All this is one of the reasons that Letter Home stands out so much, as it is quite at odds with the rest of the album around it. Here the guitars are picked, there is some space and lightness within it while we even get some harmony vocals. But for the most part Aimee Eastwood (guitar, keyboards, vocals) and Sarah Lyne (bass) keep it very heavy indeed, with a solid amount of distortion, throwing up a wall of sound. It is where they mix it up more that they are most effective, and towards the end of Wretched Tracks it changes to become something softer and more delicate, and the use of dynamics here is powerful indeed. This does not sound like a modern release but has roots not only to the Nineties’ grunge and indie metal scene, but all the way back to the Seventies. It is dark, oppressive, thought-provoking, yet there is always the impression that in the live environment they take it even further. One issue with the album is that there does need to be more dynamics, more contrast, so that the light emphasises the heavy and turns it into something even more monstrous, But when/if Auckland are out of lockdown I look forward to these guys coming up here to play at Dead Witch, as I can see that being a great night indeed.
Hailing from Wellington, Secrets of the Sun have charmed with their dark, ethereal melodies and heavy soundscapes. Refusing to be held down to one genre, Secrets of the Sun use their music as an opportunity to explore sounds and styles with inspiration from a multitude of sources.
The band’s first single, Suffer with the Moon, released 25 November 2019 put Secrets of the Sun on the world stage, with plays on local and international radio stations alike.
Now with the imminent release of the new single Wretched Tracks, the band turn away from ethereal shoegaze to a darker, doom rock sound.