We sat down with Filip Lönnqvist from Rave The Reqviem! Well, we sat down at a computer in The States and he sat down at a computer in Sweden, and we talked using the magic of the internet! We talked about the legacy of Limp Bizkit, bullying weirdos, and scene schizms! We also talked about Burzum and the problems surrounding that crazy dude.
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Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
Portland-based post-punk band Lunch brings a new single from their upcoming album Let Us Have Madness Openly. This is my first taste of Lunch, but judging by a quick scan of their previous release, I am excited to say that I am hooked! “Not An Ocean” has that very distinct post-punk sound brought gently into town by a finely painted hearse. It speaks to my deep love for spooky music set to that familiar punk background.
My newest obsession: 23:31 hits their debut album on Audio Trauma in all the best ways. It is a perfect blend for me: hard synths, deep beats, and an superbly eerie atmosphere that sulks and pulls its bloodied limbs through a very dark forest. This may be dramatic, but it has to be said! A Hologram_ mix?! Who could ask for more?! The original version of “Labyrinthe” was really good, but when you add Hologram_ to the mix it builds to such a beautiful blend of cinematic strings, atmosphere, and rhythmic noise.
It’s interesting to look back at the original releases from M‡яc▲ll▲ and then to listen to the newer material; the changes from release to release are so smooth and incremental that it’s easy to not realize exactly how far M‡яc▲ll▲’s sound has come. “The Stone And The Heart” breaks that incremental momentum; rather, it is a large step away from the witchier tones of M‡яc▲ll▲’s earlier work. It builds on a movement M‡яc▲ll▲ has been making for some time towards more giallo inspired tones, and it continues to work wonderfully.
I’ve been off the future bass tip for a bit, and just recently I started exploring it again. One of the first bands I came across in this Bandcamp wormhole was Greyscale. In “Drop Down” Greyscale makes use of a lot of the future tropes that I enjoyed in the past; heavy, sometimes strange percussion rings out unconventional beats, deepening as the song progresses. The vocal sample and trap style hihats almost give it a sort of witch house feel; the whole song feels dark beginning to end.
We talked with the radical folks from Apollyon's Visage! Just a warning, for some reason the audio quality in this sucker isn't the best we've had, but I promise that our discussions of maple syrup, #wafflegoths, and Steve Caballero will pull you through! Also we talked about Funker Vogt for a second, but this was recorded a while ago when it was topical, we swear!
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Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
I am going to lose all of the goth points here, but I had no idea who Snowy Red was before hearing this cover of “Lies in Your Eyes.” I think honesty is important to our relationship, and I just wanted to get that off my chest. Also, I stole this from Alex Kennedy of I Die You Die fame, who posted it this morning on Facebook and completely ruined what I had lined up for this article. This is the kind of goth rock that I enjoy most (or whatever you kids are calling it nowadays) - it has the perfect amount of squealing guitars, distant vocals, and electronic elements to put me into that blissful avalanche of sorrow. Really good work.
I really like this track because it brings back a lot of old school feelings for me and really encapsulates the things that I first liked about this type of music. It had the kind of cheesy synths that I liked so much while maintaining a brooding and aggressive facade. HFF were just added to this year’s Canadian summer camp (Terminus Festival: Velocity,) and I know they will just kill it there.
In “The Realest”, O. Children manages to produce a sound that mixes influences from Rome-esque neofolk with a more traditional post-punk feel. There’s an interesting melancholy to the song; at time it makes you want to feel upbeat, that there is hope in the world, but that hope is pulled from under you by not quite brooding verses. The song feels personal, in a way that a lot of music doesn’t seem to feel lately.
Somehow this song manages to not do a whole lot, but still manages to stay interesting through out. Repetition of claps, repetition of synths, repetition of vocals all work together to build a feeling of intensity that never lets up. Maybe it’s the martial feeling of the kick and clap rhythm, maybe its the not-quite-but-sort-of growling vocals, but the intensity that builds up quickly at the beginning carries through.
We got to hang out with Youth Code before their Portland show during the Eye vs. Spy Tour with Skinny Puppy, FLA, and Haujobb! Discussed was coffee nerdery, Gray's Anatomy, and that Skinny Puppy and Youth Code are the most in love. Also: Sara's aeropress game is on point.
Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
“I will not be swayed from curiosity.” I feel such a huge wave of wanderlust sweeping over me, as I start a new path in my life, and strive to make a place for my own personality again after so many months of feeling bummed out and stuck by the scene that we all rant about - not to mention my own life decisions. This song encapsulates everything that I am feeling at the moment. I feel old. I feel like I have stuck myself in a chair, looking out the window at a bright world flashing by in seconds. It makes me want to get up and leave in the best way that I could ever imagine. “I want to see myself that way just one more time.”
I found Cœur de Pirate (Pirate Heart) by searching the “French” tag in Bandcamp because apparently I have francophilia lately. I really like the soundtrack quality of this somber piece. The entire album is like this. It is really beautiful music and I feel a strong connection with it. I would encourage you to take a listen if you really like instrumental pieces or soundtrack music.
I kind of got off my outrun kick a while ago. The genre seemed to be getting overinflated with boring cyberpunk tracks that all sounded like too close of variations on a theme, and not enough original, interesting takes on the theme; alternatively, it was going hard on Stallone, when I wanted Carpenter.
I don’t think that S U R V I V E self labels as outrun, and maybe that’s why their music seems to speak to me a little easier that most outrun these days. The beat is constant, unflinching four on the floor, with just these little plucks of bass and lead playing away at your ears. There’s nothing aggressive about it, at least not aggressive the in way that Carpenter Brut or Perturbator might be. It just pulls you along with its little plucks and morphing pads, rife with analog drift. “Hourglass” is night drive music at its best.
Speaking of Perturbator! It was always clear to me that James Kent had some very clear industrial influences in Perturbator, and through his side-project L'Enfant De La Forêt he is letting those influences show through a little more.
“The Birth of All Evil” is an excellent example of Kent’s talents at building atmosphere; this talent, I believe, is the key to his success with Perturbator, and it arguably shows through more evidently in L’Enfant. When you strip away the outrun excess of Perturbator, you’re left with haunting textures morphing into each other. It gets you moving to the edge of your seat, waiting to hear what happens next. If Perturbator is a soundtrack for a Johnny Mnemonic style thriller, L’Enfant De La Forêt is more Bladerunner; it gets into your head.
We had ourselves a sit down with Tristian Shone of Author & Punisher when he came through on tour. We talked about mouse brains, muscles bulging in all the wrong places, goth scene alienation, and what doing a Lenovo commerical was like!
Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
I have been incredibly stuck on this track, and album for that matter, recently. I have tried to go to other artists but for some reason this song really fits the foggy lines that winter leaves as it pushes its way through the season. I think that it is romantic and moving to say the very least. I feel the same way about Disemballerina, who are from Portland. The music is so emotionally driven with so few instruments.
Speaking of Disemballerina! “Sundowning” is from their latest album Undertaker, and has a lot of meaning behind it. According to the bandcamp description of the song, “Sundowning” is a form of dementia that is unique to Alzheimer’s patients, and the sample that bookends this song is a cell phone recording of the death rattle of a close friend (a clicking, sometimes gurgling sound often heard in the last few moments of life which is caused by saliva build up in the throat as you begin to lose the ability to swallow). These elements, along with the rise and fall of guitar, viola, and cello, make this song extremely emotional.
There’s a lot of noise out there that I just can’t dig on. Often, I find noise artists who are squelching some feedback through a delay pedal at uncomfortably high frequencies, and then sitting back and telling me that the point is that I’m not supposed to like it; I’m not supposed to be comfortable.
Timeghost expertly shows these people that discomfort doesn’t have to mean unlistenable. “Dissection Theater” pulls itself along as though it is withdrawing itself from the listener; it builds anticipation before slamming down on gabbed out kicks. It utilizes and, more importantly, harnesses uncomfortable high frequencies to cut through and create moments of tension, while staticky shuffles and a morphing bass do the song’s heavy lifting, accented by errant blips and heavily modulated vocals. Harsh noise artists take note: this is how you use discomfort.
This track gets pretty repetitive. That repetition works well to create this weird, almost hypnotic sort of feeling, where you start to feel like you’re being pulled into the song. The vocals start out almost spoken word; they are adorned only by a sort of delay. They quickly fall into a pattern of repetitive talking and screaming that mirrors the repetitiveness of the percussion and bass. Soon, the song loses its lull, its sense of pulling in. The repetition becomes aggressive, and rather than bringing you in, it comes at you; it attacks, and pushes you back. “Bestial Burden” is another great example of how to use discomfort as a tool.
This week, we had the pleasure of talking with Animal Bodies! Well...I say we, but really it was just me, Wes, as Michael was out of town. It was a super fun conversation, in which we talked about the difficulties of touring, why Jack White is the enemy of all indy vinyl pressings, and I think their may have been a conversation about Madonna's snares.
Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
“I consider falling overboard / I will navigate without you / Driven by the stars, guided by the moon” is a line that has been running through my head for many, many years. I have a difficult time trying to discern whether it is a reflection of the feelings that I have during these parts of my life, but it happens about once a year and I have to bust out the Still & Raw EP from Front 242. I prefer “7Rain {ghost}(LP Version)” to the original - which does not have the line that I reference in the beginning of this piece, but they are both great examples of what Front 242 can really do. There is a minimalism to the tracks on this EP that stuck out to me when I heard it for the first time.
I have been listening to this song nearly non-stop this week. It is almost 17 minutes long but listen to all of it, I promise you will be pleased! “Geist” goes from a calming, deeply emotional neofolk to my ideal black metal song, which I did not expect to happen at all! It is an extremely good song. It has such an awesome feeling to it.
This song is a beautiful example of how metal can build emotion through a use of minimalism. Simple guitar lines mix wonderfully with haunting layered vocals, violas and piano to create a dark atmosphere. Building slowly over the seven minutes of the song, it culminates in an almost euphoric outburst near the end; the mood slowly morphs from a slow brood to a building sense of melancholy, before everything drops away, leaving the vocals floating, ephemeral and lonely.
“Truth” has an ominous feel throughout. Airy pads mix with brooding bass lines, bells, and minimalist drum beats to build this feeling, slowly evolving. The consistent beat and bell synths invoke an image of dense fog; flashes of light illuminate silhouettes of swirling figures. Every element in this song seems to have found its place, and it feels like it has been pared back to only the elements that were need, in a very effective and affecting way.
This week we talked to the wonderful folks over at ∆AIMON! We talked about origin stories, Sesame Street, why hasn't LORN emailed Brant, and what it's like to score an MMA docuseries!
You can find Talking To Ghosts on Facebook and Twitter! Also, don't forget to apply for The Ghosties! The application deadline to be considered, or to vote, is January 20th!
Look: we all know that I Will Remember It All Differently was one of the best albums put out last year. As such, we decided to have friend of the show Michael Treveloni from Alter Der Ruine give us a couple tracks this week that he’s been bumpin’ on repeat.
First time I saw Nite live I knew I had seen something big. A band like this doesn’t exist by accident. Stars aligned or whatever. I know. I saw it in the flesh. Played their album nonstop when I got home and was thrilled to feel the blanket of their live set warming my interpretation of the recorded versions. The album closer “I Am Not Afraid” melts the butter on the bread though.
The power of this song is handled delicately in that on one side the emotional charge is primed to devastate, while the other is rebuilding foundations and looking forward. Its focus and strength through a fragile emotional spectrum of overcoming something, or trying to convince yourself you are removed and ready to rebuild is why it resonates. It’s familiar territory of sorts, but they don’t offer training wheels. Unfolding over gorgeous synth driven music, the song evokes a sense of a vast, lonely expanse, from the comfort of a busy room filled with other voices. Distilled and chilling, but there’s a warmth building and when those glowing hooks come calling they land big. When you hear it under the correct conditions it will haunt you. Glad to have found it for myself.
Prayers is a polarizing outfit to say the least. There’s plenty to mull over. I’m done mulling and onto digging. Simple, honest vocals merge with dark and bubbly synthpop and the combination collides through a space reserved for JCPenney commercials to a neon colored rain cloud drowning a city while a weatherman tells us to bust out our best SPFs cuz there’s a heatwave coming. In other words I don’t really know what it is about this band that really grabs me, but man do they have a grip I can’t shake.
Their songs about growing up on the streets set to dreamy synths paint pictures rarely considered. A perspective on the human front dialed in through some unfamiliar channels. Serrated angles on soft journeys. There is a lot to pick apart. If you’re looking for a jumping off point, “Gothic Summer” is a great place to test the waters.
I chose this song for Mike T. because he is our best friend from Terminus Festival who we’ve only met once (for 3 days). After the Skinny Puppy show here in Portland, Daniel Myer from Haujobb/Architect/DSTR/everything DJed at The Lovecraft Bar and the first song he played was this crazy noise-hardcore punk-style song by Klangstabil, who I had never heard before. An Ant-Zen veteran, I should have known that I was going to love it. The song I picked is ridiculous in the best way. It is the perfect blend of positive message and joylectro - here is one of the verses for example: “I want to be free, live for today, if you live for interest, someone else is paid. I walk my line, found peace like Johnny Cash, if you are slave to the money, you go down with a crash. But you can call, you can find me anywhere, if you are asking for a friend, just call and I’ll be there, a simple thought, but you won’t understand, it’s the money on your mind and the wallet in your hand.”
I found this band by complete accident. Someone had liked a remix I put up on my SoundCloud (humblebrag) and I make it a rule to look at the music of every person who likes a track of mine. They had just reposted the album Liminal, and after listening to it, I knew I had to share it.
The song “Creeper” is oppressively minimal; percussion taps away quietly while a sub bass glides uncomfortably below the surface. This minimalism is soon joined by an up front, Elliott Smith-esqe vocal style that fulfills the promise of the song’s title, as well as more forward, snappier percussion elements that frames vocal samples, like aggressive bookends. Much like Gazelle Twin’s “Anti Body,” The Acid manages to create a sense beauty out of its discomfort.
We talked with Metal Mother this week! It was a really fun conversation, in which we discussed Amy Winehouse Beach Funerals, band glue, YUNG GOTHS, and magick with "K". In the outro we talked about Second Life for a minute, and plugged our coming awards show, THE GHOSTIES!
This week on Poltergeists, we have some special selections from a friend of the show, Brant of ∆AIMON!
"Then It All Came Down" is from the album "Then It All Came Down" by Wrekmeister Harmonies, out now on Thrill Jockey.
I’m cheating a little with this track selection in that it is also the entire album - an epic 34 minute composition making up Wrekmeister Harmonies’ most recent release on Thrill Jockey Records. Wrekmeister Harmonies is a musical collective lead by JR Robinson and the source of some absolutely harrowing and breathtaking works. Last year saw the release of “You've Always Meant So Much To Me,” an unexpectedly cathartic exploration of isolation and existentialism. Joined by a cast of guest musicians this time - including Sanford Parker (Minsk, Corrections House), Bruce Lamont (Yakuza), Ryley Walker, Chanel Pease, and more - “Then It All Came Down” acts as the more demoralized and menacing follow-up. Uneasy impressions of defeat and pastoral doom slowly creep into transcendent reflectiveness and withdrawal as distortion crackles, threatens, and eventually annihilates all remnants of light in a crushing avalanche of decay and howls followed through to a disquieting resolution. Basically a bunch of words that mean this thing appeals to every raw emotional nerve-ending in my entire being.
I actually know very little about Dolor other than through his long-time and frequent collaborations with the musician Lorn, who incidentally acts as mastering and mixing engineer on this particular album - a context not lost in this track’s penchant for gritty and precise production. The vibratory low end is blown out in glorious and lush amounts of saturation, while the blurred synth work faintly bleeds through as an anachronistic telephone rings desperately on and on. There’s an incredible amount of storytelling breathing in these inky spaces, fleshed out even more thoroughly within the breadth of the full album. My sensibilities align pretty dramatically with the smoky, late-hour, loneliness conveyed herein. And while this track doesn’t illustrate some of the quirkier synth work or haunting vocals that sets Dolor apart from his partner Lorn, it still manages to carry across an impressive amount of emotion through such humble means. Beautiful and sad, like I like ‘em.
Uk melodic hardcore punk (r.i.p)
You thought it was going to be the new Neuroticfish huh? WRONG! I have had a very post hardcore/hardcore/youth crew kind of week after seeing metal shows two weeks in a row. Having just had to reload all of my music into iTunes I was very pleased to find The Legacy’s Beyond Hurt, Beyond Hell from 2008. “Sand and Time” is my ideal hardcore/post-hardcore track - it starts off nice and slow and builds with the feelings of aggression. I would definitely suggest it for fans of Defeater, Have Heart, and Verse. Unfortunately The Legacy is very hard to find in terms of what is going on with them, or if they tour, and I do not believe they are still making music together (last release in 2008 according to iTunes music store.)
Seattle-based youryoungbody manages to bring together some very interesting and seemingly disparate sounds to create the feel of their song “Bishop”, off their EP Hashira. There is an airiness to the percussion and the vocals that reminds me of some of my favorite tracks from The xx, while the bass and vocal sample elements are more reminiscent of bass music acts like Krampfhaft, though admittedly moving at a much slower pace than you would expect from bass music. The downtempo feel almost adds a wonderful dark atmosphere, almost but not quite witchy. There is also this interesting, unexpected touch of what almost sounds like the sort of flute you would hear in a Putumayo meditation jam, that just floats around in the background; even more interesting, the flute sound seems to fit with the dark feel of the rest of the song, avoiding the cheese I would have associated with the instrument.
This week we got to talk to Jen Van Meter, the woman behind Hopeless Savages as well as a variety of DC and Marvel titles! We talked about artistic time management, writers living with writers, 1984 novelization of the movie of the book, and why do fans want you to sleep in a van? Also, please forgive the weird little glitches in the audio. I have no idea what caused them and was not able to fix them.
Also! We totally forgot in our outro to do the thank yous, so thanks to Kelly Bouges, Distorted Memory, and I Die: You Die for sharing last weeks episode!
Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
▲LH▲LL is one of the bands that I have been following pretty closely for some time. They did a remix on my first witchey EP Awaken The Alchemist and I have been in random contact with them for some time - they are very nice mysterious people. Their new album Leaning On Shadows is out now on Artoffact Records and I could not be more pleased for them. Artoffact has a great selection of diverse music and does really well for their artists. Leaning On Shadows is a solid album that plays from start to finish like the most beautiful elements of my dreams. It is dark, spooky, and has emotion behind every song. “Bortom Fjäll” is no exception; deep bass lines and thumpy drum beats mixed with great orchestral elements and big crashing symbols that create a fluid oceanic feeling that makes me want to venture out on the dark waters of high sea just to feel the calm breeze of the morning on my face. Maybe I’m dramatic, but it is true.
The Devil and the Universe is one of my go-to bands when I want something that will make the crowd pulse on the dancefloor but I want to keep it as spooky as possible. I love their sound - a weird mix of tribal dance beats, harpsichord, and nightmare gypsy movements. “Stygian” especially, from their newest album Haunted Summer, gives me a lot of pleasure because it appeals to my need for thumpy beats and still maintains a rather old-world-style occult feeling - which is pretty hard to do when you do not have any vocals.
There is a sense of urgency to this song that I don’t feel like you usually get from witch house and the adjacent genres. The song threatens to be slow, starting with long aahs and heavy bass, before kicking into its prime gear, a fast moving beat that features trill high hats and a fast, shuffling beat. It’s this quick paced beat that sets up the catharsis of the breakdown, where the aahs take the forefront again while a half time beats bangs out back, before slipping away into nothing, a brief calm before slamming back into the quick shuffle of the first section of the song.
When I want to listen to black metal, I want something that feels like it has a story. There are movements to it, changes in feeling and emotion. On this, Mare Cognitum delivers. This 13 minute epic begins slowly, with ambient drones a light guitar work, before striking out into a heavier, but still slow moving atmosphere. All this setup pays compliment to the coming storm of tremolo picking and blast beats in which our lyricist weaves his tale of the void of space and time. If you want your black metal to tell you a story, to feel symphonic in its delivery, then this is a band you should definitely check out.
This week we sat down and a had a nice chat with Winnipeg wonder, Jeremy Pillipow of Distorted Memory fame! We talked hardware failures, loving the wrong Suicide Commando, and archaic modes of music delivery!
You can find Talking To Ghosts on Facebook and Twitter!
Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
First of all, I know this is a really long song, but it is one (of many) that I have consistently gone back to. It is a great track to have on in the background and kind of lose yourself in while doing something else - or meditating. There are so many elements that come in and out throughout the nearly nine minutes that are really soothing to me. The atmosphere and overall mood of the song is also very calming. It has a hint of darkness - something that I find I often need for a track to really hit home.
Wes and I had the great opportunity to see Force Publique with Metal Mother and Pastel Ghost this last Friday! We had not heard much from Force Publique before this (I had not heard anything) and I must say that I loved every second of their set. It was really fun to watch and the music is great. This is another track that I really like the atmosphere on; it draws me in from the beginning and builds to such a great point when the vocals kick in. I have to say that I am not a big guitar oriented person, but this fits so well that I cannot imagine it without guitar.
Bruxa is a local act that is a part of what Michael and I have started calling The Parallel Scene - a scene of yung goths that seems to have built itself up in parallel to the scene we normally run in, rarely to be glimpsed by us. Bruxa specializes in a blend of witchouse and hip-hop that puts more emphasis on the hip-hop than you might normally see in the witchouse space. Pitch shift rap gives way to Bianca Radd’s haunting vocal style. This remix by Blvck Ceiling builds in some additional creepy production through heavy percussion and gated pads. If you haven’t heard Bruxa, this is a great place to start.
Y’all know I can’t stay off that future tip. This song combines a few things that I love about this weird little bass music sub genre: there’s pitched up vocal samples that take the place of a lead synth, there’s those deep trappy sine kicks, and don’t forget about that little shuffling hat line. Something that captures me with this song is the interesting way that the bell arpeggio is being gated so that the end of each ring is cut off, creating a strange discomfort; there’s a feeling that you’re missing something on the end of the sound, and it works well to add mood to a song that is already filled with strange sampling.
We talked to the guys over at Iris today in what was our very first Skype interview! We talked about what it's like to go from self-releases to working with a label, laptop let downs, and Russian paparazzi!
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Poltergeists is a biweekly feature in which Michael and Wes share tracks that they have had on repeat over the past two weeks.
I am not sure how exactly I came across this song by Psy’aviah - or the equally great remix by Schwarzblut- but I love them both. It is definitely a song that I will be playing if I ever DJ again and the crowd is in the mood for some thumpy bass. It is a great dance song and it gets me pumped up for a night on the town, not to mention a fun message.
Watch out for the new [:SITD:] album DUNKELZIFFER! Available at [AMAZON] and in every well-assorted record shop. Bonus version on [ITUNES] http://snip.ftpromo.net/dunkelbonus [AMAZON]: Dunkelziffer - Regular Edition / 1CD): http://www.amazon.de/Dunkelziffer-SITD/dp/B00NBB9WUO/ref=sr_1_2?ie=UTF8&qid=1410866199&sr=8-2&keywords=SITD+dunkelziffer Dunkelziffer - Limited Edition / 2CD (incl.
The new SITD album is out! This really begs the question: How many times can they make the same album and I will still love it?! Normally I have a pretty low tolerance for things like this, but for some reason I really enjoyed this album; it is catchy, it is dance-time, and it is well written. Another quick note - If someone could explain to me what is happening in this video, that would be awesome. Death sent them up the hill...to child graves...but the children are just toys left behind...and then church?
I’m not really sure how to describe Gazelle Twin. There are a lot of elements in her work that I would associate with industrial; her music often incorporates brooding, repetitive bass lines, distorted snares, and uncomfortable squelchy synths. On the other hand, her vocals often feel steeped in indie electronica stylings. In the song “Anti Body”, from her album UNFLESH, Gazelle Twin combines the repetitive bass elements with an almost uncomfortable spoken word delivery of the lyrics, weaving in shuffling snares and howls. While not strictly goth or industrial, the music definitely feels heavily influenced by darker sounds.
What Moon Things has quickly cemented itself on my repeat list since I recently discovered them trolling the “Goth” tag on Bandcamp. They combine the lamenting vocal style of some of my favorite Deftones with a post-punk sound that almost borders on indie-rock; there are times when listening to early tracks on their self-titled album when I almost hear the familiar twangs of old Modest Mouse records. For me this marriage lands very successfully. While it scratches my itch for darkness in my listening, I can see it landing successfully with people who have no connection to the darker modes of music.