Ashbury Heights – Three Cheers For The Newlydeads

Does this look edgy enough for you? How about the fact that the young lady (Yasmine Uhlin) looks like she’s about to strangle the bloke (Anders Hagström) with his own tie? Then there’s the dark greenish tint to the whole decaying cover? And the fact that the album title seems to imply that we’re celebrating recently deceased people? This album is unusually dark, because when people think of the word “edgy” they think of people and songs that are overwhelmingly angsty and depressing. The duo of Ashbury Heights utilizes only synthesizers to create an extremely catchy album that one can either dance along to or sing along to (or both if he/she is in a gutsy, edgy mood). Yet as much of a synthpop album as one can want, this is far too potent and punchy to be wimpy synthpop. In fact it's quite European catchy darkwave future-pop.

 Three Cheers for the Newlydeads is a triumphant, high-energy debut that instantly solidified Ashbury Heights as a powerhouse in the dark electronic music scene. Released in 2007, the album stands out by seamlessly fusing the gloomy, melancholic atmospheres of darkwave with the undeniably catchy, sparkling hooks of mainstream synthpop. Founder Anders Hagström’s sharp songwriting ensures that despite the underlying themes of heartbreak, existential dread, and cynicism, every single track feels like an anthem designed to fill alternative club dance floors. It is a rare debut that arrives fully formed, boasting a mature sound identity that many bands spend a decade trying to establish.

The true magic of the album lies in the brilliant vocal dynamic between Hagström and original vocalist Yasmine Uhlin. Their contrasting styles create a captivating sonic push-and-pull; Hagström delivers a grounded, often biting masculine edge, while Uhlin provides an ethereal, sweet, yet icy feminine counterpoint. This vocal interplay shines brightest on standout tracks like the cynical club hit Christ and the driving Waste of Love. Rather than fighting for the spotlight, their voices weave around each other to elevate the emotional weight of the melodies, giving the lyrics a theatrical, almost conversational depth.

Instrumentally, the record is a masterclass in electronic ear candy. The synth arrangements are exceptionally dense and layered, pairing driving futurepop basslines with glittering, bittersweet lead melodies that refuse to leave your head. Tracks like Smaller and Angora Overdrive showcase a brilliant balance of tempo, shifting effortlessly between frantic, industrial-tinged dance rhythms and lush, sweeping soundscapes. The production feels remarkably crisp for an indie electronic release of its era, allowing the intricate programming and subtle glitch elements to cut cleanly through the mix without overwhelming the listener.

Nearly two decades after its release, Three Cheers for the Newlydeads remains a foundational cornerstone of 2000s electro-goth culture. It perfectly captured the angst and creative energy of its time while maintaining a timeless melodic appeal that prevents it from sounding dated today. For anyone exploring the intersection of pop sensibility and gothic subculture, this album is an essential, endlessly replayable masterpiece that proves dark music can still make you dance.

Ripped to MP3

1. Bare Your Teeth

2. Waste of Love

3. SmAlLeR

4. Stormbringer

5. Derrick is a Strange Machine

6. Cry Havoc

7. Swansong

8. Illusion

9. Angora Overdrive

10. Corsair

11. Christ

12. Suicide Anthem

13. Penance

14. I Paint Nightscapes

15. Eternity at an End