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.
Australian rock band The Church will be making a rare visit to UK shores in June 2019. The handful of scheduled gigs are to celebrate the 30th anniversary of their best known album, 1989’s ‘Starfish’, home to the cult hit ‘Under The Milky Way’.
More info about these reunion shows can be found in the press release below.
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Once claimed to be “the loudest band in New York”, noise rockers A Place To Bury Strangers have carved out a true cult following since forming in 2002. By creating a sound that fused heavy distortion with gothic and shoegaze tendencies, their first two albums laid down some wantonly dense retro sounds, while their later releases somehow managed to feel a little more accessible without losing too many of the band’s most confrontational elements.
Their 2019 release ‘The Fuzz Club Session’ was recorded in a single day when APTBS visited Love Buzz Studios in South London at the end of a tour. According to frontman Oliver Ackermann, there are times where it’s possible for a band to feel tired of their own material after being on the road, so a little re-invention is needed to keep things interesting. That’s very much where this release comes in.