Nilssen confesses the initial spark for I Never Kill (on a Sunday) was ignited by his disdain for the dogmatic belligerence of conservative war hawks and their acolytes. Yet, as the composition unfolded, it became evident that the critique extended beyond any singular ideology or standpoint, revealing a broader critique of societal hypocrisy. “One need only pause and reflect to perceive the absurdity of such self-righteous duplicity,” Nilssen muses.

Listen below:

When prodded about the possibility of live performances, Nilssen’s response is tantalizingly vague. “It’s a conundrum,” he admits, elaborating on his initial vision for the project as an unbridled exploration of musical storytelling, unfettered by conventional considerations. Yet, the prospect of taking his work to the stage has become increasingly appealing, especially with a cadre of talented friends eager to bring The Joy of Elephant’s music to life.

Follow The Joy of Elephant:

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The post The Joy of Elephant Debuts Soulful and Psychedelic Post-Punk Single “I Never Kill (on a Sunday)” appeared first on Post-Punk.com.

In love’s fierce grip, we yield, our selves dissolve, as two souls merge in passion’s deep embrace. Like rivers to the vast sea, we lose our names, yet in this boundless surrender, find a truer grace. Love, both crucible and sanctuary, shapes us anew in its passionate blaze.

San Juan artist, Kevin Shames, aka Basavriuk, had been quietly slipping tracks online as Basavriuk since 2015, but by 2022 he decided it was high time to get serious, and aim for a sound with more structure and definition. Now, Basavriuk is hitting its stride and reaching far beyond Puerto Rico’s sandy borders.

Basavriuk’s latest single, Below and Beyond, delves into the complexities of love and the ease with which one can lose themselves in its depths. The music features rhythmic guitar work reminiscent of traditional post-punk alongside vocals drenched in shoegaze-style reverb, all underpinned by the raw edge of early alternative rock.

Below and Beyond is Basavriuk’s deep dive into self-discovery and healing. It’s like navigating unknown territory, where each step is met with disbelief and struggle. Yet, there’s a strong resolve to rebuild, showcasing the resilience inherent in the quest for wholeness.

On the musical front, Basavriuk pays homage to the post-punk vibes of The Cure’s Seventeen Seconds, blending it with the reverb-drenched vocals reminiscent of DIIV and My Bloody Valentine. Add to this mix the raw energy reminiscent of early Foo Fighters, and Below and Beyond becomes Basavriuk’s anthem for the resilient, delivered with heart and soul.

Listen to “Below and Beyond” below:

Since its new incarnation, Basavriuk has published three singles, a mini-EP, and a collaboration track between long-distance friends. More new music from the project is likely on its way later this year.

Follow Basavriuk:

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The post San Juan Post-Punk Project Basavriuk Debuts Melodic New Single “Below and Beyond” appeared first on Post-Punk.com.

Valery Kvochkova, the visionary behind Pink Stiletto, shares, “The project’s name was inspired by iconic tracks like Fancy’s ‘Slice Me Nice’ and Link Wray’s ‘Switchblade’, embodying the 80s New Wave and Post Punk’s eclectic mix of wacky, cheesy, and sexy elements. It’s a solo endeavor I embarked on last year, aiming to revive the distinctive spirit of that era.”

The track’s lyrics, though succinct and bilingual in French and English, are set against an infectious groove that promises to energize any dance floor, especially when paired with dazzling laser effects.

Originally, Synthesize was conceived with Kvochkova’s previous band, Deux Nomiz, featuring talents like Billy Trujillo (Part Time) on lead synth, Chris Wilson (Part Time, Poppy Jean Crawford) on drums, and Charlie Goon on guitar, with Kvochkova herself handling bass synths and vocals. “The dissolution of Deux Nomiz left this track unreleased. It held a special place in my heart, compelling me to give it a new life as Pink Stiletto’s debut, preserving the original essence while infusing it with fresh elements,” explains Kvochkova.

While Pink Stiletto is predominantly Kvochkova’s solo project, it has warmly embraced collaborations. In “Synthesize,” Protocultura’s Eric Acosta and Jimmy Bronson enrich the track with analogue effects, drum overdubs, and mixing, complemented by Kyle Borodkin of Raptor Records on the saxophone. “I personally played and recorded the new version, making sure to maintain the original’s aesthetics while introducing new elements, with significant contributions from Protocultura and Kyle on the saxophone,” Kvochkova adds.

Listen to “Synthesize” below:

With an impressive debut performance alongside renowned artists like David Microwave Javelosa of Los Microwaves, members from The Units and Tuxedomoon, and Miguel Gomez of Kontrol, Pink Stiletto, under Kvochkova’s leadership, promises an electrifying future. “Sharing the stage with my synth hero, David Microwave Javelosa, and other iconic musicians was a remarkable experience. For live shows, I bring together a band of talented friends to fully realize Pink Stiletto’s music,” Kvochkova remarks, highlighting the collaborative essence of their live shows.

The next performance is eagerly anticipated on March 1st at Thee Stork Club, where they will join forces with Diesel Dudes’ synth-punk dynamism and Candy Whips’ New Wave/Italo energy.

“Stay tuned for more vibrant tracks in the pipeline. There’s much more to come from Pink Stiletto, and I’m thrilled to share it. The upcoming show at Thee Stork Club is just a glimpse of the exciting journey ahead,” Kvochkova concludes with enthusiasm.

Follow Pink Stiletto:

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Follow Pink Stiletto:

• Instagram
• Apple Music
• YouTube

The post Pink Stiletto Brings Back Fun, Quirky, and Sexy New Wave with Debut Single “Synthesize” appeared first on Post-Punk.com.

France’s eat-girls has unveiled their spectacularly surreal single and video for Canine, a track destined to burrow in your mind and hibernate there until next Spring. Drawing from the influences of Kim Gordon, Delta 5, The Cramps, The Flying Lizards, and a hint of Siouxsie, this trio from Lyon meticulously crafts their music in their apartment, spanning genres such as pop, post-punk, minimal synth, kraut, and dub. Their compositions navigate through a series of thoughts that intrigue and stir curiosity, akin to the experience of a lucid dream.

Canine weaves together whimsical elements a la Beck’s Odelay era – there’s no real sense to the song, but that’s the point. It weaves between other pointless moments in our lives, from everyday annoyances to grandiose self-comparisons, punctuated by a mix of mundane and surreal imagery. An abrupt phone call results in a minor mishap, reflecting the song’s playful tone and heavy French accent. And trust us, you’ll never think of pancakes the same way again!

“Canine is a biting and sarcastic counting rhyme sung by those who endlessly bend over backwards,” the band says.

The video for the song, directed by Nathan Carême, Côme Rollet Manus and Shanna Warocquier, is equally mystifying, as we follow these glowing swamp ghouls into the darkness of night and watch what unfurls.

Watch below:

Canine was written, recorded and produced by eat-girls and mastered by Anotine at Sound Love Studio, Grrrnd Zero.

In their live performances, Amélie, Elisa, and Maxence bring a renewed energy to their studio work, using vocals, bass, guitar, synths, computers, and various objects to transform their sound. They have marked their presence on stage notably by opening for Agar-Agar in April 2023 and playing at Pop Kultur’s Frannz Klub Stage in Berlin in 2022.

Catch them live this Spring: 

• 02 MARCH 2024 LA ROUTE DU ROCK HIVER – NOUVELLE VAGUESAINT-MALO, FRANCE
• 20 MARCH 2024 LE GARAGEANGERS, FRANCE
• 21 MARCH 2024 ASKIPNANTES, FRANCE
• 22 MARCH 2024 NOUVELLE(S) SCÈNE(S)NIORT, FRANCE
• 29 MARCH 2024 KINO ŠIŠKALJUBLJANA, SLOVENIA
• 30 MARCH 2024 CIRCOLO NADIRPADOVA, ITALY
• 31 MARCH 2024 TOTEM CLUBVICENZA, ITALY

Follow eat-girls:

• Instagram
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• Spotify

The post Lyon Post-Punk Trio eat-girls Debut Video Surreal Video for “Canine” appeared first on Post-Punk.com.

Lyrically, the project pays homage to classic and contemporary science fiction literature in the vein of Arthur C. Clarke, Octavia Butler, Ken Liu, and of course Ursula Le Guin, whose novel Lathe of Heaven the band are named after.

The quality of the demo is top-notch, with bombastic drums, angular guitar lines, and cry-havoc vocals from Pawns veteran Gage Allison, the music is reminiscent of early UK positive punk like Zounds, Blood and Roses, and Rubella Ballet, as well as Spanish post-punk such as  Parálisis Permanente, and Danish gothic punk heroes ADS.

Listen to Lathe of Heaven’s demo below:

Order Here

Lathe of Heaven hair a pair of NYC gigs lined up in March, included one at TV Eye the 19th, and Synthcide with Body of Light on the 24th.

Upcoming Shows:

• 3/19 at TV EYE W/ Manat
• 3/24 at Saint Vitus W/ Body of Light

The post NYC Dark Post-Punk Outfit Lathe of Heaven Debut 3 Song Demo Cassette appeared first on Post-Punk.com.

New Skeletal Face’s new EP, “Sextinction,” underscores Errol’s point. Sounding like an unholy marriage between Lords of the New Church, Deathcharge, and the more dark, rocking side of Sisters of Mercy or Terminal Gods (or, for the true believers, check out old 1980s US garage gothic rock like The Dispossessed, for another comparison…) the new “Sextinction” EP is a full-on affair of caustic bleakness. Big, sprayed-up black hair, leather jackets, sunglasses, leather boots, and a sound powered by doomy riffs—New Skeletal Faces quote early The Cure in their interview below vis a vis their eclectic, dirgey approach to music. While some NSF tracks do remind of “Deathwish”-era Christian Death, that comparison may be too easy for this group’s new EP.

Check out the interview with California’s New Skeletal Faces, and listen to their new EP, “Sextinction,” below.

Where did the name “New Skeletal Faces” come from? Who thought of it and what does it “mean”?

Errol (guitars, vox): I came up with the name. NSF represents a malevolent post-human entity.

So, a basic question, to get some basic facts out of the way: When did NSF start? Who was in the band originally, versus now?

Errol: In late 2016, after my previous band ended, KRO and I collaborated to create New Skeletal
Faces. With KRO on bass and me on guitar/vocals, we wrote 3 songs using shitty keyboard drums with some atmospheres which I programmed. An EP with those songs were released in 2017. The songs came out good considering the situation. It wasn’t a proper representation of what we were going for, though. We were already planning on getting a drummer from the beginning, we just wanted to get our stuff out there asap. But eventually we found Don Void soon after.

KRO (Bass): Errol and I started it together. Both our bands had broken up so we linked up and started practicing and writing. Originally, we had E-drums that Errol would program with a synth. We shot a DIY music video for “Skeleton Structure” in my old apartment during this era. We tried out a series of drummers; but then Don joined and our band has been complete since then. We were thinking of adding a keyboardist for awhile but we find being a 3 piece to work really well for us.

Don (percussion): Originally Errol and KRO started the band as a two-piece, but very early on I joined as the original drummer and it’s been us three ever since. I play drums and occasionally keyboards or second guitar tracks. I’ve also taken the lead on the recording, mixing and mastering through my studio.

So, being a “power trio” (hah) there’s an obvious comparison I want to make to Rudimentary Peni, also a trio, and the EP artwork looks sort of Rudimentary Peni-ish—so I have to ask: How large does Rudimentary Peni’s shadow loom over ya’ll’s songwriting?

Errol: Rudimentary Peni’s 1983 “Death Church” LP is the perfect punk rock album. But I can’t say we’re consciously inspired by them. I have a specific style to my visual artwork, which is how I’ve been attacking the canvas long before I even heard the band: Acrylic paints with a lot of color is what I use. Nick Blinko of Rudimentary Peni usually does black and white pen. So it’s very different, but maybe equally disturbing! I’m naturally attracted to artists that see things similar to me.

Don: In regards to New Skeletal Faces being a trio, Lol Tolhurst of The Cure once said, “In a three-piece, everyone must play to the best of their abilities. There is no room for mistakes. It tends to make you very accurate and tight as musicians, but it also means that each gig has some tense moments. Each member has to literally carry the show at certain points in the set, because any bum notes or miscues will be very obvious in the skeletal structure imposed by the three-piece band.”

So, that is something that I absolutely agree upon as a three-piece. There is a sort of nakedness on stage that larger bands do not experience as much. Though Rudimentary Peni is an all-time favorite of mine, I would say their influence is somewhat slight. I’ve still yet to use the traditional Rudi Peni/Jon Greville drumbeat (think of their song “Blissful Myth”) in any of our work.

Errol: We were all a part of bands previously. Now, New Skeletal Faces is our main focus. I was playing in a friend’s bestial black metal band for a short period too, which kind of influenced my tremolo guitar playing and wanting to incorporate double bass drumming into NSF. People always assume we just worship Christian Death and Rudimentary Peni, but there’s a lot more to us. I’m into a lot of extreme metal like Celtic Frost, and rock n’ roll like the Stooges

KRO: I was formerly a touring upright bassist. NSF is my first band playing electric bass. While we don’t consciously summon any particular influence on our music, we all listen to gothic rock, deathrock, punk, post-punk, anarcho, black/extreme metal, glam, etc. and I suppose a certain fraction of influence has naturally permeated into our playing.

Don: NSF is so forward-looking we don’t spend much time thinking of the past. Rudimentary Peni and
Bathory are two of my favorites and consistently have been since the late 90s. Drum-wise. NSF takes some influence from the expected places but also less expected as well, for instance there’s a fair amount of Nausea and early ’90s Fenriz playing in my approach to drums as a whole.

When NSF started, was there any sort of overarching vision for the band? If so, what? What is the band’s “purpose”?

Errol: At its core, NSF is an artistic outlet. When it all started, we just wanted to make dark intense rock n roll that was totally original. Everything was feeling so stale in the scene. I would go to shows and not feel satisfied. What’s happening currently in music does not inspire me, but it actually drives me to do more. We have to shake things up because no one else will.

KRO: New Skeletal Faces prophesizes the dark fate that humankind is bound to. We want to explore this vision and create a savage, otherworldly atmosphere with our music. We are always trying to push the limits of what we are capable of, so growing as individual musicians has been important to us, as well.

Don: Honestly to make music that we want to listen to. Explore dark and rarely touched-upon areas of music.

So, as far as that goes. what do NSF’s songs tend to be about, thematically? And about the songs on thyour new EP; are they political? Is NSF a political band?

Errol: We’re about reality. A reality too harsh or beyond our understanding. In a society plagued by anxiety, many people seek false comfort. My lyrics aim to show the unpleasant side that many choose to not see. The track on our EP, “Banshee Sex Tomb,” is about lust and embracing the immoral nature of humanity. Some of the lyrical imagery is inspired by a succubus during a sleep paralysis episode I had. The other track, “Extinction Of Bodies,” is very apocalyptic. It’s anti-human. Our species will cease to exist at some point, and the earth will continue on. Other creatures will flourish. We are not important. I understand if people interpret my vision as negative. But I think it can be a positive thing to shed the skin of fantasy.

KRO: NSF is not a political band. We have a dark and surrealist artistic vision that doesn’t engage the political.

Don: No, NSF is not political. What we do focus on, however, is the cold universal darkness that binds the
cosmos.

How would you categorize yourselves? To me, you play raw, back-to-basics deathrock. Is that
accurate? If someone never heard you, how would you describe your sound?

Errol: We’re often described as deathrock. But when I listen to a lot of bands in the genre, we’re not like them at all. Our sound is definitely old school, yeah. But it’s also fresh, at the same time. We have no interest in recreating the past. It’s intense and darkly atmospheric music. Genres are lame but useful. Sometimes I just end up saying “Dark Punk.”

KRO: We are not interested in being confined to any rigid, homogenized framework. I feel we are an inexplicable blend of punk, gothic rock and metal. We quite enjoy being a band that people struggle trying to fit into a category.

Don: I just usually refer to us as “Dark, Heavy Music.”

When and where was this EP recorded? what label is it on now? when is it coming out?

Errol:  It lands on June 25th, 2021. It’s self-released. Order the record now!

Don: Sextinction was recorded in the same place as our Celestial Disease LP, from my Cosmic Void studio. The tracks briskly followed the Celestial Disease recording session and were done a track at a time, beginning with drums, to bass, to guitars, and finally vocals. The tracks were then mixed and mastered with me sitting as engineer. The session was built off of what we learned in self producing Celestial Disease but with improvements across the board. I’m particularly proud with the massive low end this record achieves, especially on vinyl.

===========================

You can order New Skeletal faces’ “Sextinction” EP HERE.

NEW SKELETAL FACES have a Bandcamp HERE.
NEW SKELETAL FACES have a Facebook page HERE.
NEW SKELETAL FACES have a webpage HERE.

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Different From the Days and Searching were both produced, engineered, and mixed in Schackerman’s home bedroom studio in Philadelphia and mastered by Ryan Schwabe. The timing for the release couldn’t be better. May 1st the next in a series of days where Bandcamp is giving artists 100% of the sales profits. The debut single is considered a “double A-side” release. “I am so torn as to which track should be the A-side that I consider both of them that way” Schackerman said. This will be a digital download only.

As a preview, Different From the Days can be streamed now by using the player below. Searching will become available on release day which is this Friday, May 1. Video Cult’s Bandcamp page will be exclusively handling the single.

Purchase Video Cult’s Different From the Days / Searching here.

The post Philadelphia Dark-Synthpop Act Video Cult to Debut Their Soaring Single on May 1 appeared first on Post-Punk.com.

In the same ‘faith’ with the most outfits of the current alternative scene of Russia, Anastasia and Kiriil are weaving their sonic tapestries in the most peculiar way. Either be it post-punk, darkwave, shoegaze, post-rock, or alternative electronic music, the Russians show an impressive constancy in creating something altogether different than the rest of the world.

Sobranie 8 18 are hailing from a country with a very long and a heavy tradition in music, culture, and the rest of the arts. All things in their album are shouting beauty, style, passion, with original talent in creating art.

Dark romanticism all over their music, dark pop arrangements everywhere and with good help by a handful of friends οn the flute, sax, bass, piano, and harmonica, they present an album that sounds colorful but on a very strict musical prospect. The most inquisitive song is ‘Mozart’ where they narrate an ongoing story of jealousy, inspired by A.S.Pushkin’s ‘Little Tragedies’ (Mozart & Salieri).

Asking Anastasia for details on the song ‘Angels Fight’ she told me:

“This is one of the first tracks we’ve recorded for the album. Almost every sound is made by Elektron Analog Four synthesizer. We asked a friend to record bass guitar which you can hear in the chorus. The lyrics are repeated as well as in the track ‘Lucy’.”

‘Harmonica’ also amazed with its fantastic blend of dark pop with coldwave. When I asked her about that track she said:

“The main tune of this song is a melody played on harmonica and the lyrics is a poem on the desperate desire to travel and to fly around the world like a bird, or about the failure to do the simple things.”

All songs in the album have a very special meaning and some hidden messages. This record is an artistic tour de force of poetry with the best-fit music an all tracks. Sometimes it could also work as a concept album (it is not) in terms of its musical continuity and its sonic sequel.

This thing is a marvelous achievement. I trust that listeners will have to revisit this record several times to pick up on all the multiple meanings and interpretations, and to hear the duo’s progress since 2016!

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The video heralds the release of the Zanias solo EP, To The Core, which is out September 5th on Vienna’s Noiztank. A four track 12″, this is the artist’s first solo release since coming off her two previous projects, Keluar and Linea Aspera.

For more information, please visit Noiztank.

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