Five Favourites: Zombina and the Skeletones

Having initially blasted onto the Liverpool scene back in 1998, local ‘horror-rockers’ Zombina and the Skeletones have previously wowed audiences with their eccentric energy and intoxicating fusion of sounds supporting the likes of Shonen Knife, The Damned and Misfits. Now, having officially come out of retirement last year, the band have just released their first full-length album in ten years, The Call Of Zombina. Interweaving an eclectic array of sounds, from uptempo garage-punk and girl group pop leanings, to haunting baroque-inspired goth-rock and a swirling punk energy, the album offers a fierce return to form from the Merseryside legends; an exquisite, immersive cacophony that’s not for the faint-hearted. 

We think one of the best ways to get to know a band is by asking what music inspires them. So, following the album’s release, we spoke to Zombina and Dr Horror from ZATS about some of the albums that have influenced them the most. Have a read, and then watch the video for immense new single ‘Don’t Kick My Coffin‘ below, before listening to the full new album in all its glory. 

Zombina’s Picks:

Cocteau Twins – Heaven Or Las Vegas
This is a weird one for me, because I’m not a huge album listener. I’ve always been into bands and artists, and songs in a standalone sense, but poverty and ADHD impatience have always had me flitting around mixtapes and ‘Best Of’ compilations. I’d never have described Cocteau Twins sound as my main kind of thing, but yet I’ve returned to this record again and again and again over the years. It’s been the soundtrack for more scenes in my life’s journey than I can believe: it’s been playing whilst I’m de-cluttering, breastfeeding through the night, working out, reading my bestie’s tarot, shopping, grieving a loss, fucking OR making love (two very different things, and it works for both for me, which is no mean feat!), walking to job interviews, hungover in the tour bus, the list goes on… I genuinely listen to it several times a week. I’m Neurodivergent and I recognise this is one of my top comfort albums. The two times I have managed to write and record music as a solo project, I have only been able to eschew writer’s block by taking a “Cocteau Twins approach” to lyrics, and just letting word sounds tumble out ad-hoc. As someone who has spent a lifetime singing lyrics I rate super highly, written by my best friend, I really think was the only way I could have got past the inner critic to explore the musicality I was trying to access, and I credit this album for that.

Roky Erikson – The Evil One
I don’t remember how soon into our BFF-ship Doc Horror and I started listening to this… Oh shit, wait, yes I do – it must have been almost right away aged fifteen and sixteen, because we recorded a cover of ‘I Walked With A Zombie’ from this album on our home 4-track for the very first Zombina and the Skeletones demo! I’ve still never watched the film about Roky. I think it would upset me too much. I’m a real sucker for the under-dog, people that have struggled and suffered injustices, especially surrounding mental health. I was already floundering my way into the mental healthcare system myself by fifteen. I remember hearing about Roky’s story, and it was never extricable from how I felt listening to his music. I heard the deepest pain and the most jubilant perseverance in his voice; I held on to the thought that he had come out the other side of a dark and brutal life chapter, and still had this creative passion bursting out of him, and sounding so fucking GOOD! He was also someone who had paved the way before us. We were teenage horror movie fanatics, trying to form a band around that shared passion, and then we discover this guy and the genre he named himself – Horror Rock! I was planning to choose my top five tracks from the album, but it’s too hard. Just listen to it. Many times. Let it permeate you like it has me. I implore you!!!

Doc Horror’s Picks:

The B-52’s – The B-52’s
Zombina introduced me to the B-52’s via Cosmic Thing back when we were in school, and that was revelatory enough, but their self-titled debut turned out to really be where it’s at for me. For our generation B-52’s meant ‘Love Shack’ and ‘Rocko’s Modern Life’ and, like, ‘The Flintstones Theme’, not that there’s nothing wrong with that, obviously – but this album is something else entirely. We found it on cassette in a charity shop sometime in the late ’90s and I couldn’t believe how punk-rock this thing is. It’s got this sort of proto-Riot Rrrrl quality to it, but somehow also sounds like flying saucers coming over the horizon. They’ve somehow got way more depth than they get credited for, but are also exactly as silly as they seem. Cindy Wilson’s vocal on ‘Hero Worship’ is possibly the best vocal on anything ever! We caught them live in Manchester years later when they did Funplex and they were still phenomenal. Experiences like that are great training for staving off the I’M GETTING TOO OLD FOR THIS SHIT feeling that can come twenty odd years into being a band. Fun is fun, no matter who you are. Everybody goes to parties!

45 Grave – Sleep In Safety
I remember coming across this LP when Zombina and the Skeletones was very new, and seeing that amazing band photo on the back cover and immediately finding new role models in 45 Grave before I even heard their music. I purchased it at the next opportunity and found myself utterly baffled by the music on first listen. From what I’ve heard, it seems like I’m not alone in that. A lot of people find Sleep In Safety quite difficult to get into, but you have to stick with it!  Once you get past the tonal whiplash of the whole “oh it’s a sort of dark prog record… no wait it’s hardcore punk… oh what’s this surf instrumental doing here?” experience, it’s actually incredibly rewarding – and very much ended up as a template for what we do, in a lot of ways. It was like suddenly being given a license to disregard the constraints of genre. And then you get to the chorus in ‘Partytime’ and realise that this was the song that seemed to be coming out of that skeleton’s mouth in that one scene in The Return Of The Living Dead – the movie that you and Zombina watched alongside The Rocky Horror Picture Show a few months back and that’s what inspired you to start a spooky band in the first place -, and it’s all come full circle… But you never would have guessed that it was the same band because the chorus from ‘Partytime’ sounds like some AC/DC pastiche. Again… baffling. A couple of years later, one of our first European shows was opening for Dinah Cancer’s post-45 Grave band Penis Flytrap. She turned out to be really nice. Not nearly as scary as you’d think. Whenever I put on Sleep In Safety, I find myself transported to ZATS year one and I’m filled with the excitement of future possibilities. It’s still a weird listen even now. Our track ‘Dead Birds’ on The Call Of Zombina is a bit of a love letter to this sound.

Girls At Our Best – Pleasure
I don’t really ever discover new current music. Instead, my version of that seems to be stumbling across things from the eighties that are at least new to me – often from bands like Girls At Our Best, who split up around the time I was born. I have no clue how Pleasure even ended up on my radar. It seemed to just appear in my life a couple of years ago without me really noticing and I just kept finding the various tracks stuck in my head and before long I was just binging it daily and playing it to people, like “check this out…”. I’m not sure if I’ve successfully converted any fans yet. I ended up listening to it constantly while writing The Call Of Zombina but if you were to play to our record side by side with this one you probably wouldn’t make any connection between the two. Pleasure is all major key sunshine and The Call Of Zombina is more like a night in Dracula’s castle… But it was very subtly informed by Pleasure on some subliminal level. It’s just great. Every song has about 20 legitimate hooks apiece, loads of inventiveness, earworms and strange instrumental choices. You have to wonder who they were and what happened to them. They made this one excellent album then fucked off.

Huge thanks to Zombina and Doc Horror for sharing their Five Favourites with us! Watch the new video for ‘Don’t Kick My Coffin’ below:

The Call Of Zombina, the brand new album from Zombina and the Skeletones, is out now via 9×9 Records. Buy it now.

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Five Favourites: The Fauns

Following a decade-long hiatus, and having received acclaim from the likes of Steve Lamacq on BBC 6Music over the years, Bristol based shoegaze ensemble The Fauns have now returned to charm our ears, releasing their new album, How Lost, this month.

With original members, Alison Garner, Michael Savage and Guy Rhys Davies, reuniting for the album, How Lost showcases the sweeping ethereal soundscapes that we’ve come to know and love from the band, whilst dipping into newer, electro-driven sounds. Oozing a mystical allure, each track floats into the ears effortlessly as glistening instrumentals provide a backdrop for Garner’s exquisite emotion-rich vocals. I’ve had it on repeat since first hearing it, finding myself truly immersed in its captivating blissful haze.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of How Lost, we caught up with Alison from the band to ask about the music that has inspired her the most. Read about her five favourite songs and watch the video for latest single ‘Shake Your Hair‘ below!

Kate Bush – ‘Wow’
Since the days of listening to her on cassette on repeat during family car trips to the caravan when I was little, Kate Bush has been a huge influence on me. It’s hard to chose one track, but ‘Wow’ – with its experimental vibes and Kate’s ever changing vocal style – made my tiny brain say exactly that. Her quirky vocals in this song made me start to experiment with my own. I realised it’s not about hitting the perfect note (try telling my childhood singing teacher that!), it’s about feeling, about expression, about finding your own voice, and about pushing boundaries. Bush’s influence guided me towards a more open-minded vocal style and remains a reminder of the beauty in embracing individuality, and to explore the limitless possibilities available to us when using the voice.

Caterina Valente – ‘The Breeze and I’
This one holds a special place – it was my Grandma’s favourite song, and damn she had good taste! Valente’s voice is nothing short of sublime; from soaring highs to velvety warm lows, it’s downright sexy and captivating. ‘The Breeze and I’ is a soothing yet dramatic lullaby, showcasing Valente’s impeccable vocal technique. Her ability to effortlessly navigate the song’s nuances inspired me to explore the full range of my own voice (if only I could match her prowess!). Every single syllable she weaves carries an emotional weight that’s beyond inspiring. This song stands as a timeless reminder of the enduring power and artistry of a beautiful voice.

Cocteau Twins – ‘Pitch The Baby’
The first time I heard Elizabeth Fraser’s dreamy vocals riding the waves of atmospheric soundscapes it was like stumbling upon a musical secret. The whole Cocteau Twins influence was eye-opening and gently nudged me towards a more ethereal vocal style. This track in particular made me re-think my voice as an instrument. The song is like a musical playground, and urged me to explore, experiment, and break free from conventional vocal norms. It’s still a reminder to get playful with my voice, embrace textures and layers, and craft intricate sonic landscapes that go beyond the expected.

PJ Harvey and Nick Cave – ‘Henry Lee’
Each utterance from the sexy mouths of Harvey and Cave in ‘Henry Lee’ is a punch to my gut, laden with raw, authentic emotion. It’s a storytelling masterpiece and you hang on their every word. The palpable chemistry between these two music gods sculpts a vocal landscape teeming with passion and sexual tension. It’s beguiling and intriguing, and an inspiration for my own performance. For me, this track serves as a reminder that it’s not enough to just sing, that you have to feel… And the incredible potency that passion, intensity, and expression have in crafting a sonic experience that will resonate with the listener.

Aldous Harding – ‘Imagining My Man’
This track is a masterclass in the power of restraint and deep simplicity. The haunting ache in Aldous’s voice, set against a stripped-down arrangement, is downright mesmerising. As a performer she’s unmatched — I’ve never witnessed someone captivate an audience like her. Aldous’ voice celebrates the strength found in subtlety, revealing the authentic beauty of a voice laid bare. Although my musical style in The Fauns is more often enveloped within a wall of sound, her influence echoes in my latest album, serving as a reminder that impactful moments in music often arise from the simple, genuine, well-delivered expression of a powerful lyric.

Massive thanks to Alison for sharing her Five Favourites with us! Watch the video for latest single ‘Shake Your Hair’ here:

How Lost, the new album from The Fauns, is out now via Invada.

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Five Favourites: Frankie Rose

Having just released her fifth studio album Love As Projection, New York based artist Frankie Rose creates stirring, electro-fused soundscapes. Propelled by a whirring ‘80s-inspired drive with shades of the likes The Cure (you should also check out Rose’s Cure cover album Seventeen Seconds) or Joy Division, a glistening musicality flows throughout the album with a stirring anthemic majesty, creating a blissful sonic experience.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of Love As Projection, we caught up with Rose to ask about the music that has inspired her the most. So, read about her five favourite ever albums, and check out the beautiful video for latest single ‘Come Back‘ below…

The Cure – Head On The Door
On an 18 hour drive during a tour a few years ago, we decided to listen to every Cure album in chronological order front-to-back. And, while it was hard to decide during the course of the listening process, Head On The Door was ultimately my choice for best album in the end. The difficulty in the decision is due to the Cure being one of my all-time favourite bands, and choosing this release over a masterpiece such as Disintegration is controversial… But having absolute perfect songs like ‘Close to Me’ and ‘In-Between Days’ on one album sealed the deal after combing through the entire catalogue.

https://youtube.com/watch?v=02Klc3nAkp4


Depeche Mode – Violator
As much as I’ll always appreciate Depeche Mode in their more minimal, early synth-pop days, Violator is the band’s introduction into the mainstream. The album is just so crammed full of ‘tracks’, how can it possibly be topped? The pinnacle of electronic pop mastery. If I recall correctly, I first heard this record when I was 14; ‘Enjoy The Silence’ was a massive hit on the radio, and it became an omnipresent soundtrack to my youth. In retrospect, it’s odd that this synth band had such a major crossover hit in the United States, especially with such a – dare I say – kinky album? 


Kate Bush – Hounds Of Love
‘Running Up That Hill’ and ‘Cloudbusting’ on one release..? Wow! Kate Bush is another key influence on me. I took direct inspiration from the drums on ‘Running Up That Hill’ for a song on Love As Projection (Can you guess which one?!) She’s such an original talent – she has a totally unique style of songwriting and pop structure, she uses almost no cymbals. It’s incredibly theatrical, something I had never encountered before in music prior to getting into her albums. She’s not a typical pop star; it comes across almost more like performance art.


Talk Talk – Spirit Of Eden
For me, this will always be the quintessential Talk Talk album. It is understated but undeniably epic. I don’t consider this a pop record – it’s a record I feel should be listened to from beginning to end. It’s a complete piece of art, and it is perfection. It’s almost like a jazz record; a massive album with lots of negative space, so orchestrated. Meticulously made, and you can tell. It feels like a story told beginning to end, like Mark Hollis had a complete vision for the record conceptually. It’s funny because I’d say there aren’t even any ‘hits’ on the album (at least not in a conventional way). 


Cocteau Twins – Heaven or Las Vegas
Elizabeth Fraser will always be my go-to inspiration. This record is stunning from beginning to end… Is there a more perfect opening song than ‘Cherry-Coloured Funk’? I also find a drummerless band extremely inspirational these days – less is more, and this album proves you can accomplish so much with a minimal sonic palate. I celebrate Cocteau Twins’ entire discography, but this is definitely their most straightforward ‘pop’ record in my opinion; it’s more accessible and fully realized, which I appreciate. 


Massive thanks to Frankie Rose for sharing her favourite albums with us!

Love As Projection, the new album from Rose, is out now via Night School Records.

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Five Favourites: SRSQ

‘Saved for Summer’ is the latest single from American ethereal-pop artist Kennedy Ashlyn – aka SRSQ (pronounced seer-skew), taken from her latest album Ever Crashing. Although Summer may be over, this is the powerful pop anthem we need to get us through the upcoming gloomy winter. Opening with a fun ’80s synth-pop beat followed by a thick lush synth pad and a fuzzy catchy guitar riff, it’s clear from the start that this track is going to have an impact. Full of atmospheric layers and ethereal sounds, a frenzied cacophony builds, but in a way that immerses you completely. Ashlyn’s voice is theatrical and powerful and her eclectic genre-bending style brings to mind artists like Kate Bush and St Vincent. The recurring vocal “oohs” lodge themselves in the ears and stay there all day long. Of the lyrics, Ashlyn explains: “‘Saved for Summer’ echoes the yearning to escape a depressive miasma, the desperate desire to stop watching life through a window”.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the recent release of Ever Crashing, we caught up with SRSQ to ask about the music that has inspired her the most. See below for their choices of their five favourite albums, and be sure to watch the trippy new video for the ‘Saved For Summer’ at the end of this feature.

The Horrors – Primary Colours
This album has consistently been in my top three favourite albums since it came out over a decade ago, which I think might make it my favourite record. I was 15 when it came out, and what really drew me to it was the sound design and guitar tones, which I still think are very unique, but at the time I hadn’t heard anything even close to similar. I remember hearing in an interview that the guitarist actually made a lot of his own pedals, which I had never even heard of at the time. The sound is simultaneously ambient and harsh, and you can definitely hear that influence in my music. I also think the album starts in such an intriguing way and has such a captivating arc, it’s really an enchanting listen. 

Slowdive – Souvlaki
My TAUT bandmate Cash introduced me to this album when I was 19, and it was love at first listen. This album is one of the best examples of how sound itself can be vastly emotional, outside of the songwriting, beyond the lyrics – how the textures and timbres can pull at your heartstrings and reach you in a deep visceral way. I saw them live the following year at the Fox Theater in Oakland, and in between songs they would sometimes break out into this ambient harsh noise, and these were the most beautiful and impactful parts of the performance. They have an uncanny ability to create a synesthesia of sound and feeling, and I don’t think anyone does it better.

Cocteau Twins – Garlands
Though it’s hard to choose, I’m pretty sure this is my favourite Cocteau Twins record. It’s just so driving, and the guitar tones are so perfect – it’s moody and beautiful, and solid from start to finish. Cocteau Twins were (are) my mom’s favourite band, so I listened to them growing up and kind of wrote them off as a teen, assuming it was “mom music.” When I started writing what would become the songs on Remain, my mom heard them and told me I needed to get back into Cocteau Twins, and burned me a few CDs. I obviously fell back in love immediately, and it was an interesting experience being subconsciously familiar with all of the material while still feeling like I was hearing it for the first time. I think it’s super interesting how everyone points out an “obvious Cocteau Twins influence” in Them Are Us Too, but I didn’t actually get back into them until after writing most of the songs on the first record, so that influence was largely subconscious, at least in the songwriting stage. 

Beach House – Bloom 
I honestly think this is a perfect album, I’m not even really sure what else I can say about it. The songwriting, the tones, the production, the mix- all of it is just phenomenal. Every element just shows true mastery of the craft. Cash considered Beach House one of her greatest inspirations for guitar work. I was lucky enough to see them three times while they were touring for this record, and I still remember those shows vividly. One time was at a festival (I don’t remember which) and they performed in front of a sunset over the water. A breathtaking moment. 

The Knife – Deep Cuts
I think a lot of records could have gone into this fifth and final slot, (Loveless and Disintegration come to mind), but I think this one is a little less obvious of an influence, which is why I wanted to touch on it. The Knife have truly some of the most unique and genre-defying sound palettes – what they create is truly their own in every way. The sounds and the songs are strange, but they just work. I also love that they put ‘Heartbeats’ in a commercial, totally blew up, turned the band into an anti-capitalist collective, put out one more record, and then dissolved the project. And when they toured on Shaking the Habitual, they had a bunch of performers onstage, which obscured who “The Knife” actually were, as like a statement about art and celebrity and consumption of artists, and they didn’t play ‘Heartbeats’ – both of which pissed off the audience who only knew them from their commercial success. It’s like the most punk shit I’ve ever heard of. 

Huge thanks to SRSQ for sharing her Five Favourites with us! Watch the self-directed, wonderfully psychedelic new video for ‘Saved For Summer’ here:

‘Saved For Summer’ is produced by Chris Coady (Beach House, Slowdive). Ever Crashing, the second album from SRSQ, is out now via Dais Records.

Ella Patenall
@ellapatenall

Photo Credit: Nedda Asfari

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