The Nightmares – “Fire In Heaven” Album Review

Back in 2023, Newport-based noir-pop outfit THE NIGHTMARES released their debut album “Seance”, and it was a breath of crisp, cold cemetery air to the Welsh music scene. South Wales has contributed many a gem over the years, ranging from post-hardcore acts like FUNERAL FOR A FRIEND and more recently HOLDING ABSENCE, to the reggae-infused bombastic stylistics of SKINDRED, and straight-up modern metal heavyweights BULLET FOR MY VALENTINE, but we have been lacking a little darkness in the valleys and beyond. Too much Maesycwmmer, too little mascara you know? Well, that’s where The Nightmares come in… 

The five-piece, (Consisting of vocalist/guitarist Adam Parslow, keyboardist/vocalist Eleanor Coburn, drummer James Mattock, bassist Benjamin T. Mainwaring, and guitarist Craig Preece), weren’t afraid to dabble in the dreary and despondent. With their emo-tinged lyrical romanticism, haunting keys and light Gothic aesthetics, over some equally catchy and moving indie-driven pop, they really caught the attention of many, including this reviewer’s ear. If you know me personally, you’ll know that, I like Finnish melancholy, and I like me some synthy post-punk. Here we had this band from Newport finding themselves somewhere in between, ticking, frankly tickling my coffin-shaped boxes, and if you want to believe that’s a euphemism, I’ll allow it.  

2025 finds The Nightmares releasing their anticipated sophomore “Fire In Heaven”, which came out on Valentines’ Day. Let’s light some candles, press play and add to the problem…(Heat rises…heaven’s…you know what, never mind…) 

We open up with “Siren Song” and we’re greeted with this, an immediately nostalgic throwback to the early days of emo, with a synth-driven intro channeling the likes of THE GETUP KIDS and REGGIE & THE FULL EFFECT. Driven completely by love, adoration, and obsession, and unashamedly so. It’s a tale of being absolutely unable to live without someone, or something, to an almost unhealthily toxic level. Lyrics like “I’ll buy whatever you sell, don’t care if you poison your well, slit my throat and I’ll wish you well…” showcase the complete disregard of self-worth in order to obtain this love, and it gives Gomez Adams levels of romantic worship while retaining this bouncy, energetic almost pop-punk approach. 

Early single and album highlight “Something In The Dark” is next and we’ve got this fantastically bass-driven piece that, ominously surges along, like the riff itself is stalking you, and backed by the synths here it gives off that unsettling, horror movie sense of unease. You can’t see the killer or the creature, but it’s there, and it’s not far behind you. It’s minimal but it’s so effective in the way it evokes an aura of danger or past emotional trauma. The way the track gradually builds to a more vibrant, rocking guitar-driven crescendo only adds further layers of enjoyment and this is superb.

Elsewhere we have offerings like “Run Away” that utilize the soft synth elements well, which give the track a poppier edge to the already catchy indie-inspired delivery. The simplicity of the chorus in its own way offers a subtle intensity, and the dual vocals with both Adam and Eleanor allow for a quaint dynamic. This can also be said of the single “Dead Roses”. Speaking of Eleanor, she’s allowed to flourish on the track “Blood On Your Hands”. Such a delicately strummed track, flowing so innocently in tone but the sombre nature of the lyricism juxtaposes this beautifully. Her voice is so sweet yet, resigned to the fact, really selling a sadness that tugs on your heartstrings, and she does it effortlessly. This is truly lovely. 

 There are offerings like “Winterlude” which frankly kill time, and while a delightful little piece of piano instrumentation in its own right, again allowing Eleanor a spotlight, it is still a disposable interlude at the end of the day and doesn’t really add much other than a play on words. It does make me want to rewatch “The Snowman” though. Collaboration with ALED JONES anyone? That’d be something.

We eventually finish up on “Melancholy Waltz” and the slower, string-driven piece has such a lulling nature, while managing to retain those bohemian shoegaze elements. The faint crackling in the background from the gramophone adds an air of nostalgia and elegance to another well-delivered ballad, rounding this album off masterfully.  

The main question here, is how have The Nightmares handled this follow-up? There hasn’t been a drastic departure from “Seance” truth be told. All of the elements are still there, maybe arguably it’s an ever so slightly softer offering given Eleanor’s more prominent position, but they’ve still incorporated that darkly romantic lyricism; they’ve blended the indie-pop with the emo and soft Goth characteristics within their songwriting, and they’ve flowed seamlessly into another collection of catchy, enjoyable snippets of otherwise heartfelt sorrow.  

Having supported the likes of CREEPER and KIDS IN GLASS HOUSES on tour, now with two solid albums under their belt, and a recently sold-out show at Cardiff’s Clwb Ifor Bach (More on that soon), The Nightmares are living a dream, and while there might be a fire in heaven, they should feel like they are on cloud nine, as I can only see bigger and better things from this Newport quintet in the future. An emotional, vulnerable, and victorious second outing…the only way is up, and heaven ain’t no glass ceiling. Trust me.  

Album Score: 8/10

Track List

1. Siren Song
2. Something In The Dark
3. Dead Roses
4 . Letting It All Go
5 . Hell Is Gonna Happen
6. Beneath Your Name
7 . Blood On Your Hands
8 .Run Away
9. Winterlude
10 . Heaven Won’t Hold Me
11. Melancholy Waltz1

 

Record Label: Venn Records
Release Date: February 14th

For all things The Nightmares, click HERE, and to purchase the album, click HERE