to sound more Electronic. I didn’t realize until after the record was finished, but it also contains a lot of straightforward, punchy songs. Dance music, really.

Q: The lyrical content of your work clearly reflects a darker side and/or -perception of our society. Where does it come from and what did you try to express and maybe exorcize? 

Mattias:I don’t necessarily intend to write dark and brooding lyrics. I guess that is what happens spontaneously when I write. What I usually do is writing one specific scene and develop lyrics from that. For instance, for a new song we’re working on, I use a snippet of a newspaper article I found a while back, talking of a newborn baby found dead in the dunes of the Belgian coast. I imagine what it must be like to give birth to a baby, all alone, crying, bleeding. And leave it behind. In “No Future”, our latest single, I describe the scene of a guy sitting in his house, smoking cigarette after cigarette, watching the news, while the ground floor is on fire. And he stays where he is. Sometimes I write something which comments on broader social issues, but usually it’s just about a compelling story.

Q: How would you define Korinthians as a live band and how do you transpose the songs from the studio to the stage? 

Kenny:I would certainly define Korinthians as a live band. The songs are created during rehearsal with the instruments we have, and all of the songs have been played live many, many times before we end up recording them. And during recording, we try not to go overboard with overdubs and stuff. Firstly, because we cannot afford to go overboard with anything during expensive studio time, and secondly, we also can’t afford to hire additional musicians.

Q: Korinthians clearly seem to be a ‘Do It Yourself’ band. Is it a deliberate choice you made or just because there has been no interesting label deal so far? How do you manage all different aspects of being ‘independent’?

Mattias:Well, it’s not that we oppose the idea of having a label. But I’ve come to realize that I like to control as much as I can the artistic and commercial process. That means, indeed, that you’re keeping a lot of balls in the air. You write songs, you record them, you make art work, you make music videos, you launch online promotion campaigns, you release albums and singles, you write press sheets and send them to journalists, online magazines, labels and whatnot, you reach out to other bands, venues and promoters, you make dedicated merchandise and offer it to your audience, you send parcels all over the world from sales on the band website.

Running a band is hard work. On the other hand, it’s wonderful to have gathered around us a group of people who believe in us; our sound guys Björn and Bart, William at Sonic Rendezvous, our distributor, Malcolm Nix our booker and tour manager, Klaas at RUZD who has been doing a lot of our artwork and design lately. We couldn’t do what we do without their quality work and their dedication.

(Photo by Megan Bishop) Re:Mission Entertainment is set to release “DeadNakedCoveredInBlood”, from the Seattle based Horror inspired Industrial band, Dracula Party. This is the second release with the label following last year’s single,”Nightmare Things”.

“DeadNakedCoveredInBlood” will release on all digital music platforms including Bandcamp today, Friday, October. Musically it combines elements of industrial, EBM, synthesizer movie scores, and darkwave.

The follow-up to their single “Nightmare Things” (2022), and their LP “Video Wasteland” (2021), brings a hard-hitting industrial track about a twisted love story, about “opening the box” and becoming monsters together. The release also includes the new B-Side “Something Scary”.

Horror effects filled video

Starring La Petite Mort and Byron C. Miller the video for “DeadNakedCoveredInBlood” was directed and shot by Paul Morgan and edited by Byron C. Miller with special FX makeup by HexFX Industries. The “Idol” prop is by Aaron Morgan with location provided by Dan Orme Doutre.

Here’s the director’s statement from Paul Morgan, longtime collaborator with Byron on films and music: “Listening to a new Dracula Party song for the first time is like the feeling of finding a dusty VHS copy of a Horror movie you’ve only heard vague whispers about at a mom-and-pop video store. It’s like the feeling of holding that clamshell case in your hand as you walk to the counter, both terrified but excited all at the same time. It’s like how it feels to watch it with all the lights off and your face half covered for fear of what you might see, but already looking forward to telling all your friends all about it the next day. I was struck by the duality of that feeling. Terrified but excited. Off-putting but beautiful. Grotesque but sensual. There is no better song to explore this theme of contrasting feelings than “DeadNakedCoveredInBlood”.

To anchor this theme, we started with a classic horror film set up; people using a ritual to realize their deepest, darkest desires and raise a few monsters in the process. (Hellraiser being an obvious point of inspiration.) I tried to find ways to have contrasting visuals to push that theme forward. The muted world of the beginning of the video versus the vivid colors of the end. The openness of the autumn world outside versus the claustrophobic basement. The clashing vibrant colors of the final half. It’s deceptively simple but effective when combined with moody synths, rasping vocals, unhinged performances, and the increasingly frenetic editing.

I hope that this video gives you the feeling of being alone in a darkened room, your hands ready to cover your eyes the second something happens on the flickering TV…but in your heart hoping that something does happen because you can’t wait to see it.”

Byron comments this on the song and video: “When my bandmate, Chris, first sent me the demo, I knew this was something special. The themes and the words flowed out of me, resulting in a track that I think might be our most fun and in a way our most personal. While I use horror themes on the surface, at the heart this is a love story about finding your person and building your own weird world with them. I was thrilled when Paul came on board to Direct and shoot the video. We’ve been collaborating for years on music in our former band Ghosts in the Graveyard, and on many film and music video productions. Paul instantly got the theme and ran with it. We were also blessed with the participation of horror special effects makeup by the great HexFX Industries, and my co-star in the video, the amazingly talented performer, La Petite Mort. I hope people find the video and the song fun, weird, sexy, creepy. Like a night at the club mixed with a night binging horror movies in a haunted house.”

About Dracula Party

Dracula Party is Byron C. Miller (Vocals, Lyrics) and Chris Schism (Music Production). Byron has a long history of performance in music, film, and beyond. As a teen/young adult, Byron performed in local bands and was an actor in various Haunt attractions including Universal Studios Florida, Halloween Horror Nights. For 8 years (2002-2010) Byron was the co-frontman of the Industrial band, God Module. As a filmmaker, Byron directed two features (“NIGHT” and “The Anatomy of Monsters”), shorts, and a number of music videos for various bands (The Break Up, Cylab, Legion Within, etc.). Byron returned to music in 2016 as the lead singer, lyricist for the shock rock band, Ghosts
in the Graveyard. In 2019, he returned to industrial when he teamed up with Chris Longo to form Dracula Party.

Chris from his side is a veteran of the NYC hardcore punk scene, who developed a love for electronic music through darkwave, synthpop, and NY hip-hop. He hit the Seattle scene as the guitarist of the punk/deathrock band The Uncommitted, later moving to his solo dark electronic project Idoless. Chris brings a lifelong attachment to horror film and TV series scores as inspiration to Dracula Party.

You can catch the band live in Seattle, WA. On October 28 at Café Racer for the Gothic Pride Seattle’s annual Halloween party.

(Photo by Simon Marter) London-based goth artist Ray Noir is gearing up to launch his latest single “Pity Party” on September 29th. This track is taken from Noir’s upcoming mixtape “Scorpio” and will soon be accompanied by a club remix from Gothminister, set to release on October 13th.

The production and mixing of “Pity Party” were handled by KANGA, while the songwriting credits go to Ray Noir and Madeleine Wood. Additional keyboard contributions come from Bjørn Heden of Combichrist, and the track features guitar work by Christer Krogh and mastering by Joe Farr.

Originating from Oslo, Ray Noir’s musical odyssey is deeply connected to the Norwegian Black Metal scene. His sound also holds a fusion of diverse influences, ranging from The Prodigy and Boy Harsher to Nine Inch Nails.

Speaking about the forthcoming club remix, Gothminister said, “Ray and I have had our share of memorable parties. So, when he asked me to remix ‘Pity Party,’ I couldn’t resist. This remix is a tribute to our good times in Norway and across Europe, and it’s my gift to Ray and club DJs everywhere. Enjoy!”

Below is the video for the single which will be out on all platforms on September 13.

Ray Noir is also excited to announce his debut UK tour, commencing this October. He will be the opening act for Vampires Everywhere from the US and RXPTRS from the UK. The tour dates are as follows:

• October 18, 2023: Manchester, Factory
• October 19, 2023: Edinburgh, Bannermans
• October 22, 2023: London, O2 Islington Academy
• October 23, 2023: Milton Keynes, Craufurd Arms

Celebrating the two-year milestone of their debut self-titled album, the ambient-electronic duo Voidant has just dropped their latest remix EP, “Abandon Hope”. The EP features contributions from remix artists such as Robots In Love, CWHK (Sunshine Blind), 2 Forks, Decommissioned Forests, and Max Rael, as well as a fresh remix by Voidant’s own Wolfie.

Voidant is a transatlantic collaboration between UK post-punk musician David ‘Wolfie’ Wolfenden, renowned for his work with Red Lorry Yellow Lorry, and US dark folk/trip-hop/goth rock vocalist Caroline Blind of Sunshine Blind. The “Abandon Hope” EP showcases six revamped tracks from their initial Voidant album.

Caroline reflects on the emotional depth of both the original album and the new EP, stating, “The process of writing these lyrics and vocal melodies was a therapeutic way to confront sadness and grief. It’s a farewell; there’s no turning back. The remix artists have perfectly understood the standalone power of the vocals.” She adds that the EP’s title, “Abandon Hope,” is inspired by Dante’s Divine Comedy, encapsulating the theme of surrendering to the inevitable.

David ‘Wolfie’ Wolfenden, the co-founder and instrumentalist of Voidant and a veteran guitarist for bands like Red Lorry Yellow Lorry and The Mission, contributes the ‘Birch Remix’ of “Phantom Ex” to round off the EP.

New video in the making

A forthcoming official music video for the Decommissioned Forests remix of “La Loba” is in the works, set for an October release. This will coincide with the debut of all Voidant’s music on digital streaming platforms for the first time.

The Swedish band Scheitan, originally rooted in black metal but now embracing gothic rock, has released a fresh single and accompanying video titled “Fire at Dawn” which today exclusively premieres on Side-Line. This track serves as the second single from their forthcoming album, “Songs for the Gothic People,” slated for release in Spring 2024 by the Greek indie label, The Circle Music.

Scheitan went on a 24-year hiatus but was brought back to life in 2023 with the single Lost In Time, a gothic rock masterpiece in the veins of Sisters of Mercy, Fields of The Nephilim and The 69 Eyes. A few weeks prior to the release of the single “Lost in Time” Scheitan signed to Greek label The Circle Music and is set to release a full-length album in 2024.

“Fire at Dawn” is also now available on all digital platforms. Below is the lyric video.

Songwriter, guitarist & vocalist Pierre Törnkvist comments on the new song: “I feel that this became a nice follow up to the last single, “Lost in Time”, almost like two siblings of songs that each have their own identity but have a connection somehow. Not all songs on the album will have this traditional mid-tempo gothic rock style but these two turned out that way. I have never liked to speak about lyrical themes but it has almost become a necessary evil these days. The song speaks to the heart of those of us who do not feel like a part of contemporary society, those of us who feel the fire from within, the instinct to defy all that is wrong in this world. If you have the fire inside, you already know, for sure. I will now keep working on the rest of the tracks for the album, a lot of ideas are already in progress and I am basically spending time in the studio 4-5 days a week, a bit here and there. We hope to have another single released after the birth of the new year and then we will celebrate the new album in the spring of 2024. I think it will be one of the best post-rock efforts in a long time, I am quite sure of that.”

Founded in 1996 by Pierre Törnkvist (guitar/bass/vocals) and Oscar Karlsson (drums), Scheitan initially pursued a black metal style. Both members had prior experience in death and black metal bands like The Moaning, Defleshed, The Everdawn, and Gates of Ishtar.

The band’s debut album, “Travelling in Ancient Times,” released in 1996 under Invasion Records, comprised eight tracks of intense black metal, though its final track hinted at Scheitan’s future musical direction. Their sophomore album, “Berzerk 2000,” also under Invasion Records, showcased a split personality, with the first half leaning towards gothic/ambient and the latter part serving as a farewell to their black metal origins. Some tracks from “Berzerk 2000” were digitally reissued in 2021 as the “Deathgoth” EP.

In 1999, after parting ways with Invasion Records, Scheitan joined forces with Century Media and released “Nemesis,” an album that fully committed to the gothic/ambient/dark genre, albeit retaining Pierre Törnkvist’s signature harsh vocals from earlier records. Following “Nemesis,” both Pierre and Oscar felt their new material didn’t align with Scheitan, which led them to initiate a separate project called Helltrain—a tale for another time.

COP International announces us the signing of the Swedish post-punk band Sjöblom. Sjöblom is the brainchild of Johan Sjöblom Eliot, known for his work with Sweden’s post-punk/dark indie act, The Exploding Boy, and Robert Eklind (previously in the goth rock band Malaise).

Sjöblom was featured with the track “Tape” on our free post-punk compilation “Post​-​Punk (Genesis)” which we released in 2021.

Christian Petke (COP International / GM) says: “I am truly excited to work with Johan and Robert. Their brand of Post-Punk/Pop is a fantastic addition to our roster and is expanding our sound in a wonderful way. My first love was punk/post-punk, and I am thrilled for COP to return to its roots.”

Sjöblom was formed by Johan Sjöblom Eliot in 2016 in Stockholm. Besides being a member of Swedish post-punk band The Exploding Boy, he also played earlier in the indie pop band Prune and the indie rock band Fake Moss. The band’s most recent offering was the June 2023 single “The Storm – The Foreign Resort Remix”.

In short, an excellent addition to the COP International roster.

(Photo by Ex-Hyena) Out via Re:Mission Entertainment is the newest single from the Boston duo Ex-Hyena. “In Slow Motion” is the inaugural single off Ex-Hyena’s forthcoming third album “A Kiss of the Mind: and comes backed with an exclusive remix of the title track by Ohio’s Child of Night.

This new single is the duo’s (Reuben Bettsak and Bo Barringer) debut for the Oklahoma-based darkwave record label Re:Mission Entertainment.

Since its inception in 2021, Ex-Hyena has delivered two albums (2021’s “Artificial Pulse” and 2022’s “Moon Reflections” plus a handful of singles and EPs, and collaborations with Control I’m Here, Hororhaus, The Gothsicles, BlakLight, Pleasure Policy, Jackson VanHorn, Denial Waits, Blood Handsome, and others.

“Things seem to move so fast sometimes and it’s hard to savor moments, or understand a magical day, a traumatic event, a breakup or a fight, etc.,” says Bettsak. “It’s kind of the whole imagining life as a movie where you could replay things in slow motion – with other psychedelic effects for good measure. In the lyrics ‘Leaning backwards / There’s impact from your words / They sneak into my brain like a scorpion,’ I was picturing an argument with a significant other in slow motion. With actual colorful letters coming out and such. The song is also a celebration of movement and cherishing life. And of course it delves into our fears and how they can be debilitating.”

The single was produced and mixed by Barringer, and mastered by Adam Stillson at Decade Music Studio.

And here is the video for the title track.

The Seven Whores Of The Apocalypse is an American music band operating from the Twin Cities, Minnesota. Chris (samples, sounds, cover art, video art), Tom (vocals, sounds, songwriting), and Jason (vocals, sounds, songwriting, production) last year signed to European label Scanner / Dark Dimensions. After the promising EP “Wicked Hands” released in 2022 they this year unleashed the official debut album “All Through The Waste”. It’s a powerful piece of EBM; a bit  atypical and characterized by accomplished, dynamic, and elaborated songs. This is a surprising production for demanding EBM lovers. I asked a few questions to Jason and Tom.

(Courtesy by Inferno Sound Diaries)

Q: I noticed you guys have been all involved -and still are, with other projects before setting up The Seven Whores Of The Apocalypse. What brought you together to set up an EBM-driven band and where does the band name -which doesn’t sound that Electronic, come from? 

Jason: We found each other on Bandcamp in 2019. We all have a background in Experimental Noise and Dark-Ambient, and right away we decided to work together on a project in that vein. We released an album in early 2020 under the name Thrill Behind Barks (with another to follow in 2024). We each have our own individual projects as well. Chris has The Creeping Man (Dark-Ambient), Tom has The Angler King (Experimental Ambient-Noise), and I record under the names Timewitch (Experimental Occult-Synth) and Perfect Female Type (Synth-Wave Pop).

The Seven Whores Of The Apocalypse was born of our shared love of 80s Electro-Industrial music, particularly bands like Clock DVA and Skinny Puppy, but also certainly more mainstream artists like Depeche Mode and New Order. I laid down a quick idea for a song that paid homage to the songs of that era and asked the guys if they’d be interested in doing something a little more structured. Tom offered to do the vocals and our first single “Parasite” was born. We were all like, oh damn, this could be a thing!

The name is a nod to all the faux religious trappings of 80s Goth bands like Sisters Of Mercy and Depeche Mode. Plus it sounds badass and it’s hard to forget once you hear it!

Tom: Jason came up with the name. I remember him telling me where exactly it came from, but that story escapes me. I do however have a very solid memory of me reciting my interpretation of its origins, and the meaning that it has to us. I got very complex with all of these biblical and religious allusions, and how they relate to the name ultimately making fun of misogynists, and it’s connection to feminist lyrics in some of our songs.

I got done telling Jason and Chris my moderately pretentious analysis, only to have Jason say something along the lines of ‘Wow, that’s a really interesting take. I just thought it was a cool name though.’

I got a pretty hefty laugh out of that. Sometimes things are the way they are just because they sound cool. I tend to write lyrics like a James Joyce-wannabe experimenting with refrigerator poetry, so it was nice to be brought back down to earth with a jolt that “not everything is drowning in symbolism”.

Q: Do you have specific sources of inspiration and/or references when it comes to composition? 

Jason: I think the biggest inspiration for us when we started the project was a 1989 album called “Buried Dreams” by Clock DVA. Something about it just captured our imagination, and we wanted to do something super dark and hushed and almost Coil-like at the beginning. As we moved through a number of singles it became clear that we were moving in a more aggressive direction. Our songs got more and more up-front and assertive while still maintaining elements of hushed experimental electronica.

A big source of inspiration for us now is the kind of music we hear at local Industrial clubs. It’s a mix of Dark-Techno, Industrial, and EBM. There’s so many artists out there, and we try to learn as much as we can from these other acts. Recent influences include Black Nail Cabaret, Gesaffelstein, and Ultra Sunn. There’s a list of artists we love —both in and out of the music world — on our website sevenwhoresoftheapocalypse.com.

Tom: Clock DVA was the big one that we were inspired by with at first. We heard “Buried Dreams” and it was like turning on a light switch. However, we all have some pretty big influences in Experimental, Industrial, Dance music, and Rock, so it was only a matter of time before it changed into something like our other influences. Our more recent tracks have been more along the lines of Skinny Puppy, Thrill Kill, Nitzer Ebb, Lords Of Acid, Alien Sex Fiend, and similar groups.

Q: Tell us a bit more about the content and concept of the debut album “All through The Waste”? How did the album saw the daylight and what did you experience as the main challenges, difficulties and points of satisfaction? 

Jason: The songs are presented pretty much in the order that we recorded them. We wanted to maintain similar themes as before but also broaden our perspective to include more cosmic themes of the afterlife and alien civilizations. We started recording in the summer of 2022. The first track, “The Gods Are Angry”, took almost two months to produce, which is way too long! The second track, “Slow Riot”, was kicked out in just a few days. The rest of the songs were recorded into the fall and early winter, and actually moved fairly quickly once we got past that first nightmare song.

One of my favorite things about “All Through The Waste” is how collaborative it was. Each of us contributed foundational sounds and textures to the album which I think gives it a cohesive, holistic sound. For me the biggest feeling of satisfaction came when we finished the last track! I’m incredibly happy to be working with such talented bandmates.

Tom: The content has a pretty hefty range. I like to think of the album as a string of connected concepts concerning our worldview at the time, as opposed to being a solid concept album with a primary jumping off point or narrative. Just on my part, the lyrics I contributed had to do with mental illness, physical isolation, surreal nightmares, mysticism, and other topics.

Q: What’s the input of each member in the writing/production process and what makes the chemistry of the band? 

Jason: Tom and I both do vocals, although Tom does the lion’s share of the lyrical and vocal work. All three of us contribute various sounds and samples from our own respective studios. Chris handles the cover art and music videos and I do the composition and production.

The chemistry has been an interesting evolution because we all met right before the Covid lockdowns started, so all of our early collaborations had to be virtual. Now we hang out a few times a year to have a meal and catch up, but almost all of our collaborative work is done online. We send files back and forth and chat and send funny pictures around. So there’s a bit of distance there, but somehow it all works.

Tom: I don’t think that it’s ever been the same on a single track. The amount of contribution changes gradually with each release. However, the primary roles that have stayed consistent is usually Chris handling samples, production, and videos, Jason handling primary production duties as well as vocals and lyrics, and me almost exclusively doing vocals and lyrics.

Q: I noticed an impressive evolution in production and power from your self-released (debut) singles towards the songs featured at “All Through The Waste”. How do you perceive the evolution of the band? What has changed? What’s new? And what do want to achieve on further songs?

Jason: Oh thanks, that’s really nice to hear! I think the biggest contributor to the evolution of our sound and production quality is practice and experience. There’s really no better teacher. In 2020 I returned to DAW-based music after a long break, so I had to re-learn everything over from scratch. No matter the medium, all three of us are prolific artists in our own right, and that experience makes us stronger.

I’m very happy with and excited about the evolution of our band. I think the biggest change we’ve experienced is moving from moody, Ambient Electronica to a more aggressive Techno-Industrial stance. I think that stems from the influences we expose ourselves to as well as just being a little more aggressively experimental in the studio.

Having said all that, I think there’s a very good chance we could return to that hushed, dark sound of late-80s Clock DVA in a future release.

Tom: I honestly wish that I had an answer for you, but I’m not really sure. Whatever the progression has been, it feels organic, like we’re just working out the kinks and moving closer to a more solid image of what we want to do, like any group continually honing their process in whatever medium they choose. I don’t really know what’s next, and what’s after that, but I do know that I’m excited for the journey.

Q: Do you’ve new things -like live shows, tours, remixes, clips etc.. in the pipeline?

Jason: Yes, in fact we’re featured on a new remix-EP called “Pretty In Pink (Isn’t He)” by PROBE 7. One of the DJs at a local Industrial club turned us on to their work and mentioned they were looking for artists to remix their re-imagining of the classic Psychedelic Furs-song. Plus we won a remix competition last year for the Feardemic horror gaming platform, which was a huge boost.

We’d love to start doing live shows at some point, but there’s nothing on the calendar yet. Otherwise we’re back in the studio working on new material, and excited to collaborate with other artists whenever we can!

Speaking of which, I’d like to give a quick shout out to a band that caught our attention recently, one we’d love to work with soon, a band is called Thy Seven Synth. I came across their new single “A Ring To Behold” while scrolling through Reddit, and I literally had to stop what I was doing. I listen to a lot of new music this way, usually on Reddit and various Facebook groups, and most of the songs are very amateurish and unrefined. Not these guys. I can’t remember the last time I was this excited about an up-and-coming band. I reached and they were very sweet and engaged, so hopefully there’s some future collaborations there. Our names even match!

Tom: Live shows have been the most recent thing that’s coming up more often in conversations. There’s a pretty decent Industrial/EBM scene near us, so I think it would be feasible to book a show of some type.

Whether we’re playing to four waiters and a guy passed out at the bar, or opening for NIN, that remains to be seen. I think that we’ll be much closer to the former, but who cares? I’m here to have fun with my friends, and if people happen to enjoy the music along the way, then I’m ecstatic. I can only hope that we do this well into our 90s. This is by far the most fun creative project I’ve ever been involved with, and I don’t see that changing anytime soon.

(Photo by Stella Wembley) Out now is the all new single by the dark electronic musician Stella Wembley: “Wasting My Time” (you can get it here). The single with a medieval goth-inspired video. You can watch it below followed by a video interview on the new video with Leeds-based Italian-born artist Stella Wembley.

The video is set in Medieval 13th century England and was filmed at Kirkstall Abbey and Adel Woods in Leeds by Riccardo Cavani for London Filmmakers.

Stella Wembley interview on “Wasting My Time”.

The “Wasting My Time” EP features 4 tracks with the title track being about self-confidence, self-empowerment, hope, change and transformation so the musician explains. “Whenever there is a traumatic experience, I take the pain and put it into art, creating a song. The lyrics are autobiographical, and reference the difficulties I have gone through in the last 14 years, which I’ve finally overcome.”

“Betrayal, judgment and abandonment have been a constant in my life, and extremely painful, especially because it came from the people closest to me – family, friends- and having to manage this as well as my music career and record label wasn’t easy. This is how this song was born but, above all, it represents a new chapter in my life. Today, I feel powerful, and stronger than ever. I left the past in the past and cut all toxic relationships from my life. I love myself and I am finally free.”

Next to the title track the EP will feature 3 remixes: the “Cold Minimal Remix”, and the “Bionic Visions Electro Remix” and the “Bionic Visions Dark Ambient Remix”. The latter two ones were created by Enrico Knob aka Bionic Visions, an Italian music producer, arranger and re-mixer.

About Stella Wembley

Stella Wembley began her musical career in Italy as a soprano while studying opera at the Royal Conservatory of Music ‘San Pietro a Majella’ in Naples. Upon graduating, she moved to London in 2017 performing at venues in Leeds, Blackpool and London. She also started her own independent label Gothic Empire Records.

Armed with a MicroKorg synthesizer, she began writing and producing electronic music in 2018, resulting in her debut EP “All That I Need” (2019) and a video, followed by the “Images of Death” EP (2020) and “Loving The Alien” EP (2022).

She also collaborated and/or performed with Lloyd Price (The Frixion), Auger, Inkubus Sukkubus, Zeitgeist Zero, Last July, Rome Burns and Machine Rox. Stella is currently working on her new album ‘The Alchemy of the Dark Arts’, which will feature Michael Ciravolo (a.k.a. Beauty in Chaos) on guitar.

As of September 22, the “Wasting My Time” EP will be available everywhere digitally, including Apple Music and Spotify. On September 29, Stella will hold a release party online, followed by a live show at Leeds’ Eiger Studios on October 29.

(Photo by Krichan Wihlborg) Out on October 6th is the the brand new album from Sweden’s industrial rock act Morlocks: “Praise the Iconoclast”.

The Gothenburg-formed Morlocks are kinda legendary in Sweden as far as music goes but also because they managed to release 2 full length albums in 22 years only: “…For your Pleasure?” (2001)’ and “The Outlaw of Fives” (2011).

On “Praise the Iconoclast” you’ll also hear guest vocal appearances from KMFDM’s Sascha Konietzko, Karin My, and black metal vocalist Heljarmadr of Grá/Dark Funeral.

Morlocks has had a constant change of members over the years. In 2003, the then only remaining founding member J.Strauss teamed up with partner in crime Innocentius Rabiatus from Swedish goth veterans Dark Side Cowboys. In 2013 they met, befriended and recruited the bass player/vocalist Lamashtu and the trio has been the core of the band ever since.

Check out two new tracks below.

(Photo by Theo Gladkova) IAMX have announced a special added tour date in Lviv, Ukraine on November 1st.

After finishing their six week Fault Lines1 Europe Tour, Chris Corner, his band mate Janine Gezang and the IAMX touring crew will make their way to Lviv to show support for the Ukrainian people “who have given IAMX so much love over the years” so the band precies.

Their live set will feature both new and classic IAMX songs. The last time the band played the war-stricken country was in 2018.

The European leg of the Fault Lines1 Tour begins next week. See all dates below.

• 26 September – Bratislava, SK – Majestic Music Club
• 27 September – Prague, CZ – Lucerna
• 29 September – Budapest, HU – A38
• 30 September – Graz, AT – PPC
• 01 October – Vienna, AT – SIMM City
• 03 October – Sankt Gallen, CH – bruchteil grabenhalle
• 04 October – Munich, DE – Ampere
• 06 October – Barcelona, ES – Apollo 2
• 07 October – Madrid, ES – Sala Mon
• 09 October – Brussels, BE – Ancienne Belgique
• 10 October – Paris, FR – Trabendo
• 11 October – Cologne, DE – Live Music Hall
• 13 October – Leipzig, DE – Täubchenthal
• 14 October – Hamburg, DE – Markthalle
• 15 October – Copenhagen, DK – Amager Bio
• 17 October – Utrecht, NL – Tivoli De Helling
• 18 October – Frankfurt, DE – Zoom
• 21 October – Berlin, DE – Columbia Theater
• 22 October – Warsaw, PL – Progresja
• 24 October – Wroclaw, PL – Zaklete Rewiry
• 25 October – Brno, CZ – Fleda
• 27 October – Stockholm, SE – Slaktkyrkan
• 28 October – Gothenburg, SE – Trädgårn
• 30 October – London, UK – O2 Academy Islington – SOLD OUT
• 01 November – Lviv, UA – FESTrepublic

This year saw the comeback – after a near decade absence – of goth rock/post-punk icon Siouxsie Sioux. Commemorating the occasion was the release of a brand-new tribute album, “Spellbound – A Tribute To Siouxsie & The Banshees”.

Also included was a cover by a former member of Siouxsie’s band, Jon Klein, who teamed up with veteran post-punker Jah Wobble on a version of “Monitor”. That track was originally released on the classic album “Juju” (1981).

Klein and Wobble’s version also includes Asian influences courtesy of Chinese harpist and the track’s vocalist Yijia Tu.

Klein, reflecting on his many performances of the song as a Banshees, adds “‘Monitor’ was always one of my favourite songs to play. On tour, we would sometimes ask the road crew to vote for which song should be the show’s encore. The crew (AKA the Road Filth) would always vote for ‘Monitor’.”

Hungarian musician István Gazdag, in collaboration with Mortum, has unveiled a brand-new EP titled “Laudator Temporis Acti” under the First Aid 4 Souls banner. The EP is available for immediate download on Bandcamp.

This 7-track EP is a nod to the past, with the band embracing their electro-goth origins and paying homage to iconic bands such as Bauhaus and Tones On Tail. Additionally, István Gazdag has incorporated contemporary inspirations from the thriving post-punk cold wave genre, drawing from bands like Sextile and Paradox Obscure among others.

For this unique project, István Gazdag joined forces with old friends. This includes Vain Sacrosanct, the lead singer of the Belgian cold electro group Causenation, with whom Gazdag previously co-released an album titled “Stainless Steel Eyes”. The EP also showcases talents like the renowned industrial metal singer Linda Daemon, who has Canadian-Hungarian roots and is known for her work with Kr3Ll and Black Mamba, as well as UK’s noir pop artist Mark Duffield.

The fresh EP is available for listening below.

The Portland-based post-punk / darkwave act Princess Ugly have released a brand new EP, “Death After Life”, offering six new songs. The release goes hand in hand with an all new video for the title track which you can see below.

Formed in 2004, Princess Ugly are influenced by post-punk, goth, darkwave and adjacent genres. The core line-up since 2008 is J. Christopher-Rome (words/vocals) and Christopher Moncrieffe (music/instruments), and since 2021, additional vocals are provided by Cat Powell-Hoffmann. Recent releases include the singles “Break Every Room”, “An Individual Soul”, “Start Below”, and “Hunger”.

Here’s the video for the title track “Death After Life”.

To check out the full EP and its 6 songs, listen right below and download it from Bandcamp.

Chicago-based electronic artist royb0t has just landed a new full-length LP, “Void Guide”. The album follows the IDM-inspired “Black Burst Generator” LP from 2020. Void Glide is available on all major digital platforms including Bandcamp now.

Behind royb0t we find Nick Liberatore who drew inspiration for his current sound by fusing his roots in the Chicago underground breakcore scene with the influence of his many late nights spent on the dancefloor at the now shuttered goth/industrial club Neo. Influences also include Gesaffelstein, The Prodigy, Nine Inch Nails, and Meat Beat Manifesto.

Here is the full album to check out.

A video for “Cradle To The Rave” was also made available.

The Canadian industrial act 40 Octaves Below has just dropped the remix release, “MetaVersUs Remixed”. The album contains tracks from the 40 Octaves Below release, “MetaVersUs”.

The remix album counts no less than 18 tracks that have been reworked by the likes of DI Auger, Moris Blak, MXMS, Anthony (H), Angelspit, Live Evil Productions, Aesthetic Perfection, Blue Ant, The Gothsicles, DJ Underminer, Trick Casket, Diverje, Toxikk Deception, James Ghost, Dark The Keeper, Passion For Hypnosis and of course also by the Vancouver-based 40 Octaves Below.

“MetaVersUs Remixed” is available now to stream on all major digital platforms including Bandcamp.

You can already check out the remix from MXMS right below on YouTube.

Out now is the brand new EP, “The Great Filter”, by the industrial act Stoneburner. Stoneburner is the project by Steven Archer, also known for co-founding the darkwave gothic rock duo Ego Likeness with Donna Lynch.

Drawing inspiration from Hanson’s “Great Filter” argument, Stoneburner in its new 7-track EP handles the enigma of intelligent life and its potential demise, and visits the realms of human existence, self-destruction, and the haunting implications of an uncertain future.

The EP also holds a cover of Psychedelic Furs’ “Book of Days”.

Here’s Stoneburner’s “Narcissus” video.

Regarding the “Great Filter”

The Great Filter is the idea that in the development of life from the earliest stages of abiogenesis to reaching the highest levels of development on the Kardashev scale, there is a barrier to development that makes detectable extraterrestrial life exceedingly rare. The Great Filter is one possible resolution of the Fermi paradox, which is about the discrepancy between the lack of conclusive evidence of advanced extraterrestrial life and the apparently high likelihood of its existence.

The concept originates in Robin Hanson’s argument that the failure to find any extraterrestrial civilizations in the observable universe implies that something is wrong with one or more of the arguments (from various scientific disciplines) that the appearance of advanced intelligent life is probable; this observation is conceptualized in terms of a “Great Filter” which acts to reduce the great number of sites where intelligent life might arise to the tiny number of intelligent species with advanced civilizations actually observed (currently just one: human). This probability threshold, which could lie in the past or following human extinction, might work as a barrier to the evolution of intelligent life, or as a high probability of self-destruction. The main conclusion of this argument is that the easier it was for life to evolve to the present stage, the bleaker the future chances of humanity probably are.

The idea was first proposed in an online essay titled “The Great Filter – Are We Almost Past It?”, written by economist Robin Hanson. The first version was written in August 1996 and the article was last updated on September 15, 1998. Hanson’s formulation has received recognition in several published sources discussing the Fermi paradox and its implications.