Many of the album’s tracks were recorded over the last fifteen years, and as such, Vessel of Voices is a wildly eclectic, yet rewarding affair. “At one point a couple of years ago I almost lost all the recordings and it saddened me,” Belief mentions. “I felt like I abandoned some part of myself that was sacred and decide to release the music before it was too late. Releasing work that’s deeply personal is risky, especially when it’s riddled with imperfection. It was time to let it all out and it scared the hell out of me.”

Vessel of Voices is a peak into Belief’s mind, through and through. The LP swings wildly, shifting styles and structures at the blink of an eye. Inspired in part by the minimal synth movement of the late 1970s and early 1980s (a loosely defined genre in itself that combines the sonic experimentation of early Cabaret Voltaire with the pop wizardry of OMD), Belief’s work expands on these DIY ethics, combining fast and furious rhythms with lush waves of vintage synthesizers, all unified by Belief’s vocals and direct lyrics. Some tracks, such as “Invisible Woman” and “Carrion” retain minimal synth’s punk ethos, while songs like “The Last Time” and “Binding Life” aim for the fences with thick, driving synth pop energy. “Dull Horoscope” is another highlight, a slower, slithering affair full of noise and texture. “Wolf in the Fog” adds a dash of coldwave romanticism, featuring hypnotic synth interplay that recalls Martin Dupont’s best works, while “Sara Strobes” is a fast and furious synth punk workout, more experimental and frantic than anything else on the LP.

“I don’t really have full control when I make music or go into the process with any premeditated ideas. Ironically I often find myself in the studio just after tough moments in life,” Belief adds. “Art often sabotages and looks for instigators. Generally I create music depending on the mood I’m in and rarely stick to any one style. I have no allegiance to any one sound thus Vessel of Voices is a rather eclectic release.”

While many of the album’s tracks have been rescued from the vault, there are several new recordings mixed in for good measure. Many of the newer tracks were written for Belief’s recent live performances, serving as a means to keep the creative process alive and to tap into a more sonically balanced atmosphere. The album ends with a remix of “The Last Time” by fellow synth maestro Automelodi, which brings the track to new emotional levels. While bonus tracks often dilute an album in my experience, the remix is a welcome bookend to an album full of exciting twists and turns, expanding on a familiar motif to bring the album home.

Stream Vessel of Voices below via Bandcamp and check out the full album artwork and track listing below:

Nina Belief – Vessel of Voices
1. Lights Out
2. Tehran
3. Lysistrata
4. Come Alive
5. Carrion
6. Invisible Woman
7. Black Tango
8. The Last Time
9. Dull Horoscope
10. Delirium
11. Binding Life
12. Simulate Contact
13. Wax Ride
14. Paraphilia
15. Wolf in the Fog
16. Sara Strobes
17. Darkness in You
18.The Last Time (Automelodi Mix)

The post A Wolf in the Fog | Catching up with Nina Belief appeared first on Post-Punk.com.

Nuovo Testamento’s Love Lines is a love letter to the dance singles and albums of the late 80s and early 90s. Building upon the hi-ENRG, Italo-disco, and freestyle sound of their debut album, New Earth, the band delivers a collection of new songs that showcases their evolution as musicians.

Indeed, this latest album from the Los Angeles/Bologna-based band (Chelsey Crowley, Giacomo Zatti, and Andrea Mantione) channels the timeless spirit of 80s pop, breathing new life into it for a modern audience. The tracks are filled with orchestral hits, chime-y synths, and bright dance rhythms that create a classic and fresh sound. The rich synth and drum pads add depth to the music, creating a lush and sonic landscape that ignites exponentially with each listen.

But, while Love Lines delivers a nostalgic and familiar sound that harkens back to an era of sipping Orange Julius at the mall in Reebok hi-tops, this album is more than just a trip down memory lane; it’s a reaction to the complexities of romance in the modern age. It is an exploration of earnestness in response to social media insincerity.

The album begins with “Wildlife,” an infectious and melodious track that evokes the opening credits of a film from 1988. The music carries the listener away on a wistful wave of emotion, evoking a sense of hope and possibility. From the very first note, one is spirited away to a time and place where the world was alive with the promise of something new.

This cinematic flair is continued with vocalist Chelsey Crowley channeling the essence of True-Blue era Madonna with the romance first single, “Heartbeat,” a song featuring the 2023 film My Animal, written by Jae Matthews of Boy Harsher.

Watch the video for “Heartbeat,” produced by La Sombra Luminosa, below.

The next track is a glorious eruption of sound, as the album’s explosive second single, “Heat,” evokes the spirit of dance hits from the late 80s. The song’s groove takes hold of the senses, kindling a fire within and inciting the irresistible urge to move. With each beat and pulsating rhythm, the track transforms the world into a vibrant and dynamic dance floor, drawing the listener deeper into the rhythmic spell.

Watch the video for “Heat,” produced by La Sombra Luminosa, below.

“Get Closer” begins with fuzzy percussion that verges on hip-hop before orchestral boop boops launch the listener into a world of lush synth pads. The bright horns and flute-like melody add to the track’s captivating and ensnaring nature, weaving a tale of desire within the eyes that pulls the listener closer to the hands and towards the body, spiraling “round and round” into a tactile world of passion and longing.

The album’s title track, “Love Lines,” opens ominously with a juxtaposition of synths and conga drum beats, building a sense of tension and anticipation. As the music heightens, a dramatic melody full of urgency takes hold, inviting the listener on a journey fraught with risk and uncertainty. This song is about the perilous act of wishing upon a star for true love, knowing that it may lead to heartbreak and disappointment. The song’s music and Chelsey Crowley’s vocals and lyrics work in tandem to create a powerful and emotional experience that is impossible to ignore.

“Perfect Storm,” one of the album’s standout tracks, is a dark disco-infused delight that will surely become a fan favorite. Its dusky, impassioned vocals and infectious beat are catnip for anyone looking to lose themselves in the music and connect with a partner on the dance floor. The track’s magnetic energy is irresistible. One can easily envision a skilled DJ weaving it into their set, casting a hypnotic spell on the crowd and inciting a tempest of sound and movement.

The lyrics are about the singer inviting someone to take their hand and join them on a journey toward somewhere or something better. The song’s protagonist is tired of dancing alone and dreams of connecting with the other person but wonders if they are too blind to see the opportunity. This is an invitation and plea to take a chance, let go of fear, and run toward something new and exciting.

Building on the enchanting theme of starlit skies introduced in the album’s title track, “In My Dreams” is a mesmerizing synthpop gem that seamlessly blends high energy with emotional depth. The metallic clang of the percussion creates a driving backbeat that propels the song forward, reminiscent of the golden age of 80s dance tracks and capturing the unmistakable New Jack Swing vibe that defined the era.

The song’s evocative and emotionally charged vocals resonate with a powerful sense of frustration and determination as Chelsey sings of grappling with the intricacies of love and the challenges of both holding on and letting go. The dynamic dance rhythms and strong hook further enhance the mood of introspection and yearning, capturing the universal struggle to navigate the mysteries of the heart. The result is a captivating and moving sonic journey that touches upon human emotion’s rawest and most complex aspects.

Nuovo Testamento takes us on a journey from the depths of a New Earth to the infinite expanse of the stars with their second full-length studio album, Love Lines, and the closing track, “Heaven,” invites us to reflect on the transcendent power of the dance floor, showcasing the band’s more introspective and contemplative side while still delivering a solid punch with its club-ready beats and anthemic chorus.

The track’s shimmering synth accents create a hypnotic atmosphere, building to a boiling point with its intricate vocal hook. With the lyrical refrain “Sweat, wet, I’m in motion,” “Heaven” is a celestial hymn to the transformative power of dance. The song invites us to get lost in the moment, let go of our inhibitions, and embrace the pure ecstasy of the music. In short, “Heaven” is one of many masterful compositions that cement Nuovo Testamento’s status as one of the synthpop scene’s most exciting and innovative bands.

Listen to Love Lines below:

Love Lines was produced by sound engineer Maurizio Baggio (known for his work with Boy Harsher and The Soft Moon) and features vocal recording by Riki. The album pays homage to the legendary producers of the late 80s and early 90s, such as Shep Pettibone and Chris Barbosa.

Nuovo Testamento boasts a lineup of hardcore and dark punk royalty, featuring members from Tørsö, Horror Vacui, Crimson Scarlet, and touring members of Sheer Mag. In March, the trio embarks on an extensive North American tour as they support Molchat Doma, bringing their unique sound to fans across the continent. Check out the complete list of dates below to catch them live.

Love Lines is out today via Discoteca Italia.

Order here

Nuovo Testamento Live Dates:

• Mar 24: San Diego, CA – The Whistle Stop
• Mar 26: Ft Collins, CO – The Coast
• Mar 29: Milwaukee WI – X-Ray Arcade
• Mar 30: Chicago, IL – Riviera Theater ~
• Mar 31: Detroit, MI – St Andrews Hall ~
• Apr 01: Toronto, ON – Phoenix Concert Hall ~
• Apr 02: Montreal, QC – M Telus ~
• Apr 04: Boston, MA – Roadrunner ~
• Apr 06: Philadelphia, PA – Union Transfer ~
• Apr 07: New York, NY – Terminal 5 ~
• Apr 08: Washington, DC – 9:30 Club ~
• Apr 12: Asheville, NC – The Orange Peel ~
• Apr 13: Atlanta, GA – Variety Playhouse ~
• Apr 14: Orlando, FL – Plaza Live ~
• Apr 15: Saint Petersburg, FL – Jannus Live ~
• Apr 16: Ft Lauderdale, FL – Culture Room ~
• Apr 19: Louisville, KY – Old Forester’s Paristown Hall ~
• Apr 20: Nashville, TN – Eastside Bowl ~
• Apr 21: St Louis, MO – The Factory ~
• Apr 22: Kansas City, MO – The Truman ~
• Apr 23: Oklahoma City, OK – Tower Theatre ~
• Apr 25: New Orleans, LA – House of Blues ~
• Apr 26: Houston, TX @ Bayou Music Center ~
• Apr 27: San Antonio, TX – The Aztec Theater ~
• Apr 28: Austin, TX – Stubb’s Amphitheater ~
• Apr 29: Dallas, TX – South Side Ballroom ~
• May 01: El Paso, TX – Lowbrow Palace ~
• May 02: Tucson, AZ – Rialto Theatre ~
• May 04: Denver, CO – Ogden Theater ~
• May 06: Salt Lake City, UT – The Depot ~
• May 09: Boise, ID – Knitting Factory Concert House ~
• May 11: Vancouver, BC – Harbour Event Centre ~
• May 12: Seattle, WA – Showbox Sodo ~
• May 13: Portland, OR – Crystal Ballroom ~
• May 16: Santa Cruz, CA – Catalyst ~
• May 17: San Francisco, CA – The Warfield ~
• May 18: Los Angeles, CA – Shrine Auditorium ~
• May 19: Phoenix, AZ – The Van Buren  ~

~ w/ Molchat Doma

Follow Nuovo Testamento:

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The post Listen to Nuovo Testamento’s Perfect Late 80s Style Dance Album “Love Lines” appeared first on Post-Punk.com.

Their Italo disco influence has a large presence in the first half of the record; songs such as “Michelle, Michelle” and “The Searcher” are primed for the dance floor. “Golden Boy” blends post-punk guitars into its sorrowful melody while “New Earth” and “Intuition” perfectly blend Radiorama and Eighth Wonder’s unabashed pop sensibility with the synthesized gloominess of Red Flag or Cetu Javu.

Out on June 30th via Avant! Records, we’ve got an exclusive stream of New Earth. We promise this will be your soundtrack for the next few steamy months. We also spoke with the band about their deathrock family, the recording process of New Earth as an internationally-based band, and what’s next for them (hint: lots of touring).

You came from a big deathrock/anarcho-punk family, how did you initially decide to start Nuovo Testamento?

Andrea: We found ourselves playing in different bands and countries for many years and finally decided it was time to start a band together. Chelsey was in Italy with us at the time and was the perfect fit for vocals, since both of us were big fans of her way of singing.

Giacomo: Andrea and I have known each other for more than twenty years, we grew up together. We started working on this in 2018 when I flew home for the holidays between tours and just wanted to play something different. We got inspired and suddenly we had six songs ready, most of which ended up being the Exposure 12″.

Where did the name come from?

G: Me and Andrea are from a very religious country so it’s an interesting place to have a different way of thinking. We’re fascinated by the infinite misuses and misinterpretations of something considered so fundamental, how that immediately makes the sacred profane, etc. The conflicts and contradictions in that conversation are so interesting and we were talking about it a lot at the time. Then we started making this music that was both light and dark and really interpretive because of that, and it just stuck.

How do you approach writing for NT versus a deathrock band?

A: The approach is a bit different. First of all, this is less guitar-driven. I find myself more focused on synth melodies or bass melodies and with this approach I get to be more engrossed in the atmosphere and musicality of the song; it’s hard to explain but it’s different than leading with the punk attitude that our other bands have.

Chelsey: On my end, the approach is completely different. With dark punk and deathrock, I always started with the lyrics and made them fit the song which created more unexpected or urgent-feeling melodies. This stuff is meant to still resonate with people but in a less challenging way, it starts with melodies as the way in.

When did you start writing New Earth? In what ways did the pandemic influence the result, if any?

C: New Earth started late 2019 in Bologna and was a complete frenzy, we were really inspired and energized by the direction everything was going. Lockdown kicked in right as Andrea was headed to our place in Los Angeles to record it as an EP, so we decided to keep writing remotely while waiting it out. I think a lot of folks were really broken down and cracked open by what they went through in 2020, that was certainly true for me personally and I think the songs really benefited from that because I had a lot less desire to second-guess myself, so it was an exhausting but really organic process in that way.

New Earth’s sound is more poppy than your 12″, which is coldwave-based and softer. What caused the change towards a more italo-disco/new wave sound?

C: I wasn’t originally part of the equation, the 12″ songs were written for the male voice. I love those songs but I’m not a coldwave dude and continuing to write songs like I was would’ve been really forced. We just let it evolve and got really excited about leaning into this stuff we love but never occurred to us to play.

G: To be honest it happened so naturally.

A: We always listened to Italo disco & new wave obviously but didn’t have the skills to play it, I think Giacomo & I getting more comfortable with keyboards and synthesizers also inspired that shift.

Has the Italo genre always been somewhat of a “guilty pleasure” for you? What do two Italians bring to the project?

G: Kind of, it’s always around in Italy in a way that it’s not elsewhere. So you’re hearing it everywhere, from your parents or tv or movies.

A: You’re so used to hearing it but it’s considered disposable music, it used to be churned out really quickly. That’s always piqued my interest so we started looking at it more analytically, the sounds and construction, etc, and found a lot that we liked that gets overlooked or not taken seriously because it’s considered kind of kitsch. That’s been a lot of fun.

C: These guys have an inherent understanding of the genre because they’ve heard it their whole lives, whereas outside of Italy and Europe I think it’s still very much a novelty. They concern themselves with a level of authenticity around gear, voices, patterns, etc that someone from a different background might not bother to explore.

It’s easy to compare New Earth to bands from the 80s, how do you think NT is different from a throwback band?

C – We’re not trying to sound like any one thing, I think NT is really just our interpretation of a mix of styles that have influenced us. Of course, it might be almost exclusively 80s styles but we’re used to seeing them in silos. On New Earth you hear Italo disco but you also hear our dark roots and Hi-NRG, synthpop, and straight-up international pop. A lot of the vocal lines started from a very post-punk place, but put it on top of some bells and in a higher register and that changes. It’s real in that way and, at least to us, sounds different.

What records or artists influenced you for the writing of NE? Any artists growing up that informed this album?

G: Pet Shop Boys for sure and Italian pop, especially the productions from Roberto Turatti e Michele Chieregato and Shep Pettibone.

A: 80s Matia Bazar and Mango on top of everyone, some sounds from Germany like Alphaville and Mother Talking.

C: Pop and freestyle royalty like Expose’, Mandy Smith, Sheila E, Gloria Estefan. A lot of Yugoslav and Soviet new wave, German synthpop.

What is the process of writing music intercontinentally?

G: Andrea and I get together for a couple weeks in Bologna at least once a year when I’m not touring and we use every minute we have together to write songs.

C: It’s true, they don’t sleep.

A: We have all the gear in Bologna and Giacomo and I usually finish the music as much as possible before handing it off to Chelsey, before the pandemic always scheduled trips and did this all together in the same apartment for a prolonged period of time. During the pandemic, it’s become tweaking things for hours on video calls and Chelsey sending us voice memos. But we had a solid structure and direction on the record since 2019 so it’s only partially been done with us separated from each other.

The lyrics exude a lot of power and strength—what inspired the lyrical content?  

C: My lyrics usually trend towards the dark or political but things were so dark and political at the time everywhere you looked. For once it felt aspirational and contrarian to sing about having a good time, if you can believe it, so there was some distraction and world-building involved. So I was thinking about universal pop music themes and how empowering a lot of them are, something I think they don’t get credit for – dancing as an act of power and self-expression, our various relationships giving us strength… the idea of control and self-worth is everywhere in those kinds of songs and I wanted to play with that.

There’s a lot of drama in New Earth’s production and song arrangement. Do you think this derives from your deathrock roots?

A: Yes absolutely – since me and Chelsey are coming from deathrock, there’s a melancholy we bring in. I always tend to write in minor chords, etc.

C: That’s really interesting, I hadn’t thought about it like that. I feel like Italo disco is inherently so dramatic that we were just having fun with that but I’m sure you’re right. Andrea and Giacomo are the heart behind so much of the record and everything they write together has a ton of dramatic power.

Do you think there’s a movement away from dark music at the moment? Why?

A: I believe so, but it seems to be part of a natural cycle. We’ve been talking about this post-punk/deathrock trend for years, it felt like such a small space when we were younger. In recent years it got oversaturated and now it’s just cycling out for a lot of people.

C: I also think in the real world it’s easy for folks to get swept up with what’s thriving at any given time, and that’s been dark music. The isolation of the last year has given people the space to explore what matters to them away from that momentum. I’m excited to see what comes out of that openness and I’m excited to watch dark music recover from being stretched a little thin, in my opinion.

Will you plan live performances for the album? As part of the goth wave, anarcho-punk community worldwide, are they any bands you look forward to sharing the stage with?

G: Yes we wanna play and tour as much as possible

A: We did play two shows in Italy right before the pandemic hit and they were awesome.

G: I personally would like to play with Ritual Veil, their new stuff is so good.

A: Body of Light! I really liked their last record.

C: Nouveaux! There’s so much taste and talent in that band. I can’t wait to see what they do next.

Do you see genres blending and cross-pollinating more in the future? 

C: I hope so, it seems like such a natural evolution. Few of us are influenced only by one tiny subgenre so trying adhere to a single label feels inauthentically restrictive. Taking all the things you love and reinterpreting them together in a way that excites you… I mean, that’s how a lot of the greats have come up with unique and definitive sounds, right? So it’s not new or anything. That kind of thing sounds fun to play and fun to listen to and really fun to be a part of.

New Earth is out June 30th on Italy’s AVANT! Records here, with US Distribution through Torn Light Records,

Follow Nuovo Testamento:

• Instagram
• Bandcamp
• Spotify

The post Listen to Nuovo Testamento’s Fantastic Dark Italo Disco LP “New Earth”—Plus Interview appeared first on Post-Punk.com.

Over the course of Casa Luna‘s six tracks, Lycia explore an impressive array of styles and sounds, all of which tap into various periods in the band’s thirty-year career.  The EP begins with “A Quiet Way To Go,” which combines layers of warm synths and carefully plucked guitar lines with both VanPortfleet and Vanflower’s mantra-esque vocals, serving as a haunting introduction to the fruits that follow. “Do You Bleed” quickly takes control with a heavier, textured grind and Vanflower’s vocals swimming through waves of echo and ambience, flirting with the powerful cacophony that made 1989’s Wake and 1991’s Ionia so gripping upon their initial release. “Except” continues to explore more dance-oriented territory, an electronic influence that began to reveal itself fully in 2018’s In Flickers and that breathes an infectious sense of energy into Lycia’s ethereal bedrock. “Galatea” treads similar ground, both tracks ripe for soon-to-be-flourishing dance floors yet remaining truly singular in a way that no other modern band can boast, a true case of influence manifesting clearly but not fully eviscerating a band’s roots. Both “On the Mezzanine” and closing track “Salt & Blood” are classic Lycia through and through, two emotionally devastating tracks that cut deep even with the most delicate of instrumentation.

Clocking in at 27 minutes, the EP demands a repeat listen (or three), with each subsequent playthrough unlocking more of its majesty and mystery. After the dust settles, it’s apparent that no band has ever sounded this vital after so many years, so true to their roots yet ripe for evolution, and we’re grateful for every second that kisses our ears.

Casa Luna will be released in digital, CD and limited 10” colored vinyl format, and is currently available for pre-order via Avantgarde as well as via Projekt.com.

Cover art by Tara Vanflower

The post Listen to an Exclusive Full Stream of Lycia’s Stunning New EP “Casa Luna” appeared first on Post-Punk.com.

Originating as the brainchild of Rachael Pierce, Brandon Pierce, and Cameron Carlin, Glaare has since undergone several lineup changes since Carlin left to pursue a solo career. Rex Elle later came in, first on bass and synth and currently, guitar. Marisa Prietto (Wax Idols; Bizou) was brought in for live bass and backing vocals. Utilizing samples, distortion, and trap beats, Glaare stretches the boundaries of sound and sensuality with playful experimentation.

How has the pandemic affected the band’s songwriting process?  Who have they brought into the collaboration fold? And how does Hellraiser and Terminator 2 fit into all this?

Post-Punk.com interviewed the band to explore the legendary suffering featured on this album:

How has the songwriting process changed since releasing 2017’s To Deaf and Day? 

Rachael: Not really. We just sort of spit on a banana and wait for sounds to happen. That’s always been the way we work and will continue to be.

Has the lineup changed, or essentially stayed the same?

Rachael: Naw it’s been a game of musical gangsters since we were first taking a bus to bedrock while holding a snare drum in the beginning. Also if you count all the demons in our minds coming and going constantly then that’s a pretty constant change up.

How is it working with cult label Weryd Son records? 

Rachael: Incredible. Michale Thiel is daddy in a big way. He rides so hard for us and keeps us in track when we start slacking off.

Marisa: Michael is the best. He’s so supportive and dedicated it’s crazy. Like a dad that loves you *this* much.

From Darkwave, Dreampop, to electronica, Your Hellbound Heart is both genre-spanning, and genre-defying. How did you approach selecting a palette of sounds in influences to create this fantastic record?

Rachael: We record our cat’s meows. Then we distort them. Then sequence them. Then have a snack. Then add a trap beat. Then remove some high hats and push some buttons on the Moog and hope it sounds sort of fine. Then talk about Marxism. bleeps and bloops.

There was a nearly a year gap between the release of the single “Mirrors”, and “Young Hell”, what transpired between then? Did that alter the shape, sound, and theme of the record?

Rachael: A lot of stuff happened. Mainly the pandemic. also being sick of everyone’s shit and committing to reclusion. This is an abusive passion to have. Sometimes you just can’t deal with it and you have to let it go and run away until you can stomach the process again.

Can you tell us what went into writing the song “Divine Excess,” and who is Ross Farrar, and how did the collaboration come about?

Rachael: He’s the lead singer of Ceremony and Spice. He’s our forever homie who we met on tour with Ceremony. Fuck, he slays hard. I can’t really remember how that song initially came to be because I was In the throes of a full-blown psychological breakdown and I was almost completely dissociated from this planet. However, I can tell you that I was fetishizing destruction very hard at the time. So essentially I was just word vomiting everything in my head and begging for mercy. We wanted a male vocal to balance out the energies and create that multiple personalities thought process.

Are there any other collaborations on the album? 

Rachael: yes, our girl Iphie from Foie Gras, and Nick Vicario from Smirk and Surfer Blood.

Who is this album dedicated to and why?

Rachael: Our dearly departed comrades Eddie Wuebben and Thomas McMahan. We lost them rather close together for reasons relating to unresolved pain within themselves. the tragedy is an inevitable part of our journey here. Some of us have to face more unspeakable horrors than others for reasons that are mysterious and unsettling. The only thing we have at the end of the day is the ability to create. Our friends who left us provided us with the most pure and infinite love. Love like that is what propels people to use their lives as vessels of creation. They are huge reasons why we even have a well to pull from. It’s their album and wanted to make sure that they get credit for it.

Have you read the book The Hellbound Heart by Clive Barker and/or the first two Hellraiser movies? 

Rachael: I’ve seen the first two movies thanks to my beloved warlock soulmate Jeff Swearengin from Sleep Clinic and frontline assembly. He forced me twitch because I am such a spaz and won’t commit to anything unless I’m forced. I love the first one. Man sex addiction is a real thing huh? Lots of toxic behavior.

Do you have a favorite Cenobite?

Rachael: our cats Klaus, Maus, Tofu, and Judy are our favorite cenobites.

Can you tell us about the writing and production of the song “Young Hell”, and its visceral music video directed by Paige Dowling?

Rachael: Paige is a brilliant up-and-coming filmmaker and director. We trust her vision and creativity so so much and were so happy when she offered to direct a video. I never explain song meanings unless it is someone I’m working with. I believe a certain hive-mindedness needs to be achieved in order to collaborate, so there are only a few people that have actually heard my specific thought process behind lyrics. She is one of them. She took it and wrote the most incredible concept that went far beyond what I initially had in mind. i was literally tortured during that shoot haha. I have a feeling she kept me in pain on purpose to make sure it was realistic. I love her.

What song is inspired by Terminator 2 and how do the themes from that film relate to the album?

Rachael: the song is literally called T2. There is a common theme in most 80s movies that involves the lead character uncovering a huge global conspiracy that could change the course of the entire planet. The only problem is they can’t get anyone to believe them and they just end up sounding insane. I related to that.

Do you think for many, our collective trauma has untold mental health consequences? What effects has our current age of Pandemic had on you personally?

Rachael: I loved the pandemic minus all the death. I wish I could stay in quarantine forever and never see another human ever again while I transcend slowly into the next dimension. So I guess that answers both questions.

Marisa: I’m sure I’m experiencing untold mental health consequences right now without being able to describe them & I’m sure most of us are. I’m kind of curious what kind of weird-ass habits we’re going to have from this that our kids are going to be like — wtf is that about? (Not that I’ll be having any).

Are there any other sci-fi, horror, or cult films from the 80s that inspire themes on the album?

Rachael: Prince Of Darkness, They Live. Total recall. Lost boys.

Can you tell us about the lyrics and meanings of the songs For Sale, Buyers Remorse, and 2 Cents? All three seem to have financial connotations, with the third usually meaning unsolicited advice given free of charge. Is this intentional?

Rachael: It’s all intentional. I feel a responsibility to let people build their own relationships with the songs I write. My experience doesn’t matter in these songs anymore. They were a stepping stone to get them written. They belong to everyone else now. they can tell me what it means.

*Now that clubs and shows are starting to open up again, will Glaare perform live again?

Rachael: You fuckin know it.

Marisa: Yes! We’ll be performing live again starting this summer. My scene reunification panic has been 100% re-activated.

Your Hellbound Heart, is out now through Weyrd Son Records in the US, and EU, with a special version of the album exclusive to Dune Altar in the US.

Order Here.

Follow Glaare:

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• Bandcamp
• Instagram

*Featured photo credit: Brandon Pierce, Julian Medina & Meg Wad.

The post Tear Your Soul Apart—An Interview with Glaare on Their New Album “Your Hellbound Heart” appeared first on Post-Punk.com.

Previously, three singles from the album were unveiled. One of these songs is the bright and beautiful album opener “Между нами” which translates as “Between Us”. This song displaces some of the overlying gloom into a more brilliant bass-driven, with almost synth-pop-oriented beats, carried by a fuller, warm, and ardent vocal from singer/guitarist Victor Uzhakov, who shifts from his usual dry delivery into a more vibrant and resonant baritone.

The single sorry “Прости (Sorry)” is driven forth by droning keys, racing guitars, and swift bassline, overlaid with the repeating vocal refrain Прости (pronounced pras-TEE) while evoking the introspective feelings captured by The Cure through their second and third studio albums Seventeen Seconds, and Faith, along with visual allusions to those records with a stark, minimalist video filmed in a white studio.

The jangly guitar melody on the third single “Танцы в темноте”, (which translates as “dancing in the dark”), is both shadow and light, buoyantly carrying a dancefloor melody perfect for a nightclub circa 1983.

Every song on the record affects a wide dynamic range of complex and intangible emotions eliciting both joy and sorrow. Such complexity is found on the track “Старые фильмы”, which translates as “Old Movies,” has a positively irresistible refrain and synthpop melody, evoking all the anthemic atmosphere of early Depeche Mode.

The album closes with the deeply romantic anthem Песни окон и стен,” aka “Songs of windows and walls”. It’s a bittersweet melody, with traces of Head on the Door, and Kiss Me Kiss Me Kiss Me era Cure, scoring the strength and resolve of the heart which its lyrical rhythms.

Leading up to the release of “Phantom Feelings”, we had previously spoken to Ploho, along with Molchat Doma, about the current wave of post-punk acts from Russia, former Soviet Countries, and the CIS.

“Now the spotlight is directed towards our country and a new horizon of a number of groups has opened up for many. But post-punk, as a genre, is far from dominating in our country.”

Phantom Feelings is out on February 5th, 2021, via Artoffact Records.

Order the album here and listen below:

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The post Album of the Month: Listen to Russian Post-Punk Trio Ploho’s “Phantom Feelings” appeared first on Post-Punk.com.

This is perfectly encapsulated in the group’s enigmatic video for the track “False Desire”, shot in black and white, with each band members’ faces framed impassively in closeup against a collage of abstract artistic imagery.

On the influences of art and cinema expressed in “False Desire”, the band state that the clip is:

“Inspired by the paintings of Kandinsky, early 20th century abstract films, and the work of Sergej Eisenstein l, Julian Gabriel Bendaña’s video for “False Desire” explores the “self-portrait as landscape,” probing the mask-like expressions of Tolhurst, Rüest, and Oronos for the minute movements that trace a topography of desire.”

Watch the video, directed by Julian Gabriel Bendaña, below:

Topographies’ Ideal Form is out now, and our pick for album of the month for December 2020.

Read our interview with bandleader Grey Tolhurst, and purchase the album here.

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Helmed by singer/songwriter/guitarist Gray Tolhurst (yes, son of The Cure’s Lol Tolhurst), Topographies evolved its sound from shoegaze and dreampop towards a more cohesive post-punk infused project over the course of several EPs and singles. It veers into goth territory at times, but never strays into theatrics. With this album, Topographies unfurls wistful, hopeful music, all the while weaving a haunting tapestry of echoing psychedelia, eerie synths, and poignant lyrics.

Topographies, comprised of Tolhurst, Jérémie Rüest (guitar and synth), and Justin Oronos (bass and synth), cobbled themselves together on the San Francisco local scene (and in the case of Oronos, Craigslist).

The band started recording Ideal Form last November, with the help of engineer Chris King (Cold Showers). When COVID started gaining traction, the album was nearly finished with mixing and mastering. Ultimately the band were album to finish the album, working with the label Funeral Party to spearhead its release.

Post-Punk.com interviewed Gray Tolhurst this autumn, where he reflected upon the fluidity of his music tastes. His father introduced him at a tender age to the likes of CAN and Captain Beefheart, but The Cure evaded his radar until much later. Grappling with the weight of his father’s fame led him to avoid getting too mired in the influence of his father’s own band, but soon things clicked into place: “I was like, oh my god! I should’ve listened to this years ago. I love this,” he said. “…I just kinda skirted around this idea, and once I listened to the album I thought ‘this makes total sense.’ I kinda switched my tune once I heard Faith and Pornography, I was like yeah that makes sense. Other bands I like sound a certain way, and I didn’t realise that connection.”

Topographies’ Ideal Form Post-Punk.com’s album of the month for December 2020.

The record is out now, listen below and purchase here.

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In the midst of the pandemic, Bootblacks have also kept a steady stream of content flowing, including homegrown music videos for each of the album’s tracks, DJ sets with New York’s Red Party, carefully curated playlists, hilarious album promos and advertisements, and most notably, a handful of appearances on livestream festivals, the latest slated for tomorrow’s Cold Waves: Season of the Glitch festival. The band also shot a full live concert video at Brooklyn’s St. Vitus, and have been releasing select performance segments, all while beginning to work on their next record.

We had the chance to speak to Bootblacks over video chat about the LP, the band’s evolution, and the health and safety of our nation. Stay tuned to the end for a very special announcement and be sure to pick up a copy of Thin Skies asap!

Photo by Katrin Albert

The post In Conversation With Bootblacks appeared first on Post-Punk.com.

This love letter to the mid to late 80s tropes was brilliantly directed by audiovisual collaborators Amanda Siegel and Benjamin Turner, who in turn then quickly followed up that single with the luminous clip for “Earth Song”.

Bookended by these two lead singles was also the fantastic and transformative remix of the German language track “Bose Lügen”, a song culled from Riki’s 2017 DIY produced debut EP Hot City.

Who is Riki though? Who is Niff Nawor? Surprisingly, some of us already knew her through her ardent music fandom in the Portland, Oakland, and Los Angeles goth and deathrock scenes,  further driven by her membership as synth player in the band Crimson Scarlet.

We connected with Niff this past week to find out what drives her authentic fandom of 80s synth and goth and how it influenced a record that is a beacon of iridescent optimism and sensuality that is also one of the best records released this year so far.

Can you tell me how you were introduced to deathrock?

Well. I started with like important rock bands like Christian Death, I discovered those in high school. So I was at that time hanging out with a lot of punks. There was one guy who showed me a bunch of amazing stuff. Nina Hagen, Toyah Wilcox, and darker bands like Christian Death. That kind of opened the doors to exploring on my own. And once I moved out of Oregon, which is where I grew up, I got involved in a more goth and deathrock scene, as well as punk, in Oakland.

So. Yeah.  All my friends and I would do is just listen to music and talk about music, and that’s all I wanted.

How did you meet Sköt from The Vanishing and The Phantom Limbs?

Sköt is in an excellent old-school SF deathrock band, Altar De Fey, which my old band Crimson Scarlet used to play a lot with. And I mean, he’s just a great guy. So we hit it off. He recorded some stuff for Crimson Scarlet, and then I recorded the first Riki EP with him.

Tell me about Crimson Scarlet. First off, we have to poke fun a little bit at the band name, as there was a trend back in the 2000s…You were the synth player in that band?

Yes, but I didn’t start the band with everyone. As for the name, Crimson Scarlet was a bunch of punks who like goth, and Chuck the guitarist was thinking “What is the most goth name for a band”?

So definitely there is a little bit of humor there. But also it was fun to kind of take that theatrical over-the-top-ness of, you know, deathrock and just embrace that.

Before I joined, they actually asked me to play bass, so I was really excited because at that point I had only been in like two bands and they were pretty small and I just wanted to play music.

So I learned the songs on bass. And then when I got into practice, Chuck told me that they found a guy to play bass, and asked: Do you have a synth? I did happen to have one. I had a microKORG, but I hadn’t gotten into synth at that point, but I was like, of course, I’ll do that instead. And that’s where I learned to play synth really and fell in love with it.

The Hot City EP and RIKI feature members of Crimson Scarlet?

Yeah. Chelsey was the singer of Crimson Scarlet. They’re no longer active.

But she plays live with you now?

Yes, she does for some shows. It’s really fun with her because, well first off, we’re really, really close so it’s just fun to do anything with her, and we can do duets and stuff.

“Charming World”. I love that bassline. It’s reminiscent of Cinema Strange and Sex Gang Children. And the title track “Hot City” reminds me of Billy Idol.

He’s actually one of my favorites!

Mine too. “Eyes Without a Face” is one of my personal favorite songs!
So, “Böse Lügen”. Did you write that in German?

Yes, I was studying German for a few years. And there was a moment for a couple of months where I was thinking and doing everything in German. It wasn’t proper German. But the song came out at that time.

The lyrics seemed very sad, dark, and bitter.

They are, and there’s a little bit of anger in there.

The song is about the disenchantment feeling where you still want closeness with something that is not, you know, benevolent.

Almost all the songs that I write are romantic love songs. And it’s in that same vein too. There’s no—I mean, there are no love songs without heartbreak songs.

You said you love Nina Hagen. What is your favorite Nina Hagen song? Do you have one?

“Hold Me”, I love that song. But I mean she’s got a lot of great ones. That one’s more, like way more, tame than a lot of her work, but that’s probably my favorite.

Are you going to see Neubauten?

The Los Angeles show sold out in like a week. I have tickets for the San Francisco show. I’ll make a trip out to see them.

Have you ever been to Germany?

I’ve been three times, okay, and I’ve never spent all that much time in Germany. Maybe. Two weeks tops. But for a while, I was thinking I should move there.

You really seem to have been able to recreate the vibe of italo disco on your debut album, for example, both the video and song for Napoleon are super italo.

I take it you are a fan of R.A.F., for example. “Self-Control”?

Yeah, for sure. I love that track. I love the Laura Branigan version too. I really like, I mean, good italo, and what I love about it is that it’s super over the top. No shying away from cheesy or sleazy. Like it’s just party music for feeling good. It’s kind of free.

Can you tell me about the song “Strohmann”?

“Strohmann” is about a scarecrow. It’s another love song and it’s about this. Maybe looking at it more vaguely, it’s about, you know, projecting ideas of love onto this image that is maybe not even real or really there, but in the song “Strohmann”, it’s is alive as a scarecrow.

How was working with Matia Simovich on this record, who recently worked with your labelmates SRSQ?

It was a challenge to work on these songs so closely with anyone really because initially, I was just doing them by myself. You know? I had never worked from the ground up with someone else before. I just did like recording, a bit of engineering, not programming parts. But what we did with these songs…the sound of them is because of the both of us.

What does “Earth Song” mean to you?
“Earth Song” is definitely about like inter-connectedness, of energies. Getting a little into that zone where all things are tied together, you know, beyond what’s normally visible. But it’s yeah, it’s just a lot about feeling, and being kind of overwhelmed by an emotion of connectedness.

We already established Napoleon, both the song and video, as being stylistically heavily influenced by italo disco. But what is the song about?

It is actually based on Napoleon Bonaparte, who is my historical crush. It’s about this very bold man who, in a moment, you know, you are overwhelmed by what, like lust and just like wanting him. That’s really it. It’s pretty simple, huh?

For some reason, I’m thinking about Bill and Ted’s Excellent Adventure with Napoleon, but we both know he was not really a “short dead dude”, and was actually a fascinating tactician and leader in European history.

Speaking of which any plans to “tour” Europe?

We’re planning a tour for late summer for Europe. We have Kalabalik På Tyrolen booked in Sweden. More to come on this!

Riki’s self-titled debut, our choice for February’s album of the month, was produced and engineered by hardware-based synthesist Matia Simovich of INHALT, and is out now via Dais Records.

Also check out the spellbinding tracks “Know” and “Monumental”, “Come Inside”, and more on surely what will be one of the best albums to come out this year. 

Happy Valentine’s Day!

Order here

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