Slowscript’s Stay is a powerful shoegaze offering that seamlessly blends dreamy atmospherics with overwhelming sonic weight. Massive waves of distorted guitars collide with shimmering ambient textures, creating an immersive listening experience that feels both intimate and expansive. The track captures a deep sense of nostalgia while maintaining enough intensity to keep its emotional impact sharp and immediate. Its balance of melody and noise is particularly effective, allowing the song’s hazy beauty to emerge through layers of feedback and reverb. Stay stands as a strong example of modern shoegaze, delivering both emotional depth and impressive sonic craftsmanship.
Whilst best known for his colossal presence within the extreme metal community, Shane Embury has proved himself a man-for-all-seasons with his drone, dark ambient project, Dark Sky Burial, to add to him many, many side-hustles beyond Napalm Death. Written during the enforced downtime of the Covid-era, Bridge to Resolution takes the spirit of Dark Sky Burial and turns its focus inward, shaped by the upheaval and disruption of the time and how he as a creator reacted to it.
Taking the frank and open approach of his autobiography Life…? And Napalm Death, in which he lays bare his inner conflicts concerning mental health, personal identity and struggles with addiction, this debut solo record is an artist trying to sort things out in the best way he knows how.
Bridge to Resolution is a journey of self-discovery and draws its inspiration from the Jungian concept of Shadow Integration, the process of bringing hidden parts of the self into consciousness and to do this, Shane has removed himself from his day-job as a Grind Monster and looked instead to the music that shaped and inspires him beyond the Metal world.
Bands like The Mission, Cocteau Twins, Swans and Killing Joke, and scenes like the New Wave and Post-Punk colour all the record’s eight tracks, with Shane providing vocals, synths, guitar and bass, and ex-Cancer man, Carl Stokes, providing the percussion.
Opener, Spasm Prayer, hits with some heavy and choppy early electronics, built around a driving rhythms and powerful energy, it is softened by intersecting piano lines and an easy ambience, with a distinctive Eighties pop sound fizzing in the background. The Dreaming Abyss continues the electro pop feel, upbeat and even festive with the jingling bells at the start; but it doesn’t take long before gothic overtones can be heard in the raw vocals, and dark, gritty post-punk takes over.
Later, those poppy vibes return on Illusion Guillotine, this time with a harsh underscoring, even though the track feels like an exercise in musical restraint. Haunting female vocals and delicate keys soften the low set thick bass and Shane’s Gary Numan delivery. There’s a baroque feel to How to Corrode Memories, fairground melodies and layered vocals reflect the New Wave/ Post Punk influences throughout.
Both Thorns of Despair and Taurus lean heavily into harsh electronics , with Thorns… embracing the industrial sound of Shane’s hometown and its manufacturing history; dissonant noise re-enact the crashing, smashing machines as they build the Industrial Age, but there’s also an ominous warning hiding in plain sight, evoking the neon cityscapes of Blade Runner and the out of control creations of humanities’ hubris. Taurus, on the other hand, has a trippy dance vibe, reminiscent of With Sympathy-era Ministry.
Bridge to Resolution is not all doom, gloom and darkness, as its title track lands early in the piece as a wistful slice of Americana; easy guitar and heart-felt lyrics show a different side to the album, through notes loaded and rich with emotion, yet as dry as a desert wind.
It’s all leading to the closing tune, the eight-minute summarisation – maybe even the resolution of the title – that is The Gift of Shame Wrapped in Guilt. Hypnotic and mesmeric, the opening phrases establish themselves in a repeating pattern, the introspective lyric continually questions the narrator, seeking answers. It feels part confessional as the piano lines overlap, forming a progressive platform for the inevitable turn to a heavier mood. Shane would be the first to admit he has limited vocal range, but these work in the song’s favour as a more competent singer might have over-sung it, whereas Shane’s voice comes over as one seeking – and possibly finding – absolution of some sort. Classical strings bring the album to a conclusion.
A world away from what you’d expect from a Shane Embury solo record? Not really, but one that gives up its secrets slowly and makes the listener work to pull out the full nuance of the piece. It’s one of those albums that will burrow itself into your mind and have you reaching for it again long after you’ve moved on to other things.
Nitocris was a favourite of LOUD back in the 90s. They appeared on the cover of the print zine twice and featured in the pages several times.
They pulled the plug amicably in 2001 with most of the members going to a wealth of other bands including Fyreflies, Morgana and the Monstars, Cousin Betty, Sand Viper, Raprager, Raising Ravens and the Sugar Beats, to name but a few.
25 years after they split and 17 since a one-off show at the Annandale, the five piece will make a return to the stage on October 3 at the Marrickville Bowlo in Sydney. Hit this link for tickets, an exclusive tee and a limited edition double vinyl featuring their self titled album and tracks from all their other releases.
Mock Media‘s Mock City Rock is a swaggering, full-throttle blast of rock ‘n’ roll that wears its influences proudly while carving out a personality of its own. Fueled by punchy riffs, infectious hooks, and a reckless sense of fun, the track channels the raw spirit of classic garage rock and proto-punk into something vibrant and refreshingly alive. The band’s chemistry is undeniable, transforming every chorus into a communal shout-along. Equal parts grit, attitude, and melody, Mock City Rock feels like the kind of anthem built for packed venues, late nights, and speakers turned all the way up.
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]
The North Country‘s Once The War Has Ended is a stirring blend of indie rock and synth-pop that pairs thoughtful songwriting with rich, dynamic arrangements. Balancing emotional weight and melodic immediacy, the track unfolds through layered harmonies, driving rhythms, and a sense of cautious optimism that lingers throughout. The band’s knack for combining personal reflection with broader social themes gives the song added depth, while its vibrant instrumentation keeps it engaging from start to finish. Both poignant and uplifting, Once The War Has Ended showcases The North Country’s ability to craft music that is intellectually engaging without sacrificing its emotional impact.
After the revelation of his Desert Trip festival experience, he returned with his Us + Them tour – eight years after he thought he’d delivered his swan song
This week’s “Dark Wave” featured music by Siouxsie and the Banshees, The Danse Society, Psychic TV, Nitzer Ebb, Shriekback, Specimen, The Cure, Lowlife and more.
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]
Brisbane’s premier heavy music and dark arts event, the Dead of Winter Festival, is officially rising from the ashes. Dubbed The Resurrection, the festival is locked in for Saturday, 27 June 2026, marking its first return since 2019. Originally launched in 2009, the iconic gathering was forced into a multi-year hiatus following the pandemic. For […]