REVIEW

The seventeenth album from Florida-based ethereal wave duo Autumn’s Grey Solace.

Based in St. Augustine, Florida, Autumn’s Grey Solace was formed in 2000 by multi-instrumentalist and composer Scott Ferrell and vocalist Erin Welton. Although Winterrim (2012) is technically a compilation without newly recorded material—making this their sixteenth original studio album—the band officially counts it as their seventeenth release, a designation followed here.

Before diving into the album itself, a brief note on ethereal wave as a genre may be helpful. Ethereal wave is generally understood as a subgenre of darkwave, emerging in the early 1980s from gothic rock and post-punk. Within the 4AD roster, particularly atmospheric acts such as Cocteau Twins and This Mortal Coil were frequently described as “ethereal,” a term that eventually became shorthand for a distinct sonic and aesthetic approach. The word itself traces back to “aether,” the fifth element in ancient Greek cosmology, later theorized in early modern science as a medium for light and electromagnetic waves—concepts now scientifically obsolete, but linguistically preserved to describe something otherworldly, delicate, and transcendent.

Owing to its roots in early gothic rock and post-punk, ethereal wave occupies a connective space between gothic music and shoegaze–dream pop. Cocteau Twins, in particular, continues to be cited as a key originator respected across both scenes, reinforcing the idea that gothic and shoegaze share a deep aesthetic affinity. This lineage was later carried forward by Projekt Records, founded in 1983 by Sam Rosenthal of Black Tape for a Blue Girl, which introduced genre-defining artists such as Love Spirals Downwards and Lycia. Autumn’s Grey Solace emerged in the early 2000s as part of this extended tradition.

Ferrell began playing guitar at the age of fourteen and gradually expanded to a wide range of instruments; across the band’s catalog, bass, drums, mandolin, and most other instrumental parts are largely handled by him. Early influences reportedly included Dead Can Dance, Cocteau Twins, The Cure, and The Smiths. Welton, by contrast, developed her distinctive, fairy-like vocal style entirely through self-study, citing influences as varied as Dead Can Dance’s Lisa Gerrard, Morrissey, and Madonna. (Notably, Autumn’s Grey Solace has also contributed a cover of “Musica Eternal” to Projekt Records’ Dead Can Dance tribute.)

Sonically, the band’s shimmering guitar textures often recall Cocteau Twins, yet their frequent use of minor keys lends the music a distinctly melancholic tone—well suited to autumn evenings and nocturnal listening. This characteristic mood is fully preserved on “The Dark Space.”

#1 “Forever Dreaming” opens the album with a warm, acoustic-led arrangement, introducing an unexpectedly impish vocal delivery that briefly suggests a shift in direction. That impression quickly fades as #2 “Catch My Canaries” returns to Welton’s familiar, fragile timbre. Following a subdued, wistful arpeggio, her soaring soprano evokes the spiritual gravity often associated with Dead Can Dance. #3 “Darkens the Soul” unfolds with a rain-soaked, nocturnal melody that feels quintessentially Autumn’s Grey Solace, while #4 “Silhouettes of Light” pairs luminous guitar passages with a quietly sorrowful motif, etching emotional contrast much like shadows cast by light itself. It stands as one of the album’s clear highlights.

The remainder of the record maintains this level of quality, drawing the listener ever deeper into a consistently decadent and immersive sound world. Even at seventeen albums in, the duo’s creative vitality shows no sign of diminishing—a fact that commands respect. One might be tempted to say that as long as Autumn’s Grey Solace exists, ethereal wave remains alive. Still, the relative scarcity of direct successors is difficult to ignore. Among younger artists, deary comes to mind as a partial parallel. Yet with renewed interest in Cocteau Twins and Slowdive among Gen Z shoegaze listeners, ethereal wave itself appears to be gradually regaining attention. The emergence of a new generation within the genre feels not only possible, but likely.

For those wondering where to begin within such an extensive discography, a few recommendations follow:

• “Over the Ocean” (2nd album): Their first release after signing with Projekt Records, offering a well-balanced interplay of light and darkness. The opening track “Waning Faithful” is particularly striking in its melancholy.
• “Shades of Grey” (4th album): More overtly gothic, with heavier shoegaze elements. “Angel of Light” is often cited as one of the band’s definitive shoegaze tracks.
• “Ablaze” (5th album): An energetic and varied record, spanning catchy compositions, classical grandeur, and darker, progressive-leaning gothic material. Its status as one of the label’s best-selling releases is well earned.
• “Englelícra” (12th album): A refined, high-purity distillation of melodic beauty—arguably one of the genre’s aesthetic high points.

In truth, nearly every album in their catalog offers something worthwhile, making it difficult to choose a wrong entry point. The listening experience may also resonate with fans of what is sometimes described in the Japanese indie sphere as “fantasy-floating” music, and could appeal to listeners drawn to artists such as ZABADAK, Akino Arai, or, more recently, Ichiko Aoba.