There’s always a place for this wonderful noiseniks, taking the surging rushes of Godspeed,
marrying it to the intense atmospheric brilliance of Mogwai and the melodic, almost orchestral
sounds of early Mercury Rev, one’s to watch, check them out on our forthcoming Podcasts.
Jeremy / Subba Cultcha
Ambient experimental rock that isn’t afraid to be as noisy as Fugazi and as angry as Refused.
How often do you get to say that? Not many times I promise you. With Heat From a DeadStar you
get to say that four times over on this new imaginative EP, "The Lighthouse". While not every
song is ‘angry’ per-say, they all seem to reside firmly on the negative tip of the emotional
rollercoaster. Fitting melodies meet crafty songwriting head-on with well deserved hooks roping
you in to bring you a bit closer.
J-Sin / Smother
Heat From A Deadstar are a London based three-piece who create nightmare music. Their ep
‘The Lighthouse’ is the most head fucking thing I have heard in ages. We get four tracks,
each mixing together strange guitar sounds and effects which create a surreal atmosphere.
First track ‘Elusive Ways’ starts with low static sounds, soon throwing in some ‘Sonic
Youth’ style guitar, Faith era ‘Cure’ synth and gurgling bass. The song is instrumental
which gives acres of room for the band to try out interesting arrangements and effects.
They try everything here. If it’s not the guitar sound which clashes gloriously with the
synth, it’s the wah wah effects drenching the deep bass sound (seriously people should steer
clear of wah wah’s but these guys use it with style).
’Joan’ is a strange affair; it has that mood that Blur’s 1997 self titled lp threw up all
bottled up. Modern loneliness and isolation soaked in Syd Barrett madness. ‘Heat From A Deadstar‘
use not only their instruments, they use reverb, echoes and studio prowess to create interesting
and engaging music. ‘Joan’ takes the acid fried Barrett and mixes with Jesus & Mary Chain style
lazy cool. There’s even a solo which recalls Graham Coxon at his creative peak.
Title track ‘The Lighthouse’ carries thing along with a NIN meets Shoegaze approach but soon
transforms into a Polvo style noodle out and fuzz explosion. There are so many contradicting
notes and sounds going on here, it’s impossible to fully engage with the songs until you ‘get
it’. This is the sort of music which takes time to work out. They mix together songs which
don’t need to words to work, which to be fair is impressive. How many bands have you seen where
someone at the back of a gig mutters to their mate, "these would be good if they had a singer?"
Heat From A Deadstar are mightily impressive. They tread a fine line between acid fried and
technological genius. If it’s not their beats, it’s their clever and mind expanding atmospheres.
Plus they aren’t afraid to fuzz out with the guitars. Certainly pushing all the right buttons
and knocking over barriers on their way. Each track has something different to offer which at
times can be confusing, and maybe needs a little bit of continuity in their next release to tie
each song together, but from my perspective I’ve seen a band who I’d like to hear a lot more
from Heat From A Deadstar.
Pete Stanley / The Plastic Ashtray
Renewal and multiple directions taken with this new EP (the third one) from the London based band
Heat From a DeadStar. Few songs are close to the previous EP "Lighten Our Minds" such as "Elusive
Ways" with its heavy cold noise or "The Lighthouse" with its thumping acoustic execution preceding
an astonishing final burst. However, one can be surprised by the aerial "Joan". With this first
songs using vocals, the band tips into an ice-cold folk pop which could remind of Air. A little
bit of faded glam and a lot of melancholy. Nevertheless, the most intriguing track of this new EP
is the remix of "Black Swans", a black tormented secrete jungle. A new experience definitely worth
to push forward.
We can easily dream about a beautiful album made out of the best of these 3 EPs. Salutations to
the band.
Sylvain / Obsküre
A couple of years after Lighten Our Minds (read past komareview), Heat From a DeadStar, from uk, are
back with a new record. Except done for Black Swans extended remix, - piece originally from above
mentioned release, - it seems like They left somehow behind that 'airy post-rock textures plus aggressive
rhythms' formula They were well in, to turn Their music into a couple of darker numbers, Elusive Ways
and title-track, - two instrumental symmetries with strong dynamics and depressing sounds/effects dear
to 80's wave. More, Joan is the unexpected one: not only it's Heat From a DeadStar's first track with
vocals -, but it also combines Mogwai with Air, in a rigid psychedelic slowcore trip, splendid voyage
with a light dose of electronics, where acoustic guitar chords vibrate metallic and intense, while the
whispered melancholic vocals are like inspiride and mournfully emotional; - the whole song is worthy
more and more listenings, and gives of Heat from a DeadStar a new vision of possibilities.
Paolo / Inkoma
This ep contains four swell tracks of sometimes dreamy, but mostly rocking lo-fi pop with a shoegazer
bent, one that incorporates spaced-out noise and the occasional acoustic guitar into what would otherwise
be largely straightforward indie pop tunes. The band's sound can be traced back to the likes of Wire,
Blondie, My Bloody Valentine, and Massive Attack (see the last track, the pulsing and beat-heavy Re :
dux tion remix of "Black Swans"), just to name a few -- really, their touchstones are less individual
bands than the distinct genres of shoegazer pop, rock, and dance music; the four tunes here are varied
in tempo and style, but all well-constructed and catchy. The title track is the most upbeat and seriously
rocking of the bunch, but all of the tracks are excellent, filled with happening beats and often-crunchy
fuzz guitar. The gorgeous ballad "Joan" is the only one with real vocals to speak of -- this is mostly
instrumental music -- and also the most sedate track of the bunch; the others are considerably more
uptempo and about bringing the rock. Swell, swell stuff.
The One True Dead Angel
This could be the soundtrack for a quiet apocalypse, understated but emotionally intense. This three piece
largely let the music speak for itself on this 4-track e.p.; even when they deign to use words on 'Joan'
they are well down in the mix, more of an additional musical texture. They seem to evoke a whole range
of avant-garde/industrial predecessors and contemporaries from Cabaret Voltaire through Sonic Youth to
Mogwai without being reduced to parody and always maintaining a distinct identity. Heat From a DeadStar
bear repeated listening, but be careful - you may leave the house and find that the streets are empty.
MH / Opposition T
This EP by the London based Heat From a DeadStar is reminiscent of some form of a dark dreamscape
portrayed through the staples of modern industrial rock. At times, the "dreamscape" can even be
considered nightmarish, especially the intro in the third track, which reminded me of a creepy
metalic breathing [and basically scared the living daylights out of me].
I have to admit that my first response to this EP was, "Oh no, not another shoegaze ambiance album.
" I was pleasently surprised when the songs were actually a blend of shoegaze with pop, rock and
even hip hop elements. Three of the four songs that are included on this EP don't have vocals,
and the one that does, "Joan", contains some of the most haunting vocals that blend so completely
into the music, that at times you can't separate the two. It's not that easy for a person who
enjoys clean vocals and some substance to lyrics to take. The remix at the end of the album is
the most upbeat the music gets with its great pop-like beat.
However, this is only a taste of what Heat From a DeadStar are capable of doing. Their MySpace
page features even more poppier, edgier songs not represented on The Lighthouse. I suggest a
quick listen of Being Less Than Being, a showcase of some really upbeat drumming and sunny
guitar work.
Mysh Svidersky / Off The Record
Wow - has this one taken a while to gel. The band have decided to go even further out on
"outrock" limb than before, but the listening effort is rewarded with a remarkable offering
of electric guitar-drenched, largely instrumental, Krautrock-esque ferocity of which the
first short track sets its stall, as the rhythm section and the squalling guitars thunder
away but also create a quite mesmerising atmospher at the same time. All of which makes the
fact that "Joan" opens with acoustic guitars and mournful vocals as this funereal march of
a song is set among us. The vocals are way down in the mix as a shimmering electric guitar
lead joins the fun, and that takes the place of the acoustic guitars as slowly lurching
rhythm section and the almost early Pink Floyd-like chanting, combine to create a thing of
pure seventies sounding sci-fi rock bliss. The title track opens with backwards sounding
guitar effects before the real deal in the form of thudding rhythm section and chiming
electric guitar fight with this storm-force guitar drone background as the two co-exist,
but twist and turn along the way to produce this cyclical wheel of guitar-rock instrumental
mayhem that cuts through and spearheads straight to where you need it most. As it crashes
forward, it then starts to fade until the sound disappears - leaving silence. Then this
booming guitar riff rises slowly from the depths as "Extended Mixes" cruises to the front
on a wave of technoid drum 'n' bass rhythmic firepower and the guitars rumble scorch,
chime and flow through this mix of cyclical dance-derived Krautrock muscle, that builds to
a fading ebb as the track's embers burn and die - and that's it. Short but oh so sweet, strong
and streaming, as they used to say.
Andy Garibaldi / DeadEarnest Webzine
Four new tracks are the order of the day for the French Brit trio. The first two cuts follow
the path of their previous releases, a noisy post indie rock thing with FX giving it an aerial
touch. The next track comes as a kind of surprise as it is an acoustic folk with vocals
reminiscing of the Brian Jonestown Massacre. I had the feeling to come back 10 years earlier
when I was listening to the Velvet in my room with my girl, really the kind of track I hate
to love. The last cut is a remix of "Black Swans" by Re: dux tion, I admit those kind of
electrovibes tend to leave me cold. HFADS displays again a lot of potential here.
Yan / Times of Grace 3
Very interesting work from this London based band. I just wish it was a little bit longer as
The Lighthouse contains only four cuts. This three piece keeps things quite light and dandy
with a very charming mix of alternative rock, shoegaze and the well-targeted addition of
electronic elements, which gives their music an ethereal quality similar to the day dream
wonderings of bands like Mogwai. "Elusive Ways" is quite obvious in its calmed indie rock
origins but opts for immersing itself in other genres. There is a techno splash that’s quite
the touch, a fuzzy guitar tone that adds the color and some wavy bass-like sounds that require
perhaps a bit of attention and a pair of headphones. All in all, as an opening cut, it sparks
my attention and leaves me craving for a lot more. This cut is instrumental and like the rest
of their work, quite concise.
"Joan" is acoustic guitars, terse vocals, and blunt drum playing. It does owe a fair share of
its songwriting to the quiet musings of Thom Yorke and Radiohead. The title track is another
instrumental, featuring big mechanized drumming and fuzzy string work. If it does anything very
well is capture the essence of simplistic techno industrial rock circa 1993. This one does owe a
fair share of its songwriting to Ministry. Really, The Lighthouse deserves four sparrows, but when
dealing with EPs we must keep in mind that four equals five. The record comes to a close with an
extended re-mix of "Black Swans" a song from their previous release Lighten Our Minds. It’s
fucking good, what I like the most about Heat From a DeadStar is how minimal they are, yet their
sound is filled with controlled panache and colors. They may be the colors of the night or of
space or of whatever the fuck it was they were thinking when they picked their moniker, but these
four cuts are definitely the result of bright minds.
Deaf Sparrow Zine
London's Heat From A Dead Star recall the early days of post-punk and push it through a modern
mixer with their experimental instrumental sound. 'Elusive Ways' is a trudge through a glum rock
swamp previously encountered by Department S. In contrast, 'Joan' features light, airy vocals and
guitars which occasionally chime amost blissfully. Then it's back to the dark stuff for the EP's
title track; this time with heavier percussion and a throughly evil atmosphere. Yet grimmer still is
'Black Swans'; dominated as it is by ugly synth noises and excitable beats. Granted, the music within
is raw and unsettling but it's fascinating and it's difficult thinking of anyone who has nailed a
similar brand of music to this right now.
Leonard's Lair Webzine
These guys are a little difficult to slot into a category. Their opening track "Elusive Ways" opens with
an eerie ambience that gives way to flowing bass riff that reminds me of something like Jack Off Jill’s
clear hearts grey flowers, but before my ears have adjusted to this it opens up into a sprawling and
energetic torrent of guitars that over lay, over take and compliment before throwing us as a listener
into a whirlwind of sound not far flung from the likes of Nine Inch Nails "Just Like You Imagined".
There’s an infectious beat that carries a kind of urgency and desperation the likes of which are
intriguing. It’s an instrumental sound, with no lyrics to help us comprehend it. It works well this way;
the band clearly displays a grasp of their instruments and how to push the boundaries of their capabilities.
On the other hand, "Joan" holds a kind of surreal and dreamy Radiohead like quality to it. Where as Title
track "The Lighthouse" has an eccentricity to it, this is guitar, without being heavy, this is an
intimidating sound. With a blend of rock guitars, industrial and dark dance Heat From a DeadStar have
created an atmospheric journey, a real treat for lovers of the dark side of sound.
Sarah Angell / Devolution Magazine
"The Lighthouse" by Heat From a Deadstar is certainly an interesting CD. The best description of "The
Lighthouse" would be somewhat of a heavier alternative rock with electronic elements. Bouncing around
multiple genres, these four quick songs by this British band are certainly worth listening to. Despite
the fact that they only last around 15 minutes, the CD goes through a lot of changes and every song is
quite unique from the last.
The album opens with "Elusive Ways", a catchy instrumental song with thick guitars and extensive use if
effect pedals. "Elusive Ways" shows a nice blend between heavier rhythm guitar and electric acoustics that
really come together in the songs’ final minute as the intensity builds. This couldn’t be more different
than "Joan", which is a soft acoustic song with vocals and light drums. The subtle electronic sounds that
play out underneath the music as well as the single-note picked electric guitar add that little bit extra to
the catchy riffs. This song is really quite simple but goes to show that excellent songwriting does not have
to be complicated in order to be effective. The third track, "The Lighthouse", moves back more into the experimental
side of things and also marks a shift back to an instrumental track. One again, Heat From a Deadstar fills a
song with catchy guitar riffs that I found myself humming afterwards. Effect pedals again are used and add that
extra element to the music to spruce it up yet never dominate the material. The electronic programmed drums give
the song a different feel than most rock and it is a welcome change and sound. The last track offers the listener
something different again as this song is primarily an excursion into completely electronic music. This is probably
my least favourite song on "The Lighthouse" and is in my opinion the least memorable, but it is still decent.
The variation in music on "The Lighthouse" shows the range of Heat From a Deadstar’s talent and interest,
reflecting in a positive way. I genuinely thought their music to be very good, and found myself playing the
first three songs many times over. It is nice to hear a band that does not sound like everyone else and is
actually capable of producing music that you might remember. For anyone interested in experimental rock, I
would give the go ahead to check out Heat From a Deadstar. I know that I plan on seeking out their other
releases and giving them a listen.
Geoff Plant / Heathen Harvest Webzine
The latest EP from Boston band Heat From a DeadStar tightly packs three edgy instrumentals that lean toward
industrial with one dreamy, drawn out tune that blends the ghostly reverberating echo of a bastardized Pink
Floyd into the band’s sound. Eerie and heavy while remaining intriguing instead of going too dark, Heat From
a DeadStar always play to their lighter side. But when they abandon the drama for the trippiness of the non-
instrumental "Joan", it is an inexplicable curveball.
Plug In Music Webzine
The first thing that struck me about Heat From a DeadStar's Lighthouse EP was their simultaneous use of and lack
of regard for tonality. Their tastefully bass-heavy grooves in "Elusive Ways" seem to just avoid standard rock
approaches and meld themselves into something slightly less straightforward and thus all the more pleasing.
Dissonance catches the ear and makes one hesitate somewhere between head-bobbing and thrashing about on the ground.
The source of this dissonant influence becomes more apparent with the second track, "Joan." Acoustic guitars and
ambient (synth?) smears blend around distant, reverb-heavy vocals. That's right, we've dropped straight into shoegaze,
with DeadStar's dissonant touches brought to a new arena in the uncharacteristically complex and audible bass and
heavily effected, warbling guitar leads that further distinguish this appealing track from run-of-the-mill Slowdive
imitators. My main complaint is that I barely feel like I've had a chance to enjoy the track after five minutes! I
could happily continue drifting through a bit longer if DeadStar chose to support me in the lapping of Joan's seas . . .
if they worked back down to the more minimalist sound of the opening and through another verse, I'd be hooked for good.
The main sections of the track demonstrate a talent with attractive tonal composition and vocal performance sadly lost
in the band's other, less delicate instrumental tracks.
DeadStar drift from the acoustic shoegaze sound of "Joan" before long into something more reminiscent of My Bloody
Valentine's noise-guitar in the title track. DeadStar emphasise their love/hate relationship with tonality again in
this song as they shift from the awkwardly dissonant, pounding wholetone (!) of the intro through softer but still
clashing interludes and more noise and heavy bass that make "The Lighthouse" feel almost like a normal track through
the conviction of its denial of natural scales.
I was initially startled by the last track's strong electronic beats until I looked at the title again - Black Swans,
Re: Dux Tion extended mix. This track wouldn't feel at all out of place at a dance club, and primarily explores the
recurring theme of DeadStar's sonic versatility - I'm beginning to imagine an effects board that resembles the collections
of hardware noise artists like Stimbox . . . in a noise-rock, dissonant, occasionally shoegazy context.
I'm considering organising this CD into the metaphorical racks somewhere between My Bloody Valentine, Cherubs, Swans, and
Doomsday Postcard's strange industrial work. I don't know how to, or want to, nail this band down, but I know I'm
interested and looking forward to the completion of their upcoming album, "Seven Rays of the Sun."
Etherised Zine