A brand new solo album from Texas front man extraordinaire Curse Mackey (Evol Mothers/Pigface/My Life with The Thrill Kill Kult) and it’s the most vicious offering to date. Curse brings a vocal talent capable of standing in for Peter Murphy and a poetic spirit of William Burroughs splashed against the canvas of early 90s Wax Trax. Following 2022 Immoral Emporium this fresh construction tackles the modern trauma of self-reflection and paranoia composed in the post capitalist world. Dripping with religious pageantry and gothic ideals Curse weaves and electronic tapestry to challenge a world of degrading empathy.
Produced by Curse Mackey + Chase Dobson Lyrics by Curse Mackey Performed by Curse Mackey + Chase Dobson Mixed by Chase Dobson
Every new solo album is a step further into Curse’s own weird madness. A place where lyrics and emotion become the focus. Where percussion and atmosphere are the rails the high-speed locomotive travel along. This record represents the final offering in the trilogy. The narrative nature and precognition are part of what makes these songs transcendent.
Favorite Tracks:
Discoccult – Out of the gate, this is a banger. The tone is thrumming. I love the catholic iconoclasm and cadence. This was one of my favorite of the new tracks to see live. Anxious and complex with an effortless delivery.
“Save a prayer for this nightmare The punishment of dreams madness masquerades In sacred geometries”
Blood Like Love: I’m not positive this is a Killing Joke reference but with the Martin Atkins connection it wouldn’t surprise me. The vocals tap into the blizzard blue beauty Curse is always holding behind the aggression and anger. The spoken sample is so haunting. I respect the courage of placing this glorious curveball in the center of the album.
“A Soft Moon and a Silent Servant Dear Darling Lover, how shall we recover?”
Once again Curse has proved as a solo artist he is using lyrical complexity and emotional narrative extremely rare in the emotional scene. This 3 album story culminating in Imaginary Enemies shows an architects intention in a world of singles and rapid content. His stage show with the accompanying tour condenses a vast emotional display of a stadium show down to the intimate exposure of a small club.
Rotterdam, NL — Cameroonian-born producer and songwriter LOVETH BESAMOH opens a new chapter with “Inside”, the first single from his upcoming EP Riverbed. Out July 18 via Inner Basement, the track is a swirling, emotional entry point into a record that explores longing, emotional distance, and the desire to be seen.
Written and produced by Loveth and recorded with his live band, “Inside” blends hazy guitars, detuned synths, and submerged vocals into a dreamlike soundscape. The lyrics “Let me inside / I’ll break again in your display” cut through the fog with disarming honesty.
Really cool live video the song is an emotive blend of brooding post punk and psychedelic Velvet Underground vibes. Deep rich baritone vocals and delicate brush stroke percussion lead into a 2 minute explosion. I really like how the video leads into a live performance. The intensity level really lends well to organic live chaos.
One of my favorite bands of the modern darkscene. I feel like I have been on this journey through style changes, line up changes, one things stays consistent. It’s always something fresh, always something real, and always at the top quality of any genre they dive into. Post Punk, Slick Indie, Italian Dark Disco, I never know where Panther, Barrett, and company will go next. I could not have predicted this. A complex deep cut British synth. Flavors of the criminally underrated OMD album “Crush”. Another gorgeous presence is the muted Saxaphone in a modern sound, something sure to always win my heart. with every track I am staggered by the crisp tone and razor edges. Bootblacks for me conjures images of a smokey underground club with flickering gasoline lights. Paradise is a rise to main stage neon crystal waves of Simon Le Bon.
All songs by Bootblacks Lyrics by Panther Almqvist Produced & Mixed by Xavier Paradis de Larochelle Mastered by Hillary Johnson @ Kale Shelter Studios Additional Arrangements by Xavier Paradis de Larochelle Additional Engineering by Hillary Johnson Cover Art by Carlos Pure Additional Art by Russell Hymowitz
Additional Instrumentation: Drums & Programming on Only You by Chris Vrenna Saxophone on Only You by Benjamin Harrison Saxophone on Leipzig by Oskar Carls Saxophone on Can You Feel It? (Anymore) by Oskar Carls Background Vox on Fade Away by Alice Gift Percussion on Melt by Adam Amram Bass on Melt by Russell Hymowitz
Favorite Tracks:
Forbidden Flames – “Saw you dive in the shallow end Crack in the door, the light creeps in. Make me clean, make me yours Take me away my love, I’m not ready to quit ” Always open with a banger, rule number one. The verse is one of the most “Classic” sounding Bootblacks tracks. This works well to set the transition of the chorus that lets the starlight pour in. Keyboard line is such a hook here. Loving the echo vocals by Alice Gift. A shock and beautiful set up for what comes next.
Only You (feat. Chris Vrenna & Benjamin Harrison) – “What have you lost? You don’t have to say Is it love? Doesn’t have to be that way” – This track is pure sex coming out the pores of your skin. Every part humming in a rise and fall unity to then be capped off with that perfect sax riff. This would be a great intro song for the next James Bond movie.
Paradise – “Heaven’s not so far Not so far away If you plan to stay I can show you it all ” Title track is a sleek Tron laser bike ride through a midnight city. Pather’s vocal’s have a honey dripping chorus effect. The double beat snares are crackling light. Every track is felt as much as head in the percussion.
(This interview feels like a million years ago now 🙂 but it was 4 🙂 )
Wilderness – “In this life we’re not alone You’re the only one I’ve ever known When the sky turns to black It’s your call that keeps me coming ” – Something primal and cold. A beacon we hold in our hearts that draws us to each other in times of danger. The synth line is so light on it’s feet, unpredictable. Panther’s vocals hold a bit more of that Thin Skies menace and growl.
“Paradise” represents another leap forward in evolution for a band unafraid to go wherever the spirit directs them. The precision, innovation, and passion of the songs marks them as one of the prime trend setters of modern darkscene. If you have never seen their live show, it is an experience beyond these heart pounding songs. Watching this high speed journey the last 5 years has been a privilege. Don’t waste another moment before jumping on the Bootblacks train.
In 2024 I lost a friend and the scene lost a passionate supporter in Joe Whiteaker. Joe Recorded “It All Falls Apart” in 2023, which would end up the final EP from The Funeral March of the Marionettes. The remaining band and William Faith worked together to release Joe’s final vision in March 2025. This record is a story, an important story, a human story. Joe always had a beautiful voice. One that dripped with soul. This was truly the culmination of his journey.
The Funeral March of the Marionettes is: J. Whiteaker – Vocals, Bass, Keyboards, Programming D. McCaskey – Bass, Programming, Backing Vocals W. Thiele – Guitar, Backing Vocals
Additional performances by: Ria Aursjoen (of Octavian Winters and AURSJOEN) – Vocals on “Stars at Night” and “Save Us” Rob Hyman (of [melter]) – Drums on “Save Us” and “It All Falls Apart” Renard Platine – Bass VI on “Bobblehead”
Stars At Night : The album opens on this sinister misty streets in autumn banger. Gorgeous opening tom lead right out of the Martin Hannett playbook. I love how well the music matches the concept in the lyrics. Life is fast, brutal and full of beauty. “The stars at night are burning silver Burn bright and quickly fade away Our fates are written on flash paper Touched to the flame and burnt away”. You don’t need the context to feel the universal core of mortality.
Shadow Games : The tone and vocals speed forward for a more modern edge. A New York City early 2000s feel that lets Joe croon and resonate. The Rhythm section is more open and pastel to let the poetry breath. A haunting chorus hopeful and tragic in equal measure. “No matter which path that you take It all ends the same Fire reflects in your dark eyes A moth drawn to the flame Silently, you will make your move In this fatal game”
Bobblehead: Slowing things down for introspection. A touch of shoegaze slush and delay to the cadence. I love that understated guitar line that matches the baseline. The lyrics drip with longing and the melody is a whisper that leaves you leaning in to be a part of the secret. “How did you keep from showing? Did the awful secret break your heart? The distance kept on growing You knew that one day that you would depart”
Save Us: Comes snarling up with delayed Love and Rockets guitars and some hunger to the vocals. William Faith has his fingerprints on a lot of the tone and sound of this record, but here most of all. Obsidian axe death rock stalking towards you with purpose. The punk rock political overtones really bleed out of this track. The background wails at 2:20 gave me chills. I love different tracks for different reasons but if I had to pick a favorite gun to my head it is Save Us. “The world is on fire now As we watch it burn Dance on a funeral pyre Everyone will take their turn”
Joe was beloved by this scene and Chicago in particular. it took a lot of people and a lot of love to make this happen. I have an interview with Darius we recorded shortly after the memorial show which I will add to this review. The 4 standout remixes by Tweaker, Bellhead, and The Joy Thieves. The art by Greg Rolfes (eleven12design.com). The Mixing and Mastering by William Faith (williamfaith.studio). All came together to show the lasting legacy Joe had on all of us. If you are new to The Funeral March of the Marionettes maybe go start with “Resurgence” and work your way forward, but they really did save the best for last. This was the highest evolution and the way I always want to remember a friend and artists who shared everything in his heart.
The return of the Darkscene singles chart. I was inspired a few years ago to create a recognition chart that was not pay to play. Where anyone could submit and be voted on by our diverse group of Djs, Reviewers, Artists, Superfans, and promotors. I took the top 10 vote getters of the 1st three months of 2025 for you to check out here. In April I will start a fresh poll, so if you have a single in the broad darkscene genre, please submit in our group or on our patreon which is free 🙂
Slighter X Fatigue – EDGEBOI
Grabyourface – Feeling Morbid
Die Warzau – I Am A Camera
Cassandra Complex – Cover of Suzy Sabotage Nazi Goths Fuk Off
Bellhead – Theats
Steven Archer – Acceptance Song
Roger Ebner – Break It Up
Brides – Love In The Dust
Tears For The Dying – Jolene (Dolly Parton Cover)
Kali Dreamer – New Twilight
Cliff and Ivy – Devil’s Helpers
SLIGHTER x FATIGUE – EDGEBOI – Amazing team up of the California sonic sculptor Colin Cameron and Lillian of Sawtooth. I’m a fan of both projects so this was a collaboration with high expectations. This track kicks in the door to the club with maximum thump. I love the saucy cadence of Lillian’s vocals, she is really twirling the lasso of truth here. I dare you not to move when this is banging.
2) grabyourface – Feeling Morbid – French sadtrance artist with another emotive album of spiraling poetry and sinister underground beats. This track is my favorite single. Marie’s vocal cadence drips from the mouth like hooka smoke. This new album really hits the sweet spot between a more advanced production and the raw lofi style of Sea. You really need this album.
3) Die Warzau – I am a Camera – This release has several remixes, I submitted the RED mix. Some of my earliest Industrial music memories are of Die Warzau. That magical funky glitch poetry falling down a spiral staircase like a mechanized tornado. The chaos of this song surrounds you and draws the ear to different instruments in every phrase. They stand up in 2025 just as powerfully as in 1994.
4) The Cassandra Complex – Nazi Goths Fuck Off (Suzi Sabotage cover) – Two brilliant artists I love blended together into weaponized nazi slaying glory. Rodney Orpheus (Proto goth legends The Cassandra Complex ) covering modern anthem Nazi Goths Fuk Off. This has a spicy bopping electro wave bass drone wave that Rodney’s sharp tooth baritone slides over the top of. Goth is political, it always was, and both these artists understood the assignment in 2025.
5) BELLHEAD – Threats – My favorite Chicago double bass dark indie darlings with a sexy new single full of menace and William Burroughs energy. The guitar and basslines are a Wimbledon champion match of high speed volley that really raises the stakes. Ivan’s growling whisper is superb. If you have been sleeping on Bellhead you need to wake up right away.
6) Steven Archer – Acceptance Song – Solo album from March by Steven of (Ego Likeness, Stoneburner, probably 5 other projects). I’ll review the entire EP soon, but this was the single that really struck me first. I love how different it sounds than his other work. You can feel he had some uncorked feelings that didn’t fit in his other boxes but needed to burst forth like Athena out of his head. Some 70’s prog pop flavors fastened to the deck of crunchy modern industrial beats. Beautiful vocal effects give a David Gilmore flare and beauty I rarely hear him explore. The result is magnificent. The drum fills feel so organic I genuinely can’t tell if they were a machine. The mystery keeps me fascinated.
7) Roger Ebner – Break it Up – There are certain themes I discuss in S & S often and one is my love for Sax in modern music. Roger’s story is inspirational and his talent remarkable. The Pigface saxophone virtuoso put out this sassy IndustrialFunk mixed by Krstoff of BILE, and Vessy Mink on vocals. The result is smokey, carnal, and full of flickering motion. I included the recent interview below which is a must see if you don’t know Roger’s story.
8) BRIDES – Love In The Dust – A new heist film single from Norway by apocalypse pop artist Adrian Kjøsnes. Crooning like Eldrich, with reverent pipe organs, and tank tread bass. BRIDES continues to stand out among the underground for creativity and precision in a world lacking in either.
9) Tears for the Dying – Jolene (Dolly Parton Cover) – The Queen of modern deathrock doing a sultry swampgoth version of the Dolly Parton classic. This song is so iconic it is really difficult to make it your own, but Adria has infused it with her essence. Haunting and nostalgic with a hint of danger. Magnificent.
10) Kali Dreamer – New Twilight – Since this album released in Feb from Ohio goth artist Markise Johnson i can’t stop telling people about it. We need a return to romantic goth music. Longing and beautiful in a circle of candles writing poems in a cemetery. The production level is a huge step forward and Markise vocals are breathtaking. This is a tight race with A Covenant Of Thorns for best romantic goth since The Cure “Disintegration” I said what i said.
Special Mention) Cliff and Ivy: Alaska’s goth duo – Devil’s Helpers – Since I was doing three months together for this chart I threw in an honorable mention from the Alaskan goth duo Cliff and Ivy. Nice thrashing guitar death rock with Ivy’s hungry wolf snarl vocals. If you need a song to drink everclear and spit into a bonfire, this is your jam.
