Created on a laboratory table out of spare parts, over a devil worshipping hesher's spray painted pentagram in an abandoned turn of the century candy factory in Kalamazoo, Michigan in 1997, Voodoo Dawn have spent nearly three decades in restless undead motion. From the Midwest to the idyllic shores of Ventura, California, back to Saginaw, Michigan, currently planting their Luciferian flag in Atlanta, Georgia. Now a duo married in the dark arts at the crossroads of horror punk, deathrock, industrial, and black metal. A nocturnal collision reminiscent of summonings, conjurings, and prognostication. 

Scott Scare delivers vocals, guitar, synthesizer, and drum machine as Heather Scare performs vocals, bass, and synth, creating their signature haunting, transmundane sound. Together, draped in Victorian lace, refugees from the dystopian landscape of the rust belt, they have developed an unholy union distinctly their own with an unsettling beauty that evokes echos of ancient pagan ceremony.

Foundational drummer and guitar player, Dead Jesse was central to Voodoo Dawn’s early raw industrial sound and the horror themes of their formative years; his influence is woven into the alchemy of everything that followed. He took his own life on June 25, 2007. His absence has cast a long shadow over the band’s work.

Voodoo Dawn’s catalog spans twelve releases, three LPs, four EPs, and five singles, each one a chapter in an ongoing dark mythology. In the early 2000s, they announced themselves with Studies in Lycanthropy and The Coffin Queens, visceral, eerie dispatches that established their devil and vampires aesthetics from the start. Followed by Beneath the Altar, a love letter to the raw, uncompromising black metal of the 1990s. Their first full length, 2019’s Anatomy of the Risen, or the Strange and Unusual Account of One’s Journey from Death Back to Life, an ambitious title that matched the scope of its contents, exploring Hermetic themes of mortality, resurrection, and the uneasy space in between.

Fruitbat: 13 Years of Songs Dead Jesse Didn’t Want to Play offered a more personal collection of songs with their own storied history, resurrected and reanimated. Voo-doo Church vs Voodoo Church, a playful outing, leaning into the tension between tradition and transgression. Their latest two-track single, 2023’s The Mummy Returns, brings it all together, a full convergence of everything Voodoo Dawn have built across their catalog and a divination of their future. Post-punk and industrial collide with the Satanism and dissonance of black metal, resulting in their most complete and commanding expression of their lifelong pursuit of black magic, witchcraft, and the occult.

Voodoo Dawn’s live performances conjure midnight ritual, candlelit seance, and the dread of a medieval dungeon in an expression of their covenant in sound and shadow; a fresh pulse of the new wave. They have shared the stage with deathrock legends The Misfits, The Undead, Penis Fly Trap, Catholic Spit, Detoxi, and Char-Man; post-punkers Inter Speculorum; synthpop groups Lunarclick, Pseudocipher, and Lightrs,; goth rockers Detraction, Grave Days and General Trust; industrial acts [melter], Mankind is Obsolete, Stalagmite, Death in Space, and Snake River Conspiracy; and black metal bands Nosferlok, Tchildres, and Vatican.