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Saccharine Underground is the label based in Washington D.C. and run by Jeremy Moore, who, incidentally is the driving force behind avant garde post-punk project, Zabus. Moore (voice, guitars, 6 string bass, strings/synthesis), released the EP Genesis in June, with fellow musicians B.B. Kille (guitars +tracks 3 and 4), Johnny Wielding (drums, 4 string bass +tracks 1-4), Alex Zorn (guitars +tracks 1 and 2) and Akane Shimizu (strings/synth +tracks 1 and 2).

In Icelandic, “Grafhysi Fyrir Alla” means ‘tombstone for everyone‘ and it is also the single off the EP, lush with unsteady echoing, which is unyielding in pouring Moore’s vocals tumbling from the turgid darkness, where lurks the dissonance of synths and guitar. It envelopes you in the forever that is the grave. “Orphalese” is a fictional city, found in the poetry book, The Prophet by Khalil Gibran. There is a dynamism in the music, yet intimately, is speaks of becoming complacent and giving in to whatever comes, instead of holding onto core beliefs. The drums are unrelenting, tapping out the fall into mediocrity, and all the while the the track exudes a taste of richness, especially in the vocals.

Behold the death nell brought forth in “Tearful Symmetries.” The psychedelic plays heavily in this track and this could be the equivalent to The Doors’ “The End,” as Moore is the morose and death inspired Jim Morrison, singing his ode to the inevitable demise of all. A cacophony of noise and sweeping gothic rock lays waste to you in “Golden-rot,” with roiling, powerful and deep vocals, The guitars are the wailing focal point, flooding your senses, overwhelming and full of portent that you are dying inside. The last track is also the title. “Shadow Genesis” is entirely the work of Moore, just him and a guitar, southern style gothic on the way out of town for the last time, unwilling to leave, but the reaper leaves no room for desire or wants.

“Psychopathologies like body dysmorphic disorder, at the extreme, can lead to a path of ruin, if most of your life is spent chasing a ghost—what you believe the world wants you to be. Death doesn’t discriminate. The end is always the same.” – Jeremy Moore

Yes, Shadow Genesis is about the ultimate end, but for myself, it is more pointedly about life. It is about how we could cowl and meet the end whimpering, or choose to make the most of everything and be the best person you can. Gibran wrote The Prophet, and although it speaks of humanities short comings, it more so brings into focus how beautiful life is when we treasure love, life and freedom. Zabus have given us a glimpse into the new album through the EP, which is thought provoking, full of gothic lyrics and eerily wonderful in that dark way.

Shadow Genesis (EP) | Zabus

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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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Some new tracks just seem to hold a lot of nostalgia when you hear them, and the artist fully knows they are deep into that style. From San Antonio, Texas, Eddie Wrevlonne (I have been informed said like Revlon) has a new single out called “Merciful,” and he has a thing about electronic early UK music.

The synths have that very early 80s sound, which I believe was due to the Roland synths, gives a lightness, in direct contrast to Wrevlonne’s deep tones. Not only does he have a baritone depth but a sense of humour that is a witty inclusion about how not all vows are until death do we part. ‘Wouldn’t it be nice, wouldn’t it be merciful, if you told all my friends the entire tale, not just the juicy parts where I go to jail..’ and it is all sung like it is just another normal day.

I am going to say that I was not meant to review this song, but rather the track previous called “I Have Learned,” however I was running late (let us not talk about that! 😀 ). So, you should probably go and check that out as well, for you will not be disappointed. Oh my goodness though, that video with its stop start style animation, and the in love skeletons is just Tim Burton sweet. Wrevlonne has said the general ambiance is a kin to Depeche Mode (Speak & Spell period), but I also hear OMD (Orchestral Movements in the Dark) and maybe the irony of The Smiths. You could be forgiven for mistaking Eddie Wrevlonne for being British and we think “Merciful” is bloody lovely!

▶︎ Merciful | Eddie Wrevlonne

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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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Since the beginning of 2025, the last six months have brought forth feelings of anxiety, bewilderment and sheer disappointment when it comes to US politics. Los Angeles based Johnathan|Christian have released a new single called “Where Do We Go From Here,” and have a couple of fellow dark alt musicians chip in with remixes.

If I didn’t know that these guys were American, I would swear they are from Germany with this track. Possibly it is the deep, nearly spoken vocals, or the danceable rhythms, or maybe even the light styling of the synths.

There is also three remixes which includes a version from Dan Milligan (The Joy Thieves), which makes this track even more like Blutengel than possibly Blutengel, while another has been given the Steven Archer (Stone Burner) treatment which is dramatic and pulls the vocals to the fore. Both are really great takes on the track, and the 125 BPM DJ mix, is an extra bonus, along with a short and dark instrumental.

‘We’ll wait til dawn
We have the right to disagree….‘

These last lines for me hit the hardest. The growing protests against the Trump administration, especially in Los Angeles are proving that the incumbent government want to break the spirit of those that oppose the racism, misogyny and ignoring of constitutional law. As I write this, things seem to be going from bad to worse, and only the American people in the end can tell the despot to get out. It might seem like Johnathan|Christian are asking “Where Do Go From Here,” but I am pretty sure they already know what they want. Educate, agitate and don’t swallow the lies!

Where Do We Go From Here | JOHNATHAN CHRISTIAN

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Karen Righeimer (low bass / vocals) and Ivan Russia (high bass / vocals / drum programming) are the Chicago based, post-punk band BELLHEAD, and April brought with it the release of the latest EP, Threats.

They say good girls go to heaven but bad girls go everywhere, and in “Threats,” the woman is most definitely a bad girl. She takes what she wants and creates trauma without a single thought of regret. The music is sassy and unyielding with Russia telling you about this she devil that is trying to break his heart. “Heart Shape Hole” is about revenge, invoking a vengeful old testament God. The vocals are grim and grimy, but then there is this line with lyrics, that just hits you and I am reminded of The Rolling Stone’s “Shine A Light.”

There is murder afoot and those bass guitars simply reinforce the intent of bringing to an end the misery and pain. Righeimer’s singing about the “Shutters + Slutters” giving the dual tone of raggedness. A modern day song about a cowboy that still is looking for his wild west, being hard riding, hard drinking and a dead shot with a death wish. The music grinds out the dust blown tale of the contemporary gunslinger for “No Dead Horses.” The track “Double Jeopardy” has this amazing stalking feel about it, like it knows it can swan around and not get caught because it is so cool. All the ways you can go and no one will ever know what happened, but it is a cool soundtrack, so what a way to go.

So, there are no love songs but what do you expect from a title like Threats, and it is about the archetypal types you might come across in Vegas…. okay, I have never been to Vegas but this peaked my imagination. The EP also has two remixes with one being the title track, mixed by the mighty Stabbing Westwards and Clubdrugs doing their thing with “Hole Shaped Heart.” BELLHEAD really do kill it with the double bass guitar, where it always gives their music an air of grunginess, being soiled or less than savoury, but then you hear those moments of the high bass that add a touch of lightness. Is it industrial, is it post-punk or gothic rock? That is up to you, but you will enjoy all of BELLHEAD’s Threats.

 Threats | BELLHEAD

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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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