God on my right

Sounds likeNine Inch Nails, Health, White Ring, HMLTD, Depeche Mode, Death Grips, The Big Pink

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God on my Right are an alternative / industrial duo from Liverpool. With a collective background studying film scoring and fine art they combine synths, drum machines and guitars to create immersive pop songs with a dark heart. Their debut EP Swallow was released on Deltasonic Records to positive reviews. It showcased the band’s love of huge guitars, heavy synths and hypnotic melodies. The EP highlights the versatility and ambition of the duo who take influence from the world of film as well as music. God on my Right have supported Moon Duo for Harvest Sun promotions, they played at FestEvol Gardens and had a slot at Liverpool Music Week alongside Zola Jesus and Perfume Genius. They have also played Liverpool Sound City, and The Great Escape Festivals this past year. Their EP has had Radio play on BBC introducing Merseyside with Dave Monks as well as Radio X with John Kennedy.

Their new EP GOLDEN builds on the band’s first EP SWALLOW, exploiting a heavier subject matter and showcasing a diverse array of songwriting styles. The double EP blends a direct, electronic and pop-sounding approach with signature God on my Right industrial sounds. It is self-indulgent, bleak and violent, providing a listening experience that feels urgent and relevant. GOLDEN was recorded and mixed by the band themselves. Returning with lead track Dark, GOLDEN will introduce God on my Right to audiences of every genre they flirt with.

'It's barbed electronics with an experimental pop whim, akin to Suicide, elements of early LCD, or even the more left field edge of 80s synth pop.’ (Clash Music)

‘God on my Right prove there is nothing sugar coated about electronic music in 2017.’ (Gigslutz)

‘It’s like the poppier sides of Nine Inch Nails and Sleigh Bells met Rage Against the Machine on a night out and eventually produced this preppy, angsty baby. It’s well good.’ (Sounds Good)

'I’m lulled into Dark with its lighter synths washing over the track – a little like Violater era Depeche Mode but then it gets heavier and heavier, lurching and falling like some careering, acid-soaked cyber-machine. A massive soundscape that envelopes the listener.' (Louder than War)

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