Gothtober- Bleached Cross : "Wrath"

 It's about time we get into some heavier shades of darkness. This album starts off with more of an industrial feel and sung vocals that drift behind grim sonics. A bass line carries things into a synth-laced dungeon of sorrow. The sung vocals deviate from your typical sullen post-punk tropes and have more of a 90s industrial rock feel, with more angst to them and hyper-emotional delivery. It's emotional to the point of being emo, which is heard on "Blood Moon". The fact that it's not trying to be pop punk or anthemic makes this work for me, since it would not if this had been handled differently. They have synths where the big arena power chord would normally sit. 

"Crucible" is more likea a post-punk but with mid-2000s  smoothness to the melody, like the Killers might have done if they were darker. Things get more aggressive on "Tomb," which uses harsh vocals and some atmosphere. "Lingering Souls". The more emotive vocals return on "Lingering Souls" . The more emo melodies are balanced with electronic elements. Not the smoothest chorus, but it works for what it is. "Torment" finds us back in 90s industrial mode. 

"Requiem" finds their feeling more invested in a manner that brings AFI to mind. The more militant vocal refrain reconfirms this AFI comparison. "the Dark" finds a more modern post-punk vibe established, which is one thing I should be clear about: they have more of a late-90s post-punk sound, owing little to bands like Joy Division. There is a Myspace goth feel to this for certain. Lyrically, it seems like religion is what broke their hearts on this album. There is a cool bass line that leads into the last song. Things shift into a danceier place for this song. I am going to need to spend more time with this album but I like what they are doing and their commitment to making their personal darkness into sound, so I will give this album a 9.5 

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Gothtober- Darkswoon : "Antivenom"

This is the fourth album from this Portland-based band that plays a moody vision of indie rock, with vocals that are not overtly trying to be Siouxsie; in fact, there is more of a Savages meets PJ Harvey feel. The grit in the bass is dialed back but chomp at the bit. Everything is a slow build to a heftier pulse, which I appreciate. This album came out back in April, and I am surprised that it did not get more hype or come up on my radar, but that is the benefit of dedicating this month to dark music; it gets us caught up on what we might have missed. This was just found by me clicking around on Bandcamp; it deserves more of a shout-out just based on the opening track.

Granted, the thing about having a strong opener like that is it sets the bar high for the rest of the album. They build momentum almost up to gallop for the stormy "Pacific City". It feels half disco in how the drums play against this and more rock with the subtle tension built. "Thread" and "Monochrome" find themselves kind of blending together as they coast through the sound, not allowing the album to gain my attention until it gets to "Small Death"; they use similar intervals and the melody follows a similar formula, but the sound stands out more. Though at this point of the album it's clear they are programming the drums which  is a limiting factor for them 

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Sometimes it does give them more options with sound as they switch it up on the more ambient "Devour My Eyes". While I appreciate that they switch up the dynamics, this one does not hook me in .  "Blood Let" almsot has more oa darkwave thump to it. There is a slinkier groove than the bulk of the album. I would say it is one of the album's stronger songs. She belts it out more on the chorus. "x3' does find them graduating to darkwave and might be the album's best song. "Going Dark" maintains the momentum, but is not as interesting sonically. Overall, I enjoyed where they are going with this, and when they take things in a darker direction, it works best for me will give this album a 9. 

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Welcome to Gothtober 2026

 I

f you bleed Halloween like I do, then your favorite month is upon us again. It's time to celebrate all music that falls under the banner of “Goth”. Granted, we cover a wider range of dark wave, post-punk, deathrock, and darker shades of metal than other sites, and do it more frequently than everyone aside from Post-punk.com, which, like its name suggests, just covers post-punk. The short attention span of the masses finds the mainstream popularity of goth as anything aside from a fashion fetish some stagnant, with fringe groups on Facebook gathering some steam to try to pass off clowns like Slipknot as goth, leaving a trip to Spirit Halloween as a better barometer as the Addams Family gets less of a push as they are replaced by Art the Clown and anime characters. .

 We are, however, still going to clear the air regarding what is goth and what is not, since there still seems to be some confusion about that in the mainstream press. Gatekeeping has become a dirty word in the minds of those who are so entitled that they believe anything can be anything they want it to be, with the petulant attitudes of Veruca Salt when she demands the everlasting gobstopper. As music journalists, we are actually professional Gatekeepers when it comes to curating music, and I bought my first “goth” cassette in 1987, when I purchased Jesus and the Mary Chain’s “Darklands” album, so with 39 years of history with this kind of music, you can take what I say here to the mother fucking bank. Many of the newer dark wave and post-punk bands have begun to fall into a uniform sound, like they are checking off boxes, so we will keep our ears open for that. 

I am going to bring a wide variety of different sub-genres to the table and put their dedication to creating sonic darkness to the forefront when I select bands to cover.I am also digging into the graves of the past and reviewing every Christian Death album from both eras Rozz and Valor in order. The month culminates in the start of the top ten lists for this year, so the top 10 post-punk, goth, and industrial lists for this year should drop by Halloween. Join us as we explore the tunes that go bump in the night.

Want to learn more about goth? Check out our podcast below

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L.O.T.I.O.N multinational corporation : "Machine Halluinations"

 Electronic tingehardocore does end up sounding like industiral. The first song sounds like it could have been from the 90s. I do like the harder-edged guitar fighting against the synths. "Spiral of Destruction" sounds like White Zombie jamming with the Butthol Surfers.. You could almost say something similar about "Absolute Insanity," but it also carries stronger ties to Killing Joke. But it also finds them settling into more of a songwriting formula. "Boots On the Ground" is more Ministry-inspired.

They kick up equal amounts of dirty noise and grooves on "Digital Rot".At this point in the album he vocals begin to get a little boring with their one-dimensional nature. I suppose if Motorhead is one of thre your favorite bands, you won't notice. Speaking of Motorhead, the vocals take on a more Lemmy vibe for "Acid Reign." . The vocals also have a little more purpose on this one so that works for me. There is a more punk feel to "You're the Product" 

"Never Say Never" is another more punk song with some Devo tendencies. This is offset by a more metallic riff driving it. Then it's back to a more old school industrial sound for "Smooth Operator," tink Revolting Cocks in this regard.. Lulu contributes her voice to "Five Star General," which helps to switch things up into a more indie new wave revival sound. Overall I appreciate what they are going for here, not blown away by it , but they captured the sound of an era I like and wrote some decent songs on their own terms making this album a great deal of fun so I will give it a 9.

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Horror Vacui : "Shadows Sanctuary"

 

This marks the third time I have reviewed these guys. I appreciate their dark take on punk that flirts with deathrock. They move further in that direction on this album. The vocals are more muted and more of an angular groove forming rather than just bashing out the chords, with some reverb lacing the chords. The less refined punk elements is the factor that has kep the band hovering around an 8 every time I rate one of their albums. The first song brings more promise. The more post-punk turn on "Writing on the Wall". I had to dig back into this dive back in at 'Midnight". The vocals have improved on this album but are not the band's strength; the bass playing is. 

Their drummer is also on point as the tribal beat that opens "Skyless Eyes" compensates for when the vocals kind of wander off into an Iggy Pop-like ranting, though I do like the more aggressive punk touches that come in. Their take on post-punk becomes more upbeat on  "A Sunny Day". The vocals remain almost as brooding despite this. They are more powerful and less pitchy than they used to be, which aids in my enjoyment of the album.  'Even tide " has a more melancholic atmosphere to the guitars that is not unlike the Cure, though the vocals are not as introspective or emotive. 

The pace picks back up for "Another Sleepless Night"; the drums and bass are locked in to bring a thundering feel behind the post-punk tension that gives a little more of a Killing Joke feel. The tones shift to a darker mood for the title track. He proves himself capable of being a more dynamic singer not only on this song, but on this album as a whole, which is the piece that needed tweaking earlier in their careers. I will give this a 9; it gets them to where they need to be and is their most enjoyable release so far.Released on Artoffact Records.

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LOWSUNDAY : "Black ep"

Perhaps not as dark as some of the albums I have been digging into lately as I get ready for  Halloween, but still a form of post-punk. I would not have guessed these guys were from America, so they have successfully fooled my ears, which, given the glut of albums I listen to daily, is a feat. They capture a sound that is in a similar ZIP code to what A Place to Bury Strangers used to occupy between shoe-gaze and post-punk, but these guys have more of the mellower elements of shoegaze, where A Place to Bury Strangers was more on the noisy My Bloody Valentine side of the genre's more end. 

The lead single that opens the EP works well, as it's catchy and the vocals are more forward than some of the murk they fall into by the time they get to "Someone to Talk," which falls more closely in the direction of early Cure. There is more of a Brit-pop mood to "Shattered' which is not the Rolling Stones, but an effective song on its own right. "This is Not Heaven" drifts through the haze of its reverb-heavy guitars, with the whispered vocals falling into the back of the mix and being swallowed by the haze of dusk. 

The last song drifts by in more of a haze while I appreciate the sounds; the vocals become a moot point as they drown in the effects this album is bathed in. I generally feel like how this album is produced works more often than not, but I feel the vocals could have gotten more love, which at the end of the day would have elevated the songs; they made the choices they made for the reasons they had at the time. You never know until you hear what the raw tracks they had to work with were like.  Still is a surprisingly enjoyable album; I will give a 9 as it takes the genres they blended in different directions

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Mouth Ulcers :" Silent Pictures"

 I reviewed the Prevail" EP single earlier in the year. Now unpacking the new ep. Three of those songs are, of course, on here, and with a second listen, my thoughts have not changed alot. It's going to be up to the vocals to impress me more. I do like when they are layered more on the second song, "Western Horror Story," which wa also on the three-song single. "Space" is a new one and a little more atmospheric in how the guitars sit in the mix. There is a Cure vibe to it for sure. The breathy whisper of the vocals is kind of anti-climactic. The girl's voice is more expressive; she needs to take the mic more.

The title track finds the guitars locking into a similar post-punk drive that held a similar tension to the previous songs. The vocals are not straying too far from what we've heard already. This song has more energy behind it and packs a more solid punch.I do like it when they rock out. "Closer" to you maintains the momentum established, so if yo are just grooving, you might not notice. It is the more nuanced mood of the guitar in "Satisfy"  that catches my ear. They make this one more dynamically and compensate for the vocals, proving they can write great songs when they set their sights on it.

"A Perfect End" was on the three-song single, and it closes the album here, so let's see if a second listen changes my mind on it. It is darker than the bulk of this album, and the guitar melody that runs through it is catchy, but much like Boy Harsher, the monotone vocals are just a breathy whisper in the drone. I will give this one a 9, which is higher than what the single got, so the extra songs added more textures and did not make the dull vocals a factor, as I had more sound to choose from.If you like post-punk, it is worth your time.

Thanks for reading, give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

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1st 1st : "DAGGER"

Here is a band that has been getting a bit of a buzz over in the UK. They blend post-punk tension and deadpan vocals with electronic beats to provide more drive. The first song impresses me with how it moves and the scope of their sound, but the vocals might begin to bore me a few songs in, so let's see if they can counter-balance this with their expectations. Things get dancier on the second song, but the limited vocal range makes the vocals feel like an afterthought. I would say he is even more limited range-wise than Justin from She Wants Revenge, though they have a similar thing going on; however, they are not even that dark. He does go up a half step for one phrase on the second song, but that is not much. 

Perhaps if they used less bright major sounding chord progressions, it would distracct me from the dry drum sound. I think back when I reviewed the Secrecy album, I made it pretty clear about what I want from post-punk, so it's nothing against the genre, it is how you play to those expectations. There is a better groove to the song "Burning". The one after this follows a similar path, and it puts a great deal of weight on the bass player who is carrying these songs 'Encouragement" might be a slight rip-off of Interpol, but it's the best song so far.

The guitar player wakes up an add more atmosphere to "I Remember Everything".Then they strut out onto the dance floor with "Obligations," which makes me understand why people like these guys , because htey can dance to them."Song For Someone" is a more melancholy ballad that is limited by his vocal range. There are occasions where the instrumentation is able to convey the emotion and compensate for what the vocals lack, but this is what keeps them from being on the tier of a band like the Twilight Sad, who can use both to a more powerful effect. When you have a song called "Does the Devil Know My Name," I expect it to be your darkest song not one of the most dancey. i will give this album an 8 as they might not be a goth band but they can make people dance and that is going to be their fan base, people who missed Interpol the first time around and are too young to know the difference. 

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The Top 10 Goth / Post-Punk Albums of 2026... so far

As the Doomsday Clock races, time speeds up, as 2026 is at its midpoint. With the impending end of times comes a celebration of darkness, and these bands are making substantial soundtracks for that. This year, there is more emphasis on post-punk than industrial, as that is what has been worth listening to this year so far.  Maybe by October, there will be more worthwhile industrial releases. These lists serve as a decent snapshot of where the year is heading in terms of music. I have already received promos for albums dropping as far out as August in my inbox, so they will need to bring it to compete with the top five albums on this list. For the mid-year report card list,  I have included links to full reviews if you want to check these out, and with all that said, here are the top 10 Goth / Post-Punk albums of 2026 so far. 

10-KMFDM-"ENEMY"

They might be somewhat confused as to what the majority they have no pity for. Their mission statement is 40 years of conceptual continuity, but the concept expands in recent years, aside from the more rock n roll vibes the title track opens the album with, there does seem to be a similar vibe that checks off all the boxes you expect from the long-running electro-industrial band. 

https://abysmalhymns.blogspot.com/2026/02/kmfdm-enemy.html

9-Deeper Gaves- "Pull Me Toward the Dark"

 This serves as the third album from  Jeff Wilson's more dark wave-leaning project since. Where Chrome Waves has gradually drifted in a darker, more post-punk direction, this album bridges the gap where darkness becomes heavy. In some ways, it is closer to what a band like Cold Cave does, which is a fair comparison as it is forward-thinking rather than just paying homage to the 80s.

https://abysmalhymns.blogspot.com/2026/01/deeper-graves-pull-me-toward-dark.html

8-Wailin Storms- "The Arsonist"

Here is a project that has improved over the past decade. Each album has been a little more impressive as it has morphed from a noisy cow-punk band into something more focused, serving songs rather than working on a sound. They have moved in the right direction, and this album si a testament to that; It is dark enough to appeal to fans of post-punk who work more of the kind of brooding summoned here.

https://abysmalhymns.blogspot.com/2026/04/wailin-storms-arsonist.html

 

7-Shadowlands - "004"

The album opens with them threatening to take us down "Fascination Street" before the verse breaks things up into something more haunting and dark wave. They work with the required sounds of the genre without sounding like a stale tribute act. The choice of effects draping the atmosphere works in their favor to help solidify their identity. The Sabin sisters get props for not trying to be Siouxsie Sioux, another key element. 

https://abysmalhymns.blogspot.com/2026/02/shadowlands-004.html

6-Traitrs-"Possessor"

The Canadian post-punks are back. They open their newest album with the lead single "Burn in Heaven," which is grooving and dark enough to be in regular rotation at goth clubs everywhere.  It bridges the organic guitar focus of post-punk with the slinking slither of dark-wave to fit nicely into the goth paradigm. Even for all its Cure worship and ballads halting the momentum, it sounds great, and there is a depth to the melodies that makes you a believer in the moping going down here. 

https://abysmalhymns.blogspot.com/2026/03/traitrs-possessor.html

 

5-Astari Nite -' Medications in Bloom"

The Miami-based goth project continues their journey away from their death rock beginnings into somewhere new yet not far removed from the more new wave sound they expanded upon with  2024's "Resolution of Happiness." The excellent productions help put it toward the top of the heap when it comes to goth so far this year. I like that overall the mood is darker and more melancholy than the previous album. 

https://abysmalhymns.blogspot.com/2026/05/astari-nite-medications-in-bloom.html

 

4-Crucifera-"Exostential"

The creative force behind this project is Danielle Astraea, who combated the problem that the vast majority of new dark wave runs into by giving the music some sonic rock balls. In doing so, she invokes the spirit of 90s electro-tinged alternative. Highly recommended for fans of 90s goth who would like to hear it in the context of today's production values.

https://abysmalhymns.blogspot.com/2026/06/crucifera-era-exostential.html

3-Crippled Black Phoenix: "Sceaduhelm"

I have enjoyed watching this band descend further into darkness with each album. This is an impressive display of refined and dynamic songwriting and is likely the band's best album yet, as it feels the most focused.

https://abysmalhymns.blogspot.com/2026/01/crippled-black-phoenix-sceaduhelm.html

 

2-The Secrecty-"Pins and Needles"

 The first song blew me away as it's what I want from post-punk, taking inspiration from my favorite bands like Killing Joke and Fields of the Nephilim, but without sounding like a blatant tribute to any of them, as they have their own thing going on. From the darker rock vibes to a more hypnotic pulse, they can also shift into a dance beat that adopts a new wave touch.

https://abysmalhymns.blogspot.com/2026/06/the-secrecy-pins-and-needles.html

1-Twilight Sad- "It's the Long Goodbye"

f there is any justice in the world, the 6th album from this Scottish band will find them getting the recognition they deserve. They have toured with the Cure multiple times, but also had some hardships in their daily lives, which led to their bass player and drummer being replaced with Arab Strap's drummer and Mogwai's bass player. Vocalist James Graham's distinct voice is centerstage, with guitarist Andy MacFarlane providing the needed backdrop.n some ways, it is more experimental and raw, but it holds up well against their legacy.

https://abysmalhymns.blogspot.com/2026/02/the-twilight-sad-its-long-goodbye.html

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Chalk Teeth : "s/t"

 On the experimental side of where post-punk meets darkwave, the Los Angeles-based band dances to their hypnotic drone in the shadows of obscurity. The depressive reverb-plucked guitar bolsters the musical backbone of hte opneing track as their vocalist, Karolina, utters the lyrics in her native Polish tongue. This is fitting as what they do might wink in the direction of New York bands like Swans, but holds little common ground with their current base of operations, leaving you to imagine they came from the smoky clubs of Eastern Europe. 

The second song carries less drone and more groove, with some No Wave tendencies. So if you are looking for darkwave that could be mixed in behind Clan of Xymox at your local goth night, this might not be the band for that. They did, however, align themselves with the indie scene who play vintage synths and tries to replicate the sound of dark electronic music coming from the late 70s. There is a darker pulse to the more foreboding "Oscillopsia. They return to more of the lo-fi beats and retro synths for "Floor It". Based on the name, I am surprised it shuffles along rather than busts into a dance floor banger, but I respect them more for the slow build of layers assembled here. 

"Casket Casino" is a bit of an oddity. A large part of this is due to the mix. The drum machine sits in the background rather than creating a groove; they amble along with a haunting accompaniment of the dissonant gathering of guitar parts. Not as melodramatic in their downtrodden expression, they hold some similar ground with a band like Xiu Xiu in this regard.'Old Mill' might be the album's best song because it is also the darkest. They bust out some interesting sounds on the last song. The vocals take on a more expressive quirk that recalls 80s post-punk. They can jam a groove which makes them seem like they would be fun live. I will give it an 8.5

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The Secrecy : "Pins and Needles"

 The first song blew me away as it's what I want from post-punk, taking inspiration from my favorite bands like Killing Joke and Fields of the Nephilim, but without sounding like a blatant tribute to any of them, as they have their own thing going on. From the darker rock vibe of the opener, they shift into a more hypnotic pulse for 'Dancing in the Fire,' although there is more of a dance beat to the song after that."Meet Me After Midnight,' which adopts a new wave touch.

Part of the magic at work here is thanks to the ever-prolific Jeff Wilson from Chrome Waves, who is no stranger to this sort of thing and keeps re-inventing this sound. 'Sky' displays this as it works off a more atmospheric sound, the synths have echoes of a Cure-like feel, and the song carries a similar melancholic feel, though you could also cite Clan of Xymox as a reference point. It builds over a more rock dynamic at the chorus. The guitar carries a similar sullen drone, and its metal roots haunt it. 

Another thing I love about this album is how dark it is. A good example of this can be heard on "The Watchers". They go a more Killing Joke route here as it carries both brooding darkness and tension. The synths are really well used, and the dynamics kill it. They crafted this album with some really cool sound and are not just trying to capture the retro Bat Cave sound. Hooky vocals and anthemic chords wrap in a grim little package. There are some gothy sounds to the title track. The bass line is a big one. 

One cool thing is they never really use the old Ian Curtis baritone or the Andrew Eldritch vampire voice; they convey the feeling in their own way. Goth is a genre with many vocal stylings, so it's a shame other bands just pick from those two choices. A synth ambiance opens the last song. The bass leads the way in a very Cure-tinged manner.The vocals are soft and reflective.It all comes together gracefully. I will give this album a 10 it's incredible.  

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Bad Stuff : "s/t"

Former members of True Widow are some of the founding members of this project, so it obviously has to be worth a listen. It opens with a creepy 1960's western tinged pysch-pop sunater that could have come from a David Lynch movie. The guitar rings each note out with a lonely, haunting reverb that is pristine. I'm sure someone will try to throw some kind of doom tag on this because it is slow and melancholy, something like "doom noir,"  but I am not hearing the sense of loss, and the darkness is there, but in light mysterious ocean-side haze.

Things pick up into a shuffle for "Grusome."  Some electronic elements weave themselves into what they are doing for "Summer Girls," which is more synth-heavy. If Lana Del Rey made a soundtrack for a horror movie, the results might be similar. This song does not get heavy but shifts in a more sonically dense manner. If you see this album on anyone's top 10 end-of-the-year metal lists, no longer believe anything they say, as this album is not metal, nor is it trying to be. "Invisible Man" finds low male vocals stepping up to the mic. In some ways, it's similar to Morphine. Not as jazzy, and almost more of a rock dynamic comes out here. 

"Creator" lurks with more of a groove than the vocals steer, as the drums create a hypnotic drone. "Hush" carries more of a "Desert Surf" feel as it's a more atmospheric ballad. Then "Nepenthe" is more like a heavier take on surf rock. They edge towards a dusty Americana-tinged version of post-punk on "Hush2." They continue on this path for "Human Crush" that finds a maringally more bluesy mood crossing over. The buzz saw guitars do not let up with "Commitment to Death.". None of the lyrics can be made out as they are being violently spewed with little articulation.  The last song is heavier on the ambiance with the lonely guitar emoting into the night as the vocals create more of a Nick Cave feel. I will give this album a 9.5, as it creates a unique mood with familiar sounds, and they captured what they intended here in a very endearing manner. You would expect this sort of thing from a label like the Flenser, but it is coming from Relapse Records 

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Scimitar : "Errare"

 

When was the last time I reviewed an actual goth album?  Oh, it was 12 days ago when I reviewed Requiem in White. Anyways, this band outta LA, is leaning on the more post-punk sidde of the equation half the time, but are not just ripping off Siouxsie. In fact, her vocals are more punk and aggressive in the militant chant of "Epitome" that carries an electronic throb, so they are shifting genres from song to song, but keeping things dark. The more typical post-punk bass line emerges on "Fade' as the guitar uses the reverb-heavy vibrations to create the creepy atmosphere. The vocals are more whispered without trying to be Boy Harsher, though they are pointed in that direction for this one, just more organic and instrument-driven. 

The problem with using the kind of drum machines they are using is how it limits your dynamic range, where a real drummer can switch it up. This leads to them riding the same groove throughout the song. There is a more new wave feel to "Consume." It is weird when they go into the more electronic parts; they are never really delving into dark wave. The vocals are more spoken than sung on these songs and are done in a manner that does not convey those emotions. I think "Astroturf" is about a machine lover, but I haven't been paying a ton of attention to the lyrics. 

"Zenith" flips things into a more 80s new wave style, though the vocals sit further back in the mix than something Blondie would have done. The song references being frozen in time, so perhaps this is a self-awareness of the 80s fixation. Though, to their credit, from a production standpoint it has a more modern lo-fi punk sound. The third act of this album does lean more heavily in a punk direction. It is felt ot a greater extent on "Algo Esta Pasando." In some ways, this is a kink in their creative armor, but it still works well enough here. The reverb returns for the guitars of the last song, which finds her coming closer to singing again. The mood of the song is one of the album's darker moments. I will give this album a 9; it takes a solid stab at doing its own thing and draws blood. 

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Heave Blood & Die : "Burnout Codes"

When it comes to punk, there are not many bands doing something new. The genre largely follows the dictates of a dozen bands from the late 70s / early 80s and follows that blueprint. Odd for a genre that values non-conformity. Norway's Heave Blood and Die, brings synths to the party to divert their course away from the punk rock rule book. The attitiude is still there, but it's tempered by droning grooves. Originally released in 2024 on a Scandinavian label, they are being unleashed upon the rest of the world by Ardous.

The only traditonal punk influence that breaks the surface is Black Flag, who were, in their own right, more experimental than people give them credit for. The vocals create a similar burly blustering as the lyrics are bellowed with biligerence. You do not hear their post-punk side until the more sardonic tension of "Stress City". It becomes apparent that these guys are also fans of Killing Joke, which is fine by me. 

"Mjelle" is a little darker. The bass line keeps the song in motion. Female vocals are more noticeably layered over the verses to "Things That Hurt." "Heatwave 3000" finds them back in a more apocalyptic Killing Joke mode. The synths hold an interesting place in this arrangement. The vocals are also more aggressive. "Seen It All" ends things with a gloomier march and more emotive vocals.  I will give this one a 9.5, great songwriting, though a similar mood to some of the songs. This is a must for fans of modern post-punk. 

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Mouth Ulcers : " Prevail"

This ep just dropped a few weeks ago. British post-punkers come from the genre's motherland, so they have it in their DNA. The guitar tones really more of the tune, while the hushed, breathy vocal mutterings on the title track that opens this trio of songs create a narrative shrouded in the midnight hours of smoky clubs. While this works for one song, the guitars have a more alluyring on the second song "A Perfect End." Things are in play that are going to ask you what you want from your modern post-punk. If you are looking for a dark pulsing sound that is coated in atmosphere, then you are in luck. 

However dirfting deeper into the second song, I am confronted by the sound vs song debate. It can be more of a challenge when the sounds they are offering check off all the boxes for what you want from goth music, though, for me, one box is left unchecked. That is with the vocals, the first two songs found them rather t one dimensional, and I prefer more expressive voices, granted they are not trying to be Ian urtis, who at least knew where to place his mono declarations of despair. This is handled din a manner more like a gender flipped version of Boy Harsher. The advantage they have over Boy Harsher is the flow of guitar they dance around here. 

The last song "Western Horror Story" grooves andd flows more organically, as the vocals shift a little more, though it's not a huge outpouring of vocal color, andd things ride the one-dimensional dance of tension, which works, but in the context of a full album, I might get bored.

the Verdict

Great Guitar work, and the songs flow with their brand of moody shadows in a very natural fashion, leaving the vocals as this album's big weakness making me skeptical of how well this would translate to a full-length album. As more than three songs of the same approach might bore me so I will round this one down to an 8.5, but if vocals are not something you put much weight in and just want something moody to dance to they have you covered. 

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TRAITRS : "POSSESSOR

The Canadian post-punks are back. They open their newest album with the lead single "Burn in Heaven," which is grooving and dark enough to be in regular rotation at goth clubs everywhere.  It bridges the organic guitar focus of post-punk with the slinking slither of dark-wave to fit nicely into the goth paradigm. Synths play a larger role in setting up." I Was Ill, You Were Wrong".  It falls back into a mood rather than a groove, like the previous song, though it grows on me with each listen. The hook is subtle when he announces it's a sea of sadness. 

On "Seven Fictions," the bass line steers the track toward a more Cure-like direction, with his emotive vocals adding a whine that only deepens this comparison. But it works well as a song, though I am not sure I want the album to only relentlessly pursue this kind of tribute moving forward. \"Cold Skin" is more of an atmospheric ballad, that finds the overwrought plea of the vocals the only thing anchoring them to Robert Smith's zipcode as it drifts toward shoegazing. 

It might be due to the fact I am such a huge fan of the Cure, but I hear "The Hanging Garden" a little too much in "Selfish Hunger". Things move in a more Cold Cave-like direction for "Prayertaker". It's more like older Cold Cave, which works well enough for me.  I can also hear a little Clan of Xymox in the overall mood at times. "Dream Drowning" fassked me out as the intro made it sound like they were going for something that sounded too much like "A Forest," but once the song kicks in, there is a dancier feel that reminds me of the early 2000s brand of post-punk revivalism that kept the dark flame burning, bringing us to where we are today. 

The last three songs ran together after a casual listen, forcing me to go back and listen with a clsoer ear to sort out what was going on. "Mourn" is more of a brief ballad. It carries a great deal of desperation in its plea, but is subtle in its minimalistic pout. The beat to "Japanese Picture Pony" picks up the pace ajnd add more dance in the step of the otherwise thickly introspective languishing the album does. "Crawl" is a depressive ballad that finds its joy in wallowing. I will give this album a 9.5, even for all its Cure worship and ballads halting the momentum, it sounds great, and there is a depth to the melodies that make you a believer in the moping going down here. 

 

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Fotocrime : "Security"

 

Things continue to evolve for Fotocrime. My first impression of the first couple of songs is that I get they are going for a more Killing Joke sound, but when it comes to Killing Joke, there are so many sides of that band it could mean anything. They have chosen the earlier, more punk side with a bit of rock n roll swagger. "Shockwave" works the best of the first three songs as it has more of a groove and room for the guitars to be more melodic and places for the vocals to sit in a more intersting fashion. "Unthinkable" to me sounds more like New Model Army, which is fine as it means a more organic sense of brooding melody, but with a bit of punk in its step. 

"Disharmonizer" carries a darker, more post-punk tension, which brings to mind something closer to what you expcet from Patterson. Granted, you have to consider my personal tastes, but I feel the moodier moments are the strongest. This is run through a more rock n roll filter for "Intimidation."But this also works for me as the intersection of where punk and goth meet is one of my favorite eras of music. I suppose you could draw similarities to Killing Joke's "Night Time" album in this regard, but this is far more rock-minded. 

"Dreamstate" has that weird right turn some punk bands took, which places it closer to Husker Du. "Cautious" carries a little more bounce thanks to the buoyant bass-line, but I prefer the more sullen musing of "Grifter," which might be the album's best song. There is a slight new-wave anxiety to the vocals. The title track that closes the album is not a ballad but works off a more introspective tension. It works for what they are doing this time around. Overall, I enjoyed the album; it sounds like a lost classic from the late 80s, so I will give it a 9.5. 

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False Figure : "Incarnate"

 

This band made the top 5 of our top 10 Post-punk albums of 2022, so I am going into this album with high expectations. This time, there seems to be a somewhat less aggressive, more introspective vibe, so much so that I had to go back and listen to the previous album to make sure it was the same band. The mix is different, though a similar reverb-tinged haze lingers over both albums. It is a cleaner mix this time around, even when the vocals lie further back in the mix on "Favorite Game" as they subtly flirt with a more goth sound at times. Which is why I don't mind the changes. 

By the third song, I had to break it up and start giving the song a more careful listen to differentiate some moments. Some of this lies in the hazier fashion in which this album is recorded. There are some great guitar tones on this album. They obscure the vocala tad on a few songs; it's just a juggling act of compromises. Despite sounding like a different band, I like the more new wave vibes of "Flowers in Bloom". Which makes sense as that is where the actual bands from this era went, we were jsut discussing this on our podcast episode about Killing Joke. This sort of thing is not really riffy music like rock or metal. Yet the guitar parts are more defined for "Say Nothing." It does carry that more Killing Joke-like new wave edge post- "Night Time".

"Hand of Malice" has more punch to the bass line, almost recapturing the feel of the previous album, but the vocals are more shrouded in atmosphere and a more cautious croon. In this case, it creates a mood clsoer to the Smiths, so it's hard for me complain about it. "Fields of Woe" has a cool, melancholy sound, but not long enough of a sound to dynamically shift them. Their cover of Asylum Party's "Julia" works, but the vocals sit too far back in the mix. But it's cool to hear a more obscure cover like this. The last song has some cool 80s-sounding drums. There is a glum vibe to the song, not unlike early Cure. Though it's possessed by more layers of guitar to bury the vocals in. I will give this album a 9, as it really depends on how attached you were to the more punk side of the last album to embrace this one, but it's a logially step of growth for this band. 

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The Twilight Sad : "It's the Long Goodbye"

If there is any justice in the world, the 6th album from this Scottish band will find them getting the recognition they deserve. They have toured with the Cure multiple times, but also had some hardships in their daily lives, which led to their bass player and drummer being replaced with Arab Strap's drummer and Mogwai's bass player. Vocalist James Graham's distinct voice is centerstage, with guitarist Andy MacFarlane providing the needed backdrop. Graham's voice is as emotive and fluid as ever as he swings up into his falsetto on "Designed to Lose."  

This record has a more rock n roll mix, with a rawer guitar tone and not as much space for the vocals to fill. It is much clsoer to their live sound. The vocal lines are as catchy as any of their work, which makes for an engaging listen. Their dynamics are always emotionally powerful; this album is no exception. No wonder Robert Smith loves they are always consistent. Robert Smith adds guitars to "Waiting for the Phone Call". There is more of an electronic pulse to this. It rocks out pretty hard for post-punk coming out of the chorus.  I had to listen to "Ceiling Underground' three times to wrap my head around it for some reason. The vocals kind of fade, and it works off a similar formula as what they normally do, so not sure why there was a disconnect before it clicked, but it did. Think I just needed something more solid in mind before I commited an opinion to review. It's actually darker after closer listening. 

Robert Smith plays synths on "Dead Flowers" which finds them heading into the Cure-like sounds. Since Smith plays on it, they can have all the similarities to the Cure they want, but James ' voice sets them apart as their own identity. He's singing something about 'water off a duck's back, ' and it works as he always puts his voice in the best places. There is a more 80s feel to the guitar tone of "Inhosptiable/ Hospital." It's a pretty catchy song depsite it's bleak nature. In fact, it's one of the album's best songs. Oddly upbeat considering the subject matter.

There are some cool guitar tones on "Chestwound to the Chest". The verses are more strummed, with James singing out with his urgent plea that marks their earlier work. It has a little more rock drive to it. Robert Smith plays a 6-string bass on " Back to Fourteen."  Here, some of the lyrics become more entwined in mystery rather than the more introspective outbursts. James has said many of the lyrics deal with mental health struggles, so I can only guess this song is included in that. The last song finds the vocals opening the song at the back of the mix, and things slowly come more into focus. It's more experimental, but still possesses the urgency they are so adept at conveying.  I will give this album a 10. In some ways, it is more experimental and raw, but it holds up well against their legacy. Drops  March 26th. 

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Shadowlands : "004"

 

Not sure how I have not reviewed Shadowlands before, since this is their fourth album, but here we are. The album opens with them threatening to take us down "Fascination Street" before the verse breaks things up into something more haunting and dark wave. They work with the required sounds of the genre without sounding like a stale tribute act. The choice of effects draping the atmosphere works in their favor to help solidify their identity. The Sabin sisters get props for not trying to be Siouxsie Sioux, another key element. 

The punchy bass line to "Clicks" helps give them a spine. "Let's Fall Apart" is a more urgent brand of post-punk that contrasts with "Nothing Has Changed," which is more of a ballad to show the band's dynamic range. It does build up with an impressive emotional and sonic heft. After some weird ambiance, "Wounds and Relics." They are making me believe that this is the band for people who miss Savages.

"R/AGE" finds the pulse of synths playing a larger role, while the reverbed-out guitar sits back in the mix. This too builds from a very pleasing dynamic swell that flows very organically almsot like "Wish" era Cure. "Substance" is marginally less brooding as the dive further into capturing even richer moods awash with darkly surreal ambiance. The album closes with "The Worst Light," which is the first song that feels like they were trying to intentionally capture 80s sounds. It floats on more of a dreamscape rather than getting in your face. Overall impressive I will give it a 9.5 

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