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Portland’s Ceremony Shadows released the single “Future Past Collapse.” in September. This diverse trio, made up of musician/composer Timo Kissel, with vocalists/lyricists Anastasia Darkwater and Jakub Jerzy, and for the single, they are joined by Jana Cushman (Darkswoon) and Annalisa Rose (Glori) vocally.

Jerzy’s vocals are the anchor in the human world, deep and unfazed by the electronics, while the backing singing is so precise and together, it almost seems unreal, as if they could be the computer code, enticing you in with their glossy cadence, All is enhanced by the dreamy synths, which could belong to a much more ‘innocent’ era.

The band has said that “Future Past Collapse” was written about how AI could soon rewrite what it means to be a human, where talent and artistic ability no longer will be required for mass production, leaving us longing for the days of old. Indeed, this track feels like a link between when we were the masters of our tech and the onset of AI controlling what we hear and see, however, for now you can revel in the non artificial intelligence of Ceremony Shadows.

Future Past Collapse | Ceremony Shadows

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Ronny Flissundet and Kristian Liljan dropped their EP Dancing Drone back in June, through their project Rule of Two. Based in the capital of Norway, this duo blend electronics with whatever moody genre takes their fancy and due to being rather prolific, in October they released the single “Cloud Nine.”

There is something classically 80s about the synths that makes you think of groups like Depeche Mode and Erasure. Maybe it is the play of dark notes with the lighter ones, or maybe the graceful vocals that intertwine in delightful harmony

“Cloud Nine” is about taking your life into your own hands. Stop waiting for the right time and permission to live in the moment because in the end, all those moments are fleeting. It is an important message that most of us don’t understand until we reach a certain age. The music is really glorious in the way it soars, with a hint of regret, but more so a joyous refrain of freedom. Also, give Rule of Two’s music video’s a look, reminiscent in style of another Norwegian band, a-ha.

Cloud Nine | Rule Of Two

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NØIR and Silver Walks may not have been heard from recently, but that does not mean that they have not been busy. Athan Maroulis (NØIR, Spahn Ranch, Black Tape For A Blue Girl) and Daniel McCullough (Silver Walks) have collaborated again, recording a cover of “Nothing Stays” by Cyberaktif, and originally released on the Wax Trax! label.

There is a sacred reverence almost for this track. The reflective vocals bear a lament about how everything must change, an acknowledgement of time marching on. Maroulis’ unmistakeable vocals, with Veil’s delicious backing singing are in perfect sync with the electronics, that blink away, filling all the dark spaces, which leaves you nearly breathless in the utter beauty of “Nothing Stays.”

Maroulis laid down the vocals in New York, and the programming in Lancaster PA, by McCullough, also adding backing vocals from Valentina Veil (VV & the Void) recorded in Berlin, mixed in LA by Dan Evans (Die Warzau) and and mastered by Eric Oehler (KLACK) in Madison, WI.

The rest of the EP contains remixes from Luna of S Y Z Y G Y X, David Dutton of genCAB and Oehler of KLACK, with each surprising you with how different all three tracks truly are. NØIR vs Silver Walks’ cover version, eerily still has that Skinny Puppy sound that remind you that Cevin Key and Dwayne Goettel were in Cyberaktif, along with Bill Leeb of Frontline Assembly. This is so close to perfection.

Nothing Stays | NOIR

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Rob Fenn is based in Manchester and since 2024, his project Brutal Pink has been creating dark electronic music and September has seen the release of their third single “Heartache” that features London based German songstress, Madil Hardis.

Bleeding through is the eeriness of a human’s sadness. Hardis‘ vocals echoing and stretched over the droning and looping electronics. The pain is unrelenting, especially when you are unable to let go of it, living this misery everyday and never learning from the experience.

The word that comes to mind is claustrophobic, as “Heartache” envelops your senses, crushing them. Hardis effortlessly draws you into this world with her, a world that Fenn has created, which is cloying and desperate throughout. Brutal Pink and Madil Hardis swing the “Heartache.”

Heartache | Brutal Pink

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Eirene and Paris Alexander reside in the UK, while Bruce Courtney is The Stave Church, hailing from Texas, and they have combined their electronic darkwave talents in order to create the single “Inner Sanctum.”

I don’t think the electronics could sound anymore urgent and determined, the synths swelling with dark waves of growing internal power. Eirene is the angelic voice asking for release into the light, a soul stuck in the shadow of an abusive relationship and finding the voice to announce her freedom. Alexander and Courtney have built a sonically pleasing song with great depth that challenges you to not find yourself dancing along. “Inner Sanctum” is something a bit different from Eirene and Alexander due to the The Stave Church’s influence and really I would love to hear a bit more of this.

Inner Sanctum | Eirene, Paris Alexander, The Stave Church | Paris Alexander

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The label Nerang Records can be found on the Gold Coast in Queensland, with the sub-label, Ronnie’s Records, all run by Christopher Mcivor, who recently debuted under the persona Moody Mcivor. This darkwave project began in 2021 for Mcivor and the end of August saw the release of his second single “Benaiah Fiu.“

The drum machine rattles out it’s constant rhythm, only broken by the wavering and light synths, twinkling just out of reach. Mcivor’s utterances are as controlled as the drum machine, with industrial precision, his vocals a cross between Ian Curtis (Warsaw/Joy Division) and Frank Tovey (Fad Gadget).

One should ask not what is “Benaiah Fiu,” but rather who? Benaiah Fiu was a friend of Mcivor’s and the soon to be released EP, Shadow Frequencies, is not only an ode to the departed, but also equal parts tribute and expression of loss. And there is a profound sense a grief below the surface, for as mechanical as Mcivor can sound, it is like this is all that is keeping everything together, should the surface tension be broken. There is a none too subtle nod to the early 80s post-punk sound and in all honesty, he pulls it off so well. Fly high “Benaiah Fiu.”

NRNGRR001- Moody Mcivor – Shadow Frequencies | Moody Mcivor | Nerang Recordings

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Incirrina are a two piece band from Athens, Greece and signed to the label Cold Transmission Music. The latest single is called “ΚΡΥΦΟ (Hidden)” by the darkwave duo George Katsanos (synthesizers, drum machines, octapad, bass guitar) and Irini Tiniakou (synthesizers, vocals).

The synths ebb and flow with an incantation of gothic sorrow. “ΚΡΥΦΟ (Hidden)” is the embodiment of what should be and yet, still remains obfuscated and incomplete. The vocals of Tiniakou, sung in her native Greek, are so alive and are only matched by the insistent guitar. It builds, a vortex of singing and instruments.

This track just struck me as possibly influenced by 80s Xmal Deutschland, especially with those wonderful yips recalling Anja Huwe’s vocal style. However, this is a far more modern fare with a smooth electronic bearing. Incirrina have brought forth and wonderful darkwave track in “ΚΡΥΦΟ (Hidden).”

ΚΡΥΦΟ (Hidden) | Incirrina

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Chronotape are a relatively new project, that started in Murmansk in Russia in 2024, and since then have relocated to Batumi in neighbouring Georgia. The darkwave duo of Eve (vocals) and Dee (music) have released the new single “Pale Fire.”

There is a lush, black and white video to go with “Pale Fire” and you can hear the influence of The Cure, circa Disintegration era, with those rivulets of guitar and washing synths, from the beginning of the track by Dee. There is an initial shock when you first hear Eve, as you are expecting the lilting tones of a woodland sprite, yet instead there is a deep feminine spoken word, accentuated by her Russian accent, giving a lament of what is no more or now may never be.

Eve reminds me so much of Nico with her unhurried, mostly spoken lyrics, and you should also lend your ear to the cover of Mike Oldfield’s “Moonlight Shadow,” which is the ‘b-side’. It is really startling to listen to a gothed up version and the vocals actually make this even better, with the popping programmed rhythms. Not going to be for everyone, but if you have loved The Velvet Underground and Nico or Anne Clarke, then Chronotape is going to enthral you.

Pale Fire (single) | Chronotape

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Most people know of Ultravox, though many think of Midge Ure, but before “Vienna” and “Dancing with Tears In My Eyes,” there was originally Ultravox!, fronted by the utterly English and completely electrifying John Foxx. Beborn Beton’s Stefan Netschio (vocals) and A State of Flux (synths), have covered the track, “Dislocation,” with Kill Shelter’s Pete Burns contributing guitar.

“This cover was my break from synthpop’s familiar comfort zone – an opportunity to embrace something much heavier and darker, more visceral, a side of me that’s rarely heard.” – Stefan Netschio

The guitar is a low growl, in the bleak menace that is heightened by the warbled and warped synths. Netschio brings an animation to the lyrics that speaks of a modern disconnect to society and still stays true to the whole idea that life will continue on, even when you are not plugged into the system. Burns’ turns in some blistering guitar riffs, searing and screaming, like a beacon to drag your attention back, even while conveying a plumenting feeling of implosion.

“Inspired by the hugely influential work of John Foxx and Conny Plank, we layered analogue synths with studio-driven detail to echo the pioneering spirit of the Systems of Romance period.” – Arc, A State of Flux

“After discussing the approach, I leaned heavily into my Robert Fripp and Adrian Belew influences from that era, using abstract, angular processed guitar riffs as soaring sonic textures to reflect the song’s fractured core.” – Pete Burns, Kill Shelter

“Dislocation” was originally off the third Ultravox album, Systems of Romance, that came out in 1978, and was co-produced with the German legend Conny Plank. It was to be Foxx’s last outing with the band as he forged a solo career, inspiring other synth based new wave artists such as Gary Numan. This new version is far weightier, the music thicker and a much harder edge than the original, This is a song for the modern era, written forty-seven years ago, and lovingly darkened for a new audience. I love John Foxx and I think this is a brilliant cover of “Dislocation” by Stefan Netschio and A State of Flux.

Dislocation | Stefan Netschio and A State of Flux | A State of Flux

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Fascists, regimes and state sponsored genocide and it isn’t even 1939. 2025 is currently in a scary place and it has been mentally draining for most of us that are watching this all going down. Music has been a salvation and politically charged tracks an anathema to throw our ire and rage into. Schkeuditzer Kreuz have released the single “Sirens Of Death” from the new album Swan Grinder that drops at the end of August.

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Beware the dogs of war and if you don’t like harsh rhythms and screaming electronics, only matched by the vociferous bald man, Kieren Hills, then maybe sit this one out. The beats are the rattling of the machine guns and the klaxons herald in the injustice of conflict on huge scales. ‘We have always been at war‘ is the observation, which is carried through in the amazing video, that over the last hundred years the world has seen so much unrest and the cycle is continuing.

For those that say music should not be political, you can renounce any alternative ties you have and then fuck off with the Nazi scum. There is no middle ground and this world needs voices of dissent. Hills is one of those genuine people that feels everything and in true punk style, tells it like it is. Previous Schkeuditzer Kreuz music has been more like blunt force trauma, but this single is more like cold fuelled angst, funnelled into a controlled tsunami… powerful and undeniable in its fury. “Sirens Of Death” is the industrial synth d-beat we need and Schkeuditzer Kreuz delivers.

Swan Grinder | Schkeuditzer Kreuz

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