Gothic BC

Freddy Ruppert
i dreamed we lost everything
Static Definitions
A far cry from his lo-fi synthpop work in Former Ghosts and the tortured noise of his early This Song Is A Mess But So Am I recordings, the recent releases from Freddy Ruppert have taken a haunting, halting approach to noise and sound collage, much more Sylvian or The Caretaker than power electronics. The Prague-based producer’s latest, i dreamed we lost everything, makes the most of a light touch to synthesis, sampling, and crackling atmosphere across a half hour of understated but varied listening. From the unease produced by the Soliloquy for Lilith-like hums of “all things left unsaid” to the pastoral arpeggios of the title track, Ruppert’s taken the time to think about how sound design feeds into composition and vice versa. There’s no one-size fits all approach to either though, with the oddly peaceful and dusty industrial ambience of of “shoeboxes” being worlds apart from the quavering way closer “memory leak (lost voices)” unfolds with cinematic grace. Legitimately affecting and surprisingly relistenable experimentation.
i dreamt we lost everything by Freddy Ruppert

Brood Faye
The Tank
self-released
It’s hard to draw a bead on California’s Brood Faye; the music on debut LP The Tank fits broadly into the current wave of electronics that draws from both darkwave and EBM, but with an alternately sardonic and riled-up attitude that feels pretty singular. It’s not hard to imagine hearing a cut like “Pinyon Prick” with its whispered vocals and speedy rhythm programming in a club setting, but its not a mode that the project sticks to for long, with follow-up “Me and Larry” transitioning into a punky bit of funky electro with yelled vocals that fill out the mix. That departure is nothing next to a full-on squelchy electro country and western number of “Farrah Fawcett”, which itself comes after the chillingly matter-of-fact monologue of ambient interstititial track “Muhannad Posts and Troy Voicemail”. Whether on the manic, spitfire rhymed vocals of “Gov Psy Op” or the comparatively straight mid-tempo swing of “Sweet Assassin”, Brood Faye keeps things lean, DIY and unpredictable, all qualities we could use more from the dark alt scene at large.
The Tank by Brood Faye

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Double Echo

The first classic, two albums formatted episode of the new year has us looking at the finely balanced ethereal darkwave of Double Echo, and the immediate and genre-hopping techno-EBM work of Alen Skanner. We’re also talking Terminus, the passing of Manufacture’s Brian Bothwell, and the prospect of a new NIN tour. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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INVA//ID
The Agony Index
self-released

The on-again, off-again path LA’s INVA//ID’s taken since starting up some seven years ago has both built a sense of intrigue around Christopher Rivera & co.’s hardcore inflected approach to classic industrial rock and metal and something of a sense of frustration. The band will drop a release with no warning and then vanish for months on end, and that’s not to mention the task of navigating the reworking, repositioning, and at times flat out deleting of previous releases. To their credit, new LP The Agony Index was announced more than a year ago and has been scaffolded with an archival release, plus a pair of standalone singles over 2024, including a cracking version of Wax Trax deep cut “Show Me Your Spine”, which was a regular presence in our DJ sets. Seeing release on New Year’s Day, The Agony Index is an unrelenting, everything and the kitchen sink release which, while at times unwieldy, underscores why so many in the North American industrial world have had INVA//ID’s name circled for several years.

If INVA//ID’s rep for hardcore-tinged industrial suggests either Youth Code or the one-off EP from supergroup Error to newcomers, they won’t be entirely shocked by the downtempo industrial dub and skittering rush of the pair of sub-two minute tracks which open the record, but there’s plenty more in store. Few acts today are as good at refreshing sounds most will associate with classic Wax Trax releases, and the way that “Torn” piles up a stack of grimy basslines and programming should be catnip to fans of 90s industrial rock in general. A tune like “Auto Erotic Transmission” finds a nice balance between those elements and hardcore, linking Rivera’s anthemic bile to a nodding, Psalm 69 era Ministry groove.

Spend enough time with The Agony Index and the more organic and original qualities of INVA//ID come through. “Empty” ranks among the best and most ambitious pieces INVA//ID’s yet produced; building its groove bit by bit out of soupy drones, there’s been enough bleepy and stuttering programming and well paced kicks added by the time its plainly delivered chorus hits that it stands out as the rare electro-industrial slowburn of a quality only a handful of current acts could craft. On the flip side, late album highlight “G.F.M.” points to a whole other strength: doling out pure and simple industrial thrash for its own sake, no muss, no fuss.

If The Agony Index has a failing it’s in its editing, or lack thereof. It’s not that a handful of the tunes which abutt highlights like the above tracks are decidedly weaker than them, it’s that in the context of a 65 minute, 17 track monster of a release like this it’s often difficult for the moods or subtler distinctions in those tracks to stand out. On the one hand, that’s good value for money and one can understand the band wanting to deliver something of real significance after a lengthy (by their standards) gestation period. On the other, it can somewhat occlude the tight and fierce immediacy which is one of the band’s calling cards. In any case, unwieldy or not, The Agony Index offers all manner of payoff for those who’ve been holding out for its release, and a solid introduction for those just catching wind of INVA//ID.

Buy it.

The Agony Index by INVA//ID

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Soft Vein
Through Blinds
Artoffact Records

The 2023 debut album from Soft Vein was an exercise in miserablism; it had solid songwriting and thoughtful production, but the universally bleak and depressive tone of the affair is what sticks out when recalling Justin Chamberlain’s darkwave debut. New record Through Blinds tweaks the project’s approach towards a more melancholic direction, no less downcast, but avoiding the pitfall of having mood and atmosphere completely overshadow its charms.

Like the debut, Through Blinds weds bleak monochrome textures and mournful vocals to solid rhythm programming and swatches of synth and guitar, with things kept cool and tempered even at higher tempos. Where it largely differs is in how effectively it those elements are kept in balance, with some of the brighter sounds shining a light through its shadowy temperament. Tracks like “Gray Space” let synth bass and drum programming act as a proper foundation, never succumbing to the swells of discordant pads, with brighter leads accenting and adding melodic dimension to the proceedings. Similarly, the arp that runs through “Oblivion” has a warmth to it that acts as a pulsing heartbeat, allowing Chamberlain to underplay his vocals, the song kept minimal in arrangement but intriguingly emotional.

Those traces of light certainly don’t cause the album to approach anything like happiness however; make no mistake this is still a gloomy affair. Even in its most propulsive moments like “Wasting Days” and “Black Bag” keep minor key sadness in focus, anchoring their gated snares and thrumming bass with longing and wistful vocals and cloudy pads. The tension between how tempo-forward the programming is and how generally dejected Chamberlain sounds is a pocket of sorts – when the album dips into more ambiguous rhythmic territory as on closer “Dreaming”, the effect is more striking simply for how infrequently Soft Vein succumb entirely to despair.

With those glimpses of hope that come out through the heartsick fog shining ever brighter for avoiding being snuffed out, Through Blinds becomes almost hopeful in temperament. It’s overcast and often doleful, but allows for the suggestion that better days might still be on the horizon. It could be the fraught moment in time, but that’s a comforting thing for a darkwave record to being in these early days of 2025.

Buy it.

THROUGH BLINDS by SOFT VEIN

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Well hey everyone, we’re already halfway through January this week, which might not seem like much, but given that this is usually a slower time of year for releases, it means we’re rapidly burning through our annual catchup time as we digest that list lingering bits of 2024. Things have started strong in Our Thing with a few choice releases (many of which have been or will be written about here shortly) and album announcements, and as always we’re keen to see what direction the year takes us, and what acts familiar and new will grab our attention. As always if there’s something we’re sleeping on, let us know in the comments below. Tracks ahoy!

Laibach, “I Want to Know What Love Is”
Slovenian industrial OGs Laibach have been a lot of things over the years, but their most memorable schtick has always been the recontextualization of pop and rock songs in their own, gravelly voiced style. In recent years, and thanks in no small part to now longtime collaborators Silence, they’ve gotten very good at making their chosen covers lush and lovely, as is the case with this version of Foreigner’s dad-rock (Dadbach if you will) staple “I Want to Know What Love Is”. One of the Senior Staff’s partners noted some Leonard Cohen-isms in the arrangement and performance, and damn if they weren’t spot on. Lighters up y’all.
I Want To Know What Love Is by Laibach

Kite feat. Nina Persson, “Heartless Places”
Tear-jerking Swedish synthpop faves Kite have been on a productive kick lately; the release of singles EP VII last year on Dais Records and a US tour would have been plenty for low-output-high-quality duo, but all of a sudden we’ve got a brand new single featuring Cardigans vocalist Nina Persson. With the last batch of Kite originals having been more on the low-key heartbreaking vibe, it’s nice to hear something a bit more propulsive if no less evocative. Hopefully it’s not long before their next missive, we like having ’em around.
Heartless Places (feat. Nina Persson) by Kite

Ash Code, “Living For The Sound”
As we head into 2025 with no sign of the ongoing omnipresence of darkwave ebbing, it’s nice to have a strong entry like this from now-veterans Ash Code. They’ve had a great balance of dark guitars and synths on lock from day one, and have been levelling up their songwriting while maintaining fantastic atmospheres, and this cut is no exception. Whether or not this cut which exemplifies those qualities will literally point to the trio’s first LP in a decade or not, we’re happy to be reminded of the band’s enduring power.
Living For The Sound by Ash Code

Obscure Formats, “Basilisk”
The reactivation of Component Records is welcome to those of us who remember the label’s pioneering work in codifying technoid as an intersection of IDM and post-industrial music some twenty years back. But in its new incarnation the label hasn’t stayed pat, and releases like this one from Snowbeasts side project Obscure Formats shows the payoff of the veteran curatorial instincts Rob Galbraith brings to the label and Galbraith’s own productions like this one. Part classic EBM, part current techno, part millennial French electro, there’s a lot of resonance woven into this dead simple, acidic banger.
Cryptid by Obscure Formats

Korine, “Anhedonia”
Just last week on the podcast we were discussing the forthcoming Korine album A Flame in the Dark and wondering what direction it would take the Philadelphia indie-post-punk-synthpop band. If “Anhedonia” is anything to go by, turns out it’s the same bright, hooky pop they’ve been doing for a while, but with some added electronics and lots of shimmery, dreamy production for flavour. Korine have written some of the most damnably catchy songs of the last couple years between their two previous LPs, we’d put money on this new one continuing that trends.
A Flame In The Dark by Korine

Sleep Forever, “Shine A Light”
Speaking of bright pop, we know from previous releases that Markus Weber likes to use his Sleep Forever solo project as an opportunity to dig into bouncy and colourful synthpop which would be out of step with his usual business as part of austere and at times quite harsh darkwave outfit Veil Of Light, and the first taster from the second Sleep Forever full-length only underscores that. Coming across like an early 90s OMD single if Andy and Paul had spent a bit more time in Ibiza rather than Merseyside, “Shine A Light” bodes well for Alter Ego.
Alter Ego by Sleep Forever

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Osccurate
Computer Decay
Synthicide
The three original tracks and two remixes offered by Colombian artist Osccurate on recent EP Computer Decay are varied in style and approach, reflecting the wide variety of body music approaches the project has tried on thus far. Most notably unique in this regard is opener “The Witch and the Moon”, which finds room for spidery Flamenco-adjacent guitar melodies between it’s thudding mid-tempo EBM rhythm and swooping filter sweeps, the incongruity between organic and electronic sounds creating a tangible feeling of tension. While the title track (produced in collaboration with Bogotá-based artist Galope Messier) includes only a few fluorishes of six string atmosphere, the sound itself is notable for taking an italo-disco riff and bluting it into a far more sinister form, still bright, but foreboding in the context of the rolling bassline and processed vocals. “Ñalazos” is the most straightforward and driving track on offer, recalling sort of millennial post-electronica sounds of Juno Reactor and Empirion, with a tasty touch of squelchy acid for flavour. Any of those distinct approaches could yield a new pathway for Osccurate, although if the story of the project thus far is any indication, the next release may be just as varied in wholly new ways.
Computer Decay by Osccurate

Give My Remains To Broadway
This Party Sucksself-released
Toronto ne’er-do-wells Give My Remains To Broadway are back on their speedy (in both senses of the word) darkwave kick with new EP This Party Sucks, but as the title points to, their focus has shifted somewhat from the phantasmagoria of early releases like Beyond the Gates of Xouztoth towards more quotidian stressors: bad coke, worse relationships, regret. Croaky vocals point to the band having recorded these six tunes immediately in the aftermath of the titular shindig (“It’s not a pre-game, it’s a pre-World Cup”), but as with their extant material, surprisingly lush atmospheres and solid darkwave harmonies are packed into every corner of tight compositions like “I Know You Could”. At the band’s most approachable, the punkier side of their sound pushes through gloomy excess, with weary tales of being strung out and run down (“Crash Out”) sitting halfway between Terminal Gods and Crocodiles. They’ve shown themselves to be more than capable of juggling the signifiers of recent darkwave, but here they’re beginning to point to a more general approach to dark rock which could find them tapping into new audiences.
This Party Sucks by Give My Remains to Broadway

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We’re jumping into the new year with a podcast previewing forthcoming releases we expect to come in 2025 from a slew of our favourite artists: Encephalon, Spark!, Devours, and more. We’re also talking about the passing of Chemlab’s Dylan Thomas More, news regarding Ghost Twin and Kindest Cuts, and this year’s iteration of Cold Waves. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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Harsh Symmetry
Harsh Symmetry
self-released

Los Angeles darkwave musician Julian Sharwarko’s Harsh Symmetry has always struck a fine balance between the use of electronics and guitars, with an emphasis on songwriting that dictates the form of any individual track. New album On-Screen Death continues in that vein, featuring both some of the project’s most synth-driven numbers to date, and injecting some unexpected but not unwelcome new dynamics into the band’s moody, overcast sound.

Part of the appeal of Harsh Symmetry has always been how deliberate everything feels; Shawarko’s songs feel very crafted in terms of structure and performance, with programming, guitars and the musician’s own tenor vocals all arranged in tasteful balance with one another. The downside is that can lead to songs feeling a little too mannered, always well executed but sometimes lacking in liveliness. Hence why a cut like the excellent “Quiet Pill” feels like such a nice change of pace; the lovely vocals melodies and bright chiming sounds that are the band’s bread and butter are here, but the outright funky bassline that drives the song injects just the right amount of bounce and groove to make it feel like something entirely new. Similarly, the pre-release single “Fossil Brain” throws some extra syncopation onto the drums, while Shawarko plays his rhythm guitar parts a bit more loosely to create a pocket with the squeaky synth lead.

Even more outlandish for the project is “Virtual Killer”, one of the most purely electronic cuts that Harsh Symmetry has ever released. Heavily leaning on its 16th note bassline and drum machine, it’s rhythm driven in a way that feels distinct in that its closer to the popular electro darkwave club sound. It’s a simple track by Shawarko’s standards, but shows a capacity to do something more thumping, with the record’s closing cut “Black Box (Lost)” taking it further with its grave vocals and scratchy guitar, abandoning ennui for some subtle menace.

At a tight six tracks, On-Screen Death feels almost like a testing ground of sorts, a place for Harsh Symmetry to try out some new ideas and approaches without needing to compromise the structure of a longer LP with too many stylistic change-ups. While it may not be as substantial in terms of pure songcraft as preceding LPs, the novelty of each song gives it plenty for fans to chew on, and a healthy dose of replayability to boot.

Buy it.

On-Screen Death by Harsh Symmetry

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Kreign
III
Scanner

When we were pointed to the debut LP by Kreign a few years back (by no less an EBM luminary than Nordvargr) we were quickly impressed by the mix of polish and fury the Phoenix duo already had locked down. Tracks like “5 Layers Of Chaos” and “In That Frame Of Mind” spoke to a keen sense of EBM structures and history running back decades, but with a zip and pep that spoke to both contemporary European body music as well as American industrial club trends of the past decade or so. The band’s second LP, the confusingly titled III, hones in slightly more on the second half of that equation while still staying Kreign’s core course.

Those just joining the party should be taken by opener “Black Bile Emesis”, whose punchy swing and well-sculpted stabbing rhythms bely a fairly stripped down construction. As III unfolds, the anthemic anhalt stomp of much of the debut cedes the spotlight on III to the speedier, more frenetic flurries of “Iniquity” and “Collapse Imminent”. Depending on one’s listening habits these could be linked either to recent left-field EBM from Sweden and Germany, or perhaps a period from decades past when a tighter pool of labels and producers linked European and North American club tracks around slickly produced and immediate EBM programming. Hell, there could be a whiff of the rubbery and burping sampling of the likes of Visitor and Multiple Man on “Dark Triad” if one squints hard enough.

If it’s easy to mistake some of Kreign’s sound as continental, their vocals and thematics feel squarely American, alternating between tight, processed shrieks and droll crooning. The on-the-nose lyrics of “Work Your Body” (“Some like to build muscle mass / Some like to work on cardio-vasc”) bring the japery of Diesel Dudes to mind, but the tune itself is driven by a crawling funk you don’t hear too much in EBM on either side of the Atlantic, save for in tunes like “Disco King” from Kreign’s previous record. The nautical disaster theme of “S.O.S.” is similarly refreshing and direct, with deep sea klaxons accompanying lyrics about struggling to keep your head above the water.

A couple of III‘s tracks run a tad long (somewhat surprising for a record with such a high average BPM), but there’s very little fat on the record in length or overproduction, the latter being especially impressive given the real polish given to every piece of programming in Kreign’s arsenal. Sticking to that sense of curation and editing while still getting the manic energy the band clearly love about EBM is no small feat, and makes III a fresh and entertaining continuation of Kreign’s already solid modus operandi.

Buy it.

III by Kreign

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Back at it after the break and in the New Year! We hope your festivities were enjoyable, whatever they were; ours were both low-key and family focused. The holidays’ rep as a slow news period held up in terms of tour/festival/general scene news so with not a huge amount of news to report off the top we’re setting ourselves on catching up with a few late year releases we might have missed, plus the smattering of stuff which saw release over the break, starting with the first Tracks post of 2025!

You can run, but you can’t. (HIDE)

Devours, “Sports Car Era”
Our favourite Vancouver synthpop gaylien Devours returns in a new form as he enters the titular Sports Car Era. As promised we’re hearing some darker and more discordant sounds and ideas in this taster from the upcoming album, and if like us you live in Vancouver, the opening line “I don’t want to go through life at a distance/Squeezed out of the city and priced out of existence” should hit you where it hurts. But then that’s the whole thing with Devours; outrageous sincerity and deep and occasionally excoriating self-examination. Every record is a gift, and we are hotly anticipating this one.
Sports Car Era by Devours

INVA//ID, “G.F.M”
New music from LA’s INVA//ID is always cause for excitement, and after Chris Rivera & co whetted our appetite with a fantastic cover of PTP’s “Show Me Your Spine” in 2024, we’re keen to dig into new full length The Agony Index. Tunes like this show off the uncanny knack the band’s always had for linking their roots in hardcore with seriously deep appreciation for vintage 80s and early 90s industrial rock, and with all the ferocity you’d want in such a combination.
The Agony Index by INVA//ID

HIDE, “I Lick the Blade Clean”
Chicago noisy industrialists HIDE keep getting more intense and difficult with each passing release. “I Lick the Blade Clean” is the second song we’ve heard from them in recent memory (the other being the just released “Suffer”) that highlights how much of the trappings of their sound has been pared down until what remains is noise, clatter, and deeply uncomfortable but necessary lyrics. If you’re missing noisy, unpleasant industrial, welp, here you go.
I LICK THE BLADE CLEAN by HIDE

Black.n, “Ignocracia”
Pildoras Tapes slowing its roll for most of 2024 was unfortunate, as they’ve earned a rep as one of the best curated sources for modern, grimy body music in Central and Sourthern America. Thankfully, they just offered something new up in the form of a solid tape from Argentinian producer Black.n. Tunes like this one do a great time of hearkening back to earlier moments in history when EBM and techno crossed over a la Fixmer/McCarthy.
No Nos Representan by Black.n

Menthüll, “Automode”
If you listened to our podcast flagging tracks from the past year you’ll know how closely we’ve been tracking Quebec duo Menthüll over the past years, and their run of winsome, whimsical singles continues apace. New cut “Automode” draws a line between modern, snappy electropop and classic synthpop, with a heavy dusting of the dreamy, continental coldwave style which first drew them into our orbit.
AUTOMODE by Menthüll

Cardinal Noire, “Just One Fix”
Finally, a little digestif from our favourite Finnish post-industrial loyalists Cardinal Noire, in the form of a double covers single featuring their version of Skinny Puppy’s “Inquisition” and Ministry’s “Just One Fix”. We enjoyed the December LP Vitriol from the duo, so having a nice follow-up in the form of two familiar, but rejigged numbers in their style is nothing but gold as far as we’re concerned. Due to licensing you can’t buy the Puppy cover on Bandcamp, but the Ministry joint is available for your listening and streaming pleasure right now.
Just One Fix / Inquisition by Cardinal Noire

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Iron Maiden – Somewhere In Time

Our still recently minted annual tradition of the off-topic commentary is back! After records by Little Boots and GZA in previous years, we’re once again wandering away from Our Thing for our final We Have A Commentary of the year. As voted on by our patrons, we’re discussing an Iron Maiden record, 1986’s Somewhere In Time in particular! From the band’s emerging structural experimentation to its classic galloping metal to the increasingly adventurous themes and topics they were taking on, we have a blast discussing one of our mutual favourite metal bands of all time. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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Black Dahlia

As an addendum to our main roster Year End coverage, we’re poking out of our Tofurkey comas to each pick five tracks from the past year which stuck with us. Separate from our records of the year and honorable mentions, these are club-joints, one-offs, or just damn catchy ditties we wanted to throw some roses at before the the ghost of Dick Clark does the countdown. We’re also discussing the lineup of next year’s Verboden festival. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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Wrapping up our week of Year End coverage we have an episode of the podcast discussing some common trends and notable factors in our Top 25 records of the year, some statistical number crunching looking back at previous years’ lists, and each of the Senior Staff choosing five honourable mention records from the year which didn’t quite make the list. Thanks so much for checking the podcast out, whether you’re jumping in to get a crash course in the year’s best music or you’ve stuck with us all year. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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And here we are, with our favourite records of the year in focus. As always, we’re never sure how much an exercise like this says about the year that was in dark music in and of itself as opposed to the subjective year we had in the field, but we always have a blast doing it, and we hope that if nothing else it brings your attention to some records you might have missed. We’ll be back tomorrow with a podcast recapping the list and also highlighting some honourable mentions. Thanks for sticking with us through another year of coverage here at ID:UD, and we’ll see you in the new year!

5. Ashbury Heights
Ghost House Sessions vol. 1
Out of Line
Ashbury Heights’ Ghost House Sessions Vol. 1 is simultaneously the swedish electropop act’s most characteristic and most idiosyncratic release to date. Forgoing their usual approach of releasing an album every few years with an adjusted line-up and a sound tweaked to match contemporary production sounds and ideas, this massive double album took form over the course of several years with project leader Anders Hagström tapping a wide array of collaborators and indulging a number of style exercises, going well beyond any musical territory explored by the band up ’til this point. What’s genuinely striking about that approach is that no matter whose voice appears on a track (be it Blutengel’s Ulrike on “A Lifetime in Service of Darkness, Danny Blu on the brooding “Cutscenes”, or ethereal darkwave chanteuse Madil Hardis on “A Cut in Place” and “Wild Eyes” amongst others), or what kind of song it is, the sound is Ashbury Heights through and through. That speaks to the persona that Hagström has developed for the band, allowing enough flexibility to record songs as far out as the cod-reggae of “In the Dark”, the oompah-band schmaltz of “Halcyon” and the modern EDM of “Escape Velocity” and still have them be unmistakably themselves. It’s an identity defined by those trademark melodies, the clever but never insincere lyrics, and the Swedish popcraft that has always set them apart from their contemporaries; Ghost House Sessions Vol. 1 is Ashbury Heights, even when it’s not being any version of Ashbury Heights we’ve ever heard before and may never hear again. Read our full review.
Ghost House Sessions Vol. 1 by Ashbury Heights

4. Feyleux
Midnight Hearts
Swiss Dark Nights
We’ve been writing and talking for more than a decade about the priority darkwave places on atmosphere, allowing for so many different expressions and sub-sub-genres to drift and luxuriate within its nebulous realm. Arriving fully formed with their debut LP, North Carolina duo Feyleux reminded us all this year of just how wide ranging the genre could be, touching upon everything from the windswept ethereality of classic Projekt releases to pure goth rock to dream pop to synth-buoyed dancefloor numbers. Keeping so many plates spinning without Midnight Hearts falling into chaotic discord would be an impressive feat in and of itself, but it also brought us some of the strongest, most memorable, and most affecting dark tunes we heard this year. There were immediate tracks like “Blood Shadows” and “Icy Veins” which leapt out of the speakers with bracing beats and misty guitars, but also more subtle pieces of songcraft, perhaps belying Laurie Roroden and Erica Gilstrap’s preceding tenures in indie rock. The way “Cerulean Heart” just barely betrays the emotion obscured behind its austere, near waltz-like lilt, or the bed of lush synths which carry Roroden’s voice aloft when the bittersweet chorus of “Lunaria Swirls” begins to bloom were part and parcel of what kept us returning to Midnight Hearts throughout the year. It sounds as though the band’s already begun work on a follow-up, and while the prospect of more material of this caliber bodes well for North American darkwave, Midnight Hearts deserves its dark roses at the end of the year. Read our full review.
Midnight Hearts by Feyleux

3. Urban Heat
The Tower
Artoffact Records
Urban Heat rode a wave of buzz into 2024, based on the electricity of the Austin trio’s live performances. The question was, could the band translate the energy and charisma that had been earning them fans on the road to a record. Enter The Tower, a record that answered the question, and silenced doubters in one fell swoop. Using post-punk as a homebase, frontman Jonathan Horstmann and his bandmates Kevin Naquin and Paxel Foley take their sound in a wide variety of directions, dipping into club-ready darkwave (“Right Time of Night”), groovy mid-tempo electro (“Sanitizer”), and down the pipe guitar rock (“Seven Safe Places”). No matter the direction, the fundamentals remain the same: strong choruses, tight arrangements that work for home or club listening, and Horstmann’s magnetic presence as a frontman, the band’s not-so-secret weapon in a live setting captured entirely through his lyrics and rich baritone vocals. It’s a perfect storm of an LP, with the band’s charming personality, their songwriting, and the production all in complete lockstep, performed with no small amount of heart and a deep and effortless cool that doesn’t clash with its melancholic or its anthemic turns.  The Tower truly has it all, emotional highs and lows, DJ-friendly dance cuts, and wicked collection of hooks that should keep in rotation for Urban Heat’s still-growing fanbase for years to come. It’ll be a tough act for them to follow, but then again, The Tower is such a triumph of potential realized, that it’s hard to bet against them. Read our full review.
The Tower by Urban Heat

2. Haujobb
The Machine In The Ghost
Dependent
The boys are back in town. And by “the boys” we of course mean one of the most uncompromising, courageous, and important acts to ever emerge from the ghetto of post-industrial music, and by “back in town” we mean continuing to produce some of the most engrossing yet maddeningly cryptic electronic music you’ll ever encounter, regardless of genre, after nearly a decade on hiatus. Sure, in a perfect world the Haujobb catalog would be celebrated by critics with no real familiarity with industrial alongside that of Burial, Coil, and Aphex Twin, but even cursory contact with the tension and unease which permeates every second of The Machine In The Ghost is a reminder that our world is anything but perfect. Simultaneously imbued with motorik precision and uncanny chaos, Dejan Samardzic and Daniel Myer’s latest compositions push the rhythmic envelope further than any of their predecessors, weaving between sleek and chilly minimalist beats and clattering excesses of noise. Note how the hissing and pinging components of “Uselessness” begin to assemble themselves into a lurching mechanism, paradoxically gaining momentum as every metallic beat seems to threaten to send the whole affair crashing into the scrap yard. Also, all of his time sojourning in the impersonal, wholly instrumental world of dark techno hasn’t done anything to Myer’s presence and gravitas as a front man; he’s still a coolly menacing presence vocally, knowing just how to build and maintain tension only to release it with a whisper of intonation on “In The Headlights”‘ lurching game of binaries. We don’t deserve them, but if Haujobb was in it for their due credit they would have packed it in long ago. Read our full review.
The Machine in the Ghost by Haujobb

1. Twin Tribes
Pendulum
Beso De Muerte Records
The recent resurgence of interest, or at least awareness, of goth and darkwave music in mainstream circles has brought back with it, as it always does every eight or so years, the eternal discussions of genre definition, gatekeeping, poserdom, generation gaps, and the like (it’s tempting to call such discussions “tiresome”, but we’re not above getting our hands dirty from time to time). A record like Pendulum is a balm in these discordant times, then, not just by virtue of its quality but also by virtue of the effectively universal acclaim Texas two-piece Twin Tribes have come by organically and honestly over the last half decade. We can all waste our time splitting hairs or questioning each other’s goth cred as much as we want, but there’s simply no getting around the realization which Pendulum has cemented in the minds of so many of us: Twin Tribes are the best darkwave band of their generation.

Arriving with fully developed knacks for both melodies and composition with their 2018 debut Shadows, Twin Tribes’ work has progressed by degrees of refinement and subtle shifts in focus ever since. Where Ceremony tilted ever so slightly towards classic goth rock, Pendulum course corrects by stressing the synth programming which lies beneath Luis Navarro and Joel Niño, Jr.’s deft guitar and bass work. Whether it’s in the lush swing of closing lullaby “Meadow” or in the immediate, Xymox-esque punch of smash hit “Monolith”, Twin Tribes find just the right synth palettes to underscore Pendulum‘s rock solid songwriting without ever obscuring the economy and hooks which have been their calling card since day one.

And by god does this record have those qualities in spades; “Another Life” takes a simple configuration of synth, bass, and speedy drum programming and rides them into earworm territory with nary a pause, darkly energizing to the point that it can be easy to overlook how much atmosphere Navarro and Niño, Jr. conjure up. “Cauldron of Thorns” flips that formula, starting with crushed velvet dramatics of the most opulent variety, intoxicating enough to distract the listener from it’s sneakily catchy guitar and vocal melodies. It’s a ludicrously consistent record in that regard, with no song failing to deliver the atmospherics or an immediate chorus, to the point that even trying to put your finger on a favourite song can be difficult – they’re all that good.

Unlike so many of our our top end of year picks, we came into this process with no obvious frontrunner for the number one spot. Consequently we spent a lot of time listening to the albums that seemed like they could take the prize, which is where the true strength of Pendulum became so apparent: we knew from the moment of release that Twin Tribes hadn’t lost a step in the years between releases, but that an album could sound so fresh, so immediate, and so imminently listenable on the hundredth listen like it was the first? That’s a rare and special quality that made the choice easy. Twin Tribes’ Pendulum is our album of the year for 2024.

Pendulum by Twin Tribes

And that’s it! Year End Wrap-Up podcast tomorrow, then we’ll be on hiatus until the new year. Thanks for reading, and we’ll be back soon!

The post I Die: You Die Top 5 of 2024 appeared first on I Die: You Die.

And so we come to the middle portion of our Top 25 countdown, traditionally the portion of the list with the most surprises, sometimes even for us. As with all years, the nature of collaboration leads us to some interesting places, as the sympatico and divergent tastes of the Senior Staff end up moving albums up, down, on and off in unpredictable fashion. With this post, it should now be possible to make an informed guess as to our Top 5 before the grand reveal tomorrow – guesses as to what get the honours are welcome in the comments below!

15. Dancing Plague
Elogium
AVANT!
After years of the North America being beholden to a particular strain of electro-darkwave, Conor Knowles’ embrace of the genre’s imperial and dour (if no less danceable) continental spirit was a palette cleanser and a main course unto itself. A key to these body music and industrial-informed songs lies in Knowles’ emotional deep-voiced vocals, which add weight and gravitas to the proceedings, keeping even the danciest of the record’s numbers deadly serious in tone. The overwhelmingly gloomy atmosphere could have been a downer, thankfully Elogium is replete with passion, albeit one spiked with self-excoriation and sorrow. While the record’s title suggests a dedication to the already deceased, its bracing struggle in the face of metaphorical oblivion feels intensely alive, and all the more crucial for it. Read our full review.
Elogium by Dancing Plague

14. Gallows’ Eve
13 Thorns
self-released
Absolutely obliterating stereotypes about continental goth being too turgid or bereft of hooks to get by on anything other than mood, Malmö trio Gallow’s Eve set the standard for traditional gothic rock impossibly high in January with their debut LP. Taking the depth and gravitas of Germany’s disciples of the Nephilim and the stormy blitz of rhythm and harmony plied by the UK’s best goth rock bands, and then fusing them via Swedish alchemy and studiocraft gleaned from their metal backgrounds, tunes like “The Rivers Will” and “To The Lighthouse” had all of the midnight tempest thrills your Aquanet hairdo can handle before collapse. Taking the principles of second wave gothic rock at their face, Gallow’s Eve brought unabashed, rocking anthems back into the broader goth conversation in direct defiance of the current mores of darkwave. Bracing and utterly addictive. Read our full review.13 Thorns by Gallows’ Eve

13. Houses of Heaven
Within/Without
Felte Records
Houses Of Heaven’s Within/Without is a triumph of production and design as a function of songcraft, a vision of post-punk that exists at a juncture of thoughtful and precise construction, and passionate delivery. Picking up from the dubby haze of their debut, there’s a specific clarity of vision and sound that the California trio invoke, allowing them to explore blossoming synthpop (“Pisces”), mechanized rock (“Flesh Technique”) and manic, breakbeat-infused sprints (“Sightline”) with equal aplomb. Simply, the band have found a unity in their approach that is deft and subtle, so that even those songs that bring in guest vocalists (with both Douglas McCarthy and Ms. Boan providing standout contributions) are of a piece with their surroundings. Precise but fluid, and consistent but varied, Houses of Heaven made one of the year’s most fascinatingly protean albums. Read our full review. Within/Without by Houses of Heaven

12. Kontravoid
Deteachment
Artoffact Records
If Cam Findlay’s formula were at all easy to imitate, trust us, today’s scene would be lousy with people trying to ride his coattails by linking classic electro breaks to punishing darkwave and industrial programming in knock-off iterations of the style that’s established Kontravoid as a fixture on dark dancefloors for the past half decade. It clearly isn’t, and that means modern listeners have but one hook-up for the uncut product they’re fiending for, and Kontravoid’s chemistry hasn’t failed them yet. From the full-bore rhythmic artillery and choral stab assault of “Reckoning”, to the chill midnight pulse of “Fading”, to the savvy tapping of Nuovo Testamento’s Chelsey Crowley for throwback freestyle confection “Losing Game”, Detachment pushes Findlay’s reach into a handful of neighbouring territories without forsaking the spine-whipping grooves his empire was built upon. Read our full review.
Detachment by Kontravoid

11. Sacred Skin
Born in Fire
Artoffact Records
Sacred Skin’s sophomore album Born in Fire draws from the same new wave cool that informed their debut, taking the band to ever more breathtaking heights through songcraft and performance. To the former quality, the band have no shortage of great, hummable hooks and know exactly how to get them across; the album is built so that it’s most bombastic and passionate moments are complimented by its groovy and soulful entries. Stylistically, the band show both range and inventiveness, but also taste and consideration; when they bust out blazing guitar licks and synth percussion it’s because because the song calls for it. Similarly, frontman Brian DaMert is effortlessly charismatic and sincere, never dwarfed by the grandeur of their ambitions, or mawkish when sentimental. Born in Fire is an album in the classic sense, and fantastic one at that. Read our full review. Born in Fire by Sacred Skin

10. Tryphème
Odd Balade
Artoffact Records
It’s rare for a record as subtle and ethereal as Odd Balade to be so addictive, and yet few records this year felt as easy to cue up just one more time after they’d run to their conclusion for the umpteenth time on a quiet summer night. Signalling a massive shift away from the abstract and understated experimentalism of Tiphaine Belin’s previous releases, Odd Balade embraces the lush, shimmering, and reflective mood of classic 4AD and shoegaze records, and uses that aesthetic to bridge darkwave, art pop, and even some hints of classic French pop. Don’t mistake the unified and peaceful atmosphere for one of simplicity, though; the mathematical unveiling of opener “Clio” belies Belin’s compositional chops, the watery strings of “Dancing In The Rain” are offset by a subtle shuffle beat which reframes its Bel Canto-like ambience, and then there’s the slowburn masterclass of “Sandy Family”, the soundtrack to a Lynch/Truffaut collaboration never realized in this universe. Read our full review.
Odd Balade by Tryphème

9. Dame Area
Toda La Verdad Sobre Dame Area
Mannequin Records
Catalan synthpunk duo Dame Area have never sounded as ferocious as they do on Toda La Verdad Sobre Dame Area, and considering the clamour and intensity of their preceding efforts, that’s saying something. Coming on the heels of the more melodic Toda La Mentira Sobre Dame Area, the duo double down on their mixture of clanging industrial percussion and minimal programming, bound together by dedication to all-consuming rhythms. For all their mechanized menace, the real triumph here is how Dame Area never fully give in to the machine, using Silvia Konstance’s sometimes steady, sometimes unhinged chants to not only humanize these songs, but to bend them into new shapes, with synth sequences, organic drums and sequenced elements all parting ways to allow her passage through their rough terrain. No album this year harnessed cacophany so expertly, nor with such passion. Read our full review. MNQ 166 Dame Area – Toda La Verdad Sobre Dame Area LP by Dame Area

8. Tassel
A Sacrifice: Unto Idols
self-released
“Oh, we got both kinds of music: goth and industrial!” It’s an old joke we’ve been making for years before I Die: You Die was even conceived, but no record this year let us have our cake and eat it too the way A Sacrifice: Unto Idols did, while also heralding the arrival of a band capable of getting us to think about the convoluted intersections between those traditions in fresh new ways after a couple of years of promising EPs. With rhythms calling back to Test Dept as much as Batcave sex beat, Phoenix’s Tassel walk the razor’s edge between ‘difficult’ early industrial experimentation and modern death drive minimalism a la Hide. And the gothic flair they’re adorning that rigid skeleton in is less garden variety Christian Death pantomime than it is a reminder that the broader post-punk world of the early 80s allowed for all of these darker textures to coexist. Read our full review.
A SACRIFICE: UNTO IDOLS by tassel

7. Nox Novacula
Feed the Fire
Artoffact Records
Seattle’s Nox Novacula have been threatening to make a record like Feed the Fire for a while , serving up both deathrock purism and broader electronic darkwave stylings with steely conviction. It’s a balance that seems natural but can be difficult to pull off without diluting the former’s punk attitude or the latter’s mood and atmosphere. Nox Novacula thread that needle by letting their anxious fury lead the way, whether raging out (“Disappear”), or issuing portentous warnings (“Plague”). Hell, their restless outrage is so potent that even it’s absence can be striking; the band’s affecting turn to minimalism and sentiment on “Stay” is all the more impactful in contrast to the attack of “Wolves” and vocalist Charlotte Blythe’s anthemic delivery on “No Forgiveness”. Nox Novacula seize the dread and charged atmosphere of the moment, and match it with glorious, unblinking defiance. Read our full review. Feed The Fire by Nox Novacula

6. Dark Chisme
self-titled
self-released
It’s no secret that the darkwave boom didn’t diminish much in 2024, and thankfully that’s meant higher standards for listeners even as it means higher stakes for bands. Simply aping Boy Harsher isn’t enough to cut it on today’s dancefloors; younger and more discerning club goers demand more, and Seattle’s Dark Chisme delivered in the form of a record which, frankly, most bands who’d been honing their sound for five years would give their eyeteeth to release, let alone one who formed in the last year like Christine Gutierrez and E. With minimalist arrangements that put Gutierrez’s dynamic vocal charisma in the spotlight, and strung along by savvily infectious hooks and direct sound design, DJs across North America (and increasingly further afield) were gifted with a ready made arsenal of club killer. A debut this strong made it impossible to not get on board the Dark Chisme bandwagon this year. Read our full review.
Dark Chisme by Dark Chisme

Thanks for reading, folks! Tune in tomorrow for our favourite five records of the year.

The post I Die: You Die Top 25 of 2024: 15-6 appeared first on I Die: You Die.

A lot can happen in the space of thirteen years, and with this being our fourteenth crack at identifying our favourite twenty-five records to be released in the calendar year it’s impossible for us not to think about what’s changed and what hasn’t in the styles of music (and even in some case the same artists) which have been represented in each iteration of our Year End list. Are the differences between this year’s list and 2011’s more the result of broader changes within dark music or personal changes in the tastes of two increasingly middle-aged goofs from Vancouver? Who’s to say? Certainly not us, which is as good of a way as any to reiterate that this, as always, is a wholly subjective exercise – we always want to hear other folks’ opinions regarding their faves of the year so long as differences of opinion are recognized as that, differences of opinion not fact (a nigh impossibility online today, we know, but we’re dreamers). In any case, let’s dig into entries 25-16!

25. Lustmord
Much Unseen Is Also Here
Pelagic Records
The first standalone LP of original solo material from Brian Williams’ Lustmord in four years, Much Unseen Is Also Here arrived in the wake of the sprawling The Others project, a series of releases documenting Lustmord’s influence on everyone from Enslaved to Zola Jesus. With the plaudits taken care of, Williams is back to work at what he does best here – pushing the dark ambient sounds he pioneered in ever richer but still eerily subtle directions, with all manner of acoustic and wind instrumentation being deployed (to torture an extended mataphor, Williams employs the grammar but not the rhetoric of symphonic and cinematic composition). On pieces like “An Angel Dissected”, Williams wields the harrowing yet immaculately tasteful set of sound design and compositional tools he’s sharpened over a career spanning more than forty years with the eye of a sculptor and the cold-bloodedness of a butcher. Read our full review.
Much Unseen Is Also Here by Lustmord

24. Normal Bias
Kingdom Come
Synthicide
Matt Weiner of TWINS and Chris Campion of Multiple Man’s long-awaited first LP as Normal Bias certainly delivers on the funky body music stylings of their 2022 debut EP, but also demonstrates the duo’s burgeoning synthpop chops. With EBM as a rhythmic foundation, they make a meal of their melodies and arrangements, with clever dips into italo, Kraftwerkian electro-pop, blue-eyed soul and beyond; songs like “Holy” and “Earth Dies Burning” strike a careful balance between soulful melodics, danceability and stylized production that makes use of classic sounds to tasteful effect. It’s the rare album that feels both so novel and timeless in its execution, and with the tunes, the poise and the danceability to back it all up. Read our full review.
Kingdom Come by Normal Bias

23. LEATHERS
Ultraviolet
Artoffact Records
Shannon Hemmett’s LEATHERS project has existed for almost as long as her tenure as a member of Vancouver post-punk darlings ACTORS. The long wait for her debut album was defined by a slow but steady stream of songs that showed a marked focus in on the project’s aesthetics and on Hemmett’s own development as a songwriter and frontperson. Ultraviolet is the culmination of that development process, and the rewards are ample; borrowing some neon synthwave markers and applying them to sweet electropop tunes, it brims with poise and class, never needing to rely on cheap throwback production markers to sell its songs. The stunning “Day For Night” is the LEATHERS experience in a nutshell, shoegazy atmosphere and dreamy reverie rolled up into a tightly written ballad delivered with unshowy confidence and sincerity. The saying goes that good thing that comes to those who wait, and Ultraviolet is the graceful, cool case in point. Read our full review. Ultraviolet by LEATHERS

22. Unit 187
Killcure
Metropolis Records
Simply put, Killcure feels like a record that shouldn’t exist. By all rights, there’s no way that Vancouver industrial act Unit 187 should have been able to return after the tragic loss of vocalist and co-founder Tod Law nearly a decade ago, and yet 2024 brought us an LP of material featuring both unfinished songs from Law and brand new material, all rendered with the kind of high-definition acrimony that has always been the band’s trademark. OG member John Morgan is joined by longtime associates Chris Peterson and Ross Redhead, and new vocalist Kerry Vink-Peterson, who not only manage to capture the roiling, cantankerous spirit of the classic material, but reinvent it via blasts of caustic synth programming, crashing percussion and waves of guitar noise, as ugly and invigorating as anything ever to bear the Unit 187 name. It’s a record that triumphs over death itself by being as mean and vicious as the world it was born into. Read our full review. KillCure by Unit:187

21. Kurs
Dreamer
Swiss Dark Nights
Kurs’ 2021 debut put forth a fully developed vision for electro-industrial music, stripping the compositional style of classic Front Line records down to its barest and coldest frame while imbuing the compositions with a ghostly miasma. With Dreamer, Valerio Rivieccio proves that Muter‘s strength was no fluke, creating an evenly flowing and self-contained experience of biomechanical dread and spectral suffocation which rewards repeat listenings and treating it as a unified work rather than a checklist of tracks. Enshrouding tight programming in the atmospherics of dark electro, Dreamer refreshes and revives the uncompromising menace of previous post-industrial masters. Scant few records these days demonstrate half of the interest in or aptitude for the styles and sub-genres Kurs trades in, but fans of them have an absolute masterclass in mood and execution to revel in. Read our full review.
Dreamer by Kurs

20. Spectres
Presence
Artoffact
Regardless of whether you’ve been checking in album by album or, like us, regularly catching them live, the shift Vancouver’s Spectres have been making away from their street punk and deathrock roots to the warmer and sunnier climes of C86 sounds and pure new wave has been a slow process. With Presence, that transformation feels complete. Connoting the likes of The Wake and My Favorite, it’s sometimes a weary record, sometimes a joyous one, but at all times one possessed by a surfeit of emotion and honesty, with Spectres’ always solid knack for hooks being buoyed up by rich and warm summer harmonies. Die-hard fans of their original, much more aggressive material may scoff, but even the gloomiest of goths and crustiest of punks are likely to melt by the time penultimate track “Falling Down” glides through their speakers. Read our full review.
Presence by SPECTRES

19. Pøltergeist
Nachtmusik
Bad Omen Records
Quickly sharpening themselves from a rough but intriguing proof of concept into a fully invigorating new presence on the Canadian scene, Calgary’s Pøltergeist approach anthemic, romantic post-punk of the Chameleons school from a decidedly metal perspective on Nachtmusik and the result is one of the freshest rock records of the year. While still rough around the edges, it’s a record packed full of immediate and lasting tracks, and the band’s got the ‘patting your head while rubbing your belly’ trick of shredding while brooding down pat on the Maiden-goes-peace-punk riffing of “Yesterday Fades” and the muscular stoicism of “Cold In September”. Rather than being formalist exercise in genre-bending for its own sake, the passion frontman Kalen Baker holds for all of the sounds, genres, and influences brought to bear on Nachtmusik is apparent, and points towards Pøltergeist continuing to wend a singular path through the Albertan hinterland. Read our full review.
Nachtmusik by Pøltergeist

18. Data Void
Strategies Of Dissent
Metropolis Records
Data Void, a collaboration between James Mendez of Jihad and Don Gordon of Numb, was always going to be aimed at dyed in the wool rivetheads. The issue of course, is that many such collabs and one-offs fall into the gap between classic aesthetics and modern production. Strategies Of Dissent has no such failings, though. There’s the rock solid programming of “Crash, Burn And Resurrect” that has all of the swing and punch of any classic number either member of Data Void might have had a hand in, updated just enough to suit modern tastes without sacrificing grit. On the flip side, closer “Echoes Of Ritualized Performance” absolutely nails the cinematic, dread-filled style of dark electronics so many newer acts shoot for but fall short of, with the right amount of violent guitar. Aging gracefully, or aging aggressively? For Data Void, they’re one and the same. Read our full review.
Strategies of Dissent by Data Void

17. XTR Human
Schrank
WIE EIN GOTT
Johannes Stabel has been zeroing in on the sound of his latest LP as XTR Human for years now, cultivating his body music bonafides with songs that grew ever more clamorous and strident with each release. SCHRANK is the culmination of those efforts, with Stabel showing that he not only knows his way around a club-ready banger, but that he can do it any number of ways; you’ll get songs that slot easily into the current techno crossover sound (“Neid”) next to numbers that draw deeply from classic wave (“Übeltäter”), and plain old club rave-ups (“EBM Train”). And through all of it you get Stabel himself selling the hell out of it, matching the intensity and pace of his material through vocal presence and no small amount of teutonic machismo and charisma. Play it at the club, play it in your home, play it in the gym, or the streets, SCHRANK is a record that makes its own sweaty, body-moving context wherever it goes. Read our full review. SCHRANK by XTR HUMAN

16. MVTANT
Electronic Body Horror
Dream
In one of the year’s most memorable concert moments, MVTANT set-off a fire alarm at Verboden festival with his smoke machine, then continued to perform through the deafening ringing to an unevacuated and enthusiastic crowd. That incident was a perfect metaphor for Electronic Body Horror, a slab of cool, punky tunes that pulse with livewire energy. Leveraging a small but effective toolset, MVTANT’s first proper LP is a raw expression of cyberpunk angst, replete with grimy digital funk, crushed samples, and vocals that ping pong between hissed threats and nervous breakdown howls. That might make it sound like a fraught or unpleasant experience, but it’s quite the contrary; every thudding kick and every hard-bitten synthline feels tangible and proximal, making the listener a participant in the record’s cathartic purges. In a year with no shortage of music that reflects how charged the world around us is, no album felt quite so immediate, nor so vital. Read our full review. MVTANT “Electronic Body Horror” by MVTANT

Come back tomorrow for entries 15-6 of our annual Top 25 countdown!

The post I Die: You Die Top 25 of 2024: 25-16 appeared first on I Die: You Die.

And so, another year ends here at I Die: You Die, but not before we go through our now well-established Year End routine. If you’re a new reader, it goes a little something like this; today we post some selections from various friends of the website, then we post out top 25 releases from Tuesday through Friday, with a wrap-up episode of the podcast on Friday. Then we take a hiatus from writing for the website for a fortnight (although we will be releasing our annual off-topic We Have a Commentary next week, and a special year end Pick 5 the following week). It all kicks off with the post below, so special thanks to our contributors this year, it’s always an enormous pleasure to see what they picked to tell our readership (and us!) about. There’s plenty to dig into, so don’t delay, and be ready to make some Bandcamp purchases.

Underworld, Strawberry Hotel
I enjoyed this album because it gives me the feeling of time travel. Some tracks feel like the future. Others escort you comfortably into the past. There’s this sense of a linear story that they capture with this album that has always been their own. And those lead synth hooks get me every time. Stand out tracks “Denver Luna” both the album version and the Euphoria mix with Kettama predating the album release. “Lewis In Pamona” is for fans of the classics, first time listener should invest the time in listening to the full album all in one play.
Strawberry Hotel by Underworld

Graywave, Dancing in the Dust
Graywave is a band that I have been following for a few years that I have put into a genre that I affectionately refer to as “dad-hat goth”. It’s usually music that I consider to be casually dark, but gets it’s message across with the music alone, and not by co-opting a traditional goth style. The pain feels actual and real. Think bands like Soft Kill, Garden of Mary, Eagulls and Cold Showers. Of those bands, I’ve considered Graywave to be the slickest sounding of them all. While there’s a big shoegaze element to it, I sometimes wonder if it’s more because it brings back that miserable feeling I had about myself in high school in the 90s than following any type of ruleset. In the few years I’ve been listening, Birmingham-based Jess Webberley hasn’t wasted one track as filler. Dancing in the Dust keeps that flow going by being an incredibly engaging full listening experience. Heavy and forlorn, I imagine this is what would happen if Chelsea Wolfe joined Asylum Party during her Hiss Spun era. Released via Church Road Records.
Dancing in the Dust by Graywave

Ashbury Heights, Ghost House Sessions, Vol. 1
Throughout their existence, The Ramones thought they were churning out listener-friendly Pop songs. They couldn’t fathom why the rest of world just didn’t see songs like “Beat on the Brat” or “Warthog” in the same light. Ghost House Sessions, Vol. 1 from Ashbury Heights is a collection of 25 Pop songs which run the gambit from perfect (“Hard Week”, “Is That Your Uniform”, “One trick Pony feat Massive Ego”) to damn-near perfect (“Sleeping With a Knife”, “Cutscenes feat. Danny Blu”). In a perfect Ramones world, you’d turn on the radio today and hear “Ghost Electric”.
Ghost House Sessions Vol. 1 by Ashbury Heights

Curses, Another Heaven
The album I can’t seem to get enough of this year is Curses’ Another Heaven. I’ve been a long time fan of Curses both through his creative remixes and solo work. Always on the edge of innovation, Curses has singlehandedly ushered back in the era of Gregorian Chant in electronic music in the titular song, but contemporizes it in a beautiful way. The entire album is the perfect example of progressive darkwave, with unexpected textures and layering throughout, along with care and consideration for songwriting. Favourite tracks include “Elegant Death” and “Helium” (featuring Marie Davidson). It’s refreshing to hear darkwave with brilliant hooks and inspired use of instruments.
Another Heaven by CURSES

Reflections, Shadow
Over the past few years, I’ve been absorbing releases in the ‘THALL’ category — a niche metal sub-genre championed by Vildhjarta and Humanity’s Last Breath. Their sound is defined by the inhuman guitar work of Calle Thomer and the genre-defining production of Buster Odeholm, often dubbed “Buster-core.” Humanity’s Last Breath’s 2023 album, Ashen, was a standout, pushing metal to its breaking point. I highly recommend it. THALL blends death metal and metalcore, distorting space, time, and rhythm into something arcane and unpredictable. It evokes detachment, dread, and euphoria, often leading listeners through twisting, deceptive breakdowns. Despite its chaos, there’s an implicit “trust” — a feeling that the music will guide you back to its origin. Sometimes it does.

Sometimes it leaves you in the cracks. The Minnesota-based band Reflections navigates this disorienting terrain, occasionally pushing its abstraction past its limits. Their track “Anhedonie” from the Shadow EP — a collaboration with Swedish artists Thomer and Odeholm — delivers some of the most beautifully unsettling moments I’ve experienced in metal in recent memory.

Shadow by Reflections

Haujobb, Machine in the Ghost
This close to Xmas is a nightmare for parents with kids in school: all I hear is my 10 year old massacring “Jingle Bells” on the piano, my 15 year old sent me to Whamhalla (probably on purpose, even if she denies it), and my wife got upset when I accused Mariah Carey of having a horrible voice. So the best I can do is to nominate Haujobb’s Machine In the Ghost as album of the year. I don’t do that because Dejan and Daniel are old friends of mine. It’s because they make magic together. Whenever they decide to do something, they do it properly. And always in a way that’s both challenging and pleasing. Great songs, amazing sounds, totally original and unique. In my book that’s the gold standard.
The Machine in the Ghost by Haujobb

Feyleux, Midnight Hearts
I’ve become pickier and a bit more jaded when combing through all the new post-punk and darkwave coming out at a seemingly relentless clip these days. After reading just the first paragraph of Bruce’s review of Feyleux’s album Midnight Hearts, I knew this album was going to be that diamond in the rough. Midnight Hearts is a darkwave album from start to finish, but it’s shrouded in the kind of mystique and beauty that made me find this genre so alluring in the first place. “Lunaria Swirls” is wintry darkwave that evokes some of the best music being released on Projekt Records in the 90s. Even the more uptempo pieces like “Still of Summer” and “The Empress” are ethereal in mood, with dreary guitar riffs and synthwork as swirly as it is cutting.

While I have an appreciation for all styles of music that fall under the umbrella of Our Thing, it’s the dreamy, floaty, elegant sort that makes my ears perk up in ways no other genre can. Midnight Hearts is a stunning first album, and one that hopefully signifies what Feyleux will do in the future.
Midnight Hearts by Feyleux

XTR Human, Schrank
XTR Human’s Schrank is a Swiss army knife that does it all – listening at home, workout playlist, getting hyped for a night out and great for dancing to in the club. It has a vibe that reminds me of scene dancefloor cuts I enjoyed in the 2000s but it feels fresh – it’s never deliberately nostalgic. Schrank cheers me up every time I listen to it, I think because there’s a real charisma at the heart of the release and it’s just so straight-up fun It’s like po-faced EBM with a very knowing grin and a nudge.
SCHRANK by XTR HUMAN

Dark Chisme, self-titled
I don’t always let a band’s live show influence how I feel about them as a whole — after all, you usually spend more time listening to a band’s recorded music than seeing them on stage. Dark Chisme are an exception, because even though the album released in July is great, their live shows are even better. Christine Gutiérrez’s energy is fierce, infectious, and empowering, while partner Erik Schneider is a brooding, propulsive presence on the instrumentation. “Beautiful Obsession Killer” is my standout track, the one I play to clear out the mental and emotional cobwebs, but their “Lucretia” cover transmits much of the same dark, steamy energy as the original — and it’s even better live. It’s been a pleasure to see the attention they’ve gotten here in Seattle, with frequent plays on KEXP, a mention in the Seattle Times year-end best-of list, and a recent hefty grant. They deserve it!
Dark Chisme by Dark Chisme

Kim Gordon, The Collective
Kim Gordon’s voice will always be associated with Sonic Youth, but returns to the forefront with her second solo effort The Collective. The Collective is an industrial trap New York no wave masterpiece, with Gordon exploring life through looping distorted drums, feedback, and art scene beat poet vocals in her signature monotone. Her lyrics often appear as simple pictures of day-to-day mundanity shadowing life’s dark patriarchal underbelly in almost a Lynchian way. Gordon spawned from the same 80s world that gurgled and puked out Foetus, Lydia Lunch, and Suicide, and The Collective‘s dirty mechanical meat throb pays allegiance to that time while bulldozing a modern path forward.
The Collective by Kim Gordon

Processor & Keep The Weak, Satin Tongue
Since 2020, Processor’s “Royal Leash” has been on repeat in my head, though with this year’s release of “Satin Tongue” (feat. Keep The Weak) it may finally be supplanted. While the EP may not feature anything quite as thumping as Royal Leash, it’s slower tempos do not lack in attitude. The track from which the album gets its namesake is a particular standout with a gentle, moody opening that swells into a beat that should cause anybody to bust into a swagger like they were the star of a gothic Saturday Night Fever.
Satin Tongue by Processor & Keep The Weak

Thanks so much to all of these pals for their contributions! Tune in tomorrow for the first part of the Senior Staff’s Top 25 releases of the year.

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Iron Sight
FOR THE FREEDOM FIGHTERS OF EASTERN EUROPE
self-released
Danish act Iron Sight has always had a few musical irons in the fire, mostly in the worlds of noise, power electronics and dark ambient, although notably their release as Loverman connected them to future r&b and electropop sounds. New EP For The Freedom Fighters of Eastern Europe isn’t quite as far afield as the latter release musically, although its combination of hard techno and gravel-voiced vocals does bring the project closer to rhythmic noise and some early aggrotech sounds. “Hard 2 Kill” feels straight up like a Noisex track, with its dungeon-shaking bass and kicks, so rich in saturation that the screamed vocals are constantly in danger of being dragged under the track’s wheels. “Leave ‘Em Lifeless” varies the kick patterns from straight four on the floor to more syncopated rhythms, almost funky if not for the shrieks and intense pads that get thinner and louder with each passing moment never allowing a groove to settle in. “Hey Little Piggy” is perhaps the most straightforward song, if not any more accessible than its predecessors; it’s possible to imagine a world where this gets spun for industrial dancefloors, although the fast moving techno arrangement is just a little too coated in ugly, overdriven noise to fit in with all but the nastiest modern crossover sounds. It’s intense stuff, but in the way where the danger feels more invigorating than oppressive.
FOR THE FREEDOM FIGHTERS OF EASTERN EUROPE by IRON SIGHT

Red Lorry Yellow Lorry
Driving Black
COP International
After more than a decade of on again, off again gigging, mp3 demos, and live sets making their way online, the formal reemergence of legendary dark post-punk act Red Lorry Yellow Lorry featuring the original core duo of frontman/songwriter Chris Reed and Dave Wolfenden is here. Bands who formed after the Lorries originally split now have kids old enough to form bands shaped by them, making the path from the group’s grinding machine-like origins to the present too winding to follow, but there’s a good amount of Driving Black‘s groove-based focus which connects them to their roots, with the sprawling “Piece Of My Mind” recalling their connection with peers like Wire and Hüsker Dü. The rhythmic obsession of the band remains unchecked even if their actual sound points to a broader interest in general rock and country grooves which had begun to hang about the corners of Red Lorry Yellow Lorry as early as 1989’s Blow (see the tightly controlled drones of “Chickenfeed”). Reed’s vocals, once that harrowing cyclone of condemnatory baritone, now have a much more approachable and world-weary observational tone as he refers to disillusionment and futility. Red Lorry Yellow Lorry are back, but certainly no less battered by recent hardships as any of us.
Driving Black by Red Lorry Yellow Lorry

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Vision Video

Just ahead of next week’s year end coverage, we’re playing catch-up on this week’s podcast. Four records from Black Nail Cabaret, Orange Sector, Vision Video, and Kite released over the past year which we did not formally write up or discuss but wanted to be on record about before releasing our Top 25 records of the year are taken up here. As always, you can rate and subscribe on iTunes, download directly, or listen through the widget down below.

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Cardinal Noire
Vitriol
Artoffact Records

“Brappin’ out like it’s 1984”: Cardinal Noire’s Bandcamp biography stands as a succinct mission statement which, frankly, covers a good portion of the band’s appeal and what the newcomer needs to know about the Finnish duo. Vintage Skinny Puppy, in all its clatter and density, remains Kalle Lindberg and Lasse Alander’s primary muse, and while they veer from the electro-industrial path hewn by those legends on their various side projects (Protectorate, W424) they always cleave to it on Cardinal Noire LPs. Third full-length Vitriol is no exception in that regard, and thus its strengths and distinctions are likely more perceptible to (and possibly of concern to, one way or the other) the already initiated.

For those new to the party, yes, that certainly sounds like the phrase “rot and annihilate” being reiterated on “Gun Metal”; as always Cardinal Noire know on which side their bread’s buttered. Heck, one could almost read the entirety of Vitriol‘s title track as an extended riff and variation on the “shores of Pluto” refrain in “Convulsion”, but it’s difficult to count such homage as a flaw when it’s so up front and when the syncopation of the bubbling yet snapping bass programming and gunshot snares is so solid. Execution like that is what’s separated Cardinal Noire from so many others who’ve taken a page or two from Puppy; Vitriol is defined by rhythmic density, with the buttressing of dense, menacing programming with a constant battery of drum fills, the duo’s metal chops once again coming across more in the ornamenting and presentation of Cardinal Noire’s ethos than in the form of actual riffing.

There are a few moments of respite in the assault, though traditional melodies, vocal or programming based, are so rare in Vitriol‘s steely presentation that when the slow, bittersweet melancholy of “Diatribes”‘s vocal refrain and its stained glass chimes emerge into the spotlight the record takes on an air of wistful remorse. The deep space cinematics of “Precious Hearts” are of an entirely different cast from both that lament and the aggression of the rest of the record, pointing to a parallel dimension in which Lindberg and Alanderbegan work as a black metal band and gradually moved wholly into dreamy symphonics and ambience. It’s certainly not the showiest or most impressive moment on Vitriol but it’s proof that the duo’s chops extend well beyond the Vancouver school business at hand.

And that’s the nature of Cardinal Noire in a nutshell – the obvious glee the band feel in doing exactly what they’re doing with this project regardless of their extra-curricular interests or talents is palpable. How much you’ll take from Vitriol is likely wholly dependent on your feelings about the sources from which they’re drawing, but for fans of this style there’s simply no one doing it better today.

Buy it.

Vitriol by Cardinal Noire

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