When the sun hits the shores of New Zealand on August 8th, there will be the release of Frau Knotz’ newest EP release, called Digital Plastic Surgery, but we are going to visit the Egypt with the track “Khepri.”
PHOTO by JOACO DIBBERN
The electronics suggest the sun drenched reeds and papyrus on the banks of the Nile, snaking its way past the Valley of the Kings, with that same sunlight reflecting off the golden cap of Cheops’ pyramid. There is a wonder in the unhurried synths, though below, it can be noted an urgency, wind swept and the mysteries of this ancient land waiting to be unearthed. Purely instrumental, “Khepri” is just a taste of LaurenNottingham’s talent, crafting electronic music into worlds, that we the listener can lose ourselves in.
Some new tracks just seem to hold a lot of nostalgia when you hear them, and the artist fully knows they are deep into that style. From San Antonio, Texas, Eddie Wrevlonne (I have been informed said like Revlon) has a new single out called “Merciful,” and he has a thing about electronic early UK music.
The synths have that very early 80s sound, which I believe was due to the Roland synths, gives a lightness, in direct contrast to Wrevlonne’s deep tones. Not only does he have a baritone depth but a sense of humour that is a witty inclusion about how not all vows are until death do we part. ‘Wouldn’t it be nice, wouldn’t it be merciful, if you told all my friends the entire tale, not just the juicy parts where I go to jail..’ and it is all sung like it is just another normal day.
I am going to say that I was not meant to review this song, but rather the track previous called “I Have Learned,” however I was running late (let us not talk about that! 😀 ). So, you should probably go and check that out as well, for you will not be disappointed. Oh my goodness though, that video with its stop start style animation, and the in love skeletons is just TimBurton sweet. Wrevlonne has said the general ambiance is a kin to DepecheMode (Speak & Spell period), but I also hear OMD (Orchestral Movements in the Dark) and maybe the irony of The Smiths. You could be forgiven for mistaking Eddie Wrevlonne for being British and we think “Merciful” is bloody lovely!
Philip Faith (bass, vocals, keyboards, drum programming), Pat Gaudette (bass) and Michael Rien (keyboards, percussions) are the members behind Quebec project SEXSOMNIA, who will be releasing their newest EP, Forbidden, on the 25th of August. For now though, SEXSOMNIA have dropped a single and video from said EP, which is the Shadow Mix of “Forbidden.”
Marita Volodina is the guest vocalist, and she is bold and sensual. Wavering between singing and spoken word, the eroticism drips from each word and every breathy sighed ah. Nothing is hurried, the rhythms constant and the electronics contain the prohibited, while the bass draws us in. Faith’s voice is the gritty foil in the chorus against Volodina’s.
The video is an expression of what “Forbidden” is for many, full of latex and blindfolded, as all the senses become carnal, delving into the realms of fetish. The sexual taboos of pushing what is not considered normal as the lyrics say ‘Look! but don’t touch, Touch but don’t taste, Taste, but don’t swallow.‘ Theremix was done by Faith and I think “Forbidden” is going slow burn on the dancefloor in the most delightful way.
From Doncaster in the United Kingdom, the Rollings lads, James and Jools, of post-punk band PeakFlow, have a new single. “Don’t Die In Your Sleep” is a very personal track about losing a friend suddenly and dealing with the aftermath.
‘The anxiety is rising’ is the first line of lyrics, which brings a whole other spin to the swift rhythms and high energy synths, making them feel far more cloying and intense. There is a regret in the title line, for dying while you sleep leaves so many unanswered questions and an inability to say goodbye. The music never gives up, relentless in its pursuit of emotional exhaustion, powering on.
It is never easy to deal with the death of someone who is elderly or sickly, however, when you are told they just stopped being unexpectedly, you wonder what you could have said or done differently. As much as this track is about loss and dealing with the grief, the high energy of the track speaks of getting through this, and that maybe the lesson is never take anyone for granted. A darkwave dance number, full of flowing synth lines and cool vocals, and as Peak Flow have extolled, “Don’t Die In Your Sleep.”
I am starting to think Portland, Oregon, might have something in the water. They do seem to have an unusually high amount of amazing dark alternative bands that inhabit the area. AltarGirl is an all femme band of the post-punk persuasion with members KayMorrisette (vocals, guitar), MaraVosien (guitar), SamMahon (bass, backing vocals) and ArielChamberlin (drums). Their latest single “Night Terrors” was released on June the 25th.
You will be hypnotised by the reverbing and ethereal guitars, before the percussion and vocals kick in. Morrisette’s singing is sultry and conveys a dark sweetness, that truly takes off in the chorus, with the guitars becoming almost brusque. The harmonising vocals add another opulent layer, are not overused and even the bass gets a chance to shine, duelling with the other guitars.
‘I only see you when I sleep You lie in wait in shadows at my feet I’m under your spell Or is it your hell I’m stuck inside?‘
Imagine, every time you close your eyes and go to sleep, you see the same dreaded phantom, haunting you in your dreams, only letting go when dawn breaks?! It doesn’t get much more gothic rock than that for a group that says they would be post-punk if they knew how to. Catchy, danceable and hands down enchantingly creepy to the core. You can find AltarGirl on Bandcamp for name your price and, honestly, we all need a bit of “Night Terrors” in our lives.
Ever wondered what Americana folk, mixed with dark alternative and saturated in Australian everyday life might sound like? Most likely it would be encapsulated by the music of Gold Coast band These Idle Hands, made up of MurrayWebber [lyrics, arrangements, vocals, guitar, banjo], JoshMorris [lyrics, arrangements, vocals, guitar], BennyDWilliams [production, piano, backing vocals], SueFerrers [violin], CraigJohnston [bass guitar, double bass] and PaulMuller [drums, percussion]. In January, they released their third album, which took approximately two and a half years to records, and is self titled. In addition to the core unit, they were joined by KieranRichardt , Amaya Indigo [backing vocals], Bess Ringham [backing vocals], Grace Lamor [backing vocals], Isla Webber [backing vocals], Fletcher Bab [flute] and Jamie Mercer [drums].
At fourteen tracks and all being original, no covers, you are getting a lot of fresh music from These Idle Hands. The first track often sets up what you might expect from the rest of the album and “Between You And The Sun” starts like an orchestra tuning up, but then morphs into a slow mash-up of guitar and violin with the drawl of the vocals, contemplating why that special person walked away. The piano injections are the bright spots of light against the crying violin as the song takes flight, and the clash of drums that are just right.
“Somewhere Else To Go” could be any of us in life, when we are young, falling in love, getting on in life and then wondering where the years have gone, yet keeping the fire of desire still burning. It is like a slow country dance for couples, as the violin serenades them, and the rumbling vocals are at odds in the chorus with the light sweetness of the ladies singing and it lends itself to the following track “Stringy Mangoes.” Lingering memories of childhood, smells, tastes and the feeling on the sun on your skin, all melding into a warmth that lives on within.
There is a 60s psychedelic folk whimsy that burns bright with the flute and stylish drumming in “Better At Love,” It is the sort of song that brings a smile to your face, when you know love isn’t easy, and the struggle makes it all the sweeter to make it through intact. It is a beautiful ode to persistence and a true heart, to which we cannot not help but mention the beautifully written “With You.” It has this joy that is infectious and just makes you have a spring in your step. Such a wonderful way to end the album on a positive track.
I am probably wrong, but the cover photo reminds me of the cane farming area of Jacobs Well, a piece of Queensland’s more rural past. The Australian accent sits well, crooning in the bluegrass folk way, something proven by the likes of Nick Cave.These Idle Hands have used that which they know best, which is real life experience to bring together an album full of snippets of extasy, sorrow and all the boring bits in between, as well as learnt lessons, set to a soundtrack which is both emotive and enjoyable. I am not the most knowledgeable human when it comes it comes to Country style music, though I do like a good guitar slide, but the bluesy overtones, combined with the more classical instruments, takes you out of your existence for fourteen tracks, so you can string along in the tender world of These Idle Hands.
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 WarrenCuccurullo. 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.
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 DanMilligan (TheJoyThieves), which makes this track even more like Blutengel than possibly Blutengel, while another has been given the StevenArcher (StoneBurner) 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!
For many people, who love synth based music, will say GaryNuman 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 SilverSircus have taken a selection of Numan’s songs, reinterpreting them, creating the album Metal. The lynch pins of SilverSircus, since 2008, are LucindaShaw (vocalist, performer, composer) and JamesLees (drummer, composer, producer), and they are joined by Mark Angel (guitars), DanielleBentley (cello), WayneJennings (cello) and KarlO’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 “DownInThePark,” 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 SilverSircus 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 GaryNuman and SilverSircus 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.
KarenRigheimer (low bass / vocals) and IvanRussia (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 “DoubleJeopardy” 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’sThreats.
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