English rock band Band of Skulls, formed in Southampton in 2004. The original lineup consisted of Russell Marsden (guitar, vocals), Emma Richardson (bass, vocals), and Matt Hayward (drums). Initially performing under the name Fleeing New York, the trio eventually rebranded as Band of Skulls in 2008, marking the beginning of their rise on the indie rock scene. Band of Skulls released their debut album,”Baby Darling Doll Face Honey,” an incredible fifteen years ago in 2009. The album was a blend of blues rock, garage rock, and indie influences, featuring standout tracks like “I Know What I Am” and “Death by Diamonds and Pearls.” The gritty guitar riffs, dual vocal harmonies, and raw energy of the album earned the band critical acclaim and a growing fanbase. Their music was featured in TV shows, movies, and video games, further amplifying their presence and significantly broadening their fan base.
In 2012, Band of Skulls followed up“….Doll Face…” with “Sweet Sour.” Marking their breakthrough back in the UK, this album showcased a more polished and mature sound while retaining their signature intensity. The title track “Sweet Sour” and songs like “The Devil Takes Care of His Own” highlighted the band’sdynamic range and songwriting prowess. The album received very positive reviews and solidified Band of Skulls’ position in the alternative rock landscape internationally. Their relentless touring alongside some of the biggest bands in the world including Muse , Queens Of The Stone Age, The Red Hot Chilli Peppers and significantly, The Black Keys in both the US and UK, continued to attract a new audience whilst also seeing them make their first appearance on The David Letterman Show.
“Himalayan,” the band’s third album celebrates its tenth anniversary this year having arrived in 2014, and it marked a significant evolution in their sound. Produced by Nick Launay (Nick Cave & The Bad Seeds, Yeah Yeah Yeah’s, Arcade Fire), the album featured a mix of hard-hitting rock anthems and more experimental tracks. Songs like “Asleep at the Wheel” and “Hoochie Coochie” displayed their ability to craft infectious hooks while maintaining their rock edge. “Himalayan” was well-received by critics and fans alike. Glastonbury beckoned that year reinforcing the band’s reputation for delivering powerful performances with a distinctive edge whilst also attracting an invitation to play on the BBC’s Jools Hollands’s Later TV show.
In recent years, Band of Skulls have continued to evolve and experiment with their sound, releasingseveral more albums and maintaining a strong presence both live and through the continued use of their well crafted songs across film and TV. Early this year the band performed a homecoming show inSouthampton, celebrating their journey and connection to their roots showcasing the band’s enduring appeal and energy. Marsden introduced a new line up and took the opportunity to hint at the new material to come in 2025. He also gave the gathered fans early news of an imminent box set which will tell the story of those first three records through a deluxe book and vinyl offering which will include sought after tracks, demos and b-sides as well as an unprecedented look into his personal archive of the band’s history, including many never seen before photos and memorabilia.
Band of Skulls’ career has been marked by a consistent dedication to their craft and an ability to innovate within the rock genre. With their first three albums,”Baby Darling Doll Face Honey,” “Sweet Sour,” and “Himalayan,” they established themselves as a force in the indie rock world and continue to captivate audiences and solidify their legacy as a dynamic and influential rock band.
Ghostwoman
Evan Uschenko, the accomplished Canadian songwriter and multi-instrumentalist, assumes the pivotal role as the creative force propelling GHOSTWOMAN’s blend of psychedelic garage rock infused with blues and indie elements. Despite the rapid release of their third album, Hindsight Is 50/50, within a mere 18-month span, Uschenko ardently asserts that this particular opus is the one that unequivocally encapsulates the band’s authentic essence.
Uschenko Expounds upon the band’s evolution, stating, “The initial two albums were never conceived as comprehensive works; they resemble pages torn from diaries long consigned to the flames. With the addition of Ille van Dessel as a co-writer and drummer, Ghost Woman has, at last, found its definitive trajectory.” The vocals are bathed in reverb, and the album often hints at its intended meaning rather than delivering it in a straightforward manner. The guitars resonate with greater weight, while the vocals become less readily decipherable. Nonetheless, the entire record cohesively unfolds within a warm analogue sound, punctuated by scarce, yet captivating vocal melodies that guide the listener through the tracks, even if their meaning remains somewhat elusive.
