Whilst debuted, in April 2020, with an entirely instrumental live album, exploring dark ambient electronica infused with 80s-tinged gothic, post-punk and coldwave leanings, the one-man-band based in London, under his New Cross moniker, named like the South-East working-class district from where I saw a heap of cheap memorable indie/punk gigs in the mid-’90s, has implemented over the new year his forlorn, deadpan and monochromatic chants, never over the top.
The elusive musician deftly crafts a tortuous, hallucinated and immersive synthetic sound of analogue darkness, amidst syncopated, mechanical drum machines, bleak buzzing bass pulsations, sparse guitar scratchiness, and algid distressing flows of dirgey synths, delving into a painful murky pool of barren desolation, inner torment, and disenchanted melancholy.
Pervaded by a subtle creeping restlessness and an eerie ghostly aura, the cryptic and introspective “Fist of the Hanged Man” unleashes hypnotic tight snare beats that pound along, woven with an obsessively throbbing, droning bassline, stabbed by lugubrious lustrous synth chords looping and sweeping across, like a frozen winter waft, aloof, desperate male vocals, unleashing restrained anger and soreness over the broken, bleak, and ominous “Fist of the Hanged Man.”
Title track from New Cross‘ latest new EP, “Fist of the Hanged Man”, is as well included in its evocative instrumental version.
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