GHOSTWOMAN

AUSVERKAUFT
Fr, 28.06.2024
, Hafenklang

DAS KONZERT IST AUFVERKAUFT.
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Despite ‘Hindsight Is 50/50’ being the third album from GHOSTWOMAN in 18 months, songwriter and multi-instrumentalist Evan Uschenko believes that this is the first album that “finally captures the true nature of the band”. The album was recorded mostly live in three days at the analogue Kerwax studios in Brittany, France by Christophe Chavanon (The Good Damn). Uschenko states that “the first two albums were never meant to be albums: they are like pages from diaries that have long since been burned. With the introduction of Ille van Dessel as co-writer/drummer, the project feels like it has a direction”. Overall, there is a darker, denser feel compared to previous releases, but the sound and vibe of this album is more akin to what the project was supposed to be when it started in 2016, finally realising GHOSTWOMAN’s creative vision.


Support: Night Terrors

„With Death Pop from The Black Lodge, Night Terrors opens the gates that conceal the irreversible void: a world of sadness, a place without hope. Revealing the harsh truth that some stories end well while others don’t, Night Terrors pleads to face the inevitable: All will end eventually.
Influenced by Grave Wave and Synth Pop contemporaries, Death Pop from The Black Lodge bears a complex structure of penetrating drums and gut-wrenching bass lines. Matched to create a foundation for multiple layers of gloomy synths, Night Terrors doesn’t shy away from delivering a melodic, at times even morbidly playful, contrast.
Enticing the listener further into the void, a distinctive, cold and merciless voice unleashes lyrics that put a finger into the endlessly suppurating wound that is blind optimism.“

>>> INFO

DAS KONZERT IST AUFVERKAUFT.
ES GIBT KEINE TICKETS AN DER ABENDKASSE.


Despite ‘Hindsight Is 50/50’ being the third album from GHOSTWOMAN in 18 months, songwriter and multi-instrumentalist Evan Uschenko believes that this is the first album that “finally captures the true nature of the band”. The album was recorded mostly live in three days at the analogue Kerwax studios in Brittany, France by Christophe Chavanon (The Good Damn). Uschenko states that “the first two albums were never meant to be albums: they are like pages from diaries that have long since been burned. With the introduction of Ille van Dessel as co-writer/drummer, the project feels like it has a direction”. Overall, there is a darker, denser feel compared to previous releases, but the sound and vibe of this album is more akin to what the project was supposed to be when it started in 2016, finally realising GHOSTWOMAN’s creative vision.


Support: Night Terrors

„With Death Pop from The Black Lodge, Night Terrors opens the gates that conceal the irreversible void: a world of sadness, a place without hope. Revealing the harsh truth that some stories end well while others don’t, Night Terrors pleads to face the inevitable: All will end eventually.
Influenced by Grave Wave and Synth Pop contemporaries, Death Pop from The Black Lodge bears a complex structure of penetrating drums and gut-wrenching bass lines. Matched to create a foundation for multiple layers of gloomy synths, Night Terrors doesn’t shy away from delivering a melodic, at times even morbidly playful, contrast.
Enticing the listener further into the void, a distinctive, cold and merciless voice unleashes lyrics that put a finger into the endlessly suppurating wound that is blind optimism.“

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