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Then Comes Silence

Have you ever wondered what triumph over adversity sounds like? The answer lies in ‘Trickery’, the seventh album from gothic post-punk legends Then Comes Silence.

It’s 2022, and on the eve of their first-ever US tour and eager to promote their stellar albums ‘Machine’ (2020) and ‘Hunger’ (2022) for the first time, Then Comes Silence are suddenly and unexpectedly reduced to a three-piece. Would their famed darkwave wall-of-sound still work with just the three bandmembers? The answer was resoundingly positive, so much so that the band resolved to continue with the slimmed-down line-up on a permanent basis on further US (supporting Vision Video and The Bellwether Syndicate) and European tours, and now on their return to the studio. This inadvertent metamorphosis of the band has led to a different way of creating music and performing live.

To capture the heart and essence of the trio’s live prowess, ‘Trickery’ was recorded in just three days in Kapsylen Studio in Stockholm. With Jonas Fransson (in the band since 2015) laying down an energetic punk backbeat and sleaze punk fan Hugo Zombie (a 2018 recruit) providing inventive and rhythmic guitar lines, the main focus remains on singer and bassist Alex Svenson, sole surviving member from the band’s 2012 debut album, whose velvety croon and solid bass lines are enhanced on ‘Trickery’ by retro synth sounds reminiscent of his recent solo futurist wave project Neonpocalypse. “The electronic elements are essential to ‘Trickery’,” Alex says, “but are also a salute to punk music, the cradle of Then Comes Silence and the cradle of post-punk”.

The band’s existential crisis also resulted in a re-assessment of their very raison d’être, and this is reflected lyrically on the new album. Then Comes Silence explain that ‘Trickery’ celebrates friendship, unity and the feeling of belonging to a group, a tribe. “Being a part of what many people call ‘the goth and post-punk community’ is a great privilege. After being on the road meeting people from the music scene for so many years, we have experienced a caring and welcoming community. Both old and young, some with a similar background and some just for the love of the music and the culture that comes with the lifestyle. No-one is free from apprehension and fear. Everyone feels some kind of alienation to a certain extent. You might often think you need to camouflage yourself to feel part of a scene, to make a change to fit into the group. The need for friendship is strong, so you adapt. Maybe not always the way you hoped, but then… there are moments when we unite and harmonize with other people and feel an incredible community together. That feeling is priceless and a blessing. Friendship is love. It is important and worth fighting for.”

Black Doldrums

Kevin Gibbard and Sophie Landers produce a contemporary form of gothic post-punk, with songs that contain hook and lead tribal drums and euphoric guitar textures that frame introspective lyrics. They are known for their intense live performances, creating their own style of gothic post-punk driven by vicious drums, distinctive atmospheric guitar and melodic bass. In 2020, Black Doldrums collaborated with Suicide producer, Jared Artaud who produced their debut album Dead Awake. Their debut album gained critical acclaim across mainstream media outlets, such as Uncut, Rolling Stone and Sonic Seducer. In September 2023, Black Doldrums collaborated with THE KVB who remixed ‘Dreamcatcher’ the third single from Dead Awake. Black Doldrums are currently recording their second album.

Very Special Guests:

Do not go gentle into that good night…

We are all, as Oscar Wilde once so famously remarked, in the gutter. However, some of us are looking at the stars. On their latest journey Sky Void of Stars, Swedish grand seigneurs of gloom Katatonia solemnly set the stage for a nocturne both crushing and exhilarating; for it is only in the absence of stars that we can truly shine.

Carving their way from their nineties gothic-tinged doom metal to the ethereal post-metal entity they are today, the band led by founding members Jonas Renkse and Anders Nyström have always been and will forevermore be one thing—a vessel of deep emotion; shrouded in Scandinavian despair and a universal longing for salvation.

Over the course of an unbelievable thirty years and eleven studio albums, Katatonia have never shied away from evolution. They have embraced the concept of growing through rejuvenation to soothe their blackened hearts and scarred souls—coming back stronger and more unified than ever after their hiatus with City Burials in April 2020. Yet at the very core of this entity, there still lingers the essence of their remarkable passage through time and space. Their music is pure and heartfelt from the northern wilderness; cast in mournful dirges for a world that needs renaissance.

Their long way out of the darkness and into our hearts has taken up many shapes ever since their first two genre-bending milestones: Dance of December Souls (1993) and the unforgettable, the immortal, the rightfully revered and oft-copied classic Brave Murder Day (1996). Whatever you might call their artful and soul-searching tunes ever since these records, they have always remained true to the very principles on which this band was based in the dawn of the nineties. Musicality over scene, progression over deadlock, collective over ego—Katatonia is their whole lives and will always be.

What’s more, their ever-expanding fanbase has evolved with them. While the nineties would never have allowed such a high level of tolerance nor forgiveness towards erstwhile death/doom trailblazers, today each new Katatonia offering is greeted with veneration and gratitude. Here are musicians who truly speak from the soul to the soul—a dialogue seldom as intense, as emotionally challenging and as visceral as the gloomy and irresistible preciousness that is Sky Void of Stars. Jonas Renkse (vocals), Anders Nyström (guitar), Roger Öjersson (guitar), Niklas Sandin (bass) and Daniel Moilanen (drums) have outdone themselves yet again, which is no easy feat with a vita like theirs.

The Stockholm-based architects of existential dread have long since ceased to represent a band that merely makes music and have instead cultivated a living, breathing pilgrimage that mirrors humanity’s longings and shortcomings; its dreams and horrors. Clad in their dynamic trademark range of darkest metal, soaring post-rock and elaborate prog wanderlust, Katatonia wear midnight on Sky Void of Stars, delivering their very own raven-black gospel of urban dystopia, elemental longing and the universal wish for catharsis.

With a sonic range broader than ever, the Swedes manage to wed their gloom and doom roots on ‘Impermanence’ with the stormcloud that is ‘Austerity’ which is their most urgent material yet, and also the surprisingly crushing ‘Birds’ with the artfully moody ‘Drab Moon’. Bathing in an atmosphere that is exclusively their own and graced by a sublime yet ethereally forlorn production, Katatonia transcend boundaries in the blink of an eye. They deliver a vivid, energetic and, in the best sense of the word, touching piece of musical narrative, pregnant with some of the most noble poetry these Swedish masters have ever delivered. Written and composed by vocalist Jonas Renske, Sky Void of Stars is a stirring ode to the ones who are lost and astray; shipwrecked in the ocean, navigating the rough seas of life without a compass.

As autumnal in their melodies as ever with radiant vocal lines, woeful hooks and a broader-than-ever approach to their musical palette, Katatonia sink their talons deeper than ever into our hearts, forcing us to feel what we prefer to push into the very last corner of ourselves. Only through confronting the deepest demons that we hold prisoner within the fabric of our souls can we rightfully deliver ourselves from them. The power of music in its truest, rawest and most carnal force will forever be this: a means to a new beginning and a dim light at the end of a long, long tunnel; its own dark materials shapeshifting, awe-inspiring, guiding.

Produced, mixed and mastered by Danish icon Jacob Hansen, Sky Void of Stars is music for the fools who still dream in the dead of night; a manifesto for the hopelessly-hoping amongst us. Here’s to the hearts that ache, here’s to the mess we make.

Peter Hook & The Light
Joy Division: a celebration performing Unknown Pleasures & Closer

In the autumn of 2024 Peter Hook & The Light will be on the tail end of a world tour where they have been playing and celebrating Substance the classic compilations that Joy Division and New Order released over 35 years ago. As a wonderful exclusive Tomorrow’s Ghosts exclusive for 2024 they come to Whitby to reprise their 2020 tour with a “Joy Division : A Celebration” concert of which no other event will have this year.

The concert will see the band play “Unknown Pleasures” and “Closer” and other material commemorating over four decades of Joy Division and Ian Curtis’ continuing influence.

The influence of Joy Division and their music remains strong in popular culture, holding a sincere reverence. The albums are played sequentially in track order, respecting the inspiration and impact of the stunning debut album “Unknown Pleasures” and the immaculately produced second “Closer”.

“Unknown Pleasures” features “Disorder”, “Insight”, “New Dawn Fades”, and “She’s Lost Control” while “Closer”, considered “a start to finish masterpiece” by Pitchfork Media counts “Atrocity Exhibition”, “Heart And Soul” and “Twenty Four Hours” amongst its many highlights.

In addition to the albums, the concert span the entirety of Joy Division’s rich but short career.

On “Unknown Pleasures” – The Album (NME)

“The band’s debut ‘Unknown Pleasures’ is simply one of the best records ever made and is still powerful enough to floor you 30 years on. With an almost dub-like, spacey atmosphere sculpted by studio genius Martin Hannett, the band’s sound was almost the polar opposite of the punk music which had brought them together after a Sex Pistols show in 1976.” 10/10

On “Closer” – The Album (Pitchfork Media)

“Closer is even more austere, more claustrophobic, more inventive, more beautiful, and more haunting than its predecessor. It’s also Joy Division’s start-to-finish masterpiece, a flawless encapsulation of everything the group sought to achieve” 10/10

The Gospel

The Gospel is a cinematic goth band. Infusing ornate arrangements with vintage grittiness that oozes from 1970s analogue synthesizers, their otherworldly music deftly traverses the void between Nick Cave and Goldfrapp.

Fronted by L.A. renegade Jimmy Sweet with an all-star female band featuring Danielle McCormack (Mel from hit 90’s TV series ‘My Parents Are Aliens’), Charis Anderson (Curse Of Lono), Sinead Bales (The Courtesans) and Hazel Cotogno (Poussez Posse).

The Gospel recently launched themselves onto the scene with a string of live dates, attracting an ecstatic review from Louder Than War’s John Robb who praised: “The music is mind-blowing…it feels like The Gospel are going to be making a big noise soon”.

The single ‘Lord, Can You Hear Me’ was released in October 2023 raising eyebrows and expectations of what is to come. They promoted this release with a debut US show in LA in October at the amazing Goth club Bar Sinister where they secured a deal with Cleopatra Records. This show was followed up with a special performance at the Reptile Club in London in November where they stole the show.

The next single, a cover of Madonna’s ‘Like A Prayer’ will be out in April 2024 on Cleopatra Records and their next show UK is at Manchester Cathedral on February 29th 2024.

Skeletal Family

Being one of the more prominent Indie / Alternative bands from the early / mid 1980’s, Skeletal Family enjoyed major national and international success. From topping the National UK Indie Charts for three weeks in Autumn 1984 with debut album “Burning Oil” (above other contemporary northern bands The Smiths, New Order & The Cult) to recording seven BBC Radio One sessions for John Peel, Janice Long & David (Kid) Jensen.

Their impressive live show at this time brought them to the attention of Sisters of Mercy front man Andrew Eldritch, who, after seeing a local performance, invited them as special guests on their 1984 Black October tour. The next two years saw the band gracing the stage with acts such as Siouxsie & The Banshees, Spear Of Destiny & The Mission etc..

Undeterred, following vocalist Anne Hurst’s sudden departure in 1985 following the release of their second album “Futile Combat, the band enjoyed greater national chart success with the singles ‘Restless’ & ‘Just A Minute’ via signing to Chrysalis Records with new vocalist Katrina Phillips (from ex Specials Terry Hall’s band The Colourfield, single ‘Thinking Of You’)

This line up of the group disbanded in 1987 but due to the advent of the worldwide web, reissues of earlier studio and compilation albums, along with a rapidly growing resurgence of interest in eighties music & culture the band reformed again in 2002

Now consisting of original members Stan Greenwood, Roger “Trotwood” Nowell and Ian “Karl Heinz” Taylor, i.e. the main songwriters of the band (all of whom were in the original pre cursor to Skeletal Family from 1979 called The Elements) produced two new original studio albums “Sakura” & “Songs Of Love Hope & Despair” alongside a third release on Jungle Records titled “Day Of All Days”

Skeletal Family continue to play live to this day, headlining alternative European festivals / events which culminated with an extensive month long USA in 2018 coupled with one off South American appearances in Brazil and Mexico.

2020 / 2021 saw the band utilising the Covid pandemic to their advantage. Alongside vocalist Anneka Latta and drummer Adrian “Ozzy” Osadzenko the band recorded 19 new songs at Paul Weller’s Black Barn Studios, Ripley, UK.

The band’s 6th studio album was released to critical acclaim on 22/04/2023

Skeletal Family were one of the headline acts at the internationally renowned Wave Gotik Treffen in May 2023 which took place in Leipzig Germany and performed at the inaugural Darker Waves Festival Huntington Beach California November 2023.

Skeletal Family 2024 line up

Anneka Latta – Vocals
Stan Greenwood – Guitars
Roger “Trotwood” Nowell – Bass
/0Ian “Karl Heinz” Taylor – Keyboards / Saxophone
Adrian “Ozzy” Osadzenko

Very Special Guests:

Established in late 2014, post-punk overlords IST IST have forged a formidable reputation on the back of uncompromisingly intense live shows, a fierce DIY ethic and a rapidly growing audience both at home and across Europe.

Releasing their debut album ‘Architecture’ in the midst of the pandemic on their own label Kind Violence Records, the LP found significant success in the indie, physical and vinyl charts.

Second and third albums ‘The Art of Lying’ and ‘Protagonists’ peaked in the Top 100 at 87 and 41 respectively, firmly establishing the band as one of the leading lights of a new era for music born in Manchester.


At the end of CREEPER’s sold-out headline show at the Roundhouse, vocalist William Von Ghould stepped out to thank the audience when a mysterious figure leapt from the shadows and decapitated him in front of 3300 people. The lights went down and the big screen cut to a haunted house, where the band’s reluctant social media host, the vampire familiar Darcia, deadpanned, “It’s time for a new era… and I couldn’t be more excited.”

Every era in CREEPER’s strange tale closes in similarly flamboyant fashion: see also their apparent Bowie-style on-stage break-up at the end of the campaign for their debut album ‘Eternity, In Your Arms’, which left some fans in floods of tears. But in CREEPER’s ever eerie world, death is just a stepping stone towards a joyous rebirth. And now one of the most unlikely success stories in British music rises from the ashes once more with their new album ‘SANGUIVORE’.

Taking a darker turn from their Top 5 record ‘Sex, Death & The Infinite Void’, ‘SANGUIVORE’ is a thrillingly theatrical new story that the band’s ever-growing army of devotees will devour themselves within. Riffing upon fearsome throwback vampire flicks such ‘Near Dark’, ‘The Lost Boys’ and ‘Interview With The Vampire’, its narrative focuses upon Mercy, a deceptively innocent yet savagely violent vampire, 19-years-old in conventional terms yet with a soul dating back some thousand years, and her relationship with Spook, an older man who falls under her control but doesn’t quite lose sight of their previous humanity.

Somehow the music is wilder than the narrative. Opening with the sprawling Jim Steinman goth-opera epic ‘Further Than Forever’, CREEPER power through the swaggering, darkwave sleaze of ‘Cry To Heaven’, the supercharged horror-punk of ‘Sacred Blasphemy’ and ‘The Ballad of Spooky & Mercy’, which could easily be snuck into the tracklist of Nick Cave’s ‘Murder Ballads’ without anyone batting an eyelid. And that’s just within the album’s first half. By the time it closes with the evil croon of ‘More Than Death’, you’ll have heard elements of pagan-folk, late ‘70s punk and the kind of gloomy synth textures you might expect from prime Gary Numan. It’s all larger-than-life, darker-than-death, and the best album CREEPER have ever recorded.

“It seems that the world’s getting excessively darker by the moment out there,” says Von Ghould, a man with a boyishly infectious enthusiasm for everything that he does, “and I think we need escapism and fantasy and fun more than we ever have.”

The ‘SANGUIVORE’ concept and characters have lurked in the crevices of the band’s mind for some time. When it was time to turn those ideas into a full album, two elements were key to unlocking its potential. CREEPER’s co-founder and guitarist Ian Miles had suffered from severe mental health issues as work got underway on ‘Sex, Death…’ which naturally limited his input. But this time he was not only there from the very beginning, but a lack of a full-time second guitarist effectively doubled his workload. And he really stepped up, his creativity simmering throughout the record, from melodic classic rock solos to crunching metallic riffs, the latter of which forced Von Ghould to shape his vocal melodies in a very different style from before.

Another vital element was the input of producer Tom Dalgety (Ghost, Royal Blood, The Cult) who embraced and encouraged the band’s “What would Jim Steinman do?” ethos during sessions at his studio, a converted church – a home-from-home for a record with some blissfully blasphemous edges. Other sessions took them to the fabled Rockfield Studios, where the band were invigorated by the deep history of essential British music that resonated throughout the building.

And of course, there’s the rest of the band. Von Ghould credits fellow founder member and bassist Sean Scott with bringing more ideas to the table than ever before; Hannah Greenwood’s keys and synths have become more significant and imaginative, while her vocals suggest that in an alternate universe, she could be a West End star or an ‘80s power balladeer; and drummer Jake Fogarty has “transformed the band entirely… his playing is just immaculate.”

Dive deeper into the record and you’ll uncover more details, off-kilter references and lashings of devilish humour throughout. Von Ghould takes up the story behind the inspiration of an ear-catching lyric from ‘Chapel Gates’. “Ian came in and said, ‘Did you know that Mary Shelley lost her virginity on her mother’s gravestone?’ Me and Tom thought it couldn’t be true, but it was. So, I was like, I’ve got to throw that in somewhere: getting laid but not to rest.” Elsewhere, ‘More Than Death’ drops in a reference to the infamous paranormal investigator Lorraine Warren, and in ‘Further Than Forever’ Von Ghould declares, “I’m Jesus in a strip club giving head.” A lyric which may well feature on future merch designs…

That humour is a reminder that however committed their performances are, they’re always a little tongue-in-cheek – something they’ve lent into more following a tour as guests to Alice Cooper. More importantly they’re like little Easter eggs for those fans who thoroughly immerse themselves in the record. Spend a little time with Von Ghould and you begin to suspect that if he wasn’t in CREEPER, he’d be travelling the length of the country to see them play. This is a band who are entirely on the same wavelength as their fans, which is a big part of their unusually powerful connection: CREEPER fans don’t just like the band, they’re utterly committed to them.

“There are real moments of communion that happen at the end of our shows that are really magical,” smiles Von Ghould, referencing a community which had also led to friendships both virtual and IRL. “We’re so lucky that we have that connection. We tend to attract the same sort of people that we are, and I see a lot of ourselves in these kids. Sometimes I meet people at bars and we end up drinking together and just talking about our favourite records. We’re just the same people. It’s cool to be a nerd about things you like.”

Strip back the layers of fantasy and you’ll find that CREEPER’s ambitious narratives are rooted in a similarly authentic place. Or as Von Ghould summarises, “underneath all the showmanship and the bravado of it all, there’s something quite true there.” ‘More Than Death’, for example, is the denouement of Mercy and Spook’s tale, but comes from the frontman’s own relationship. Friendship is also a recurring motif on the album, the beating heart behind the band, and especially the connection between Von Ghould and Miles. “It’s a very special relationship we’ve had. We’ve been touring since we were teenagers and now, we’re three albums in and we’re still doing it. If you told us when we first met that we were going to have any sort of success, I wouldn’t have believed you.”

That’s the unwritten philosophy of CREEPER. Embrace everything you want to do, no matter how outlandish, excessive or ambitious, and see where the journey takes you. And it’s a journey some twenty years in the making as the grandiose scale and ripping rock opera of ‘SANGUIVORE’ transports Von Ghould back to his childhood bedroom, listening to ‘Bat Out of Hell’ on repeat.

“It’s such a phenomenal record and it changed my life when I heard it,” he recalls. “I was like, ‘Why isn’t there a band I can go and see that’s doing that these days?’ Because Meat Loaf at that point wasn’t in good health. I never imagined in a million years that one day the person doing that would be me. We continue to be the weirdest unlikely story of a small little band in the UK making these huge albums. As long as that carries on, I’m kind of happy.”