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Seattle’s Ghost Fetish returns with Someone, a song that wears its longing lightly but leaves a lasting impression. There is something quietly spellbinding in the way it moves, balancing romantic ache with a calm, graceful restraint. Rather than pushing toward melodrama, the band lets the feeling gather slowly, giving Someone the soft, suspended glow of a memory that has not quite faded and a desire that has not quite found its words.
The track carries traces of Kraftwerk’s clean-lined discipline, though here that sense of order is softened into something far more tender and dream-struck. Ghost Fetish takes those old components and lets them breathe, until the machinery feels less mechanical than intimate: analog tones churning gently like old machines lost inside a dream. The synths move in slow succession, warm and luminous, with a motorik pulse underneath, but they are framed with a pop instinct closer to New Order’s Power, Corruption and Lies, where pleasure and panic can occupy the same room and stare each other down without blinking. There is also a melancholic whimsy in the song that recalls a Kiss Me, Kiss Me, Kiss Me-era Cure deep cut or B-side, the whole thing seeming to drift slowly out of reach like a dream kissed by dawn light slipping through a windowsill.
And Fenwick sings through the bubbling reverie as though he is trying to talk himself into composure while the room tilts around him. At moments, there is a large-hearted reach that suggests Arcade Fire; elsewhere, the emotional directness calls up Future Islands, that same willingness to sound wounded in full view of the crowd without sanding away the edge. It gives the song a bruised grandeur, a sense of desire turning over in its sleep and waking up with its fists clenched.
Listen to Someone below and order the single here.
As the latest preview of Sculpture, due June 11th, 2026, Someone feels like a promise that Ghost Fetish have sharpened their sense of drama without losing the nerve that made them worth watching in the first place. Grand confusion may be the condition of the age, but this lovely song finds a small clarity inside it: love, lust, fear, and need, all dressed in black and lit from below.
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The post Seattle’s Ghost Fetish Returns With the Soft-Focus Synthpop Dream of “Someone” appeared first on Post-Punk.com.
For the first time ever, Swedish epic doom metal pioneers CANDLEMASS will bring their monumental sound to Australian shores this September and October for a long-awaited debut tour in Melbourne, Sydney and Perth. Formed in Stockholm in 1985 by bassist and main songwriter Leif Edling, Candlemass stand as one of the true architects of epic […]FREE .
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Thrash metal titans ANTHRAX return to Australia later this month for four huge shows. Bold and uncompromising, ANTHRAX stands as one of the legendary Big Four of thrash, a band whose breakneck riffs and mosh-pit anthems have shaped heavy music for over four decades. On their 2026 Australian tour, ANTHRAX will ignite stages in Brisbane, […]Seattle’s God Tongue comes writhing back into view with the official video for Grip, landing like somebody slipped a tab of acid into the circuitry of an old warehouse PA. This is a nasty little delight, the kind of track that feels like it was born under a strobe light in a room with bad wiring, suspicious stains, and one person in the corner who may or may not be a prophet. The band’s self-described “Acid Body Rave” tag sounds at first like the sort of phrase a group might invent after too much coffee and one treasured VHS copy of Liquid Sky, but here it actually fits. You hear it and think: yes, that is exactly the sickness we ordered.
God Tongue have built their whole deal around an ugly-beautiful collision of EBM muscle, acid corrosion, minimal-wave chill, and the sort of B-movie sleaze that used to drift through midnight cable. Grip tightens that recipe into a mean machine. The bassline stomps in with a cold-blooded purpose, the drum programming snaps like a trap being tested for your ankle, and the synths smear themselves across the track in warped streaks. The song’s general menace comes with a side helping of a wicked sense of play, the feeling that the band knows exactly how deliciously absurd this zone can get when you lean into it with enough conviction and enough damaged equipment.
The video, shot by Vancouver filmmaker Daniel Brand, understands the assignment and then scribbles in the margins. It is lo-fi, grainy, weird, and gloriously glitched, like somebody found a floppy disk in the gutter marked DO NOT OPEN and naturally opened it in the middle of a dark club. There are flashes of mysterious data, a masked fiend serving…milkshakes? And a general mood of A Clockwork Orange-meets-cyberpunk depravity that brings to mind Hackers after a nervous breakdown and Strange Days after one too many energy drinks. The imagery has that degraded, diseased glamour that makes you want to laugh and recoil at the same time, which is usually a good sign.
Watch Grip below:
Grip lurches, lunges, and locks in. God Tongue are not aiming for polish; they want impact, pressure, and a little psychic damage on the side. Bless them for that. In a world overflowing with tidy little tracks that behave themselves, Grip shows up with its shirt half-buttoned, its pupils blown wide, and a grin that suggests very poor intentions.
Listen to Grip below and order the album LIMINAL here.
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So, Reverie arrives out of Liverpool with a compelling, authentic backstory. You can hear it in the grain of their music: two young lifers, Andy Power and Cain Garcia, learning how to stay standing through the usual artistic bruisings, then turning that bond into a duo that knows how to move with purpose. Their latest single, Runaway, feels born from exactly that sort of hard-earned closeness, where instinct travels fast, and one small riff passed across a soundcheck can become the engine for something bigger, brighter, and slightly bruised.
What grabs you first is the lift of their jangle-pop melody, that quicksilver guitar riff that came from Power pulling himself out of standard tuning and into strange territory inspired by Billy Corgan’s methods. You can almost feel the room where it clicked, the moment Garcia latched onto it, the week between discovery and development, the drum machine experiment giving way to live drums when the pair realized the song needed muscle and motion rather than mechanical neatness. That choice gives Runaway a pulse and push; the sense of a song being chased by its own momentum.
There is a marvellous emotional split at the center, which Power describes perfectly: “After we wrote the instrumental, I really wanted the lyrics to feel bittersweet in contrast to how joyous the melodies were as that juxtaposition between sadness and happiness within music is something that has always fascinated me.” The tune glides in with a kind of open-armed rush, while the words carry the ache of loving someone who will never return the same devotion; of knowing the scales are broken and offering your heart to them anyway.
Power goes even deeper: “It’s one of the first songs I’ve written where I’ve actually spoken from the point of view of someone else instead of myself; seeing people you hold dearly to you falling out of love is really difficult and I think it’s something a lot of people can relate to. Whether it’s happening to you or you’re the one witnessing it unfold with others, it all still hurts.”
That perspective gives the song a wider field of feeling, less diary-entry than shared scars.
The Video8 clip directed by Laurie Clapson suits it beautifully, folding Liverpool’s streets and familiar corners into the song’s wistful weather. So, Reverie may wear traces of post-punk, dreampop, jangle-pop, and shoegaze in their bloodstream (via The Smiths, The Cure, and The Ocean Blue), but Runaway feels less like genre exercise than two friends finding the shape of their own language. For a duo still building toward their debut EP, this is one hell of a calling card.
Watch Runaway below:
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The post Liverpool Post-Punk Duo So, Reverie Capture the Bittersweet Ache of Lovelorn Devotion in Video for “Runaway” appeared first on Post-Punk.com.