Noise: A Double-Edged Sword in Music? Mrs. Frighthouse’s 'Solitude Over Control' Challenges the Limits
Noise in music—how much is too much? I once believed there was no such thing, especially after witnessing bands like Theatruum and La Torture des Ténèbres wield it as a weapon, crafting sounds that were both vicious and otherworldly. But then came acts like Ulveblod and the notorious Ordeal & Triumph collaboration, which shattered my naive enthusiasm. As we explore Solitude Over Control by the Glasgow-based duo Mrs. Frighthouse, it becomes clear that the noise genre is a tightrope walk—its ceiling and floor are equally low. Some of the most disappointing music I’ve reviewed has been labeled 'noise,' while other noise-tagged tracks have been merely passable. Mrs. Frighthouse, however, stands as a curious exception—a faint glimmer in a chaotic sea, for better or worse.
But here's where it gets controversial... Comprised of the wife-and-wife duo Carys and Luna Frighthouse (known as Mrs. and Mrs. on stage), the band delivers an unrelenting lyrical assault on misogyny, homophobia, and transphobia, paired with a musical ferocity reminiscent of early Lingua Ignota, Couch Slut, and Julie Christmas. What initially grabbed my attention was the album’s mastering by Khanate bassist James Plotkin—any nod to the menacing drone of his work is a draw. Yet, like much noise music that leans into ugliness and discord, Solitude Over Control has a limited audience and minimal replay value. Its strengths, while compelling, often feel like a novelty.
And this is the part most people miss... Mrs. Frighthouse cleverly leverages opacity and density, avoiding the cringe-worthy missteps of collaborations like Läjä Äijälä & Albert Witchfinder. Plotkin’s mastery shines here, creating a suffocating, all-encompassing soundscape that echoes the colossal density of drone music. Layered with haunting ritualistic drumming and eerie organ trills, the duo crafts nightmarish soundscapes that balance clarity, melody, and discord. This isn’t mindless noise—Mrs. Frighthouse knows how to write songs. Beneath the surface hum lies a wealth of intelligent songwriting for those willing to dig deeper.
The album’s most polarizing element is its deliberate contrast between clarity and density. From the aggressive industrial beats of 'DIY Exorcism' and 'White Plaster Rooms' to the unsettling, screeching soprano trills in 'Seagulls' (parts 1 and 2) and 'Let My Spit Be Poison,' the album is a relentless tour-de-force of metallic aggression—all without a single guitar riff. Melodic motifs are distorted by static in tracks like 'Our Culture Without Autonomy' and 'My Body is a Crime Scene,' amplifying the album’s thematic intensity. The title track’s slow-building crescendo is a fittingly maddening conclusion, encapsulating both the best and worst of Mrs. Frighthouse’s vision.
Boldly asking: Is this art or chaos? Nearly every element of Solitude Over Control feels deliberate, yet it’s unapologetically harsh and unsettling. The duo’s vocal range—shrieks, growls, operatic belts, whispers, and shouts—is insanely charismatic, driving the ebb and flow of the noise. Plotkin’s mastering adds a claustrophobic edge, heightening the menace. Some tracks engulf you in waves of industrial harshness, while others expose you to the raw vulnerability of stark vocals. Mrs. Frighthouse delivers a noise album that surpasses many in the genre, but its divisive style and minimalist starkness ensure mixed reactions. Noise enthusiasts will revel in it; others may want to steer clear.
Thought-provoking question for you: Can noise ever truly be accessible, or is its beauty inherently tied to its exclusion?
Rating: 2.5/5.0
DR: 8 | Format Reviewed: PCM
Label: Self-Release
Websites: mrsfrighthouse.bandcamp.com | facebook.com/mrsfrighthouse
Releases Worldwide: September 26th, 2025
