I’m a Brighton based singer/writer/horror freak. I take my influences from art rock, Krautrock and horrible electronic noise, and am happy to be “an explorer and purveyor of the wonderfully unconventional and confrontational”, as Ringmaster Reviews wrote.
I heard the Velvet Underground and formed a band. Nothing else made any sense: simple as that.
Gigs are solo acoustic, in a duo, or with an electric band as the occasion demands. Albums are DIY-released and raw. This Mucky Age (2011) & Glow in the Dark (2012) – scored good reviews, followed by singles In The Evil Empire & Lilith in 2014/15. After a writing binge, the first of a batch of new material emerged as an EP – Threaten Me with Your Love – in 2017.
There’s more to follow in 2018. A new EP came out in May, a primal sound for ugly times: Ugly Scene.
The follow-up, Disquiet, was out in October.
There’s a new LP – Vanishing Island – due in early May 2019…
It’s a way of life, not a lifestyle.
GBHBL track by track album notes “I once had an idea for a live show at the Brighton Fringe Festival but couldn’t work out how to do it without somebody getting killed”
GBHBL interview “I ended up in Brighton, like so many drug burn-outs and rejects from the capital, and got my act together”
The Ringmaster Review “the troubadour of disharmony, back to confront, provoke, and captivate in his unique way. A one of a kind proposition and Vanishing Island an inimitable offering in his own creative adventure”
Brighton Source on the Perilous Seat single: “strong and well-structured, with a memorable and distinctive sound”
White Room Reviews (Netherlands) “a special trip in the dark […] to make the listener dreamily listen to him from very far away from this earth. A colourful artist. Delicious”
Plugged in Brighton “confirms Matt’s status as a musical adventurer”
Whisperin’ and Hollerin’ “it’s a stroke of genius, and it’s by no means isolated […] tidy hooks and imaginatively-crafted moments of atmosphere and even pangs of emotional depth […] espouses the spirit of DIY without sounding cack”
Full Circle (Belgium) “Very enjoyable and well made album throughout by an individual and fascinating artist”
House of Prog “odd and eerie production […] this is an album worth investigating”
Stencil Magazine issue 54 “makes use of an outlandish mix of electronic and acoustic […] there is something to be said for anyone who can manage to blend such a collection of influences”
Big Issue North interview “this little honesty nugget could poison my future”
Whisperin’ and Hollerin’ on Disquiet: “It’s real. It’s sincere. It’s honest. And he’s landed some decent tunes”
Music In Belgium on Disquiet: “ce mini-album […] place avantageusement un artiste imaginatif dans les hauts étages de notre estime”
The RingMaster Review on Disquiet: “a mix of challenge and seduction but most of all a fascination”
Blues Magazine (Netherlands) on Disquiet: “Het is altijd prettig dat er artiesten zijn, die gewoon hun eigen, eigenzinnige, gang gaan”
Overdrive interview “will the industry terminally decline into some kind of jazz museum?”
Sonic Shocks on Disquiet: “if you like it more unconventional then this mixture of indie and psychedelic will work wonderfully”
Echoes and Dust – Under The Influence “you can feel the medium-sized music venue, the beer and amphetamines, the trip to the hotel in the van afterwards, a bleak British provincial landscape at night”
Plugged In Brighton on Disquiet: “a singular voice sharing dispatches from the margins that should be heard by more”
Sonic Shocks interview “my feet were floating a couple of inches above the floor and everything was blue round the edges”
Whisperin and Hollerin interview “I got a lot of abuse growing up in England with an Irish surname, so it feels good to parade it now”
Riff Media interview “I’d be seduced by power […] my hands coated with blood and my soul shrunken to a burnt piece of popcorn, then end my days in front of a firing squad”
AltCorner interview – Stories Behind The Songs “it’s always fun to play live and feel a freezing fog of dread billow out into the room”
Gig review by David Page from the Real Music Club Newsletter, July ’18 “skillfully created a tense, bleak atmosphere which unsettled the audience. Alone with his acoustic guitar, and immaculately turned out in black shirt and trousers, Matt cut a stark, isolated figure on stage. He delivered his tense, poignant songs in an assertive, commanding tone, laced with an edge of menace, that evoked ‘The man who sold the world’ era Bowie, and Lou Reed’s Berlin album”
Monolith Cocktail, 31 May ’18 “His latest exercise in primal scream therapy (though crooning would be a more apt description) is the quasi-Neu!-meets-Faust-meets-Pixies grinding turmoil Ugly Scene EP. Perhaps among his best releases yet […] filled with soul and melody; an experimental EP of resignation and heartache […] has seldom sounded better and more imaginative”
Indie Band Guru on Ugly Scene: “these aren’t songs that are intended for casual, easy listening; it takes attention and demands time, but Finucane’s masterful craft of his unique sound is very much worth the effort”
Subba-Cultcha “known for innovation, with sound experimentation, layering and fluctuations […] from full-fledged psyched out Pink Floyd-ish granderie at one moment, then over to stripped-down Bob Dylan-like moments of minimalism and pensiveness”
The tour, written up by Misfit City “like the workmate who suddenly and joltingly reveals that not only is he smart but he also thinks very differently to you; or like the abrupt weirdness in the eleven a.m coffee cup”
Monolith Cocktail “makes a welcome return to the music scene, and once again defies categorization”
“Much like with any good outsider, the more you listen to the songs, the more natural they become, and soon those quirks become hooks.” Song Of The Day at This Is Not A Drill