Track Of The Day: New Haunts – ‘Escape’

Born from a desire to take back control of a lonely summer, Bristol based darkwave artist New Haunts‘ (aka Alice Sheridan) has shared her new single ‘Escape’. The song is a sci-fi synth encoded five minutes of yearning yet optimistic self-expression, and is one of two upcoming singles which will be included on her second LP, expected for release in Autumn 2019.

Speaking about the new track, Alice explains: “This song came into existence purely to facilitate my own escapism during a time when life felt very physically and mentally limiting. For various reasons I had to spend a lot of time cooped up on my own last summer, and I’m someone who gets cabin fever after a day so I was crawling up the walls. In order to preserve my own sanity I figured that I wouldn’t write something sombre or disconcerting for once – I wanted to write something dream-like and freeing; an escape-route away from everything. I hope it takes the listener there too.”

Produced by Kindest Cuts, New Haunts will be performing her music live at The Finsbury Pub in London on 29th March in support of Terminal Gods (RSVP here). Listen to ‘Escape’ below and follow New Haunts on Bandcamp and Facebook for more updates.

Photo Credit: Katie Murt Photography

Kate Crudgington
@KCBobCut

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LIVE: Kælan Mikla – Electrowerkz, London 19.02.19

Having been hand selected by The Cure’s Robert Smith to support Placebo at Southbank’s Meltdown Festival in the summer of 2018, it was no surprise to see Icelandic darkwave trio Kælan Mikla perform to a near capacity crowd at Electrowerkz on Wednesday night.

Presented by Bad Vibrations, the evening began with a performance from newcomer Some Ember (aka Dylan Travis). Clad in a silver shirt and metallic make-up, Travis shared his classic 808, Cold Cave-esque sounds with energy and enthusiasm, before Kælan Mikla took to the stage to deliver a set full of brooding electronic dissonance.

Together, Sólveig Matthildur (synths/keys), Laufey Soffía (vocals) and Margrét Rósa (bass) created a coven-esque atmosphere with their layered drum beats, pulverizing synths, powerful vocal delivery – and a burning stick of incense held by lead vocalist Laufey. A mix of spoken word, angsty screams and extended notes, Laufey’s voice echoed around the venue with poetic prowess. Singing in her native Icelandic tongue, the mood of each of Kælan Mikla’s songs translated clearly – whether listeners were fluent in the language or not.

Despite their darkwave roots, the trio’s live delivery had a gentle pop energy, aided by their animated movements and a colourful light show. Whilst their performance was still haunting and immersive, the chemistry between Matthildur, Soffía and Rósa clearly lightened the mood. After returning for a brief encore – Laufey with incense in hand again – the band left the stage to the sound of rapturous and appreciative applause. A bewitching, indulgent live experience: Kælan Mikla’s set is a beguiling blur of post-punk, gothic noise that ensnares the senses.

Follow Kælan Mikla on Facebook for more updates.

Kate Crudgington
@KCBobCut

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LIVE: The Soft Moon (w/ HIDE) – Scala, 28.11.18

Discomfort and insecurity found it’s niche on Scala’s stage on Wednesday night, as HIDE and The Soft Moon both flourished under the venue’s smoke and strobe lights. With a sound and a stage set-up reminiscent of the likes of Nine Inch Nails, The Cure & Fever Ray, both bands performed an intense and manic set, fueled by the attention of their captivated crowd.

Opening duo HIDE were a force to be reckoned with. Together, Seth Sher &
Heather Gabel create clear, vital, smothering waves of industrial electronic sound. Gabel’s warped but powerful vocals were accompanied by hair flicks and body spasms, which made for compelling viewing. She took barely a breath between songs, but the audience applauded anyway, as she stylishly staggered through the smoke and strobes with perilous purpose. Tracks like ‘Close Your Eyes’ – taken from HIDE’s debut album Castration Anxiety – echoed around the venue with angst-ridden intensity. Despite knowing only a handful of tracks, we were hooked from start to finish.

Headliner The Soft Moon (aka Luis Vasquez) delivered his most powerful set to date in the capital this year. His clear vocals, and the raw energy of his live band kept the set flowing seamlessly from track to track. Highlights included ‘Criminal’, the title track of his latest album, as well ‘Like A Father’ – the sound of which we can’t get out of our heads. Whilst his performance supporting My Bloody Valentine at Robert Smith’s Meltdown Festival earlier this year was compelling, The Soft Moon’s music is best appreciated in an intimate venue like Scala. The accompanying light show made it all the more fascinating; amidst flashes, spotlights, and strobes the crowd happily jumped around to ‘Burn’ and ‘Choke’, and Vasquez fed off their fire.

Despite the complex and often tortured nature of The Soft Moon’s songs, there was no self-flagellation in his delivery on stage. Vasquez performed tracks from his earlier records with the same energy as his latest work, and his confident, energetic performance removed the sense of insecurity that permeates his music. Whether he was face-to-face with his microphone, riffing on his guitar, or pounding the living hell out of a trash can – Vasquez looked entirely at home in his electronic world.

Together, HIDE and The Soft Moon gave primal, urgent, gripping sets on Wednesday night, and we’re eagerly anticipating their return to the UK in 2019.

Follow HIDE and The Soft Moon on Facebook for more updates.

Photo Credit: Marion Costentin

Kate Crudgington
@KCBobCut

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INTERVIEW: Hilary Woods

When news reached our ears that Dublin-based artist Hilary Woods had signed to Sacred Bones – a label which hosts our favourites Zola Jesus, Jenny Hval and The Soft Moon – our excitement for her debut album, Colt, gave us palpitations. Both Woods (a former member of JJ72) and Sacred Bones have a reputation for releasing altruistic sounds, so the pairing felt like a divine meeting of musical talent and opportunity.

Hyperbole aside, it’s clear from singles ‘Inhaler’ and ‘Prodigal Dog’ that Hilary Woods’ debut LP is going to be an exquisitely painful listen. Soaked in stark, minimalist, ambient electronic sounds that explore feelings surrounding grief and abandonment, her melancholic music is the perfect fit for venues like St. Pancras Old Church, which she headlines on 11th June (tickets available here).

We caught up with Woods to talk about her anticipations for this show, her multi-disciplinary creativity and what went into the making of her debut album…

Can you tell us a little bit about your recent single ‘Prodigal Dog’? What went into the making of this track, and why you chose to release it as a single?

I made the album without thinking of singles, pretty naïve really! But I think when ‘Prodigal Dog’ was suggested as a single it made sense. This was the first track I recorded in the record making process, bringing it to James we spent a lot of time on drum sounds and enjoyed layering vocals.

Your debut album has been described as “an intensely personal journey through grief, abandonment and mutating love”. How did you manage to translate these emotions into lyrics and music? Do you have a particular process when it comes to song-writing that you follow, or is it a more improvisational?

I’d say both, usually songs either arise after a lot of playing around and experimenting, or they just appear like a bolt. I think emotions and feeling are translated in any given process whether subconsciously or consciously.

You recently signed to Sacred Bones, who we love. What is it about the record label that drew you in? They’re on the ball when it comes to modern electronic music. Zola Jesus, Jenny Hval & The Soft Moon in particular are our favourites (and you of course)…

Thank you! I love their aesthetic, integrity and taste, that’s what drew me in, I’m a fan of many of my label mates.

You were a film, literature and fine-art student back in Dublin. Your music is intensely cinematic and your visuals are highly ornate: did studying a variety of subjects help you to develop your own sound and style easier than if you’d simply chosen to study one specific thing? Would you recommend a multi-disciplinary approach to other creatives?

I don’t know if I’d recommend anything! Everyone is on their own trajectory. In my case I was curious. I liked getting my hands dirty and the physicality of painting. Re studies: I went to college to get out of the house, literally. I needed some structure at that point in my life and I was lucky enough to be awarded some funding to go. It was all a bonus then to be super excited by what I encountered and be inspired by the material I was reading and seeing.

You described Colt as a way to “explore aloneness”, which is particularly poignant as many people use music to escape this feeling. What artists or bands do you listen to when you want to feel less alone?

Gosh, I think a good definition of a good film is one which makes you feel less alone, Music wise: I genuinely don’t have one specific answer to that, anything from Sybille Baier to Jlin to Father John Misty and beyond.

You have two upcoming London shows, St Pancras Old Church on June 11th and Southbank’s Meltdown Festival with Moon Duo on 20th June. What are you anticipating from these gigs?

I’m looking forward to them, they’ll be intimate and atmospheric.

Finally, you’ll be playing at The Sugar Club in Dublin on 14th September. It’s a hometown show, so are you anticipating something extra special from the night?

It’s always different playing at home, feels more vulnerable if anything. It’s a beautiful space with the best of promoters and a great PA and some good friends helping out. I have some plans for it, it’ll definitely be a special one for me.

Huge thanks to Hilary for answering our questions.
Colt is released via Sacred Bones on 8th June. Pre-order your copy here.

Photo Credit: Joshua Wright

Kate Crudgington
@KCBobCut

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