Darkwave

Eerie Family ‘Eerie Family’

From the smouldering embers of spooky garage rock project The Hex Dispensers comes Eerie Family, a gloom pop outfit that creeps upon you like John Carpenter’s The Fog upon the good people of Antonio Bay…

Trading punk assault for shadowy darkwave, Taylor duo Alex Cuervo and Alyse Mervosh presents a debut LP of thrilling Gothic pop, caustic tales of exploding suns, the entity at the foot of your bed, and greeting the beckoning finger of death with a grin.

Eerie Family kicks off with the maddeningly infectious ‘Everybody Disappear’, an organ stomper with Link Wray guitar and rib-cage xylophones backing the ice cool dual vocals, describing with relish a sudden empty world. Mervosh’s skittish drums flutter against smoggy keys on the cavernous ‘Dead Stars Still Shine on Us Tonight, before taking a turn for the morose with ‘I Am Tarantula’, echoes of The Cure’s ‘Lullaby’ backed with the steady beat of The Shangri-La’s, hollow bass and keys create an atmosphere both dark yet strangely comforting. The quiet terror of crushing, brutal routines we dream of escaping is channeled on the doomy ‘Bloodless’, and icy finale ‘After Some Deliberation They Concluded’ ends the record with a funeral waltz, an examination of mortality voiced by the Capuchin corpses of Palermo against Pornography viola like synth drones.

You only need enough friends, to carry your casket when you’re dead’. Despite the mordant front, Eerie Family reveals itself to be a stirring, and at times romantic, statement, never afraid to allow the light of a good tune or sentiment lie among the dread. Always seductive and evocative, Eerie Family is a dynamic chiller which moves you, excites you, but never drains you.

New Haunts ‘Worlds Left Behind’

The inanimate, the dead. Everything here lives‘ Alice Sheridan croons on album closer ‘Ice’. The sparks which fly off these contradictions fuel New Haunts’s debut LP Worlds Left Behind both aurally and lyrically, the antagonism between light and dark, beauty and horror.

Worlds Left Behind, mastered and mixed at Bristol’s Free House Studios, is nine tracks of dark-wave, Gothic synth-pop which balances serene atmospherics with nightmarish infernos. Opener ‘Ingrained’ is stunningly cinematic, an electrifying showcase of ethereal sonics and rousing drums with thick synth stabs surrounding Sheridan’s exquisite, goose-pimple vocals. ‘Hymns’ is a gorgeous acclamation to the spiritual binding agent music and art can be, with celestial production reminiscent of Kate Bush’s The Sensual World. Self-titled ‘New Haunts’ is a funeral march, Death in June organs chill the air and further Sheridan’s juxtapositions: ‘Everyone a stranger, anyone a friend.’

Aggression is never too far away, lulled into a false sense of security, you can be smacked sideways with a track like ‘Waves’, a cavernous slab of crunchy electronics and subterranean drums close in on you, a chaotic howl of the visceral oppression of the external world invading our inner beings. Pornography keys swell and drone on the icy ‘Left Me Cold’, whereas ‘Safe out Here’ sees Sheridan adopt a more conversational vocal delivery, frosty reverb punctuated by stuttering drum machines all amount to a thrilling disquiet.

In a scene which can be wrought with uninspired derivatives and by-numbers goth, New Haunts has delivered a debut album demonstrating just how stirring and affecting the dark-wave genre can be, while also producing a piece of work utterly her own. Worlds Left Behind is a powerful artistic statement on the universal and eternal conflicts of life, that profound sadness and the giddy heights of joy are forever fighting each other.