X-MARKS THE PEDWALK for some of us was the music on the dance floor in the early 90s, that was so very attention grabbing. The band has come a long way since then, with their sound changing and maturing, going through future pop, becoming the synthpop power house we have today and with that talent and touch for electronic music, has culminated in the album, New / End. This husband and wife team of SEVREN NI-ARB and the lovely ESTEFANIA, so very graciously gave us a chance to talk to them about family, the music industry and of course the latest album.

Welcome to the dark side of our world, here at Onyx, dear ESTEFANIA and SEVREN NI-ARB of X-MARKS THE PEDWALK.

Estefanía: Hello Adele, thank you for inviting us to Onyx.

The band has in essence been around since around 1987 and seen changes in personnel, style and even been on hiatus. Did you ever think you would still be so well received and still going well over 30 years later?

Sevren Ni-Arb: Until the longer hiatus we had released 5 albums with XMTP. Since the comeback in 2009, 6 more have been added to date. I released another album of my side project (SN-A) and created the soundtrack series “MUSIC.FOR.BOOKS”. I also founded my own label meshwork music and in addition to a few remixes I also produced the two albums of my son Luis Maximilian (LMX). Another one is in preparation. To be honest, no – I didn’t think it would be that extensive. But what we are overwhelmed that we still have such a great fan base and that so many new fans have joined XMTP over the last few years. This is a huge motivating factor.

Your last album, “Transformation”, was released in 2020 and now you have followed it up with the fabulous “New / End”. What has it been like creating and releasing albums during a pandemic?

Estefanía: Especially in the times of lockdown, music was of course a wonderful energy booster and a welcome “refuge”.

Sevren Ni-Arb: Otherwise the production processes have remained the same. With “NEW / END” I was extremely disciplined and efficient with my resources this time.

What is behind the title “New / End”?

Sevren Ni-Arb: “NEW / END” closes the conceptual framework of our last three albums. While “Secrets” is primarily a look inside, something closed and reserved, “Transformation” deals with barriers, people and behaviors that constrict us emotionally. It´s about recognizing one’s own weaknesses in order to convert them into new energy. In “NEW / END” this energy is the core. It´s about determination and personal strength, to make conscious decisions, to shape your life differently. “NEW / END” marks the end of a process of change, to take new directions.

It has been stated that the themes are determination and strength through hardship and loss but would you say, that the common theme throughout this latest album is having faith, whether that is in one’s self or in others?

Sevren Ni-Arb: Yes, above all trust in yourself and your own feelings. Expressing and acknowledging these feelings clearly. This allows you to realign yourself emotionally. Accordingly, there are also melancholic moments of pain and loss on the album.

“Firestorm” is definitely a standout track but I also really like “Sacred Ground” for its sweetness and a slightly magical quality. Are there any standout tracks that you particularly love?

Estefanía: I’m glad you like “SACRED GROUND”. Next to “Yesterdays” and “I’m on your side” it’s a song that’s very personal and touches me deeply. It’s about the death of my father, who passed away last year. When Sevren finished the composition and lyrics, I was surprised. I didn’t expect him to confront my feelings in this way. I wasn’t sure if I would be able to freely sing the song in the studio. But in a way, it’s also part of my grief.

What would be the major influence in writing this album?

Sevren Ni-Arb: I’ve been making music for so long now, I don’t have much time to listen extensively to other artists. So I always go my own way. But sure, we are unconsciously influenced by many things that touch us, move us or leave a mark in some way that is also reflected in the music.

On Facebook, I was reading a thread, where they were talking about how people are still saying that they are surprised your sound is now electro synthpop. Why do you think this is?

Sevren Ni-Arb: We were very successful as an EBM industrial band. We were one of the first bands with this style on Zoth Ommog, the then still young, but later extremely groundbreaking label in Germany. “Abattoir” from 1992 is still extremely popular in clubs. And it’s not the only hit from the past that’s still being played a lot today. We also did provocative live shows that fit the image of a “hard” and “aggressive” band. But I’ve always changed the sound of XMTP. Change is part of XMTP’s DNA. I implemented that in my music sometimes more radically, sometimes more nuanced. If you look at our discography, you will see that from album no. 4 (“Meshwork”) onwards the sound was already extremely different from the Industrial/EBM of the early days. With the releases “Facer” and “Meshwork” I’m considered the founder of so-called future pop – that was back in 1994/1995. That was almost 30 years ago. At that time there were already different reactions. Some were excited, others disappointed. And so the disappointed fans “wake up” every time we release a new album. And that’s fine with me. Luckily, taste in music vary and are allowed to change. I understand that fans would rather hear the early works and wish we would come back to that style again. We’ve definitely lost some fans that way. But on the other hand, we gained a lot of new fans and there are so many that have stayed with us over the years. So many have also gotten carried away by all these changes, by the always new and surprising changes in the sound. It’s the very unique spirit of X MARKS THE PEDWALK.

X-MARKS THE PEDWALK is on Meshwork Music, which is your own label, catering to electronic musicians. Before Meshwork Music, you were also signed to some huge labels such as the now defunct Zoth Ommog, Cleopatra, Metropolis and Infacted Recordings that rose from the ashes of Zoth Ommog. What did you learn along the way that inspired you to create a record label?

Sevren Ni-Arb: When founding Meshwork Music, the main motivation was to work completely independently – not only musically – also to make your own organizational and financial decisions, when and how to invest in production and marketing. It is now my personal money that is used. But I am still in regular contact with Torben from Infacted Recordings in particular. He still has our back catalogue in the program. The time with him was really great! He’s one of those people in the music business that’s really on the artist side. Just a great guy!

Do you do much live touring now and would this be something you would like to do with the new album?

Sevren Ni-Arb: We played our last concert at the Wave Gothic Treffen in Leipzig – 2009. We invested a lot back then and produced very complex stage projections for this show, because we produced a live DVD. Since then there have always been thoughts about a tour or individual shows. We are often asked when we’ll be back on stage. But it is an enormous challenge for us – especially in terms of time. We’re not full-time musicians. I am the managing partner of a digital communications agency, and I have also founded another company in which Estefania is the managing director. I also have my label meshwork music. We have to plan the remaining time very carefully.

Estefanía: There’s our family, our dog, friends… Sometimes we just have to recharge our batteries and we want to spend and enjoy our time as a couple. Not to mention my fear of flying…

Sevren Ni-Arb: … so, there are no plans yet. But there are thoughts again…

I am in awe of your relationship. You are a couple whom have created music together, had a family, chosen to put music on the back-burner to raise that family and then come back to it. What is it like having that other person in your life and not just music plus are you each other’s best friend?

Estefanía: We both known each other for so long – we’ve been together for nearly 35 years now. Before we got together, Sevren was already making music and it quickly became his profession. So I took part in and accompanied all these developments, we made decisions together on how we would like to shape our lives. My involvement in XMTP has grown over time. After so many years we are lovers and best friends at the same time. We have so much in common and are still making new plans for our future together. It’s great and a wonderful feeling that the music has now also become a common part. Even if Sevren can be quite strict in the studio sometimes 😉

Sevren Ni-Arb: But only a little 😉 We have a lot of fun in the studio and when a song is finished and we hear the result together, it’s a great feeling to share this moment with the most important person in life.

I always like to ask about people’s influences, so what do you guys into the industrial/electronic scene?

Sevren Ni-Arb: In the beginning, before I finally launched my first own EBM project (“Scarecrow”) in 1988, there were a few bands and artists who absolutely moved me and played a major role in my wish to make electronic music myself. For example: FAD GADGET – especially “Back to Nature”, KRAFTWERK – especially “Computerwelt”, DEPECHE MODE – “Some Great Reward” – still my absolute favorite album by DM, THE KLINIK (“Memories”), FRONT 242 (“Geography”) , CLICK CLICK (“She´s chewing them”), TWICE A MAN, GARY NUMAN, ALIEN SEX FIEND (“Ignore the Machine”) and of course SKINNY PUPPY.

What or whom do you enjoy listening to these days?

Estefanía: Today we mostly listen to music on the side, while cooking (Sevren’s passion), at dinner, with family and friends… We listen to so many different kinds of music: pop, jazz, classical, swing, electro, dance, soundtracks…

Sevren Ni-Arb: Yes, the soundtrack to “Interstellar” by Hans Zimmer is outstanding! In general, we like to discover music in films.

If you both had to write a lyric or two, for a love song, dedicated to the other, what would be in those lyrics? (It can be anything from you make my day, to you keep my feet warm in bed)

Sevren Ni-Arb: Oh there are love songs on our new album – not that obvious. But “Yesterdays” is dedicated to my sons and my wife. When you listen to the second verse you have the lyrics 😉

Estefanía: … and these could also have come from me. That’s why I was touched from two perspectives when I heard the song and lyrics for the first time.

What is coming up next for X-MARKS THE PEDWALK?

Sevren Ni-Arb: “NEW / END” is on the market for a short time now. The reviews are great. We’re really glad. I’ll think about how to proceed with XMTP later. Now it’s time for my son’s third album. We’re soon in my studio to produce it. But I can tell you this: It’s going to be a great album!

Thank you for giving us your time and the new album is exquisite!

Estefanía: Thank you for the interview.

New / End | X Marks The Pedwalk (bandcamp.com)

X-Marks The Pedwalk | Facebook

Madre Teresa have seemingly, burst out of the Italian dark electro scene. We do not know who they are, other than a duo and that the EP, Dentro Sono Cremisi, released on April 22nd, could be their debut….maybe. Dentro, Sono, Cremisi basically translates to Inside, I am, Crimson. I would also like to point out, the EP cover picture is a booby-licious demon lady who is waving around a keyboard, a skull, a chalice and a mother loving lightsabre, so it does not get too much cooler than that.

Dentro” most definitely has a serpentine flow to it, as it seems to be about snakes, rapid temperatures, storms and six, six, six. There are changes in tempo that throw you slightly off kilter as the female vocals prettily keep you off guard and the synths happily twitter away. The way the electronics hit you like looped waved is quite wonderful in “Sono“. Madre Teresa might be the Antichrist or a projectile but really they are poison and death the only antidote. The groove through this very catchy.

Dentro” has such lines as Dal silenzio oltre il nero penetra nella mia carne or From the silence before the black penetrates my flesh (or about that) and you have to the embrace the techno bleats and delightful self duet within. A hypnotic affair. There is also a bonus instrumental version “Cremisi” that creeps its way along in a space odyssey way.

The lyrics, if my Italian was a lot better, seem to be full of symbolism and written for descriptive effect, rather than a narrative but that is only the half of it. The music jumps out at you for not being typical synthwave, engulfing you in the (en)chanting vocals, the synths going from melodic to sexy dark with extraordinary little, added jangle bits. Really there is something quite breathtaking in the way they compose and play music… so now you have the opportunity to go have a listen to Madre Teresa.

Madre Teresa (bandcamp.com)

Madre Teresa | Facebook

Nightcall is the new EP from Swedish duo, De Arma, released on May the 6th, with the label, Silent Future Recordings. Formed in 2009 by Andreas Pettersson and soon joined by Johan Marklund, it seems these guys roots lay in the black metal scene originally, though over the years, their sound has evolved into gothic rock and even darkwave/synthwave.

If the first track is an indication of the rest of the EP, I think it is a safe bet that I will like the other two tracks. “Shame Drifter” has those programmed drum loops and synths fused with fine guitar work. There are also the dancing vocals of Pettersson with Maria Oje and the music is definitely full of passion.

Photo by Nicklas Lundqvist

After Dark, You’re There” has a Fields Of The Nephilm feel to it with that beautiful guitar work and yet this still had a more Nordic taste, a wanderer of the icy wasteland rather than the dusty plains. Then, half way through, it hits you that you could be listening to early My Dying Bride. The remorse is almost palatable, for what could be taken as a one sided love affair, filled with yearning.

The last track is “Sunset Dreams” and I love the synth start and the fact this track features the vocal talents of Oje, along with Pettersson and it is a glorious ode to love. It seemingly drifts lightly, with no effort, on the guitar solo, which I have it on good authority, is played by Häxkapell and damn, he’s a good guitarist.

For me, “After Dark, You’re There” is my favourite but then I am a bit of a sucker for that style of guitar lead, melancholic music but that isn’t to say that I didn’t enjoy the other two tracks, because I did. The fact De Arma are experimenting with their sound is a pretty exciting thing and even better that they are nailing everything they do. The fact they have gone to using Korgs and Rowland drum samples like they did in the late 70s and early 80s can be heard, especially on “Sunset Dreams“. It is goth with a twist and I seriously admire that in a band.

Nightcall (EP) | De Arma (bandcamp.com)

De Arma | Facebook

Silent Future Recordings – Swedish record label founded for the exploration of dark and dreamy music of the modern age

Silent Future Recordings | Facebook

Music | Häxkapell (bandcamp.com)

Häxkapell | Facebook

It is not so surprising that May the 4th would spawn music of the science fiction kind. In fact, it is required and on that note, Dublin’s Circuit3 did released a single, “Future Radio“, which is off the soon to be dropped, fourth album, Technology For The Youth. Peter Fitzpatrick is the man and producer behind the project, the single was co-written with Brian McCloskey and Circuit3 is signed to Manchester label, Analogue Trash.

Photo – Paul Maxwell

The synths are beautiful and sparkle as brightly as they stars they represent and the vocals are pitch perfect (just as the Irish are renowned for). Que the electronic space chatter in all the right places and there is a pop perfection to the whole thing, as the universe is your playground for stellar exploration, as long as there is music to light your way.

I feel like I have been thrown back in time to the early 80s. It is kind of this amalgamation of David Bowie’s space odyssey, “Major Tom” (though much happier), with the quirkiness of Queen circa “Radio GaGa” and the amazing “Video Killed The Radio Star” by Buggles, due to the uptempo vibe and vocals. It is full of the joy of escapism to pastures unknown. The future and the past collide to give us Circuit3’sFuture Radio“.

Future Radio | Circuit3 (bandcamp.com)

Circuit3 | Facebook

Suburban Spell is Melbourne based, Peter Endall. He released his second album, Split Levels, in February, 2022. He creates 80s inspired, synth music with sparkling electronics and lyrics that points to a far more murky depth to everyday ordinary life. There is a sincerity within each song covering aging, beliefs and living in the modern era. So with that in mind, Peter graciously spoke to us about things that create a Suburban Spell.

Onyx welcomes you to the dark side of crazy, Peter Endall of Suburban Spell. Make sure your seat is in the upright position and trays away for take-off please.

We like to ask the hard questions. You are from Melbourne but we have no information on any previous bands you might have been involved in other than Schizo Scherzo in the 80s (although I did find a Peter Endall in a group called The Spinners and their thing was sea shanties). Musically what were you doing before Suburban Spell?

Hiya. I was keeping my hand in musically, and played lots of piano for the enjoyment of my dog and son for many years! Immediately after Schizo Scherzo, I played in another incarnation of the band called Love and Dr Forrest: a new wave pop band, really good fun. We didn’t release anything, but had a blast playing live. Following that, I got sick of lugging around loads of keyboards and decided to play guitar, so played in a band called Dive, and did a few gigs, demos, and appeared on some promotional compilation albums. I’m not a very good guitarist. I also did some songwriting with local cinematic writers John Bartholomeusz and Colin Swan, in an outfit called The Candle Makers. Following that, I decided to learn the Double Bass and played it for a number of years. The highlight from that was a stint with local Bluegrass band The Stetsons.

Your second album, Split Levels, came out only a year after your self-titled debut. That is a rather quick turnaround in writing. So, do you find writing music easy?

I find musical ideas do come relatively easy. The work comes in trying to refine those ideas into a cohesive and interesting song. I was never really into lyrics that much, but since I’ve pushed myself into that space, I’ve really enjoyed the process, and find it quite cathartic. Writing lyrics has crystallised my thinking. Previously, I’d had lots of loose butterfly concepts that didn’t amount to anything. Having to create a narrative around those concepts has been a revelation; it has helped me articulate who I am, and I love it.

Both albums are kind of like your covid babies, aren’t they?

I must admit Covid did give me the time to conceive the baby. But now the baby is growing up, and turning out be quite a formidable force that is now wonderfully consuming me.

Split Levels refers to the architectural style of house, so what convinced you to name the album this?

The term Split Levels resonated with me on a couple of… levels. The initial thought was its link to the veneer of suburban life, and how if you have the opportunity to look deeper into the everyday, there will always be multiple layers there. And quite often those layers that are revealed are dark and sinister. Every day there is an awful story on the news of domestic violence, alcoholism, drug abuse, depression, suicide and I suppose I wanted to write about that. I find it really interesting to understand what motivates and drives people to do the things they do. There is no one size fits all here, but I’m a bit of a bower bird, as I’ll observe, look, and listen to people on public transport, at the market, at concerts, political rallies, TV etc, etc… there are so many stories… and most of these people go home into their suburban life at the end of day. We all go home at some time.

Peter, your music is rooted in the late 70s and early 80s electronic style which of course was before the onset of fast computers and mobile phones and most musicians wrote about life and what was around them. Do you feel that simplicity in a way has shaped the way you see things and write?

Without question it has. I’ve always loved the bravery of un-cluttered and direct music; that style of songwriting is a constant battle for me, as I think it requires great confidence to write in that beautifully simple way. I’m learning to trust myself more and more as I develop my taste and musical confidence. As a musician / songwriter who has probably had the benefit of many years of life experience, it surprises me how much more “complete” I’ve recently become as result of this process.

Do you find it easier being a solo artist or are there disadvantages as well?

At the moment, I’m really enjoying being a solo artist. There are disadvantages, of course, as it’s good to be challenged and to be pushed by working with others. But right now, I’m enjoying the indulgence. If I met a fellow musician who I felt I could work with, I would certainly be interested in following through with that. But I’m not going to push the issue. If it happens, then that would be great.

The synths are often bright and mesmerizing while the lyric content can be a little dark. It this intentional?

YES, it ties back the to the suburban life, and how what is presented to you isn’t always what it seems. And I’ve always been attracted to grand melodies (sometimes not to the greater good though). My wife is a great sounding board for this, as she was (and is) a hardcore punk who is often reminding me to toughen it up a bit… and I listen to her.

Being in the Australian music industry since the 80s, you would have seen a lot of changes. Has it changed for the better or worse in your opinion?

I don’t want to sound like every other old fart by saying “oooo you know things were so much better in the old days”, ‘cos it’s not true!! There is a lot of rubbish out there but there is a lot of good stuff too, you just gotta search it out. I’m really enjoying this band called Plague Pits atm, they’re wonderful.

Can you tell us about all the bands that influenced you to take up keyboards and play?

The old faves really; Klaus Schultz going way back, Jean-Michel Jarre, Kraftwerk, YMO… then leading into Ultravox, Human League and Depeche Mode. My first ever band was called The Underjives, who were a bluesy guitar band – not sure why I joined them… I just wanted to play in a band. I was 17 and they let me join ‘cos I had good equipment!!

Who do you listen to now?

Bandcamp is my friend, so as noted before Plague Pits, Fragrance, Verdaine, Solar Fake, Solitary Experience to name a few, I could go on and on…

You have a great voice. Originally the first album was not going to have any vocals… WHY?!!

To be honest, I didn’t think my voice was worthy when I first started. But I’m getting better and more confident with my vocals every time I record, and I love that, so am going to keep going (thanks btw).

Are there any intentions of playing live?

Yes, there are, insofar as I have a concept in mind of what the Suburban Spell live experience would look like. I would need to commit to a show before it would happen though. If I could find likeminded people and I created the time, I would definitely be into it.

The next question is very important. Who do you choose – John Foxx’s Ultravox! or Midge Ure’s Ultravox?

The last international act I saw live before Covid locked everything down was Midge Ure.

What is in the future for Suburban Spell and Peter Endall?

World domination and a nice cup of tea. Seriously though, I’m very, very excited about my musical journey. I have so many musical thoughts and concepts that I want to explore, so I just want to keep creating. Having UTM on board as my promoter has been critical in the inspiration too: having my music pushed out into the world is a dream come true.

Thank you Peter for flying with Onyx airlines. We hope you enjoyed it even with the lack of snacks and fluid delights. I won’t hold it against you for choosing Midge Ure………or will I?!

Split Levels | Suburban Spell (bandcamp.com)

Suburban Spell | Facebook

From Fort Lauderdale in the US, electro-goth pop princess, Miss FD has released her latest EP, As Above, So Below as of the 11th of February, on Quantum Release Records. She has taken inspiration from the archaeological exploration of  Göbekli Tepe, a Neolithic settlement in South Eastern Anatolia, Turkey and some spirituality as well.

There is a delightful Middle Eastern influence in the “Summoning” mixed with the electronics and perhaps conjure an ancient angel or djinn to find solace in the desert night air. “The Veil” is thought to be the barrier between the living and the dead. Only the dead may pass though and at certain times of the year, Day of the Dead/Halloween the veil is at it’s thinnest. It pulses with life and beats while wishing to dalliance with the ethereal to meet with lost loves. A bit darker and oh so alluring is the title track, “As Above, So Below” with that great driving rhythm and the alluring vocals of Miss FD sweep you away to the dichotomy that is the earthly and the mystical.

The term as above, so below is used as a reference in the belief that what we do on this earthly plane, will also be played out in the spiritual world. Through all three tracks, you can hear the references to the other worldly, intangible and karmic. The music curls around your ears, like the smoke from the hookah the Caterpillar smoked in Alice In Wonderland, permeating your being just as a drug would and Miss FD’s vocals coo and call you to the other side like a siren. Maybe time to contemplate your mortality because As Above, So Below.

As Above, So Below – EP | Miss FD (bandcamp.com)

Miss FD | Facebook

From Stockholm, Sweden, comes the synthpop EP, -ISH by NEONPOCALYPSE, released on January the 14th on the label Swiss Dark Nights. This is the solo project for Alex Svenson whom is also the leads singer for the band Then Comes Silence.

It is a smooth start with “Broken Circles” and throws us back to the 80s where I was near banging my head on anything because there was something about it that was prickling my memories. It reminds me of the late Steve Strange’sThe Damned Don’t Cry“… a song that I love. So there is plenty to love about this single and I really like the bottle noises….something organic amongst the electronics that become more ominous as the track proceeds to it’s end. The heavier beats herald in something a little darker. It is written on the headstone, game over is definitely about the death of another though done with a dance beat makes this a nice way to go with “Game Over“. I am going to take a long shot and say “The Light” could almost be a tribute to Fad Gadget especially to the reference of tarred and feathered. There is a nice heavy bass sound in this and the quirkiness is very endearing with Svenson’s commanding vocals careening over all. “Lips” is a little slower and lower and sexier. The last two tracks are remixes, the first is by Italians, Ash Code with their re imagining of “Broken Circles” and you can hear their darkwave fingers sliding all over this giving it a slightly more minimalist feel and even smoother in texture. The last is by fellow Italian, Kurs with their far more modern interpretation of “The Light”, introducing a more bass and drums influence, while they had me thinking Nine Inch NailsBroken” in a building climax to the end.

This -ISH EP is an extremely likeable. For those of us that grew up on or still play music from the early 80s, we appreciate this new wave style and I think it will draw many others into the fantastic dance rhythms and synth lines. Alex Svenson really does have the most sensuous and sonorous voice which is liquid perfection as he croons away. True to the name of NEONPOCALYPSE, the bright synth pop music is the facade for a much darker world.

https://neonpocalypse.bandcamp.com/

Neonpocalypse | Facebook

https://swissdarknights.bandcamp.com/album/ish

Swiss Dark Nights | Facebook

Ash Code | Facebook

Kurs | Facebook

Feeling in the mood for some electronic beats in an 80s style? Then we have “Out Alive” by Like What. This New York act released the track on January 11th, 2022 and I was reliably informed it was created on an ipad with a guitar. I honestly don’t know much more about this project yet…..

There is something so reminicent of the wonderful Tobias Bernstrup. It could be the singing style and annunciation of the vocalist. The rhythm with the synths are stalking you and will find you wherever you try to hide. The guitar chiming in is extra foreboding as you won’t get out alive.

Electronic music will always lend itself to an apocalyptic vision, concealing and on the run from an unnamed, yet terrible foe. This is definitely one of those tracks that you think, at the end that it finished far too quickly. Damn it, we need a longer remix!! So you can guess by that statement I may have liked it quiet a bit. Get your darkwave on with Like What and “Out Alive“.

https://likewhat.bandcamp.com/track/out-alive

https://www.facebook.com/likewhat.music

Post punk duo, The Cold Field, released the album Hollows on August 6th, on the label Cold Transmission Music which is famous for their darkwave retinue. Their debut, Black River, was warmly greeted and so Hollows has been much anticipated by fans.

THE COLD FIELD

The emphasis is very much on the atmosphere which is created by the echoing vocals, the deep bass plus jangle and buzz of guitar. The album is comprised of ten tracks and notably, two are instrumental pieces for the most part. “Ride The Breeze” is the intro to set up the feel whilst, “Floating Above The Wasteland” is filled with gorgeous bass lines and guitar work, whilst the faint ghost like whispers are seemingly unintelligible and beyond deciphering.

“Reaching For Things Things You Cannot Hold” is a great example of the style, with the low echoing vocals, delicate guitar work which is layered in synth. Other stand out tracks are Beauty Expired”, with its rapid pulse and its variance in tone, while “Into The Light” actually does have a slightly more airy feel to the music, a

From the get go, you hear the influence of Joy Division, Lebanon Hanover and Ritual Howls in their music and the common themes in post punk music of isolation, a longing for what is denied and the nature of addiction. There is the ever present spectre of existential dead that pervades all, for this is music that sits on the edge of dusk asking how did this all come to pass.

https://thecoldfield.bandcamp.com/album/hollows

https://www.facebook.com/thecoldfieldadelaide/

https://www.facebook.com/coldtransmissionmusic/

https://www.coldtransmission.com/

https://coldtransmissionmusic.bandcamp.com/artists