by on

We have been anticipating a new release from Aotearoa (New Zealand), darkwave/industrial group Robots In Love, and luckily we have not had to wait very long in the form of the single “Crush.”

Gamer one is up and the bouncing guitar riffs breathe life into “Crush” early on. You can taste the conviction in Rayner’s vocals as she builds the anticipation that peaks in the chorus. The chorus soars with unbridled emotion and charged vocals that entwine with each other, breaking free of all expectations, with Robots In Love taking you on a musical high.

“Crush” is a track of boundless optimism, where it doesn’t matter what life throws up, that hope always springs eternal and this is kind of refreshing. It is about crushing the obstacles in your path and creating new opportunities. In the 90s, Elenor Rayner was a member of the industrial rock group Soulscraper, and it feels like she is revisiting this era when both Soulscraper and another Australian band, Insurge were changing the industrial scene. She is still breaking and rebuilding genres along with the other Robots In Love members Alex Burchell and Tony Lumsden. “Crush” has already become a favourite track in the live show and it is not hard to see why.

Crush | Robots In Love

Facebook

Robots In Love (@robotsinlove) • Instagram photos and videos

by on

The single “Cannibal (Lost Souls),” was dropped back in October, and this dirty experimental electronic track, blended with hip hop deserves your ears. Toronto’s Wrené has joined forces with Caijo to point the bone at modern living and how it is leaving many unhinged.

Your senses are overloaded with compounded voices, buzzing electronics and rattling thuds, gathered in a twisting cacophony, which all drop away to the background in deference to Wrené. Her singing is complimented by the simplistic serpentine like music, that degrades into glitching noise, and then we hear gravelled tones of Caijo, but always is the barbaric and hungry electronics prowling.

For me, “Cannibal (The Lost Souls)” speaks of a lost generation, addicted to social media, which tells people how to look, or change their appearance in order to gain popularity, and consumerism is at an all time high, even though no average Joe can afford it all. The music is viscous and heavy, while the distortion and grittiness are almost making a parody of the sultry singing from Wrené, and Caijo is the voice of those lost souls who just can’t seem to get a break. The coarse versus velvet is utterly delicious, so devour “Cannibal (The Lost Souls)” by Wrené, featuring the rhythmic styling of Caijo.

Cannibal (The Lost Souls) | Wrené, Caijo | Wrené

Wrené Nova (/rəˈneɪ/) (@iamwrene) • Instagram photos and videos

DJ3K (@caij0) • Instagram photos and videos

by on

Berlin based three piece, Dina Summer is made up of vocalist Dina, and DJ’s Local Suicide and Kalipo. They have dropped their new single “Hypnotized” off the new second album Girls Gang, which out on January 24th on the Iptamenos Discos label.

Clattering rhythms greet you, only to be joined by plectrum driven bass and Dina’s recognisable spoken word, until her dulcet tones graduate into singing in the chorus. The electronics are bright next to the sultry vocals and rumbling bass.

The deep post-punk influenced bass guitar and Dina’s singing are indicative of what you might expect of the new album of the group, as they explore post-punk and synth-pop. “Hypnotized” is a sensual, 80 inspired track which will have Dina summer making you burn on the dance floor.

Girls Gang (IDI021) | Dina Summer

Facebook – Dina Summer

Facebook – Iptamenos Discos

Dina Summer – Official Website

Dina Summer (@dinasummermusic) • Instagram photos and videos

by on

Neo-industrial project Divine Shade is close to releasing their album Fragments Vol. 1, and from this debut, Remi  Thonnerieux has dropped the latest single,  “Hate and Oblivion. “

Reverberating electronics, tinged with feedback kick off with quirky interluding loops. This is leading you to the juicy chorus which is both ground out with Thonnerieux’s vocals and yet, still, the guitar and synths have a capacity to make you feel like you are soaring above everything. There is even a sneaky break where you think “Hate and Oblivion” has suddenly stopped.. but do not be fooled!

Divine Shade has toured with Gary Numan and it undeniable that his influence can be heard on “Hate and Oblivion.” This track is instantly likeable and indeed familiar in a way, but that might be in part to the retro ambience. Between Thonnerieux’s vocals and the rich synths, Divine Shade have absolutely served up an epic dark industrial track in “Hate and Oblivion.”

Hate And Oblivion (Single) | Divine Shade

Facebook

Divine Shade (@divineshade) • Instagram photos and videos

by on

Bah and humbug! Tis Christmas again, where we will be serenaded by carols both new and old, so how about something both new and spooktacular for the holiday season in the form of the single “A Very Vampire Christmas” from Who Saw Her Die?

Behold the jingling and what sounds like a drunken version of “Do They Know It’s Christmas?“, and I guess you can look at it as kindly gifting life, so that sneaky vampire is going to enjoy the seasonal cheer and get his fill of Bloody Mary’s… so to speak.

The drawling vocals are paradoxical compared to the chiming electronic music, plus coupled with wonderfully absurd concept that a vampire would like to join in the whole being a part of the Christmas joy, but they are people too….they just happen to be undead. This track was originally released last year on the Goths For Sanctuaries compilation, which is aa great cause. Grab your favourite child of the night and celebrate “A Very Vampire Christmas” with Who Saw Her DIe?!

A Very Vampire Christmas | Who Saw Her Die?

Facebook

by on

I have it on good authority that the folks behind Lunar Paths are preparing for live shows, but in between these machinations, they have released a new single “Seen.”

Background looped guitar riffs set the stage for Dubois‘ strong vocals and lyrics. The drums by Hunter, pick their way through the layers of programming, adding to the extraordinarily full sound. The lyrics speak of seeing the young out at night and wishing they knew how wonderful they look and have the courage to be themselves.

There is drama of the noirish romanticism kind in this style of music that still harks back to the early post-punk era, especially in the delivery of the singing. It is like listening to Anne-Marie Hurst (Skeletal Family/Ghost Dance) or Siouxsie Sioux, with that vibrato and it instantly makes you clamour for more. Lunar Paths is spinning and weaving beautiful darkwave creations, just like “Seen.”

Seen | Lunar Paths

Facebook

Postpunk, Darkwave, Music | LUNAR PATHS

Lunar Paths (@lunar.paths) • Instagram photos and videos

by on

ST///LL (Stiiill) we last heard from in 2023, and these three brothers in musical arms have released a double single in the form of “Empty Room” and “Shout Out.” With members spread out over the UK and Ireland, they are gearing up for their second album to drop in 2025 but in the meantime, this is a taste of what is to come.

A lone piano plays, to be joined by an electronic beat and then the track launches itself with a hail of guitar, and the vocals exude a forlornness in the vein of Ian Curtis (Joy Division). The bass thunders with the rhythm while the guitar flourishes and the piano wanders through like a ghost in “Empty Room.”

“Shout Out” is full of atmospheric synths, with a grittier energy and purpose. The guitars and synths meld into a cacophony of melodic noise in the chorus with the vocals punctuating the urgency of it all.

I really enjoyed “Shout Out,” but for me, “Empty Room” kind of grabs you, full of melancholic emotions. I don’t think it is intentional, however ST///LL have created two track that could be on a Joy Division album and this is never a bad thing.

Empty Room / Shout Out | stiiill

https://www.instagram.com/stiiillband/#

https://linktr.ee/stiiillband

@stiiill.bsky.social

by on

Since the release of their debut single “From The Grave,” psychobilly Brits Midnight Feature have quickly backed this up with a new track “HELL-A-VISION,” with a bonus video made by the band at the Eerie Ink Tattoo Studio, Walsall, UK.

The Evil Dead beginning of the video prepares for the blistering launch of the track. The chorus is belting out the title, that would definitely have moshers thrashing around in the pit screaming in delight. It is a frenzy of drums, cool guitar licks and riffs, and with vocals that are dark and egging you on to join him in the throws of a killer thriller.

If the Japanese have taught us anything, it is never open up and watch a dubious video tape. This might result in South African vampires and having a great band play at your place….okay, yeah play the tape! The music video is very kitsch fun and reminds me very much of The Damned’s “Video Nasty” which of course was featured on The Young Ones, but it isn’t just the video that harks back to this track. The themes, energy and general joy of the genre come through in spades. You should get hooked on a “HELL-A-VISION” with the Midnight Feature.

Facebook

Midnight Feature | Instagram, Facebook, TikTok | Linktree

by on

In 1979, Gary Numan released The Pleasure Principle, which was his debut solo after two albums with the Tubeway Army. “Metal” is a standout track that is favoured by Numan and has been covered many times…. even by Nine Inch Nails. Rob Hyman (drums, synths, programming, production) and Jax Allos (vocals, bass) are Chicago based [melter], and they have put out their own version of “Metal.”

PHOTO – JASON KRAYNEK

Those flourished synth lines are the staple essence of this track, and they are very much present, but I am also glad that this is not a carbon copy. Having the altered vocals of Allos brings a new element, compared with the memory of Numan’s cleaner singing style. The percussion is just so strong and perfect in propelling “Metal” along.

This is definitely a gritty version that pays homage to a great track, and takes it on a more experimental tangent. A case of sweet and industrial tang that is satisfying to hear if you know the song, and a guarantee that if you haven’t, it is going to pique your interest in following up the original and the back catalogue of [melter]. “Metal” is such a great single and [melter] have polished it up and given it teeth.

Metal | [melter]

Facebook – [melter]

[melter] (@meltermusic) • Instagram photos and videos

Facebook – UTM PR

by on

Los Angeles post-punk band The Sea At Midnight are extremely prolific, with the latest single “Burning” dropping in November. This a cover originally written by V. Grant and Marco Cattani of Chemical Waves, who released the track on the album II (Emotional Violence) and also featured The Sea At Midnight.

The track evolves from a low rumble, into languid drum beat and drifting electronics. The vocals are beautifully clean and soulful, accompanied by the jangly guitar. There is a wealth emotion pouring forth and “Burning” elicits a visceral response in the form of tingles down your spine. The original form of this song was a far more electronic affair, and The Sea At Midnight has given it a darker ethereal feel that wells and bubbles with a longing that grabs you by the heart strings.

Burning | The Sea At Midnight

theseaatmidnight | Twitter, Instagram, Facebook | Linktree