September the 24th saw the release of Brisbane band, Daylight Ghosts, latest single, “In The Glow“. This neo-folk group is made up of two members, Adam Dawe (vocals/lyrics) and Karl O’Shea (acoustic guitar/keyboards/arrangement) and was given life in 2019. Since then, they have brought forth two previous singles and are looking towards the release of the EP, also named In The Glow.

DAYLIGHT GHOSTS

The drum machine hold the constant beat, the acoustic guitar winds it’s way around Dawe’s vocals. A melancholy about that they cannot live with nor without. ‘Lyrically In The Glow is a song about addiction disguised as the creative process disguised as addiction. Erase. Start over. Erase‘, wrote Dawe. There is an insistent piano line in the chorus and synths that gently aid in the heightened emotions.

There is a lot passion and heart in this piece. O’Shea plays the guitar beautifully and Dawe never lets the lament break the smooth and clean vocals. Gothic tinged electro/neo-folk is probably my best description of Daylight Ghosts. They literally are like a blue flame in the dusk hours, illuminating the shadows into stories to be sung. Discover Daylight Ghosts and their eerily alluring “Into The Glow“.

https://daylightghosts.bandcamp.com/track/in-the-glow

https://www.facebook.com/daylightghostsmusic

It has been about a year since we were first introduced to the HOSTILE ARCHITECT, who is also known as Mitch Kenny. The first single, “HOSTILE THEME“, was released in June 2020 and seems ever since then, he has continued to grow into this persona, gathering fans, airplay and signing with Brutal Resonance Records. Now Brisbane based Kenny, has his first full album to unleash onto the converted and the yet to be. This is LOWGRADELIFE.

MITCH KENNY – HOSTILE ARCHITECT

Kicking off is “MEASURE TWICE” and the ARCHITECT is judging you and the mistakes you make more than once, If you have never heard HOSTILE ARCHITECT before then I can guarantee this mix of gravelly vocals, infectious beats and scintillating keyboards is going to beguile. Originally released as the b-side to “LOWGRADELIFE“, we have the beat heavy, “EVERY FOLLOWER A BOT“. It is a nice static crunchy instrumental piece and yet there is time for a serene, almost Japanese inspired interlude. The fourth single to be released this year was the wonderful “SEMTEX“, and I dare you to not find yourself bobbing to the beat of this. The futuristic theme that you are not not the decaying flesh that holds your spirit is backed up by the science fiction feel of the music.

The title track for the album, “LOWGRADELIFE VER.FINAL” was also the second single and as it may imply, has been further reworked for the album. From the near disco start that launches into the infectious rhythm, there is so much to listen to and still it is utterly cohesive. Speaking of reworked songs, there is also “WAGESLAVE VER.FINAL“, again was another b-side, a delightfully beat filled instrumental that flows along in a trance like way. The brilliant “DAWN OV“, yet another single, body slams you with it anguished vocals and electronics almost mimicking blaring horns, while the instrumental b-side to this single follows it up. And like all the others, “PROSCRIPT” won’t disappoint you as it winds it’s way into your ears. The single that started everything, “HOSTILE THEME“, introduces us to the ARCHITECT and soon you will be singing along I’m hostile!

The first two remixes are done by fellow Brisbane dwellers of the industrial scene. Dirt Factory with their stellar remix of “SEMTEX“, in which Michael Gillman makes the song even more angry plus a little dirtier, highlighted by those bright synths. Zane Seymour is Dream Of Machines and he gives the treatment to “DAWN OV“. Seymour has brought the vocals to the fore and yet still the synths dance beneath, threatening to overtake at some point from their zen interlude. “LOWGRADELIFE” remix is by Wollongong act Cheap Coffins and it feels electronically gritty and heavy. Then the guitars just chime in gloriously as the song wends it’s way skyward.

The Null Cell remix of “PROSCRIPT” just sparkles and is unearthly with how light it feels. Nebraska based Isabella Chains really makes this instrumental piece a rhythmic delight. The last two remixes are from Black Hole Zion and Mach Fox, the former residing in West Virginia and later in Minnesota. Second remix of “LOWGRADELIFE” by Black Hole Zion and it definitely has Ministry inspired guitars and then again a near jazz influence which would seem an odd combination but it works. Zwaremachine’s Mach Fox gives his remix of “DAWN OV” which pops and carries the Fox signature of substantial and searing electronic noise.

First off, have you ever known an act that is exceptionally talented and then when you have met them in real life, they are as nice in person as well? This is Mitch Kenny, completely. He is self effacing and has this enormous gift for music which shines through in this debut album.The mastering done by Roger Menso of Nyteshayde Music is first class, with beautiful clean tones and delicately balanced. The acts chosen to do the remixes have been equally up to the task. It would be easy to rant on with superlatives but in the end you just need to go hear it. If you appreciate good electronic music, then I think you will love HOSTILE ARCHITECT and his LOWGRADELIFE.

LOWGRADELIFE | HOSTILE ARCHITECT | Brutal Resonance Records (bandcamp.com)

HOSTILE ARCHITECT | Facebook

https://dirtfactory.bandcamp.com/music

Dream Of Machines | Facebook

https://cheapcoffins.bandcamp.com/music

https://nullcell.bandcamp.com/music

https://blackholezion.bandcamp.com/

https://zwaremachine.bandcamp.com/

https://www.facebook.com/nyteshaydepdm/

POP. 1280 is a novel by Jim Thompson, published in 1964 and it contains a tale of deceit, coercion and murderous intentions. POP. 1280 is also a three piece band from New York, who have revealed their single, “Brennschluss“, from their imminent new album, Museum On The Horizon, which is on the label Profound Lore Records.

POP. 1280

The beginning is intriguing with it’s sequenced drum machine and synths, but then they dragged me in with those guitar chords. The vocals from lead singer, Chris Bug, are bleak and flow into the dirge of the guitar, whilst the drum machine forges on regardless. The synths almost paint a soundscape behind all this, vast and a little dark. A narrative, describing a kind of first-contact-gone-wrong, influenced in part by Fiasco by Stanislaw Lem, is how POP. 1280 explains the lyrics.

It is hard to quantify POP. 1280’s sound. It is most certainly post-punk that reaches back to Joy Division and like Joy Division, what seems abstract is completely danceable, yet that industrial/noise is also there. Maybe that’s the point that they are not in a pigeon hole and there is something satisfying in that. Brennschluss is German for end of burning. This normally refers to when a rocket is in flight and reaches the point when the fuel runs out or is cut off, leaving the rocket to the mercy of only gravity. POP. 1280 have definitely not reached the end of their fuel supply and you should definitely check out “Brennschluss“.

https://pop1280.bandcamp.com/album/museum-on-the-horizon

Pop. 1280 | Facebook

Kimberly Kommeier is the founding member of the band Bow Ever Down, which was formed in 1998 and in 2020, a full length album, Lost In The Woods was released. Now we have the June release for the huge electronic/darkwave album, Let It Burn.

From the get go, the title track, “Let It Burn“, will set the tone for this album. There is an electronic simpleness that adds to the sorrowful and yet defiant storytelling. It is of no longer taking the blows life has handed out, yet proudly showing those scars. For me the standout number is “Cold Machine” which it’s wonderful swirling and tinkling chorus that rises up to proclaim I would give anything to be human because they are the machine. Truly a lovely and yet so mournful sentiment. “Born Into Darkness” continues the dance of damnation.

Silence In Machine aka  Wess Fowler lends his harsh vocals to the songs, “Shed My Skin” and “Not Your Victim“. While the former is a pulsating piece from start to finish, the latter is like waves on the shore as it draw back, then comes crashing in. The common theme though is owning your fate which again can be seen in the track, “Burn You Alive“, and it has some really nice synth transitions. “Burn Them To Ashes“, has a certain, reflective quality and a anger that is almost palpable in the chorus, while “My Last Day” is such a despondent expression of the inability to go on, this is still quite full of great, infectious beats.

The remix for “Cold Machine” is a jewel and Assemblage 23 has really outdone themselves. Miss Suicide from Germany remixed both “Shed My Skin“, giving it a far more aggressive sound and “Glass Doll” which has those synth lines dancing all over it. “Burn You Alive” remix by Replicant RME, takes this song into new territory while the John Ruszin III, whom plays on the album, gives us a version of “Not Your Victim“, and it feels more pensive than the original. The Stahlschlag remix of the title track definitely has teeth, as Sebastian Sünkler is the master of that wonderful crunchy power noise, while the Silence In Machine retake of “Burn Them To Ashes” feels very off kilter, as if the insanity is too much. Continuing in this vein is the forever haunted remix of “Not Your Victim” by Adian Caine with it’s introspective and quiet defiance. The album is completed by the new version of “Glass Doll“.

The prominent concept is the use of the word burn. Fire is not only thought of as dangerous but also as cleansing, to wipe away completely what was. A renewal like a phoenix dying and coming back to life through fire. These are songs about survival and coming from a dark place. Kommeier has a big voice that is quite delightful and garnered a host of talented musicians to remix her tracks, so you should check out Let It Burn by Bow Ever Down.

https://boweverdown.bandcamp.com/album/let-it-burn

https://www.facebook.com/nora.hazeena

https://www.facebook.com/silenceinmachine/

https://www.facebook.com/misssuicideofficial/

https://www.facebook.com/Psiactive1/

https://www.facebook.com/profile.php?id=100044546464584

https://www.facebook.com/STAHLSCHLAG

Brisbane’s Dirt Factory released a new single in August called “Crash Landing” and we are here to let you know it’s of the little green men kind. This is the first single from the soon to be released, third album from brothers Daniel Allen and Michael Gillman who reside in Melbourne and Brisbane respectively.

DIRT FACTORY

You will be regaled by the story of making first contact as the beat pushes you along with a sense of urgency. It is raw and metallic, grating your nerves as you know that they are out there waiting for you. Apart from the person telling his story of a conspiracy to hide that aliens are here, there are really no other vocals to accompany, just the sound of Allen screaming into the void.

There are remixes from proponents of the thriving Brisbane industrial scene. Failed Assimilation guitarist, Cameron Rees gives us a explosive, metal coated version. There is the laid back, laconic remix by Cosmos Synthetics which will take you to a different state of mind. Nyteshade is Roger Menso, a mastering genius and member of the infamous Dogmachine and he brings us an almost experimental feel to “Crash Landing“, keeping us off balance with the changing beats. Exocult is Daniel Allen’s new solo project and also signed to Viral Records. His version has an 80s feel to it with a heavy guitar creeping up from behind.

Suddenly there is a shift in momentum with the HOSTILE ARCHITECT remix heading in a far more dance oriented direction. H.A.’s Mitch Kenny is a man who can do no wrong currently and this is a really glorious remix. Next is the newest band on the block but don’t let that fool you as members are not new to the scene. This is RAZRWHIP with their dream like offering, though this dream is more like a drug induced fantasy. The synth lines from Jethro Hilliard are sublime. Last is not the least. Vargil is the talented Camilla Astrid Strand and her take on this piece is a science fiction techno myriad. It pulsates and is simply joyous.

There is literally something different on every track which means there is going to be something to tickle the tastebubs of everyone that enjoys this genre and is a showcase of local talent. So if this is the “Crash Landing“, can’t wait for the invasion.

https://dirtfactory.bandcamp.com/album/crash-landing-single

https://www.facebook.com/FactoryOfDirt/

https://dirtfactory.wixsite.com/mysite

https://www.facebook.com/viralrecordsau/

https://viralrecords.com.au/

https://www.facebook.com/cosmossyntheticsofficial/

https://www.facebook.com/nyteshaydepdm/

https://www.facebook.com/ExoKult/

https://www.facebook.com/HosArchitect

https://www.facebook.com/Razrwhip/

https://www.facebook.com/vargilar

The Latin American gothic music scene never fails to give us some sparkling musicians. From San José, Costa Rica, Ariel Maniki And The Black Halos are a seasoned darkwave band with several albums under their belts and currently signed to Deepland Records.

August brought us the release of the latest album, Black Light. This is where you are going to get your value for your money. No less than fifteen tracks and there are no remixes from this trio made up of Ariel Maniki (vocals, guitar, synths, bass, programming), Janice Black (synths/keyboards) and Eva Red (bass and vocals).

ARIEL MANIKI AND THE BLACK HALOS

The first guitar lines are reminicent of London After Midnight, on the title track, “Black Light“. There is something just spine tingling about the progression which climbs and swells. “Strangers” is a wonder piece as it feels uplifting and dark at the same time. The guitar riffs will become highly recognisable once you have heard them.

The bassline harkens back to The Cure’s Faith period in the song “Emptiness“. The synth swirls and entwines you. “Sadness” is a bitter-sweet ode to losing a loved one to a depressive melancholy, waiting with them to come back to you. It’s is slower and more delicate yet the chorus soars through the pain.

All the spookiness is with “Oh Milena!“. Is she alive or dead or, perhaps, even the undead?! Cue the dead sexy saxophone from James Perry, which is an interesting juxtaposition to the Hammond organ sounding synth, so prominent in Hammer Horror movies.

Again the spook factor is present in “Mirror“, with creepy laughs and a slightly more manic feel with Caro Campos, not for the last time, joining Maniki on vocal duties. “We Only Have Tonight” is a touching, gothic tribute to a forever love. It is sweet and seductive with the guitars, both acoustic and electric aplenty.

The beginning of “Absence” is misleading. It seems all so quiet but will soon reveal the surging synths that roll into the vocals. Campos‘ voice is angelic as it accents the interludes. Maniki has been to the Robert Smith school of creepy whispers in a song where something is going to drive you insane with the wait. So in a way the torture is “Pain“.

The Pale Horseman” sounds exactly like modern, gothic, western should. That iconic guitar made popular by Ennio Morricone in the spaghetti westerns is there but all prettied with synths and a helping of dark sarsaparilla, if you please bartender. It’s mighty dusty. The guitar work is beautiful in “Sleep” and with the vocals, it is a reminder of The Wake in the early 90s. It really is a lovely throw back and the song is truly a succulent morsel.

Flowers have meanings. “Lilies And Carnations” can be flowers that mean a deeply desired love and they can also represent death of a perfect love and terrible grief. The latter is the premise of this track, the fleeting time lovers have together, which is a complete difference from the more dirge like “Shelter“. Maybe he’s the dark shaman that lives in the woods destined to never leave but in any case this is a far more gritty piece.

Coming to the end, the last two tracks are “Afterthought” and “Cocoon“, with the former being a meandering tribute to the power of being so caught up in love and all else fades away. “Cocoon” is a trippy little piece that plinks away like a child’s music box with ghostly intent.

From the first time I heard Ariel Maniki’s voice, it reminded me of another, then it hit me. The ever youthful Sven Friedrich of Dreadful Shadows/Zeraphine has a very wonderful rich tone and Maniki is scarily and delightfully similar. The album is a velvet tapestry of lush tracks that contain a nice balance of electronic along side more traditional instruments. Full of gothic romance and horror, which for most of us is the same thing, it paints a delicate fog drenched background for the children of the night to fall in love with. Definitely do check this out if your little dark heart beats within Black Light.

https://arielmaniki.bandcamp.com/album/black-light

https://www.facebook.com/ArielManikiMusic/

Post punk duo, The Cold Field, released the album Hollows on August 6th, on the label Cold Transmission Music which is famous for their darkwave retinue. Their debut, Black River, was warmly greeted and so Hollows has been much anticipated by fans.

THE COLD FIELD

The emphasis is very much on the atmosphere which is created by the echoing vocals, the deep bass plus jangle and buzz of guitar. The album is comprised of ten tracks and notably, two are instrumental pieces for the most part. “Ride The Breeze” is the intro to set up the feel whilst, “Floating Above The Wasteland” is filled with gorgeous bass lines and guitar work, whilst the faint ghost like whispers are seemingly unintelligible and beyond deciphering.

“Reaching For Things Things You Cannot Hold” is a great example of the style, with the low echoing vocals, delicate guitar work which is layered in synth. Other stand out tracks are Beauty Expired”, with its rapid pulse and its variance in tone, while “Into The Light” actually does have a slightly more airy feel to the music, a

From the get go, you hear the influence of Joy Division, Lebanon Hanover and Ritual Howls in their music and the common themes in post punk music of isolation, a longing for what is denied and the nature of addiction. There is the ever present spectre of existential dead that pervades all, for this is music that sits on the edge of dusk asking how did this all come to pass.

https://thecoldfield.bandcamp.com/album/hollows

https://www.facebook.com/thecoldfieldadelaide/

https://www.facebook.com/coldtransmissionmusic/

https://www.coldtransmission.com/

https://coldtransmissionmusic.bandcamp.com/artists

If you are old enough to remember the gothic rock revival of the early 90s, you would most definitely remember the English band Nosferatu. The original founder, Vlad Janicek, has been fairly quiet since Nosferatu imploded on tour, though recently reformed as The Nosferatu and also a new band called Vampyrëan. A debut single was released on the 27th of August 2021 called “The Hunger” which heralds a soon to be released album of the same name on the 29th of September.

VLAD JANICEK – VAMPYRËAN

From the first guitar notes, this is definitely a flashback to the goth rock sound of yore. It is rings clear and true, a guitar sound we associate with The Mission’s Wayne Hussey. Janicek has taken on the role of lead vocalist and as the vampire protagonist. We will let the cat out of the bag and say he has the hunger… the hunger for the love of a sexy human victim and their life blood. The piano line wends through adding a delightful and winsome air.

Frilly, costume goths and those who have fond memories of 90s are going to love this. Drama, vampires, velvet, romance and a danceable beat which will more than likely also introduce Janicek to a new set of fans as well. If you have “The Hunger” then you might need some Vampyrëan.

https://vampyrean.bandcamp.com/

https://www.facebook.com/vampyreanofficial/

http://vampyrean.com/

Bleeding Raven is Dean Mason of Ontario, masked man extrodinaire and quite frankly, we aren’t even sure if Dean Mason is his real name. But under the moniker, Bleeding Raven, he released the EP, September Campaign, on Horizon DMA Records, in May this year. The title refers to the rolling blitzkrieg of the German army into Poland which was to herald the beginning of World War II which Mason said inspired this recording, the infinite loop of man versus man and that hate begets hate.

Blood River Rage“, “Seth” and “Bleeding Sane” all share a key element, the entwining of American indigenous people’s traditional rhythms and singing style mixed with modern harsh industrial. A juxtaposition so to speak of two types of tribal music. The last track, “Bleeding Sane“, feels like it is being sucked into a burred vortex of bedlam.

The other two tracks are “Centurion’s Vision” and title piece, September Campaign“. Both I would describe as harsh noise at times, with the squealing of tortured guitars and sounds of twisted metal, all accompanied by the driving beats that push it along with no concern for the listener if you can’t keep up. There are no prisoners here.

Mason’s main project is Gnostic Gorilla, however he has fingers in pies, dabbling in the spaces between industrial and metal, with a helping of North American tribal influence. This isn’t going to be for everyone but I’m pretty sure that it is the art of the music that drives Dean. The EP is made up older material with recent inspirations from the post Trump admistration era. If a fusion of tribal/ industrial/ experimental/ metal is and or might be your thing then have a listen to Bleeding Raven.

https://bleedingraven.bandcamp.com/album/september-campaign

https://www.facebook.com/bleedingravenofficial/

https://horizondma.bandcamp.com/

https://m.facebook.com/HorizonDmaRecords/

Auger have been going from strength to strength since they hit the scene in the UK in 2017. With three albums under their belts, previously signed to the Dark Tunes label and a dedicated fan base, Kyle Wilson (vocals, keyboard, programming) and Kieran Thornton (guitar, backing vocals) have come a long way. August saw the release in a new single, “Sound Of The Machine” on The Big Chair label.

KIERAN THORNTON & KYLE WILSON – AUGER

The beginning is a little depressing in its ambience though there sparks of electronics that hint at this being a set up for the chorus. The guitar amps up and synths chime in, with the use of vocal distortion. This is the rally, the cry to arms because if it can happen to me it can happen to you. They ask for a rope to pull them out from the dire onslaught of the machine.

It’s a catchy chorus and Wilson has a great voice for it, smooth, deep and even on occasion a bit menacing. The Big Chair label is a new, independent record label created by the lads themselves and this can only be a good thing for dark music scene. This is the “Sound Of The Machine” that is Auger and it can be found on Bandcamp so make sure to have a listen.

https://augerofficial.bandcamp.com/track/sound-of-the-machine

https://www.facebook.com/AugerOfficial

https://thebigchair.co.uk/

https://www.facebook.com/bigchairmusic/