Press — Ghost Twin

P R E S S

“(Ghost Twin) come beamed in from somewhere else entirely, where synthpop, trip-hop and ethereal gothic music all got along famously and conjured up something sounding really fresh and vibrant.”

- A Mode of Control (June 20, 2017)

“Get ready for a thrilling occult synth ride through a gorgeous vista in the stars above because that's exactly where Ghost Twin is heading.”

- Brutal Resonance (May 19, 2017)

“Ghost Twin is a bold bit of solid synthpop that is hopefully the beginning of something very big.”

- Chain D.L.K. (Aug 14, 2017)

“…a soundtrack to the future thru the sound of the past. This is a bold and daring direction for a band that I feel is making music as exciting as it is mysterious.”

- Infrared Magazine (May 14, 2017)

“This album should serve as a lesson to all those who believe they can just simply make a Dark-Wave-Synth-Pop-90s album because they’ve listened to a few dark Synth albums. You can’t. Listen to this album, and give that idea another thought. This right here, ladies and gentlemen, Plastic Heart by Ghost Twin, is is currently the benchmark for this genre. I still can’t believe this is a debut album.”

- Polyprisma (May 19, 2017)

“With phantasmal lyrics, pensive guitar, and pulsing synths, Ghost Twin’s sound stems from styles of industrial and baroque. Think of the reanimated corpse of composer George Frideric Handel performing in a dimly lit German goth club during the ‘80s.”

- Vue Weekly (May 18, 2017)

“Karen and Jaimz offer a compelling and provocative dynamic that translates both in their music and the visual elements they seamlessly weave into their live performances.”

- Ghettoblaster (May 15, 2017)

“Windblown Kate Bush theatrics set to a Pretty Hate Machine-era Nine Inch Nails stomp… dark-’n’-doomy synth-pop dredged up from the same chilly catacombs from whence the likes of the Neon Judgement, Cabaret Voltaire, Skinny Puppy and Trent Reznor once lurched.”

- The Toronto Star (May 12, 2017)

“tweeter and woofer-rattling boom bap beats, propulsive, shimmering arpeggio synths, a murky, retro-futuristic, industrial electro pop vibe and a soaring hook paired with ethereal vocals”

- The Joy of Violent Movement (May 16, 2017)

“strong hypnotic electronics that atmospherically delves into the darker side”

- Ride the Tempo (May 3, 2017)

“And aside from throbbing bass and walls of synth arpeggios, Ghost Twin prattles around your haunted heart with dreamscape guitar lines and vocals like phantoms caught between netherworlds.”

- Prairie Dog (Oct 13, 2016)

“Their music has an aura that shifts constantly from industrial, crashing sounds that grip your brain to stirring, aetherial vocals and aloof synths. It’s like someone thawed out some German 80s electronic/new wave duo from an abandoned cryo chamber and unleashed them on Winnipeg 30-something years later.”

- The Enemy (March 26, 2016)

“a dynamic blend of baroque-pop vocals and pulsating industrial sounds”

- Exclaim! (Jan 15, 2016)

“If Julee Cruise provided vocals for the soundtrack of John Carpenter’s Assault on Precinct 13, the result would probably sound like the EP’s title track, Here We Are in the Night”

- BeatRoute (Mar 1, 2016)

“Karen and Jaimz Asmundson craft rich and dark tunes which hearken back to the best and snappiest of 90s darkwave.”

- Idieyoudie (Nov 16, 2015)

“The Ghost Twin cats lay it down like a horror pop ballad of mournful regret.”

- Grayowl Point (Nov 2, 2015)

“Ghost Twin is made up of equal parts haunting melodies, eerie synths, and bass that makes you feel your skeleton.”

- Stylus Magazine (Oct 12, 2015)

“Ghost Twin are a singular force in Winnipeg music. Their combination of synthpop, heavy electronica and visual media make them one of the city’s most ambitious music or art projects.”

- The Uniter (Sep 24, 2015)

“a marriage of electronic, industrial and classical, with definite alinear cosmic leanings”

- Sudbury Star (June 19, 2015)

“Spooky synthpop at its best.”

- Lèvres Froides (April 7, 2015)

“Really, really catchy…witchy sounds and hooking synthlines…a full sensory experience”

- Brutal Resonance (April 28, 2015)

“Shimmering New Wave with Industrial beats and haunting vocals.”

- Diamond Deposits (March 18, 2015)

“Sarah Brightman fronting a band that sounds like a cross of early Depeche Mode, a touch of Joy Division, a dash of Phantogram and a bit of Cave of Swords.”

- The Revue (April 6, 2015)

“Ominous…Karen Asmundson’s vocals soar beautifully“

- Silent Shout (February 13, 2015)