"Dawn Of The Dead (Single Mix)" is described by the band's myspace page as being a 'secret club hit'. I'm not quite sure how you can have a 'club hit' which no-one knows about. What I can tell you is that this song is an example of excellent dark alternative rock. Subtle electronics complement echo-laden guitars while singer Damien Grey declaims portentously. I'm reminded of Love Like Blood's classic album An Irony Of Fate. "Heroes In The Dark (Version 2009)" has Mission-like guitars mixed with the 'ghostly monk' keyboard pre-set favoured by bands like All Living Fear and Nosferatu. It's the latter band, circa the Rise album, that this song sounds similar to. "Brotherhood Of Sleep (Remix)" is more of the same, but it remains an exciting listen nevertheless. The soaring synth is a highlight. Electronics burble to the benefit of the song.

"Dawn Of The Dead (Aftermath)" sees the song stretched, and the electronics turned up. There's a hypnotic bass, which I hadn't appreciated in the Single Mix. This sort of song is perfect to drift away to, perhaps on a long train journey through a mysterious land. "Watching Demons (Version 2009)" is moody magnificence. "Zeit Und Traum (Orchestral Version)" gets the full orchestral treatment, as the name suggests. I've not heard the original, so I can't compare versions, but this take works well. There's something about the German language that works well with an orchestra. "Pitch Black" is a previously unreleased song. It's ambient electronica; with the guitars present, but lower in the mix than usual. A whole album of this sort of material might pale, but the change of pace is welcome here. "Dawn Of The Dead (Dead Bodys Dancing)" takes the song further in the direction of the dance floor. The music reminds me of Swarf or Manuskript on occasions. "Dawn Of The Dead (Album Version)" brings the EP to a close. It reminds us how far we've come, by returning to the band's traditional gothic rock sound.

Few bands survive the remix treatment intact, Arts of Erebus are the exception that proves the rule. While I prefer the 'gothic rock' interpretations of the songs, there is no denying the power of the dance floor versions. There is something about the strong identity of the band, or the cleverness of the remixes, which enhances rather than dilutes the band's sound. Arts Of Erebus offer little that is truly innovative but sometimes we need to seek refuge in the familiar. The bands that trademarked this sound are no longer around so its great there's another generation to keep the sound alive.

Just when the listener is threatening to slip into a somnambulist state - albeit a pleasant one - "Tiphereth" menacing appears on the horizon. There's an Eastern-vibe throughout, making this song a sort of gothic "Kashmir". It's difficult to decide where Dead Sea Surfers stand on the subject of Rabbinic Judaism, the religion which inspired the title of this song, but it's interesting to speculate. One of the good things about this album is that Dead Sea Surfers aren't content to stick to one sound. Everything is a variation of post punk, synthpop or goth, but there is great diversity within those genres. "Already Home" has a dirty punk, Stooges kind-of vibe. I prefer the smoother alternative style of "I Just Want To Be", but the world would be a very boring place if we all liked the same thing.

"Want To Be Free" has the feeling of a less feedback-ridden Jesus And Mary Chain. This style continues with "Be Alone", though this time there's a hint of Sigue Sigue Sputnik's "Love Missile F1-11". We're back in goth territory for "Alone Again", which is a pleasant listen but doesn't quite warrant its six minutes plus running time. "Speed Queen" sees us back in Jesus and Mary Chain land again, though the vocals are more spirited than anything the Reid brothers ever recorded. "Who Do I Know" starts with echo-laden guitar, which is then mixed with sonorous synth, to good effect.

"I Thought Of You" reminds me of classic 90s goth band Big Electric Cat. It's dark, driving and intense, with raspy vocals belched from the underworld, in a melodic way. The synths surge seductively. With an exciting instrumental break it deserves its six minute running time. The lead guitar proves to be much more effective when used in short bursts. A cover of Joy Division's "Shadowplay" brings proceedings to a close. It's a decent version, but is hardly indispensable. It could prove to be a live favourite though.

Dead Sea Surfers strike a balance between having a recognisable signature sound and providing enough variety to engage the listener. Fans of post punk, synthpop or goth - or ideally all three - should investigate further.

"Romance In The Rain" is about as far away from flowers and chocolates as you can imagine, but the edgy and dangerous sound is seductive. As long as you like your seduction to be of the grimy and sordid variety. "Swing Movements" starts with ghostly wailing and Bauhaus-style guitar atmospherics. The drumming is tribal and authentic. Despite the cacophony I'm drawn in. There is a shot of black humour in the lyric: 'We shall be happy.' Surely sir, you jest. "A Seduction Walks" has the drive and verve of early New Order, with general discordance spread generously on top. Do not listen to this when driving or operating heavy machinery.

"Patroness" has a hint of early Jesus And Mary Chain, particularly in the use of noise as an instrument. The intermittent bass work is worthy of praise. The tempo drops and things get weird around three minutes in. When the rest of the instruments come back this listener is thrilled by the band's verve and confidence. They are the masters of the chaos they have created. "The New Joys" sounds like a Cure b-side, from an early era when Robert Smith and friends liked to experiment. "The Nervous Talks" is more of the same. It sounds like it was recorded at the opposite end of a particularly echo-y dark alley. In a good way. You wouldn't want Entertainment rehearsing next door to you though.

"Confusion Of Senses" is bass-driven. It has a predatory feel, though with all the clattering going on it doesn't have a hope in hell of actually catching its prey. The guitars throb enticing and there's an effective use of dynamics. I'm exhausted by the time "Flesh!" comes around. Entertainment make music that requires effort, but your exertion will be rewarded.

"Days Of Ice" has the intensity of label-mates Artica. There's a barely suppressed edge of hysteria beneath the mix of guitars and electronics. Quality song writing ensures that the song never stays on one level. This song is a jolt of caffeine for those too time-deprived to boil a kettle. "Black Lines" moves with predatory grace, in the style of Nine Inch Nails circa Pretty Hate Machine. It's damn catchy too. "Sin And Sacrifice" sees the band adopt a more stereotypical electro flavour, one for the dance floors. Singer Aurelio spends most of the time singing properly, so some vocal distortion can be forgiven, such as during "Metaphora". This music is focused and intense, but never at the price of enjoyment of listening.

"An Old Wisdom" is ornery and chaotic, just the sort of sound you need when you want to be shocked out of apathy. The synth stabs are effective. "The Gust Of The Wind" is frantic, don't listen to this if you are of a nervous disposition. "Bed Of Thorns" is more of the same, which proves that Anima Virus are capable of producing a consistent sound. Thankfully the style is one I love, so I don't mind that there isn't much variety. As if Anima Virus had heard that very criticism the next song - "Zdzislaw Beksinki" is an instrumental. To start with it does break the cycle, with cold winds blowing over strange crackling sounds. Then we enter a world of Jean Michel Jarre and Vangelis.

Palate duly cleansed, we move onto "The Hunt", which exploits the quiet/loud dynamic effectively. "Amphetamine" follows the established Anima Virus formula, while "Blood Form Heaven" emphasises the electronic side of the band. The heavy bass during the intro to "Siren" gives this song a particularly strong Artica feel. This song later shows a Bauhaus influence in the vocals and guitars. Anima Virus' cover of Echo And The Bunnymen's "The Killing Moon" manages to sound simultaneously new and like the original. Particularly fine is the filigreed guitar towards the end.

By the time "Adam" finishes we've spent over 70 minutes together, which is a long time. The uniformity of sound at least means a uniformity of enjoyment, if the band make music that appeals to your taste. I'm going to use it when I need a shot of energy.

"Neverlight" has throbbing bass, echoing piano and a tortured Robert Smith style wail. It's spritely and engaging, despite the mournful atmosphere. If you've worn out your copy of Seventeen Seconds then you should check this song out. The terrifyingly-titled "She Hides Disease" sounds more like Faith-era Cure, complete with chiming guitar and suffocating atmosphere. "Baby Teeth" is more of the same. It passes agreeably. "Is Heaven All That You Hear" manages to strike a balance - funereal, without descending into dirge. It is enlivened by some unearthly zapping noises, which sound better than you might think.

"Permission For Sleep" sees the tempo rise, with some sizzling synths and frantic percussion. "This Isn't Enough" has moody synths a la Depeche Mode. The repetitive piano adds to the feeling of despair, in a good way. The excellently-titled "Plain Faced Afternoon" sees Feeding Fingers use the 'strings' setting on their synth to powerful effect. We're back in Faith-era Cure territory. "No Movement In Water" has excellent bass work high in the mix. The percussion is also particularly strong. "Your Name In A Stolen Book" brings matters to a close. There's a hint of Peter Murphy in the vocals.

Feeding Fingers aren't breaking any new ground, but if you are looking for something that combines what you love from the past with the thrill of the new, then Feeding Fingers are well worth investigating.

There something curiously uplifting about "Invocation" despite its talk of 'walking through the valley of death'. Maybe it's the ebullience of the guitars? The title of "Move Over Kate" is more intriguing, which is solid dark-themed rock. "Deep Inside My Heart" is more energy. The band seem to be struggling to reach something, I know not what. The tide of guitars is enough to sweep you away. There's a Chameleons-like intensity to this song. "For My Vengeance" sees the use of superlative guitar whooshes. It makes me nostalgic for bands like Meridian and Big Electric Cat.

"Friendly Fire" sees the pace drop, with intoxicating results. It's good to know that the band can change gear, without putting a foot wrong. Some wailed female backing vocals add spice to the mixture. "I Wanna Know" has ringing guitars, recalling The Cult played at a slower speed. There's a cool bit where everything comes to a halt, before all the instruments are reintroduced. Having been deprived of the music, we appreciate it more when it returns. Of course, this sort of approach is likely to confuse people on the dance floor.

"Wild Flower" has frantic drumming, indeed there's a tense energy to be heard in every instrument. The imprecations to the titular character once again conjures the spectre of Ian Astbury. Over the five minute running time the song slowly comes to a halt in an enticing manner. Those echo-laden guitars come to the forefront for the beguiling, though worryingly-titled, "Down Below". This is one of the band's slower songs, with a woozy too-much-cough mixture feeling at times. The song sounds like it is going to fall apart, but thankfully it never does. A chiming guitar solo shows how it should be done.

"Faith For The Faithless" sees singer Jorg Kleudgen struggling against the adversity in his life, but refusing to be daunted. That's the spirit. Use this as inspiration when tackling something difficult and you'll soon have the job done in just over five minutes. I don't know whether this was recorded with everyone playing at the same time, but it has the sort of energy and mayhem that suggests it was. This is a real band playing real music together. "You're The Fire I'm The Ashes" is solid, but unremarkable. "Take My Hand" has an unusual and uncomfortable rhythm, but this strangeness makes it a more interesting listen. It was wise to place this song late in the album, because it is uneasy listening.

If you play gothic rock it is traditional to end your album with an epic, which in this case is called "To Whatever End". It clocks in around seven minutes. There's some superb bass work going on here, redolent of Type O Negative. The song doesn't quite warrant its extended running time, but it's a solid slice of gothic rock nevertheless.