What happens when you take a bunch of psych rock artists from the 60s, give them instruments from the 80s, and tell them to make the music of the future.

Full album review by Harrison Hunt at Solarian Writings: solarianwritings.blogspot.com/2019/04/the-bar-goblin-indie-horror-film.html?m=1&fbclid=IwAR2LRMBLsXA7DxtTlVlLKi09S-92KPCjL-Xbf3rN3ub9gHH5qZll8DF5reE

"A haunting picture says a thousand haunting words, but haunting sounds can stick inside your head for the rest of your life. Sometimes there's a fine line between something terrifying and beautiful, and at other times, the two collide perfectly. It may warp your mind in an incredibly bizarre way, and bring you to an elevated surrealist state of ecstasy. The Bar Goblin's latest full length record, Indie Horror Film may sound frightening to newcomers of Experimental music, which is something to be aware of if you still haven't adjusted to Henry Johnson's stark change in style that's developed over the course of the past two years. I suspect a lot of Pistol Play fans turned off It Manifests within the first two tracks, and if you're expecting a return to heavy Dubstep form, you aren't getting one, but aren't getting a repeat of the preceding record either; and you aren't getting a preview of future albums to come. This is a record that, with a little initiation into Experimental music, will sound extremely accessible in its tonality, despite maybe seeming noisy or harsh to an untrained ear.

The Bar Goblin has delivered a distinctive collection of tracks that are as peaceful in tone as they are disturbing, giving a masterful contrast that calls to multiple notable eras and influences of music, and maybe some that only exist in alternate timelines. The sound is self-described as "What happens if you take a bunch of psych rock artists from the 60s, give them instruments from the 80s, and tell them to make the music of the future." Certainly, there is plenty of Psychedelic influence that's sure to send your mind into a hazy trance in the albums thick wall-of-sound moments. The synthesizers are perfectly dialed to build atmosphere on top of the infectious melodies they're playing. At many points, there are inclusions of lush, spacey synths that wash over the mix to deliver an element of ambience atop the scratchy melodic tonalities.

This album demonstrates The Bar Goblin's mastering of sampling techniques that were employed for nearly the entire duration of It Manifests. This time, the sampling is held back only to accentuate the songs where necessary. My favorite example is on the second track, "To My Child," in which Johnson uses a series of samples that work in the place of traditional vocal tracks. Repetition of these samples is utilized to create a cathartic effect until they slowly fade from existence. Sampling techniques are often used to play melodies here, providing a listening experience that holds your attention and leaves your ears listening intently. Musically, these songs are extremely catchy and memorable, which call for more repeated listens than any previous release from Mr. Johnson. They build incredible momentum at some points, and at others they just relax and create a pleasant, fuzzy atmosphere. What the debut album from The Bar Goblin delivered in monolithic soundscapes of terror, its follow-up gives in vintage warmth and Psychedelia with a touch of the debut's signature eerie aura.


Regardless of how you feel about any of Henry Johnson's musical projects, you know you'll be getting incredible production value. Whether through Experimental Electronic, EDM, Doom Metal or Harsh Noise, the sound on every record he's worked on has been fine-tuned to perfection, and the latest release is no exception to that incredible track record. I wouldn't hesitate to call this an album with lo-fi production, but I think that the more accurate descriptor would be "vintage". This is an exceptionally warm album, and it's easy to get lost in its sound. It's the music of the past and the future, but it's also the music of right now. Avoiding becoming trapped in any specific trend, aesthetic or "wave," Indie Horror Film has rendered itself as timeless, and I have no doubt it'll be in rotation in my catalog for the rest of my life. I've fallen completely in love with everything about this album, and I'm sure you will too, even if it takes a few listens for it to click.

Indie Horror Film isn't suitable for all ears, but, unlike its predecessor, I believe it can be. You just have to let it suit yours. It's an album that embodies heartbreak as much as it embodies love, death as much as life, and chaos as much as order; while keeping in touch with strange and frightening overtones. I can confidently claim this as the best release of 2019 thus far, and one my favorite Electronic albums of all time. You can take my word for it or you can listen to it for yourself, but I'm not bluffing. But if this album is a little too accessible for you Noise connoisseurs, I can only tell you that this likely won't be the last thing you hear from The Bar Goblin this year. Until then, let the haunting warmth of IHF take over."