EP of the Month: Perspex by Turning Black Like Lizards


Turning Black Like Lizards are a post-punk, dark wave, garage, neo-psychedelic and alternative band from The Black Country, whose distinctive sound and idiosyncratic theatrics makes them an all encompassing and charismatic live act. Incorporating all the seminal influences of the late 70s and 80s, Turning Black Like Lizards drip-feed from the elixir of music, tapping into all that is golden, relevant and everlasting. Like  all alchemists, poets and mystics, Turning Black Like Lizards are visual creatives, intuitively led and emotionally driven by the darker forces of the universe, the innate, the subconscious and the obscure.

They are a band whose passion, commitment and professional artistry sees no stone unturned, and are masters of producing music which is a mind-bending, captivating and soul surrendering. They are a band that swim in the same gene pool as The Jesus and Mary Chain, This Mortal Coil, The Sisters of Mercy, Siouxsie and the Banshees, The Psychedelic Furs and Bauhaus, diving deep into the murkiest of depths.

With Andy Black on vocals/2nd guitar, Stuart Edwards on bass and Darren Spittle on guitar, Paul Sharp on drums (ex-Head of David, a favourite of John Peel) and with additional vocals by Peter Coyne from The Godfathers featured on the track “Perspex”, Turning Black Like Lizards have been busy working on a new album, due out in May 2020. Having toured with Big Country, Spear of Destiny, Inca Babies, The Cravats, UK Subs,  The Membranes and Brix and The Extricated, and featured on the Steve LaMacq BBC Radio 6 Show, Turning Black Like Lizards’ popularity is quickly growing and gaining a reputation as a great band and live act. With a 2020 tour steaming ahead, Turning Black Like Lizards are a band I strongly recommend.

Taken from their second EP due on CD in December and later available on vinyl in January 2020, here is a sneaky preview of some of their new tracks.

Outta My Head revs and road-trips down its lost highway, before reaching a dead end. It’s a post-punk, dark wave, soul scratcher, whose menacing vocals swerve and collide head-on in a duality of states. Through the nebulous riffs, throbbing bass and nocturnal nuances, Outta My Head is rock theatre personified. It’s a Villainous Vamp, caught in the headlights, whilst reflecting it’s own misty shadows. What could be The Jesus and Mary Chain’s edgier, more hedonistic and reckless B-side, is testament to Turning Black Like Lizards’ consistency in producing original music which is heavily rooted in Goth-rock, dark wave, garage whilst remaining purveyors of post-punk.

Reach For The Gun soaks up its sorrow through its foggy facade, revealing its vulnerable core. It’s a track which is entrenched in New-wave post-punk, whilst being lifted towards ethereal-rock heights. Through rumbling beats and curving riffs, Reach For The Gun soars in solitude, while drifting through the phantasmal ambience. Through the velvet vocals and heartfelt lyrics, Reach For The Gun sells its melancholy on its sleeve, whilst wearing its gauzy garment. It’s a beautifully crafted track, whose dry-ice synths, float, linger and ripple into a baroque-pop abyss.

Perspex rattles its chains from the dark-wave dungeon, while the ghostly synths echo and tremble in all its goth glory, aside the pounding beats. It’s a mesmerising track, which drips of devilish charm, whilst igniting the flames of new wave, dark-wave, industrial, post punk. Through the dark vocals and perplexing lyrics, Perspex chills, thrills and devours its prey, whilst sending shivers down your spine. Along with the cinematic interval and translucent riffs, Perspex evokes a real sense of melodrama, which resurrects the ethereal aesthetics of 70s/80s goth rock whilst creating an original work of art.