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French industrial-darkwave project, Divine Shade are ending a successful year, with the release of the single “Heaven.” This track, as well as previous single “Oublier,” will be included on the album Fragments Vol.1, which will be dropping April, 2024.

Instantly attention grabbing, within the very first bars, and when the electronic drums thunder in along with the vocals, you are not disappointed. Wavering between the sweet beseeching and writhing angst, backed up by thrumming fuzzed out tones, it all courses through your veins, infecting your senses with the sheer vehemence of conviction.

“Heaven” is indeed a glorious track, magnetic in the way it calls out to the listener and utterly enjoyable. It brings together aspects of industrial and darkwave, with a sprinkle of coldwave nuances, which the French have always been so good at, blending them into something very special. “Heaven” is waiting with Divine Shade.

Heaven (Single) | Divine Shade (bandcamp.com)

https://www.facebook.com/DIVINESHADEofficial/

https://www.instagram.com/divineshade/

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Creepy creepy, in Melbourne city, where gothic delights pervade in the form of Velatine and their new single, “Nothing To Do With You.” Loki Lockwood is the man with the plan, with Inga Liljeström, the siren, and it is out on the label Spooky Records.

The electronics have the air of unquelled domination and Liljeström launches into a story of a woman maligned by many, but, it seems, through her own volution, found herself in order to make her life better. The vocals are languid like molasses and just as rich.

Liljeström’s singing, in both tempo and sound, reminds me very much of Jonette Napolitano of Concrete Blonde (a personal favourite), combined with the ringing guitar and synth/programming of Lockwood, framing the story and focusing us on the tale at hand. Maybe it has “Nothing To Do With You,” but everything to do with Velatine and this really strong darkwave track.

Nothing To Do With You | Velatine (bandcamp.com)

https://www.facebook.com/Velatine

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Since the 2007 inception of Vancouver band, The Silence Industry has revolved around lynch-pin member Graham Jackson, with other musicians joining him when they are available. The single “As The Walls Close In,” is part of an ongoing project where singles will be released with art work, and each will have two exclusive ‘b-side’ tracks.

The beginning of the title track has that all-encompassing heavy bass, which I associate with early Tool, bubbling with latent tendrils of misgivings, leaning itself to a progressive rock feel. The vocals, crisp and clear, combined with that guitar work, definitely harken back to the roots of 90s gothic rock. The two ‘b-sides’ consist of unreleased versions of “Bags of Clay (Lofi Piano Version)“, which is full of slow burn longing, and “These Long Sunset Shadows ( A Dark Ambient Noise Jam),” that clocks in at just over twelve minutes and the description tells no lies. This is a melancholy at its ambient best.

Fluid and engrossing is how I would describe “As The Walls Close In,” as it beautifully mixes gothic rock with something a little more modern, and with that open door policy with other artists, that only piques my interest more. The single/EP is on Bandcamp for name your price, so you have nothing to lose and the real possibility of gaining some damn fine tracks from The Silence Industry.

▶︎ As the Walls Close In | The Silence Industry (bandcamp.com)

https://www.facebook.com/thesilenceindustry/

https://www.jamendo.com/artist/486633/the-silence-industry

https://www.instagram.com/thesilenceindustry/

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From Louisville, Kentucky, the duo of Stephen Beasey and Brian Cain are the darkwave band Who Saw Her DIe?, and have released in December, the EP, Ignoring The Serpent.

Oh dear, “Emma” it seems is a stalker, who doesn’t understand the word no, looking to control the subject of her misplaced affection. The vocals deep and foreboding, as they tell of Emma’s indiscretions and unhealthy obsession. Angels can be found in many religions and not all are the light bringers which many pray to now. Rather, they are often avenging beings and this is the premise of “Angel Of Old.” There is a beautiful mix of synths and guitar, that play and intertwine throughout the track, all set to a spritely dance rhythm.

The last track is “Ignoring The Serpent,” slower and far more introspective. The serpent is the metaphor for evil and the premise is that no matter what happens to a person, we can hold onto that which makes us a decent human. The guitar sprinkles this lament with light while the synths and vocals are the grave warning of the loss of this humanity.

Who Saw Her Die? delves into the synth based sound of the 80s and marry it to the far more modern darkwave drone with sparkling guitar work. It really works for them, as they write about the human psyche, the paranormal and how they feed into each other. Don’t be ignoring this serpent, because the bite is quite intoxicating.

Ignoring the Serpent | Who Saw Her Die? (bandcamp.com)

https://www.facebook.com/whosawherdie

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Natural Darkness is the new album offering from German born, London based Madil Hardis, with twelve original tracks and six remixes, meaning not only is there quality, but you are getting quantity too!. Hardis is known for her gloriously angelic vocals, married with very emotive musical scores that she has created.

The first cab off the rank is “Absence,” settings the tone for the album. Crystal like shards of life experience and poignant, filled with longing that is heart felt. “Crucifixus” has those deeply religious tones of devout exultation given by angels to the heavens in the form of vocals. The track “To The Heart” floats with an internal rhythm and the ever-present piano, caressed by the synths, as if trying to bring comfort, all the while Hardis‘ vocals soar above. Just one of the songs that showcase her talents.

One of the shortest numbers is also, for me, one of the most sublime. This is “Disintegration,” and it is one of those songs that can just cast you adrift on a forlorn sea. The title track, “Natural Darkness,” has a rather preternatural echoing air, haunting and ethereal, as if yesterdays spectres are waiting at the vale.

The remixes are done by the likes of Ashbury Heights, Vortex Four, Wandering Stars, Bérèche You, and Electro Spectra. There is a version of “Natural Darkness” that isn’t really a remix but rather features the cello talents of Michael Hyman, which just creates a feeling of welling beauty and haunting desperation. The others range from modern, through to experimental electronica, giving you new and intriguing ways of perceiving each track.

That is just a taste of Natural Darkness, from a lady with an abundance of natural talent. Madil Hardis carefully entwines classical tendrils with electronic ones, weaving music that is otherworldly and, at the same time, grabs your heart strings.

Natural Darkness | Madil Hardis (bandcamp.com)

https://facebook.com/madilhardis

http://madilhardis.com/

https://www.instagram.com/madilhardis/

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In the early 90s, we were experiencing the second wave of goth, and one band to grab our attention was the French group Corpus Delicti, with the album Sylphes, instantly becoming a classic. After five years Corpus Delicti disbanded, and now, twenty eight years later, they are finally back with the single “Chaos,” which has William Faith (Faith & The Muse, Shadow Project) in the role of producer.

Just the vocals alone make you know that this is Corpus Delicti, as Sebastian’s singing style has not really changed. Serpentine guitar coils around your senses and the bass guitar is truly gorgeous. The chorus sends shivers down my spine with the breath taking soaring quality, that becomes almost attacking in its veracity, and the synths build the underlaying tension.

They are no longer those youngsters, but that has been replaced by a maturity and a conviction to the music. Everything about “Chaos” screams that this is the same band even down to those guitar flourishes, and I am transported back in time to when I picked up a purple covered CD, with a black and white art piece, discovering songs that became a part of who I am today. Oh how I have missed you Corpus Delicti, for now you have released the “Chaos” and we want more…..

Chaos | Corpus Delicti (bandcamp.com)

https://www.facebook.com/cdelicti/

https://corpusdelicti0.wixsite.com/band

https://www.instagram.com/corpusdelictimusic/

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It is always lovely to hear the guitar artistry of Karl Morten Dahl, aka Antipole, and he has joined forces with German based Deus Ex Lumina, the darkwave project of Gonzalo Schwindt, for the single “Destroy.”

Dahl’s guitar is ghostly and ephemeral, a presence in the background and melding into synths which glimmer star like from the murky memories that are uttered on the lips of Schwindt. The vocals weighted, sonorously deep and smooth as liquid black velvet.

It is undeniable that there is an 80s electronic, almost coldwave electronics sound to “Destroy.” There is a gentle fragility within the music though the lyrics more than hint to some sort of violence. “Destroy” is a beautiful act of dancefloor tragedy by Deus Ex Lumina & Antipole.

Destroy | Deus Ex Lumina & Antipole | Deus Ex Lumina (bandcamp.com)

https://www.facebook.com/deusxlumina/

https://www.instagram.com/deusexluminaofficial

Music | Antipole (bandcamp.com)

http://www.facebook.com/antipoleband

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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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Hard to believe, but it has been five years since the release of Kill Shelter’s debut album Damage on the label Unknown Pleasures. So, December 1st will see the special limited edition of the reworked album, called Damage (V), where tracks that have the (V) have been re-recorded, whilst the others have been remastered by the man himself, Pete Burns at the Shelter Studio. Anyway, before we get to the album, the single “In Decay (V),” was dropped at the end of October, featuring Antipole and Delphine Coma. You may say, hey….. that was a single off the original Damage, and you are not wrong, however this is one of the (V) tracks and now it also has a video to go with it!

Ashe Ruppe is Delphine Coma and his deep, sonorous vocals seem to almost reverberate into the core of your being, as he brings to bear the desperation and disillusionment of those looking to escape across the waters. The delicate guitar strains are Antipole’s Karl Morten Dahl, and they fall like rivulets of drenching tears. All the while, Burns builds the dark and overbearing atmosphere with his driving bass.

You might wonder what the difference is between the original version and this one. For me, I am going to say that the vocals are more at the fore, that the guitar fills in more space, where as the original felt as if it there were voids to punctuate the music, and this new version is just going to take you for a sonic journey. But, more to the point, maybe you need to listen to both versions of “In Decay” in order to make your own mind up. “In Decay (V)” is just beautifully crafted post-punk, and I for one could not think of anyone better to perform it than Delphine Coma, Antipole and, of course, Kill Shelter.

Damage | Kill Shelter (bandcamp.com)

https://www.facebook.com/killshelterofficial

Music | Antipole (bandcamp.com)

http://www.facebook.com/antipoleband

Music | Delphine Coma (bandcamp.com)

http://www.facebook.com/Delphine.Coma

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Drawing a spotlight onto music that might have gone under your radar is something we relish at Onyx. So, if you haven’t heard the EP Intimacy from France’s Distance H, then we are here to tell you that you might just be missing out. ManuH is a producer and man behind the darkwave/post-punk project and he invites different female vocalists to write the lyrics that they then perform for their track. Intimacy is the debut EP release for Distance H, that came out in January of 2023.

There are two tracks featuring Blue Saigon’s delightful vocalist, Ophelia. The sassy single “Bitch 16” with it’s pealing guitar work, and the dark, dirge like wonder that is the last track “Leaden Skies.” Ophelia goes from oozing seduction, to an emotional outpouring so pure and haunting.

“Waters Of Woe” is another single that features the vocal talents of Marita Volodina. It both surges and spirals down with the guitar, powerful and evocative with Volodina stirring those pools of sadness.

Liset Alea makes up the triumvirate with the ultra smooth ode to lover’s promises “Time To Rush,” that lilts and caresses your ears. The last track is “Twilight” and it is glorious both with it’s female vocals and musically with the effusive shoegaze ephemera.

I have to say that it is rather brilliant concept to collaborate with female vocalists, because not only is there some damn fine singing, but also the lyrics are written by them and are therefor so much more pertinent and poignant, giving the listener a glimpse into fragments of fragility, passion, longing, sadness and a core iron inner strength that runs throughout. ManuH (guitar, synths), is the music mastermind creating swirling, jangly accompaniments, however the icing is the fact that he even has women leading the way on drums and bass, this being Amélie G and Zoé H respectively. There is a lot of reverence in Intimacy, and maybe this is because ManuH, and in turn Distance H listen to the feminine heart.

Intimacy | Distance H (bandcamp.com)

https://www.facebook.com/DistanceH

https://instagram.com/distanceh.music