These guys whip up a sound that’s one part heavy psychedelic rock, a dash of feverish funk, a sprinkle of jazz wisdom, and a whole lot of punk energy. They’ve also folded in a generous helping of minor scales that’ll have the metalheads nodding in solemn approval. The cherry on top: Pierre-Luc’s voice, which is as distinctive as his lyrics are introspectively quirky.

Hailing from Saint-Joseph-du-Lac, a spot in Quebec as famous for its apples as it is for now birthing this band, Population II are pushing boundaries with their latest EP, Serpent Échelle (set to drop on April 17), an expedition into the wilder side of their sound, laden with symbols and riffs.

R.B., the lead-off single, is a musical rollercoaster that refuses to adhere to any preconceived track. The band masterfully transitions from grand, sweeping orchestral crescendos to the gritty, mind-bending twists of lysergic riffs. It’s as if Beethoven and Hendrix decided to throw a jam session in the middle of a tempest – unpredictable, thrilling. R.B. is a manifesto for the times we live in; a soundtrack to the age of global unease. Population II doesn’t shy away from the big picture, addressing the ticking clock of our era with a sense of urgency that pulses through every note – yet, they remind us that even as the shadow of doom looms large, there’s a luminous side to life waiting to be embraced.

Despite the maelstrom and doomscrolling of daily life in the 21st century, we still celebrate love, the warmth of genuine friendships, and the simple, yet profound pleasure found in a glass of wine. There are still moments of beauty, connection, and joy to be found. Live fully, love deeply, and toast the moments that make life worth living.

The lovely black and white visualizer directed by Didier Pigeon-Perreault and Hugo Jeanson takes us on a frosty winter walk where we can stop and ponder the wonders of nature:

Population II’s story begins in the shared teenage years of its members, where countless jam sessions eventually forged a near-telepathic bond between them. This synergy led to several independent releases, catching the eye of John Dwyer of Osees and head of Castle Face Records. This connection birthed their first major album release, À la Ô Terre, in 2020. Over the next two years, the band made their mark across Canada and the US, with notable performances at SXSW in Austin, Texas, Pop Montreal, Toronto, New York, and Quebec City.

Their inspiration draws from a rich and varied palette: the raw energy of Detroit’s late 60s garage rock and psychedelic funk, the experimental vibes of the Canterbury scene, the bold sounds of 70s German rock, and the groundbreaking phases of Miles Davis. These influences merge uniquely against the backdrop of Pointe-Calumet’s murky environment, all underpinned by the trio’s deep friendship and undeniable synergy. Deliberately distancing themselves from Montreal’s music scene, Population II has carved out a distinctive sound that stands apart from fleeting musical trends, marking them as a unique presence rising from the metaphorical swamp, defined by both dreamlike atmospheres and intense, cathartic bursts.

Serpent Échelle will be available for a limited edition run on tape, as well as on all DSPs. Pre-order the album at these links:
Digital Preorder | Physical Preorder

Post-Punk.com had a chat with Population II about the band’s evolution, their use of violin, and a few thoughts on the new single:

This is the first single off of an upcoming four track EP. What about these songs led you to pair them up for an EP,  rather than include them on a future album?

Three songs of this EP were supposed to be on Électrons libres (Hélène, R.B. & Comme tu le souhaites). They had a different vibe and the songwriting was also going another with these three songs. We thought R.B. was going to be a central piece of Électrons libres but it just didn’t fit the pacing of the other songs of the album. We knew we had to use them for an EP since it was so different and then we remembered we had a hypnotic jam in 9/8, Le Serpent that felt really cohesive to the three songs on the EP. It all fits nicely in the end!

Emmanuel Ethier plays some violin on this track, which is rather unusual for the psych-rock genre—how did you end up incorporating it into the track?

Emmanuel was already playing live shows with us on the violin! We met him for À la Ô Terre and then he quickly mentioned that he played violin. We invited him to play shows with us since we’re all fan of  Michal Urbaniak’s Inactin. We wrote R.B. and we thought the violin would bring a another layer to the orchestral theme. Emmanuel played the part, we liked it and kept it on the final mix!

How do you see the band’s sound evolving or changing on Serpent Echelle, in comparison to your last record?

The songwriting had step up. We decided to continue on our usual way of improvising first and then add the layers of arrangements. You can feel the different sections more clearly on Serpent Échelle. It has a more refined approach on the sections even though it can gets loud and rowdy has always. It’s something we aspire constantly, to elevate our songwriting and we’re still on this path.

WCatch Population II live:

• 03/12 – Austin, TX – SXSW – Swan Dive 
• 03/16 – Austin, TX – SXSW – Las Perlas 
• 04/19 – Minneapolis, MN – 7th St. Entry *
• 04/21 – Chicago, IL – Schubas *
• 04/23 – Toronto, ON – The Garrison *
• 04/24 – Cleveland, OH – Grog Shop *
• 04/25 – Troy, NY – No Fun *
• 04/27 – Brooklyn, NY – Market Hotel *

*opening for Meatbodies

Follow Population II:

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The post Quebec’s Population II Shares Video for New Single “R.B.” — Announces “Serpent Échelle” EP appeared first on Post-Punk.com.

The serendipitous alliance of Brooke and Wyatt was forged amidst the vinyl-laden aisles of Lolipop Records in the halcyon days of 2022. Brooke, initially summoned to lend her vocal harmonies to the astral endeavors of a band aptly named Astrologer, found in Wyatt a kindred spirit with a shared manifesto for melody. Their collaboration has since blossomed, and recently, they’ve ushered into their fold the considerable talents of Cobi Modesto, a bassist of no small repute.

Active Decay’s Lies catapults the band into the stratosphere of sophisti-pop. Imagine cruising through a neon-lit cityscape in a beat-up convertible, a case as twisted as a pretzel waiting to be solved — this track would be blaring on the radio, its infectious beat, scorching sax solo, and hook sinking its claws into you.

There’s a deliciously noir vibe to “Lies,” dripping with the kind of sultry energy that makes you think of shadowy figures in rain-soaked streets, with vocals channeling The Motels and Altered Images. It’s the soundtrack to the detective flick you never knew you needed until now.

Brooks Gallo peeked into the song’s soul and brought its essence to life on screen with the accompanying clip. Dark, moody undertones? Check. The band’s electrifying presence and tight-knit vibe? Double-check. It dances hand in hand with the track’s pulsing heart, showcasing Active Decay’s dynamism and flair for the dramatic.

But we just have one question: will you pass their polygraph test?

Watch below:

Follow Active Decay:

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The post LA Synth-Pop Duo Active Decay Debuts Video for Sultry Noir-esque Single “Lies” appeared first on Post-Punk.com.

The fusion of Astbury’s distinct vocal style with Black’s electronic landscapes creates a sound that’s both fresh and familiar, challenging the boundaries of genre. Guitars and modular synths weave through the track, building a complex soundscape that pays homage to the roots of both artists while pushing forward into new territories. The collaboration not only showcases their individual strengths but also highlights the potential of cross-genre partnerships in creating innovative music.

Black shares a story about recording the track, highlighting the serendipity and spontaneity that often accompanies creative endeavors.

“Astbury and I agreed that it would be cool to collaborate and since I was already going to LA for a gig,” says Black. “I found a studio. I honestly didn’t know if he would show up, or if some imposter was using his account. Ian showed up. I watched on the studio security cameras as a black SUV pulled up. Ian rolled in with a bag full of notebooks, art books, pens, and stories. We talked for hours. Somehow with only 20 minutes left in our session, he went to the booth and nailed the vocal in 1 take. This was the first time I recorded with a vocalist as they were writing the vocals in my presence,”

Listen below:

Dirge Out marks the second release from the upcoming sophomore album, ‘Infinite Darkness‘, which will see its global release on May 3rd, 2024 via Artoffact Records. Black says it was Astbury who pushed him to get to it. “I was on the bullet train from Osaka to Tokyo when he texted me “you should call your record Infinite Darkness.” How could I refuse?” Black comments.

Produced over the span of five years, the album features incredible talent, including ACTORS, Louisahhh, Michele Lamy, Front Line Assembly, and more!

Pre-order Infinite Darkness here.

Bryan Black, also known as Black Asteroid, kick-started his music career as a sound designer and keyboard technician for Prince at Paisley Park Studios in Minneapolis. Diving into his own creative endeavours, Black produced music under the aliases Haloblack and Motor, catching the attention of Depeche Mode’s Martin Gore. This led to a collaboration that produced the top 40 hit Man Made Machine and tours with Depeche Mode. Black Asteroid emerged on the scene with the debut single Engine 1 in 2011, showcasing a distinctive industrial techno sound that gained rapid popularity and secured him spots in prestigious clubs and festivals globally.

His debut album Thrust, released in 2017, featured a mix of crossover singles with contributions from artists like Zola Jesus and Cold Cave, highlighting Black’s penchant for integrating song structures and vocals into techno. Following this, 2023 saw Black exploring experimental sounds in the EPs Acid Flesh and New Flesh.

Follow Black Asteroid:

• Website
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The post The Cult’s Ian Astbury Collaborates with Black Asteroid on Haunting Electronic Music Track “Dirge Out” appeared first on Post-Punk.com.

Meet Matthew from Secret Shame, the bass-thumping, synth-slinging maestro who moonlights as XOR (pronounced “ex-or”). Before XOR became his latest gig, Matthew was the musical equivalent of a secret agent, slipping in and out of aliases like a pro. Then, in a twist that could only come from the mind of someone who’s spent too much time toggling between bass lines and binary, he names his new venture after a logic gate. Inspired by his sudden dive into the world of code, XOR symbolizes not just Matthew’s geeky side but also the delightful contradictions of his life. Here’s a guy who tried to ditch the digital for a decade, dreaming of a cabin in the woods, only to swing back, write some slick software, and plug right back into the electronic beat.

In his latest single Waiting, a poignant ballad about the agony of long-distance love, the artist delves into the profound longing for a cherished one’s company, laying bare the challenges and heartache that come with separation. The lyrics, steeped in a sea of mementos, capture the overwhelming desire to reconnect, to bask in the sound of their voice, and to bridge the gap that keeps them apart, underscoring the emotional weight carried by distance. For those who have been there, it brings a tear to the eye. This wistful, sentimental track resonates with echoes of Orchestral Manoeuvres In The Dark, Soft Cell, Aztec Camera, and the Thompson Twins.

“I wrote this song for my partner,” he says. “We’d gone from being around each other non-stop during lockdown to me being away on tour a large part of the year. It’s hard to navigate being on the road so much and having a life at home. No matter how often we call or text, it just isn’t the same as being around someone and sharing a life with them.”

Listen to “Waiting” below:

“I usually write the music for a song before the lyrics, which might be why a lot of what I write ends up being instrumental,” he continues. “I had this song like 80% musically done when Secret Shame went on tour last spring and was listening to it on repeat wearing headphones in the van thinking of what to write about.”

XOR spent the last few years self-releasing several EPs spanning from house to ambient, darkwave to chillwave. He has also released a handful of official and unofficial remixes for many artists, including Secret Shame, Cold Choir, and Shadow Age; and produced beats for hip-hop artists.  In recent years, Matthew began exploring the world of modular synthesizers, reshaping mundane days of remote work into impromptu compositions he would later live-stream against sunsets or amidst the flowers in his garden.

In 2023, XOR also released the EP beyond the tall trees somewhere. Branching out from his previously more straightforward darkwave, the five tracks explore the complexities of human existence, the nebulous boundaries between natural and artificial, and the discomfort of existing in a dying world.

Follow XOR:

• Soundcloud
  
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The post “Weeks apart, and time feels like an Ocean” — Listen to the Poignant Synthpop of XOR’s “Waiting” appeared first on Post-Punk.com.

Through the winding, wild years, the Carpenter-Davies trio has been churning out tunes like there’s no tomorrow, dropping a cool dozen sonic bombs that range from full-blown studio masterpieces to the spine-tingling scores of David Gordon Green’s Halloween reboots. The gang’s got music in their marrow – Daniel’s father is Dave Davies of The Kinks. For years he has dropped by the Carpenters’ L.A. beat factory to riff with the fam or take the stage at one of John’s legendary movie wrap shindigs. It’s this kind of kismet that makes Lost Themes IV: Noir glide smoother than a greased-up DeLorean. The trio hit the creative jackpot, and Noir is the proof in the pudding.

Lost Themes IV: Noir is hitting the shelves and streaming platforms this May 3rd, courtesy Sacred Bones Records. To whip up a frenzy, the trio dropped a killer music video for My Name Is Death, the album’s lead single – which doubles as a bite-sized noir thriller, all thanks to the directorial genius of Ambar Navarro.

“Noir is a uniquely American genre born in post-war cinema,” states John Carpenter. “ We grew up loving Noir and were influenced by it for this new album.  The video celebrates this style and our new song, My Name is Death.”

This track is a whole new playground for Carpenter and the gang, riding in on a wave of post-punk bass that’s as relentless as Chandler’s Philip Marlowe himself. The atmosphere’s thick with synths, the drum machine’s got a heartbeat of its own, and just when you think it can’t get any hotter, in comes a guitar solo that sets the whole scene ablaze. The clip a classic mystery with a twist, featuring a lineup of faces you might just recognize, including Natalie Mering (Weyes Blood), Staz Lindes (The Paranoyds), and Misha Lindes (SadGirl) for bringing the drama. Buckle up, because My Name Is Death is about to take you on a wild ride.

Watch below:

“Sandy [King, John’s wife and producer] had given John a book for Christmas, of pictures from noir films, all stills from that era,” Davies says of the lightbulb moment for Lost Themes IV. “I was looking through it, and I thought, ‘I like that imagery, and what those titles make me think of. What if we loosely based it around that? What if the titles were of some of John’s favorite noir films?’” Like the film genre they were influenced by, what makes the songs on Lost Themes IV “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”

Pre-order Lost Themes IV: Noir here in the following formats:

• Sacred Bones Exclusive Red on Clear Splatter vinyl w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• Sacred Bones Society Exclusive on Black and White Splatter on Clear w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• All retail Transparent Red, with a Gold Foil Stamped Jacket and poster.

• Indie Exclusive Tan and Black Marble, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Rough Trade Exclusive Oxblood Red and Black Splatter, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Shout Exclusive Black and Clear cloudy, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Black LP, with a Gold Foil Stamped Jacket and poster.

• CD

• Tape

Follow John Carpenter:

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The post John Carpenter Debuts Video for “My Name Is Death” from “Lost Themes IV: Noir” appeared first on Post-Punk.com.

In global mythologies, the raven emerges as a figure of paradox, weaving threads of transformation and intellect across Norse sagas, Native American tales, and Celtic lore. This enigmatic bird, at once a trickster and a sage, embodies the duality of creation and destruction, offering insights into the empowerment derived from wisdom, adaptability, and the mystical. From Odin’s feathered emissaries to the Tlingit creator, the raven’s shadow dances over the collective human psyche, urging us to embrace the complex interplay of light and shadow within ourselves and the world around us.

This Friday Sacred Bones celebrate the parallel releases of Xmal Deutschland’s Early Singles 1981-1982 (including two bonus tracks), and the debut solo album from Xmal Deutschland’s inimitable front-woman Anja Huwe, Codes. To whet our appetites, Anja Huwe celebrates the mystical power of the shadowy corvid with Rabenschwarz, a spectacular new single, and an Expressionist video from Codes.

“The main theme is the raven, a classic symbol for black (raven black), which stands for empowerment and is also a symbolic transmission of wisdom,” explains Huwe. The raven also stands for the rediscovery of mystical paths. The emerging egg represents fear but also stands for rebirth.

Directed by Anja Huwe and Stefan Heintzenberg, the video for Rabenschwarz (raven black) ties in with the album artwork, inspired by a private collection of photos from the late 1920s and public domain film footage. The clip also includes video bootleg footage from early Xmal Deutschland shows, as well as textual collages and text boards, created by Anja Huwe.

“We combined old film footage—such as The Fall of the House of Usher (1928) and White Zombie (1932)—with additional material filmed in the basement of a derelict bunker in Hamburg,” Huwe explains. We’ve intercut all the subjects with private outdoor footage filmed at Hamburg Harbor, Brooklyn, and New York City.”

Early Singles (1981-1982) is a map of their foundational movements, just seconds before takeoff. The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. This reissue includes two bonus tracks; Kaelbermarsch (originally from the compilation Lieber Zuviel Als Zuwenig) and a gritty live version of Allein (originally from the compilation Nosferatu Festival), which is shared online today along with a video montage of footage from this era of the band’s career.

Pre-order ‘Early Singles (1981-1982) here.

Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. “The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains.

The thematic extremities cause an erraticism to Codes—a passing thunderstorm, a cyclonic burst of nature’s force—but one that exudes anticipation amidst the chill. With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesised drones of sound even feel claustrophobic at times.

Pre-order Codes here through Sacred Bones Records. 

The post Xmal Deutschland’s Anja Huwe Unveils her Gothic Expressionist Video for “Rabenschwarz” (Raven Black) appeared first on Post-Punk.com.

Across the globe in countless mythologies, the “wild god” concept occupies a unique niche, embodying the capricious spirit of untamed nature. Unlike their urbane counterparts, these deities, with their feral hearts, preside over the primordial chaos of forests, rivers, and beasts, eschewing the trappings of civilization. From the frolicsome Pan of Greek lore to the antlered Cernunnos of Celtic tradition, these figures serve as conduits to the wild, their narratives steeped in themes of transformation and the perennial dance of life and death. They underscore a profound truth: humanity’s dominion over nature is an illusion, and respect for its indomitable will is paramount.

Now, Nick Cave adds to the pantheon with his glorious new single Wild God, the titular song from his upcoming album with The Bad Seeds – and it is a hymn of profound spirituality. Keep your Kleenex handy, this song is incredibly moving. Cave’s voice is as commanding as ever as he unfurls this complex, uplifting tune – part Americana, part European folk, part gospel, and brimming with euphoria.

…But never lose sight of what the wild god stands for.

With Wild God, it’s clear The Bad Seeds have been revitalized. Their sound, while sometimes briefly recalling their storied legacy, mainly pushes the group into new areas, enhancing their unyielding forward momentum. Wild God shows a band unwilling to dwell on past achievements and propelled by innovation and exploration.

“I hope the album has the effect on listeners that it’s had on me,” says Cave. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” He adds, “Wild God… there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

Be a wild god and give this a spin:

Nick Cave and the Bad Seeds are set to release Wild God on August 30th via Bad Seed/Play It Again Sam. The band—Cave, Ellis, Thomas Wydler, Martyn Casey, Jim Sclavunos, and George Vjestica—wrote and recorded Wild God at Miraval Studios in the French City of Provence and at Soundtree Studios in London.

Wild God marks Cave’s 18th collaboration with the Bad Seeds and follows the critically acclaimed Ghosteen from 2019. In addition,  Cave also worked on Carnage with Warren Ellis of the Bad Seeds in 2021. Wild God is a collaborative production effort between Nick Cave and Warren Ellis, with David Fridmann handling the mixing. The album features contributions from Radiohead’s Colin Greenwood on bass, with whom Cave toured last year, and Luis Almau on nylon string and acoustic guitar.

Pre-order ‘Wild God’ here.

NICK CAVE & THE BAD SEEDS – WILD GOD TRACKLIST
1. Song of the Lake
2. Wild God
3. Frogs
4. Joy
5. Final Rescue Attempt
6. Conversion
7. Cinnamon Horses
8. Long Dark Night
9. O Wow O Wow (How Wonderful She Is)
10. As the Waters Cover the Sea

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The post Nick Cave & The Bad Seeds Announce Uplifting New Album “Wild God” appeared first on Post-Punk.com.

Don’t think that you’re entitled to what’s mine for the sake of your fun

CG8, a femme quartet hailing from New York City and featuring the talents of Lida Fox, Veronika Vilim, Chase Lombardo, and Avishag Rodrigues, challenged the status quo from the outset with their provocative name. But their story extends far beyond simple shock value. Beyond their flair for incitement, they harbour a potent post-punk energy, capable of electrifying audiences with their sound alone.

“glasshour is a reinterpretation of ‘hourglass,’ one of the first songs we ever wrote and released,” says the band. “Thematically, it feels more relevant than ever; as we’re all ready to flip the glass and watch the sands run thin in this necrocapitalist power structure. The cowbell tolls like a doomsday alarm while we talk about justice. It felt right to slow the whole song down and punctuate that desire.”

The lyrics convey a message of accountability and reversal of roles, emphasizing that one cannot ignore their actions or claim entitlement at others’ expense. As time runs out, the tables turn, allowing the speaker to experience the other’s perspective, highlighting the inevitable confrontation with one’s deeds and the loss of control.

glasshour, however, is just the appetizer to their debut album, promised later this year. Buckle up, folks.

In the meantime, listen to glasshour below:

In addition to their newest release, cumgirl8 recently shared a live session for Onassis’ Stages Alive series. This live session serves as a precursor to the band’s upcoming stint at SXSW, followed by a one-off gig opening for the inimitable Bratmobile in Brooklyn this April and a headliner at Brooklyn Made in May with support from Femcel and adult human females.

Stages Alive is available to view in full here.

Catch cumgirl8 live: 

• 3/13 – Austin, TX – Cheer Up Charlie’s *
• 3/14 – Austin, TX – Hotel Vegas – Psychic Hotline Party *
• [TBD] – Austin, TX – Parish – Marshall Fun House *
• 3/15 – Austin, TX – The 13th Floor @ 12 AM (morning 3/16) – Dedstrange x Synásthesie Showcase *
• 3/16 – Austin, TX – Shiner’s Saloon – Future of Music Showcase *
• 3/17 – Austin, TX – TBD – Pop Sickle Presents: Green Witch Recordings Showcase *
• 4/27 – Brooklyn, NY – Warsaw ^
• 5/2 – Brooklyn, NY – Brooklyn Made [Headliner]

* SXSW
^ Supporting Bratmobile

Follow cumgirl8:

• Facebook
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• Website
• YouTube
• Spotify

The post NYC Post-Punk Girl Group CG8 Turn Back the Clock With New Single “glasshour” appeared first on Post-Punk.com.

On their inaugural outing with Paths, No Curse invites us into an enigmatic soundscape that feels both intimately familiar and eerily uncharted. The track unfolds like a nocturnal odyssey through a maze, each twist and turn revealing deeper, echo-laden chambers illuminated by the dusky glow of guitar strings, smudging the lines between the tangible and the otherworldly.

“No Curse is antithetical,” the artist cryptically muses, “It’s influenced by post-punk and dream pop melodies to meet at the crosshairs.” The vocals layer like a spectral chorus: the base a deep, soul-searching baritone, topped with a layer of dreamy, detached whispers. Together, they sway in a tempest, accompanied by guitars that weep with a bittersweet lament, all wrapped in a ghostly synth shroud.

For those searching for sombre melodies that intertwine introspective soul-searching with the compelling urge to tap your fingers on the steering wheel during a nocturnal drive, No Curse with “Paths” masterfully delivers this desire. And hopefully, it signals a journey head filled with more deeply contemplative and shadowy post-punk waiting just down the road.

Listen below:

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The post Listen to the Sombre Post-Punk of No Curse’s Debut Single “Paths” appeared first on Post-Punk.com.

The suburbs of Delaware, with their serene landscapes and quintessential American neighborhoods, might not be the first place one would associate with the introspective and often turbulent sounds of shoegaze. Its ethereal textures, dense guitar work, and introspective lyrics, are more often linked to urban angst and the underground music scenes. Yet, it’s precisely this contrast between the calm, orderly life in Delaware’s suburbs and the immersive, often noisy world of shoegaze that makes an artist like Rew stand out.

In such a setting, the isolation and quietude of suburban life could foster a deep internal space for creativity and emotional exploration, allowing an artist to craft sounds that both clash with and complement their surroundings. This juxtaposition adds a unique layer to the artist’s work, as the tranquil backdrop of Delaware provides an unexpected cradle for the creation of music that is anything but serene.

Rew’s music is a unique fusion of shoegaze, emo, grunge, and bedroom pop, reflecting his deep involvement in every step from writing to mastering, which lends his work an unmistakable personal touch that resonates with a wide audience. His lyrics, both intimate and universally relatable, strike a deep chord.

Accompanying his music, the self-directed video for Ruin is like a series of strange daydreams and night terrors, showcasing Rew’s ability to merge the everyday with the surreal, drawing viewers into a space where reality and imagination intertwine.

Dropping on April 26, 2024, REW’s latest offering, REWIN, is set to hit the shelves courtesy of Born Losers Records – his first with the Philadelphia label. Keep your eyes peeled and your turntables ready for this electrifying release.

Pre-order the vinyl here.

  
Follow Rew: 

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The post Delaware Shoegaze Project REW Debuts Hazey Video for “Ruin” appeared first on Post-Punk.com.