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Electronic Rock

Telling Secrets – Fall Behind: Impeccably produced, piercingly poignant post-hardcore

Telling Secrets masterfully captured the essence of emotion-driven post-hardcore with their latest single, Fall Behind, setting a new standard in the genre. The track, a pivotal piece in the band’s upward trajectory, showcases their extraordinary ability to blend thunderous guitars, angelic vocals, and sinister, atmospheric synths into a sound that is both raw and refined.

The polish of the production makes it almost impossible to distinguish where your consciousness ends and the sonics start as the confessional anthem delves into the complexities of mental turmoil. If you know how it feels to wage war with your demons in a bid to not give up the ghost on someone worth persevering, expect Fall Behind to strike some raw chords.

The journey of Fall Behind is as intriguing as its sound. Initially conceived before Telling Secrets was even formed, the track underwent various demos and re-recordings, ultimately culminating in what Vik Kovacs, the band’s founder and creative force, considers one of his best lyrical works.

Kovacs’ influences range from Led Zeppelin to Escape the Fate, contributing to his expansion into songwriting, vocal performance, and music production. This evolution is evident in Fall Behind, where every element showcases his comprehensive musical prowess.

The anticipation for Telling Secrets’ full-length LP, set for release in early 2024, is high, especially with the involvement of talents like Rachel Blum and Elliot Polokoff.

Fall Behind is now available to stream on Spotify.

Review by Amelia Vandergast

Post-Hardcore goes Pop (Punk) in Secular Era & Drexl Bowie’s single, Master Morality

Two juggnautical entities in their own sonic right, Secular Era and Drexl Bowie, converged to show mere mortals what ‘Master Morality’ sounds like with their latest release. With guitars augmented in the same vein as the hooks in MCR’s I’m Not Okay fused with Slipknot-esque nu-metal percussive proclivities and synthy melodies to keep the down and gutturally dirty track upbeat, Master Morality is an adrenalizing slice of ingenuity that will swallow you whole and spit you out drenched in rancorous euphoria.

While many heavier outfits turn their nose up at the tones of pop-punk, Secular Era & Drexl Bowie saw the potential within it. By using the stickiest and sweetest elements and infusing them into a tumultuously electrifying sequence, they made it impossible to find a track that hits harder while simultaneously keeping their finger on the guilty pleasure pulse. Putting Master Morality into words is no easy feat, but if you can imagine Nena’s 99 Red Balloons fused with Sugar We’re Goin Down and tasked Static X to pay ode to the cross-genre synthesis, you’d get an idea of the engrossing, ingenious, uninhibited insanity delivered via Master Morality.

Master Morality was officially released on December 1st; stream it on Spotify.

Review by Amelia Vandergast

The enigmatic outfit FAERYS has brought in the new era of electro-pop-rock with their debut single, Nova Scotia

The enigmatic electronic rock outfit, FAERYS, may be keeping their identity under wraps for now, but there’s no containing the hype that has amassed around their storming juggernaut of a debut single, Nova Scotia.

With a touch of Black Honey and She Drew the Gun to the electronic rock reinvention, Nova Scotia delivered a riff-rife rock hit that has left an international audience clamouring all over it – and for good reason.

Between the precision of the songwriting, the polished production, the hooky female pop vox contrasting the slick rap bars and the anthemic energy that oozes from the larger-than-life hit that embraces the future and sonically sucker punches it, there was no room for improvement, and how often can you say that about a debut?

Something (everything) tells us that FAERYS is comprised of a band of industry veterans who have banded together to bring in the new era of electro-pop-rock.

Nova Scotia launched on the 25th of August, hear it on SoundCloud and Spotify.

Follow FAERYS on Instagram.

Review by Amelia Vandergast

The teeth of synth rock sharpened to the tune of Ghostfeeder’s latest single, Rearview


The latest monolith of a hook-filled single, Rearview, from the alt-electronica trailblazer Ghostfeeder, stepped out from the shadows of 80s synthpop and glam rock to show its sharp teeth and even sharper hooks.

With the frenzied-with-distortion guitars around Ghostfeeder’s signature vintage synth textures and under the poppy vocals that leave the hooks in IAMX and Highly Suspect tracks sounding blunt, Rearview is a viscerally exhilarant release; especially if you allow the depth of the lyricism to submerge you deeper into the evocative momentum. Anyone who can find resonance in the reprise ‘stuck in rewind’ in the context of being paralysed when it comes to letting go of the past will get galvanizingly more than they’ve bargained for when they hit play.

After sharing stages with goth royalty, including KMFDM, Powerman 5000, and Cold Cave, it is more than about time that Ghostfeeder stepped into the headliner limelight. To bolster the honed songwriting, Rearview was mixed by the Grammy Award-nominated and platinum-selling artist and producer Amir Derakh (Orgy, Dead by Sunrise, Julien-K) and mastered by Mike Marsh (The Chemical Brothers, Prodigy, Depeche Mode). The track reaches the pinnacle of cyber goth ear candy.

Stream Rearview on all major platforms from the 11th of August via this link.

Review by Amelia Vandergast


The Every Glazer has unleashed their Orwellian post-grunge protest, Lesser Men

Industrial rock meets post-grunge and riotously protestive RATM-esque alt-rock in the latest single, Lesser Men, from the experimental solo artist, The Every Glazer.

Describing their music as audio glue for a fractured world tells you all you need to know about the MO of the musician and recording artist who uses his talent to give a glimmer of hope in our dystopia that has manifested via Orwellian fiction.

Just as it has done for millennia, music has united us and scribed our stories; Lesser Men is a continuation of that tradition, which affirms as dark as the days seem, curtains haven’t quite closed on humanity yet, regardless of the corruption, greed, devastation, and oppression; as long as society’s swan song plays, there’s no reason to give up your dog in the fight and down tools when we can better the world in the same way The Every Glazer did with Lesser Men.

The official music video for Lesser Men is now available to stream on YouTube.

Review by Amelia Vandergast

Fallsurge left us on the ‘Tripwire’ of his industrial-rock-meets-post-punk hit

Tripwire by FALLSURGE

After beating the skins for Swervedriver and 5:30, Jez Hindmarsh formed his post-punk meets electronic rock project, Fallsurge. Post-punk has had its fair share of angsty icons, but they’re deathly pale when put in comparison to Fallsurge, especially after the release of Tripwire.

With hints of Celldweller and Skinny Puppy in the production and PJ Harvey’s Down By the Water in the rancorous atmosphere against the protestive post-punk snarls, Fallsurge is one of the most inventive alt-electronica acts since Prodigy.

And yeah, that should probably go down as blasphemy, but the caustic industrial cuts in Tripwire against the cold chaotic sonic whirlpooling guitars, laid down by the LA-based guitarist, Dave Dupuis, created a pioneering cocktail of viscerally vitriolic alchemy. We’re officially stoked to hear what follows.

Stream and purchase Tripwire via Bandcamp.

Review by Amelia Vandergast

Ride the electromagnetic waves in Us or Aliens’ latest industrial pop-rock call into the void, Black Hole

Giving us all the dark industrial rock energy of Celldweller and Zeromancer, with a few sharp pop hooks for impaling measure, Us or Aliens’ latest cry into the void, Black Hole, is an existential tour de force.

While the hollow find it hard to find fulfilment in a disenfranchising reality where ennui is as escapable as the cosmic phenomenon which became the metaphorical focus of the single, the pensive will more than get their resonant fill from Black Hole.

Us or Aliens is the solo project from Shawn Kirkpatrick, who has been writing, composing, recording and producing for himself and other artists for the past two decades. In his impressive by any measure career, he has performed in over 500 venues and found the time to become an accomplished guitar teacher and TV composer.

Delve into Black Hole by heading over to SoundCloud.

Review by Amelia Vandergast

Go down the downward spiral with Daniel Antonio’s dark electronic rock debut, everything I touch

Any fans of Blue October, Celldweller, and Three Days Grace will be gripped with the evocative raw candour that complements the turbulently dark electronic rock aesthetic in Daniel Antonio’s debut single, everything I touch.

For infectious appeal, the debut fuses pop hooks with glitchy electronica and down-tuned guitars. With the bilingual lyrics adding yet another repeat-worthy facet to the track that exhibits Antonio’s fearless vulnerability equally through the lyrics and vocals, every time you listen to everything I touch, the immense sensory experience becomes that little bit more visceral. The single was written to encapsulate a relatable dark downward spiral that made losing touch an inevitability and admirably as an admission of fallibility.

Away from the music industry, the Sheffield-based solo artist starred in the BAFTA-nominated film Everybody’s Talking About Jamie – which explains the colossal cinematic touches in his debut. He also provided backing vocals for Ed Sheeran & Bring Me the Horizon’s earworm, Bad Habits, which hit number 3 on the UK charts. If this single doesn’t chart too, I might start a riot on his behalf.

Everything I touch will be available to stream from November 25th. Catch it on SoundCloud.

Review by Amelia Vandergast

Renowned indie DJ and producer, Paul Allen Wright, went back to his rock roots with the arrestive rhythms in his EP, Voices

The indie DJ and music producer Paul Allen Wright returned to his rock roots with his riff-driven EP, Voices, featuring the standout single, I’m Walking, which has already racked up over 120k streams on SoundCloud alone. The hypnotically tribal guitar-led rhythms leave little room to wonder why I’m Walking has become a fan favourite.

His aversion to genre specificity gave I’m Walking a similar structural feel to a chilled indie leftfield electronica record. Instead of synths sitting prominently in the mix, Wright opted for acoustic strings to guide the desert-y and sporadically blues-y progressions. With the choice of the Stevie Nicks-ESQUE female vocals, I’m Walking was ethereally complete.

Hear I’m Walking for yourselves on SoundCloud.

Review by Amelia Vandergast

Mustard Mountain Moving Company lament societal idiosyncracy in their Avant-Garde debut, Make it Stop?

For anyone that can relate to the sentiment ‘stop the world I want to get off’, the debut single, Make it Stop? from Mustard Mountain Moving Company should be considered unmissable.

Far from another lockdown lament, the track has been 18-years in the making from the Pittsburgh scene veterans, proving that ennui-blackened frustration has been viable for almost two decades. Yet, notably, it was a devilishly timely release from the lo-fi Avant-Garde artist, who will enamour fans of Elliott Smith and Nick Cave and the Bad Seeds alike.

While the lyrics put the idiosyncrasies of our modern existence in the spotlight, the playful synths ensure that the light of day isn’t all too harsh. You couldn’t ask for sweeter sugar for the pill of reality. Do yourselves a favour, affix them to your radar.

You can hear Mustard Mountain Moving Company’s debut single for yourselves by heading over to Spotify.

Review by Amelia Vandergast