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Mobile phones have become a staple of modern living. We constantly check them and break into a cold sweat when we cannot find them. New Zealand’s Frau Knotz, explores our dependence on social media, though the single “Cellular,” as more and more people live their lives online rather than in the real world, and where popularity is the acknowledgement of others on these platforms.

There is a delicacy about “Cellular,” and maybe it is something to do with the lack of a rhythm section, relying on the piano to carry the music, but it is also in the vocals, a blatant honesty. You can hear the British early 80s, post-punk influence in the track, where there is a purity of simplicity and passion, giving the song a core of undeniable strength.

Mizaan Turner is a fourteen year old dancer from Taranaki, and it was they who choreographed the video for the single, making the video for Frau Knotz, aka Lauren Nottingham, an alluring affair. Mobile phones are a marvel that have definitely changed a lot of things for the better, and yet, as “Cellular” soulfully points out, it has also caused isolation, anxiety and changed the way we see ourselves in relation to the world..

Cellular | Frau Knotz (bandcamp.com)

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http://www.muzic.net.nz/artists/5473

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ESA (Electronic Substance Abuse) met Moaan Exis while playing a show in Prague in the beginning of 2020, just before Covid-19 shut down the world. Out on Negative Gain Productions, “Spit/Spite” is the end result of the UK’s Jamie Blacker (ESA) and France’s Mathieu Caudron (Moaan Exis), going head to head in a battle of the industrial power noise versus industrial punk. The plague has come and kind of gone, but now we have been hit with a much better outbreak in the form of this split single.

“Spit” does not let up with the energy, pushing you higher and further with an intoxicating mixture of scintillating synths, techno styled rhythms that max out the bass and duelling vocals. Even in all of this, I hear hints of a Middle Eastern flavour to the music creeping through.

Yeah, from the beginning of “Spite,” you are already left a veritable shell of a human, drooling over the abrasive rhythms that pound into your chest. The two vocalists taking turns in eviscerating your ears to the pounding beats and off kilter electronics, setting your teeth on edge. Magic.

Who was the winner in this battle royale? The answer is easy…us the listeners. Both tracks are fucking awesome. Crunchy textures, beats to rupture organs, and enough angst to wet the panties of any self-respecting industrial noise purveyor. ESA Vs Moaan Exis have me just me wanting more.

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Spit & Spite | ESA vs Moaan Exis | ESA (bandcamp.com)

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We live in a world full of amazing things. Germany’s Neon Insect is pretty amazing and Nils Sinatsch has released the latest single “LOVE SEX + ROBOTS,” which features the vocal and lyrical talents of KVMILLA.

Slow and metered is the rhythm, a heavy mechanical sexuality, brought to life, and offset by KVMILLA. Her vocals expressing base human desires for connection, even if hurts. There is a guitar that is gently plucked away, as the music tantalizes your senses.

The track feeds into the New Moscow storyline, that Sinatsch has been carefully crafting, about a reality much more different to ours, due the fact that the USSR won the Cold War, invading the US. The populace have found the only way to survive is through cybernetics, and with procreation controlled by the powers that be, they now go underground for their sexual desires to be fulfilled by mechanical means. This is much more subdued than what we are used to from Neon Insect, and it shows a changing style with the changing storyline. “LOVE SEX + ROBOTS” is delicate with a undercurrent of a sexually harder edge. This begs the question….what comes next? Watch this space…..

LOVE SEX + ROBOTS | Neon Insect (bandcamp.com)

https://www.neon-insect.de/

https://www.instagram.com/neoninsect/

https://www.instagram.com/kvmilla/

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Who do you believe and what can you trust? Wars popping up around the world and now the revamped hostilities in the Gaza Strip…. you have to ask, when does the killing stop? Dystopiarch is the new project for Matthew McIntosh, whom you might know from A Cloud Of Ravens, and the debut single is “Like Hell.” The proceeds of the single will be donated to civilian victims of the Middle East conflict through International Rescue Committee.

From the opening speeding rhythm, combined with the pulsating synths, are simply attention grabbing. McIntosh’s vocals are strained and at times breathy, compelling you you to listen to the lyrics, which are about modern living, where we have lost contact with the natural world, preferring so see perfection on a screen, and just let the Earth burn. A literal hell.

There is a wonderful juxtaposition between bright and dark synths, the driving rhythm that thumps along and those rather Imperative vocals, that make up “Like Hell.” The style of music invokes thoughts of cyber-industrial with post-punk leanings, due to the electronics that play against each other, creating both feelings of claustrophobia and euphoria. It is catchy, thought provoking and proceeds are for a great cause. Those alone are great reasons for people to get behind this Dystopiarch track, for life is not meant to be “Like Hell.”

Like Hell | Dystopiarch (bandcamp.com)

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French band, Divine Shade, recently toured with Gary Numan, and are now back with a new single, “Oublier,” which features Steve Fox-Harris, who also happens to be the guitarist for one Mr Numan.

The electronics whirr and drone, dark and brooding, setting the mood for the spine tingling vocals in French. The synths build us, inevitably, towards the growling guitar, that breaks out and fills the corners with sound.

What is the premise of tout oublier? It means to forget everything, and this case to let go of all the pain and hurt in order to heal. This is seductive darkwave, beautifully packaged, with the deft hand of Fox-Harris driving the track home. Divine Shade is entrancing you let go with “Oublier.”

Oublier (ft’ Steve Fox-Harris) | Divine Shade (bandcamp.com)

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Need a little extra spooky in your life since the aftermath of Halloween? Then we can offer you an extra bit of stalky stalker in the form of Ian James’s new single, “Come A Little Closer,” out on Blue FX Records.

Ah, the dulcet tones of James’s vocals creep up on you like a sexy time Jason Vorhees, with his favourite knife. The music conveys an electronic and consistently funky, going to get you honey buns attitude, rather than the old fashioned plinky plonky norm. So, “Come A Little Closer” darling, and let Ian James croon sweet icy nothing’s into your ears. Lovely!

Ian James – Come A Little Closer | Blue Fx Recording Artists (bandcamp.com)

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Out on Infacted Recordings, is the latest single “Harbour” from J:dead, where Jay Taylor has enlisted Aesthetic Perfection and genCAB for remix duties. This is officially the last release for J:dead for the year 2023, but in 2024, we can expect the unleashing of the thematic EP ROOTS, which will contain seven original tracks, including “Harbour,” plus 8 remixes.

©Thomas Fritsche, Nightshark Photography

“Harbour” has this rolling flow whilst also laying down dance rhythms. An electronic melding of the many faces and personalities we are and show others, topped by the molten vocals of Taylor. The Aesthetic Perfection mix is filled with a bright jauntiness that the progenitor of industrial pop, Daniel Graves is famous for, while David Dutton of genCAB’s version is slower and darker, like you can feel the shadows enveloping you in a cocoon and only the vocals can drag you to the light.

The line ‘look hard and you will find me, lonely I will never be‘ doesn’t refer to multiple personalities but rather all the different facets that make us up as humans. We are not one thing such as a joker or the introvert, which would leave us as one dimensional aberrations, instead of the wondrously complicated creatures we are. As always, this is a polished track with two stunning mixes and if you want to know what you will be getting in the EP, then “Harbour” is an excellent place to start. I have already had the pleasure of hearing the original tracks and can promise that you are not going to be disappointed, yet that is for another day………..

Harbour | J:dead | Infacted Recordings (bandcamp.com)

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You might say Witches Falls could be one of the most coolest names a place could be called and indeed it is a real locale, situated on Tamborine Mountain, in Australia. Gold Coast based Chiffon Magnifique, brain child of Jed A Walters, have sprung forth a darkwave single, also named “Witches Falls,” with an equally creepy video set in said area.

Echoing and ringing post-punk guitar on this track is really beautiful, setting the swirling tone, that sweeps you along for the ride. Walter’s vocals, deep and longing, beseech you for understanding, for one that finds the modern world, at times, so overwhelming, they need to retreat to the calm that is the quiet arms of the natural world. The video conveys the self doubt in a mind clouded in a tormented perception that they are forever alone and unwanted. The house full of curios, changes to the city (Vinnies’ Dive Bar), before a furious night drive to the Falls, and their majestic ancient rain forest, in which the “Witches Falls” resides.

What could possibly top this great track? Maybe the knowledge that in 2024, we can expect the debut album named Anxietika, which, with all the current singles, you know is going to be punching well above its weight with all the gothic goodness Walters puts into his music. The man is seriously talented and very heavily involved in the dark alternative scene in South-East Queensland and I cannot stress enough to watch this space because Chiffon Magnifique are just starting to hit their straps, so find your way to “Witches Falls.”

Witches Falls | Chiffon Magnifique (bandcamp.com)

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Scenius are a dark synthpop duo, hailing from Leeds in the UK. Composed of UK producer Steve Whitfield (The Cure, The Mission) and French singer Fabrice Nau, they released their album Life Is A Thing, back in May but we are going to touch upon the single off the album, “Chinese Room.”

There is a simplicity to the track that makes it entrancing, almost dream like. The sound of electronics harken back to late 70s and early 80s acts like John Foxx, Gary Numan and German pioneers, Kaftwerk. Nau’s vocals are seductive and unhurried, with that French accent only enhancing the cool of track.

Together with the video for the single, I do feel “Chinese Room” is a reference to heroin. The video is a party slowed down, where those participating in the drug use are only existing in the moment and Chinese rock is a euphemism for heroin, a la the Ramones single “Chinese Rock.” I do love the throwback nod to past electronica heroes, but they have a distinct modern touch all over this track. You should listen to the “Chinese Room,” but be warned, you may become addicted to Scenius.

Chinese Room | Scenius (bandcamp.com)

http://www.facebook.com/sceniusband/

http://www.deezer.com/artist/86224982

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Did someone say they need more experimental music in their lives? You really can’t get more experimental than free improvisation done live. This is where we throw at you Sordid Amok!, hailing from Harrisonburg, Virginia and their new track “Warehouse 12 October 2023.” From what I can gather, Sordid Amok! are a duo, who are joined by different guest musicians, to jam away and just see what magic happens.

“Warehouse 12 October 2023” goes just a tad over twenty-one minutes as five humans build upon each other’s additions, creating a soundscape that one could lose themselves in. There is a rawness due to the nature of it being live and those pregnant pauses or changing tempos just add to the charm.

Warehouse 12 October 2023 | Sordid Amok! (bandcamp.com)