On their debut album ‘Here Now, There Then’, Dool formulated a sound that blended goth, hard rock and a touch of trad metal to create a sound that drew a lot of influence from the early 90s, but in some ways sounded almost timeless. With elements of Killing Joke providing a core influence – especially in some of Job van der Zande’s chosen basslines – it was a record that had a relatively strong musical foundation, even if some of the songs weren’t especially memorable. A cover of ‘Love Like Blood’ flaunted their love of Killing Joke further on an EP in 2019 that, in the band’s own words, saw them growing in confidence.
Lindsay Schoolcraft released her solo album ‘Martyr’ in October 2019. Nominated for a Juno award, the album presents a world of melodic goth metal that should very much appeal to fans of Evanessence, Nightwish and other bands within that musical sphere.
Ahead of their second album’s release, Norwegian indie/goth band Mayflower Madame are streaming their new single, ‘Vultures’.
Taking a pinch of Jesus & Mary Chain and a huge influence from Bauhaus and ‘First, Last & Always’ era Sisters of Mercy, the track really delivers in terms of mechanical rhythms, cold riffs and a brilliant alt-pop darkness. Everything has been recycled with so much love, it could even pass as authentic find from a vault of rare 80s alternative music.
Copenhagen’s Why Sun bill themselves as a “sleepy noise trio”. To most people, especially those old enough to be absorbed in alternative sounds circa 1986, this translates as “heavy gothic shoegaze with dream pop guitar”. There isn’t anything new in the noises Why Sun create – most of their influences come over like the proverbial sledgehammer – but what they lack in originality, they make up for with absolute conviction.
In 2015, singer songwriter Matt Cahill took a break from his main band Evoletah to experiment with multi-instrumentalist Andrew Muecke and create something that would be so different from everything he’d recorded before. There’s no point in having side projects if they end up being too similar to your regular band, of course, but with The Quiet Room’s ‘All The Frozen Horses’, it’s unlikely that many Evoletah fans expected anything close to the sounds that materialised. Instead of atmospheric, guitar driven rock, The Quiet Room were all about keyboards, space and a cold spookiness.