Northern post-punk outfit New Horror are getting ready to share their incredible six-track EP Fruitless Search, due out August 27th on their own DIY label Soft Verse.


Fruitless Search is lo-fidelity post-punk at its best and is sure to pin them as ones to watch in the wave of new shoegaze/post-punk bands.

There’s no denying that the North has always been the most fruitful proponent of post-punk, shoegaze and all things noise and some decades on from those first wave of bands (see The Jesus & Mary Chain, Joy Division, The Smiths) New Horror are a fresh-faced band that are undeniably testament to that. Fruitless Search is 6 tracks of murky post-punk/shoegaze delivered with a lethargic lo-fi charm – thrashing guitars are underpinned by impassioned, longing vocals.

Gigslutz premiered ‘In The Night, the first single from the record, and described at as a “foreboding sonic delight”, one that “oozes hazy shoegazey vibes alongside Lewis Thompson’s soulful vocals and a dark, reverb-fuelled fuzz… a foreboding sonic delight.”

‘Fruitless Search’ is lo-fidelity post-punk at its best and is sure to pin them as ones to watch in the wave of new shoegaze/post-punk bands. The guitars are a fuzzed-out ode to Psychocandy, underpinned by foreboding bass and motorik drum machine percussion that thrusts the track with an almost krautrock drive. Whilst the lo-fi fuzz of the instruments propels the track with an all-encompassing wall of noise the band explore pop sensibilities with Lewis Thompson’s soulful, reverberated croons that billow like a beam of light through their dark, almost gothic noise.

“Mechanic post-punk from Northumberland. As if The Jesus and Mary Chain played The Normal’s Warm Leatherette”

New Horror is Lewis Thompson (vocals/drum machine/electronics/guitar), Mark McGarry (lead guitar) and Chris Owens (bass). On the recording process of Fruitless Search the band said they “didn’t want it to be a super clean record, it had to sound like it was being played from a broken speaker in a supermarket or something”. It was self-recorded in Lewis’ flat and drum tracks and synth parts were recorded through guitar amps to maintain the lo-fi charm they were trying to adhere to.

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