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Last year we were introduced to the young talented guitarist called Ja’kob, from Norway. Some of this talent comes from his equally skilled father, Karl Morten Dahl, otherwise known as Antipole. July saw the new single “Echoes,” featuring the vocals and lyrics of Portuguese darkwaver, Pedro Code of IAMTHESHADOW fame.

There is a delicate dance of the guitars as they interplay, reverberating and bouncing to the electronic beats, graceful in tone. Speaking of tone, the shivers are multiplied by hearing Code’s deep baritone, almost sliding in under the guitars, and they are deliciously sonorous.

“Echoes” speaks of things that happened in the past, like spectres of past regrets and choices made, that are still felt to this day. I don’t think I have heard anything put out by Antipole that I didn’t like, and “Echoes” is no different. The care and time put into this track can be sensed in your bones. Also there is something timeless about “Echoes” which translate well onto the dancefloor for this vast track from Antipole, Ja’kob and Pedro Code.

Echoes (ft. Pedro Code) | Antipole & Ja’kob | Antipole

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Primitive Romance rose from the ashes of Florida punk outfit The Strait Jackets in 1981, based around the brothers Allen and Lester Esser, with Randall Barnwell, who would move to Massachusetts to continue the path of post-punk music. In 1987 the band folded, but it seems was never truly forgotten about by fans. 2025 has seen the release of the compilation album, The Spirit’s Still There: 1981 – 1986, and this is also a tribute from Allen to his brother Lester, vocalist/guitarist, who passed away in 2024.

Within this album, there are no less that sixteen tracks, and the initial song is also the title track, “The Spirit’s Still Here,” full of that raw, under produced guitar that is part of the ‘sound’ of the post punk era. You can hear the Bauhaus influence, a hint of “Bella Lugosi’s Dead,” and it is a wonderful reminder of a simpler time. “Motions and Pictures” had me at the unique drumming signature at the beginning, and the kind of flare in the guitar that reminds me of The Jam. The English influence is easy to hear.

The energy rippling off “Bound To Happen” is really a joy to behold. The guitar is reminiscent of Hüsker Dü and with that attacking technique, like a finger poking you in the chest, as the track rolls along, never waiting for you to catch up as it on a mission. “Every House Still Standing,” might be a very early track, as it bridges the 70s punk with mod music and interestingly, Lester utters the words ‘the spirit’s still there,’ so I am wondering if this song was inspiration for the title track, or is it a term that kind held a lot of meaning.

This compilation for Primitive Romance, just highlights how much excellent music came out in the 1980s, and though there are fans of the group that would remember seeing them play live or hearing them on college radio, having this music re-released allows people like myself the opportunity to experience their songs, unless going deep diving on YouTube. On The Spirit’s Still There: 1981-1987 they are immortalised as passionate, angry young men, the music ringing in a time of sonic upheaval and Lester’s vocals forever serenading us, even from the other side….. and there it not anything more goth than that.

The Spirit’s Still There: 1981–1986 | Primitive Romance

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Philip Faith (bass, vocals, keyboards, drum programming), Pat Gaudette (bass) and
Michael Rien (keyboards, percussions) are the members behind Quebec project SEXSOMNIA, who will be releasing their newest EP, Forbidden, on the 25th of August. For now though, SEXSOMNIA have dropped a single and video from said EP, which is the Shadow Mix of “Forbidden.”

Marita Volodina is the guest vocalist, and she is bold and sensual. Wavering between singing and spoken word, the eroticism drips from each word and every breathy sighed ah. Nothing is hurried, the rhythms constant and the electronics contain the prohibited, while the bass draws us in. Faith’s voice is the gritty foil in the chorus against Volodina’s.

The video is an expression of what “Forbidden” is for many, full of latex and blindfolded, as all the senses become carnal, delving into the realms of fetish. The sexual taboos of pushing what is not considered normal as the lyrics say ‘Look! but don’t touch, Touch but don’t taste, Taste, but don’t swallow.‘ The remix was done by Faith and I think “Forbidden” is going slow burn on the dancefloor in the most delightful way.

FORBIDDEN EP | SEXSOMNIA

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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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Based in California is the project Pieti, a collaboration between musicians The Vandalorum (all instruments) and Krauhl (vocals and lyrics), where they create darkwave, influenced by dungeon synth. Their latest release is called Wedding Photos, comprised of eight tracks.

The guitar work in “Martyr,” sparkles and flows in a gorgeous way, leaving you mesmerised by the simplistic joy it brings. The vocals definitely remind me of Interpol’s Paul Banks both in tone and pace, which are propelled by the lovely deep bass. The synths break through and there is something about this track that grabs your attention completely. Love can cause a person to do many things in order to gain for themselves “Eternal Bliss.” Again there is that great post-punk styled bass and the earnest vocals of Krauhl, as the song keeps the foot tapping along.

Another stand out track is “Reservation,” and it is a myriad of ideas and emotions. The lyrics, ‘Red leather, black tie‘ give the illusion of sexual temptation or tension, and within it, a lamentation that tugs at your heart. The luscious “Clever Disarray” is far more laid back and sinuous affair, that starts off with a recording of a woman, which is apparently how the females in a jail were communicating with each other, that belonged to The Vandal’s grandmother. The vocals and synths convey a defiance and sadness, plus that guitar has an almost Mediterranean feel.

The album was recorded between 2023 and 2025, and seems to draw from life and family, whether this is blood relations or the families we create, hence the title Wedding Photos. The music itself is heavily rooted in post-punk and darkwave, with the rhythm held together by the bass and drums, while the guitar is just what makes it all perfect, equally important as the vocals in creating the atmosphere. The judicious use of synth just lends to the texture of each track. Pieti have dropped us a gem in Wedding Photos.

Wedding Photos | Pieti

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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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Toronto based Jay Draper (The Scarlet Fever) has released the album, spookily titled Dollhouse, as Jay Draper & the Subterraneans. Draper has been joined by guest musicians, Cat Samuels (L’autre Dame/The Scarlet Fever), Ursule Marion (SU), Chris Jensen (Poor Violet), Sinéad Rua (Animal Party), Francesca Copelli (Attaloom) and Chris Woodacre (The Scarlet Fever).

One of the jewels of this album is the single “Self Control,” a cover of the 80s hit, best remembered being sung by the late Laura Branigan, though originally it was released by Italian Raf. Draper has slowed down the track, and due to its inherently dark undertones, this works so well, with the incorporation of electronics giving the song the feel of futility, and indeed “Self Control” was used in the 2024 horror-mystery movie MaXXXine. Try not to be caught up in the powerfully emotional swirl of “Just A Dream,” that grabs at the heart strings.

In this vein, you can enjoy the sinister, yet delightful, creeping terror that is “A Death in the Dollhouse.” The post-punk jangle of the guitar and Draper’s ringing clear tones are pure joy, evoking memories of The Mission or Play Dead. I really cannot emphasis how delightful it is to hear the charming guitar work that echoes back to the 80s, which is perfectly showcased in the track “Only Hope,” that holds your attention as Samuel’s vocals entwine with Draper’s in the chorus and sweep you away on a wave of euphoria.

Dollhouse is just this poetic balance of dark romance and stark realism, mixed with great tunes. Filled with lovingly crafted songs, there are great strains of guitar, finding perfect resonance with the synths and rhythms. Jay Draper & the Subterraneans invite you into the gothic dream of the perfect Dollhouse.

Dollhouse | Jay Draper & the Subterraneans | Jay Draper & The Subterraneans

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Now more than ever, we need to highlight those in the arts that not only lead the way, but also represent often harassed minorities. US gothic industrial project, Woundlicker is a trans female project, consisting of performances from Melora Cayce, Marya Alvarado and Primrose, with their latest album being “Haunted World of Mirrors.” Cayce told me she has too many fishnet, but really, no one can ever have too many lovely fishnets. Tre sexy!

The title track holds hints to the influences of Woundlicker, such as early Nine Inch Nails and the mighty Skinny Puppy, especially with the great drumming and the ferocious way the band attack the track.mHInts of trap and gothic impending gothic doom inhabit the echo chamber of “A Strange Crow.” Heavy bass and eerie church style organ, are heightened by repeated chorus lyrics, which de-evolves into a frantic snarling vocal exorcism attempt.

“Autumn Funeral Part 1” is an unbridled release of pent up anger and pain, directed towards a parent that cannot accept who they are. It is unapologetically raw in its violence, expressing mental torment as the metal guitar and industrial electronics trip over each other in their rush, yet Part 2 of the same track is a much more trippy event in finding or creating a family. There is Part 3 of “Autumn Funeral” which, for me, signifies the disparity between wanting the acceptance of blood ties, and knowing that those people will go to the grave without sharing in the highs and lows of an adult child’s life.

The album is ten songs long, full of honesty and introspection, questioning life and love while looking for ways to heal. It is dark and heavy going at times, mixing industrial noise, succulent gothic synths and liberal helpings of grinding metal, as we experience everything through the many reflections of Woundlicker. Woundlicker is watching through the “Haunted World Of Mirrors.”

Haunted World Of Mirrors | Woundlicker