{"id":23142,"date":"2026-10-09T10:03:57","date_gmt":"2026-10-09T15:03:57","guid":{"rendered":"https:\/\/mkultramagazine.com\/?p=23142"},"modified":"2026-10-09T10:17:15","modified_gmt":"2026-10-09T15:17:15","slug":"darkwave-shoegaze-pioneers-lowsunday-revisit-call-silence-with-2-radically-different-electronic-music-visionaries","status":"publish","type":"post","link":"https:\/\/mkultramagazine.com\/?p=23142","title":{"rendered":"Darkwave-shoegaze pioneers LOWSUNDAY revisit “Call Silence” with 2 radically different electronic music visionaries"},"content":{"rendered":"
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Pittsburgh-based darkwave-shoegaze pioneers Lowsunday<\/strong><\/a> present <\/a><\/strong>‘Call Silence Remixed’<\/strong><\/a>, a 2-track released via Projekt Records<\/strong><\/a>, involving two artists with deep histories in the dark-music world, each of them finding their own unique way to re-envision the same song. Taking the original ‘Call Silence’<\/strong><\/a> in radically different directions, together, they create a striking conversation between post-punk, EBM, industrial, darkwave, drone and ethereal music. <\/p>\n\n\n\n

The ‘Silent Tribe Remix’<\/strong><\/a> by Psychotribe<\/strong><\/a> (aka Peter Guellard<\/strong> from DEAT? B\u00a5 L\u00d8VE<\/strong><\/a>) pushes the song into EBM and electronic territory, transforming its post-punk tension into something darker, more mechanical and hypnotic. The ‘Call Silence’ Remix<\/strong><\/a> by Sam Rosenthal<\/strong> (founder of Projekt Records<\/strong><\/a> and the creative force behind Black Tape For A Blue Girl<\/strong><\/a>), uses stark drones, spacious electronic layers and distant vocals to uncover a more vulnerable, emotional and atmospheric side.<\/p>\n\n\n\n

Formed in 1994 as Low Sunday Ghost Machine<\/strong><\/a>, they emerged as a “retro-futurist” pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. Their legacy was cemented with extended re-releases of their 1996 debut album ‘Low Sunday Ghost Machine’<\/a><\/strong> <\/strong>and 1999 masterpiece ‘Elesgiem’<\/strong><\/a> (for their 30th and 25th anniversaries). Having played an integral role in Lowsunday\u2019s history over the years, Rosenthal served as an important catalyst in their return to music in 2025 after a nearly 25-year hiatus, now a duo made up of original member Shane Sahene<\/strong> (vocals, guitar, synth, bass, drums) and Bobby Spell <\/strong>(bass, guitar, drums). <\/p>\n\n\n\n

Their recently-released ‘Low Sunday Ghost Machine – Black EP’<\/strong><\/a> and preceding \u2018White EP’<\/strong><\/a> (ranked second in Post-Punk.com<\/strong>‘s Best EPs of 2025) presents the band’s first new material released since 1999. Both a reflection and a resurgence, these Lowsunday releases usher in a welcome return, marked by superb production and a renewed creative clarity, bridging three decades of distinct sonic legacy with balanced doses of escapism, dreamlike sounds, drones and feedback.<\/p>\n\n\n\n

Lowsunday also present a stunning noir video for ‘Call Silence – Silent Tribe Remix by Psychotribe’<\/strong><\/a>, starring Shane Sahene<\/strong> and Sereny Welsby<\/strong>. Capturing tension between partners, perfectly set amidst brutalist backdrops like the University of Pittsburgh\u2019s Posvar Hall, this video was filmed, produced and directed by Peter Guellard<\/strong>.<\/a>  Enormous concrete surfaces, repeating geometric patterns, tunnels, corridors, and overwhelming architectural scale provided exactly the intended atmosphere.<\/p>\n\n\n\n

“Peter Guellard is an incredibly driven and talented musician and producer. He takes this somewhere completely outside of anything we would’ve done and his video offers an entirely different experience. What began as a Hitchcock type drama, full of possible endings and unanswered questions, became something deeper\u2014a beautifully constructed mystery. He has captured its coldness, its darkness, its depth, and its contrasts with awesome precision. The imagery has the power of a still ocean: seemingly calm on the surface, yet immense, mysterious, and full of worlds beneath it,” says Shane Sahene<\/strong>.<\/p>\n\n\n

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photo by Peter Guellard<\/strong><\/em><\/p>\n\n\n\n

“Sam Rosenthal\u2019s remix captured a vulnerability we seldom show, bringing a completely different vision. The stark, droning layers and almost percussive reverbs create a palpable mood. He managed to uncover and amplify the emotional sentiment within the song, while making it feel entirely new. It\u2019s been an honor to have our song reimagined by two people we have so much respect and appreciation for.”<\/p>\n\n\n\n

Bobby Spell <\/strong>adds, “Peter\u2019s visual interpretation is as stark as that particular architecture and surroundings, visually creating a feeling of insignificance and loneliness. The feeling of isolation it creates is palpable and Sereny\u2019s and Shane’s characters compound that feeling with their apparent detachment. Peter had a clear vision of exactly what he wanted to do with it”.<\/p>\n\n\n\n

A Polish-born, Pittsburgh-based producer and multi-instrumentalist, Peter Guellard’s involvement in the goth and industrial underground stretches back more than three decades. He was part of the influential Polish darkwave\/alternative 90s band Blitzkrieg<\/strong> and later with The Electric Hellfire Club, Mace<\/strong> and Dichro <\/strong>before forming DEAT? B\u00a5 L\u00d8VE<\/strong><\/a>.<\/p>\n\n\n\n

“Shane and I have known each other since the 1990s. Years later, we crossed paths at a goth club night in Pittsburgh, which led to the idea of creating a remix for Lowsunday. I was immediately drawn to ‘Call Silence’. Shane\u2019s ethereal vocal performance had a haunting quality, while the heavily chorused bass carried a sound that felt instantly familiar to me, recalling the atmosphere of Cocteau Twins and the early Cure. Bringing those elements into my own electronic approach, with influences from EDM and industrial music, created an unusual combination of textures. This remix developed into something different: a collision of atmosphere, rhythm, melancholy, and electronic tension,” says Peter Guellard<\/strong>.<\/p>\n\n\n\n

“We wanted the video to reflect the emotional world of the music rather than simply illustrate it. The sense of distance, isolation, and separation from someone you love brought back memories of my youth in communist Poland. I grew up in a concrete apartment high-rise surrounded by rigid geometry, massive residential blocks, schools, passageways, and the monumental Brutalist architecture that defined much of the environment around me. Those structures carry a particular emotional association for me: coldness, loneliness, and loss but also longing for my homeland.”<\/p>\n\n\n\n

The result is not a conventional music video. As per Guellard’s vision, it feels more like walking slowly through a photographic exhibition: a sequence of carefully composed images in which the characters become figures inside the geometry of these structures. The architecture is not simply background, but another presence in the story, emphasizing the physical and emotional distance between the characters.<\/p>\n\n\n\n

Guellard adds, “A visual piece built around space, repetition, stillness, and absence. In many ways, it connects two very different places and periods of my life: the concrete landscapes of communist Poland that shaped my earliest visual memories and the architecture of Pittsburgh, the city where Shane and I first became part of the same musical community more than three decades ago. That connection between memory, friendship, architecture, and music became the foundation of this work”<\/p>\n\n\n\n

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