Review: Ashes and Diamonds — Are Forever

Ashes and Diamonds
Are Forever
Cleopatra Records
Street: 10.31.2025
Ashes And Diamonds = Tones on Tail – Kevin Haskins + Los Angeles

Ashes and Diamonds is the new project from guitarist/vocalist Daniel Ash (Bauhaus, Tones on Tail, Love and Rockets). Backed by drummer Bruce Smith (Public Image Ltd) and bassist Paul Spencer Denman (Sade), Ash traverses familiar territory to his post-Bauhaus catalog without sounding dated or redundant. Are Forever is an unabashed pop record defined by buzzsaw guitars, electronic flourishes and driving rhythms. The songs are concise — no song extends past four minutes. Ash’s penchant for atmosphere is still present, but there is a punk rock ethos that mixes extended intros, outros and bridges. 

The experience kicks off with the meditative “Hollywood.” The sounds of Los Angeles traffic and sirens, junk-drawer drums, a deadpan vocal and then Ash’s trademark use of e-bow (think “Christian Says”) before easing into a wall of distortion. It works as a fantastic overture to the album (and a fairly accurate recap of Ash’s career to this point).   

Next, “Teenage Robots,” a spikey, club-friendly track that bounces in with minimal electronics and half-sung lyrics before the guitars cut in. The track features Train Wrecker Wendy, a vapid, teenage heroine who flaunts her “goods” and prompts a deal with the devil. Later, we’ll be introduced to Champagne Charlie and Silly Sausage Jack.

“On a Rocka,” the album’s first single, is an ode to Ash’s continuing love of riding his motorcycle (see Love and Rocket’s Motorcycle EP for further evidence) and features a minimalistic lyric, a pounding beat and Ash’s classic guitar snarl. You could argue that it’s all style and little substance, but I’d tell you to shut up and get on the dancefloor. 

“ON” grinds with a dirty groove, half-whispered lyrics and wailing guitars. Like many of the album’s tracks, it comes and goes far more quickly than it needs to. Another example of the album’s restraint. 

“Boy Or Girl” is another floor-filler as it navigates the genderfluid nature of the here and now. No commentary, just oohs without the ahhs and plenty of noisy guitars. The lyric, “She’s so bossy, he’s so mean” may be exploring the sides of an individual rather than a duo. “Silly Sausage Jack / when you gonna learn / your girlfriend is your boyfriend now?” When, indeed.

With “The A-Listers,” Ash turns the focus back on Los Angeles with a song buoyed by its sarcasm and observation. The Faustian lyric “I swallow your soul with a spoon, you are mine for eternity, all for a hit single, on planet earth” paints a Goya-esque picture. Perhaps a reference to a particular Love and Rockets track? I’d blame the American dream. 

“Plastic Fantastic” is an uplifting interlude with the gushing lyric “No tricks, only treats / the secret, the secret is out / I’m having a blast, I’m living the dream.” Sonically, the mid-song breakdown feels like a nod to the acoustic strum that came into focus during the Burning from the Inside era of Bauhaus. I’d never begrudge the happiness of anyone. To the contrary, I hope the lyric is Ash’s current state of mind (rather than a fleeting moment). 

“Ice Queen” is a bass-dominated tune that could be interpreted as an ode to social influencers. “Her empire hits one billion now, the hottest girl is hitting it real big now, no one would have ever thought she, this one, was ever going to make it big, real big.” It’s not elegant. If you look behind the curtain, fame isn’t all glitz and glamour.

“Setting Yourself Up For Love” is a slow burn with icy guitars double tracked with more e-bow mayhem. “You hit or you miss / Do you want it or not? / ‘Cause you’re setting / you’re setting / you’re setting yourself up for love.” It’s low-key, but far from filler. 

 “Alien Love” is interesting in that Ash originally released the track as a CD single available only through his website in 2018. It was a solid track then, but the band treatment is arguably better as it pulls the guitars back a touch, opens up the mix and gives space for the bass and drums. I usually prefer the roughness, but this is a polished gem.  

 “Champagne Charlie” includes a John McGeoch influenced riff and, unless I’m misreading the sentiment, a sardonic celebration of wealth and “lying about watching telly with caviar or baked beans on toast.” The second half of the song features distorted guitars and screaming saxophone. It’s a brief voyage into the glorious chaos that Ash has often provided. 

 The album closes with “2020,” a song co-written with producer/bassist Joe Dexter. It’s the closest thing to a ballad that the album has to offer but with the lyric “Ballroom bloodbath / spot the evil within / catfight, dogfight / we can’t talk the secrets came out / no more sitting pretty / things got serious in 2020,” it comes without the romantic implications. 

Are Forever is a fantastic debut. Ash’s presence dominates, but Denman and Smith are undeniably essential to the album’s successful equation. The formula isn’t radically different from Ash’s work with Love and Rockets, but the results are noticeably different. I can’t remove my sense of nostalgia. Love and Rockets were one of my teenage crushes that never faded, but I’m entertained and intrigued by Ashes and Diamonds. —Ryan Michael Painter

Read other album reviews by Ryan Michael Painter:
Review: The Chameleons – Arctic Moon
Review: Rosetta Stone – Does Makes the Poison