New album Blood Book coming soon.

A riposte in key with the times, the heady, intoxicating result of a two year production sees Burning House breaking rank with formative efforts, celebrating catharsis in less immediate, gristly ways than its predecessor, through baroque drenched chamber pop and medicative, shimmering codas. As always, presented without compromise.

“Fusing vintage American indie rock with shoegaze tapestries, the band’s blissed out style forever verges on the edge of raucous collapse.”
Clash Music

“The music they produce ranges from the most beautiful and melancholy soundtrack to the loudest of feedback driven post rock. They have certainly mastered the soft/loud dynamic of bands such as Swans and Low.”

“They inject blissed out noisy infusions of sublime melancholy into their sound that is very, very hard to shake off.”
Primal Music Blog

Over the past decade, Burning House have carved themselves a distinctive sound – informed by dense sonic exploration and melancholic ambiguity in a confrontational manner.

Founded by Hampshire based songwriter, guitarist and frontman Aaron Mills in 2013 in the form of amorphous laptop demos, the band coalesced with the addition of bassist Patrick White and drummer Ash Babb, evolving from solipsistic idealism to an incendiary sound at once marrying seismic shoegaze with blistering euphoric noise jams. 

After releasing EP Tracer in 2018, debut album Anthropocene was released on MIOHMI Records in 2019. Informed by the in-the-room propulsion of the band’s live sonic attack, these early recordings were infused with ultra-amplified harmonic overtones acting as informant for the songs, a conglomerate of arcing feedback in tune with titans such as My Bloody Valentine, Jesus & Mary Chain and Swervedriver.

Subsequently touring the UK, their reputation as a formidable live band earned them spots supporting the likes of bands as disparate as Wire, Sea Power and Shonen Knife, winning plaudits from BBC 6Music’s Steve Lamacq and RadioX’s John Kennedy.

As everyone’s world was uprooted by the global pandemic, this became a breeding ground of ideas for the band, providing an unexpected leap forwards into new terrain, with a seemingly indefinite amount of time to let crystallise.

Coming out of lockdown, Burning House entered the legendary Courtyard Studios in Abingdon, Oxfordshire with engineer Ian Davenport (Slowdive, Radiohead), beginning with a blueprint endowed by previous recording excursions, and evolving into something quite different. Moving from Abingdon to Vintage Keys in Romsey – a studio boasting an extensive collection of electronic instrumentation dating back to 1911 – further instrumentation and filigree was added to broaden the sound with the help of engineer Steve Christie, with final mixes and mastering being provided by Pete Fletcher at Black Bay studios in the Outer Hebrides.

The band recently welcomed guitarist Adam Tremblay into the lineup, enabling a more compelling  representation of their sound.


12 September – Bristol Crofters Rights (w/ Flyying Colours)


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