Vandalism Begins At Home 4th September 2026
A huge sound develops here, as powerful as the sea that batters Southport where it was recorded. Having moved beyond shoegaze, post-rock and other labels, they are now sui generis. There’s gentleness, feedback, riffs, hazy fuzz, waves of sound, melded here in the sort of sound that gets better the louder it is. Now a four-piece, they “rehearsed to death” and went into the studio with exactly what they wanted, using a producer (Tom Peters) they knew could turn out the sound they wanted.
Opening with echoey piano, the first track is rapidly into tidal-powered shoegaze with big pounding drums and guitars ever-rising and harmonics squeezed in everywhere. All their tools are used and we go slow / quiet, then big / fast / loud, pushing the senses about. Not afraid to use the full textures, tracks like ‘Figurine’ can go pastoral at the end, sounding like a French film soundtrack. Elsewhere, in the closing track, ‘Alms For Oblivion’, it can be martial, like an extremely heavy marching reel. Despite the band eschewing labels, this is Prog – a focus on technique and effect as well as the detailed construction of the pieces over anything up to ten minutes.
It’s a majestic sound and one that fans of Mono, Mogwai, Isis or Russian Circles will enjoy.
Ross McGibbon