by on

When you mention a video with floating Margret Thatcher heads in it… well, that just piques my curiosity. Bite Marcus is an independent musician from Manchester, and his single “Society! (There’s No Such Thing),” is the third, just before the release of the debut album, Amalgamation.

There is something delicate about the electronics and programmed rhythms in “Society! (There’s No Such Thing),” which leaves you focused on the smoothly executed vocals. An exercise at dissecting the current British politics, where the ruling party seem to have forgotten the people they are meant to be working for. 

The bonus track is a demo called “G O D ! (Is A They/Them),” a clever hybrid of two other tracks, ie Lady GaGa’s “G.U.Y” and Whitey’s “G.I.R.L.” It is subtle and wonderfully dark, and for a demo it feels very complete.

This is something that is very close to my heart…. music with something to say.  The commentary condemns the Tories for their seeking status and making money out of those who need the most protection. “Society! (There’s No Such Thing),” is a call to notice the injustice and recognise the treachery, served to you via a post-punk track that hits all the sweet spots.  All there is left to say is Bite Marcus before Marcus bites you. 

https://bitemarcus.bandcamp.com/album/society-theres-no-such-thing

http://instagram.com/bite_marcus

by on

Maybe our existence is really in the matrix and we are an illusion in the memory banks of a computer, and just maybe those awful relationships and people could be reduced to “JUNK FILE” fodder. Italian band, HORROR FOR BREAKFAST are Lily B. and Louis M., who have been creating music together under this moniker since 2023, and “JUNK FILE” is their second single.

The sounds of pouring rain and winds, brings forth the images of a bleak and grey day, compounded by the initial lone chimes. In creeps the synths, which take on the tune, building the anticipation, especially when the guitar joins in. The vocals beckon you to your doom by deletion because you don’t fit the normal programme.

It is kind of like toned down versions of Lacuna Coil meets Garbage, a catchy and sexy track that could have people swaying on the dance floor. So if alt+control+delete isn’t working for you, then you can hit “JUNK FILE” by HORROR FOR BREAKFAST.

JUNK FILE | HORROR FOR BREAKFAST (bandcamp.com)

http://www.facebook.com/horrorbreakfast

http://www.instagram.com/horrorbreakfast

JUNK FILE by HORROR FOR BREAKFAST (soundcloud.com)

by on

It is probably fitting that the birth of a gothic track starts with a nightmare, and so this is how the Lunar Paths‘ track “Halo,” came into being. Drummer Kevin Hunter awoke from his sleep and proceeded to record the rhythm section before handing it onto his musical partner in crime, Diane Dubois, to add the extra magic.

The drum lines that the track are based on, are at the fore, with Dubois bringing to life this phantasm with the disturbing echoing synths and her breathy vocals haunting the very air, thick with disquiet. A song about those friends who are only there when they need something from you and are in the habit of asking until you bleed dry.

I have said this before, but Dubois‘ vocals are eerily reminiscent of Siouxsie Sioux and the experimental quality often leave me feeling that this is what The Creatures could have sounded like if they had pursued that creative well. Hunter’s rhythms are the foundation and beautifully move the track along. Lunar Paths might just be dark angels, especially with a perfect track like “Halo.”

Halo | Lunar Paths (bandcamp.com)

https://www.facebook.com/LunarPathsMusic

https://www.lunarpaths.com

https://www.instagram.com/lunar.paths

by on

January 25th saw the drop of the new single, “Impetus,” by Portland, Oregon trio Ceremony Shadows. Timo (synths/programming), Anastasia (vocals), and Jakub (vocals) describe their sound as ritual darkwave and the mastering engineered by Adam Stilson.

The first chiming notes, instantly had my attention, as it reminded me a lot of The Danse Society’s “Heaven Is Waiting,” thought this is never a bad thing, and the seductive female vocals curl in, followed by the deeper tones of the second vocalist, like the duality of darkness and light.

It is a sensual slow burn that gets under your skin. You can also go check out the two remixes, a club mix by Stilson and another by vyger, for this track, and “Impetus” is a taste of the soon to be unleashed new album for those craving more dark electro goodness that is Ceremony Shadows.

Impetus | Ceremony Shadows (bandcamp.com)

https://www.facebook.com/ceremonyshadows

https://www.ceremonyshadows.com/

http://www.instagram.com/ceremonyshadows

by on

Leeds goth rock band, Zeitgeist Zero, released their debut self titled album back in 2005, and since then have dropped albums very regularly. 2023 brought forth the current offering of Meddling With The Forces for this trio on the label Bat-Core. Mixing was conducted by Corin Zero and Steven Whitfield (The Cure), while the mastering is by Tim Hay at Autumn Giant Mastering and the whole shebang recorded at Inner Sanctum Studios.

Initial track, “Go To Hell” sets up the mystical stage, and what you are in for with Zeitgeist Zero. It is a mixture of swirling darkwave electronics, with powerful female vocals and a heavy dose of dance rhythms. With hints of Inkubus Sukkubus, it is time to “Set The Monster Free” with dashes of grinding guitar and sparkling synths, before we are faced with the far more rock heavy “Satanic Sex Witch,” that echoes and reverberates as she stalks you with a very pleasant ending. If a sex witch is your undoing, then at least you can stay in touch with a “Séance,” which might be more fun than using a mobile phone and is a spooky cute proposition from the band. None of this is possible however, without tapping into one’s “Psyche.” This is a much slower track, revelling between the sheets of ether world, floating through.

There is something quite delightful in the slightly chaotic disjointedness of “Night People,” as it is almost teeters on industrial ground both musically and for repressed aggression. Those children of the night is what we are all about. Continuing on the harsher side of electronics, the beginning of “Scream” greets your ears with grating noise, before rocking you with the outbursts of guitar and lulls of anticipation. The single “Toxic Twist” is designed to whip you up with its punk attitude and play between synths and guitar, about a relationship with a less than desirable toxic human. “Plastic Diamonds” look flashy but are worth nothing and the same can be said for people who act like fake jewels, where not everything that glitters is worthy, unlike this song. Final track is the lower, slower and heavier “The Unwanted One,” that smacks slightly of Concrete Blonde.

Zeitgeist Zero might be Meddling With The Forces, but you know this is not the first time they have travelled this gothic road. They are accomplished musicians with a back catalogue that I would highly suggest you check out. The album is full of ghoulish delights, whether they be musical textures or supernatural subjects. Witches, monsters and goths…oh my.

Meddling With The Forces | ZEITGEIST ZERO (bandcamp.com)

http://www.facebook.com/zeitgeistzero

http://www.zeitgeistzero.com/

https://www.instagram.com/officialzeitgeistzero/

by on

1990 was the year the iconic album, The Good Son, was released by Nick Cave and the Bad Seeds. It spawned several singles, which included the slow burn wonder that was “The Ship Song.” 2023, and Lunar Paths has taken this classic track and given it their experimental, electronic sheen.

Walking in Cave’s deep, sonorous vocal footprints is no easy task, but female lead singer, Diane Dubois, pulls it off with great aplomb. The synths in the background are a constant, swelling and dropping, voluptuous in their role and the live drums of Kevin Hunter are an excellent accompaniment.

“The Ship Song” has always been a rich track, which is why it has been covered by quite a few bands…. mellow and smooth with an incandescent dark beauty that has been brought to the fore in this latest version by Lunar Paths.

https://music.apple.com/kr/artist/lunar-paths/1652044158?l=en-GB

https://www.boomplay.com/albums/80104620

by on

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/

by on

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

by on

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/

by on

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