by on

You are walking down a Victorian alley at night. There is drizzling rain, a fog rolling in and an eerie feeling you are being followed. This could be the setting for a Hammer Horror movie, but how about a song from Plasmata and Ben Christo with Aly Jados, named “You Call Him The Devil“. This track originally was released on the Plasmata EP, Portraits Of Pain, under the name “Ten Bells“. The glampire behind Plasmata is Trent Jeffries, while guitarist/vocalist, Ben Christo is best known for being a member of The Sisters Of Mercy and his latest band Diamond Black, and Aly Jados is the lead singer and guitarist for her heavy rock group, Blood People.

You are greeted by the ringing guitar work of Christo, which takes on its own life, soaring and racing to meet up with vocals of Jeffries and Jados, that smoothly intertwine, each picking up the tale of the Ripper through his eyes. The guitar work is glorious and simply takes this track to another level, along with the rising chorus of vocals. The urgency is palpable, for soon we will meet our doom.

Jados was also the female vocals in the original “Ten Bells” and she nails this again with her seriously brooding singing, which is gritty and sensual, a foil for Jeffries‘ smoother killer tones. The original version definitely had a harder electronic edge and grungier guitar to it, but the new version now has this epic goth rock opus quality. Jack the Ripper is lurking in the dark and he has become the grandiose figure of death himself, enjoying the hunt before the butchery in the squalid lanes of White Chapel. “You Call Him The Devil“, the Christo version, giving you the amazing combination of Plasmata and Ben Christo, with Aly Jados, and you can’t really get much better than this.

https://plasmataband.bandcamp.com/track/you-call-him-the-devil-plasmata-and-ben-christo-with-aly-jados

https://www.facebook.com/plasmataband?mibextid=ZbWKwL

https://www.facebook.com/BenjaminChristo?mibextid=ZbWKwL

https://www.facebook.com/BloodPeople?mibextid=ZbWKwL

by on

Alexander Leonard Donat, I do believe, might be the crazed mad scientist of the German post-punk world. He always seems to have many experiments on the go and putting out a plethora of music. while he stirs the cauldron with his music label Blackjack Illuminist Records. His main music project is Vlimmer and the last album, Menschenleere, was out in November of 2022, and now he is back with the single “Platzwort” with the backing track “Out Of Sight“, and neither of these were on that album.

The translation of “Platzwort” is something like this place. The synths don’t ready you for the shifting drum rhythms that enhance the vocals, building in in waves as those same synths trickle in starlight. Donat’s vocals exude a certain longing within the musical magnificence. The b-side is actually a cover of “Out Of Sight” by the British 90s band, Spiritualized with the Donat twist of being translated into German. That isn’t the only difference. Spiritualized are well known for their love of the psychedelic guitars, while this new cover is kind of introspective and even is imbued with an electro dusty spaghetti western style, in the midday shadow of Ennio Morricone.

Vlimmer is a project that never fails to surprise and delight. Alexander has the knack of melding darkwave with that experimental edge, ever evolving his sound. It always makes me happy to hear his clean vocals as they hold a myriad of emotions. “Platzwort” is definitely not an empty place, but rather a sanctuary where you can lose yourself in the music.

https://blackjackilluministrecords.bandcamp.com/album/platzwort-b-w-out-of-sight

https://www.facebook.com/VlimmerMusic?mibextid=ZbWKwL

https://www.facebook.com/Blackjack.Illuminist/?mibextid=ZbWKwL

by on

Dave McAnally released the EP, Mercenary Notes Pt. 1, at the very end of 2022, under his moniker Derision Cult, on the label Glitch Mode Recordings. Glitch Mode is run by fellow electronic musician, Sean Payne (Cyanotic), who was also involved in the recording of the EP and if that impresses, you might be even more so when you learn other guest artists include Chris Connelly (Revolting Cocks, Die Warzau, Pigface, The Joy Thieves) and Reeves Garbrel (The Cure, David Bowie’s band), plus remixes by Cyanotic (Sean Payne) and Justin Broadrick (Godflesh). Not on this EP are the remixes by Dan Milligan (The Joy Thieves) and Martin Atkins (Killing Joke, Ministry, Public Image Limited, Nine Inch Nails) for the single “Deaf Blood“, which you should also check out. Let me tell you, that is a hell of a list of band name dropping.

The EP roars to life with “The Year Hope Failed“, guitars smashing out, accompanying the rhythm with ferocity, setting the theme that the media lies to create mass hysteria. “Life Unlit” has the hallmarks of a Rob Zombie number, especially vocally, but also, the subject matter could very much be about zombies.

There was no way that they were not going to make “Deaf Blood” a single. The guitar work of Garbrel is simply magical, and definitely, you can hear the signature chiming guitar sound. Connelly‘s vocals are gloriously punk when not warbling like a modern medicine man. The noise intensive “Slaves Rebuild” wails like a siren in your ears, while McAnally rather creepily whispers his to-do list. This track also features Garbrel showcasing his skill as a guitarist.

“Bastards of the World” is just a bouncy, fabulous track. It plunders your senses with its head puncturing rhythms. There is an instrumental in the track “Mercenary,” and with the cut voice clips running throughout, it feels like a drug fuelled haze, combined with walking through syrup.

“The Year Hope Failed” is remixed by Cyanotic (Sean Payne), where the vibe is toned down a notch in favour of a slightly more electronic version, which glitches and swirls, while “Slaves Rebuild” has the Justin K Broadrick (Godflesh) Fleshmix and it is huge. A hulking mass of abrasive sound, gruff vocals, and drowning guitars that meander like a horror killer that will get you, no matter how fast you run.

Is all as bleak as it seems? Well, no, not really. Is the world in a bit if a state currently? The short answer is yes, but we don’t have to believe the hype of the media outlets or those that sell fear to make profit or gain power and this is the message from McAnally. Derision Cult hits like Ministry and has the razor political anger of Killing Joke, all wrapped up in Mercenary Notes Pt.1.

https://derisioncult.bandcamp.com/album/mercenary-notes-pt-1

https://www.facebook.com/300southdungeon?mibextid=ZbWKwL

https://www.facebook.com/ChrisConnellyOfficial?mibextid=ZbWKwL

https://www.facebook.com/Cyanotic?mibextid=ZbWKwL

https://www.facebook.com/glitchmodemedia?mibextid=ZbWKwL

by on

A new year has brought us a shiny gift, in the form of the single, “Love You Like The Ocean” by the mercurial gothic trio, Ariel Maniki And The Black Halos. In further good news, there is a studio album slated for this year, so we are told by a little birdie. This track, by the band, was recorded at their home studio, in San Jose, Costa Rica, and will appear on the next album..

The synths are ephemeral and delicate as wisps of smoke, yet there is a heavy rumble below all, the bass set so low, creating almost, a pressure in your chest. The vocals are cocooned within this tumbling kaleidoscope of sounds, topped off by exquisite lyrics of a promise for unconditional adoration.

I have it on good authority that a bass VI was used, the instrument that Robert Smith, of The Cure, favoured for albums, such as Disintegration, and it is neither a bass, nor a guitar. This has imbued “Love You Like The Ocean” with that Cure like dreaminess, synths painting a vastness, a bass so low that holds the depth of that ocean… and a love of all loves.

https://arielmaniki.bandcamp.com/track/love-you-like-the-ocean

https://www.facebook.com/ArielManikiMusic?mibextid=ZbWKwL

by on

Oh, the children of the night, do you remember the 90s? *insert wolves howling here* It was definitely a time when the goth rock scene embraced the whole vampiric theme, and it seems that Czechs, Cathedral In Flames, also can reminisce on this time with their single and video, rather aptly titled “Not Another Vampire Song“. Auspiciously, they have John Fryer (Field of the Nephlim, Nine Inch Nails) doing the production.

It harkens back to a period when bands like The Awakening, Corpus Delicti, Two Witches, Faithful Dawn, Inkubus Sukkubus, and many others were regulars on compilations about the toothy blood suckers. This track takes me back to that time with its guitar lines, deep guttural vocals, and thunderous drumming. I guess this is just “Not Another Vampire Song” but rather a poke at the past, encapsulated in a great song by Cathedral In Flames. Yes, the 90s were a very silly time, and by gods, so much fun….

https://cathedralinflamesprague.bandcamp.com/track/not-another-vampire-song

https://www.facebook.com/cathedralinflames?mibextid=ZbWKwL

by on

Ner\ogris is a new industrial band from Germany with their debut album, I Am The Shadow – I Am The Light, coming out on the 24th of February, on the Dependent Records label. The band is new, but the members, Tinoc (vocals) and Kain (keyboards, programming), are known for their previous musical acts, Amniista and Les Berrtas, respectively. More importantly is the single they have released now, called “Shadowlight“.

Photo by Oskar Moshage

The low swell of the synths is menacing, with the promise of violence, acquiescing only for the vocals, which are growled, going from warning to seductive. This is never hurried, the rhythm constant before breaking down into lulls, only to pick up again.

Definitely can hear why people are comparing this to early X-MARKS THE PEDWALK, a rawness in the electronics and vocals plus the music in general just has this epic quality to it that you need to hear, as I cannot do justice to describe it. Ner\ogris so far are hitting all the sweet spots, so check out “Shadowlight” and I would advise industrial fans to watch out for the new album.

https://nerogris.bandcamp.com/album/i-am-the-shadow-i-am-the-light-2

https://www.facebook.com/ner.ogris?mibextid=ZbWKwL

https://en.dependent.de/

by on

I am going to tell you something for nothing…the new album, LOST HYMNS, from A Cloud Of Ravens, is going to blow you away. Yes, I have had the privilege of already hearing it but it isn’t going to be much longer before everyone will be able to behold it’s gothic magnificence. However, to tide you over, the lovely Beth and Matt have dropped a new single as of the 3rd of February, called “Requiem For The Sun“.

The drum machine takes hold and I will say, an uncanny likeness to the one in “Lucretia My Reflection” by The Sisters Of Mercy, so you know this is going to sound big. Unlike the forementioned song, “Requiem For The Sun” takes a more sinister turn, for what happens in the dark, when exposed to the light of day, shows an ugly truth. The low vocals are offset by the lighter keyboard, while the guitar drops in to follow the ever in motion and relentless rhythm. If you think this sounds good, wait until the vocals open right up for the intense chorus.

There is something very wonderful about A Cloud Of Ravens. Gothic rock done right might be the way to coin a phrase. Nods to the past post-punk bands before them, but they never lose sight of being their own project rather than shadowing others. The beauty is that they don’t try to sound the same twice and this is very heartening. Come and join the dirge supreme, before the “Requiem Of The Sun” turns all to ashes.

https://acloudofravens.bandcamp.com/track/requiem-for-the-sun-4

https://www.facebook.com/acloudofravens/

https://www.instagram.com/acloudofravens

by on

Madil Hardis is a German musician living in London and she has released a new single “Holding On“. This is a cover of the 2017 track from the electronic wizards, Empathy Test, which Hardis has admitted is one of her favourite bands.

A simple piano line is all that is required to kick this off, with Hardis’ solemn vocal performance an emotional affair, beseeching. Her angelic tones backing herself up in rounds that echo the fragility of life.

Such a sensuous sadness being explored in this version. Hardis’ vocals are both electrically mesmerising and gut wrenching all at the same time, still haunting you after the song has long finished. Love, loss and the mourning, fill the cup of this pared down version of the excellent “Holding On” by Madil Hardis.

https://madilhardis.bandcamp.com/

https://facebook.com/madilhardis

https://www.instagram.com/madilhardis/

http://madilhardis.com/

by on

Ireland is a land of poets and musicians, and in this vein there is the duo of  Liam O Callaghan (vocals, guitars) and Edward Butt (guitars) in Arctic Lights. The 3rd of February sees the release of their new single “Holy Joe” and they are joined by Max Mac on drums and playing tambourine Nora O’Neill.

You are greeted with brash guitars, that lead into the thundering drums and synths that chime in. O’Callaghan’s purposeful whispers are perfect with the rock attitude and a pinch of psychedelia giving it a funky edge.

The guys have stated that they need to change things up or they get bored and they have certainly have done that. The very name “Holy Joe” had me thinking of The Cult’s “Resurrection Joe” but the track far more reminds me of the equally wonderful Love And Rockets. The track powers along, a perfect blend of alt rock creating an urge to live life to the fullest. So, like Marc Bolan said, get it on with Arctic Lights and “Holy Joe“.

https://arcticlights.bandcamp.com/track/holy-joe

https://www.facebook.com/ArcticLightsCork?mibextid=ZbWKwL

by on

New band time!!!! Electrinity are from Piraeus, in Greece and they have dropped their debut maxi single, “Rise“. This is an electro rock project by duo Zan Pol (vocals, bass) and Antonis Adelfidis (synthesizers, samples, drums) and the single was released on February the 1st.

As a maxi single there are two songs to delight you. The first is “Aggressive A.I.“, a mixture of rising keyboards and electric guitar, warning before the grave alert to something seriously wrong. The machines are no longer safe to be around as the synths illuminate our modern foe, while the vocals tell you of our worse nightmare. The second single is “Love“, though, in the words of PIL, this is not a love song. A cry in the electro wilderness to not be overlooked and the bass punctuate the lyrics. The synths exude a darkwave quality.

Electrinity look to be generating a theme that incorporates the vision of Terminator and Ridley Scott’s Blade Runner, with darker electro sound, the bass giving it that slightly more dirty, grungy sound. What will they do next? If you want to find out then support a new act in Electrinity and “Rise“.

https://electrinityband.bandcamp.com/album/rise

https://www.facebook.com/Electrinity-105535501995175/