It’s Saturday...and I begrudgingly wake up to the sweet song of seagulls outside my hotel window at roughly too early in the morning. The view from which is spectacular by the way...I’m overlooking the adjacent shopping precinct, so I get a wonderful look at the roof from an angle that aspiring scaffolders can only dream of. The seagulls mock me. I’m not hungover though which is a good thing (I think), so I have a quick shower and decide that, if I’m to cover a full day of bands today, I will need sustenance other than alcohol. Wetherspoons it is! I jest...I have my Michelin-Scarred breakfast and chill out until the 2pm doors at The Alhambra. 

There is a small queue of committed, early Goths formed on the street corner where The Alhambra is situated on the seafront...and in the sunshine, with people walking their dogs, joggers, general townsfolk going about their day...it’s a bizarre visual for a Saturday afternoon I have to admit, and I’m in the bloody queue! Nevertheless, we head in, find a table spot where there are again complimentary Haribo’s and other sweets (Listen, Goth’s like Gummy Bears too OK!) and we get our first drinks in, ready for our first band of the day...but it’s a slow start... 

The first band in question is ART GALLERY [2] who sadly suffer for several things...the first being the time. It’s 2pm and the weather is ACTUALLY nice, so the huge windows at the front of the building are letting all of the sunlight in. I’m wearing a fishnet shirt; I don’t want to explain THAT tan at the day job. Also, while we’re not REALLY vampires, the Sun doesn’t make us turn into dust, it DOES kill a Gothic atmosphere pretty quickly. Just close the bloody curtains! The vibe is well-off before we even start!

Secondly...it’s a motivational thing, and I’ll use my love of pro-wrestling as an example here. Typically...you want your first match of the night to be short, sharp, energetic and entertaining to rile up the crowd; get them settled and invested for a good time, which is why WCW succeeded with its Cruiserweight division. Gigs are the same...it doesn’t matter what genre you’re dealing with, have the opening act bring some fun, bring some energy and gear up the audience. Art Gallery don’t do that. An actual art gallery would be more audibly entertaining. They’re like a library for someone who can’t read. Just shut up and look at the pictures, all of which are black & white. Ironically Cathy went to a gallery yesterday that was disappointingly only half open, and that was still better. Cathy is now canon in Morecambe content... 
Songs like “Dandelions” utilise elements of post-punk, indie and shoegaze for an incredibly dreary number. Post-Surrealist apparently. Sometimes plants are pretty, sometimes plants are weeds, flowers or not...this is a weed of a song. There is some nostalgic Vox Continental instrumentation akin to THE ANIMALS or THE DOORS giving a sense of old-school authenticity but it’s rather drab. “On The Factory Floor” highlights industrial, working-class roots of the community and culture, which is applaudable, while “C’est La Vie” which translates as “Such Is Life” sums up the set. It happened; it’s a thing. The singer goes on a rant about how a bug flew into his mouth or throat, or something, and it nearly stopped him being able to perform for us today...it was just awkward between-track banter that made me wish the bug was Megaguirus.  

Our second band come accompanied by our 3rd pint of Detention, which is some guest ale, and it feels like I’m being punished with detention as DRAVE [3] hit the stage. There is a sluggish, stoner / grunge quality to the Indie rock they present, and it reminds me why I have zero intention of ever going to see a band like SLEAFORD MODS live. Or dead, either one. The practically spoken delivery of “White Whine” which sounds like the theme for some early 2000’s Channel 4 late-night show is uninspiring...while “Drave”...yes they named one of their songs after themselves...not a self-titled album...a song...and my first thoughts of the word are, oh it must be a play on words, like, a dreary rave, tongue in cheek type deal, like my own name. No. Drave is an archaic term for drive, as in to be forced or impelled. Well, I am forced to listen to this and impelled to tell you to not really bother with this lot. I mean you can, but don’t. I rambled there...lost my point...crap song. 

More weak pints of ale later because even though we improved the Dracula cocktails, they are still very sweet and not worth it, it’s time for band number three, IAMIMPERFECT [6] who at least bring some tunes despite their honesty. Tracks like “Static & Feeling” embrace a very alt. electronic, pre-programmed approach that you can compare to artists like CELLDWELLER or SCANDROID etc. They sound like they would genuinely be at home on the FiXT roster to be fair which is an honest endorsement. “Inside Of Me” has a softer vocal approach generally but it’s similar, and credit to them they produce some catchy noise. Easily the first highlight of the day. 

Who do we have next? SUBATOMIC STRANGERS [6] have travelled from Belgium to Morecambe and I'm personally grateful of that, as vocalist Sharon Braye has a fantastic set of pipes on her. Only two albums into their career, she projects herself like a seasoned veteran and really carries the group, who peddle more synth-driven emotionally tinged indie-rock. “What Goes Around” is a funk-driven, light guitar piece with a decent hook, while “Air” harbours more of a ballad quality; being crooned away nicely to their credit. The primary highlight however comes from “Ashes Of The Past”, as we get our first bout of crowd-interaction and sing-along participation. The simple yet melodic “Whoa-oh’s” give light IRON MAIDEN chorus vibes and it’s fun to see a room full of Goth’s have a bit of a sing song. They don’t blow you away, but they are enjoyable, despite not quite fitting the aesthetic as you’d imagine. 

Speaking of, we have our next band, THE EDDIES [6] who take the post out of post-punk. Yes, the Scottish ensemble are a straight-up punk band, and while there is absolutely nothing wrong with that, there was a nagging thought in the back of my mind that they would be like PRETTY ADDICTED from 2025. Fine on paper and in principle but presented with the finesse of a coat-hanger abortion. What? That’s exactly what she sounded like! Luckily The Eddies don’t have that issue as despite the punk-by-numbers sound, they are vibrant and provide a welcomed dose of energy at the halfway point. They’ve been asked to play before, but scheduling conflicts prevented it until now, and I’m glad it came when it did. Tracks like “Control” off of the album “Unfinished Business” just deliver simple, no-nonsense punk rock, and the crowd are moving. What more could you ask for? Food...that is the answer...and luckily, it’s half-time. 

​The little kitchen area opens, and once again they have some hearty vegetable curry with rice and naan, and also the option of cheesy nacho’s with salsa, hot dogs and burgers. It’s a welcome respite from the so-far generally uninspiring line-up, and while the sound-quality has been OK, the sounds themselves pack as much punch as these pints of Detention. It’s barely beer flavoured water really and I’ve been to the toilet about eleventeen hundred times already...time for some red wine before I detox! Mind you, a plastic wine glass? Of course...where is Marcel Lucont when you need his vitriolic verbiage towards such heinous crimes. Sacre bleu!  

Dinner is over, and we’re on the final stretch as the last couple of bands are ready to round-off Corrosion 2026...as next up we have SEEKERS ARE LOVERS [2]. It might as well have been a death row meal as these died a death. The German outfit combine electronic inspired early post-punk with wailing and screeching guitar licks more akin to thrash and glam metal in places, yet have the stage presence of that failed Trump assassination. I mean they tried but, it was a bit embarrassing, and a bit of a failure, and the only things hurt are our ears. Even the mic stand gave up, falling over at least three times. The universe sends its hints. Tracks like “Hunting A Ghost” have more mood and atmosphere but overall, the best thing about this band was the bassist. I wholeheartedly apologise for any notion of sexism or misogyny but, to be fair, she was pretty. Doesn’t say much for the band when that is your only honest highlight. Actually I take that back...the highlight was the fact they DIDN’T play their cover of “Smalltown Boy”...merciful god... 

Next, we have our penultimate band and thank the ever-loving fuck for MANUSKRIPT [10]. EASILY, not only the best band of the night but of the entire weekend and I’m so glad they have been booked here today! These Nottingham based rockers have been on Mike and Donna’s radar for a while, so seeing the glee on Mike’s face when he introduced them on stage, saying he remembers seeing them so many years ago, it was another reminder that, this is at its heart, a community. There are your regulars, your relatives near and far, neighbours, new friends, old acquaintances, and this is what we live for. The dance floor is packed as these veterans absolutely OWN the stage.  

They coincidentally open with MORECAMBE & WISE hit “Bring Me Sunshine”, which I used to introduce part one of my review, great minds think alike! Their new single “Doomscrolling” does more than show there’s life in these veterans yet, as they have a satirical socio-political stab at the world, but they are so jovial in general! There is an idiot at the front with a damn Glastonbury style Manuskript flag, waving it around like Hulk Hogan at WrestleMania VII, ready to defend some sort of honour. You are indoors...put the flag away...Nottingham they are from not Normandy...fucking hell.  

Tracks like “Natural High” and “No Reprise” really showcase the bands tendencies of bridging 90’s Brit-pop aesthetics with more traditional 80’s synth-rich proto-Goth ideas musically, and it’s a fantastic combination, while the unexpected cover of PET SHOP BOYS classic “It’s A Sin” harbours a wonderfully gleeful sing-along. Now I’ll be honest...Manuskript are a real example of a band’s band...and I say that as, I went into this weekend only really checking out some tracks on Spotify to get a gauge of their style and sound...and on paper they were alright...but on stage? They rewrote the script. The between song banter, the camaraderie between the members, the noticeable, genuine fun the guys were having on stage, the crowd interaction...these guys SHOULD have headlined the weekend in all honesty...but we still have one more band to come... 

On first listen, Canada’s TRAITRS [7] should be on par performance wise, as they have been entrusted with closing the weekend, and have a decent enough back catalogue to pluck from, but, they somehow manage to fall a little flat. Opening track “Oh, Ballerina” starts slowly, teasing atmosphere and anticipation, before growing into this energetic, proto-Goth plume of nostalgia. The pace of the percussion here drives this track with an impatience, as it dances desperately around The Alhambra.  

Tracks like “The Suffering Of Spiders” channel the likes of THE CURE, especially with Shawn Tucker’s vocals, being delivered with a pained drone amidst the light, melodic and synth-backed guitars and prominent bassline. “Mouth Poisons” sounds like a term Danhausen would diagnose you with for telling lies before cursing you, but it’s a catchy enough, melodic piece of post-punk. Early cuts like “Youth Cults” house THE SMITHS elements and overall, the band sound like an amalgamation of iconic early influences with a modern production budget and software.  

As decent as these are, I still believe Manuskript should have been the ones to close the show this weekend as they clearly had the biggest following and reception, but truthfully this Saturday as a whole, has been a little underwhelming. A lot of the bands are new or simply have very little material to play with for numerous reasons, and while it is genuinely fantastic that they are given a chance, and a platform through weekends such as this, it’s a hell of a trip out of your way to Morecambe with expenses, to take a gamble on a sadly shallow line-up.  

On one hand sure, we turn up regardless because at the end of the day it IS about friends and community, we enjoy the company, the reunion and the celebration of Goth subculture... but on the other hand, we are still there for a weekend line-up of bands by the by and, for the most part this weekend, Saturday mainly, the bands are just a bit...boring. I leave The Alhambra, full of weak ale, cold in the seaside March air, appreciating the community and grateful for working alongside some truly wonderful people, staying as positive as I can ahead of a 200+ mile trip home on a Sunday. Has this line-up put me off future events? Hell no... I’ll be around...just as I purchased a Morecambe FC shirt on this visit, I will support the Shrimps and cockle pickers (Damnit we were so close!) of the Alhambra team and continue to give my honest feedback and try to encourage more people to attend future events. Embrace a little West-coast adventure. September see’s the return of BATS IN THE ATTIC...a week after I’m in Helsinki, Finland, for THE 69 EYES...I'm going to be absolutely knackered... watch this space...I’m going to need stronger beer than Detention that's for sure!

It’s Saturday, September 20th, and I wake up in my Travelodge hotel room in Morecambe, and you know when your compos mentis but are fully aware of the fact you are incredibly hungover at the same time? You need a minute. I look up at the TV, which is still on, I don’t know what I’ve been watching, but I know it wasn’t disabled porn, they said it was, I may have gotten confused. There’s a Burger King gift bag on my desk; they have room service? No, it’s empty, that was from last night, that’s a good sign. I ate. Check the note...LANCASTER? I can’t remember going to Lancaster? Oh no wait, I used Uber. Wait what?! How much did that cost?! Fuck me it may as well have come from Camelot.  

I stick my nose out the window for some clarity and fresh air, the type that only opens around 3 inches to prevent suicide, I admire their foresight, and all I see through the pouring rain is more rain, despair and clouds promising even more rain. Eric Draven said it can’t rain all the time...the bastard is a liar, as he’s clearly never been to Morecambe in September. I know the football team are called the shrimps but surely, they don’t play in an aquarium? What’s the pitch made of? Seaweed?  

Anyway, I digress...after a shower, a quick dash to Wetherspoons down the street for breakfast, there wasn’t a lot of time before Saturday’s shenanigans, as we have a full day of bands today, starting at 2pm. Back in March, I made the mistake of not realising this and ended up missing half of CORROSION, but this time I am prepared. What I wasn’t prepared for, was the aforementioned weather. Honestly it hasn’t stopped pissing it down all morning and it showed no signs of stopping. Never mind coaches and trains I may need to book an Arc home tomorrow! Admitting defeat, I make a slight detour to the local Morrisons, buy an umbrella (They had dinosaurs and leopard print, of course I chose leopard print) and head back to the Alhambra to resume my coverage of BATS IN THE ATTIC... 
​
I get there for 2pm, somewhat damp despite the umbrella, (I may as well have swum across the bay) and head to the bar. I don’t exactly know how much I drank last night but the lady serving me was like “Jack & Coke?”...of course it is. I clearly established myself. OH MY GOTH was at the bar too and joked “It’s too early for me!”...but as they say it’s 5 O'clock somewhere. That’s never bothered me I don’t care what time of day it is; I’m having a drink. Pleasantries aside, we have a long night ahead of us, so let’s get stuck into our first band... 

Being the opening band can be a daunting task in any live situation, even more so when you’re the youngest band playing the weekend, but credit to them, SOCIAL YOUTH CULT [7] take it in their stride like seasoned post-punk veterans. These Newcastle natives play as though they’ve been plucked fresh out of the late 70’s, as they effortlessly channel the likes of JOY DIVISION and BAUHAUS, perfectly recreating that distinctly dark, indie-rock sound. With tracks like “Temporary Love” off of their debut EP “Memento Vivere”, plus recent singles like “Black Lipstick”, they pleasantly surprise not only the crowd, but the other bands in attendance with their authenticity. With their debut album on the horizon (More on that soon, watch this space), these youngsters are a welcome breath of fresh cemetery air. 

Next up we have Nottingham-based outfit CHAOS BLEAK [6] who while themselves haven’t been together long (Forming in 2019), are actually 20+ year veterans of the underground Gothic music scene. Comprising of former members of the likes of MIDNIGHT CONFIGURATION and CRIMSON BRIGADE to name some, they bridge traditional hard rock with socially charged post-punk lyricism, and a hint of semi-industrial cyber-punk in their aesthetic.

With recent releases like the single “Deathtrain” and their 2024 album “Agents Of Chaos” to promote, they chug their way through their set with a solid consistency and cool, controlled swagger, allowing the early afternoon punters to groove along nicely. “Long Black Coat” is dedicated to all those in attendance, celebrating the togetherness, while “Dress The Kids For War” comes with a “Free Palestine” call for peace, which gets a cheer. Not the most exciting band I’ve ever seen live, but they perform well despite a certain level of monotony it can be argued they bring sonically. Bleak is a strong word but SOME chaos would have been nice...

We liven things up a little for our third band, as Bristol’s NAUT [7] add a little sparkle to proceedings…in a sense. Frontman Gavin Laubscher is wearing this wonderfully sequined black blazer jacket, coming across as either a depressed disco ball, or SAM RYDER’s evil twin. I would have tried to take a photo, but I feared the flash would cause serious reflective damage to both the venue and all those in attendance. Imagine the bit from “Shin Godzilla”, when all the atomic rays come out of his dorsal fins, taking out buildings, helicopters, possibly low orbiting satellites…I mean I’ve seen Morecambe, I doubt the fire brigade answer the phone.

I digress…with their dark blend of indie-rock, melodic post-punk and Gavin’s baritone drawl, they treat the crowd to some fine Goth ‘N’ Roll. Tracks off of their debut album “Hunt”, such as “Dissent” and “Nightfall” go down a treat with their subtle synth elements, while earlier EP cuts like “Disintegration” show that Bristol has its own bat population too. It’s a fun set, and here we have another band full of potential among the UK’s darker musical circles. Don’t miss the boat on Naut…

Next up we have a band I was more familiar with, as THE BLACK CAPES [8] made the trip from Greece to grace us with their dark, Goth rock intensity. I’d previously reviewed their album “Lullabies For The Dead” a couple of years ago, which I thoroughly enjoyed, so it was good to finally catch the guys on the live stage. Tracks like “Wolf Child” off of said album, are justifiably popular, but they’ve since released their most recent LP “Looks Like Death”, which gets strong representation. With cuts like “Love Is Love” and “The Reject Anthem”, frontman Alex prowls the stage like he should be wearing a black cape himself. So brooding and ominous is their stage presence; add this to the heavier riff work and Alex’s deep vocals, this is a more doom-influenced Goth rock treat, and Alhambra is left trembling. These aren’t so much as Greek Gods…no…more like Hades’ own in-house band; inspiring his schemes to murder Hercules with each and every note while he gives Cerberus belly rubs… 

By this point I should remind everyone that this is day two of a festival of sorts, not a stand-alone gig night, and we’re having a full day of it, so what better time to hammer home the hospitality, foresight and organisation of the whole team that run both BATS IN THE ATTIC and Alhambra as a whole, than to highlight their half-time scran. Yes, that’s right, in a small kitchen set-up adjacent to the bar, everyone in attendance can pop up and get some homemade vegetable Saag Aloo curry with rice, naan bread…and there’s nachos and cheese with salsa, for a fiver!

​For a break between bands and to soak up your Jack & Coke, and for just a moment to sit, chat and recharge if anything, it’s a wonderful inclusion and just goes to show once again that the team behind all of this care about you. Sure, you can survive off crisps and peanuts from behind the bar, or brave the weather for a local establishment, there is a KFC down the road, Kentucky Fried Cockles anyone? (For fuck sake Gav! For the last time! I’m not telling myself again!) but, Bats has you covered. It was bloody nice too to be fair! You cannot fault the organisation here. 

Our next band are notable by their absence, and that is because sadly, WITCH OF THE VALE [N/A] pulled out of the event. I was genuinely gutted to hear this, as having previously seen the Scottish dark electronic duo supporting THE BIRTHDAY MASSACRE, I was looking forward another set of their nonchalant, ethereal splendour. Their cover of “Hurt” for example almost brought me to tears. We instead, have the replacement bus service that is MARK E MOON [6].

Not to knock the Isle Of Man…man…as his electronic-tinged post-punk fleets between darker indie-pop and nostalgic synth-wave, as he and his backing band promote their new album “Pop Noir”. Tracks like “A Kiss Before Dying” and “Children” (I think) are decent, but my disappointment got the better of me and I kind of wandered off to chat with The Black Capes and grab another Jack & Coke. To be fair I felt bad and went back and had a listen after the fact, Mark’s earlier stuff on Bandcamp is better than the new and only record on Spotify, but that’s just me.

Our penultimate act of the weekend are a Swedish outfit by the name DARK SIDE COWBOYS [8] and outfit is a fitting term. Channelling the likes of FIELDS OF THE NEPHILIM and PHANTOM OF THE BLACK HILLS, they truly embrace a sense of Gothic Americana, with their Stetson’s, long coats, and generally coming across as the kind of ghosts Zak Bagans would be playing with in some haunted-ass saloon somewhere obscure in Texas. The smoke machine only adds to the spooky aura these Swedes bring…it’s like John Carpenter’s “The Fog” but the costume department somehow confused pirates for cowboys.

Their sound is more of a traditional rock ‘n’ roll with a semi-Southern twang. It’s a bit bluesy, they have solo’s, they have aura and atmosphere, but it’s delivered with a darkness that can only truly be appreciated on the live stage.  With their latest EP “Gunslinger” and a hefty back-catalogue spanning over twenty years, they really embrace both a lifestyle and gimmick in their art. With an imposing stage presence, and the tunes to match, they’ll be your huckleberry for sure, delivering a solid set at the Alhambra. Despite the gimmick, the subtle theatrics and face-value niche appeal, remember this quote from John Wayne; “Real art is basic emotion. If a scene is handled with simplicity – and I don’t mean simple – it’ll be good., and the public will know it”. Dark Side Cowboys don’t mess around and play from the heart. They’ll finish up, down a bourbon and saddle up for the next town. Well…when the rain stops at least. In the mean time they can enjoy tonight’s headliner…

Finally, then, when the smoke clears, it’s time for our final act of the weekend. Another Swedish act by the name of THEN COMES SILENCE [8]. Silence, however, is not on the cards, as the dancefloor / pit area is packed, and the Alhambra is in full swing for this lot. Dressed like somewhere between ALKALINE TRIO and TURBONEGRO, these Swede’s deliver a punk-riddled dose of dark alternative rock with more hooks than a Morecambe fisherman. Tracks off their latest album “Trickery”, such as “Like A Hammer” and “Stay Strange” bring a boisterousness that invigorate the late-night crowd for the largest dance along of the weekend. “Pretty Creatures” houses certain KILLING JOKE vibes which is never a bad thing, while older cuts like “Apocalypse Flare” only reiterates the capability of these Swede’s and their penchant for catchy, alternative rock bangers.

​It's been a long day and night…it’s an endurance for anybody, no matter how much you love a genre, but what’s evident yet again, is the team behind CORROSION and BITA care about what they put on, who they put on, and who they cater for. There is a budget for everything in music promotion, marketing and booking, and I’m sure they could have booked a big artist to sell tickets…but that’s not what these weekends in Morecambe are about. The whole point in these events at the Alhambra are to celebrate the alternative Gothic scene…forget genre specifics and flow charts and where what sound came from…the point here is togetherness, appreciating music, appreciating bands, discovering bands, and being a family. I’ve only attended twice now myself, but I feel more welcome and appreciated here than my local bars and rock clubs (Not that there are many).

​Between the half time scran, the personalised bottles of wine for the artists, the goody bags, sweets and promotional flyers on the tables, the warm welcome, games of pool, banter…this is a true community. If you’re into your old-school Gothic rock, or even if you’re just discovering your new favourite alternative genre, Morecambe needs to be on your radar. I can’t celebrate these events enough as mere words don’t do them justice. You have to be there. Bats in the attic in any part of the country are protected by law…well I’m making it law that this event be protected and celebrated. Embrace West coast Gothic…and allow a real grassroots alternative festival to flourish. Corrosion returns in March…I’ll see you there… Words: Gavin Griffiths

Back in March, you may recall that I embarked on an adventure Northbound, to the west coast of England, and a quiet little seaside town called Morecambe. Quiet as in dead, that is...even the convenience stores closed conveniently early. Dystopian IS a strong word, but the seafront looked more like the front line of a battlefield. On the losing side. Like, “Humanoids From The Deep”, without a budget, or extras, and less appeal. I jest it's lovely looking out to the sea...just...don't turn around.

I explored a little more this time around. The stick of rock was probably mined in Littledale before Thatcher, and in that same touristy shop I found open, they were selling fridge magnets saying Cornwall. Made me equally dyslexic and disorientated. I travelled 230 miles North, to Morecambe remember, and Cornwall is even further South than me! Can you physically travel North to Cornwall from the UK? I’d take a paracetamol right now but apparently Donald Trump said they give you Autism...I have enough on my plate. 

Anyway, as per Morecambe, famous for its footballing shrimps, heavyweight boxing dosser and self-proclaimed gypsy king Tyson Fury, and of course, comedic legend Eric Bartholomew, who is such a national treasure he has a Wetherspoons named after him, (That's better than being fucking Knighted!) we were here once again to try to appreciate this post-apocalyptic seaside destination, and the music was fitting. What is it that’s so alluring about Morecambe’s dark side? No, I’m not going to make another cockle picker reference, I did that already for GOTHZILLA months ago and that was pushing it. We’re of course going to be taking a look at Morecambe’s Gothic scene...and the family vibes surrounding events at the Alhambra.  

While March hosted COROSSION FEST, the main West-Coast Gothic event of the year, acting as an alternative to the already established East-coast Whitby weekend, September finds the team putting on the Sister show if you will; BATS IN THE ATTIC. Really it differs only in name, as again we have two nights at the Alhambra, a genuinely lovely venue, filled with bands covering everything under the Gothic umbrella. I must emphasise umbrella at this point as the weather this weekend is wetter than an otter's pocket, after said otter drowned looking for cockles...DAMNIT! I did it again! Moving swiftly on...let’s hit the Alhambra for night one and get that Friday feeling underway... 

Our first band of the weekend are an immediate highlight, as Sweden’s SJÖBLOM [8] entertain the early crowd with their finely stripped back synth-rich delivery. A group I’ve been looking forward to personally (Even though I honestly can’t pronounce them); the duo utilises a backing track for percussion as they bridge indie aesthetics with a sense of new romantic melody. Their stage presence may be minimal; jeans, hoodies and leather jackets...one guitar, around two keyboards, but they have the tunes to carry this set effortlessly.  

​“Oh My Heart” from 2016’s “6” for example, is an incredibly infectious number, with a solid bass groove, piercing keys and dance-along qualities, easily an early hit and fan-favourite, getting people up on the dancefloor early on. Their latest album “Dead Of Night” gets good representation, including a wonderful rendition of “Turn My Head”. Instrumentally it channels the likes of early DEPECHE MODE with its quirky electro-pop aesthetics, while “Telephone” from 2021’s “Demons” only cements their status as a solid indie-synth ensemble, and they’re a brilliant way to open the weekend and get everyone in a great mood. Their sound could easily do well in UK markets, given the trend for nostalgic 80’s throwback lately and hopefully, we’ll see a lot more of these Swedes in the future, as they are well worth checking out. I purchased vinyl, trust me. 

 

Finally, then, we get Friday night’s headliner, GHOST DANCE [8] and to give a sense of perspective, this Leeds-based bunch initially broke up the year I was BORN. Having themselves been born out of THE SISTERS OF MERCY and SKELETAL FAMILY you just know the heritage is there, and vocalist Anne-Marie Hurst turns back the clock to perfectly encapsulate what post-punk and proto-Goth should embody, with this newest iteration of the band line-up.  

Tracks like “I Will Wait” chug-along rhythmically with some solid riffs and slick guitar licks, almost bordering on classic heavy metal tropes, and they allow for an intense, end of night dance along as the track grows and grows into a wonderful crescendo. Forget about genres for a minute, this is a wonderfully crafted song. “Spin The Wheel” showcases a softer side of the band, as Anne-Marie allows her melodious vocals to take centre stage, sounding pained and perturbed, over the gambles and uncertainties of life, but in a venue full of likeminded friends, acquaintances and adopted family, it’s a message that we can all relate to. Both Corrosion and Bats In The Attic provide a haven for likeminded people to congregate and enjoy culture, and we always run the risk of judgement, or ridicule, it’s the wheel we spin when we make these choices growing up, but this community has shown me that they thrive; WE thrive, when bands like this bring us together.  

Further tracks like “Down To The Wire” highlight the joviality you can have with alternative music with its clap-along qualities and indie-pop sensibilities, while newer tracks, like “Goodbye” and “Jessamine” only cement them as lost icons of the UK’s proto-Goth music scene. We’re so used to reliving the good old days, or at least yearning for them in some generation's cases, that some bands can often be overlooked in favour of the big guns. This is one of those bands, that we need to appreciate more, and the Corrosion/Bats team ensure that we do. For that, we applaud them. 

Regardless of any sense of genre bias we have for these weekends in Morecambe, what’s important, is that night one of 2025’s Bats In The Attic went down a storm. Friday may only have had four bands, but each and every one of them delivered in their own way, and it’s that which makes this community flourish. Music is subjective in nature, but the message is always the selling point, and the whole point of this Morecambe-based congregation, is this menagerie of unrelated family members can come together, have fun, and appreciate not only the legacy and history of Gothic rock and post-punk, but enjoy each other's company in what’s become a bi-annual reunion. Now if you’ll excuse me, I have to get back to my hotel, order a Burger King from Lancaster because of course I do, nothing is fucking alive let alone open in Morecambe as far as I can tell, and make notes ahead of tomorrow...because there are plenty of bats left in the attic. It’s going to be a long one...not unlike my journey here to be fair! - Words: Gavin Griffiths