US dream-pop duo Magic Wands have released a brand new single, ‘Wishing Well’. With an insistent rhythm and swirling guitars, plus a vocal that adds to its hazy atmosphere, the song sounds like an immediate post-punk meets shoegaze classic.
“The lyric came to me when I was a guest of a guest at a wedding one summer,” explains vocalist Dexy Valentine. “There was an obvious sense of excitement at the event, but I didn’t really know anyone there so I snuck off outside and sat by a wishing well fountain and started writing on a napkin. When we came up with the music for this song I thought these words would fit perfectly.”
Co-written and produced by Dexy with her partner Chris Valentine, ‘Wishing Well’ is the title song of an EP scheduled for late April. It follows the January release of ‘Sacred Mirrors’, a collaborative single with Psychedelic Furs guitarist John Ashton.
Jeremy Moore – aka Zabus – continues his phenomenal creative run with the release of Avoidance Moon, another wildly inventive melding of myriad forms. And with Avoidance Moon, Moore pushes the established elements of the Zabus sound still further, cranking up the distortion and reverb to insane levels. It’s gothic, but it goes beyond. The theatricality is off the scale, but the feel is also very, very old school, and while it evokes the spirit of Dance Society and early X-Mal Deutschland and the like, it also calls to mind early Christian Death, and The Damned, with a bit of The Jesus and Mary Chain tossed into the blender for extra feedback spice.
The title track, which opens the album, is sparse and lo-fi, as quavering analogue synths hover their way through a crashing tube-crunched guitar, the gruff vocal and extraneous noise which runs in the background all bouncing around in a cavernous reverb with additional layers of murk. But something about it carries a certain, indefinable emotional resonance.
‘Theoretical Jesus’ brings reverb-soaked shoegaze and thunderous percussion – and splintering discord in the vein of A Place to Bury Strangers. Elsewhere, the heavy vibe with all the reverb is reminiscent of Modern Technology, perhaps because the baritone vocals share a common ground, too.
Avoidance Moon presents an uncompromising sonic swamp: on ‘Baited Idyll’, the thick, murky sound is cut through by the sharpest cymbal splashes, harsh treble clashes which strike like blades. ‘Punishment to Extinction’ melts together the warping wall of noise of My Bloody Valentine with the drama of Nick Cave: amidst the chaos, Moore casts his dark, theatrical incantations.
Avoidance Moon is a riot of late 70s / early 80s post punk, dark, attacking, dingy, lo-fi, analogue to the end. It’s likely too primitive for many ears, but it’s precisely the primitive nature of it all that appeals. So many acts pretend to draw inspiration from post-punk, but Zabuslives it. Avoidance Moon, then, is dense, suffocating, intense.
Context counts for a lot. My introduction to A.A. Williams was as support to The Sisters of Mercy at Leeds Academy in March 2020 – my penultimate live music outing before COVID lockdown, when things were already starting to feel a bit strange and scary. Perhaps it was the fact it’s not a great venue, prone to rather muddy sound, perhaps it was in part that creeping tension, or perhaps it was because I was so hyped for The Sisters, that I didn’t really get into A.A. Williams’ set, and thought it was merely ok. Perhaps it was a combination of all of these reasons. Subsequent listening has led me to conclude that I failed to fully appreciate the quality of the performance and the detail within the compositions. As such, I owed it to both myself and the artist to re-evaluate with fresh ears, and the inclusion of Spotlights on the bill provided no small additional incentive for this to be the occasion to do so.
Entering the venue – the now-legendary main room of The Brudenell – we get a playlist with Nine Inch Nails and Mudhoney and Nirvana and a bunch of gothy stuff by way of a greeting, and while it’s far from rammed five minutes after opening, the front row is fully occupied, predominantly by tall older men. Of course it is.
It’s one hell of a setup on stage, with the drum kit situated off to one side rather than centre back: this space is occupied by a Marshall four by twelve. There’s a lot of amplification up there, and a lot of pedals, but shrinking the stage further is enough lighting to illuminate a stage at least five times the size. The last time I saw this much lighting packed onto a small venue stage was when The Young Gods played at Fibbers in York circa 2005.
Spotlights may not be particularly well known here, but there are a couple going crackers down the front. And instead of plugging their most recent album, tonight’s set consists of debut Tidals in its entirety and in sequence as they celebrate ten years since its release. Although whatever they’d chosen to plug wouldn’t have made much difference at the merch table, as they reported that theirs hasn’t managed to make it across from mainland Europe. Talk about triumph in the face of adversity: in addition to the merch issue, they’ve had transport troubles due to extreme weather on this tour, and tonight, the drummer managed to break his snare – splitting the skin – during penultimate song of the set, ‘Joseph’. Thankfully, A.A. Williams’ drummer in on hand to lend his, and they complete the set with barely a break, closing with a blistering rendition of ‘Sunset Burial’ from Alchemy for the Dead.
Spotlights
It’s a seismic set, dominated by ripping riffs and tearing power chords. Mario Quintero’s guitar sound is huge, and he manages to play some sinewy detailed lead work while simultaneously hammering out low-end riffery, which, when combined with Sarah’s chunky bass and some powerful percussion, they blast out a high-impact sound.
A.A. Williams’ performance tonight is faultless, every song played with precision, but also feeling. The sound is nothing short of exceptional – even by Brudenell standards – with both clarity and volume coming together to accentuate the deal and the dynamics. The interplay between the two guitars and steady, deliberate drumming is a joy to observe, and when the riffs kick in, boy, do they kick in.
A.A. Williams
There are some pauses while swapping and tuning guitars (Williams has a very fine array of pointy guitars), with no chat from band or audience. In the main, she lets the songs speak. Moreover, to contrast this with the abysmal chatfest that was Black Rebel Motorcycle Club at the Academy at the tail end of last year, the fact you could hear a pin drop is credit to the crowd for their respect, and the artist for holding the whole room captivated. And when she does engage with the audience, she reflects on her affinity with Leeds, and in particular The Brudenell, where she played her first UK show as part of Strange Forms festival. She’s appreciative of the audience, and they’re immensely appreciative of her and her band.
A.A. Williams
The lighting proves to be worth the effort too, and does make a difference to the feel of the night, and paired with stellar sound, the place feels three times the size.
As The Moon Rests and Forever Blue are represented about evenly here, with a handful of selections from elsewhere in her catalogue, notably ‘Control’ from her debut EP and standalone single ‘Splinter’. The closing pairing of ‘Melt’ and ‘Evaporate’ elevates things to yet another level. We witnessed something special tonight.
Legacy postpunk-shoegaze outfit Lowsunday has shared ‘Soft Capture’, with a new video by Jer Herring. This is the second single from the Low Sunday Ghost Machine – White EP, following ‘Love Language’. Released via Projekt Records and ranking second among Post-Punk.com’s Best EPs of 2025, this is the band’s first record of all-new material since 1999.
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Born in the mid-1990s within the local Pittsburgh scene, Lowsunday (initially known as Low Sunday Ghost Machine) emerged as a “retro-futurist” pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. Their legacy was cemented with their debut album Low Sunday Ghost Machine and the 1999 masterpiece Elesgiem, both of which were re-released via Projekt Records over the past 18 months (for their 30th and 25th anniversaries, respectively).
The band dissolved, leaving behind a cult reputation for mercurial sounds and blistering guitar work that set the stage for subsequent generations of alternative artists. Following a nearly 25-year period of inactivity, the band resurfaced as a duo in 2025—consisting of original members Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums).
“With ‘Soft Capture’, we wanted to layer vintage synths over a droning bass line, topped with a wandering guitar melody. As the guitar descends, we felt it taking on a darker tone, but then it creates a bit of a silver lining as the melody climbs back up. We used the lead guitar feedback almost like a theremin, letting it melt through the background,” says Shane Sahene.
“Lyrically, we were thinking about the traps of life and the ways we often submit to things, but the song eventually circles around with an optimistic glimpse of having the opportunity to run away. We feel like the backing vocals on the chorus are what really bring that sense of strength and hope to a situation that might otherwise feel like a surrender.”
Serving as both a reflection and a resurgence, the White EP ushers in a welcome return, marked by superb production and a renewed creative clarity, bridging three decades of distinct sonic legacy with balanced doses of escapism, dreamlike sounds, drones and feedback. This first of a two new EPs planned this year, their crystalline shimmer, classic song structures and melodic hooks shows their atmospheric sound to be as timeless and relevant as ever.
The White EP is a natural expansion for Lowsunday, building upon guitar-driven atmospheres, synth textures, emotive vocals and drum beats. A confident return to form that explores darker yet more expansive sonic territory, they bring atmospheric noise and, at more delicate moments, a dream pop air of deeper melancholia. Distilling years of sonic exploration and inspiration, lyrically and sonically, classic post-punk rhythms and atmospheric layers merge to express raw and genuine emotion.
US dream-pop duo Magic Wands have released a brand new single entitled ‘Sacred Mirrors’. The song is a collaboration with guitarist John Ashton, best known as a member of the iconic post-punk rock group The Psychedelic Furs who played a key role in all seven of their album releases made between 1980 and 1991.
The group went on hiatus soon after and Ashton became a producer, working with Marianne Faithfull and The Sisters Of Mercy (he had also produced their classic 1982 single, ‘Alice’), but he remained with the Furs for another eight years following their reformation in 2000. He released the solo album Satellite Paradiso in 2016.
“I fell in love with Magic Wands via a friend who sent me some of their music,” states Ashton. “The songs immediately drew me in via the visions and emotions they imparted on my psyche. I was hooked and wanted more, finding it in songs like ‘Across The Water’ from their latest album, Cascades. To say I was inspired to write new music would be an understatement. I was recently interviewed for the Sticky Jazz podcast and mentioned that I had been listening to the new record, and it turned out the host was also a fan of the band and hooked me up! ‘Sacred Mirrors’ was inspired by their music and I am honoured to have been given the opportunity to collaborate with them on this.”
The feeling is mutual, with Magic Wands (Dexy and Chris Valentine) declaring that “we have always been fans of The Psychedelic Furs and John has a certain style of guitar playing that strikes its own emotional chord with us. We love his solo song ‘Invisible’, his production on ‘Alice’ by The Sisters of Mercy, and of course his incredible guitar work on Furs songs such as ‘Pretty in Pink’, ‘Dumb Waiters’, ‘Into You Like a Train’, ‘Heartbreak Beat’ and ‘Until She Comes’.”
Ashton sent an instrumental track already entitled ‘Sacred Mirrors’ to the band, who promptly added an additional guitar, keyboards, percussion and vocals, with Dexy adding lyrics and Chris then producing and mixing the finished song. “The song is based around John’s title but approached from a more spiritual perspective,” explains Dexy. “We are all sky gazers, so it includes imagery about the sky, sea, moon and stars. It’s a love song for outsiders about reflections and dreaming of endless possibilities. It has definitely inspired us to get back to writing from a lighter side rather than the shadow, which we dove deep into on both ‘Cascades’ and our ‘Switch’ album before that. We needed to be brought back to a more uplifting side of making music, and the DNA of John’s songwriting has helped us to do just that.”
What do we know about In A House Of Heartbeats? Personally, nothing, and I can’t be alone in that, so will draw on the band’s bio to provide some necessary insight by way of an introduction: ‘Emerging from the shadows of Essex’s underground scene, instrumental trio In A House Of Heartbeats have been quietly sculpting soundtracks for euphoric nightmares since 2022. Their music, steeped in atmosphere and cinematic tension, walks the line between dream and dread, an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world.
‘From arthouse cinema and silent film to folklore, myth, and the murky corners of the subconscious, the band construct deeply absorbing sonic “journeys” rather than conventional songs. It’s a style that encourages deep listening: passages unfold with deliberate patience, building from whispered ambience to tectonic weight, always leading the listener somewhere unexpected.’
They pack pretty much every musical aspect of their broad range into the album’s first track, the behemoth that is ‘In a Perpetual State of Wonder’. A hiss yields to a drone before a colossal riff and soaring lead guitar crash in on a surge of powerfully atmospheric post-metal portent… and that’s just the first minute and a half. Spindly gothy guitars weave spidery webs over rolling tribal beats before the next round of the riff. Towards the end, the pace picks up, and drags the listener headlong into a thrumming tremolo-driven blast that’s like a black metal My Bloody Valentine. I went for a seven-mile walk this morning, and it took me just over two hours but it was nowhere near as mentally and physically intense or exhausting as this eleven-minute blizzard of guitars.
Next up, ‘Cambion’, which first surfaced back in December 2024, is altogether more sedate, at least initially, with a chiming, almost folk-infused prog-flavoured intro creating a calmness before the inevitable storm which pounds in with a sustained post-rock crescendo before things get heavier… and heavier. The level of detail, the attention to texture and the frequent twists and turns make this feel like an entire album compressed into a single – albeit lengthy – track. Along the way, chunky bass rips and guitars chime and soar, and I find myself thinking I must be into the next track, but no.
The sample-laden post-rock drift of ‘Parasomniac’ (that would be someone who suffers from the effects of ‘a category of sleep disorders that involve abnormal movements, behaviours, emotions, perceptions, and dreams that occur while falling asleep, sleeping, between sleep stages, or during arousal from sleep’ (according to Wikipedia)) is reminiscent of Maybeshewill, and provides a welcome interlude between the epics before ‘Oneiromancy for Beginners’ lands with the gutsy punch of Andsoiwatchyoufromafar – surely one of the most remarkable and potent riff-driven acts to have emerged from the early noughties post-rock scene. This is a band bursting with ideas and bursting with energy.
The final two pieces, in combination, form a whole, as the Shakespeare-referencing titles suggest: ‘Drift into Sleep…’ bleeds into ‘…Perchance to Dream’, with its title casting a reference to Hamlet, to forge a twelve-minute opus that begins with a ticking clock and a sample from a guided meditation recording which is almost a carbon copy of a recording used for Cognitive Behavioural Therapy (CBT). It’s likely uncomfortable for anyone who’s been through it, and I find myself squirming through the juxtaposition of soothing, flat vocals and churning noise, but suspect that’s part of the objective here. It’s disorientating and challenging, the second part conjuring atmospheric distortion and endless space with ambient tones and bold sonic washes, before slowly strolling towards an immaculate conclusion, defined by a smooth, swirling climax.
Divination of Dreams certainly delivers on the promise of ‘an ever-shifting blend of post-rock, doom, goth, and shoegaze, filtered through inspirations that reach far beyond the musical world’, and it would be impossible to deny that the end result more than achieves the ambition. Everything about Divination of Dreams is immense, from its ambition to its overwhelming listening experience. It simply covers so much ground – and does so with a rare confidence and finesse. It’s a rare beast, and a spectacular work.
Having recently written on the retro qualities of Lowsunday’s latest release, the latest hot landing in my inbox is from another act which is preoccupied with a previous time – and who can blame them? I am painfully aware that old bastards like me constantly bemoan the shitness of the now while reminiscing about the golden era of our youth, and it’s no different from boomers still banging on about The Beatles and the music of the 60s and 70s as if time stopped when they hit thirty or whatever. There is a lot – a LOT – of exciting new music coming out right now, and much of it is pushing boundaries in unexpected directions. I for one will never cease to excited by this. But there is a significant amount of music emerging that draws its primary influences from the eighties and nineties, created by artists who simply cannot be drawn by nostalgia. Falling You are a perfect example.
Metanoia is pitched as being for ‘fans of 1980s 4AD dreampop (This Mortal Coil, Dead Can Dance), ‘90s shoegaze (Slowdive, Lush), or the darkwave / ethereal / ambient-electronic releases of the Projekt label (Love Spirals Downwards, Android Lust). It’s quite a span, but the fact is that this is a release with its inspirational roots well in the past. It pains me to be reminded that 1995 is thirty years ago when it feels like maybe a decade. The cover art of previous releases very much state shoegaze / dreampop, and while this album accompanied by altogether moodier artwork, which may in part serve to reflect the album’s title, it’s nevertheless hazy and evocative at the same time. ‘Hazy and evocative’ would be a fair summary of the album itself, too, and the dreamy / shoegaze elements are countered by some really quite unsettling spells of rather murkier ambience.
It starts strong with the bold swell of steel-stung acoustic guitar and a strong vocal – I’m not talking about a Florene Welch lung-busting bellow, but a controlled and balanced performance that really carries some resonance, and it’s mastered clear and loud… and then things swerve into a more electronic, almost dancy territory. Immediately it’s clear that this is going to be less an album and more a journey, and ‘Demiurge (Momento Eorum)’ immediately affirms this with its spiritual incantations and sonorous, droning rumblings.
‘Alcyone’ is the first of the album’s ten-minute epics, and it uses the time well: that is to say, with shuffling drums, spacious synths and layers of lilting vocals, it’s very much distilled from the essence of The Cocteau Twins, and slowly unfurls with an ethereal grace. A delicately-spun pop song at heart, the extended end section tapers down to a softly droning organ.
While the atmosphere is very much downbeat, downtempo, understated, one thing which is notable is the album’s range: ‘Ari’s Song’ is built around a soft-edged cyclical bass motif, around which piano and synths swirl, mist-like, the drums way in the distance, and even as a disturbance grows toward the end, it’s so far-away sounding, and the song itself, beyond that ever-present bass, barely there, and the same is true of the dank, dark ambient echoes of ‘Inside the Whale’. If ‘Ariadne’ is another shimmering indie tune hazed with fractal electronic ripples, the second ten-minute epic, ‘They Give Me Flowers’ provides a suitable companion piece to ‘Alcyone’, swerving from a brooding country and folk-tinged song with hints of All About Eve, and the album’s final track, ‘Philomena’ effectively completes the triptych, pulsing along gently and dreamily before slowly tapering away to nothingness. It’s a fitting conclusion to an album which at times is so vaporous and vague, it’s barely there – which is precisely the design. But in between the hazy drifts and particle-like waftings, there are some beautifully atmospheric and utterly captivating songs with strong leanings towards the dreamy pop side of indie. In terms of achieving an artistic objective, Falling You have absolutely nailed it with Metanoia.
Woah, wait. 1999 is more than 25 years ago? Logically, I can grasp this. But the fact that lowsunday have existed for some thirty years and have been dormant since 1999 meaning this is their first material in over twenty-five years is still difficult to comprehend. It does very much seem to be a more common occurrence in recent years that bands who existed comparatively briefly in the 80s or 90s are reuniting and returning with not only new material, but strong new material. It may be a rather different league, but the last thing I expected last year was a new album by the Jesus Lizard, and that my first gig of 2025 would involve David Yow flopping off the stage and directly onto my face in the opening thirty seconds of the set. Lowsunday formed in 1994: the year Kurt Cobain died, the year I started university, the year of my first job as a reviewer. It feels like another lifetime. It probably does for them, too.
It may be pitched as a blurring post-punk, shoegaze, dreampop, and darkwave, and also as being for fan of The Chameleons, ACTORS, The Cure, Modern English, Clan of Xymox, Then Comes Silence, TRAITRS, but that thumping bass groove and pumping mechanoid drum beat on the EP’s opener, ‘Nevver’ is as trad goth as it comes. But the squalling noise that envelops the vocals – swathed in echo and low in the mix and taking direct cues from The Cure circa Faith and Pornography – is something else, a melding of My Bloody Valentine and The Jesus and Mary Chain with a dose of early New Order, Danse Society, and The Chameleons swirling around in there. And out of this swampy post-punk soup cocktail emerges a song of quality which really recreates that early eighties dark groove.
‘Call Silence’ goes straight for the sound of The Cure circa ’83, the singles on Japanese Whispers. And that’s cool: if you’re going to lift from early 80s gothy pop, you could certainly do far worse than ‘Let’s Go to Bed’ and early New Order as an inspiration – the bassline is pure Peter Hook. The production – and the strolling high-fretted bass work – really hits the spot, although it should be perhaps noted that they really do sound like a band born in 1982 rather than 1994. I guess they were retro before their time.
Paired with chiming guitars, it’s the monster snare smash that really leads – and grabs the attention on ‘Soft Capture’, a song that unashamedly draws on Ride and My Bloody Valentine, and pairs that wash of sound and monotone vocals with a drum sound straight from 1984. The fall from favour of the dominant snare feels like a loss, but there’s no time for lamentations as they pile in with another claustrophobic read goth groover in the shape of ‘You Lost Yourself’. Here., I can’t help but feel the vibes of late 90s goth acts like Suspiria and the scene around that time. It’s well-executed, with fractal guitars tripping over pumping drum machines and throbbing bass.
Closing with single cut ‘Love language’ sees the band strive for low-key anthemic with dreamiest and most overtly shoegaze song of the set. With the vocals drowning in a sea of reverb amidst a swirl of guitars, its detachment is its emotional power, perversely enough. And then, unexpectedly, it stops.
Everything about the White EP is simply magnificent – the way the songs are composed and played, the production, the overall feel. And while retro is all the rage – and has been for a while now, since postmodernism has eaten itself and the entire world has collapsed into endless recycling and nostalgia for ersatz reimaginings of golden bygone times. But sometimes a release will appear, seemingly from nowhere, that radiates a rare authenticity, and reaches the part others don’t. Lowsunday’s White EP is one of those.
Projekt Records artist Lowsunday emerges with their first record comprised of all-new material since 1999, bridging three decades of distinct sonic legacy. The Low Sunday Ghost Machine – White EP delves into emotional isolation, this music laced with a counterbalance of escapism, dreamlike sounds, drones and feedback, with carefully-placed classic song structures with melodic hooks. This is the first of a two-EP series being released via Projekt.
Based in Pittsburgh, Lowsunday is now a duo made up of Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums), this EP serving as both a reflection and a resurgence. The band also presents their new video for ‘Love Language’.
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Blurring the lines between post-punk, shoegaze, dreampop, and darkwave since 1994, Lowsunday brings something new to the music scene, treading sonic waters with screeching guitars and layer upon layer of arsenic-laced melodies, crowned with bittersweet and emotive vocals. From quiet intensity to sweeping sonic landscapes, Lowsunday makes a welcome return with their retro-futurist daydream.
The White EP demonstrates a connection to the band’s history while showcasing a natural expansion that builds upon guitar-driven atmospheres, synth textures, emotive vocals and stripped down drum beats. A confident return to form that explores darker yet more expansive sonic territory, at times, they push atmospheres to the limits of noise and, at more delicate moments, into a dream pop air of deeper melancholia.
Sahene and Spell distill years of sonic exploration and inspiration into this release. Lyrically and sonically, these songs use classic post-punk rhythms and atmospheric layers to express simple, fundamental emotion.
This five-track EP arrives on the trail of the extended 30th anniversary remaster of their debut album Low Sunday Ghost Machine a 2-CD feast recorded at the height of their ascent. The original nine tracks are complemented by a second disc with seven unreleased tracks, remixes and reinterpretations. Projekt also released the 25th anniversary remaster of their sophomore album Elesgiem in 2024.
LA-based indie rock outfit Tombstones In Their Eyes presents ‘Alive and Well’, a beautifully raucous psychedelic rock revival hymn, following the brooding lead track Under Dark Skies. This unexpectedly fierce and defiant declaration of strength is the second taste of their Under Dark Skies album, to be released via Little Cloud Records (for North America) and Shore Dive Records (for the UK and EU). This 2-track offering also includes the radio edit.
This song is dedicated to TITE guitarist Paul Boutin, who recently lost his battle with cancer. As Paul Lovecraft, he was a prolific musician, releasing music even after an operation nicked his vocal chords. Having met Tombstones’ main-man John Treanor at Kitten Robot Studios about 10 years ago while working on his own projects, they fell into the same orbital realms until Paul eventually joined the band.
The song features John Treanor on vocals and guitar, Paul Boutin on guitar, Nic Nifoussi on bass, Paul Roessler on keyboards, Stephen Striegel on drums and percussion), and Courtney Davies, Clea Cullen and Joel Wasko on backing vocals,
“When our beloved friend and guitar player lost his life on 10/18/25, we were shocked, confused and incredibly saddened. Paul was so kind, generous, intelligent and always optimistic. Being in TITE was a source of pride and joy for Paul. He was so easy to be around and was dedicated, driving many hours for practices and shows, always bringing his cheerfulness and optimism. We miss him greatly and are glad he is all over this record,” says John Treanor.
“We were initially going to scrap ‘Alive and Well’ as a single after Paul’s passing (for obvious reasons), but because it was one of Paul’s favorites and a song on which he played guitar, we are going ahead with the release. The lyrics are about rising out of desperate circumstances with newfound strength – something Paul himself experienced, having dragged himself out of his own difficulties to ultimately rebuild a life full of joy and purpose. While not planned that way, ‘Alive and Well’ ended up being a statement of intent – a story of a journey from despair to strength.”
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The accompanying video was created by Italian multi-arts visionary Francesca Bonci, known for her work with Federale (BJM’s Collin Hegna), British bard Philip Parfitt, The Dandy Warhols’ Peter G. Holmström a.k.a. Pete International Airport and Slowdive’s Rachel Goswell.
A year on from their Asylum Harbour album, this record emerged during a year of intense personal change, before finally moving into a place of light and gratitude. Recorded and engineered by Paul Roessler (The Screamers, Nina Hagen, 45 Grave) at Kitten Robot Studios, this album was co-produced by John Treanor and mastered by multi-platinum engineer Alex DeYoung at DeYoung Masters (Michael Jackson, BTS, Macy Gray, The Linda Lindas, TSOL).
Aural Aggravation 