We Speak Music
The Future of Goth Revival: Last Grasp’s ‘Creature of Your Kind’ Reimagines Darkwave for a New Era
The relentless drive of Last Grasp’s “Creature of Your Kind” is a refreshing addition to the darkwave and industrial scene. Created by Matthew DeFeis and produced by long-time friend Boris Stojanović, this Florida-based band has been making waves since its inception in 2021. With influences from industrial, deathrock, and classic darkwave, Last Grasp pushes boundaries and injects fresh life into the genre, blending haunting atmospheres with raw, powerful instrumentation.
“Creature of Your Kind” captures the intense, almost obsessive side of attraction. Jaysik Smith’s bass and Lo Ormachea’s synth work add depth and grit to the track, setting up a sound that feels immediately captivating. DeFeis describes his love for the track’s chorus, and it’s easy to see why—the refrain digs into the mind, leaving listeners hanging onto every word.
Despite the Atlantic separating them, DeFeis and Stojanović’s remote collaboration yields a seamless sound that feels like a live experience. Trading stems and mixing virtually, they’ve achieved a sound that’s both expansive and intimate. Stojanović’s production keeps everything tightly woven, allowing DeFeis’ vision to shine through without losing its raw, visceral quality.
Their sound places them alongside bands like Vandal Moon and Drab Majesty, yet they bring something darker and more intense to the table. Rather than merely paying homage to the 80s goth scene, Last Grasp crafts a modernized version that feels like a natural evolution of the genre. The track is a testament to how darkwave can continue to surprise and seduce, without losing its connection to the past.
For industrial and darkwave fans alike, Last Grasp’s “Creature of Your Kind” is an unmissable release. It’s a track that pulses with life, wrapping listeners in its evocative world and leaving them wanting more.
Samuel Evanson closes out his defining year with ‘Christmas Bells’, a glistening synth-pop cut that feels both nostalgic and sharply future-facing. In typical Evanson fashion, the track wraps big emotion inside clean, crystalline production, pairing shivering synths with a drum pulse that flickers like fairy lights. It’s steeped in the glittery sentiment of 1980s holiday pop, but Evanson’s voice—raw, warm, and a little unsure—keeps it grounded firmly in the present.
There’s an intimacy running beneath the sparkle, a tug of vulnerability that recalls the earliest, most delicate stages of a new romance. Evanson leans into that emotional ambiguity, shaping a festive anthem that isn’t interested in perfection but in possibility. The track’s candied melodies mask a nervous heart, and that juxtaposition is exactly where his artistry thrives.
‘Christmas Bells’ ultimately lands as an unforced evolution from his acclaimed debut album. Evanson continues proving himself a master of mood and melody, and here he turns holiday tropes into something quietly affecting. It’s both a seasonal delight and a subtle reminder of why he’s become one of indie-pop’s most magnetic new voices.
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