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For many of us, we cannot think of early 80s British post-punk/gothic, without including Leeds band, Red Lorry Yellow Lorry (RLYL). They were an amazing juggernaut, with other key bands such as Sisters of Mercy and The March Violets, giving us dark, guitar driven songs of nihilism from an era that was seeing a great deal of social upheaval, and also a music scene spewing forth a slew of new styles. Something Lorries fans having been holding out for was another studio album. We knew there was one in the wings, but no one, including the band, knew if it was going to see the light of day, having been recorded ten years ago. Not only is that album, Some Kind of Paradise, due for release, there is also the bonus of an EP Driving Black, that is out in December. However, for now, the first single has been dropped, which is also called “Driving Black (Ding’s Remix)“. It has been thirty-three years since the last Red Lorry Yellow Lorry single and all this goodness is being brought to you via COP International.

Chris Reed’s vocals are unmistakable with that biting edge of venom matched with near derision, that brokers no arguments, for it is what it is. The percussion is savage between the drums (Martin Henderson) and bass (Simon Archer), that sets the stage for the driving guitars of Reed and David Wolfenden.

The Ding is Simon ‘Ding’ Archer, music bassist for RLYL as well as being a music producer in his own right. There is a coarseness that grates over your skin with “Driving Black,” as it is with most music in the past from The Lorries. I think this is due to the fact that the song is so real.. as in you feel it in your bones and it resonates in your head, becoming another integral piece of fabric in memories, because it is a great and gritty rock song. It isn’t long now for those of us who have loved Red Lorry Yellow Lorry and I am beyond excited knowing that the journey isn’t quite over yet.

Driving Black | Red Lorry Yellow Lorry (bandcamp.com)

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Kentucky based, Who Saw Her DIe?, have started the spooky season with their latest track “Shadow Man.” Stephen Beasey and Brian Cain make up the Louisville post-punk/darkwave duo.

From the oddly, almost out of place tinny rhythms, to the discordant beginning, there is already an air of foreboding, further played upon with the not quite monotone vocals. They snap out of this with the far more menacing chorus of this very anguished and troubled individual. All is dark and brooding.

I am not going to say this could be about the demented killers in the slasher thrillers, but they don’t sound far off it. Indeed, “The Shadow Man” might be lurking just around that corner waiting and with a soundtrack like this, with its unhinged lyrics and crazed vocals. well it is shaping up to be a pretty good Halloween. What do you expect from a band named after an Italian 70s horror movie? More of this hopefully.

Shadow Man | Who Saw Her Die? (bandcamp.com)

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In 1986, Siouxsie and the Banshees released the album Tinderbox, which yielded the all too catchy single “Cities In Dust.” Now in 2024, Naarm (Melbourne) based Velatine, have covered “Cities In Dust,” featuring for the first time the vocals of Sasha Tyler, along side the ever present lord of darkness himself, Loki Lockwood.

Electronics herald in the recognisable chords to the track, but this is not the same creature as the original. The synths strike a harpsichord tone and the singular guitar has a lot of impact. Tyler’s voice is true and strong. She is not Siouxsie Sioux, for there can only be one of those, however I think she is perfect for this reinterpretation, and her vocals are like honey.

Indeed, the eldritch is strong in this track, and I swear at any moment I am going to hear Vincent Price laughing into the pall of gothic mist covered horror. Why horror? “Cities In Dust” is about the Roman cities of Pompeii and Herculaneum, seemingly wiped from existence by the powerful explosion of the volcano, Mount Vesuvius. The Velatine version is a little sparser… more electronics and maybe this has upped the ante when it comes to the eeriness factor. Out on the Spooky Records label, visit Bandcamp for name your price before you go dancing at the Lares Shrine.

Cities in Dust | Velatine (bandcamp.com)

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“Never Sever” is the new single from Norway’s Mayflower Madame, from the album Insight, which will be released on November the 1st on the label Night Cult Records.

There is a haunted tone to the beginning of “Never Sever,” however this track kicks off with the guitars powering up their shoegaze jangle. The vocals call out a regret of walking from a relationship, acknowledging that you can never go back after years. The electronics are the unsung hero here filling those swelling chorus.

There is a cool groove about this track, and the way it flows and builds between the guitars and vocals, very much reminds me of The Mission (UK). You can feel the ache of loss, however, the crashing drums combined with the bigger sound, leads you to believe that there is also acceptance of what is. Wallow in the beautiful gothic melancholy that is Mayflower Madame’s “Never Sever.”

Never Sever (single) | Mayflower Madame (bandcamp.com)

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Friday the thirteenth was the release date for the single “Stay Strange” by Swedes THEN COMES SILENCE, which features the smoky eyeliner (and vocal chords) of Dusty Gannon, lead singer of US group Video Vision, out on Metropolis Records.

From sliding down the guitar strings, to the jaunty nature that said guitars are being played, you already know you are in for a cracking tune, and the lads do not disappoint. The drums slam away as Alex Svenson and Gannon share the vocal duties, and it is a display of explosive punk styling pure joy. What a fantastic message in the chorus which simply says ‘stay strange and pure of heart‘.

Be still my beating heart, when you hear what could be a throwback to The Specials’ “Ghost Town,” with bonus points for seeing Goth Dad Gannon, getting on down to it in the video. “Stay Strange” has a psychobilly heart, preaching a feel good anthem that it is okay to go against the grain and not be like everyone else, even when the pressure is to be a carbon copy of the general public person. THEN COMES SILENCE’s third album Trickery is all about finding your people or tribe and Dusty Gannon, as Goth Dad, brings positive inclusiveness, so all I have to add is be weird and keep on dancing.

Stay Strange | THEN COMES SILENCE (bandcamp.com)

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Aaargh, I am running late and I need to show you a single from Bologna band The Peripheries! Out on Three Hands Records, “Colder Than Your Smile” came out in the beginning of June, from members Wiz (vocals), Udo (bass), Flaminia (the monster from the north), Giorgia (visuals), Morgana (beats, tailoring) and Arnar (guitars, keys, vocals). By the way, Flaminia sounds uber cool, like she is a wildling.

The track is doused in a pall of electronic fuzz, and the synths run wistfully, much lighter giving a great contrast to the wonderfully deep bass. Wiz is the lead vocalist here and his performance makes you feel all the one sided love whilst wearing all the cruelty.

The incongruency of the electronics and guitars is really great, kind of a throw-back to the early 2000s EBM music. I really like The Peripheries style and “Colder Than Your Smile” is brilliantly dark and a delight to listen to.

Colder than your smile (Sophistry remix) | The Peripheries (bandcamp.com)

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Is it a bird or a plane? Why no, it is London’s test plan, a post-punk trio and they have released their third single, “It’s Not Enough” at the end of August. Max Mason (drums, backing vocals), Michalis Fragkiadakis (guitar, backing vocals) and Rory Dickinson (bass, vocals) make up test plan.

The first fifty odd seconds is a slow reverberating crush of guitar and echoing vocals….which then explodes into a tsunami of noise. test plan goes from lulls into stressed and strained screaming, not only from their lead singer, but also the guitars, and all the while the drums set the course, faithfully driving the rhythm section forward.

“It’s Not Enough” is amazingly dark and forceful, blaring out in defiance in this play of words. There is a punk heart here, matched up with noise propelled melody, vying to be not just heard, but felt through your skin and sinking into your bones as only a good gothic rock song can, so check out test plan.

It’s Not Enough | test plan (bandcamp.com)

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I love me some perfect post-punk and sometimes it is made even better when there is a story behind. Los Angeles goths, The Sea At Midnight have dropped the track “Wait For Rain” and I learnt something about the Colorado River.

This is literally the perfect darkwave track, a mixture of spine tingling guitars and haunting synths. The chorus is evocative to the point that you can feel the hairs on the back of your neck raise as the synths sparkle against the dirge of the guitars.

Colorado is currently in drought and has been for approximately twenty years, which is a predicament I cannot even get my head around knowing what it is like enduring maybe four years, but knowing there will be huge rains later. The lyrics are truly disheartening, like you can feel the desperation of the farmers and residents as they watch their world become a dust bowl, desperate for soaking rain. The vocals are so very engaging and the music really beautiful. Living in hope and “Waiting For Rain” is a perfect song from The Sea At Midnight.

https://theseaatmidnight.bandcamp.com/track/wait-for-rain

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Stuff has always been a great off the cuff description that could basically mean anything. “Stuff” is also the new single from Naarm (Melbourne) based duo Roles, who showcase their electronic eclectic experimental craft.

Yeah, the dulcet tones of Love are going to be the focus with the rather cute electronics bleating and blooping off-kilter, in a discordant fashion which makes it oddly endearing. There is the chiming in of a guitar to punctuate the beat and a feeling of whimsy throughout.

The video Roles has created for the track is them entertaining a beanie wearing skeleton, through the streets and parks of Melbourne as well as divining tarot cards and in general having a good time. It’s amazing!!! ‘Stuff” is quirky and just plain fun, rounded out by the music video, and let’s face it, growing up isn’t half as much fun as peering through the looking glass of a child.

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Home – Roles (rolesband.com)

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Dutch musician, Jelmer Luimstra, has released in June, the new EP, Words under his project name April Afternoon. The EP contains four tracks of diverse electronic goodness.

You have to wonder what someone is going back to when they say they are ‘going back to the bitter end.’ Yet here we are with “I’m Going Back,” a boppy poppy track, completely at odds with the lyrics. The delightful “Modern Lovers” was the recently released single, which kind of reminds me of a mix between Culture Club, Nik Kershaw and Ultravox… you know, that sprinkling of 80s magic.

Actually the beginning of “The Chorus” was giving me “Always the Sun,” (The Stranglers) vibes, however the lighter pop comes streaking through and you get a bit of a rap/spoken word into the mix from Luimstra. My favourite track off the EP has to be the shadowy and more thoughtful “Walking Through Your Day,” as it asks ‘if not now, when?‘ The track has this slick futuristic feel through the electronics and a war of light versus the dark fought via those synths.

Words is very much rooted in the 80s electronic sound that so many great bands used and inhabits many memorable tracks. As I have said, the gem is “Walking Through Your Day’ which I really love. It’s a track that makes you want to hear it again, plus the other three tracks are pretty great as well. From April Afternoon, it’s not just Words, as there is music as well!

Words | April Afternoon (bandcamp.com)