SHADOWHOUSE

THE CYCLE REPEATS - APRIL 2008 Shadowhouse move back into the studio on a full-time basis and commence work on the follow up to Autumn Affect. The third release under the 'season' theme - the Summer CD - is anticipated to be a darker and more emotional work than has been heard from the band before. A title is already in place though this will not be revealed until nearer the release date. It is anticipated that this project will take approximately 2 years.The 2007 release Autumn Affect and the 2005 release Wintergreen are the only products currently available from us. As a special deal anyone purchasing Autumn Affect from us will have the opportunity to also purchase our previous release Wintergreen for half price, with both CDs signed! Email us or leave a comment and we'll arrange it for you, or click the banner above for details and special deal prices! Autumn Affect once more features the stunning artwork of Anne Sudworth on the cover and the centre spread of the 16-page full colour booklet, along with all lyrics and even some pictures of the band! The track listing of the CD is as follows: 1. The Promise
2. Slider
3. Juniper
4. Just Because
5. Masquerade
6. Angels Wings
7. At The Edge Of Rain
8. True To Myself
9. Dreamfloor (affected)
10. Spirals
11. Autumns Eve The new song samples posted include a complete version of 'The Promise,' the opening track of Autumn Affect, and three other song samples from the new album. The samples will rotate every few weeks so keep checking back here or watch out for a bulletin or two. 'I Don't Want' from the Wintergreen CD will remain as a complete track on our profile, so if this your preferred song on *your* profile it will remain there, otherwise friends who have picked any of the previously posted songs will need to change to a new one :-) WHO ARE SHADOWHOUSE? A BRIEF HISTORY Shadowhouse deliver multi-influenced Post-Goth Rock with hints of a Metal edge and have been around for over a quarter of a century. Since 1998 three singles, two albums and a mini album have been released, and prior to 1998 numerous albums and EP's were released as well as specially composed (award winning) film soundtracks, a complete musical and a score for an innovative dance presentation, along with numerous privately commissioned works. For over 25 years we've incorporated orchestrations in any form available to us, so reviewers who claim we are jumping on the latest bandwagon are sadly mis-informed. Shadowhouse have had an Internet presence since 1993 and use an innovative website - the first known website in the world to be based on the layout of a houseTerrorizer Magazine - Issue ..133, UK After a four year hiatus, Shadowhouse are back with an extended line up, revised sound and new CD. Inspired by the success of European gothic rock bands like Lacuna Coil and Nightwish, Shadowhouse's current sound is a bigger, more dramatic affair that proves British goth music is very much alive and kicking. [8.5/10] ------------------------------------------------------------ --------------------------------------------- Review of Autumn Affect, courtesy of Mick Mercer: 'Shadowhouse make no apologies for being miserable' the booklet states, and I can go along with that. A morose, frowning brute (apparently) I have long become used to being seen as unfriendly, and that suits me just fine. It keeps people away. That said, I don't see the relevance here as this is not a pained record, and comes with a beautiful booklet and that glorious Anne Sudworth cover (shown in all its glory in the middle pages), with normal photos, not manic depressive studies. "The other day on Aidan's journal Julianne Regan said she thought Goth Metal bands frequently sounded codswallop because the (mainly) female vocalists opted for unwise attempts at operatic styles, without the training, but it goes deeper than that. They're simply inert artistically, unless having fun, and the majority don't do that. Shadowhouse are Gothic Rock, not GM, but it's an overlapping scene which infects the nobler side and taints those who should be regarded as instantly preferable, and as this is Shadowhouse's finest album let us recognise that this is how Goth should be when guitars loom large, not caught in the tramlines of Industrial escape or Metal immaturity. "There's only two of them, but you wouldn't know, and with 'The Promise' the simple surges of noise around Andrea's precise vocal twirl produces a pleasing tumult with questions ringing out. There's a lovely drop down, and rebuild. 'Slider' is taut, grim-faced music with pensive singing which dives into a mild melee, where John's choppy guitar and drums also canter. 'Juniper' lists disturbing imagery in pessimistic demands as antique keyboards and doomy vocal woe explode in sombre emptiness. "Tracks segue into one another throughout the album, which is a lovely touch, and 'Just Because' has the now familiar guitar gestation and fragrant vocals woffling between bursts, and here they show they're equally capable at creating interesting atmosphere as they are at catchy melodies. Slightly more relaxed guitar lines trail off, but it has a twitching, swish musical abdomen. 'Masquerade' goes for acoustic Mediterranean dawdling but there's no happy lyrical soul, as it starts circling neatly, then noisily lumbers forward. 'Angel's Wings' is instantly dramatic with cool, nippy guitar, thick bass and darting keyboards. Then it slows, gurgling with combined vocals as they happily wobble through a disciplined, softer slice of melodrama. 'At The Edge Of Rain' is in a rhythmical strop early on, like storm-tossed rawk, doom metal almost, but it moves into a withering outbreak, making for a weird instrumental. 'True To Myself' is stuffy noise with delicate vocal company; a flattened sound, like a dismayed ballad, clipped and sharp. 'Dreamfloor (Affected)' is friskier, with grumpy bass in the tormented slurry, but it's actually a light song overall, spinning and demanding, subtly different in tone again. 'Spirals' is chirpier rawk with crisp vocal yearning over trim guitar in a tangled dance, and plenty of real charm. It's true that the easiest comparison is always a chunkier Eves (circa 'Our Summer') but that's just the way it is. 'Autumns Eve' finishes a great record with piano and a dramatic crescendo of raking synth, cool riffs and considered vocal drama, always closest to the fantasy variety. (They're big on golden leaves and post-LOTR shennanigans, but we can all buy into that as a place for emotional allegories.) And, again, no duff tracks, making this an album any old school Goth should enjoy, as well as the more inquisitive of new devotees. There isn't one standout track, it's the overall strength and quality which punches through to you; shifting strains ensuring there's no hint of boredom possible and there's no rock excess beyond the expected blustery brouhaha. "A formidable offering, and a sweetly inspired collection." ------------------------------------------------------------ --------------------------------------------- Review of Wintergreen, courtesy of Mick Mercer: "Blessed with a cover (and label) painting by Anne Sudworth (who should be the patron saintess of UK Goth albums), this is a six track mini-album from the enigmatic band who live online in their web-house. Im glad theyve kept it in that format... ...Shadowhouse have made all of this more interesting. Its sweet. "Exciting bastards with a mellifluous line in synths theyve upped the typical Goth speed (second gear) into third gear, which keeps melody flowing, and allows sprightly but measured vocals to impress easily. (Fourth gear is for the crazy people!) A superb opener, The Mist has everything going for it. Initially you expect something groaning with mystery and mood as some synth pomp edges near to your trembling frame, then the beat kicks in and a giant eagle grabs your shoulders and sweeps you high above the city. This surprised me, as I live in the country. Nevertheless, I was able to enjoy the superbly mobile lyrics with their pictoral nuances, and the way the rhythm crackles on its indecently athletic legs. The synth beckons come hither sauciness, the vocals are clear and concise and the guitar is frothing. Theyre lively, limber and imaginatively prodding you with what you do. If you like bands prodding you, this is for you. "I Dont Want has meaner intentions, so they swagger with a grimacing guitar on miserable sentry duty. Its guitar-heavy yet the singer keeps his own dignity by never growling once, preferring instead to sing like a human being. (Gothic Rawk, without a copy of White Dwarf in the back pocket.) Impressively sustained, this allows you to drop your guard and go with the basics. Sleep, My Nemesis has a bigger, bashed-up riff, and the bass notes are made from reconstituted treacle, so when they have long recording sessions its a mess in there. The vocals are totally rock, which took the edge off it for me. Rain Down lurches spectacularly, like Lacrimosa without the headcold; mellower strands scared by the billowing silken synth and gilded vocals. More rock than Goth again, but attractive enough. "After those two linked items we find them moving in spidery fashion through Dreamfloor going for the terse sub-Industrial smackdown by having Andrea sing in a repetitive haze, and then they end, bravely, on the mournful title track which spreads slowly beneath the sad voice, only for a burly guitar to stiffen its resolve and with the drums banishing any vestiges of power ballad, they trot gamely on in an interesting mixture. "Theyre a genuinely unusual duo in the UK and its a shame theyve not done more over the year. Mainly embracing the more orthodox of Goth rock styling, they have an attractive take on it, without mock-portentous silliness or pretentious angst. This will mainly appeal to the Goth/Rock overlaps fans, but if they have more like The Mist waiting in the cellar that could open up all sorts of possibilities." of our wonderful friends, some we cherish...