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From the wilds of Ōtepoti (Dunedin), in Aotearoa (New Zealand), Robots In Love have crept on us, and then slapped us with a new single “The Sequel.” Elenor Rayner (vocals, production), Alex Burchell (drums, production) and Tony Lumsden (bass) are now the core of the group, which was begun a year ago by Rayner.

You are lulled into a false sense that this is another electronics only track. That is until the guitar strikes in. Robots In Love are finely balanced between punchy vocals, soaring synths and pounding rhythms, fuelled by the metal inspired guitar work. The chorus just hits me like a nursery rhyme, with its slightly sing song rhythm. but also for mentioning people and steeples, which makes me think of Here Is The Church.

Robots In Love are evolving with every single, growing in confidence as a group and it really shows. “The Sequel” absolutely kicks arse. It is heavy and ballsy, and it kind of reminds me of the 90s when you could mosh to your favourite industrial rock bands. Rayner’s vocals run the gauntlet of sweet to full on dark and brooding rock goddess. Those chords reverberate with the energy of Pop Will Eat Itself and yet…. it is modern and speaks of this generation, the children of the digitally programmed age. Buckle up people because it is about to get intense in here with “The Sequel.”

The Sequel | Robots In Love (bandcamp.com)

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Erik Drost and Randall Frazier are members of The Legendary Pink Dots, however they have another project called orbit service together. Frazier (synths, samples, vocals) and Drost (guitars, reverb sparks, synths) recorded the EP, i’m not supposed to be here, between the US and Netherlands, releasing it in March of 2024.

At the start of the first track “i’m not supposed to be here,” there are clicks so low, that they are almost imperceptible at first, unless you are truly listening. The electronics gently wub and it takes you by surprise when Frazier’s vocals join in, not quite at a whisper, but then quiet enough to cause your breath to hitch in awe. There is a guitar being strummed creating an air of simplicity and yet this is track is far from that. The instrumental “hazy visions” has an amazing soundscape drawl, guiding you into another realm awash in sound and light, while being swept by a stellar winds

An off-kilter unease greets us along with Frazier’s vocals in “new look.” Winding while being slow moving, there is something disconnected within the sound, as if the moroseness has broken the electronics, causing them to break free. Last track is “sedative,” and again we return to a chiming lightness, where the instrumental points the way to a calmness.. though in the end, is it all an illusion?

There is a paradox between the songs and instrumentals, though we need illumination in order to define the gloom and this is how the EP strikes me. The dichotomy makes you appreciate the finesse and musicianship orbit service pour into their music, and i’m not supposed to be here is perfect the way it is.

i’m not supposed to be here | orbit service (bandcamp.com)

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We are going to touch the dark musical mire that is the harsh, ambient electronics of German based VERFÜHRERVERGELTER, in the new EP From the Void​:​ Silicon Signals to a Dead Brain.

“AschewĂźste” is the ash desert and that wasteland is present in your ears. Abrasive and sand blasted by storms, echoing with the past where something abominable happened. The looping electronics grate and gouge at your psyche. Next is the lurking “Deathpile,” which slowly consumes the will to live and the Reaper could be knocking on that door. The music vibrates and rolls with the death throes, in anticipation of a painful cellular end. Starting to to get saggy skin due to a lack of collagen? No worries for there is a “Silicium sale,” and in truth I involuntarily shivered a little as it has a sharp cruelty to the tone. Behold the unbridled electric guitar as it brings you into the “Untitled Abstract Void.” Shards of light try to penetrate but this is pure darkness that will break the mind of the strongest if you ponder it too long. A yawning abyss of terror echoing the fear endlessly. Maybe there is nothing more terrifying than the thought of never reaching a weekend, perpetual groundhog day for the whole week, over and over again. “Bonus: Monday, Tuesday, Wednesday, Thursday, Friday, Monday Tuesday…..” drones on without joy or meaning, only with the intense ticking letting you know that there is no rest.

What does it all mean? Hmmm, I might take a guess that this could be about a body on life support. The brain no longer present but the nerves keep trying to contact central control with no response. VERFÜHRERVERGELTER has unleashed another release of infernal doom that can drag its cold fingers and nails across your soul and make you ponder From the Void​:​ Silicon Signals to a Dead Brain.

From the Void:Silicon Signals to a Dead Brain | VERFÜHRERVERGELTER (bandcamp.com)

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Nikk Fail is an Italian retro synth project and his second EP, End Of The Line, was released in June. Consisting of six tracks, now Nikk Fail has brought some friends with him to play this time!!!

As soon as I heard the title “Bugstompers,” all I could think of was Starship Troopers, the rather questionable 90s movie about taking on alien bugs. The track itself has science fiction effects at play and seems to be promising slightly violent intent. First guest vocalist is Eleonora Ferrari on “End Of The Line,” an ominous portrayal that she is the end of everything, and will happily end everything. Ferrari goes from cooing into blood curdling gurgling squeals within a split second. The next instrumental is “Living Dead Lights,” and the music is both eerie and haunting, to the point that one could say, light as an apparition and cool as a tomb.

You cannot get many more light years away than Star Wars, so in a galaxy far, far away the synths pass and whirr as if they are lightsabers in a duel in “Anakin Rampage (The Ballad of Vader).” If you listen carefully, I am sure you can hear the Cantina band. Next guests are BelvaSXE and William Baxter featuring on the track “Troma Boy,” and here we hear a harsher side to Nikk Fail, between the growling guitar and the equally growling vocals, and all the while the electronics keep up to the wailing pace. Last track is the contemplative “Commuting Paradise,” though this song, in its own way, is sassy and has teeth, with vocals from Giulia Finazzi and guitar by Baxter again.

Already, you can see since the first EP, Nikk Fail is evolving and incorporating more into his sound. Collaborating with other musicians is a great way to extend yourself and push what you can do, and I think you can hear this on End Of The Line. Makes you wonder what is next for Fail and who he might tap into the helping him fly even higher.

End Of The Line | Nikk Fail (bandcamp.com)

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Dirt Factory are a pretty industrial lot, literally, bringing out their fourth album in just as many years, on the Viral Records label in Australia. Brothers Michael Gillman and Daniel Allen have brought forth the plague in the form of Dying Planet, that has been mastered at Abelisk Audio by the HOSTILE ARCHITECT himself, Mitch Kenny.

Callum Dodds from RAZRWHP is on guitar duty for the first track “Destroy It All,” bringing the grating metallic taste, as well as finesse, while the lads truly are upping the ante with an electronic onslaught. “Bones” is the single and the dance of the dead goes hard, laying bare the futility of flesh and belief for everything is going to become dust. We are now in the “Houses of Worship” and there is a palpable 80s feel to the music and Allen’s vocals only add to the disillusionment in commercial religion.

We are going to be visited by the siren called Brianna Smith, the lead singer of RAZRWHP and there is no disappointment here, with her delicate vocals in direct contrast to Daniel’s almost spoken word. She is the angel of death while he is the disease in the title track “Dying Planet.” It could be said that “Industrial Jesus” is a form of worship of KMFDM and Nitzer Ebb, irreverent and damning of broken religious systems and in that vein is the rather catchy “Antipope,” with it’s rapid fire electronic beats and a fantastic use of vocals.

Does “Mod Matrix” mean modified matrix? A throwback perhaps to the movie The Matrix and how you could download anything you wanted to learn straight into your brain…but then do you know what is real and what is not and the music does not spark any kind of hope for a good ending. “The Body is Dead” has this very cool rhythm that instantly grabs your attention, while the synths climb and fall in tale of cybernetics gone wrong. The calm before the “Nuclear Strike,” as the track slowly builds towards midnight and ultimate fallout, taking out you out with extreme prejudice. Track ten is the last and it is the menacingly named and airless “Coathanger.” Why airless? The song has the atmosphere of smothering with its oppressiveness.

This, for me, is the best vocal outing for Daniel, as he seems to be settling more into the role and having guest musicians is a nice addition. I have to say I really enjoyed “The Body Is Dead” and my top choice would have to be the collaboration with Brianna on “Dying Planet.” I already know the lads are already creating more music, and watch this space for a new project from Michael. All is doom and a Dying Planet from Dirt Factory.

Dying Planet | Dirt Factory (bandcamp.com)

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Hisham Zreiq is a Palestinian visual artist and film maker living in Germany. He is also an electronic musician and the Goddess Asherah Project is his outlet of experimenting with ambient soundscapes which in essence could be a soundtrack for one of his movies. August has seen the release of the album The land of Joy, which contains thirteen instrumental tracks.

The album is full of light with its chimes, oriental styled sounds and rhythms. It flows with the titles fitting so well and the feel of each track is conveyed through the music. “Delight” invokes a taste of India and it truly is a delight to listen to, while “Frisky” has playful bleeps that run at a whirlwind pace. The land of Joy should be listened to when you want to unwind or need to be taken away to a place where you can be free to dream. The Canaanite Goddess Asherah has the power to grant you joy in the electronic world.

The land of Joy | Goddess Asherah Project (bandcamp.com)

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Out on the British label Utopian Mechanics, Stockport based Through The Gloom have just released the new ambient electronic EP, Dark Patterns.

Opening track “Perfect Dark” gives the atmosphere of an anti sunrise, as if the shadows are creeping forward, encroaching on all. Deep tonal aberrations escape from the virtual abyss, with a tribal electronic twist in “Hostile Architecture.” An ancient drone with a female vocalisation, almost Middle Eastern in sound, creating a mystical allure. There is a reverence in the beginning of “Whispers Within” and indeed there are the hushed voices within the mix. The piano wanders, as if a lost train of thought, trapped in a slowly decaying cycle.

“Llanto” is gently laid before you, analogue sounding keys greeting you intermittently, which is nothing like the track “Cut Their Tongues.” Finely abrasively with foreboding, building with divine and ancient righteous portent, setting your teeth on edge. The vocals are strained and full of warning as the background is filled with tribal rhythms. Final track, “Nostromos Reckoning” is like a breath of fresh air after being compressed by the last track. It soars on gossamer wings, expansive and billowing into an infinite horizon

For me, this style of experimental and soundscape electronic music should fuel the imagination, taking you away from the mundane, inspiring joy, wonder and even fear of each new world opened to us. Through The Gloom has this in spades on Dark Patterns.

Dark Patterns | Through The Gloom | Utopian Mechanics (bandcamp.com)

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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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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)

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There are many women from the small screen whom gothic culture adore, such as Lily Munster, Elvira and Vampira, but today it is the iconic “Morticia Addams” which coincidentally is the debut single from the London based electro-industrial band Pink Panther Project. Record label, The Circle Music, will be releasing the double album Intoxicating Embrace from members Uela, Alex K and Ether Mu in September.

True to form, the electronics are there, up front, promising a cracking darkwave dance piece. Uela’s vocals are breathy, perfectly complimenting the subtle electronics and all lyrics are sung in German, leaving you somewhat intrigued.

The Circle Music have put together a rather charming music video consisting of cuts from The Addams Family (1964/65) television show, which fits the track well. “Morticia Addams” is definitely worthy of not only being played on dancefloors, but also in personal playlists when you want a bit of pep in your darker music listening. I think we will be watching this space when it comes to the Pink Panther Project as I think they could be doing some amazing things.

Morticia Addams | Pink Panther Project (bandcamp.com)

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