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by Teeth Of The Sea

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trashmikeee thumbnail
trashmikeee This is one of those records that really justifies all of the nights I've spent browsing Bandcamp for fresh music. Creative, nostalgic for fans of Westerns, and refreshing in its presentation, it's a real passion motivator!
jacensolodjo thumbnail
jacensolodjo Just when I started to lose hope that experimental would actually mean different and thus a chance, I come across this album. The addition of a saxophone to bass beats and then using your typical ambient field recordings all on the same album is sublime. And I enjoyed the 'sampling' of Another One Bites the Dust for Hiraeth, which makes it a favorite track. Favorite track: Hiraeth.
Michael Henaghan
Michael Henaghan thumbnail
Michael Henaghan 'I'd Rather, Jack' starts with a driving UNKLE electro beat, hardboiled horns and clipped guitar. The music of TOTS is both forlorn and futuristic. It continues on 'Hiraeth' by adding a cinematic aura. The whole collection is dripping in atmosphere and invention, the tension in parallel with current political events, only 'Fortean Steed' and 'VISITOR' offer some sense of hope. It ends with the propulsive 'Gladiators Ready', which escalates the pressure before subsiding into the ether Favorite track: I'd Rather, Jack.
Akira Watts
Akira Watts thumbnail
Akira Watts This doesn't sound like anything else. Like, I have no idea how to classify it, except as fucking amazing fucking music. This album brings together multiple genres into a seamless tapestry that sounds entirely fresh and new. It's the sound I've been looking for my whole life, without knowing it. Favorite track: Gladiators Ready.
christel46 thumbnail
christel46 j'aime le mélange du son des cuivres et de l'électro. Je trouve ces morceaux très créatifs.
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Hiraeth 07:07
Her Wraith 06:38


Who can say when, or how, the Wraiths began to make their presence felt. Yet when Teeth Of The Sea entered their base of operations The Facility to begin work in Autumn 2017 on their fifth album - the follow-up to 2015’s Highly Deadly Black Tarantula - it seemed hard to deny that these ghostly interruptions were at play. By November, all three members were in agreement that the disturbances were tangible and impossible to ignore.

It wasn’t just the more familiar spectres of the band’s collective and overactive imagination - the unruly morass of ‘80s horror and sci-fi movies, industrial ballast, 2000AD terror, ‘70s-damaged experimental brinksmanship and atmospheric grandeur that they’d somehow conspire to sculpt into coherent structures. For as much as the band were determined to create a vivid and maximalist work that threw all of the wildest imagination into sharp relief, what resulted summarily went beyond anything they could have expected.

Moving down to Soup Studios, located in the liminal zone of East India Dock on the Thames, these spectres contributed to influence a collection of tracks that soon began to represent a fearsome and transporting marriage of the ferocious and the melancholic. Alchemised trash, kitchen-sink surrealism, out-of-order intensity and ritualistic overtones collides and colluded into a monstrous hybrid - this was a world where Tetsuo-The Iron Man would happily share space with Judee Sill, and where the acid guitars of Helios Creed would happily conspire with the Acid Rock of Rhythm Device.

‘Hiraeth’ - its title deriving from a Welsh word meaning a longing for home - may be the most richly cinematic track the band has ever created. Building from a bleak and beatific Morricone-esque soundscape haunted by melancholic brass, it builds to a furious and dramatic crescendo underpinned by a merciless electronic pulse and dub-tinged disorientation alike. ’I’d Rather, Jack’ sees Erol Alkan using all the tools at his Phantasy Sound studio to manifest its strains into an angular banger equal parts mariachi elegy and electro euphoria. Percussionist Valentina Magaletti (Tomaga/Raime/Vanishing Twin) brought her unique talents to the Reichian (Steve/Wilhelm) epiphany of ‘VISITOR’. Chlöe Herington (Chrome Hoof/Knifeworld/Valve) and Katharine Gifford (The Wargs/Snowpony/Stereolab) were also on board to assist this unholy assemblage of inspiration, irreverence and otherworldly infiltration.

Teeth Of The Sea are frankly none the wiser as to what these disturbances meant and what caused them - a fissure in the astral plane, psychic disturbances brought on by societal collapse, or just a collective hallucination. Whichever, they can’t help but be grateful that these voices and visions made their mark on this record, and can only hope the music has allowed them safe passage to the beyond. Ladies and Gentlemen, pray silence for the Wraith.


released February 22, 2019


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Teeth Of The Sea UK

Since their formation in 2006, London-based Teeth Of The Sea have metamorphosized into the most adventurous psychedelic rock outfit in the UK. Taking on board influences like Morricone, Eno, Delia Derbyshire, Goblin, and the Butthole Surfers , they’ve arrived at an incendiary sound that marries the aural enlightenment of an avant-garde sensibility with the reckless abandon of trashy rock & roll. ... more

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