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From Doncaster in the United Kingdom, the Rollings lads, James and Jools, of post-punk band Peak Flow, 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.”

Don’t Die In Your Sleep | Peak Flow

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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. Altar Girl is an all femme band of the post-punk persuasion with members Kay Morrisette (vocals, guitar), Mara Vosien (guitar), Sam Mahon (bass, backing vocals) and Ariel Chamberlin (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 Altar Girl on Bandcamp for name your price and, honestly, we all need a bit of “Night Terrors” in our lives.

Night Terrors | Altar Girl

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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 Warren Cuccurullo. 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.

Gleichbau b/w Ordinary World | Vlimmer | Blackjack Illuminist Records

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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 Dan Milligan (The Joy Thieves), which makes this track even more like Blutengel than possibly Blutengel, while another has been given the Steven Archer (Stone Burner) 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!

Where Do We Go From Here | JOHNATHAN CHRISTIAN

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We have the pleasure of introducing a new gothic band from Berlin, called Sorry We Weren’t Here Before and their debut single “Vibrations Will Told,” out on the independent German label Agoge Records. Members of the band are Robert Koric (vocals), Sandy Pötzsch (bass), Gianmarco Bellumori (guitar) and Drum machine (whom I am calling Boom Boom because I can!).

There is something about this track that makes me think of different periods of goth music. The guitar has that 80s jangle and the vocals waver between the guttural sound of the 90s and melodic current style in the chorus. The verses hold a discordancy that is resolved in the chorus, highlighting the spiritual content.

With the lyrics talking about souls and vibrations, it makes me think this track is about a belief in a higher realm of conscious, where others can feel your emotions and get hints of your thoughts. This is a solid first single from Sorry We Weren’t Here Before, so find that special person and send them “Vibrations Will Told.”

Vibrations Will Told | SORRY WE WEREN’T HERE BEFORE | Agoge Records

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Agoge Records – Independent Label

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There are songs that are timeless, that will captivate generations and translate to current world issues. “Shout” by Tears For Fears, definitely is in that category as an amazing track and Switzerland’s Sybreed have dropped their version on Listenable Records.

The beginning of this track hints at the early 2000s future pop electronic sound, until Sybreed launch into the famous chorus, where they hit you with their sonorous industrial metal signature style. Full of conviction, the music video further delves into the how still relevant “Shout” is.

If this was not enough, have no fear. There is a remix by band member Drop and it is this sublime synth heavy mix that will make any industrial dance person deliriously happy. Full of techno styled rhythms, but it is the soaring synths that will make your jaw drop.

Originally written about as way to deal with mental health, it translates now to a world in turmoil, where human rights are being ignored and we wonder when the people will learn to live in peace with each other. For myself, it is interesting that a track I heard when it first came out, still being reinterpreted and this is a good cover by Sybreed and an excellent remix.

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I had never heard of the Pinkerton Thugs, but it must have left an indelible mark on Ian James, especially after hearing the Soft Kill remake their track “The Town Where I Was Born“. He has covered the 1997 release of the single, which is out on the Blue FX Recording Artist label.

There is a kind of cool that comes from this stripped back version. The drum machine is the lonely time keeper, apart from the electric guitar, while the bass dances around the relentless rhythm. James‘ vocals match the futile bleakness of the lyrics, which are about working class families that were born, lived and died, employed by the local factory, locked into a cycle of generational mediocrity. Ian James perfectly delivers the sentiment of trodden down resentment and the music is the rebellion in “The Town Where I Was Born.”

Ian James – The Town Where I Was Born (Pinkerton Thugs Cover) | Blue Fx Recording Artists

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I don’t need mystic powers to tell you, Brisbane’s Killtoys are back, with a new dark rock single with the ominous title “Doom Sayer.” As a three piece, these guys have a huge sound, are brilliant live and well seasoned musicians. Shoutout to Kings Street Studio where the Killtoys record.

Hail thee unto the fluid drums that are setting the pace for this gruesome telling of inevitable futility. Surrounded by the mists that only hold death and destruction, the fortune teller heralds in avenging angels while the bass grimly powers on. The lead guitar cuts through the mire, like a sword and the vocals waver between great loss and acceptance.

Maybe this is blasphemous, however this track has the hallmarks of that Aussie rock flavour, mixed with a heavy Black Sabbath like dirge, which is a combination of that droning bass and rolling drums. The band have cited the brilliant British band Paradise Lost as an influence, and that can most definitely be heard in the guitar work. “Doom Sayer” has a glorious depth and if you love your rock then you really should not miss out on the Killtoys.

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Fire is a curious creature. Yes, creature, for it seems to have a life of its own. It consumes, grows and breathes in oxygen, having a mind of its own. New Zealand’s Robots In Love have released in May the hot new single “See The Fires,” just before they drop the anticipated album ACTIVATE!

We be hit with those reggae feels right from the beginning. It is a slipping electronic and bastardised skank beat, that rolls us into the undulating synths, and Rayner’s singing join the hypnotic array. The serious tone of the lyrics, soon heralds heavier tones, vocals of conviction, and a burning surge of rock, powerful and delicate all at the same time.

Rayner and co, weave their magic where you experience the dread of being trapped with the urgency of needing to escape from a perceived encroaching darkness, while the salvation is the guiding light from burning beacons. A tale of desperation, but holding onto hope as long as you can “See The Fires,” and Robots In Love are fired up with this blistering single.

See the Fires (radio edit) | Robots In Love

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If you have ever wondered about how you pronounce Danish project M73? Let me enlighten you that it is said ‘EM SIEBEN DREI.’ John R. Mirland is the mind behind M73, the electronic/industrial juggernaut on the record label LÆBEL, and the latest single “Move One” heralds the soon to be released third album, All Messed Up And Nowhere To Go.

The clattering electronic beats and rising synths are offset by the vocals of Mirland, and then by his lone electric guitar crying out. The lyrics seem to speak of being unable to settle down, constantly on the move, and the music video, shot in Athens, is pure class.

“Move On” is not one of those in your face tracks, yet it is dance orientated and oozing what one could describe as European cool, which is this unexplainable and inextricably smoothness mixed with slow burn. Such a perfect song for the city at night and an excellent way to introduce us to what I suspect is going to be a cracker of an album from M73.

Move On | M73

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