Where Industrial Meets the Afterlife: Twice Dark‘s Latest Single “Necromantic” Transforms Grief into Dark Electronic Gold

It is easy to use nostalgia as an excuse for bad writing these days, but Twice Dark‘s “Necromantic” comes along like a psychic at midnight, more interested in holding its own sound séance than in talking to the dead.

The mysterious artist behind this project, Josh Kreuzman, has made something that sounds less like a song and more like a spell set to the beat of a drum machine.

The track opens like a cemetery gate creaking wide, with synth lines that spiral upward like Victorian wrought iron. Scott Harris of Hororhaus lends his vocals to this nocturnal narrative, his presence adding layers of depth to Kreuzman’s already rich sonic ambience.

The production quality is appropriately morbid—every electronic pulse and synthetic wail has its own perfectly cut nook, like epitaphs in a digital mausoleum—and the recording took place at Postal Recording in Indianapolis.

The most interesting thing about “Necromantic” is that it can be both a sad song and a dance floor chant without losing any of its power. As the melody parts fly above, they sound like lost souls finally finding their way home.

The bass line moves beneath the surface like an undertaker with rhythm. While listening to this song, It’s the kind that makes you want to dance with your demons rather than exorcise them.

Twice Dark’s work here shows an interesting change in the darkwave environment. Twice Dark is at the intersection of tradition and innovation, while many of his peers seem satisfied to either copy their inspirations or go down rabbit holes of experimentation.

The project combines the dramatic sadness of classic goth with the precise mechanics of industrial music, and even some surprising Italo disco touches. Imagine Giorgio Moroder making the music for a spooky house, and you will get an idea of what it sounds like.

A fourth song from the future “Telekinetic” record, “Necromantic” makes it sound like an artist is not only finding their voice, but also building their own spooky church for it to echo through.

In a genre that often feels like a museum piece, Twice Dark reminds us that the most interesting shadows are cast by new light sources. It is not just another page in the big book of dark electronic music; it is a strong case for it to keep getting better.

“Necromantic” is an interesting new part in the never-ending dance between darkness and light that is electronic music. It serves as a warning that the best gothic industrial music has never been just an honour; it is always been about change.

When Kreuzman plays music, sadness turns into rhythm, loss into song, and the dance floor into a place where we can finally face our fears instead of running away from them.