About / Press

portrait by Pete Wiseman

“I heard the Velvet Underground and formed a band.  Nothing else made any sense: simple as that.”

Brighton based singer/writer/horror freak Matt Finucane takes his influences from Lou Reed, Mark E Smith and horrible electronic noise (despite primarily performing on acoustic guitar), and is happy to be “an explorer and purveyor of the wonderfully unconventional and confrontational”, as Ringmaster Reviews wrote.

“I started playing in bands because it’s the highest you can legally get: the most immediate form of creation there is. But with my mileage it’s easier to keep some illusion of dignity as a solo act…”

His two self-released solo albums – This Mucky Age (2011) & Glow in the Dark (2012) – scored excited reviews, and his DIY ethic got a further boost from BBC Introducing: South (Matt’s live radio debut was a session on 24th June 2012).

“I’ve done a chequered variety of jobs, including tour guide, janitor, lab assistant and night porter in a haunted hotel in Oxford…  Briefly considered becoming an escort, but a long conversation with a rent-boy on a train in Seattle put me off, and now it’s much too late.”

Matt also writes horror and science fiction stories and contributes spoken word pieces on various radio shows.  At 2014’s Brighton Fringe he gave a spoken word performance as part of Waterghosts, “a ritual happening in a huge church”.

Matt’s latest release is his second single on The Animal FarmIn The Evil Empire came out in November 2014, and Lilith followed in October 2015.

He’s now working on new material for 2017, has finished another album and recently put together a live band.

“It’s a way of life, not a lifestyle.”

Matt’s misspent youth in art-rock nightmare Empty Vessels can be heard here



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”

Emerging Indie Bands notes a “dark undercurrent” and “dystopian bruising”

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

advance word of the new EP from withguitars.com: Matt Finucane returns with ‘Threaten Me With Your Love’ EP & new video!

LILITH, 2015:

Give It Back Magazine “an exceptionally captivating solo musician”

Brighton Source “Music runs through the core of the mysterious and ground breaking singer/songwriter/poet, Matt Finucane. His new single, Lilith, has a gorgeously slow tempo with sultry and suggestive lyrics (“Lilith wrap your hair around my neck”). The single is due out over the Halloween weekend, and we couldn’t see a more fitting time for its release.”

Shindig Magazine “We liked LilithMatt’s mad quirky shit is great. It’s like pitching Gruff Rhys against Bowie via Nick Nicely’s ‘Hilly Fields’.”

Monolith Cocktail “heartfelt bent-out-of-shape new wave… marvellous Gothic rhapsody”

Interview, Brighton Unsigned, Sept-Oct issue 2015 (pg. 9) – “where does your darkness come from?”


The Séance, Radio Reverb 97.2FM, 22 Nov ’14 – “exquisite oddball pop… an insistent little earworm”

Monolith Cocktail wise and blissful melancholy… this attentive anthem… moves elegantly through its time changes and harks at the resigned beauty of David Sylvian and Jonathan Richman as Rome burns.”

reviews of album GLOW IN THE DARK & single, 2012:

Album “really should be heard by many many people”, says Louder Than War.

GLOW IN THE DARK reviewed by withguitars.com – “carefully orchestrated to pull you along and deeper into Matt Finucane’s beautifully sinister world view”

BRIGHTON SOURCE on Glow in The Dark: “strongly produced and impressively single minded”

Unpeeled says – “There is very little new that’s new under the sun, but once in a blue one, you come across something of genuine interest. The opener, ”Into It” is a beautifully coherent mix of innocently vampiric and hideously young Bowie intoning calmly over a slow shuffled acoustic, but the electro guitar sharks circling around are pure Chris Isaak. You see?  With one mighty slouch, the man has straddled the atlantic. What’s next, come on… ”Hard Science” shoving Gay Dad through Suede and the sleaze-o-meter is spitting sparks and by the time we get to ”Face Of Stone” two things are very clear. One is that the vocals are always going to make lazy people point and say ”Oh, look, David Bowie” and the other is Matt Finucane is making better records at this stage of his game, so it’s appropriate that ”Alter Ego Hi-Way” is probably the best track here and that it drags lazy electro doodling around an acoustic campfire for a slow kicking.   IS IT ANY GOOD? Oh yes.”

Glow in the Dark is Whiteboard Project‘s “wildcard of the week” – “will infuriate some and delight others […] Highly recommended” (scroll down their 12th August Albums Roundup and see).

Access All Areas – “pretty work on drums and beats, a lovely guitar, touching voice and a bunch of disturbing sounds here and there. Next Great Beginnings is an irresistible retro groovy upbeat, Doom Vibes is the fearing, poignant and mesmerising voice of the afterworld. Visionary, original, one of my favorite track of the album.”

GLOW IN THE DARK reviewed by drunkenwerewolf.com  – an “involving, even body of work.”

“an explorer and purveyor of the wonderfully unconventional and confrontational” says Ringmaster Reviews

“He’s a punk poet prepared to push the boat out”: Is This Music? reviews HARD SCIENCE

Hard Science is “a delight”, says R*E*P*E*A*T zine, here – “always great to hear an artist doing things their way”…

…followed by a less-impressed album review from the same zine, different writer.  “Oh, who cares?  Yawn.”


reviews continued