This week we're diving into the wonderfully gloomy world of Emma Ruth Rundle. Or more specifically, we're having a bit of a discussion whether she's actually goth or not, what goth even means, and how it may be broader than some think. Musically, Chris thinks most of her catalogue is a bit pants but she has artistic integreity. Mark reckons she's brilliant.
Emma Ruth Rundle has spent her career shape-shifting between projects like some sort of musical chameleon with commitment issues. From her early folk-gaze days with The Nocturnes to her brief stint with post-rock titans Red Sparrows. From the overlooked Marriages project to her increasingly experimental solo work. She's never been one to stay in her lane. The question is: does all this reinvention actually work, or is it just restless artist syndrome?
We get deep into the weeds of her entire discography. Our main focus is 2016's "Marked for Death", which Mark insists is her masterpiece and Chris... well, Chris has opinions. We also tackle the thorny question of what actually constitutes "goth" in 2025. Spoiler: it's probably not what you think. Plus we discuss her genuinely unnerving experimental albums. And try to work out why Sargent House thought it was a good idea to send a recovering alcoholic to record alone in the desert. With unlimited booze.
Episode Highlights:
<ul>
 	<li>00:00 Introduction and Studio Setup at Variety Bar</li>
 	<li>05:21 The Great Goth Debate Begins</li>
 	<li>18:45 Emma Ruth Rundle's Project History</li>
 	<li>32:48 Electric Guitar One: Ambient Experiments</li>
 	<li>39:00 Some Heavy Ocean: The Proper Debut</li>
 	<li>44:14 On Dark Horses: Chris's Least Favourite</li>
 	<li>52:26 The Thou Collaboration: Overrated or Underrated?</li>
 	<li>59:48 Engine of Hell: Stripped Back and Boring?</li>
 	<li>1:04:06 Electric Guitar Two: Pure Horror Movie Soundtrack</li>
 	<li>1:13:28 Marked for Death: The Desert Sessions</li>
 	<li>1:26:00 Final Verdicts and Wrap-Up</li>
</ul>

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