Since I started this journey of goth Renaissance in 2018 with Twin Tribes/Actors/Bootblacks/Kill Shelter ect I am always on the lookout for that next big thing. A young band that hits me and has that “IT” factor. We had the absolute please of opening for Past Self in Detroit and I was immediately floored by their presence, sonic beauty, and originality of their stage performance. After several decades seeing and being in bands, I know it when I see it. This is it.
music and lyrics written by Sung mixed and mastered by Spektor
The sound is a wonderous slushy charcoal ghost story with Cure, Twin Tribes, Drab Majesty inspiration. Infused with quirky 90s Sega video game synth tones. The blending of language through the lyrics is absolutely inspired and adds a captivating beauty that makes you lean in to listen for every secret. The shadow bouncing Simon Gallup basslines create a constant motion and energy.
This new single Jemul which translates to a sacrifice or offering, often used in ritual contexts or metaphorically is another reminder these talented young artists are just beginning their journey. The tone is dark and robust but attacks at a blistering pace the crackles and swirls. The vocals resonate with baritone weight and spin a beautiful tale of leaping into the unknown without a safety net.
In an instant, 너의 불안감은 두려움이 됐다 In an instant, neoui bul-angam-eun dulyeoum-i dwaesda In an instant, your anxiety turned into fear
너의 비극들은 환각 속안에 묻었다 neoui bigeugdeul-eun hwangag sog-an-e mud-eossda Your tragedies are buried inside hallucinations
Do not miss the upcoming European tour! They are a must see live band
Overall – Past Self is a groundbreaking talent on the cusp of becoming the next hot thing in modern goth. You need them in your collection now.
Chicago Industrial Supergroup The Joy Thieves on Armalyte Industries in 2018 has a brand-new album just in time for the steady decay of the post Capitalist society. Drum Daddy Dan Milligan started this project in 2018 blending a love of live punk rock power, and industrial electronic expertise. A chance meeting through his wife with Chicago Industrial Supergroup legend Martin Atkins (Pigface) led to Milligan compiling a talent packed armada to rival any group in the genre that includes current, former, and touring members of bands such as Ministry, Stabbing Westward, Rollins Band, Killing Joke, Pigface, RevCo, PIG, David Bowie, Blue October, Machines of Loving Grace, Depeche Mode, Nine Inch Nails, KMFDM, Naked Raygun, Foetus, My Life With the Thrill Kill Kult, Pegboy, Nitzer Ebb, and more. I’m proud to say the “more” even includes me.
The Joy Thieves – Apocalypse Pending – Lyrics by Chris Connelly (Yes that Chris Connelly)
Additional production by: Derek Christopher –Penfield Studios Mark Pistel -Room 5 Studios Jeff Harris -JH Studios Steven Archer -House of Wolves Dee J Nelson -DJN Music Studio Jane Jensen -Autozen Music DJ Darryl Hell -HellLab Studios
Mastered by James Scott at Populist Recording + Mastering Art direction by Destiny Justic Scott Original artwork by Charlie Athanas for Burning City
2022 Sounds and Shadows Interview with The Joy Thieves
The world has steadily progressed into a pea green soup skied nightmare of political confrontation, media overload, and wealth disparity which has us all terrified for the future. Enter the sonic baseball bat with nails driven through it to fight back against the dumpster fire that is “Apocalypse Pending“. From the funky bashing buildup of 52 second title track intro (Milligan/DJ Darryl Hell) into the first single “No Anchor” (Connelly/Milligan) we are thrust into a desperate crumbling world which the Thieves immediately start beating the piss out of until it releases the sweet juice of hope.
“Why am I desperate to have no anchor? To prowl just like a panther? I can’t remain for anyone Why is it frostbite in July? So strange the time flies I can’t remain for anyone I will not stay, I’m not wanted I’m neither living, nor haunted Beauty has no anchor, don’t forget you’re here “
Things that really stand out above the pack in 2026. 1) The drums here (As expected by Drum Daddy Dan Milligan) are absolutely electric. Every track to tight, clean, but always feels like it is rattling off the tracks. It never does but the sense of anxiety created by controlled chaos releases your adrenaline. 2) This is peak Chris Connelly, not that he ever goes wrong but I think Dan and company are huge fans that really understand the pocket to create for one of the best ever to do Industrial vocals to let him shine. He snarls, croons, spits, and breathes with perfect intuitive timing. 3) The lyrics are the self-aware directed anger that this era is screaming for given voice. I just don’t spend enough time reading along with the lyrics sheet while listening to music these days, but that’s exactly what this record had me doing. 4) The guitar tones here a DIALED in, they are crunching and cooking just beating you over the head while you stomp.
Favorite Tracks: Honestly all of them. This is a hit play and let them cook album. That is a cop out answer though so here we go.
“The Wrong End Of Your Rifle” – What a flow this track has. It is so real with 90s Industrial homage and Public Enemy political intelligence.
“Not one to clash with my investors More like cardiac arresters Menace, ignorance And heavily armed court jesters
Blamin’ it all Menace becomes investor Pay to win Corporate branding on your sin of sins You came to blame And nothing will keep you stifled Menacing At the wrong end of your rifle”
“Knife Fight Nihilism” – Jensen and Connelly do a beautiful vocal volley in a slam poetry full of razor wit and funky beats. I love the old school record scratching effect and slippery phrasing.
I’m kind of warming up to you And your consistent fight To make it true A knife fight in a garden Close to paradise A royal pardon Look what’s branding us with heavy shields! And mortal stuff we can’t reveal You spilled your guts out And the dogs prepared to feast A knife fight honors every carnivore and every beast Unlikely bloodstains make a pattern Like a jigsaw on the lam Unlikely jetties rid the sea of bodies Dead serious, or just another dead man?
This album is a must have and an early contender for my album of the year.
January 2026 Release from PALAIS IDEAL of Netherlands on DARK VINYL RECORDS. I’ve been a big fan of the band since 2018 “No Signal” and the groundbreaking 2019 “Pressure Points“. Their sound contains many of the traits of Post-Punk but with a complexity closer to progressive rock. They have taken on some heady concepts in the lyrical subject matter that always leaves me feeling like I am watching lost episodes of Black Mirror scored by Killing Joke.
John Edwards: Vocals, Guitar, Synths Richard van Kruysdijk: Bass Guitar, Synths, Drums & Programming, Backing Vocals
As a duo John and Richard create so much activity between them. Constant flitting motion with telepathic syncopation. This new record has a brightness of spirit as contrast to some of the darker themes on previous releases. This also hit hard on the attack with tracks like “All for One” which really lean into the punk rock ethos with a bit more edge on John’s vocals. For the majority of the record he rings with more clarity and beauty. I hear more Ian McCulloch warmth in the delivery and it adds a wonderful layer to the images in your mind.
Favorite Track: “HOLD ON TIGHT TO NOTHING” – This track is just gorgeous. It just keeps lifting and driving with an early Church flavor. John’s voice is so captivating here and the bassline really drives the melody. I could play this on repeat for an hour and not be sad about it.
Sometimes it’s hard to force a smile back on your face when everything is stupid. I know the most effective way to make it worse is not to stop complaining.
Hold on tight to nothing Hold on tight to nothing
Sometimes it’s hard to force a smile back on your face because everyone is ugly. Please note, be that as it may, your time is short, why not use it wisely?
Hold on tight to nothing Hold on tight to nothing never let go
Fans of the LA band Failure may have wondered where they could go next after 2021’s Wild Type Droid, and whether the band’s Space Rock stylings will continue to be an integral part of their sound. With their newest, Location Lost, the answer is yes and no. The spaceier aspects are still there, but there’s plenty more to unpack on their 7th release.
Crash Test Delayed opens the album with an electronic-tinged intro that makes one think of the short “Segues” they are known to intersperse throughout previous releases.
The Rising Skylinefeatures a guest appearance by Hayley Williams of Paramore in a heartfelt duet. Williams has stated that failure is a major influence in her musical evolution. This song pays loving appreciation to her inspiration.
Solid State smacks of Fantastic Planet-era material such as Stuck On You, while The Air’s On Fire has a vocal delivery that makes me think of Alice In Chains.
Someday Soon has an almost reggae feel to its rhythm, making the song a fun ride. I’m personally surprised that it wasn’t selected as a single.
While Location Lost isn’t as in your face as earlier releases, it’s no less energetic in its own way. If only all the alternative bands from the ’90s Aged so well.
Some tours feel like reunions with old friends you haven’t seen in decades. Others feel like full-circle moments where the soundtrack of your youth comes roaring back to life, proving it still has every bit of the power it held when you first heard it on the radio or saw it on grainy VHS tapes. The Generations Tour 2026, bringing together three absolute titans of British New Wave — Soft Cell, Alison Moyet, and The Human League — at Salt Lake City’s beautiful Red Butte Gardens was precisely that kind of magical evening. For those of us who lived and breathed the scene in the late ’70s through the ’80s, this was a dream bill: three groundbreaking acts on one stage, delivering the synth-driven, emotionally charged sound that defined an era.
New Wave wasn’t just music — it was a movement. It blended pop hooks with electronic innovation, fashion-forward visuals, and lyrics that captured everything from teenage angst to dance-floor escapism. In Salt Lake City, we had “The Wave” radio station keeping that flame alive for years, playing the classics alongside newer discoveries for both longtime fans and fresh generations. When the station was bought and shut down last year, it felt like the end of an era. But the community stayed connected, and when this tour was announced, tickets sold out in hours. The gardens were packed with a multi-generational crowd of dedicated wavers, all there to celebrate the legacy of the music that shaped us.
This night wasn’t about fleeting trends. It was about enduring artistry, masterful songcraft, and the way these sounds still transport us back to roller rinks, basement parties, and late-night drives with the radio blasting. And it delivered far beyond expectations.
Soft Cell: Pioneers of Synthpop Edge and Emotional Depth
Soft Cell kicked off the evening with the kind of raw energy that reminded everyone why they were trailblazers in the early synthpop explosion. Formed in the late ’70s, Marc Almond and Dave Ball created a sound that was both danceable and deeply theatrical, blending electronic minimalism with bold, confessional lyrics. I first heard “Tainted Love” at age eight in the back of the family car, mesmerized by the pulsing synths and Almond’s distinctive voice. At that age, I didn’t understand the full weight of the lyrics, but the urgency and drama hooked me instantly. It wasn’t long before I realized how many of those early radio hits shared the word “Love” in the title — it was the era’s dominant theme.
Later, I dove deeper. I picked up their album *Non-Stop Erotic Cabaret*, which was packed with charged tracks like “Sex Dwarf” — songs full of innuendo, attitude, and unfiltered storytelling that pushed boundaries for the time. I even scored a 7” vinyl of “Tainted Love” from a stack at a closed-down radio station, a prized possession that still sits in my collection. Their catalog is massive and endlessly rewarding for anyone willing to explore beyond the hits. Marc Almond’s evolution into a sophisticated crooner, especially on releases like *The Stars We Are*, showed his vocal range and emotional maturity, earning him comparisons to legends like Sinatra. (Yes, I really did just say that)
The shadow of Dave Ball’s passing in 2025 hung over the set in a poignant way. Knowing he had worked on new material right up until the end made the performance feel like a proper farewell and celebration all at once. They opened strong with “Memorabilia,” the crowd already on its feet and dancing. Then they moved into “Danceteria,” the fresh title track, which carried that classic Soft Cell energy while sounding vital and current.
Marc Almond commanded the stage with charisma, sporting sunglasses against the lingering daylight. He guided the audience through a lively Madonna medley, keeping the energy high and interactive. We got “Torch” from 1983 (was 1983 really that long ago?) — a song that still feels timeless — and “A Man Could Get Lost,” which transported the entire venue straight back to those dark, neon-lit clubs of the past. His voice sounded remarkably strong and smooth, delivering every line with the precision and soul of his prime years. It was easy to forget how many decades had passed; the performance felt alive and immediate.
COPright JEREMY CLOWARDA(
Deeper cuts and more recent material like “Nostalgia Machine” from 2021 proved the band’s staying power. Then came the emotional high point: “Say Hello Wave Goodbye,” followed by the inevitable “Tainted Love.” The whole garden clapped along to that iconic beat, singing every word as if no time had passed. It was better than any club night from the old days. They tapered off with “Where Did Our Love Go?,” giving Salt Lake the satisfying fix it had waited decades to receive. Even without Dave Ball on stage, the legacy felt fully honored. Soft Cell reminded us why they remain synthpop royalty.
Alison Moyet: A Voice of Power, Soul, and Timeless Connection
The anticipation for Alison Moyet’s set had been building to near-sacred levels among fans for months. After Vince Clarke left Depeche Mode, he teamed with Moyet to form Yazoo (Yaz in the US), creating a dark, haunting sound that helped define the synthpop era. Their hit “Only You” remains on nearly everyone’s all-time favorites list — a perfect marriage of emotional depth and electronic innovation. After just two albums, Moyet launched a solo career that has consistently delivered powerhouse performances and heartfelt songwriting.
I’ve been a die-hard fan for decades. Out of all the female vocalists I’ve followed, Alison Moyet has earned more playtime on my speakers than anyone else. Her voice — rich, powerful, and full of soul — has the ability to crush you emotionally while lifting you up at the same time. In the UK she’s a household name, and for those of us who grew up with her music, seeing her live felt like a long-awaited pilgrimage.
She walked out to massive cheers, radiating confidence and warmth. She opened with “Footsteps,” and I was instantly starstruck. Then she introduced a song she wrote as a teenager: “Nobody’s Diary.” The entire crowd sang along note for note and word for word — a testament to how deeply this catalog is embedded in Salt Lake’s new wave DNA. During “Changeling,” I signed “Thank You” and bowed, trying to express decades of appreciation.
She shouted out her Grammy-nominated track, launching into “It Won’t Be Long.” For a fan like me, this was a bucket-list moment I had dreamed about for nearly 35 years, as this is my all time favorite song of hers. The jazz-tinged guitar and her commanding delivery made it feel metaphysical — one of those rare concert experiences where time stands still and everything aligns perfectly. “Midnight” followed, a song that feels like a lost Ronnie Spector ballad dropped into a synthpop framework, exploring regret and loss with raw honesty. The audience became a massive chorus, swaying and singing along.
The emotional peak arrived with “Only You.” The opening synths triggered a roar from the crowd. Alison delivered it with pure soul and richness, and during the instrumental bridge, the venue erupted in a spontaneous, thunderous ovation — pure love and gratitude pouring out. It was a holy musical moment that could have ended the set right there and still left everyone fulfilled.
She took us darker with “Winter Kills,” then flipped the script and got everyone dancing with “Situation,” showing off her own moves while the crowd grooved to this 40-year-old radio staple. “Love Resurrection” had thousands singing at full volume, and she closed with “Don’t Go,” leaving the audience grateful and emotionally charged. The consensus was unanimous: we could have happily had Alison perform for two more hours. Her set was a masterclass in vocal excellence and connection to the material that defined an era.
The Human League: Synthpop Innovators and Enduring Showmen
By the time The Human League took the stage, the energy was sky-high and the sun was beginning to set. I had seen some video clips from earlier tour dates that left me slightly concerned about energy levels, but those doubts disappeared immediately. This was a tight, animated, and thoroughly entertaining performance that honored their pioneering status.
The Human League were pushing synthpop boundaries before the term was even widely used. Phil Oakey’s memorable response to a critic — “Show me which button, so I can push it” — perfectly captured their innovative spirit. I first heard “Don’t You Want Me” in my aunt’s car as a six-year-old, and it has stayed with me ever since. Fond memories include watching the “Fascination” video on the big screen at the Reston Roller Rink in summer 1983, complete with those early boyhood crushes on Joanne and Susan.
They launched with “The Sound of the Crowd,” the intro building tension before Susan and Joanne took their places. The lighting was excellent, and Phil, dressed sharply in black, was surprisingly animated and engaging despite the heat. “Mirror Man” highlighted his impressive vocal range, moving from smooth lows to distinctive delivery that had the crowd fully engaged. They dug into “Louise” from the album *Hysteria* — a welcome surprise that many fans hadn’t expected.
One of the most powerful moments was “The Lebanon.” The unforgettable bassline kicked in, and I found myself instinctively counting along on the videos later. The song’s driving anxiety and emotional weight, inspired by real-world events, still hits hard more than four decades later. The band poured everything into it, delivering a performance worthy of its place in new wave history.
Susan’s “One Man in My Life” brought a wave of nostalgia, stirring up memories from my teenage years. As darkness fell, “Human” created a romantic, swaying atmosphere perfect for the gardens setting. Phil’s legendary style shone through multiple costume changes — futuristic, sci-fi-inspired looks that added visual flair and kept the show dynamic. “Tell Me When” had the whole crowd participating, and “(Keep Feeling) Fascination” turned the amphitheater into one giant dance party. Everyone sang their parts — the men booming the iconic choruses — creating a massive, communal sing-along that felt like the old days reborn.
The main set closed with the eternal hit “Don’t You Want Me,” leaving everyone satisfied. But the band wasn’t done. They returned for an encore with the raw early track “Being Boiled” and the dreamy “Together in Electric Dreams,” providing a perfect, uplifting finale.
A Lasting Legacy Night for New Wave Fans
Looking back, this was a bucket-list evening for so many of us who had waited decades to see these acts. Soft Cell brought their signature edgy synth sound and showmanship. Alison Moyet delivered vocal mastery and emotional resonance that reminded everyone why she stands among the greats, and has since been crowned “The Queen of Salt Lake”. The Human League proved they could still command a stage with energy, hits, and innovation intact.
In Salt Lake City, under the stars at Red Butte Gardens, three generations of new wave fans came together as one big, happy family. The music that filled our formative years — the synth lines, the hooks, the fashion, and the attitude — sounded as fresh and vital as ever. These artists helped define not just a genre but a cultural moment that continues to influence music today.
If you grew up on this sound, do whatever it takes to catch The Generations Tour. It’s a rare chance to celebrate the old-school legacy of New Wave with the acts that made it legendary. Salt Lake delivered, the artists delivered, and we all left with full hearts, sore feet from dancing, and memories that will last another forty years.
This was more than a concert. It was a testament to the enduring power of great music and the communities it creates. All the best wavers were here, and the night was pure magic.
