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Portland…..tis the area rich in musicians, and I am starting to think they need to put up a warning sign, ‘Beware of Darkwave Hazards and Dancing‘. And so, we have relatively new group Human Hollow, made up of members Austin McKee and Lucia Luna since 2024. The independent duo have a new single called “Playing Dead.”

Called by the siren Luna, lured into the danse macabre, towards the tale of an abusive relationship, where the other person is living rent free and she is unable to break free. The multitrack layering gives you the illusion of multiple angels in unison and there is this harsh edge to the track, that could almost cut the skin. McKee can be heard near the end, like a final toll to the inevitable end of a survivor.

Human Hollow are leaning into a more industrial sound. They use a lot of old tech analogue synths in the form of MiniMoog Voyager and Korg MiniKorg, while their drum machine in an Akai SR19. This lends itself to a meatier sound and the fact they have said they a sampling noises like bashing metal things makes this all so much more cooler. Human Hollow might be singing about “Playing Dead,” but they are absolutely electric.

Playing Dead | Human Hollow

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One of the true joys about the dark alternative scene is the enormous amounts of creativity many artists have and how they use both music and video to express themselves. Maryland’s Marie Ann Hedonia is soon to drop her latest album Eclipse on the label Paul and Marie’s Country Kitchen, but from it has come forth the single “Eve Had the Metallic Shine of Summer,” which features the talents of fellow electronic artists Black Kite.

Ah, within the opening seconds, the electronics are almost forbidding, and the use of harsh noise eludes so something almost brutal. The nearly spoke words could be mistaken for sexual utterances, but if you listen carefully, Hedonia sounds defeated and lyrics lean into this as the synths slowly lurch forward. There is a chorus of…. what….. angels?… that are the hope and light, compared the Hedonia’s singing, which is smooth, but bleak and dark.

The track is inspired by the classic movie Persona, starring Ingmar Bergman, and is about giving everything to another and for them to take it all, never reciprocating. The music video sees Hedonia pouring all she has emotionally into a mannequin, yet it stays cold and aloof, though at the end we see our heroine finally break free, under stormy skies. There is tragedy and loss of self, however there is power in discovering you are on a downward spiral. Marie Ann Hedonia has immersed herself in “Eve Had the Metallic Shine of Summer” with Black Kite, and produced something beautifully sombre.

Eve Had the Metallic Shine of Summer (Single) | Marie Ann Hedonia (featuring Black Kite) | Marie Ann Hedonia

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When the sun hits the shores of New Zealand on August 8th, there will be the release of Frau Knotz’ newest EP release, called Digital Plastic Surgery, but we are going to visit the Egypt with the track “Khepri.”

PHOTO by JOACO DIBBERN

The electronics suggest the sun drenched reeds and papyrus on the banks of the Nile, snaking its way past the Valley of the Kings, with that same sunlight reflecting off the golden cap of Cheops’ pyramid. There is a wonder in the unhurried synths, though below, it can be noted an urgency, wind swept and the mysteries of this ancient land waiting to be unearthed. Purely instrumental, “Khepri” is just a taste of Lauren Nottingham’s talent, crafting electronic music into worlds, that we the listener can lose ourselves in.

Digital Plastic Surgery | Frau Knotz

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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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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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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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There are songs that are timeless, that will captivate generations and translate to current world issues. “Shout” by Tears For Fears, definitely is in that category as an amazing track and Switzerland’s Sybreed have dropped their version on Listenable Records.

The beginning of this track hints at the early 2000s future pop electronic sound, until Sybreed launch into the famous chorus, where they hit you with their sonorous industrial metal signature style. Full of conviction, the music video further delves into the how still relevant “Shout” is.

If this was not enough, have no fear. There is a remix by band member Drop and it is this sublime synth heavy mix that will make any industrial dance person deliriously happy. Full of techno styled rhythms, but it is the soaring synths that will make your jaw drop.

Originally written about as way to deal with mental health, it translates now to a world in turmoil, where human rights are being ignored and we wonder when the people will learn to live in peace with each other. For myself, it is interesting that a track I heard when it first came out, still being reinterpreted and this is a good cover by Sybreed and an excellent remix.

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Fire is a curious creature. Yes, creature, for it seems to have a life of its own. It consumes, grows and breathes in oxygen, having a mind of its own. New Zealand’s Robots In Love have released in May the hot new single “See The Fires,” just before they drop the anticipated album ACTIVATE!

We be hit with those reggae feels right from the beginning. It is a slipping electronic and bastardised skank beat, that rolls us into the undulating synths, and Rayner’s singing join the hypnotic array. The serious tone of the lyrics, soon heralds heavier tones, vocals of conviction, and a burning surge of rock, powerful and delicate all at the same time.

Rayner and co, weave their magic where you experience the dread of being trapped with the urgency of needing to escape from a perceived encroaching darkness, while the salvation is the guiding light from burning beacons. A tale of desperation, but holding onto hope as long as you can “See The Fires,” and Robots In Love are fired up with this blistering single.

See the Fires (radio edit) | Robots In Love

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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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