by on

Vlimmer is the effervescent and talented Alexander Leonard Donat, and if you have been following his musical journey with this post-punk project, you will know that Donat has a penchant for releasing singles and attaching a b-side cover version, re-imagined in German. The latest single is “Gleichbau” with the Duran Duran track “Ordinary World” as the cover out on the Blackjack Illumination label.

“Gleichbau” translates to equal construction, and lyrically, it could be taken as a track about how as humans, we are built the same more or less, but the outside will keep changing and aging into the future. The drum machine clatters away with the low bass guitar keeping it company and Donat’s vocals are instantly recognisable. He blends the synths perfectly through the rhythms, hinting at a sadness at war with his words.

There is something…. what? Sentimentality and warmth about “Ordinary World,” and even sung in the German language, you hear the English lyrics in your head. This version is heavy in bass guitar and drenched in rippling bursts of sunlight in the form of the synths and what sounds like a harpsichord.

I have a real soft spot for Duran Duran as a huge fan back in the 80s, and in 1992, when “Ordinary World” came out, it was in many ways a huge change. It was the first Duran single I had ever bought on CD, with everything else on vinyl, the three original members unsure if they wanted to go on, and a new guitarist in Warren Cuccurullo. The Vlimmer version is perfect and I think the idea of not everyone is going to stick with you through life, feeds in well with “Gleichbau,” with it’s questioning about the future without certain people in your life. “Gleichbau” has a wonderful flow to it and you can never go wrong with Vlimmer.

Gleichbau b/w Ordinary World | Vlimmer | Blackjack Illuminist Records

Facebook – Vlimmer

Vlimmer (@vlimmer.music) • Instagram photos and videos

Facebook – Blackjack Illuminist

by on

Since the beginning of 2025, the last six months have brought forth feelings of anxiety, bewilderment and sheer disappointment when it comes to US politics. Los Angeles based Johnathan|Christian have released a new single called “Where Do We Go From Here,” and have a couple of fellow dark alt musicians chip in with remixes.

If I didn’t know that these guys were American, I would swear they are from Germany with this track. Possibly it is the deep, nearly spoken vocals, or the danceable rhythms, or maybe even the light styling of the synths.

There is also three remixes which includes a version from Dan Milligan (The Joy Thieves), which makes this track even more like Blutengel than possibly Blutengel, while another has been given the Steven Archer (Stone Burner) treatment which is dramatic and pulls the vocals to the fore. Both are really great takes on the track, and the 125 BPM DJ mix, is an extra bonus, along with a short and dark instrumental.

‘We’ll wait til dawn
We have the right to disagree….‘

These last lines for me hit the hardest. The growing protests against the Trump administration, especially in Los Angeles are proving that the incumbent government want to break the spirit of those that oppose the racism, misogyny and ignoring of constitutional law. As I write this, things seem to be going from bad to worse, and only the American people in the end can tell the despot to get out. It might seem like Johnathan|Christian are asking “Where Do Go From Here,” but I am pretty sure they already know what they want. Educate, agitate and don’t swallow the lies!

Where Do We Go From Here | JOHNATHAN CHRISTIAN

Facebook

Johnathan|Christian (@jchristianmusic) • Instagram photos and videos

by on

For many people, who love synth based music, will say Gary Numan is a huge influence and most will agree that his back catalogue, from 1978 to 1981 holds many memorable and ground breaking tracks, that helped fashion the sound of the 80s. In 2025, Meanjin/Brisbane based Silver Sircus have taken a selection of Numan’s songs, reinterpreting them, creating the album Metal. The lynch pins of Silver Sircus, since 2008, are Lucinda Shaw (vocalist, performer, composer) and James Lees (drummer, composer, producer), and they are joined by Mark Angel (guitars), Danielle Bentley (cello), Wayne Jennings (cello) and Karl O’Shea (bass guitar).

The title track was also the single off the album and “Metal,” recently has been covered several times, which hints to how important this song has been for musicians worldwide. Rather than anger, there is almost an over riding sense of loss and acceptance of what cannot be controlled, as the piano drifts in its accompaniment to Shaw’s vocals, and the black and white music video is equally mesmerising. They have brought a classical darkness to possibly the most famous electronic track ever of this period, “Cars.” The cellos are delightfully mournful and I doubt you have ever heard “Are Friends Electric?” quite like this. Genteel and floating on a carefully prepared cloud of dreams, with a feeling of being transported to a plane of deep reverence.

My introduction to Numan was through the release of “Down In The Park,” and as a kid, there is an emotional attachment to the what I felt was a futuristic video and a song that was not like anything else out there. The Silver Sircus version is slower and, honestly there is so much more gravitas behind the lyrics, it catches you by surprise. The chamber music style with the deep tones of the cellos, induces a powerful and overwhelming wave of pleasure. There is also other track such as “I DIe, You Die,” “Stormtrooper In Drag” and the instantly recognisable instrumental “Airlane.”

There is a lot of nostalgia when it comes to early Gary Numan and Silver Sircus have handled every track with great care, each rolling with ease into the other. The use of piano and cello prove that you can play well written synth based songs and they can still translate. If you listen carefully, you will catch the drums, bass and guitar though they sit back in the mix so as to not overshadow the stringed instruments, and we cannot go past Shaw’s vocal performance. Powerful, evocative and never trying to emulate Numan, but rather forging her own imprint. Shaw, Lees & co. have brought an elegance, and, one might say, a wonderful dark polish to this selection of singles and b-sides called Metal.

Metal | Silver Sircus

Facebook

by on

Karen Righeimer (low bass / vocals) and Ivan Russia (high bass / vocals / drum programming) are the Chicago based, post-punk band BELLHEAD, and April brought with it the release of the latest EP, Threats.

They say good girls go to heaven but bad girls go everywhere, and in “Threats,” the woman is most definitely a bad girl. She takes what she wants and creates trauma without a single thought of regret. The music is sassy and unyielding with Russia telling you about this she devil that is trying to break his heart. “Heart Shape Hole” is about revenge, invoking a vengeful old testament God. The vocals are grim and grimy, but then there is this line with lyrics, that just hits you and I am reminded of The Rolling Stone’s “Shine A Light.”

There is murder afoot and those bass guitars simply reinforce the intent of bringing to an end the misery and pain. Righeimer’s singing about the “Shutters + Slutters” giving the dual tone of raggedness. A modern day song about a cowboy that still is looking for his wild west, being hard riding, hard drinking and a dead shot with a death wish. The music grinds out the dust blown tale of the contemporary gunslinger for “No Dead Horses.” The track “Double Jeopardy” has this amazing stalking feel about it, like it knows it can swan around and not get caught because it is so cool. All the ways you can go and no one will ever know what happened, but it is a cool soundtrack, so what a way to go.

So, there are no love songs but what do you expect from a title like Threats, and it is about the archetypal types you might come across in Vegas…. okay, I have never been to Vegas but this peaked my imagination. The EP also has two remixes with one being the title track, mixed by the mighty Stabbing Westwards and Clubdrugs doing their thing with “Hole Shaped Heart.” BELLHEAD really do kill it with the double bass guitar, where it always gives their music an air of grunginess, being soiled or less than savoury, but then you hear those moments of the high bass that add a touch of lightness. Is it industrial, is it post-punk or gothic rock? That is up to you, but you will enjoy all of BELLHEAD’s Threats.

 Threats | BELLHEAD

Facebook

by on

Based in California is the project Pieti, a collaboration between musicians The Vandalorum (all instruments) and Krauhl (vocals and lyrics), where they create darkwave, influenced by dungeon synth. Their latest release is called Wedding Photos, comprised of eight tracks.

The guitar work in “Martyr,” sparkles and flows in a gorgeous way, leaving you mesmerised by the simplistic joy it brings. The vocals definitely remind me of Interpol’s Paul Banks both in tone and pace, which are propelled by the lovely deep bass. The synths break through and there is something about this track that grabs your attention completely. Love can cause a person to do many things in order to gain for themselves “Eternal Bliss.” Again there is that great post-punk styled bass and the earnest vocals of Krauhl, as the song keeps the foot tapping along.

Another stand out track is “Reservation,” and it is a myriad of ideas and emotions. The lyrics, ‘Red leather, black tie‘ give the illusion of sexual temptation or tension, and within it, a lamentation that tugs at your heart. The luscious “Clever Disarray” is far more laid back and sinuous affair, that starts off with a recording of a woman, which is apparently how the females in a jail were communicating with each other, that belonged to The Vandal’s grandmother. The vocals and synths convey a defiance and sadness, plus that guitar has an almost Mediterranean feel.

The album was recorded between 2023 and 2025, and seems to draw from life and family, whether this is blood relations or the families we create, hence the title Wedding Photos. The music itself is heavily rooted in post-punk and darkwave, with the rhythm held together by the bass and drums, while the guitar is just what makes it all perfect, equally important as the vocals in creating the atmosphere. The judicious use of synth just lends to the texture of each track. Pieti have dropped us a gem in Wedding Photos.

Wedding Photos | Pieti

Music | Vandalorum

Luke | Mastering Engineer (@vandalmastering) • Instagram photos and videos

Music | Krauhl

KRAUHL (@krauhl_official) • Instagram photos and videos

Facebook – Krauhl

by on

We have the pleasure of introducing a new gothic band from Berlin, called Sorry We Weren’t Here Before and their debut single “Vibrations Will Told,” out on the independent German label Agoge Records. Members of the band are Robert Koric (vocals), Sandy Pötzsch (bass), Gianmarco Bellumori (guitar) and Drum machine (whom I am calling Boom Boom because I can!).

There is something about this track that makes me think of different periods of goth music. The guitar has that 80s jangle and the vocals waver between the guttural sound of the 90s and melodic current style in the chorus. The verses hold a discordancy that is resolved in the chorus, highlighting the spiritual content.

With the lyrics talking about souls and vibrations, it makes me think this track is about a belief in a higher realm of conscious, where others can feel your emotions and get hints of your thoughts. This is a solid first single from Sorry We Weren’t Here Before, so find that special person and send them “Vibrations Will Told.”

Vibrations Will Told | SORRY WE WEREN’T HERE BEFORE | Agoge Records

Facebook – Sorry We Weren’t Here Before

Agoge Records – Independent Label

Facebook – Agoge Records

Agoge Records (@agoge_records) • Instagram photos and videos

by on

There are songs that are timeless, that will captivate generations and translate to current world issues. “Shout” by Tears For Fears, definitely is in that category as an amazing track and Switzerland’s Sybreed have dropped their version on Listenable Records.

The beginning of this track hints at the early 2000s future pop electronic sound, until Sybreed launch into the famous chorus, where they hit you with their sonorous industrial metal signature style. Full of conviction, the music video further delves into the how still relevant “Shout” is.

If this was not enough, have no fear. There is a remix by band member Drop and it is this sublime synth heavy mix that will make any industrial dance person deliriously happy. Full of techno styled rhythms, but it is the soaring synths that will make your jaw drop.

Originally written about as way to deal with mental health, it translates now to a world in turmoil, where human rights are being ignored and we wonder when the people will learn to live in peace with each other. For myself, it is interesting that a track I heard when it first came out, still being reinterpreted and this is a good cover by Sybreed and an excellent remix.

Facebook

Sybreed – STORE

Music | Sybreed

by on

I had never heard of the Pinkerton Thugs, but it must have left an indelible mark on Ian James, especially after hearing the Soft Kill remake their track “The Town Where I Was Born“. He has covered the 1997 release of the single, which is out on the Blue FX Recording Artist label.

There is a kind of cool that comes from this stripped back version. The drum machine is the lonely time keeper, apart from the electric guitar, while the bass dances around the relentless rhythm. James‘ vocals match the futile bleakness of the lyrics, which are about working class families that were born, lived and died, employed by the local factory, locked into a cycle of generational mediocrity. Ian James perfectly delivers the sentiment of trodden down resentment and the music is the rebellion in “The Town Where I Was Born.”

Ian James – The Town Where I Was Born (Pinkerton Thugs Cover) | Blue Fx Recording Artists

Facebook

Ian James

Facebook

by on

Some things are not for the faint of heart, so if you are weak of stomach or spleen, turn away now. For those who have guts of iron and a taste for the harsher music, then I have a tasty treat for you. UK based Skat Injector is experimental electronics, wearing the decimated innards of metal proudly, as they seek to drag your ears through your arse. We are going back to their 2018 release of the album, Unknown Violator, out on Slime City Records.

There are sixteen tracks in total and “A Garden Only Watered In Blood” is the greeting that tells you to strap in and enjoy the journey into madness. Are we being taunted by the ghosts of the bled? The demonic vocals bubble over the echoing cold space. However, the meaty “Slaughter is the Best Medicine” is a overwhelming onslaught of sped up black metal styled beats and tortured electronics, fritzing out and pummelling your psyche into dust, while the vocals growl.

“Urbane Misanthrope” builds and builds with sounds before letting loose with the almost danceable rhythms, however this could be trap! You don’t fit in the expected square and the gunfire of the beats is the warfare of the city streets in your head. A head pounding ode to the dispossessed that perfectly feeds into the oh so short and sweet desecration that is “Hollow Mantra.”

There is a cover of “Goodbye Horses,” originally by Q Lazzarus, right at the end, and admittedly it seems quite a reasonable version….. until you hear the vocals. Distortedly slow sounding, stretched and unfathomable in its ability to be disturbing, yet still enjoyable in that serial killer sort of way.

The cover artwork confirms the title is a mash-up of Joy Division’s Unknown Pleasures and Depeche Mode’s Violator, both iconic albums and carried through into the titles of the tracks for the most part. This is clever and in a way, I can see a certain similarity. Joy Division is one of the first post-punk bands, forging a sound that at the time was ground breaking and very much about being the outsider in a bleak world. Violator was the album that was not highly completed before Depeche Mode came together in the studio and it brought forth simpler tracks with lyrics which sound like they are full of provocation, and yet point to a guilt behind those words. Skat Injector have taken inspiration from both and created an album of modern day mental ills and truths that permeate our lives…. it is just in the form of noisecore to get your heart thundering.

Unknown Violator | Skat Injector

Facebook