Posts Tagged ‘New Wave’

Portland alt-rock / post-punk outfit Rayon present their latest single ‘Running, a propulsive exploration of the anxiety that comes with watching loved ones struggle with cycles of addiction that they can’t shake – and the sound of a tape echo that’s about to stop working. Intentionally preserving the noise of pausing, rewinding, and fast-forwarding to heighten the song’s frantic pace, its sound can be considered a study in tension and tape, the video conveying a sense of lo-fi capers involving a Citroen Wagon.

Found on the flip side of the single ‘Shopping / Running’ (also available on 7” vinyl via Little Cloud Records), ‘Running’ is perhaps even more stunning than the whacky A-side ‘Shopping’, a tongue-in-cheek ode to consumerism and travel, written by someone who happens to travel and consume a bit.

Founded by long-time North Portland resident and Detroit-area native Eric Sabatino, Rayon now also involves members of other notable Portland bands – Sun Atoms, Yuvees, Pastilla and Martha Stax – namely Anna Sabatino, Riley McLaughlin, Eric Rubalcava and Derek Longoria-Gomez.

‘Running’ is based on a relentless bass and drum groove that lived in Sabatino’s head for months before finally taking shape in the studio. To capture the song’s unsettled emotional landscape, the band leaned into the mechanical unpredictability of a dying Dynacord tape echo. By funneling guitars and vocals through the aging machine, they achieved a haunting, warped soundscape where the pitch and speed constantly bend and shift. Feeling as though it is physically straining under its own weight, this song mirrors the very themes of instability it describes.

“’Running’ was built around a bass and drum groove I was kicking around in my head for months. The guitars and vocals are the sound of a tape echo called ‘dynacord’ that’s barely working, bending and moving the speed and pitch of everything we run through it. Those parts wouldn’t have come out like that if I wasn’t trying to write a guitar part while plugged into that machine.” says Eric Sabatino.

The video for ‘Running’ offers a gritty, nostalgic look at the band’s world, captured entirely on a vintage Handycam, following the band in their meticulously restored Citroen wagon. Embracing the track’s jerky energy, their journey concludes with a grainy, evocative sequence of freeway signs leading into Seattle—a slow-burn outro that grounds the video’s high-energy antics in a sense of place and movement.

“The video was shot on an old handycam camcorder we found in the back of a closet. The battery miraculously held a charge. It came with a tape of someone’s school play, which we taped over (sorry to whoever’s family that was). It features the Citroen wagon from the ‘Shopping’ video. I worked on that car for months. So glad it didn’t break down during these two long video shoots,” says Eric Sabatino.

“We drove around all day picking everyone up at their home, work, local bar, favorite little shop, and went to band practice. We filmed the antics and capers along the way. Sometimes we let friends and strangers hold the camera and film us. I transferred and edited it over 2 late nights, trying to capture as much pause, rewind, and fast-forward noise as I could, timing the cuts to capture the jerky energy of the song. I love the outro and the slow noisy shots of the freeway signs leading to Seattle.”

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Rayon

Based in the Texan city of San Antonio, darkwave/synth punk artist Night Ritualz (aka Vincent Guerrero IV) weaves deep Latin influences into his songs, blending English and Spanish lyrics with music that combines atmospheric soundscapes suffused with pulse-pounding beats to tell stories that are both deeply personal and universally relatable.
New single ‘Brown Skin’ is the first track to be teased from a new album out in early 2026. An unapologetic expression of identity, struggle and survival, the song blends personal storytelling with social commentary, confronting feelings of displacement, family separation and the weight of heritage. The song lyric is sharp and direct, carried by a vocal delivery that makes every word hit like a protest chant.

“This song is about resilience – working hard every day, facing systems that try to erase you and still standing strong with pride in where you come from,” explains Night Ritualz. “The repetition of the hook and the outro were designed to channel frustration into power, making it both deeply personal and universally relatable.”

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17th October 2025

Christopher Nosnibor

Raoul Sinier first caught my attention with the release of Guilty Cloaks, although he had already built a substantial catalogue of strange and surreal works in the preceding years, notably Brain Kitchen (2008) and Tremens Industry (2009). After Welcome to My Orphanage (2013) and Late Statues (2015), I rather lost track – something which is clearly to my detriment – and then he fell silent following Death, Love and Despair in 2018. Perhaps that title was a revelation beyond any of the contents or accompanying notes. It’s not anyone’s business, regardless.

What matters is that the arrival of Army of Ghosts is a welcome one, and one which is heralded in the accompanying press release with the fanfare that ‘Raoul Sinier is back — more hybrid and unpredictable than ever’. We go on to learn that ‘His new album is a bold fusion of everything that made electronic music iconic, layered with sample work straight out of hip-hop’s golden age. Add in overdriven guitars, throbbing bass, flashes of rock, prog, and funk, and you’ve got a sonic landscape that’s as explosive as it is unique. Floating above it all is Sinier’s signature ethereal voice, a haunting counterpoint to the beautiful chaos below.

Melancholic yet sharp, lyrical yet raw, his music walks the line between introspection and confrontation.’

The appeal of Sinier’s work is its inventiveness – although with Guilty Cloaks, I will admit that I was drawn by a certain post-punk vibe, too – and Army of Ghosts is certainly inventive.

The album’s first song, ‘Phony Tales’ switches between Phantom of the Opera theatrical verses and brutal industrial choruses worthy of Trent Reznor. It’s not just the surge of sound, but the crashing, metallic bin-lid snare that dominates the mix and completely spins your head. It may only last two minutes and ten seconds, but it’s intense.

Much of Army of Ghosts is intense, but in different ways. The drums are uncommonly dominant, and Sinier’s vocals often invite parallels with A-Ha’s Morten Harket, but crucially, said vocals are wrapped in a broad range of forms. ‘Brace Yourself’ offers a lethal cocktail of this, and that, and the other, led by some trip-hop drumming and proggy guitar work, before tapering out with a dark, sonorous bass. It’s that same insistent, baggy beat and Bauhaus-meets-metal explosion which shapes ‘Disperse’, a word which has enhanced implications and resonance of late.

In its eclecticism, Army of Ghosts comes up trumps. ‘Walking Through Walls’ offers springy post-punk energy in the vein of Bauhaus at their best, while the title track straddles post-punk and Nu-Metal, and then post-rock, with sludgy bursts of low-end distortion and…piano. Unexpectedly, it calls to mind the stylistic swathe of Bowie’s 1: Outside, an album which knows no borders.

Sinier knows how to spring surprises, and the wild intro to ‘Spectral Ocean’ is indeed wild, a furious flurry of violin, layered and awash in echo abruptly giving way to a low-slung thunderous bass groove that’s got goth stamped all over it and would have been perfectly at home on the new Rosetta Stone album – and that’s before we get to the brittle, picked guitar and sturdy mechanical drumming that pumps away relentlessly. After the widescreen expanse of the moody ‘Distant Wildlife’, which builds to a dark, slow-burning climax, driven by a dense, throbbing bass, the final track, ‘Neon Sign’ pairs things back and goes all out on the haunting atmosphere, with serrated guitars cutting through drifting synths and a contemplative vocal performance – before suddenly closing with a blast of drone metal straight off Earth 2.

The thing about Army of Ghosts is that it is both detailed and direct, sometimes simultaneously, but it is never predictable. The song titles do not offer a clear overarching theme, but the ghostly and paranormal hover in every shadowy corner of this theatrical and imaginative set of songs – a set that’s wildly varied, but consistent in its quality. Raoul Sinier is most definitely back, and this is very much a good thing.

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21st May 2025

Christopher Nosnibor

Ashley Reaks first came to the public’s attention under the guise of Joe Northern, fronting promising turn-of-the-millennium dark synthpop act Younger Younger 28s, a head-on collision between The Human League and Clock DVA, who released their sole LP, Soap in 1999. Since then, the Harrogate-based Reaks has expanded his field and is now as known for his disturbing collages as he is for his eclectic musical output, which spans dub, postpunk, and whatever other genre concepts come his way. Reak’s creative diversity, while very much an artistic strength, has likely been an obstacle to his achieving more commercial success, because the sad fact is that polyartists who venture into the domains of oddness are extremely difficult to market, because, well, how to you pigeonhole or genre categorise someone who works not only in a host of media, but does stuff which is, at times, quite disturbing and impossible to place in a given bracket? Of course, another likely, and more obvious, obstacle to commercial success is that the fact that a lot of his work is what a lot of people would likely consider plain fucking weird.

But even before Younger Younger 28s, Reaks – whose appreciation of The Sisters of Mercy and the like is widely-stated on his social media – was dabbling with the gothier aspects of post-punk, and would continue to do so for some time. His decision to release Ancient Ruins may only be for the sake of posterity, as a document, but here it is, and it’s not bad either.

Because this is Ashley Reaks, it’s not a set of songs which adhere to straight-up genre conformity, as is immediately apparent from the first track, ‘A God in the Devil’s World’, which has a certain swagger and a swing to it, the female vocals not only providing a counterpoint to the growling baritone Reaks adopts, but also a pop shimmer that’s still more Human League than The March Violets.

‘No Man’s Land’ offers picked guitar and jittery synths melded to an insistent drum machine, and comes on with the trappings of mid-80s rock, and a bit Prefab Sprout. ‘Disconnected’, however, plunges into darker territories, an echo-heavy bass-driven blast of angst that’s more the sound of the underground circa 1983. And it’s good, but then you realise how anachronistic it is for the time it was recorded.

Between 1997 and 2002, Britpop died a slow and painful death and Nu-Metal exploded. The post-punk revival was still some time off, and simply no-one was making, or listening to, anything that evoked the spirit of The Batcave. But then, they weren’t really digging 80s synth pop, other than the original stuff in a kitsch or nostalgic way, and the much-touted 80s revival hadn’t really gained any traction. To top it, in keeping with Reeks’ other output, thew songs on here are littered with lyrical observations and kitchen sink vignettes, pithy pairings, and couplets which are wilfully wordy and awkward.

‘Christiane’ is a campy goth pop effort that’s wistful and theatrical, with hints of late 80s Damned woven into its fabric, while ‘I Always Wanted to be You’ brings some indie jangle and… brass. Then again, there’s the chugging industrial blast of ‘Swimming Against the Tide’ which sounds a bit like Therapy? circa Nurse but with an overtly ‘baggy’ beat and a Prodigy-influenced midsection. Oh yes, it’s all going on here.

If nothing else, Ancient Ruins provides some insight into the evolution of Reaks’ compositions, from oddball pop to off-the-wall melting-pot madness, with loads of ska brass and a whole lot more besides. The dubby closer ‘Ghost Town In My Heart (Version 2)’ is particularly illuminating.  If only all history lessons were this interesting.

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It seems like all of the bands of yesteryear are resurfacing in some form or another right now.

Indie rock duo The Bolshoi Brothers present their new single ‘Just a Girl’, previewing their debut eponymous album, set for release on March 21. The accompanying video is an appealing black and white visual vignette, filmed by Matus Foris and Vegas Storm and featuring Nova Clark as ‘The Girl’.

Now based in the USA, The Bolshoi Brothers is made up of Trevor Tanner and Paul Clark, both original members of legendary Beggars Banquet-signed 80s new wave band The Bolshoi. The two hadn’t recorded or played together since the band’s fateful breakup 35 years ago. Due to working on this album during Covid lockdowns, they recorded the tracks remotely from their respective home studios – Trevor in Florida and Paul in Seattle.

“Working with Trevor again after a significant hiatus was akin to find a little gate behind the bushes at the end of the garden that leads into a whole new world. Within days of passing rough musical ideas back and forth, we were making great music again, created at a time when the world was in lockdown, with a pandemic and all that comes with it, creating fear and confusion,” says Paul Clark.

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Bolshoi Bros

Yes, this is indeed different… no commentary – just check it out… recommended:

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European post-punk stalwarts Pink Turns Blue present their new single ‘Dancing With Ghosts’ and accompanying video, confronting the agonizing reality of toxic relationships, those soul-draining connections we often share with the people closest to us.  It’s a raw exploration of the struggle to escape the "ghosts" of the past and the arduous, but ultimately liberating, journey toward self-preservation.

This is the third offering from their forthcoming album Black Swan, a term used for an unexpected event that, in retrospect, is rationalized as if one could have prepared for it. This record is set for release on limited edition vinyl, CD and digitally via Orden Records on February 28.

Earlier, the band shared ‘Stay For The Night’, a celebration of the postpunk – goth rock – darkwave community, and the lead track ‘Black Swan (But I Know There Is More to Life)’, the album’s only ballad, which delves into profound questions about existence, life’s purpose and the beauty of the world.

Today made up of Mic Jogwer (vocals, guitar), Paul Richter (drums) and Luca Sammuri (bass), Pink Turns Blue – named after a Hüsker Dü song – emerged in 1985 in the first generation of gothic rock. Their debut album If Two Worlds Kiss advanced the darkwave sub-genre while becoming a seminal post-punk album. Emerging from the fear and uncertainty of a divided Cold War Germany and inspired by Joy Division, The Sound and The Chameleons, they have since released a dozen full-length LPs and have become known for their trademark blend of post-punk, alternative rock and new wave.

Mic Jogwer shares, “An exclamation to escape a complicated relationship, ‘Dancing With Ghosts’ is a song about our difficulty of breaking out of an unhealthy bond. Some last a lifetime – and are not good for us at all. They suck all our energy, never give, always take. And whatever we do, it’s never right and never good enough. And since it’s often our best friend, mother, or sister, it feels like we owe them something, but every time we try to do something good for them, we just feel miserable and used. There is no easy way out, because whatever we do, we lose. These spirits will haunt us forever unless we challenge them and eventually manage to leave them behind. We’re Dancing With Ghosts.”

Watch the video for ‘Dancing With Ghosts’ here:

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TOUR DATES


Apr 04  Hamburg, Germany @ Fabrik
Apr 05  Münster, Germany @ Gleis 22
Apr 11  Leipzig, Germany @ Moritzbastei
Apr 12  Cologne, Germany @ GEBÄUDE 9
Apr 25  Stuttgart, Germany @ clubCANN
Apr 26  Hannover, Germany @ Musikzentrum Hannover
May 09  Rüsselsheim, Germany @ Das Rind
May 10  Bochum, Germany @ Bahnhof Langendreer
May 16  Bremen, Germany @ Tower Musikclub
May 17  Berlin, Germany @ Lido
May 23  Nuremberg, Germany @ Club Stereo
May 24  Munich, Germany @ Hansa 39, Feirwerk
Jun 28  Izegem, Belgium @ Cultuurhuis De Leest
Aug 28 – Philadelphia PA @ Milkboy
Aug 29 – Brooklyn NY @ AMOC – Brooklyn Made
Aug 30 – Boston MA @ Sonia
Aug 31 – Montreal QC @ Casa Del Popolo
Sept 4 – Toronto ON @ Baby G
Sept 5 – Detroit MI @ Smalls
Sept 6 – Chicago IL @ Bottom Lounge
Sept 7 – Columbus OH @ Rumba
Sept 10 – Nashville TN @ East Room
Sept 11 – Atlanta GA @ The Masquerade
Sept 12 – Charlotte NC @ Snug Harbor
Sept 13 – Orlando FL @ Conduit
Sept 14 – Miami FL @ Gramps
Oct 31  Whitby, UK – Whitby Pavilion Theatre

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Photo by Daniela Vorndran

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XTra Mile Recordings – 18th October 2024

Christopher Nosnibor

Berries have been on our radar since 2017, and now, just over two years on from How We Function, they return with they eponymous second long-player. They’ve done a good job of building the anticipation with a run of well-spaced singles, starting back in the summer with ‘Watching Wax’, before revealing an altogether previously unseen side with the acoustic-led ‘Balance’. So which Berries will we see come to the fore here?

It’s more than a pleasure to report that it’s the very best Berries which manifest across all of the album’s ten cuts, all of them sharp. Ten tracks is in itself significant: it’s the classic album format of old, and all killer, no filler, and no faffing with interludes or lengthy meanderings. The whole album’s run-time is around half an hour: it’s tight, it’s succinct, the songwriting is punchy and disciplined, and has the feel of an album as was in the late 70s and through the 80s, planned and sequenced for optimal effect. But they also manage to expand their template within within these confines: there’s some mathy tension in the lead guitar work, and there are flourishes which are noodly without being wanky, and they serve more as detail rather than dominating the sound.

‘Barricade’ kicks in on all cylinders, uptempo, energetic, post-punk with punk energy amped to the max. By turns reminiscent of early Interpol and Skeletal Family, with some nagging guitar work scribbling its way across a thumping rhythm section, it’s a corking way to open an album by any standard. ‘Blurry Shapes’ is a crafted amalgamation of mathy loops in the verses and crunchy chords in the choruses, all delivered with an indie-pop vibe which is particularly keen in the melodic – but not twee or flimsy vocals. and Berries just packs in back-to-back bangers.

‘Watching Wax’ lands as the third track, a magnificent coming together of solid riffing, chunky bass, and sassy vocals. Balance’ provides a change of pace and style immediately after, and it’s well-placed, wrapping up side one.

‘Jagged Routine’ starts off the second half with a choppy cut that brings in elements of poppy post-punk, math-rock and circa 1987 goth alternative rock. I’m reminded rather of The Kut, but then equally The Mission in the final bars, while ‘This Space’ steps things up with a dash of Gang of Four and a mid-00s technical post-rock flavour compressed into a driving rock tune that clocks in at just shy of three and a half minutes.

On Berries, Berries sound perhaps a little less frantic and frenzied, and maybe less confrontational and driven by antagonism than on their debut, but as a trade-off, they sound more focused and more evolved. The introspective introversion of the form creates an intensity that suits them well.

The guitar riff in the verse of ‘Narrow Tracks’ is so, so close to a lift of ‘When You Don’t See Me’ by The Sisters of Mercy that it makes me feel nostalgic for 1990, but finally gives me cause to rejoice in 2024, as they’ve incorporated it into a layered tune that has many elements and just works. Having waded through endless hours of bands doing contemporary ‘goth’ by making some synth-led approximation of a complete mishearing of anything released between 1979 and 1984 by the bands that would be branded goth by the press, it’s a source of joy to hear an album that captures the essence of that period without a single mention of the G-word.

Berries is a fantastic album. It gets to the point. It has power it has energy in spades – and attitude. They also bring in so many elements, but not in a way that lacks focus. In fact, they sound more focused than I would have ever imagined. This album deserves to see Berries go huge, and it’s got to be one of my albums of the year simply by virtue of being absolutely flawless and 100% brilliant.

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Berries

Buzzhowl Records – 27th September 2024

Christopher Nosnibor

Once again, following the release of a four-way split showcasing local talent a few months ago, Stoke proves the be the spawning ground of more off-kilter noisy noise, this time from no-wave duo Don’t Try with their second EP. As an additional point of note, and also something of a recommendation / hype point, the EP’s artwork is courtesy of Dan Holloway, of USA Nails/Eurosuite/Dead Arms fame, who worked with the band previously on their 2018 single ‘JWAFJ’. To accompany the release, Dan has also realised a video in his own inimitable style.

Like ‘JWAFJ’, their first EP, Elvis Is Dead was released in 2018, meaning it’s been a full six years since they last released anything, suggesting that on the output stakes at least, they’ve been living up to the band’s name.

Lead track ‘my grazed knee’ with its gritty yet poppy synths and urgent, determined beats isn’t actually a million miles from the sound of The Eurosuite. It reminds us of the proximity of new wave to punk, and the reasons why new wave and post-punk are essentially interchangeable terms. And while punk did, undoubtedly, spawn some great tunes (I’d perhaps contend less great bands, in that many punk acts, with a few notable exceptions like The Ruts and Adverts, produced only one or two outstanding or even memorable sings, and were unable to deliver the entirety of a solid album, let alone a career), it was post-punk where things got interesting, after things had evolved from three-chord stomps. If punk was predominantly pissed-off, railing against boredom and just off the rails, what followed explored a greater emotional range, and was more articulate, both musically and lyrically. For all its rebellion and antagonism toward conventions and norms, punk very quickly established its own conventions and norms: post-punk broke down those definitions to explore in myriad different directions, fragmenting and evolving into countless new genres.

It’s been a long time since the advent of both punk and new wave now, and in theory, any contemporary exponent of either is liable to tie themselves to certain tropes. But contemporary punk bands, more often than not, seem to be so limited in their scope, whereas many current acts who align themselves with post punk / new wave offer a broader range – even the ones who have been lazily lumped into the bracket of Joy Division imitators. I mention this as I discovered both Interpol and Editors because they were constantly being compared to Joy Division, and while I came to like both bands very much, my first reaction was dismay laced with disappointment over how unlike Joy Division either act sounded.

And so, circuitously, we arrive back with Don’t Try. ‘my grazed knee,’ as I was starting to say before I embarked on my obligatory and epic detour, is a fuzzy, low-fi keyboard-driven cut that boasts a monstrous throbber of a grindy synth bass groove that lands between Suicide and Cabaret Voltaire’s ‘Nag Nag Nag.’ But it’s a lot harder, harsher, noiser, more aggressive, more antagonised. Punkier? I suppose it’s representative of the point at which that nascent industrial sound began to evolve, but there’s also a manic hardcore edge to it, which is more apparent on the harsh assault of ‘climax in the imax’. Here, everything is ratcheted up in its volume and intensity, there’s a clattering metallic snare sound that crashes like a bin lid through the song’s duration, and about two-thirds in, it sounds like someone’s started up a drill and it all suddenly goes slower and heavier and you start to feel like things are getting dark and tense. This is very much a positive, in case you’re wondering.

There’s a clear trajectory to this EP, a sonic evolution which moved forward with each track, and things turn full-on industrial on the third track, ‘ritual’, which manifests are a monstrous, relentless rhythmic pounding reminiscent of mid-80s SWANS and the heavy grind of Godflesh. The crazed, anguished vocals are howled, yelped, drawled, hinting at the manic howl of the Jesus Lizard (and so, equally, Blacklisters). After hitting what feels like a locked groove around the mid-point, everything explodes and the track – and EP – climaxes in a slamming wall of ear-blasting noise. None of it’s pretty. All of it’s good.

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Metropolis Records – 7th June 2024

Christopher Nosnibor

Oi, Nosnibor? Call yourself a goff? Well, yes… and no. Y’see, much as many people scoff at Andrew Eldritch insisting The Sisters of Mercy aren’t goth despite displaying so many of the trappings of goth, he does have a point, and one I’m willing to defend when it comes to my own musical preferences.

The Sisters, The Cure, Siouxsie, Bauhaus, bands I came to quite early in the formation of my musical tastes in my teens, are all largely considered exponents of ‘goth’, but were well-established long before the label existed. Tony Wilson said in an interview that there was something ‘gothic’ about Joy Division, and while they were contemporaries, and similarly dark, and – like the aforementioned acts – emerged from the post-punk scene, along with the likes of Alien Sex Fiend, The March Violets, The Danse Society, but somehow manage to avoid the goth tag. Ultimately, the whole thing was a media construct based largely on a false perception of a bunch of disparate acts who shared a fanbase. Just how much bollocks this was is evidenced by the fact the likes of All About Eve, New Model Army, and Fields of the Nephilim – again, bands who shared nothing but a fanbase, in real terms – came to be lobbed into the ‘goth’ bracket.

But then bands started to identify as ‘goth’ themselves, most likely as a way of pitching themselves in press releases, and things started to head south rapidly thereafter.

Having formed in 1981 and being signed to 4AD, home of The Cocteau Twins, and releasing their debut album in 1985 – the same year The Sisters released their seminal debut First and Last and Always – Clan of Xymox belong to the initial wave of proto-goth, in the same way X-Mal Deutschland do. Yet for some reason, they’ve bypassed me. Seventeen albums in, I’m perhaps a bit late to the party, and while I can’t claim to be fashionably late, it’s better late than never, right?

This does mean that I’m approaching Exodus with no benchmark in terms of their previous albums, and with the weight of recently-jettisoned preconceptions and prejudices. Perhaps not a strong standpoint for objectivity, but it’s worth getting these issues out of the way first.

It’s amusing to read how retrospective reviews of their debut criticised the fact it sounded cliché and dated, not least of all because of the synth sounds which dominate. What goes around comes around and vintage synths and drum machines, however tinny, fuzzy, basic, are all the rage once more, with people willing to pay crackers prices for the precise purpose of recreating those sounds.

Exodus sounds like an early-to-mid-eighties dark electro album, showcasing all of the elements of goth before it solidified, before the cliches became cliches. The drum machine programming is quintessentially mid-80s, a relentless disco stomp with a crisp snare cracking hard and high in the mix.

They slow things swiftly, with the brooding, moody ‘Fear for a World at War’ – a timely reflection on the state of humanity – landing as the second track. It’s moving, haunting, but drags the pace and mood down fast, samples and twinkling synths hovering and scrapping over a hesitant beat and reflective vocals.

‘The Afterglow’ combines chilly synths and fractal guitar chimes to forge a cinematic song. It’s unquestionably anthemic, and has the big feel of an album closer. Where can they possibly go from here? Well, by pressing on with more of the same… Much of Exodus is reflective, darkly dreamy, vaguely shoegazy, very Cocteau Twins – at least sonically, being altogether less whimsical in content. It’s undeniably a solid album, and one steeped in the kind of sadness and melancholy that’s quintessential brooding gothness. ‘X-Odus’ hits a driving techno goth sound that borders on industrial, but equally owes as much to The Sisterhood’s Gift, which is really the point at which ‘goth’ intersected with dark disco.

Eighteen albums in Exodus sounds predominantly like the work of a contemporary dreamwave / goth act plundering the old-school with some heavy dashes of late eighties Cure, and while many fans will be hard into it, to my ears, it’s good – really good – but much of its appeal is nostalgia and familiarity, and objectively, it’s just a shade predictable and template.

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