Some bands are pivotally important to certain scenes and for myself, Red Lorry, Yellow Lorry (The Lorries) is definitely one of those bands. Leeds was a hotbed of post-punk acts which included the likes of Sister Of Mercy, The March Violets and in 1981, The Lorries. Though they have never claimed the mantel of goth, they are well beloved by the scene and highly influential. Between ’81 and ’92, The Lorries released five studio albums with Chris Reed (lead singer) and David “Wolfie” Wolfenden (guitar) as the longest serving members, Reed being a founding member and lead songwriter with Wolfie as his co-writer.

RED LORRY, YELLOW LORRY

In 1992, the band decided to call it a day and did one last tour which according to some, was the best The Lorries had ever played. Their show at Batschkapp in Frankfurt, was recorded from the mixing desk but remained unreleased with the band. In 2015, when a very limited amount of CDs were sold at two exclusive concerts, they contained four rare studio recorded tracks. Fans have tried to track these down and there have been incomplete bootlegs of the live show, so with the consent of all the band members, GENERATE has been created for all fans, released on November the 1st, 2021.

For those who know and love Red Lorry, Yellow Lorry, this is going to be a walk down memory lane to a time when music was defining us as a sub genre and music was an escape from the worries of the world. Those that that may be unfamiliar, these guys helped define the genre that is post-punk, from the deep bass to the distinctive guitar jangles to the serious vocal tones.

There are all up twenty-three tracks on this album and I don’t think I want to pull them apart but rather invite you to enjoy such tracks as “Talk About The Weather” which is possibly their most famous track, strained with the insistent short guitar strokes while Reed sings about talking to someone who wants to small talk while he is soaked to the skin. Or “Monkeys On Juice” with those warm, undulating guitars, the gunfire drums and deep resounding vocals.

The quality of the recording is really brilliant and in all honesty, this album is so worth listening to. Yes, there is a little nostalgia but the music is still fresh and doesn’t feel like it has aged. So load up on some Lorries because this is something magical.

https://redlorryyellowlorry.bandcamp.com/releases

https://www.facebook.com/RedLorryYellowLorryOfficial/?ti=as

With the imminent release of their latest album, Horses In The Abbatoir on Freakwave Records, Shawn Tucker and Sean-Patrick Nolan from gothic/post-punk band TRAITRS, spoke to us about the album, friendship and the dark art of music.

Welcome to the rabbit hole! Having listened to the new album, Horses In The Abbatoir, I can say it stirs memories of another era, especially the around the time of the releases of The Cure’s Pornography or the Cocteau Twins Sunburst and Snowblind which is no mean feat as they are iconic albums. Do you think the events of 2020/21 have impacted on your sound for this album and if so how?

Nolan: I wouldn’t necessarily say the pandemic and events of the last 18 months impacted the sound of this album. Only in the sense that it motivated us to write the darkest album we possibly could to reflect these strange and horrible times. A lot of the songs on this record are about isolation, depression, paranoia, death, the passing of time and the meaninglessness of existence. If that doesn’t remind you of the events of 2020/21, I don’t know what will. Thematically, this is a very personal record for us both, but there is definitely overlap between that and where the world is at right now. We’re not a happy-go-lucky band, so we revel in the misery and neuroses of the modern age. It’s great apocalyptic fodder for current darkwave bands in the same way that the punk and hardcore bands in the 80’s were reacting to the Reagan era and Thatcherism. The album’s not about the pandemic or Trump or anything specific to 2020/21, but this record absolutely is the product of two people observing and struggling to survive in this depressing, anxiety-ridden age.

SHAWN TUCKER & SEAN-PATRICK NOLAN – TRAITRS


How do you feel your sound has changed since your first album, Rite And Ritual in 2017?

Tucker: I’d say the core elements of our sound on Rites And Ritual are all still there, but our songwriting and production has vastly improved. The post-punk and goth framework remains in tact, but we’re adding new elements and twists to our sound to further establish our own identity. The electronic and more cinematic parts of our sound have always been there, we’re just better at using them more effectively and prominently in our songs now. This is our most cohesive record front to back. We tried to have each song stand on its own individually as well as play a crucial role in the lyrical and musical narrative of the whole album. That was a big goal we set for ourselves: to write an album that’s as immersive as something Dead Can Dance, The Cure or Cocteau Twins would put out.

Nolan: I totally agree. James Lindsay from our old label Pleasence Records always used to say Rites And Ritual was our punk record and I think he’s totally right. It’s very raw and imperfect in some ways which is what I think people like about it. I’m proud of the album but we’ve changed so much as people and artists since then, it would be impossible to do it again. And we have no interest in doing it again. Formulas and repeating ideas contradict the reason why we started playing music in the first place. In that sense, Horses In The Abattoir is the next evolutionary step in our sound. Like Shawn says, we’re building off of and refining the ideas we started with on day one. We’re not going to start making trap or gabba goth all of a sudden, but our sound is definitely changing and evolving the more we write and record. The music and aesthetic will always be dark and macabre, but there’s so much room to experiment and play around with these sounds and ideas. Personally speaking, that’s the stuff that really engages me creatively.


You both have been friends for a long time before you started TRAITRS in 2015, so are there advantages and disadvantages to this sort of relationship in a band?

Tucker: Honestly, it’s pretty much all positive. There’s a trust and honesty and openness we share after being friends for this long. It makes it easy to create and share ideas with one another. Stressful things like telling someone something they’re playing could be better, or living together while on tour are that much easier since we know each other so well and get along as well as we do. Rarely do we ever argue, and even if we do disagree, we know it’s coming from a genuine place. There’s no ego involved or power tripping. We’re very similar in some ways and drastically different in others, but together we both balance each other out personally and creatively. TRAITRS wouldn’t be possible if you removed either one of us.

Nolan: Yeah the biggest thing is there are never any hurt feelings. The honesty and open communication really makes all decision making so much easier. At this point we’re more like brothers than band members even.


You describe your style as art post-punk. Many of the original post-punk/goth bands also met in art school, such as Bauhaus, and it was an outlet to express themselves both musically but also visually. Is this how it is for you and how do you feel your art influences your music or vice versa?

Nolan: Absolutely! I love when bands can bring in influences from different artistic backgrounds. The musical and art-based influences are intrinsically linked for us and they have been since the very beginning. We discuss the art direction in just as much detail as we do the music, sound and lyrics. The visual component of what we do has always been a huge focal point for us. From album artwork to merch to our live visuals, we see it as a supplemental outlet for us to further expand on the ideas and concepts we write about. Even more so now since we started writing and directing our own music videos, starting with “Magdalene” earlier this year. Shawn is a very gifted visual artist and designer, so it’s been a pleasure to see him apply his eye to directing our videos. It’s a natural extension of what we started years ago and I think the connection to visual art and film will become more prominent the further along we go.


The videos you have created for your singles have been visually stunning with a macabre darkness sewn through them. How much input did you have making these?

Tucker: 100% our input. We do all of it ourselves and our small crew. When the label got down to talks with us as far as videos and singles, we were a bit concerned because they wanted 4 music videos. I had my eye on some very specific people for the projects but when it fell through, Nolan came up with the idea that maybe I put my film background to use and we start doing it all ourselves. Lots of trial and error, but we just started figuring out what it would take to pull that off. The best part of controlling the video concepts and vision is I can get what I feel is the closest representation of exactly who we are as a band and what I want the world of TRAITRS to be. Basically I wanted to direct art house horror films and that’s what I did with the videos. I’m a huge fan of horror/art house films especially the New French Extremity films. From shooting into the descents of hell called nothing, to a real ghost town house hidden away from the world, to escaping the occult offerings in the woods and a hungry possession taking over the mind in the cold dark city streets. Each video allowed all of you to take a deeper look inside our world.


We all have bands/individuals that influence us in our future tastes in music when we were younger. Who were those influences and who do you now find yourself listening to?

Tucker: I still listen to many of the same artist as I did when I was younger: The Smiths, A-ha, The Cure, The Smashing Pumpkins, The/Southern/Death/ Cult,  Opposition, Big Country, The Chameleons, Pixies, Samhain, The Police, Fugazi, Jawbox, Duran Duran, Tears for Fears, No Trend, Bauhaus, Tones on Tail, Naked Eyes. Currently Newer listens: JJ72, Interpol, Placebo, The Joy Formidable, Autechre, White Lies, Editors, Eagulls, The Twilight Sad, Blonde Redhead, Quicksand

Nolan: A lot of fantastic records have come out this year! Old Country New Road, Lingua Ignota, Emma Ruth Rundle, The Armed, Spirit Of The Beehive, Grouper, Parquet Courts to name a few. Our fellow Freakwavers Creux Lies put out a great record last month. Local Toronto stuff like Nailbiter, Breeze and Odonis Odonis has really been blowing me away recently. This city is rich with very talented artists. I loved metal, punk and industrial music as a teenager. I was born in the late 80s, so it was the heavier bands I grew up loving like Deftones, Nine Inch Nails and System Of A Down who actually introduced me to the post-punk and new wave bands that inspire me to this day. Bands like New Order, The Smiths, The Cure, Tears For Fears, Depeche Mode, Kate Bush, Can, Bauhaus, Jesus And The Mary Chain, Echo and the Bunnymen, plus great electronic bands like Underworld, Aphex Twin, Massive Attack and Portishead. The heavier bands would always mention new wave, goth, shoegaze and electronic artists as influences and I’d go check them out. Kind of like a beta version of the Spotify algorithm. 

Thank you so much for your time and this new album is a wonderful addition to the TRAITRS discography so congratulations. What is planned for the future of TRAITRS?

Nolan: Thanks very much for the kind words for the taking the time to talk to us. Horses In The Abattoir comes out on November 19 on all streaming platforms and cd. Unfortunately due to vinyl manufacturing delays, the LP’s won’t be out until December. Aside from that, with all of the Covid restrictions slowly easing up, we’re finally booking tour dates for 2022 all across the world. So keep an eye out on our social media platforms to stay on top of where we’ll be next year. We have many new cities and countries we want to visit. Words can’t express how much we have missed our fans and live shows during this whole time. These first tours back will be emotional love-fests to say the very least. Come out and say hello to the Shauns.

https://traitrs.bandcamp.com/album/horses-in-the-abattoir

TRAITRS | Facebook

Anyone who is familiar with Alexander Donat’s project, Vlimmer, might be be surprised to find that after eighteen EPs releases (yes you read right, 18!!!) , he has unleashed his debut album, Nebenkörper. The literal translation of Nebenkörper is secondary body or auxiliary body and maybe a part of this title refers to the fact that this is a full length album which was released on the 24th of September, 2021.

The dreamy, instrumental, “Farbenmüde” is the prequel to the album and in no way prepares you for the onslaught that is the angst filled “Fensteraus” and it is a bit like a Faustian epic in sensory overload. It has a wicked life of its own. Blasts of electronic beats mixed with tribal rhythms is “Mutem“. A sublime mix of metal shoegaze with industrial. There is a constant drone behind the “Restfall” as Donat’s vocals tether you to this reality and the guitars jangle and wail while it climaxes in a maelstrom. We have the single “Meter” which actually reminds me of Oomph! a little, if they had been more post-punk and it definitely deserved to be a single. “Minusgesicht” is full of foreboding atmosphere, a pall of darkness that is trying to drag everything into it and a sense of falling or fading away.

ALEXANDER DONAT – VLIMMER

I.P.A.” is truly a post-punk hybrid beast. Dark and brooding with just the right amount of noise to mix with the discordant voices while “Ad Astra” is like a wild ride of ecstasy and screaming insanity that bears you along, occasionally drops you, just you pick you up for the next part of the ride. The insistent “Wangendruck” is absolutely a gothic/EBM hybrid of beauty. It gloriously powers on with bursts of beats. There is a subtle change with “Kartenwarten“, slowing down things, a mellow shoegaze vibe before we vere off into noise inspired “Kron“. It is crunchy and sounds rather unhinged, though in a good way, as it ramps up. The last song on the album is “Nebenbei“. It is the wind down, giving a sense of introspectiveness and grief in a way, possibly full of longing. It is a lovely way to end.

Vlimmer is on Blackjack Illuminist Records and had the much-in-demand, Pete Burns of Kill Shelter handling the mastering. As a native English speaker, I am unable to tell you what the German lyrics are about and it is far more about the impression it gives and in the end, this is exactly what music is supposed to do. Expression in any language that still resonates with those who listen. Nebenkörper for the most part is a swirling amalgamation of gothic darkwave with shoegaze and a big helping of industrial. It is raw and at times won’t let you stop hearing new and unique things in the musical aether. At times you can almost swear you can hear a choir in the mix backing up Donat but this is an illusion and a rather masterful one. After eighteen EPs, Vlimmer have unleashed a beast of an album, so it was worth the wait.

https://blackjackilluministrecords.bandcamp.com/album/nebenk-rper

https://www.facebook.com/VlimmerMusic

https://www.facebook.com/Blackjack.Illuminist/

My first experience of October Noir, is via this new album, Fate, Wine And Wisteria, that was released on September the 22nd. It is rather confronting at first to think of a band actively trying to take up where Type O Negative sadly could not due to the untimely death of lead singer Pete Steele, especially when the band themselves could not find the heart to continue without him and followed with other projects such as A Pale Horse Called Death.

OCTOBER NOIR

Down in Pensacola, Florida, the weather is warm and the wisteria grows wild in the lost places, so to the album has thirteen tracks, though to be fair the tracks “Fate“, “Wine” and “Wisteria” are kind bridging instrumental pieces and maybe a minute long at the most. “Windows” is the first track with vocals and the single off the album. Fairly taken aback how much this actually sounds like a Type O number, There is the longing in the deep vocals and the long guitar riffs that drift away to then crash back in a revisit.

This is indeed a strange experience. It pays to read the lyrics at times as well. “Effigy” almost seems to be based on one of those teenage horror movies where they go down to the lake and the main character is lured away with the promise of carnal delights, only to find all their friends have been murdered and being Halloween, did they do it?! Equal parts defeat and howling anger in the Greek inspired “Persephone” and “Wanderlust” really reminds me of the iconic “Everything Dies” in places.

Really liked “Sistinas” with the moody harpsichord and the extremely low vocal range that was being plumbed. Anyone that ever listened to Type O Negative, would know that often Steele would firmly have his tongue placed in cheek and liked to create songs about forbidden encounters or the nitty gritty of sexual lust and October Noir have followed post haste in their footsteps with the tracks “Reverence (Make You Love)” and “Proverbs“. Whatever the theme, there is always that underlying darkness that humans are fallible and prone to causing great pain and misery as well as picking others up from the deepest pits of despair in this album.

It was the first time hearing their sound which floored me a little to hear a band that sounded so like Type O Negative, from the bass lines, to the guitar chords and unmissably the vocals so hauntingly like Pete Steele’s. Now some will say they are copy artists and that often happens a lot, ie all the bands that want to be Sisters Of Mercy, though unfortunately they are flawed and normally unable to do this well. October Noir don’t hide the fact they are standing in Type O Negative’s shadow but rather embrace the fact and actually create new music I think that even Steele would have been impressed by.

https://octobernoir.bandcamp.com/album/fate-wine-wisteria

October Noir | Facebook

Slated to be the second track on the soon to be released full length album, Horses In The Abbatoir, TRAITRS‘ latest single, “Mouth Poisons” is yet another teaser with yet another very slick, very professional video of an eerily macabre nature. The single was released on September the 17th, 2021 on Freakwave Records by the Toronto duo, Sean Patrick Nolan and Shawn Tucker.

TRAITRS

The core sketch of this song was written late at night at a very good friend’s place in Frankfurt, Germany. ‘Mouth Poisons’ is an extremely personal song and lyrically I set myself up as the main target. It carries an air of ‘come see what’s going inside of me that wants to burn down everything in sight’. Definitely my favourite single we have ever released to date,” says Shawn Tucker

“‘Mouth Poisons’ was initially supposed to be a fast, angular punk track and it remained in this form for several months until Shawn wrote the bass guitar part and completely changed the way I heard the song. His melodic bass line brought out a sadness and vulnerability in the track that I didn’t know was there. All of a sudden this frantic punk song sounded more like The Smiths or New Order, so I completely rewrote my synth part to tease out those elements even more. The break before the outro is one of my favourite parts on the album,” says Sean-Patrick Nolan

Nolan was not joking about sounding like New Order, though for my money, I would have to say The Cure has to have been a big influence. The vocals are like listening to Robert Smith himself, mournfully gliding over the top of the insistent guitar while the synths gleefully run rampant in this still rather upbeat piece, in that joyfully manic way. For added extra enjoyment and killer chiller vibes, don’t forget to indulge in the sumptuous video.

https://traitrs.bandcamp.com/

(6) TRAITRS | Facebook

Kimberly Kommeier is the founding member of the band Bow Ever Down, which was formed in 1998 and in 2020, a full length album, Lost In The Woods was released. Now we have the June release for the huge electronic/darkwave album, Let It Burn.

From the get go, the title track, “Let It Burn“, will set the tone for this album. There is an electronic simpleness that adds to the sorrowful and yet defiant storytelling. It is of no longer taking the blows life has handed out, yet proudly showing those scars. For me the standout number is “Cold Machine” which it’s wonderful swirling and tinkling chorus that rises up to proclaim I would give anything to be human because they are the machine. Truly a lovely and yet so mournful sentiment. “Born Into Darkness” continues the dance of damnation.

Silence In Machine aka  Wess Fowler lends his harsh vocals to the songs, “Shed My Skin” and “Not Your Victim“. While the former is a pulsating piece from start to finish, the latter is like waves on the shore as it draw back, then comes crashing in. The common theme though is owning your fate which again can be seen in the track, “Burn You Alive“, and it has some really nice synth transitions. “Burn Them To Ashes“, has a certain, reflective quality and a anger that is almost palpable in the chorus, while “My Last Day” is such a despondent expression of the inability to go on, this is still quite full of great, infectious beats.

The remix for “Cold Machine” is a jewel and Assemblage 23 has really outdone themselves. Miss Suicide from Germany remixed both “Shed My Skin“, giving it a far more aggressive sound and “Glass Doll” which has those synth lines dancing all over it. “Burn You Alive” remix by Replicant RME, takes this song into new territory while the John Ruszin III, whom plays on the album, gives us a version of “Not Your Victim“, and it feels more pensive than the original. The Stahlschlag remix of the title track definitely has teeth, as Sebastian Sünkler is the master of that wonderful crunchy power noise, while the Silence In Machine retake of “Burn Them To Ashes” feels very off kilter, as if the insanity is too much. Continuing in this vein is the forever haunted remix of “Not Your Victim” by Adian Caine with it’s introspective and quiet defiance. The album is completed by the new version of “Glass Doll“.

The prominent concept is the use of the word burn. Fire is not only thought of as dangerous but also as cleansing, to wipe away completely what was. A renewal like a phoenix dying and coming back to life through fire. These are songs about survival and coming from a dark place. Kommeier has a big voice that is quite delightful and garnered a host of talented musicians to remix her tracks, so you should check out Let It Burn by Bow Ever Down.

https://boweverdown.bandcamp.com/album/let-it-burn

https://www.facebook.com/nora.hazeena

https://www.facebook.com/silenceinmachine/

https://www.facebook.com/misssuicideofficial/

https://www.facebook.com/Psiactive1/

https://www.facebook.com/profile.php?id=100044546464584

https://www.facebook.com/STAHLSCHLAG

The Latin American gothic music scene never fails to give us some sparkling musicians. From San José, Costa Rica, Ariel Maniki And The Black Halos are a seasoned darkwave band with several albums under their belts and currently signed to Deepland Records.

August brought us the release of the latest album, Black Light. This is where you are going to get your value for your money. No less than fifteen tracks and there are no remixes from this trio made up of Ariel Maniki (vocals, guitar, synths, bass, programming), Janice Black (synths/keyboards) and Eva Red (bass and vocals).

ARIEL MANIKI AND THE BLACK HALOS

The first guitar lines are reminicent of London After Midnight, on the title track, “Black Light“. There is something just spine tingling about the progression which climbs and swells. “Strangers” is a wonder piece as it feels uplifting and dark at the same time. The guitar riffs will become highly recognisable once you have heard them.

The bassline harkens back to The Cure’s Faith period in the song “Emptiness“. The synth swirls and entwines you. “Sadness” is a bitter-sweet ode to losing a loved one to a depressive melancholy, waiting with them to come back to you. It’s is slower and more delicate yet the chorus soars through the pain.

All the spookiness is with “Oh Milena!“. Is she alive or dead or, perhaps, even the undead?! Cue the dead sexy saxophone from James Perry, which is an interesting juxtaposition to the Hammond organ sounding synth, so prominent in Hammer Horror movies.

Again the spook factor is present in “Mirror“, with creepy laughs and a slightly more manic feel with Caro Campos, not for the last time, joining Maniki on vocal duties. “We Only Have Tonight” is a touching, gothic tribute to a forever love. It is sweet and seductive with the guitars, both acoustic and electric aplenty.

The beginning of “Absence” is misleading. It seems all so quiet but will soon reveal the surging synths that roll into the vocals. Campos‘ voice is angelic as it accents the interludes. Maniki has been to the Robert Smith school of creepy whispers in a song where something is going to drive you insane with the wait. So in a way the torture is “Pain“.

The Pale Horseman” sounds exactly like modern, gothic, western should. That iconic guitar made popular by Ennio Morricone in the spaghetti westerns is there but all prettied with synths and a helping of dark sarsaparilla, if you please bartender. It’s mighty dusty. The guitar work is beautiful in “Sleep” and with the vocals, it is a reminder of The Wake in the early 90s. It really is a lovely throw back and the song is truly a succulent morsel.

Flowers have meanings. “Lilies And Carnations” can be flowers that mean a deeply desired love and they can also represent death of a perfect love and terrible grief. The latter is the premise of this track, the fleeting time lovers have together, which is a complete difference from the more dirge like “Shelter“. Maybe he’s the dark shaman that lives in the woods destined to never leave but in any case this is a far more gritty piece.

Coming to the end, the last two tracks are “Afterthought” and “Cocoon“, with the former being a meandering tribute to the power of being so caught up in love and all else fades away. “Cocoon” is a trippy little piece that plinks away like a child’s music box with ghostly intent.

From the first time I heard Ariel Maniki’s voice, it reminded me of another, then it hit me. The ever youthful Sven Friedrich of Dreadful Shadows/Zeraphine has a very wonderful rich tone and Maniki is scarily and delightfully similar. The album is a velvet tapestry of lush tracks that contain a nice balance of electronic along side more traditional instruments. Full of gothic romance and horror, which for most of us is the same thing, it paints a delicate fog drenched background for the children of the night to fall in love with. Definitely do check this out if your little dark heart beats within Black Light.

https://arielmaniki.bandcamp.com/album/black-light

https://www.facebook.com/ArielManikiMusic/

Post punk duo, The Cold Field, released the album Hollows on August 6th, on the label Cold Transmission Music which is famous for their darkwave retinue. Their debut, Black River, was warmly greeted and so Hollows has been much anticipated by fans.

THE COLD FIELD

The emphasis is very much on the atmosphere which is created by the echoing vocals, the deep bass plus jangle and buzz of guitar. The album is comprised of ten tracks and notably, two are instrumental pieces for the most part. “Ride The Breeze” is the intro to set up the feel whilst, “Floating Above The Wasteland” is filled with gorgeous bass lines and guitar work, whilst the faint ghost like whispers are seemingly unintelligible and beyond deciphering.

“Reaching For Things Things You Cannot Hold” is a great example of the style, with the low echoing vocals, delicate guitar work which is layered in synth. Other stand out tracks are Beauty Expired”, with its rapid pulse and its variance in tone, while “Into The Light” actually does have a slightly more airy feel to the music, a

From the get go, you hear the influence of Joy Division, Lebanon Hanover and Ritual Howls in their music and the common themes in post punk music of isolation, a longing for what is denied and the nature of addiction. There is the ever present spectre of existential dead that pervades all, for this is music that sits on the edge of dusk asking how did this all come to pass.

https://thecoldfield.bandcamp.com/album/hollows

https://www.facebook.com/thecoldfieldadelaide/

https://www.facebook.com/coldtransmissionmusic/

https://www.coldtransmission.com/

https://coldtransmissionmusic.bandcamp.com/artists

If you are old enough to remember the gothic rock revival of the early 90s, you would most definitely remember the English band Nosferatu. The original founder, Vlad Janicek, has been fairly quiet since Nosferatu imploded on tour, though recently reformed as The Nosferatu and also a new band called Vampyrëan. A debut single was released on the 27th of August 2021 called “The Hunger” which heralds a soon to be released album of the same name on the 29th of September.

VLAD JANICEK – VAMPYRËAN

From the first guitar notes, this is definitely a flashback to the goth rock sound of yore. It is rings clear and true, a guitar sound we associate with The Mission’s Wayne Hussey. Janicek has taken on the role of lead vocalist and as the vampire protagonist. We will let the cat out of the bag and say he has the hunger… the hunger for the love of a sexy human victim and their life blood. The piano line wends through adding a delightful and winsome air.

Frilly, costume goths and those who have fond memories of 90s are going to love this. Drama, vampires, velvet, romance and a danceable beat which will more than likely also introduce Janicek to a new set of fans as well. If you have “The Hunger” then you might need some Vampyrëan.

https://vampyrean.bandcamp.com/

https://www.facebook.com/vampyreanofficial/

http://vampyrean.com/

Auger have been going from strength to strength since they hit the scene in the UK in 2017. With three albums under their belts, previously signed to the Dark Tunes label and a dedicated fan base, Kyle Wilson (vocals, keyboard, programming) and Kieran Thornton (guitar, backing vocals) have come a long way. August saw the release in a new single, “Sound Of The Machine” on The Big Chair label.

KIERAN THORNTON & KYLE WILSON – AUGER

The beginning is a little depressing in its ambience though there sparks of electronics that hint at this being a set up for the chorus. The guitar amps up and synths chime in, with the use of vocal distortion. This is the rally, the cry to arms because if it can happen to me it can happen to you. They ask for a rope to pull them out from the dire onslaught of the machine.

It’s a catchy chorus and Wilson has a great voice for it, smooth, deep and even on occasion a bit menacing. The Big Chair label is a new, independent record label created by the lads themselves and this can only be a good thing for dark music scene. This is the “Sound Of The Machine” that is Auger and it can be found on Bandcamp so make sure to have a listen.

https://augerofficial.bandcamp.com/track/sound-of-the-machine

https://www.facebook.com/AugerOfficial

https://thebigchair.co.uk/

https://www.facebook.com/bigchairmusic/