21st August, 2025
Flowers for Juno
'when it comes to weaving tales I'm like a demon with a tapestry needle'
Emerging from two years worth of demos, Flowers for Juno with this latest release have conjured up something that feels surprisingly cohesive despite its patchwork origins. 'When it comes to weaving tales I'm like a demon with a tapestry needle' is
part gothic rock record, part experimental mixtape, and part haunted love letter. It's not a 100% polished, radio-ready effort and it isn't trying to be. Instead, it offers a series of snapshots from the band's evolving creative process,
each track carrying its own distinct character
but still tied together by a consistent atmosphere of dark romance and spectral melancholy. Think Type O Negative mixed with Depeche Mode/Killing Joke/Fields of the Nephilim/HIM/Deadsy/a twisted gothic version of
David Bowie and after that lot, you are only part of the way there!!
The album opens with 'Open Stitch', a brief spoken word introduction wrapped in distortion and ominous textures, it sets the tone almost like a narrator guiding us through a strange gothic theatre.
This reminds me of the intro to their EP, which you can read our review of that here.
Then comes 'Physical Culture (Why I'm Single Mix)', which immediately grounds the album with a strong bassline and crunching guitars. And the synth lead is just sublime.
The production here stands out: dense, layered, but still dynamic. The vocal delivery leans into baritone gothic tones, adding to the murky, shadow drenched vibe.
It's a song that captures Flowers for Juno at their best (and I'm glad it's the first song on the album): catchy hooks, inventive use of effects,
and a willingness to let the instruments breathe as much as the vocals thanks to the mix.
'It's Not My Fault (This Won't Get On The Radio Mix)' slows the pace very slightly but ups the atmosphere, just listen to that guitar lead at the tail end of the intro.
Dark gothic alternative pop is the best way to describe it. The way guitars weave in and out of synth layers, paired with drenched reverb type vocal effects that make the performance sound distant yet powerful, showcases the duo's ability to
balance accessibility with experimentation. Benjó is so expressive in his delivery.
Have a listen to the album below while you read ->
The record's emotional centerpiece is 'Without Love (7in Deadly Sings Mix)'. Slightly repetitive in the chorus, yes, but perhaps necessarily so as the phrase becomes almost mantra-like as it collides with pounding drums,
sweeping guitar chords, and vocal harmonies. It's cinematic, the kind of track that captures heartbreak, obsession, and longing in one brooding package.
'Just Like Honey' adds an even slower 90s alternative yet psychedelic shimmer to the mix (love the synths half way through), while 'My Funny Valentine' strips things back even further with piano, subtle beats, a smooth simple bassline
and hushed pulled backed vocals.
Their cover of Erik Satie's 'Gymnopédie No.1' is like hearing the piece warped through a broken gramophone. Tape hiss, wobbling tones, and unsettling atmospheres transform the familiar into something uncanny.
Check 'em out on Youtube ->
Toward the end, the 'Arbitrary Cash-In Remix' of 'It's Not My Fault' dives deepest into experimental cave like territory.
It's a fever dream of distorted synths, disembodied vocals, and strange rhythmic shifts.
The strength of this release lies in its variety without fragmentation. Yes, these are demos and reworks, but Flowers for Juno weave them into something that feels more deliberate than a loose compilation.
This is well worth your time, the overall experience is rewarding. The production is consistently dark and moody, the performances heartfelt, and the experimentation genuine rather than forced.
When it comes to 'weaving tales…' it is both a scrapbook of where Flowers for Juno have been and a promising glimpse of where they might go. And where does this thread end up in the future? Time will tell.
