If 2023 saw the goth/post-punk scene dominated by stellar releases by US acts (Ashes Fallen, The Bellwether Syndicate, A Cloud of Ravens, Vazum etc) and the first half of this year saw attention turn to albums from the trailblazers of the contemporary European scene (Then Comes Silence, They Die, Whispering Sons et al), the summer and autumn have seen a welcome reflourishing of the British scene, the traditional homeland of the evergreen (or should that be ‘everblack’) dark genres.
In this latest round-up of exceptional new sounds, the focus is exclusively on projects which are either UK-based or have a strong connection to the islands, where the closeknit goth community keeps the flickering flame alive.
Black Angel - Elektra
Black Angel main man Matt Vowles grew up in Bristol in the midst of the mid-80’s age d’or of British gothic rock, with the likes of The Cult, The Sisters of Mercy and The Damned providing the basic sonic template for his own project, now incredibly already onto its sixth album. Black Angel’s polished and melodic approach is key to their instantly recognisable sound, based around Vowles’ own distinctive shimmering guitar work and the standout understated velvety croon of vocalist Corey Landis, and whilst there is a cosy familiarity to their music, with each successive album Vowles has further tweaked the original film noir blueprint. On Elektra, he has added an Eastern edge to the dynamic, evidenced in the intro to opening track Serpents’ Kiss (not that one!) and in the main section of the title track, which nods to Led Zep’s Kashmir, a key influence on those first gen goth bands moving into rockier waters. The addition of a second, more vulnerable backing vocal (provided by Saira) - in addition to Maneesha Jones’ more powerful counterpoint - allows the sound to diversify further, whilst maintaining the consistent quality of both production and earworm choruses of previous releases. If first wave bangers like This Corrosion and She Sells Sanctuary are your thing, Elektra will take you there and beyond.
IST IST - Light A Bigger Fire
There has been no shortage of bands influenced by the post-punk Manchester sounds of Joy Division and The Chameleons this century, with the likes of Editors and Interpol enjoying considerable commercial success a couple of decades back with their largely derivative sound. Whilst the latter acts ultimately failed to make the next step to true megastardom due a lack of memorable melodies in their dark and at times dreary sonic appeal, the same charge could not be levelled at English band IST IST on Light A Bigger Fire. The Mancunians’ fourth album is a wonderfully subtle set of beautifully-crafted songs which will hopefully propel them to a bigger mainstream audience similar to that of their 80’s and 00’s predecessors from the earlier waves, now that they have added a New Order pop sensibility to the doleful JD charm of their earliest releases, placing them in the same ‘potential breakout from the post-punk ghetto’ category as Actors and Je T’Aime, for example. Whilst Adam Houghton’s front-of-the-mouth vocal inevitably draws comparisons with Editors’ Tom Smith amongst others, the increased use of synths enables IST IST to add extra layers to their sound and transcend tired comparisons on what is clearly one of the strongest albums of the year, where virtually every track deserves to be a single. The track featured here (Something Else) is not amongst the three songs accorded that accolade so far.
Light Of Eternity - Edge of Fate EP
The untimely passing of Geordie Walker towards the end of 2023 has cast a huge shadow over the goth/post-punk scene, not least for his fellow Killing Joke band members, including iconic sticksman Big Paul Ferguson, whose side project Light of Eternity have now released their debut EP. This recording began life the summer before the legendary guitarist’s passing, and Walker himself would surely have been impressed by both the huge wall of sound created by Light of Eternity and particularly by the powerful guitar work of creative lead Paul Williams (of UK punk band Chaos 8). The opening barrage of the titular track Edge of Fate sets the tone, with a huge KJ influence in both Williams’ guitar chops and Ferguson’s muscular tubthumping but further enhanced by the versatile vocals of American Fred Schreck, who lent his tonsils equally effectively to The Psychedelic Furs’ John Ashton’s Satellite Paradiso project a decade ago (an album to which Paul Ferguson also contributed). Schreck’s vocal soars above the surging punk’n’roll of second track Explode which has the drive and energy of classic The Offspring, whilst the slower Lament goes off at a more classic rock ballad tangent, albeit with a sting in the tail in the chorus. The highlight of the EP however is closing track Tipping Point, driven relentlessly onwards but a chugging riff and Big Paul’s thunderous beat, with a fabulously melodic vocal from Schreck and shades of Geordie in Pauly W’s fretwork, not least at around 5.15 in with the S.O.36-style arpeggios. This unexpected treat has been released as a (now sold out) limited edition white label vinyl 10” EP with the promise of more music to follow…
Byronic Sex & Exile - Attacking The Sun
Indefatigably prolific UK goth national treasure Joel Heyes managed to squeeze a further extended EP in between his previous release reviewed here mere months ago and this, his latest album. The familiar elements of a simple yet solid backing of keyboards and Gilmouresque guitar over a driving bass and drum-machine beat dominate the opening tracks Nothing But Lead and Thief of Fire, before things get more interesting with the darker and more rhythmic She Slept On Dynamite with its more subtle vocal. Whilst the drum-free To Be Done With The Judgement Of God has the traditional soliloquy feel of the quieter tracks of previous BS&E releases, the Lucretia groove of Clara looks set to become one of the project’s signature tracks, potentially even eclipsing Your Name On The Wind. Heyes is back at the piano for the excellent stark and doomy ballad The Vampire’s Castle, delivering a superb vocal performance in his inimitable ‘Wessie’ baritone croon. The second half of the album is a mix of primarily spoken word pieces (penned by anarchist poets Enzo Martucci and Diane di Prima, as well as works by the more traditional goth/lit icons Baudelaire and Goethe - BS&E releases have always included a key educational element) and slow-burning tracks like Sister Guillotine, Zarathustra and Waiting For Another War where Dark Creation Mastering’s excellent post-production is very much in evidence on what is another high quality and varied album from Yorkshire’s own one-man goth revival.
The March Violets - Crocodile Promises
It’s rare for a new release by a first generation goth band to create a similar stir to that generated by albums by newer artists, but in Crocodile Promises The March Violets deliver an album which adds a twenty-first century vibe to their signature early 80’s sound. Whilst as expected Rosie Garland is in imperious vocal form throughout, the sheer invention and versatility of Tom Ashton’s guitar work (aided and abetted by Mat Thorpe with some very juicy basslines) is what makes this album stand out from the crowd. The dark twang riff of lead track Hammer The Last Nail may reveal that the now-Athens (Georgia) resident has not been immune to local influences, the angular riffs over the driving beat of second track Bite The Hand have the energy and freshness of the band’s earliest Merciful Releases, as do the off-kilter funk-punk of Virgin Sheep, the powerful Kraken Awakens, the metronomic spacey post-punk of Heading For The Fire and the syncopated charm of closer This Way Out. The only flaw is a mid-album lull around the reprise of Mortality and the subsequent half-speed World Away From Kind, the former a reminder of the elephant in the room (the absence of founder member Si Denbigh on co-vocals) and the latter a throwback to the first wave’s Cleo-era dark pop nadir), but overall the Violets deliver a frenetic album which successfully updates their unique blueprint.
Rosetta Stone - Under The Weather
Like most of the artists on this shortlist, Porl King’s current iteration of the legendary goth act Rosetta Stone has its own unique sound identifiable from the opening seconds of any track, with the title track from the latest album a typical case in point. Far closer in sound to King’s vastly underrated (and lyrically misanthropic) noughties project Miserylab than that of their late 80’s/early 90’s heyday, Rosetta Stone retain Madame Razor’s metronomic beat and the pulsing basslines, but now supplemented by a staccato reverb guitar tone and King’s deadpan delivery of lyrics berating modern humanity for its ongoing unwillingness to face up to the dystopian reality and its responsibilities. The juxtaposition of the utterly depressing lyrical content and the strangely uplifting vibe of the hypnotic backing remains addictively appealing if a little repetitive, given that this is the third successive album based on an identical sonic palette. Closing track Change, with its Vega/krautrock backbeat and a driving sound not dissimilar to the Sisters’ Train is the highlight and hopefully hints at a more innovative musical future.
Ground Nero - Blood Never Sleeps
Although strictly not a new release (the songs had been available as a download since shortly before Christmas), this summer’s physical release of Ground Nero’s latest album Blood Never Sleeps has shone a welcome light on a fantastically strong set of songs featuring the Manx/Belgian band’s signature ‘gothic wall-of-sound’, the first of their releases to feature the dulcet baritone of Mark E Moon’s Mark Sayle. Each track is based around a solid beat, Peter Philtjens’ pulsing basslines, Peter Smeets’ exquisitely layered and subtly constructed guitar and synth soundscapes and Sayles’ wondrously sonorous delivery, enabling Ground Nero to prove that modern goth can build on the past without slavishly copying the original wave’s shibboleths. From the smouldering Stars to the incendiary The Furnace, this is another album where virtually every track could, and indeed has, been released as a (video)single, from a band now also establishing themselves on the live scene again.
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