We left off with the experimental industrial post-punk group Vukovar, precisely an year ago (here), with ‘just’ 4th albums under their belt, hailing them as one of the best kept secret of the UK underground with “a sound ranging from bright, poppy and melodic sensibilities, bleak post-punk intricacy to dissonant electronic and industrial experimentalism”.
Formed in 2014 over the Brutalist wastelands in the North of England, the collective of ‘idealists, voyeurs and totalitarians’, who had among their ranks dark folktress Rose McDowall of Strawberry Switchblade, Coil, Psychic TV, Current 93 and Death In June fame, Michael Cashmore (Current 93 and Nature & Organisation) and collaborated with 80’s b-movie star Dawn Wildsmith, and actor, TV writer and man of all-round good taste Graham Duff and others, will have soon have their seventh full-length coming out on May 25, 2019, titled “Cremator”, on Vinyl / Cassette / CD, via Russia’s Other Voices Records.
The new LP marks The First Death of the group: the ending of the Shades incarnation/incarceration.
Heavily featuring are Simon Morris of The Ceramic Hobs and also Holly Hero some-time performer of Smell & Quim.
The new LP marks The First Death of the group: the ending of the Shades incarnation/incarceration.
Heavily featuring are Simon Morris of The Ceramic Hobs and also Holly Hero some-time performer of Smell & Quim.
As a juicy preview has been released the single “Prurient”, along with non-album track “Angels of Cremation”, as special Collector’s Lathe Cut 7″ EP, where the group delve deeply into their synth ‘pop’ leanings, while never eschewing their lingering disturbing, dark sense of discomfort and anxiety.
“Prurient” deals with feelings of power, secrets, and envy. Eerie penetrating dismal synth lines, propelled by solid tight rhythms, smoulder and squall behind solemn, anguished, and longing vocals riddled with regret, pain and solitude. Ominous spoken words change to crooning odes and afflicted, meditative laments encapsulating the intense ambiguity forced upon the submissive role as it unravels, shadowed by increasingly rumbling bass and dramatic synths, in a dark sad dance of love and bitterness.
Keep up with Vukovar:
