Ashnymph’s Childhood EP is exhilarating dance goth rock

I’ve got to thank my oldest friend and concert buddy, Tim, for turning me on to this one. Ashnymph is a London band that blends post-punk melodies with Krautrock rhythms and industrial grime. Their debut EP, Childhood, drifts between dreamy vocals buried in layers of reverb and four-on-the-floor dancefloor pounding. It’s a thrilling opening salvo from a band that feels on the cusp of a major breakthrough.

Childhood opens with an ambient recording of someone walking down a hall (I think), and some swirling synth noise before the first song, “Island in the Sky” kicks off properly with a motorik beat and bass throb. The thin, digitally manipulated vocals and robotic groove punctuated with bursts of noise, but the big chords of the chorus bring to mind Black Rebel Motorcycle Club’s “Whatever Happened to My Rock and Roll.”

“Saltspreader,” the band’s first single, is next. It launches with a deep metallic grind splattered by clanking percussion and drum hits, before a soft synth arpeggio brings some melody to the party. In the back half, there are deeply chorused vocals that ooze ‘80s goth, driving guitar, and a disco stomp. Despite its slow build, it’s clear why the band chose this as their first single. It’s dark, dancey, and an absolute earworm.

“After Glow” leans even further into ‘80 fetishism, recalling Depeche Mode and early Ministry, before Al Jourgensen discovered guitars. “47” marries industrial beats with chipmunk vocals and off-kilter guitars in the vein of No Wave acts like Swans. But the last-minute switch to a half-time groove removes the more abrasive layers, letting the beauty of the guitar melody shine through while ethereal vocals float over the top.

The last track, “Mr. Invisible,” is possibly the most experimental of the bunch. It’s more explicitly electronic than the rest, relying on heavily manipulated samples, indecipherable vocals, and a relentless bass thump for the first chunk. Eventually, clearer vocal melodies and circular guitar lines play off the polyrhythmic synths. The whole thing is disorienting, dizzying, and exhilarating. It ends somewhat abruptly on a lopsided guitar groove and an echoed vocal, leaving me wanting more. So much more.