{"id":557496,"date":"2025-11-08T15:28:11","date_gmt":"2025-11-08T15:28:11","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/557496\/"},"modified":"2025-11-08T15:28:11","modified_gmt":"2025-11-08T15:28:11","slug":"mrs-frighthouse-solitude-over-control-review","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/557496\/","title":{"rendered":"Mrs. Frighthouse – Solitude Over Control Review"},"content":{"rendered":"

\"\"How much noise is too much? I used to believe you could never have too much noise, with bands like Theatruum<\/strong> and La Torture des T\u00e9n\u00e8bres<\/strong> weaponizing it for respectively vicious and otherworldly approaches. Then bands like Ulveblod<\/strong><\/a> and the infamous Ordeal & Triumph<\/a> collaboration happened \u2013 and I lost my naivety. Ultimately, as we will see with duo Mrs. Frighthouse<\/strong>, diving into the noise genre offers a low ceiling and an equally low floor. Some of the worst music I\u2019ve reviewed has had the \u201cnoise\u201d tag attached to it, while some of the most okayest music I\u2019ve reviewed also has noise attached to it \u2013 previously mentioned acts being controversial exceptions. It\u2019s either the worst thing you\u2019ve heard or okay. Mrs. Frighthouse<\/strong> is a light, er, fright in a sea of noise \u2013 for better or worse.<\/p>\n

Glasgow-based Mrs. Frighthouse<\/strong> consists of wife and wife duo Carys and Luna Frighthouse, known as Mrs. and Mrs. on stage. Featuring an unflinching lyrical attack on misogyny, homophobia, and transphobia, and a musical approach as venomous, it recalls the likes of early Lingua Ignota<\/strong>, Couch Slut<\/strong>, and Julie Christmas<\/strong>. What hooked me was its mastering by Khanate<\/strong> bassist James Plotkin \u2013 anything that reminds of the menacing crawl that the drone legends conjure was a perk. However, like any noise album that focuses on ugliness and discordance, the audience is limited, the replay value is near null, and its strengths are a novelty in many ways. Featuring manic vocals both harsh and operatic to contrast with the suffocating noise, Mrs. Frighthouse<\/strong> wins points for charisma, but Solitude Over Control is still very much a noise album.<\/p>\n

Solitude Over Control by Mrs Frighthouse<\/a><\/p>\n

To my relief, Mrs. Frighthouse<\/strong> utilizes opaqueness and density to its benefit, avoiding the painful awkwardness of L\u00e4j\u00e4 \u00c4ij\u00e4l\u00e4 & Albert Witchfinder<\/strong>\u2019s trainwreck of a collaboration. Plotkin\u2019s services are put to good use, as the backbone of sound is suffocating and all-encompassing in a way that recalls drone\u2019s colossal density, an expanse of ominous tones upon which Mrs. and Mrs. traverse with their vocal journeys. Throw in some haunting ritualistic drumming patterns and minor organ trills, Mrs. Frighthouse<\/strong> crafts horrific soundscapes using an expert blend of clarity, melody, and discordance to match their surprisingly dynamic foray into noise. This is no Oscillotron<\/strong> \u2013 Mrs. Frighthouse<\/strong> knows how to write songs. While at first glance the sea of noise is a constant hum, those willing to delve beneath the surface will find smart songwriting aplenty.<\/p>\n

\"\"<\/p>\n

The contrast between clarity and density is a clear priority in Solitude Over Control \u2013 which ends up being its most controversial element. From the aggressive industrial pulse paired with thick waves of noise easy to get lost in (\u201cDIY Exorcism,\u201d \u201cWhite Plaster Rooms\u201d) to more subtle crawling pieces with screeching soprano trills that feel strangely confrontational (\u201cSeagulls\u201d part 1 and 2, \u201cLet My Spit Be Poison\u201d), while creeping melodic motifs are warped and bastardized by the static (\u201cOur Culture Without Autonomy,\u201d \u201cMy Body is a Crime Scene\u201d), Mrs. Frighthouse<\/strong> is a tour-de-force of metallic aggression without a riff in sight. Solitude Over Control wears its themes on its sleeves in sometimes awkward forthrightness, as both Mrs.\u2019s spew vitriol over the misogyny, homophobia, and transphobia witnessed and experienced, matching the aggression and viciousness of the music. The closing title track is worthy of mention, because its slow-burning crescendo is a maddening and horrifying end to a maddening and horrifying album \u2013 a nerve-frying culmination of Mrs. Frighthouse<\/strong>\u2019s best and worst.<\/p>\n

Almost everything about Solitude Over Control feels intentional, but holy shit, is it unflinching and uncomfortable. Mrs. Frighthouse<\/strong>\u2019s two vocals are insanely charismatic in their blend of shrieks, growls, operatic belts, whispers, and shouts, propelling the movement of the noise as it emerges and disappears in the sea of noise. Plotkin\u2019s mastering adds a suffocating and claustrophobic quality that adds to the menace and aggression. Some tracks you\u2019ll find yourself getting lost in the swaths of noise and industrial harshness, others you\u2019ll find yourself blushing in the awkward stark clarity of the vocals. Mrs. Frighthouse<\/strong> offers a better noise album than most and is closer to the ceiling, but due to the divisiveness of the style and the starkness of some of the minimalist pieces, the reception will be mixed. Noise fans rejoice, all others steer clear.<\/p>\n

Rating:<\/strong> 2.5\/5.0
DR:<\/strong> 8 | Format Reviewed:<\/strong> PCM
Label: <\/strong>Self-Release
Websites:<\/strong> mrsfrighthouse.bandcamp.com<\/a> | facebook.com\/mrsfrighthouse<\/a>
Releases Worldwide:<\/strong> September 26th, 2025<\/p>\n

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