GonzaloSchwindt, based in Germany, and KarlMortenDahl from Norway are no strangers when it comes to working with each other musically. Schwindt is DeusExLumina, releasing the new single “Facade Of The Decay,” while Antipole (Dahl), has brought to bear his wonderful guitar work.
DEUS EX LUMINAANTIPOLE
The echoing guitar of Dahl is a perfect intro into the track and leads us to Schwindt’s mercurial deep tones. The lyrics ‘Every silent ache I keep, Every buried memory, And I’ll pretend that I’m okay, (With) This facade of the decay‘ elude to dark secrets and great losses, and still there is a romanticism. The interplay of synths with guitar is sublime.
The music video is a wonderful addition, emphasising an austere loneliness in one’s own memories, pretending that everything is okay. “Facade Of The Decay” is definitely one of those songs that you feel never goes long enough, only to be surprised it goes for three minutes, and I can only put this down to the amount of pure enjoyment you get listening to Deus Ex Lumina and Antipole play together.
For some of us, we live our lives through art, seeking beauty in what others reject due to dark subject matters. Melbourne’s Velatine are still among the living, spreading their magical gothic music, though there are some that would say one foot in the grave with the latest single “TilDeath We Do Art.”
The purpose filled guitar has that southern gothic twang, as if we are going to have a duel at 12 paces as the clock strikes midnight, backed by the mourning tones of the synths, and this is a song about mourning, with the first dulcet tones giving us the lyrics ‘when the funeral is over.’ A loss of an artistic twin flame and partner, with the ache of the vocals, like a knife twisting in your heart. That turn of phrase that makes up the title, ‘til death wedo art‘ is equally devastating as it is a gorgeous tribute to a lost love, encapsulated in a chorus that rises like a phoenix from the ashes.
LokiLockwood has partnered up again with singer Nocturna for this heartfelt darkwave song, with a personal origin. Lockwood recounts how a female friend in Ukraine, an artist, lost her other dark half to the unjust war raging there. How do you reconcile the loss of a lover, a muse and a best friend? “Til Death We Do Art” is about that grief but also the wealth of wonderful memories, so Velatine have created the perfect track full of sadness and gothic grace
I think JeremyMoore is a man who cannot sit still and is constantly looking for the next musical high. We last saw him in post-punk project Zabus, on SaccharineUnderground, a label Moore runs himself in Washington DC. He has turned his hand to creating experimental, avant garde dark music, melding it with a myriad of genres, in the guise of BellBarrow, culminating in the album “CoreCorePulp.” Made up of twelve instrumental tracks, Moore plays all instruments as well as being the composer.
You are set about the road with the first track “An Eye On The Future,” with quasar pulsating like waves, repeating on loop, stretching into a pained infinity across time and space. Whirring and high-pitched extrusions pierce your ears until they become a conglomeration of psychedelic noise, married to a now existing drum.
Noise inspired jazz can be the only way to describe “CoffinText” with both the free form of the music and drumming triplets. The main guitar is heavy and cumbersome in comparison, while there is another guitar, with possibly a plectrum being dragged down the strings in similar fashion as heard on Bauhaus‘ “Bela Lugosi’s Dead.”
The guitar is the main voice in “Peace Field Autopsy,” grinding and dark, hanging ominously in the air, daring you to deny its black metal pall. There is free-flowing feedback looped back in creating a cacophony, which is over far too soon, giving way to a more ambient tone.
There is something utterly compelling about the last track “From Hunter To Remains,” with an eeriness that is both unsettling in its discordant drone and impossible to ignore the sweeping void as the instruments join in the decay.
The artwork for the tracks is mind bending, because the more you try to make sense of the picture, the less it makes, and in a way this perfectly encapsulates CoreCorePulp, which could be the name an avant garde noise album, but it becomes apparent there is so much going on below the surface. I have chosen four tracks to showcase how BellBarrow is using different styles of music, not in a cohesive manner, but rather to create abrasion and discord, battering the listener into submission if they fight the jarring flow. The use of extreme experimentation with black metal, jazz, prog rock, etcetera, melds the instrumentals into sonic scapes for your imagination to run rampant. The base interpretation is about life and death, though for myself, it is about this flesh we call home. The fragility, what can be achieved with the spirit, and, perhaps, the futility of it all. Bleak and yet a beauty in that ultimate desecration called death.
Minnesota based Zwaremachine, are preparing to bring in the thunder with the release of their third album, however, MachFox and crew are teasing you with the single “WakingTheNight,” that has morphed into an EP with the special guest remixers.
Hold onto your speakers. “Waking The Night” is so heavy with bass, you might just wake the dead as your speakers rumble with distortion. Fox brings his creepiest snarling whisper, stalking your slumber, so you find no rest. The mood is oppressive and cloying.
There are four remixes to mull over, as you lose yourself to the after hours. There is the grandiose StaiKSeKt version with a chorus of fallen angels, while VV303 has gone for a lower and heavier mix that could be the soundtrack to a Hellraiser movie. Planktoon with the dreamy synths and glitching 80s influenced industrial mix, or you can go with the strangely pseudo western guitar crossed with the entrancing electronics of Darker.
It has not been easy for Zwaremachine, with power rhythm maker DeinOffizier missing due to succumbing to cancer in 2023 (fuck cancer), which was like a gut punch. They are back with MachFox (vocals/synth/programming) and Dbot (bass/vocals), now joined by Paul K (guitar) and Marshal B (drums), and like the phoenix from the ashes, Zwaremachine are back and snarling. It is good to see them back, ripping up the industrial norms.
We have been missing some from life. Oh yeah, we have been missing us some HOSTILEARCHITECT, and MitchKenny, the hostile one, is back with his new industrial single “BODYMELT (NEW FLESH MIX).”
There is wonderful symmetry between the flowing electronics and clattering rhythms, as it draws you up and drops into pit of angst. The vocals are grimy, raw and calling for your demise because in the end, does society care in a world gone mad?
I was fortunate enough to hear “BODYMELT” before it was released, performed live, and I have to say it really kicked arse with the amount of passion Kenny poured into the performance. This is a cool industrial track and, honestly, HOSTILEARCHITECT just seems to get better with each of these releases, but for now let your “BODYMELT“!
“HYPNOTIZED” is the latest single from female French darkwave project CODE 150, and they have curated a lush video, which should come with a warning for those who suffer from arachnophobia. Don’t say you were not warned, and back in 2023, I advised you to check out CODE150, and this track, I think has reinforced that opinion.
The idea of a human/spider hybrid is a creepy concept brought to life and she is luring you in with her sexuality, before sucking out your soul, leaving you a husk. The lead’s voice is deep and power, just a demon’s should be, with a hint of the forbidden. The synths feel stressed with blooming darkness, waiting for the ultimate date, filled with terror and lust.
The video feels a little retro, like 70s Hammer Horror, and that is all sorts of brilliant. The use of singular words, matched by the ticking time bomb of the electronic rhythm is indeed mesmerising, while the music drives into the recesses of your mind, worming “HYPNOTIZED” into the subconscious. Quite brilliant! CODE150 is often a CyberSource error, but there is no glitch in the machine here
Sweden’s Scheitan, started off as a black metal band, back in 1996, but now in 2025, it is a far different beast. With one remaining member, PierreTörnkvist, over the years, Scheitan’s sound has become gothic rock, and the latest single is called “HeavenTonight,” out on the Greek label The Circle Music.
PHOTO BY DANIEL HOLMGREN
Woo, this could honestly be disco gothic rock with the energy of this track, ready to whisk you off to the dance floor. The thudding rhythms, the liquid vocals and the swirling electronics mix together. The lyrics are heavy with meaning, with the chorus either speaking of wanting something forever or a night of a perfect climax.
‘I will love to keep the fire alive While I know that I’m just waiting to die I will touch you in the heat of the night Oh, it’s a firefight / I’ll be in heaven tonight‘
I really like this track and it has this odd cadence that makes me think of the 80s track “IJust Died In Your Arms Tonight” by Canadians Cutting Crew… not that is a bad thing either, as it was a track about petite le mort or the little death that is an orgasm. Scheitan are looking for the perfect gothic love with “Heaven Tonight.”
Adam Cresswell (vocals, bass), Nat Guest (drums), Martin J Langthorne (guitars) and Adrian Taylor (guitars) make up UK dark shoegaze band Cloud Studies, who came into being back in 2024. They have released their second single “Cloud Cartography,” out on HappyRobotRecords.
PHOTO BY ALISON AHERN
The world just comes alive between those guitars and keyboard, full of sonic joy. Having a proper drummer creates a wonderful symmetry when it comes to shoegaze bands. The sonorous vocals are hazy and dreamlike, set on an equal level as the instruments. All the while there are tiny squeals of feedback intermittently piercing the track.
“CloudCartography” was written after visiting Derryveagh Mountains in Ireland, and turned into a story about two humans trying to map clouds, which is kind of a metaphor for life. No matter how hard we try, there is no confirmed map or even permanence, for just like clouds, we are in perpetual motion, blown on the whim of the wind. My favourite shoegaze band of all time is Ride and this track would easily sit in the earlier phase of Gardner and Co. CloudStudies’ “CloudCartography” is sonically pleasing between the guitar feedback and jangle, with vocals taking you on a vapour trail adventure.
Sweden’s Hatif are on the verge of releasing their next album, Small States, with Town And Towers Records. The electronic duo have dropped the last single for this album in March called “Direction.”
PHOTO BY DANIEL KWON
Pulsating and bouncing rhythms match perfectly the smoky synths, and that recognisable voice invites you into the hypnotic dance. The lyrics for the chorus ‘What we have to wish, what we have to do, what we have to look at when the sun sets on you,’ seem to speak of dreams and a past remembered, but also the end of those days .
I really love how Hatif always manage to mix the exotic strains of Middle Eastern music with modern electronic, that gives their tracks a really wonderful timeless feel, using invisible threads, tying us to other cultures. “Direction” is catchy while conveying a certain amount of introspection and observation, and is utter Hatif perfection.
Fans of The Birthday Massacre have been waiting with bated breath, for the release of a new album, and it seems they don’t have much longer to hold on. Pathways will be out on the label MetropolisRecords, however for now, you can immerse yourself in the new single “SleepTonight.”
There is a nice, harsh edge to the electronics to compliment the guitar. Chibi’s vocals are so much of what defines The Birthday Massacre’s sound, both sweet and strong… and occasionally creepy. For “Sleep Tonight” she is like an angelic dream, haunting, next to the weighty drum beats and raucous guitar, that hints at the promise of violence.
I remember first seeing The Birthday Massacre on a German music compilation video and proceeded to find the first album, and I thought it was amazing that these kids where putting out some great songs. Yeah, we won’t go into how old I feel now, but this band have never lost sight of their purpose in life and it has kept them accountable when creating music that is artistic and pleasing for themselves. “SleepTonight” proves that the wait was worth it, so bring on Pathways.
Onyx Music Reviews 