Horsegirl – Phonetics On and On

There are some songs you vividly remember hearing for the first time. They sear themselves into your memory, like a firework in your head. Such as it was for me the first time I heard Chicago trio, Horsegirl. Scrolling through my Facebook feed there popped up a post from UK based shoegaze label Sonic Cathedral. Generally, when I see a post from them, I sit up and take notice so I clicked the link and ‘Ballroom Dance Scene’ filled my ears. I was mesmerised. I hadn’t heard anything like it, or had I? It was instantly familiar yet completely new to my ears. Soon I had the seven-inch single and the flip side ‘Sea Life Sandwich Boy’ delivered in spades as well. Next came the single ‘Billy’, a portent for their stunning debut that was about to release.

Horsegirl, made up of Penelope Lowenstein, Nora Cheng, and Gigi Reece, debut album was 2022’s Versions of Modern Performance, a record that soaked itself in the murky waters of ‘90s indie, blending Sonic Youth’s jagged edges with the dreamy haze of shoegaze. They were hailed as torchbearers of a new wave of indie rock—raw, instinctive, and thrillingly unpolished.

With Phonetics On and On, their sophomore release, Horsegirl have taken a sharp left turn. Produced by Cate Le Bon, the album strips away the distortion-drenched urgency of their debut, opting instead for a minimalist, almost skeletal approach. Their PR has this to say.

“After playing together for four years, Horsegirl explores the limits of the trio configuration within Phonetics On and On— what if instead of filling out songs with distortion, they utilized the expanse that the three of them didn’t occupy?”

“This question seems to be the motivating force behind the record, and the songs are a testament to experimenting with space and texture while maintaining a pop song at the core. New tools help bring this world to life; violins, synths, and gamelan tiles are all woven into the record with complete effect.”

This sounds like we’re in for a very different listening experience. Let’s drop the needle and see what’s what.

The album opens on the short but sweet ‘Where’d You Go?’ setting the tone with its taut, brittle guitars and clear, simple lyrics. The track’s brevity mirrors the fleeting nature of its themes, leaving listeners pondering the transient connections in our lives. It’s a stripped-back introduction, setting the stage for the album’s sparse yet intentional atmosphere.

‘Rock City’ offers a more expansive soundscape. The interplay between the instruments creates a sense of movement, evoking the bustling energy of urban life while hinting at the underlying loneliness that often accompanies it. This is Horsegirl at their most patient, allowing the track to unfold like a long drive through an unfamiliar city at dusk.

‘In Twos’ delves into themes of duality and partnership. The song’s structure reflects its subject matter, with harmonizing vocals and mirrored guitar riffs that dance around each other, illustrating the push and pull of relationships. There’s a hypnotic quality to its repetitions, like a mantra or an unresolved question left hanging in the air.

Lead single ‘2468’ stands out with its use of folksy strings that introduce us to a new sound for the band. The jaunty rhythm juxtaposes with the almost deadpan vocal delivery providing that unique Horsegirl listening experience. I love the slow build of textures as the song enters its second half. The different attacks on the guitar strings filling the air left around that driving rhythm section. this track exemplifies Horsegirl’s experimental spirit and willingness to embrace the unexpected. It’s an odd, fractured anthem, proof that the band still has their DIY unpredictability intact.

‘Well I Know You’re Shy’ is a poignant exploration of introversion. The minimalist instrumentation allows the vulnerability of the lyrics to shine, forming an intimate atmosphere that resonates deeply with anyone who’s ever felt out of place. It’s a whisper in the dark, an acknowledgment of social anxiety that never feels forced or over-explained.

Up next is one of their best tracks to date. ‘Julie’ is a melancholic ballad that tells a story of lost connections. The song’s deliberate pacing and haunting melodies create a sense of longing, making it one of the album’s most emotionally impactful tracks. There’s something almost ghostly about it, as if the song itself is reaching out to someone long gone.

Flipping over to side B and we up the bpm’s with ‘Switch Over’. The upbeat rhythm contrasts with introspective lyrics, reflecting the complexities of change and the bittersweet nature of moving on. The chorus glimmers with an unexpected pop sensibility, a welcome moment of lightness in an otherwise restrained record.

This leads us into ‘Information Content’ which delves into the overwhelming nature of modern information overload. The minimal instrumentation slowly building to mirror the tidal wave of data we navigate daily, while the vocals provide a grounding presence amidst the chaos. It’s a subtle critique of digital saturation, done in Horsegirl’s signature understated style.

Things take another folksy turn with ‘Frontrunner’. A thoughtful track that ruminates on the urgency of ambition. There’s an underlying tension here, as if the band is questioning whether success is truly worth the chase. The guitars opt for a country feel, strummed acoustic and a lead that draws influence from the late great Luthor Perkins.

‘Sport Meets Sound’ follows. An unexpected experiment, this track plays with the rhythm of physical motion, almost like a sonic interpretation of a heartbeat during a sprint. It blurs the line between movement and music, capturing the strange connection between sound and body in a way that’s both abstract and strangely visceral.

‘I Can’t Stand to See You ‘is our stripped-down closer and it leaves us with an aching sense of unresolved emotion. The instrumentation is sparse, the lyrics direct, and the whole track feels like a final conversation that ends in silence rather than resolution. As the last notes fade, it’s clear that Phonetics On and On isn’t about easy answers—it’s about the spaces in between.

Phonetics On and On is not the record fans might have expected, but it’s exactly the one Horsegirl needed to make. It refuses to repeat the formula of their debut, instead choosing to deconstruct their sound and rebuild it from the ground up. The influence of Cate Le Bon is evident in the record’s deliberate spaciousness, but this is still unmistakably Horsegirl—curious, exploratory, and unafraid of negative space.

This album rewards patience. It doesn’t grab you by the collar like Versions of Modern Performance did; instead, it lingers in the room like an unfinished conversation, waiting for you to lean in. It’s a quieter statement, but no less powerful—a testament to a band growing into themselves, refining their language, and carving out a sound that’s uniquely their own. Horsegirl aren’t just reliving the past; they’re whispering the future into existence.

Phonetics On and On is out now on Matador Records. You can grab a copy from the Horsegirl Bandcamp Page, Matadors Online Store or your favourite record store.

You can follow Horsegirl on social media here….

Hooky and Winter – Water Season EP

Some collaborations feel inevitable, and Water Season, the new joint EP from Hooky and Winter, is one of them. Scott Turner & Sam Silbert aka Hooky, the Philadelphia-based act known for their lo-fi, dreamy blend of shoegaze and indie rock, have built a reputation on hazy, introspective soundscapes. Meanwhile, Brazilian-American artist Winter (real name Samira Winter) has long been a torchbearer of ethereal indie pop, crafting lush, melancholic worlds where reverb-soaked guitars meet wistful melodies.

Both artists have explored the outer edges of their sound in recent years. Winter’s 2024 EP …and she’s still listening saw her dive into trip-hop and experimental electronic textures, while Hooky’s Mirage, also from 2024, was a trippy, glitchy, reverb-drenched sonic exploration that played with the boundaries between shoegaze and electronica. It makes sense, then, that these two artists would find common ground, blending their strengths into something that feels both fresh and deeply nostalgic. Water Season is the result.

Water Season spawned when Winter and Hooky met online as fans of each other’s music and soon started corresponding with ideas, the first of which was ‘horseshoe.’ After relocating from Los Angeles to New York, Winter took a trip down to Philadelphia to visit Turner and Silbert in the summer of 2024. A true friendship began and the trio spent the whole day writing songs together. Informed by Winter’s adoration for otherworldly dreamscapes and Hooky’s digital edge within the Philadelphia shoegaze scene, Winter and Hooky quickly realised their sounds fit like a puzzle. They coalesced their love for lo-fi, indie, and electronica to pair beautiful melodies with experimentation, sampling and guitar. What resulted was a sonic snapshot of the intersection of time and feeling; the bittersweet and fleeting sensation of the end of summer fading into fall.

Let’s dive in and see what the EP has in store for us.

The EP opens with ‘horseshoe’, a track that immediately establishes their sonic chemistry. A delicate electronic pulse flickers beneath shimmering guitars, while Winter’s breathy, melancholic vocals wash over the mix like sunlight through shifting clouds. There’s something hypnotic about the way the song unfolds, evoking the feeling of flipping through old photographs and recalling emotions that linger just out of reach. I gave this track a spin on my February DKFM radio show I loved it that much!

Next up is ‘in your pocket’, a track that leans into lo-fi beats and hazy melodies, leaning into that bedroom pop sound with glitchy electronica. Hooky’s knack for layering textures is on full display here, with softly distorted guitars melting into electronic flourishes, creating a dreamlike haze. It feels weightless, perfect for late-night sundown listening.

The third track, ‘lost tears’, is where the EP takes a more melancholic turn. Built around a hypnotic guitar loop and distant, echoing percussion, it carries a wistful energy, as if the song itself is slipping through the cracks of time. There’s an understated beauty to it, a reminder that some of the most powerful emotions exist in the spaces between words.

Closing the EP is ‘i like you’, an intimate, stripped-down rework of ‘horseshoe’ into a song that feels like the sonic equivalent of a secret confession. The track’s gentle acoustic guitar and fragile vocal delivery create a sense of warmth, vulnerability, and quiet longing. It’s a perfect way to end the record—soft, poignant, and lingering like a memory that refuses to fade.

What makes Water Season special isn’t just the strength of its individual songs but the way it captures a specific, almost intangible feeling. It’s the sound of the end of summer fading into autumn, of golden-hour nostalgia giving way to the crisp uncertainty of change. There’s an intimacy to these tracks that makes them feel like shared secrets, whispered between two artists who understand each other’s sensibilities on a deep level.

The beauty of this collaboration lies in the seamless way Hooky and Winter complement each other. Hooky’s hazy, lo-fi textures provide the perfect backdrop for Winter’s celestial vocals, while her dreamlike songwriting elevates the project beyond simple nostalgia. Together, they’ve created an EP that feels weightless yet deeply affecting. A faded musical Polaroid that still manages to evoke an entire universe of emotions.

The Water Season EP is out via Julia’s War Recordings on Valentines Day February 14th 2025. You can stream in all the usual places and download from the Hooky and Winter Bandcamp Page.

You can follow Hooky on social media here…

You can follow Winter on social media here…

Soft Leg – Nor

It’s only the start of 2025 and already I think I’ve found a nominee for EP of the year. Bold claim I know but if you love your shoegaze like I do you’re going to want to keep reading. Soft Leg are a new shoegaze band based out of Stockholm, Sweden.

They formed during the pandemic and feature Anton Brolin (Vocals and guitar), Hannes Ek (Guitar), Kristoffer Byström (Bass) and Max Anderhell (Drums). The members have previously played in bands such as screamo favourites Trachimbrod and Magic Potion. That’s about the limit of info we have on this mysterious outfit other than they cite influences ranging from My Bloody Valentine and Slowdive to Sonic Youth and Dinosaur Jr.

I asked Hannes from the band what attracted them to record a shoegaze ep in the first place and what we can expect to hear on the EP.

“All of us have been fans of shoegaze music since our teenage years. Bands like my bloody valentine, Slowdive and Ride were all part of our musical schooling. Over the years we have been playing different styles of music but never found an outlet for our shoegazing dreams. This was the purpose behind starting the band Soft Leg and recording our first EP Nor. Just like a shoegaze recording should be, it has been a long and creative journey.”

“Listeners should expect to recognize many of the shoegaze heroes from the 90s when they listen to the EP. The guitar wall is definitely there and also the lush vocals. Nevertheless, we hope to bring something new to the table since we have been influenced by all sorts of music ranging from punk to jazz.”

Ok, it’s time to drop the needle and hear for ourselves.

The EP opens with ‘Small Talk’ and it sets the tone perfectly with its classic gaze riff and dreamy breathy vocals. This is a band who’ve done their homework on the genre. The fuzzed-out guitar plays nicely against that hollowed out bass sound and more indie sounding drums. That walking bass motif over the chorus section is sublime and leads us nicely back into that hooky riff. Straight off you can tell you’re in safe hands. This band know exactly what they’re doing.

With ‘Like You Blend’, the EP shifts into darker, more textured territory. This track is a slow burn, anchored by a bassline that snakes through the mix with understated menace. The guitars spiral and shimmer, conjuring a hazy atmosphere that’s equal parts shoegaze swirl and post-punk bite. The refrain—both melodic and slightly dissonant—hits like a wave of quiet catharsis, a perfect encapsulation of Soft Leg’s ability to layer beauty with a sense of unease. It’s easy to see why they picked this as their lead single.

The third track, ‘Ty’, is all about forward momentum. It’s pacey and nimble and is full of cool little dynamic false stops and ratatat drum intros. This is about as close to an out and out rock song you’ll get from Soft Leg. There’s shades of Gish era Pumpkins in the guitar riffs and that only endears this band to me even more (if that’s even possible at this stage). This is a driving song and is going to kick massively in a live setting! Watch the mosh pit ignite.

Closing things out, the title track, ‘Nor’, is a swirling, slow-building epic and my stand out track. The band leans heavily into their shoegaze tendencies here, letting the guitars take on a thicker, more enveloping presence. Make no mistake this is some of the most beautiful music I’ve heard in a while. It’s the kind of track that feels tailor-made for late-night listens, its hypnotic repetition pulling you deeper into its spell. The vocals drift like smoke through the instrumental haze, quietly asserting themselves but never overshadowing the weight of the music itself. It’s a perfect closer, leaving the EP suspended in midair rather than tied up in a neat bow.

With the Nor EP, Soft Leg crafts a world that’s soft yet sharp, delicate yet unrelentingly honest. There’s a beauty in the imperfections of these tracks, the moments where things feel unscripted and alive. The EP doesn’t shout for your attention—it simply draws you in with an understated confidence and refuses to let go. Every few years a band recaptures that beauty of the early 90’s sound of bands like My Bloody Valentine as well as ethereal haze of the 4AD roster of the day. It’s rare that anyone adds anything new to the party but Soft Leg most definitely do. This old gazer was left smiling ear to ear after listening to this EP and I know you will too.

The Nor EP is out on February 14th, 2025 and will be available on all digital platforms, as well as an incredibly limited-edition vinyl release on Through Love Records. Do not sleep on this one it will sell out in no time.

You can follow Soft Leg on social media here…

AIMING – The Legend EP

It’s been an exciting start to the year for the Blackjack Illuminist label. Key releases have been widely lauded. Not least the debut single from AIMING which you might remember I reviewed at the start of January. Well now the wait is finally over—AIMING’s debut EP, The Legend, has arrived. Following the buzz surrounding their single ‘Brainiac’, released earlier this month, the York-based trio of David, Jordan, and Laurie has delivered a stunning four-track collection that cements their status as one of the most exciting new acts on the shoegaze and post-punk scene.

Let’s dive into each track and unpack what makes this debut such a cracker.

If you’ve been spinning ‘Brainiac’ since its release, you’ll already know how captivating this opener is. The combination of wall-of-sound guitars, lo-fi synths, and harmony-laden vocals immediately sets the tone for the EP. The lyrical themes of small-town anxiety and yearning for escape resonate deeply, while the lush instrumentation creates an irresistible pull. It’s no surprise that this track was chosen as the lead single; it encapsulates everything AIMING excels at and leaves you eager for more.

The title track takes things to a more expansive and atmospheric level. Building slowly from a shimmering guitar line, the song unfolds into a swirling haze of sound, punctuated by haunting vocal harmonies. The track’s structure feels almost cinematic, with dynamic shifts that ebb and flow like waves, pulling the listener deeper into its lush, immersive world. It’s a masterclass in creating mood and tension, and it solidifies AIMING’s ability to craft intricate, layered compositions.

‘At Sea’ is the emotional core of the EP, offering a moment of introspection and vulnerability. The track begins with delicate, reverb-soaked guitars that evoke a sense of solitude and longing. As the song progresses, subtle synth textures and a pulsing bassline emerge, adding depth without overpowering the intimate atmosphere. The lyrics speak to themes of uncertainty and self-discovery, making it a deeply resonant piece that lingers long after it end

Closing the EP, ‘Docile’ brings a burst of energy while maintaining the dreamlike quality that runs throughout The Legend. The interplay between the driving rhythm section and ethereal guitars creates a sense of urgency, while the layered vocals add an almost choral feel. The track feels like a triumphant conclusion, balancing the introspection of earlier songs with a forward momentum that hints at the band’s bright future. By the time it fades out, you’re left wanting to hit repeat and experience the journey all over again.

The Legend showcases AIMING’s ability to blend dreamy textures with driving energy, creating a soundscape that feels both expansive and intimate. Recorded, produced, and mixed by the band in David’s home studio in York, the EP offers a cohesive sonic journey that’s as immersive as it is emotionally resonant.

With The Legend, AIMING has crafted a debut EP that’s as ambitious as it is cohesive. The band’s influences are clear—shoegaze giants like Slowdive and post-punk legends like The Cure—but they’ve managed to carve out a sound that’s distinctly their own. The interplay of driving basslines, ethereal guitars, and rich harmonies creates a listening experience that’s both immediate and endlessly rewarding.

If you’re a fan of atmospheric, genre-blurring music, The Legend is an essential listen. AIMING has set the bar incredibly high for what’s to come, and I can’t wait to see where they go next.

The Legend EP is out on Friday 7th February on vinyl, CD, cassette and download via the Blackjack Illuminist Bandcamp page and the AIMING Bandcamp page.

You can follow AIMING on social media here…

TREMOURS – Fragments

After wowing us with their Affectations EP and follow up single, ‘Dark Glasses’ Lauren Andino and Glenn Fryatt return with their latest release. Fragments is the much-anticipated debut album from Los Angeles based shoegaze dream pop duo, TREMOURS. Having spent the previous couple of years touring extensively across the US and Europe, TREMOURS’ debut studio album aims to recreate the energy and intensity of their live shows.

TREMOURS formed in Los Angeles in 2021. Late night jam sessions in the midst of lockdown uncertainty slowly transformed into TREMOURS creative partnership, driven by the tension between Andino’s hazy, drifting guitars and Fryatt’s urgent, pulsating drums. I’ve been totally hooked on this bands sound since hearing the initial ‘Downtown Demos’ release and it’s been so exciting seeing the bands sound slowly evolve and take shape.

I reached out to Andino to find out what we can expect from Fragments and what the overall theme of the album is.

“Fragments is our debut record, containing the first songs we ever wrote together. About half of it was written during Covid lockdown where we would spend many late nights in the rehearsal studio starring out across the Los Angeles River.”

“The overall theme of loneliness is present throughout the record, but I wouldn’t trade that feeling of looking out over the city, knowing there’s nothing else, and you’re in the right place doing exactly what you’re meant to be.“

Now that sounds intriguing, let’s drop the needle and find out for ourselves.

The album opens on ‘The Ribbon’, a low pace intro with undulating Moog and Andino’s signature rich, chiming guitar tone. Fryatt plays this one cool with sparse percussion to start. The song really opens up in the chorus sections with soaring lead guitar over guttural fuzzed out chords. This allows Fryatt to bring in more of his kit to really make an impact.

Next up we have ‘Postcards’ which was written and recorded in collaboration with label mate Peter Holmström (The Dandy Warhols, Pete International Airport) and features electronic artist Mark van Hoen (The Locust). This one is a more potent brew with Andino’s mantra like vocals shrouded in swathes of psychedelic electronica. Fryatt has real fun here, always busy, always on it and supplying the song with some quite glorious fills and flourishes.

‘Tracers’ is a lighter almost poppier song. The lift in tone from the moody verses to jubilant choruses is exquisite. Andino is definitely channelling her inner Robert Smith for those lead parts. Maintaining that sombre mood whilst somehow simultaneously sending our spirits soaring. It’s that apparent contradiction which first drew me to the band. It’s so good to hear its here on their debut album.

The pulsing Moog polyrhythms of ‘Port Children’ are next. Quite different in texture to the previous tracks with its more muted tones. Leaning into the psychedelic scene with its raga drones and cyclical vocal pattern. The explosive coda elevates this song to another level and, given we are only four songs in, sets our expectations even higher for the remaining tracks.

‘Dark Glasses’ really amps up the drama with Andino’s ghostly vocal drifting over an ominous guitar line. Fryatt’s drumming both sympathetic to the guitar and full of character in its own right. This is only amplified by the psychedelic Moog that brings the whole song together. It’s the secret sauce to this recipe. The swirling, pulsating textures send this song soaring.

We step the pace back a bit on ‘Landing in Rome’. Fryatt really shows his mettle on this one. The sheer variety of rhythms and patterns he pulls out the bag is astonishing. Its this albums equivalent of a ballad. Andino sits back a bit allowing plenty of room for the drums to shine through.

The second track to have been written with label mate Peter Holmström is up next and it’s the recent single ‘Circulation Sound’. This is the band at their most potently dreamy. The ambience is other worldly and eerie. The slow build to the electronica section at the end is so satisfying, each wail of feedback making us think its coming then maybe next time, very clever!!

Following this we have a reinterpretation of Daniel Johnstons ‘Devil Town’. TREMOURS’ rendition infuses the track with that signature shoegaze aesthetic, blending Andino’s lush vocals and reverb-drenched guitars to create a dreamy, immersive atmosphere. I think this approach really offers a fresh perspective on the song whilst maintaining the introspective essence of the original.

‘Burn’ coms in next all urgency and vibrant energy. This song is positively luminous, radiant with the joy of two people so locked in to their instruments and what the other is doing. The subtle reverb-soaked guitar washes are a lovely touch in the gaps. Fryatt keeps the rhythm section busy and moving along nicely yet stepping back where Andino’s guitar need space to breathe.

The album comes to a close all too soon with the farewell hug that is ‘Stay Strange’. The first thing that strikes me is the spacious production. Its almost like they’ve shrugged off that claustrophobia and stepped out into the sunshine. The Moog riffs even sound jauntier (for want of a better word). TREMOURS are leaving us with a smile on our faces.

Listening to TREMOURS is like stepping into a dream where sound bends, warps, and dissolves into waves of shimmering distortion. Their music envelops you in a dense, immersive haze of reverb-drenched guitars, spectral vocals, and pulsating rhythms that seem to hover between reality and the subconscious. Fragments DNA is deeply rooted in shoegaze and post-punk, but it also carries a cinematic, otherworldly quality—like drifting through a neon-lit city at dusk or watching old Super 8 footage of a place you’ve never been but somehow remember. The interplay between Andino’s airy, wistful vocals and Fryatt’s driving, hypnotic drumming creates a contrast that feels both intimate and expansive.

For me their music isn’t just about listening; it’s about feeling. It’s the pulse of memory, the static between radio stations, the slow dissolve of a photograph left too long in the sun. Fans of Slowdive, My Bloody Valentine, The Jesus and Mary Chain, and Cocteau Twins will find familiar elements, sure, but TREMOURS craft something uniquely their own—a sound that lingers long after the final note fades.

Fragments is a fever dream of sound and texture, blending dark introspection with moments of euphoric clarity. Whether you’re landing in Rome wearing dark glasses or sending postcards from a devil town, TREMOURS offer a listening experience that is transportive, hypnotic, and deeply affecting. Stay strange people!

Fragments is out on February 7th 2025 via Little Cloud Records. The album is available on green cloud coloured vinyl which you can check out on the TREMOURS Bandcamp page.

You can follow TREMOURS on social media here…

Tour News

TREMOURS have recently signed with Annibale Bookings for EU/UK representation, with a European tour with The Veldt scheduled for June 2025.

They will also be playing the Space Agency Showcase at SXSW along with several other dates across the southwest in March 2025.

SINGLE PREMIERE – Silk – Faze

Keeping the Belfast based shenanigans going into another blog we have a really special premiere. As long-time readers will be aware I am huge fan of the band Virgins, making them album of the year 2024 no less. Michael Smyth, the bands guitarist and songwriter has a new solo project to share with the world and he chose Static Sounds Club to share it first so massive thanks to Michael for that.

Silk is the name of that new solo project and it finds Smyth leaning into the heavier end of the shoegaze spectrum than his main project. He is now ready to share the first single which is called ‘Faze’. I asked Smyth what led him to create Silk.

“I constantly feel like I am rushing towards the inevitable infinite oblivion. Further exacerbated by the marking of years spent circling the sun. To that end, it’s important that I fill the time remaining with joyous, creative acts. The sharing of ideas is an essential part of that, which brings us to Silk.”

So how does this single actually sound then? Let’s find out.

Straight out the gate it’s a lot denser than his work with Virgins. Vocals are driven further into the mix creating that dreamlike quality we all love. Guitars have fuzz set to eleven and the reverb wash is like a tidal wave. As always though Smyth knows that the key is having a hooky melody and killer chorus which ‘Faze’ has in spades. This is the definition of a wall of sound, that claustrophobic almost overwhelming ambiance is devastating.  

This is a glorious opening salvo from Silk and has me really excited to hear more. Rest assured you’ll hear about it first on Static Sounds Club!

‘Faze’ is released on January 31st 2025 and you can chack it out over on  the Silk Bandcamp page.

You can follow Silk on social media here

Wynona Bleach – Tangerine

A while back I took a trip to Glasgow to catch the Belfast band Virgins doing their live thing. Also, on the bill that night, lucky for me, was Wynona Bleach. I was immediately struck by the bands consistent, hook filled set, the powerful vocal performance and the fuzz driven guitars. In fact, I remember bonding with Jonny from the band over our love of fuzz pedals on my way out after. So, who are Wynona Bleach then?

Also hailing from beautiful Belfast, Wynona Bleach are a band that masterfully bridges the gap between shoegaze, grunge, and alt-pop. The band line up is Melyssa Shannon (Vocals), Jonny Woods (Guitar/Vocals), Carl Gilmore (Bass), and James Foy (Drums). I have played their two releases to date to death here in the Static Sounds Clubhouse. I picked up their 2018 Sugar EP at the gig and not long after found a copy of their then long sold-out debut album Moonsoake which earned widespread praise for its expansive soundscapes and raw emotional core upon release in 2022. This band have earned a reputation for their electric live performances and aren’t afraid to put in the hard yards.

With a new album on the horizon this year we have already had two peeks at what that’s going to sound like via their singles from last year ‘Swim in the Bay’ and ‘I Deserve That’. Both absolute monster tracks that have everyone excited.

We are being treated to a third single now with the band dropping ‘Tangerine’. I asked the band what we can expect from the new single.

“It’s a downtempo, crushing and popping ballad about wants and desires. It explores the delicate state one finds themselves in when they find themselves secretly crushing on someone, they know they’ll never have.”

It’s an exhilarating step forward to my ears, showcasing their unique hybrid sound. This time the song feels like it has more space as the tempo drops ever so slightly. The fuzzed-out bass rumbles underneath Shannon’s effervescent vocals. This gives Woods room to play stabby guitar licks that paint the melody like a watercolour.

Lyrically, “Tangerine” balance’s themes of longing and hope, creating an emotional resonance that pairs beautifully with its vibrant soundscape.

If ‘Tangerine’ is any indication, Wynona Bleach are not just refining their sound but expanding it into bold new territories. This is the kind of track that demands repeat listens, each time revealing new sonic layers and emotional nuances. It’s shoegaze with an edge—bittersweet, euphoric, and entirely captivating.

‘Tangerine’ is out now via Fierce Panda Records and you can check it out over on the Wynona Bleach Bandcamp page or on the usual streaming places.

You can follow Wynona Bleach on social media here….

Mogwai – The Bad Fire

For over thirty years and across ten albums Glasgow’s Mogwai have slowly built a cult following the world over. And not for nothing, their unique approach to mainly instrumental music once baffled the nineties music press. A press who, at that time, were obsessed with pigeon holing every band into some prefabricated scene. Over time that music became labelled post rock and Mogwai assumed the crown. Their debut album, Young Team and follow up Come on Die Young are considered classics of the genre. A recent reissue of both LP’s has reignited the love many have for that era of the band’s music.

I was late in returning to Mogwai’s music. Having bought the No Education = No Future (Fuck the Curfew) E.P. on release along with a whole bunch of other stuff it was when the album Hardcore Will Never Die, But You Will was released that I rediscovered their beautiful noise. In fact, the song ‘George Square Thatcher Death Party’ from that album remains my favourite Mogwai song to this day.

The band whose core members now consist of Stuart Braithwaite (guitar, bass, vocals), Dominic Aitchison (bass, guitar, keyboards), Martin Bulloch (drums) and Barry Burns (guitar, keyboards, bass, synthesizer, flute, vocals) have slowly evolved their sound through the years. That said they always find an emotional thread on each album and leave it there for you to pull at each time you listen.

Their earlier work was raw and dynamic building their reputation as masters of tension and release. Albums like Rock Action and Happy Songs for Happy People showcased their willingness to experiment with electronics, keyboards, and unconventional song structures. They began incorporating more textural elements and subtle atmospheres, moving away from the raw aggression of their early work. It wasn’t long before their talents were called upon by the film industry to craft sumptuous scores for films and TV programmes—like Les Revenants and Atomic. From these compositions the band grew a new confidence and maturity that led to albums like Rave Tapes, Every Country’s Sun and ultimately the number one album As the Love Continues.

At the tail end of 2024 the band released the biographical film If the Stars Had a Sound capturing that evolution through the years along with footage of As the Love Continues being recorded and performed live. Reviews have been overwhelmingly positive with it being nominated for best documentary feature at the 2024 Raindance Film Festival.

Let’s dive in to the album now. Can’t wait to see what song titles the band have in store for us this time.

The album opens with recent single ‘God Gets You Back’ and its obvious the band are in a forward-looking place. It’s a synth driven number with the ominous rumble of bass permeating throughout. Lyrically the song comes from Burns daughter. It’s a testament to Mogwai’s continuous innovation, blending familial intimacy with their established atmospheric style to produce a sound that is new to our ears but immediately Mogwai.

‘Hi Chaos’ is a more guitar centric affair and delves into the band’s rich history of crescendo rock that stretches right back to Young Team. That fuzzed out bass absolutely shakes the walls when it kicks in. The closing minute here is one of the finest I’ve heard on any of their albums. Absolute goosebumps stuff. Mogwai have a habit of redefining the word ‘epic’.

We head into a space rock number next with ‘What Kind of Mix Is This?’ This could have been culled from a 70’s sci fi b movie with its squealing and warbling synths. The main theme though remains unabashedly triumphant. You can almost see the hero’s spaceship barrelling through the galaxy at warp speed.

Up next the last single released ‘Fanzine Made of Flesh’ is the most out and out pop track I’ve heard from the band and that’s no bad thing. They still manage to sneak in those grand soundscapes into the instrumental passages with Stuart’s vocoder vocals soaring everywhere else. He claims the song sounds like a mix of ABBA, Swervedriver, and Kraftwerk but its all Mogwai to me.

‘Pale Vegan Hip Pain’ wins the award for my favourite song title on the album. This serene and calming interlude is stunningly beautiful. The chiming guitars and lush synths all work so well together. The more introspective pace allows us more time to really enjoy all those glorious sonic flourishes. A luminous lullaby for the ages.

As if they ever needed to prove their title as the post rock masters ‘If You Find This World Bad, You Should See Some of The Others’ only cements it. That slow build in the opening section is never repetitive and each new element only builds on what came before meaning that when the song explodes (and it does explode) its all there. It’s all there and the band just send it into the stratosphere. I swear, Mogwai make songwriting like this seem effortless but this is next level.

Ever the sonic explorers on ’18 Volcanoes’ more new ground is broken. Stuarts unaffected vocal laid bare is raw and honest. Instrumentally the band opt for a drum less approach using a pulsing guitar to keep time. It brings to mind the same production approach as ‘No More Sorry’ by My Bloody Valentine but with all those nuances that only Mogwai can bring to a song. The synths are utterly sublime and multi layered which is only going to make repeated listens more and more interesting.

I initially thought I was hearing a cover of the Peanuts soundtrack when ‘Hammer Room’ started. This song is so much fun. It’s like joy in music form. It’s a fine example of the balancing act between that playful side and the dark and menacing tones we know Mogwai do so well. Again, in places this would also make a grand sci fi film theme. I wasn’t expecting that at all. Love a surprise!

Next up is the strident ‘Lion Rumpus’ so named because of one of the bands kids mispronunciation of the Scottish flag, the lion rampant. This song absolutely captured my ear on first listen. It’s so hooky and infectious. Let’s also take a moment to appreciate that guitar solo. It swirls around the speakers like some psychedelic freak out jam. Barry is back on vocoder duty and delivers a stellar performance. It’s a breathtaking track and I’d like more of this type of thing from Mogwai!!

No sooner have we started the album then we reach the final track. ‘Fact Boy’ has an almost Icelandic sonic palate, from the chimes to the steady paced synths and orchestral flourishes. However, there is also a strong Celtic heart beating here and as they always do, Mogwai deliver that emotional uppercut that leaves you on your knees and crying for more. It’s the perfect way to round out the album.

With The Bad Fire, Mogwai have once again proven why they are considered one of the most innovative and influential bands in the post-rock genre. The album’s rich textures, dynamic contrasts, and emotional depth surpasses expectations and once again we are smitten. What struck me more than anything was the range and diverse nature of the songs on this album. From the playful ‘Hammer Room’ to the outer space sounds of ‘What Kind of Mix Is This?’ to the chilled ambience of ‘Pale Vegan Hip Pain’ the band have laid on a sonic feast for us. Whilst the songs are undoubtedly diverse, the album as a whole never suffers. The cohesiveness achieved is breathtaking and speaks volumes to this bands experience and confidence. As Mark Twain once said “Go to Heaven for the climate, Hell for the company.” Judging from listening to The Bad Fire, Mogwai are most excellent company.

The Bad Fire is out on Friday 24th January 2025 on Rock Action Records. You can grab a copy on vinyl, CD and tape from the Mogwai Online Store and stream the album on the Mogwai Bandcamp page.

You can follow Mogwai on social media here….

Photo Credit

Steve Gullick

Stuffed Foxes – Standardized

Stuffed Foxes, the boundary-pushing six piece from Tours, France, are back with Standardized, an album that takes their signature post-psych and noise-rock sound to soaring new heights. Since their formation in 2019, the band has gained a reputation for their explosive live shows and fearless experimentation, and this latest effort captures that raw energy while exploring new sonic textures and moods. Citing influences such as My Bloody Valentine, Swans and The Brian Jonestown Massacre the band have a very clear and profound vision for their sound.

“We do not make rock music as part of a business plan (the market is not exactly lucrative); rather, it is a profession of faith, with our musical practice akin to a ritual, a turning point meant to disrupt all senses.”

So, what does this ritual sound like? Let’s drop the needle and find out.

The album opens with ‘Biting the Dawn’ a blistering introduction that envelops the listener in waves of fuzzed-out guitars and hypnotic rhythms. To me the song sounds gargantuan and all consuming. This is grand song writing and the scale of it won’t be lost on anyone. Its boundless energy sets the tone for what’s to come—a relentless journey through soundscapes that are equal parts chaotic and cohesive.

Following this comes ‘Merry Xmas’. Beginning as an intense, stark, driving punk noise poem it blossoms into a Sonic Youth like instrumental. This section is tonally so different to what came before you could be forgiven for thinking it’s a new song altogether, but when those potent guitar riffs return it blows all those misconceptions away.

 ‘Pretend to Be a Dog’,” is great example of this group’s democratic songwriting. It’s a track that encapsulates everything that makes Stuffed Foxes special. There are sublime moments of calm sublimated with crashing waves of noise, built around a glorious fuzzed out bassline. Its contradictions are its genius and its genius is manyfold.

‘Bees’ offers a hypnotic blend of relentless rhythm and caustic guitars. The track buzzes with a frenetic energy that perfectly mirrors its title, evoking an almost hive-like intensity. The interplay between the pulsating bassline and cascading guitar crashes creates a tension that builds and releases in waves, pulling you deeper into the song’s layered, chaotic beauty. It’s a track that showcases Stuffed Foxes’ ability to create immersive, textured soundscapes while maintaining a razor-sharp edge. If you don’t leave this track breathless you need to check your pulse.

In an almost unique moment of calm ‘Rough Up’ arrives carrying us away on a blissful wave of tranquillity. I’m reminded of the shimmering world created on some of Sonic Boom’s albums or Spectrum. The song demands nothing of you and is wholly giving in its delivery meaning you can lie back and let it wash over you, taking you up on its swells and delivering you happy into the breakers.

‘I Heard About Love in a Book’ follows, a track that melds melody with dissonance in a way that only Stuffed Foxes can. The interplay between the instruments creates a sense of controlled chaos, with moments of clarity emerging from the swirling noise. The vocal interplay in the noisier sections cuts through with clarifying melody. This gives the swirling chaos around them all that more function. A really great production choice.

The title track is next and it dives headlong into experimental territory, blending backward instrumentation with haunting vocals to create a mesmerizing sonic tapestry. Its complexly unapologetic in its exploration and once again cements this band as masters of knowing what their sound is and how to present that to the world.

The album closes with ‘Return’, a beautifully understated piece that strips everything back to its bare essentials. Featuring little more than a vocal melody and a pair of strummed acoustic guitars which encourages you to crank the volume. That’s when they get you. The overblown guitar that kicks in is like Kevin Shields at his best. All-consuming and affirming leading to a meditative conclusion that leaves a lasting impression.

Stuffed Foxes recorded the album live in Rennes, France in the studio of producer and musician Thomas Poli which, for me, creates a visceral listening experience that feels as immediate as it does meticulously crafted. The band’s decision to record in a live setting also adds a layer of intensity and spontaneity that permeates every track.

With Standardized, Stuffed Foxes have crafted a record that is both daring and accessible. It’s an album that demands your attention and rewards repeated listens, revealing new layers with each spin. Fans of noise rock, post-psych, and experimental music will find much to love here.

Standardized is available now on vinyl via the UK’s Stolen Body Records and French labels Reverse Tapes and Figures Libres. You can also check it out on Stuffed Foxes’ Bandcamp page.

You can follow Stuffed Foxes on social media here…

Photo Credit

Flavie Herbreteau

Whirr – Raw Blue

How was your festive season? Quiet? Spent reflecting on the year past. Not so for shoegaze pioneers Whirr. The enigmatic ensemble from California, has a storied history marked by sporadic releases and long periods of self-induced (or should that be self-inflicted) dormancy. I remember when they dropped their 2019 album, Feels Like You. At the time it was widely lauded as their strongest work to date, showcasing a maturation in their sound and a deepening of their signature ethereal style. It was also signposted by the band as their swan song and farewell to the fans.

Fast forward to 2023 and the Live in Los Angeles album appeared out of nowhere. Could this signal a return from the band?

Sadly no. All went quiet once more.

In a surprising move, Whirr unveiled their latest album, Raw Blue, on Christmas Day 2024, much to the delight of fans and critics alike. Limited editions flew out the door in a matter of hours leaving no one in any doubt. Whirr are back. But back with what? Let’s dive in and find out.

The album opens with the title track and its textbook Whirr. Gorgeous guitar tones and a quiet, loud, quiet production that is the most extreme I have ever heard. When it’s quiet your reaching for the volume meaning that when it kicks in, by god, it kicks in! It’s a more dynamic production than Feels Like You, it has a real vitality that makes your ears really tune in.

That properly comes into focus on ‘Collect Sadness’ next. It’s a punchy track that keeps a volume standard going throughout but the use of dead stops punctuates the song and makes those transitions to roaring guitars all the more impactful. You forget how good heavy gaze can be until a band like Whirr show you.

Pulsing in comes ‘Swing Me’ which at its heart is a great pop song. That pulsing guitar doing as much to keep time as the drums do. I love how pacy it is. It positively bounces along. It’s like a Castlebeat number that’s been swathed in fuzz.

The tempo comes down again for the absolutely megalithic intro to ‘Every Day Is The Same’. The textures in the verses are sublime, serpentine and lithe. Its like the sound of sparkling stars before we plummet into the black hole of the chorus. The song has a sumptuous discordant segue into the next track.

‘Crush Tones’ is a stunningly beautiful ballad. Its utterly hypnotic, using some key shoegaze tropes to great effect. Ultimately though it comes down to the songwriting. This is one of those perfect songs you hear and wish you had written yourself.  That final minute or so is life affirming in every way and all that together makes this my album stand out track.

On what I assume will be the flip side we begin with ‘Days I Wanna Fade Away’. This is classic Whirr and is sure to become a fan favourite pretty quickly. It pairs the emotional one two of heartfelt lyrics with wailing guitars that sound like they’re crying their hearts out. It’s a particularly powerful as it flows into the next track.

‘All Mine’ is euphoric and introspective at the same time. This weird musical contradiction plays out over a really simple but effective riff and chord progression. This is all about “less is more”. The vocal melody carries so much more water in this song than any others on the album and that’s a great production choice. Whirr are masters of their own destinies and aren’t afraid to mix things up.

There’s a short mood music intro into ‘Worries Bloom’ and we’re back into that ultra quiet verse mode again. This time the dynamics are gradually turned up as more instrumentation is added in. It’s a nice touch and once again when that cacophony of noise slaps us square across the face, its seismic. That woozy guitar riff is beguiling and has you moving your head around like a snake following the charmers’ pipes.

Speaking of riffs, ‘Walk Through Space’ opens with an absolute stormer. Utilising that dead stop motif again makes this riff coming back all the more effective. The song feels more like a waltz through space. The eerie guitars in the quiet verses sound like they are coming from a lost planet through the vastness of the void. Then when the chorus explodes its like they go supernova and fill our soundstage.

The albums finale arrives with ‘Enjoy Everything’ which climaxes into an unexpected trumpet solo. Yeah, read that again. A trumpet solo. This is a bold choice and how they pull it off still baffles me. The track has this smoky, late night romantic kinda mood that makes the trumpet solo fit in. Oh! Maybe not so baffling after all. It’s a fitting end to this extraordinary album.

In this review I haven’t mentioned anything about the controversial history the band have. I’ve done that deliberately. After reading the fantastic interview Nick Bassett did with Eli Enis early last year it is truly apparent that this band truly regret it all. They couldn’t be more apologetic and as far as I’m concerned that’s all I need. Who amongst us are the same person we were six years ago. I would heartily recommend reading the interview in full. It’s a real masterclass in having a real conversation with your subject. Hats off to Eli.

So, that said let’s get back to the album. Overall, Raw Blue is a testament to Whirr’s evolution as a band, blending their signature shoegaze elements with unobtrusively experimental tendencies. The album’s dynamic range—from very quiet to very loud—creates a dark, dense affair that is both soothing and invigorating. It’s clear that the record has a vision, a narrative, translating into wonderfully soothing sounds and pounding riffs that don’t let up. This really is my favourite album of theirs to date and I proper loved Feels Like You. When the masters of the genre are delivering at this level you just say thank you, hit play, turn it up to eleven and smile.

Raw Blue is available now digitally from the Whirr Bandcamp page and on Vinyl, Cassette and CD from The Funeral Party and Devil Dog Distro.

You can follow Whirr on social media here…