So back in September, I covered the BATS IN THE ATTIC weekend up in rainy-old Morecambe, and thoroughly enjoyed two nights of Gothic, post-punk, dark-wave, new wave, old-school, skipped-school and too cool for school alternative bands, all coming together under the vague but vehemently celebrated Gothic umbrella. One of these bands, quite frankly have barely LEFT school by the looks of them, but when I tell you that they were one of THE highlights of the weekend, you may just rub your eyes in disbelief and smudge your Maybelline. Yes, today we’re going to be revisiting SOCIAL YOUTH CULT...
The nostalgic, Newcastle Upon Tyne based force majeure (Consisting of vocalist/guitarist Shaun Greer, guitarist Holly Moore, bassist Jack Stephenson and drummer / vocalist Alex Thibaut) impressed everybody as a live band, especially the older bands playing the weekend, with their raw, authentic modern day take on traditional post-punk. Honestly it was like a time capsule; a fleeting glance at the dawn of darkness, when the very concept of alternative music in any capacity was less than a glint in even Franz Waxman’s eye. Since then, bassist Jack’s been in touch via email, and has very kindly sent over their upcoming debut album “The Lighthouse”. With it being released on Sunday, November 2nd at the Whitby Weekend, let’s check it out, and shine some shade on one of the scenes most promising post-punk prospects. Now having said all that, as we press play..."I bid you velcome"...
The album opens with “Venus”, and while it lacks the smoothness of a lady's shaving product, it cuts just as close with its darkly foreboding bassline and methodical yet intense percussion. You can hear a lot of the influence from KILLING JOKE in the instrumentation alone here as it relentlessly chugs along, almost bullying the listener into acknowledgement. It plateaus early with riff repetition, with only Shaun’s occasional vocal spikes giving this more than a one-dimensional character, but it’s hypnotic in its own right, and it’s the aura that carries this song. With Venus being the Roman goddess of love and victory, lyrically this is up there with the most vampiric, Poe-influenced, one night stand anti-ballads I’ve possibly heard. It’s like, taking a walk of shame through a graveyard; dressed to kill but feeling like death warmed up, yet still smirking at the quality of the head (stones). It’s likely deeper than that but...facial value.
Follow up track “Close To Nothing” somewhat tackles mental health issues...the weight of the world, societal and romantic defeatism, and hanging on by a thread. Lyrics like “Artery beating, moments fleeting, I’m so tired of this thing in my chest” channel a sense of emotional fatigue; they’ve weighed up the pros and cons, and suicide is not off the table. There’s reference to overdose, and it’s a deeply pained track delivered in a manner that would make BAUHAUS proud. It’s slow, it’s hurt and it’s a wonderfully delivered acceptance of sadness.
Next up we have “The Man In The Photo”, and while Chad Kroeger isn’t available to look at this for us, we’ll try not to laugh at it ourselves. Tying this back into BAUHAUS, this could easily be a nod to “Dracula”, as in Bram Stoker’s novel, Jonathan Harker is greeted at the castle by a grey-haired individual with, long, sharp fingernails, and seeing as vampires in general have no reflection, it’s safe to assume that, daguerreotype cameras of the time, which like old mirrors, used silver, would render an image of the vampire non-existent. It fits conceptually.
Lines like “He hurt his head but not too much” could refer to Harker’s mental breakdown or his attempt of twatting the Count with a shovel in his coffin. Regardless, it’s a slow, methodical song with deep bass and a plodding delivery and is an incredibly nuanced way of suggesting you read “Dracula”. I’m not going to lie I would have much rather have read that in school than “Of Mice And Men” or “Why The Whales Came”. I’d rather watch “Nosferatu” in braille wearing oven mitts but there you go...
Closing title track “The Lighthouse”, could be a nod to Scottish and Irish coastal folklore, with Celtic spirits such as the selkie, but there are many ghost tales of babies appearing before lighthouse keepers, amidst storms or tragedies. A harbinger of doomed fate, or a curse, it’s a classic maritime haunting trope...coupled with the fact that there’s a lighthouse in Whitby, where Bram Stoker took inspiration for “Dracula”, as his ship, The Demeter, ran ashore there, and it’s all tied in nicely within its own conceptional nuance. Musically...there’s little to no change.
Ultimately, we find ourselves in a position where we of course must praise SOCIAL YOUTH CULT. The sounds and styles they’ve recreated here are over forty years old, and despite the modern music landscape evolving as it does with technology and trends, they’ve truly nailed that authentic, original sound of Goth’s formative years. Modern indie bands like IST IST and NAUT utilise elements of post-punk, vocally for example, but are polished, they write hooks, there’s an element of catchy song writing to their craft...this is SOCIAL YOUTH CULT's only concern.
I’m going to sound ungrateful here, but while I absolutely applaud the commitment to the style and sound of those early proto-Goth days, which let’s all agree, the band have nailed, it never stopped bands like JOY DIVISION releasing tracks like “Love Will Tear Us Apart”...for example.
As on point as your sound, proficiency and delivery are, for a stylistic throwback, you could have at least put ONE slightly more energetic or accessible track in there. Old-school folk get it, don’t get me wrong, it’s applauded and appreciated, but you can’t really rely on old folk...old folk tend to die sooner. You need to at least try to cater for fledgling bats who are discovering post-punk, Goth and alternative options. New generations need that gateway-Goth.
The fact that they are as young and fresh as they are and are delivering songs of this nature and quality within such a truthfully dated genre, they have my utmost praise and respect, but for a youth cult, they’ve seemed to have overlooked their peers in favour of their pensioners. “The Lighthouse” may be a signal, a beacon of hope for modern day Gothic music, but a lighthouse is only useful when there are ships in the vicinity. As genuinely good, as authentic as they are, live at least...they need to find a way to incorporate and further encourage a younger audience. Shaun, Holly, Jack and Alex might appreciate early post-punk, and I’m with them, …yet while in principle they bring a youthful presence to such a niche genre, none of the eight tracks here truly excite.
“The Lighthouse” will perk up old ears, for the nostalgia, but they’ve pigeonholed themselves as almost a novelty. They can coast along, be it East or West, but for a young band, they’re shackled with their own dedication to heritage. As a debut album, it’s impactful from the viewpoint of that nostalgic quality, it does grab your attention, there’s no denying that, however, they run the risk of becoming a stagnant gimmick, with life imitating art as opposed to the saying.
Do I want them to sacrifice their core values as a band? Absolutely not...do I want them to reach further than an old-school audience and help maintain the longevity, and continuity of post-punk and beyond? Of course! And here’s the dilemma. Goth’s might be the visual embodiment of depression 90% of the time...but we like something to dance to as well when the mood takes us. “The Lighthouse” highlights a lot of things, sub-culturally, but Goth needs a spotlight for a new generation, and as decent as this album is, it’ll live in the shadows so long as SOCIAL YOUTH CULT prioritise the past sonically. I really wanted to enjoy this album...I really did; but I’m not from Jonestown and not fully sold on this cult quite yet. I’ll stick to my actual wine, not the grape Kool-Aid for now. [5] - Words: Gavin Griffiths
The nostalgic, Newcastle Upon Tyne based force majeure (Consisting of vocalist/guitarist Shaun Greer, guitarist Holly Moore, bassist Jack Stephenson and drummer / vocalist Alex Thibaut) impressed everybody as a live band, especially the older bands playing the weekend, with their raw, authentic modern day take on traditional post-punk. Honestly it was like a time capsule; a fleeting glance at the dawn of darkness, when the very concept of alternative music in any capacity was less than a glint in even Franz Waxman’s eye. Since then, bassist Jack’s been in touch via email, and has very kindly sent over their upcoming debut album “The Lighthouse”. With it being released on Sunday, November 2nd at the Whitby Weekend, let’s check it out, and shine some shade on one of the scenes most promising post-punk prospects. Now having said all that, as we press play..."I bid you velcome"...
The album opens with “Venus”, and while it lacks the smoothness of a lady's shaving product, it cuts just as close with its darkly foreboding bassline and methodical yet intense percussion. You can hear a lot of the influence from KILLING JOKE in the instrumentation alone here as it relentlessly chugs along, almost bullying the listener into acknowledgement. It plateaus early with riff repetition, with only Shaun’s occasional vocal spikes giving this more than a one-dimensional character, but it’s hypnotic in its own right, and it’s the aura that carries this song. With Venus being the Roman goddess of love and victory, lyrically this is up there with the most vampiric, Poe-influenced, one night stand anti-ballads I’ve possibly heard. It’s like, taking a walk of shame through a graveyard; dressed to kill but feeling like death warmed up, yet still smirking at the quality of the head (stones). It’s likely deeper than that but...facial value.
Follow up track “Close To Nothing” somewhat tackles mental health issues...the weight of the world, societal and romantic defeatism, and hanging on by a thread. Lyrics like “Artery beating, moments fleeting, I’m so tired of this thing in my chest” channel a sense of emotional fatigue; they’ve weighed up the pros and cons, and suicide is not off the table. There’s reference to overdose, and it’s a deeply pained track delivered in a manner that would make BAUHAUS proud. It’s slow, it’s hurt and it’s a wonderfully delivered acceptance of sadness.
Next up we have “The Man In The Photo”, and while Chad Kroeger isn’t available to look at this for us, we’ll try not to laugh at it ourselves. Tying this back into BAUHAUS, this could easily be a nod to “Dracula”, as in Bram Stoker’s novel, Jonathan Harker is greeted at the castle by a grey-haired individual with, long, sharp fingernails, and seeing as vampires in general have no reflection, it’s safe to assume that, daguerreotype cameras of the time, which like old mirrors, used silver, would render an image of the vampire non-existent. It fits conceptually.
Lines like “He hurt his head but not too much” could refer to Harker’s mental breakdown or his attempt of twatting the Count with a shovel in his coffin. Regardless, it’s a slow, methodical song with deep bass and a plodding delivery and is an incredibly nuanced way of suggesting you read “Dracula”. I’m not going to lie I would have much rather have read that in school than “Of Mice And Men” or “Why The Whales Came”. I’d rather watch “Nosferatu” in braille wearing oven mitts but there you go...
Closing title track “The Lighthouse”, could be a nod to Scottish and Irish coastal folklore, with Celtic spirits such as the selkie, but there are many ghost tales of babies appearing before lighthouse keepers, amidst storms or tragedies. A harbinger of doomed fate, or a curse, it’s a classic maritime haunting trope...coupled with the fact that there’s a lighthouse in Whitby, where Bram Stoker took inspiration for “Dracula”, as his ship, The Demeter, ran ashore there, and it’s all tied in nicely within its own conceptional nuance. Musically...there’s little to no change.
Ultimately, we find ourselves in a position where we of course must praise SOCIAL YOUTH CULT. The sounds and styles they’ve recreated here are over forty years old, and despite the modern music landscape evolving as it does with technology and trends, they’ve truly nailed that authentic, original sound of Goth’s formative years. Modern indie bands like IST IST and NAUT utilise elements of post-punk, vocally for example, but are polished, they write hooks, there’s an element of catchy song writing to their craft...this is SOCIAL YOUTH CULT's only concern.
I’m going to sound ungrateful here, but while I absolutely applaud the commitment to the style and sound of those early proto-Goth days, which let’s all agree, the band have nailed, it never stopped bands like JOY DIVISION releasing tracks like “Love Will Tear Us Apart”...for example.
As on point as your sound, proficiency and delivery are, for a stylistic throwback, you could have at least put ONE slightly more energetic or accessible track in there. Old-school folk get it, don’t get me wrong, it’s applauded and appreciated, but you can’t really rely on old folk...old folk tend to die sooner. You need to at least try to cater for fledgling bats who are discovering post-punk, Goth and alternative options. New generations need that gateway-Goth.
The fact that they are as young and fresh as they are and are delivering songs of this nature and quality within such a truthfully dated genre, they have my utmost praise and respect, but for a youth cult, they’ve seemed to have overlooked their peers in favour of their pensioners. “The Lighthouse” may be a signal, a beacon of hope for modern day Gothic music, but a lighthouse is only useful when there are ships in the vicinity. As genuinely good, as authentic as they are, live at least...they need to find a way to incorporate and further encourage a younger audience. Shaun, Holly, Jack and Alex might appreciate early post-punk, and I’m with them, …yet while in principle they bring a youthful presence to such a niche genre, none of the eight tracks here truly excite.
“The Lighthouse” will perk up old ears, for the nostalgia, but they’ve pigeonholed themselves as almost a novelty. They can coast along, be it East or West, but for a young band, they’re shackled with their own dedication to heritage. As a debut album, it’s impactful from the viewpoint of that nostalgic quality, it does grab your attention, there’s no denying that, however, they run the risk of becoming a stagnant gimmick, with life imitating art as opposed to the saying.
Do I want them to sacrifice their core values as a band? Absolutely not...do I want them to reach further than an old-school audience and help maintain the longevity, and continuity of post-punk and beyond? Of course! And here’s the dilemma. Goth’s might be the visual embodiment of depression 90% of the time...but we like something to dance to as well when the mood takes us. “The Lighthouse” highlights a lot of things, sub-culturally, but Goth needs a spotlight for a new generation, and as decent as this album is, it’ll live in the shadows so long as SOCIAL YOUTH CULT prioritise the past sonically. I really wanted to enjoy this album...I really did; but I’m not from Jonestown and not fully sold on this cult quite yet. I’ll stick to my actual wine, not the grape Kool-Aid for now. [5] - Words: Gavin Griffiths
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