Satan Club’s self-titled debut is an emotive exploration

On Satan Club’s wide-eyed, folk-influenced release, he delves into the intimate style of the aptly named “Matt’s Song” tucked inside deathcrash’s own debut album, Return. With a bright curiosity flowing through the record, his solo work takes an acoustic approach that recalls finger-picked melodies in the vein of Jim O'Rourke & Leo Kottke.

On opener “Intro”, an uncertainty weaves itself around quiet plucks echoing into empty space. There’s a spacious intimacy to the track, like a bedroom recording left unpolished, a wistful tune hummed absentmindedly. Minimalistic, its tender undertone paves the way for the rest of the album, which introduces string accompaniment and a sentimental mood throughout.

Growing more melodic as second track “Buck” floats in, the record’s longest song at over eight minutes in length is marked by hazy strings that dance in the guitar’s lulls. Taking influence from americana and folk, the melody glistens delicately in the absence of a drum beat, bright and exposed. While elements of the track suggest an air of sadness, the midpoint welcomes rising violins that usher in a hopeful mood. Holding tight to a weightlessness that feels exploratory, this curiosity continues to bleed through on songs such as “Moth”, which utilises its string accompaniments, from both violin and harp, to pick up speed and grow in confidence. Still holding firmly to the record’s introspective nature, keys delicately dance across the track, reaching in a daze up into the light. With its faltering repetition, the tune is reflective and familiar, a nostalgic soundtrack that harbours its own cinematic tendencies. Similarly emotive, and suited to a coming-of-age film, “Redriff” is gorgeously layered, with an inquisitive element atop its uplifting undertone. An ode to his hometown placed at the centre of the record, it’s named for the original moniker of Rotherhithe.

At odds with the other songs on Satan Club’s debut, “Worm” feels less formed. Repetitive discordant notes skip over each other, as if the track hasn’t yet settled into its melody. Undercut by the insistent bass notes of the guitar piercing through, it’s disruptive to the calm and striking amid the quiet. Rounding out the album, “Dustbowl” juts out for its piano-led focus, similarly spacious to the other songs and yet more demanding. A weight seems to be creeping in, signified by the heavily hit chords that break up the peaceful atmosphere.

Satan Club’s self-titled release shows a songwriter finding his feet on his own, full of wonder and steadily growing in confidence. Remaining inquisitive throughout, it’s a dazzling listen that strips back the heavy touch of deathcrash and exposes the emotive heart at their core.