das Ghoul
Noise-Das-Noire
Originally released on October 31st 2019
Calling this a 'classic review' is perhaps a misnomer. Not you understand because of the quality of the release (more on that in a second), but because when you read the word 'classic' your mind no doubt is taken to Horror Punk of old; the big daddy, The Misfits. Maybe Blitzkid. Screaming Dead to keep things local. Maybe even some old school T.S.O.L.? Well, whilst a release from 2019 may not be of the same vintage as those mentioned (indeed, for this blog 'classic' will just mean anything released before the blog's inception!), this initial offering from Oxford's das Ghoul does share something in common with at least one of those bands. T.S.O.L. could have been their own scene's Horror tinged synth masters ('Beneath the Shadows' remains a chronically under-appreciated second album from the So-Cal masters of gothic-punk) if audiences were more open, and Das Ghoul could very well be the UK's current answer to that admittedly slightly niche sub-genre of a sub-genre. Describing themselves as 'Gothic-tinged, horror-stained, punk'n'roll terrorpop', this is 13 songs of incessantly catchy synth-pop-horror-punk that runs through the usual horror tropes and themes, but does it extremely well. It never outlives its welcome (the band being masters of writing short songs that indeed leave you wanting more, a rare commodity) and the gothic, slightly-Victorian feel to the album evokes a pretty original and enticing sound.
Starting off with the chillingly strong 'There's Something Wrong with Sara-Jane', a rollicking horror punk masterclass on the theme of possession and exorcism, the album never lets up. As an opener it sets things up well - gothic, strong horror theme, catchy-as-hell, a distinct synthy sound that perfectly encapsulates the self described 'terrorpop' of the band. 'Invisible Simon' is possibly my favourite song on the album, a wickedly delicious 2 and a half minute tale of an invisible, trouble making friend. It slows the speed down, but remains memorably catchy and is another sign of the gothic element that is evident throughout - and carries on, seamlessly, to the next song, steeped in Victoriana and a twisted tale of 'Jacqueline' the Ripper.
