Proud goth, ex DJ and music reviewer

New Zealand is the Land of the Long White Cloud or in the tongue of the original occupants, the Māori people, Aotearoa. For a small country, a lot of talent resides there. Frau Knotz is the solo project for New Plymouth electronic artist Lauren Nottingham, and 24th of March is the release date for her second single “Runway Of Reality“.

Some things in life are like that little red dress that is worn a few times and then forgotten as it is no longer needed in life, like a persona. Frau Knotz is your narrator in this song, a noir styled track, with an 80s electronic pop sound that tinkles like stardust and dowsed in shimmering darkwave vocals and rhythms.

The video features Frau Knotz as the Pierrot made-up usher of the theatre, while the stage is graced by the beautiful Erika Flash. The music video compliments the track beautifully with the near sepia tones. Join Frau Knotz on the “Runway Of Reality“, so you might also enjoy her dulcet tones while getting your groove on.

Runway of Reality | Frau Knotz (

If you haven’t checked out the new goth rock single, “We All Rise“, and the accompanying video from Chicago based band, The Bellwether Syndicate, then maybe you should. William Faith and company ramp it up with an anthem off the soon to be released album, Vestige & Vigil, out on the label Sett Records.

The drums thump away, drawing our attention, with the beautiful guitar sound that The Bellwether Syndicate is becoming so well known for. However, that is nothing compared to the huge belting chorus that surges forth with such conviction and pure anger towards a culture and system that holds people back, preaches money hungry religion as your only salvation and that is discriminatory towards people (especially women, trans and those of colour) who are even losing autonomy over their own bodies . ‘WE RISE ABOVE OUR STATION, WE ECLIPSE THE LIGHT OF NATIONS, WE REVEAL THE FARCE, FOR ALL TO SEE‘….. Faith is nearly snarling during the chorus’. The most poignant verse for me however is, ‘The will to swim against the tide, To break convention, In the great divide, To dare to dream‘ which signifies a universal fight for what is right and not what is doctrine.

Faith has a very sonorous voice and sometimes you forget how much punked up rage he can muster and it is glorious in this track. The video goes from being just William and Sarah Rose Faith on the streets, and becoming a black mass marching down the street. A wonder to behold and “Rise” is a song that needs to be echoed until the world becomes a better place.

We All Rise | The Bellwether Syndicate (

What or who is Devil Machine? Apparently, from California, with key members who are heavily influenced by black metal over all, incorporating it with industrial electronic and smashing it with gabber…….which brings us to the debut album, also named Devil Machine. So now you know as much as I do.

Just reaching into this album’s first track “Pandemonia Promenade“, there is this huge whirlwind of massive thumping gabber beats and industrial synths, fused with something that sounds a lot like that huge Dimmu Borgir black metal verbosity.

Sneering Glitch” is like a dark runaway train crashing through at times, never stopping its starlit flight, and I can say that this instrumental album is very much like this on every track….though this is no way means every track sounds the same. Each instrumental piece has its own voice in a way, like “Insurgent Void” and the screaming guitar solo that begins it, balancing between space odyssey and metal anthem. You can go into dance overdrive with “Babylonian Whores” or enjoy the grandiose dirge of the title track, “Devil Machine“.

If you like black metal, gabber dance music or industrial, Devil Machine is going to have tracks you really like or you are going to adore the whole thing. The devil is in the detail and the Devil Machine is pumping out Satan’s futuristic chamber music.

▶︎ Devil Machine | Devil Machine (

Mmmmm, from somewhere in New South Wales, there is a man called Dan, though he might be an alien, however, still Australian (actually he’s from West Wyalong, which I had to look up to see where is was). Now Dan has a noise project called DEATHCOMET, and the most current release is DEATHCOMET 14…. yarp, so there is a lot more of where that comes from.

Like all noise music, a lot of this is going to feel like it’s shredding your ears off and brutalising all your senses all at the same time. It tastes of metal, prickles the skin, and smells of sulphur as we journey with the DEATHCOMET, while he decimates pedals “and flangers to kill“.

Even in these buzzing, throbbing, and most possibly sanguinary soundscapes, you can hear bleeding through vignettes of tunes in the miasma if you listen carefully. The final track, “in the lair of the satanic worms” brings the album full circle.

Honestly, who does not love satanic worms, skulls, and aliens?! To quote the man himself….

DEATHCOMET plays unholy space metal exclusively

cosmic sonic terror via electric guitar and fx pedals

“it’s like being probed in both ears by aliens with power drills!“‘

Really could say much better myself other than saying death by pedal… wwwoooaaahh! DEATHCOMET 14 is here, and your ears are not safe, but then that’s half the fun and amazing industrial noise all done on guitar.


What is a parable? I suppose it is a story retold in order to teach a vital lesson, and it is also the latest single from US band, A Cloud Of Ravens. “Parable” is the next single off the highly anticipated new album, Lost Hymns, which is to be released on Nexilis Records, as of the 28th of April.

Ominous, brooding and dark are definitely words that come to mind. This is the most electronic song yet by the duo, almost alive and drawing heavy breaths. The vocals guide you down like velvet and build you up for the amazing chorus that pushes you sky high.

How many times does mankind have to play out the same futile scenarios without learning from them? This is the premise behind “Parable“, which has never been so obvious in this day and age where we are meant to be civilised, yet nations still act with barbaric intent. This is A Cloud Of Ravens’s last single release and like the Oracle of Delphi, they bring a warning that no good can come from this stupidity, wrapped in a gorgeous track called “Parable“.

Lunar Paths is the Trans-Atlantic goth duo of Diane Dubois and Kevin Hunter, and the 15th of March saw the release of a new single, “Silvania“. The band have said the track is based on the werewolf like creature, Loup Garou, from the Margaret Atwood novel Surfacing.

Layers of electronics waver throughout, chiming sleigh bells and drum loops, build a sensuous myriad of a swirling moon bound soundtrack, into which the vocals, sumptuously croon to you, which has a wonderous Siouxsie Sioux style. A vibrant ode the Lycan kind, with the wilderness in their blood that rages, driving them a little insane in the pale light of the Goddess Diana. A pertinent song for a band called Lunar Paths and “Silvania” might have you howling in delight.

Silvania | LUNAR PATHS | Lunar Paths (

Seems those guys from The Drood have a new single with video called “Hallow” out on the label eMERGENCY heARTS. Join me in listening to the experimental, dulcet and alternative tones on offer with the extra joy of a video!!

You are entering the zone of The Drood, so don’t adjust the horizontal or vertical because this is where sounds of the electronics takes on a life of their own. A psychedelic trip into a world lived, perhaps online, where humans look for attention and adulation, as if their existence depends on it. There are trap like rhythms mixed with a slow burn reverse tape feel. Even more fun with the music video, so check out the trippy “Hallow” from The Drood.

Hallow | The Drood (

hallow | The Drood | eMERGENCY heARTS (

At one point or another, everyone has felt like they are invisible or unable to see their way and this is the subject of the latest Meersein single “Lost“. And who doesn’t like a bit of German darkwave synthie-pop?!

I have to say that this is some ways actually reminds me a little musically of the 80s and the likes of Howard Jones. The drum machine picks up a timely rhythm, as the synths tinkle and also create a bass undercurrent. Meersein’s vocal’s range from silk, to whispers and a rather deep sexy growl, as he tells you he is ‘lost like a ghost in a maze‘.

It is worth your while to check out this single, because a little bird revealed that the next is coming out soon, which will be Meersein and Corlyx. Something tells me that is going to be pretty amazing. “Lost” is a nice tasty treat with a video of Meersein singing in a picturesque German forest.

It was announced En Esch (ex-KMFDM, Pigface, Mona Mur/En Esch) has signed to the label GIVE/TAKE and that the first single “Push” which is off the soon to be released solo album, after a seven year break. En Esch (main vocals, programming, piano, acoustic drums) is joined by Gabriel Lennox (male vocals, programming) of Seraph Sin, Erica Dilanjian (female vocals) of Lords Of Acid and Raymond Watts (additional male vocals) of Pig and also ex-KMFDM fame.

The groove is infectious and Esch’s vocals, guttural low bring you into a a track that has all the hallmarks of a old school favourite. The flow is almost funky and yet there is a serious side to “Push” about the people in the background that work tirelessly, never recognized for their contributions and often push further out of view. There is also the “Push (KPT Further Mix)” .with Joshua Lexvold (remixing, additional synth, programming) and JQ Lexvold (guitar). Stripped back, bleaker and more apocalyptic…. but oh my goodness, the end vocals are to die for!

Went you listen to these musicians, that have so much experience under their belts, there is the realization that they gel so well together and this track is full of simmering tension, tempered with beats. En Esch is going to “Push” you to the dance floor.

Push | EN ESCH (

[gelöscht], more or less means ‘erased‘ in German, and it is also the debut industrial harsh noise album for VERFÜHRERVERGELTER, also known as David Munster. The album has been released digitally on the label Produkt 42 and as a self release on tape.

Now here’s the challenge…. every track on the album is called [gelöscht] except for “Intro“. I’ll let that sink in. It is slightly terrifying territory for a reviewer where the only difference is the timing of each track.

Sooooo, this is a completely instrumental album, and I think it would be an injustice to break it down, so I’m going to give you the overall gist. My thinking is that if all the tracks are called [gelöscht], then this should be listened to in one sitting.

Whoever David Munster of VERFÜHRERVERGELTER is, they have come from the black metal scene it feels like. That aspect is like a morass of inky darkness that swirls under all, constantly threatening to take over and devour all light, yet never succeeds. The electronics are the most vocal, often glitching with static. They can be like starlight one moment and be screaming blue murder the next.

There are huge soundscapes that want to swallow you whole with their vastness as they drone on. Others are claustrophobic, filing every space with noise, a horror movie. The electronics oscillate, quiver, and even sometimes bear down heavy, while the nightmarish beings in the aether converse with you in their own language.

On the Bandcamp page, VERFÜHRERVERGELTER is described as death industrial noise, which I think sums up his style quite well. People who like harsh industrial noise are going to appreciate the effort and mastery that has gone into the creation of this album. Just listening to this makes me think it would be pretty amazing to see live. VERFÜHRERVERGELTER is giving you [gelöscht], and if you don’t get it…. that’s okay as well.