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:

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Kimball’s vocal prowess shines brightly, infusing the track with a captivating presence that demands attention. The video is a powerful yet simple visual narrative that strips away the unnecessary, focusing on Kimball in a raw, unguarded state. Shot in a classic 4:3 format, it shows him at a table, the scene set starkly with a broken wine bottle. In a moment of intense vulnerability, Kimball drinks from the jagged edge, the act leaving him bleeding from the mouth—a potent and distressing image that resonates deeply.

This scene vividly recalls the visceral performances of Nivek Ogre from Skinny Puppy, known for his immersive and often jarring stage personas that blend the boundaries between art and reality. Like Ogre’s memorable enactments, Kimball’s self-inflicted wound here is more than shock value; it’s a metaphor for the pain and catharsis embedded in “The Lowest Places You’ll Go,” highlighting the track’s exploration of personal depths and the struggle for self-acceptance.

The song and its video serve as a reminder that our darkest moments do not define our entire existence, As Kimball explains:

“The Lowest Places You’ll Go is a reminder that you are not who you are at your worst. It’s a reminder that everyone has value and is worthy of love. No one should be paralyzed by fear.  Move with it and through it. Break away.”

Watch the video for “The Lowest Places You’ll Go” below:

Emerging from the shadow-laden streets of Philadelphia, Night Sins has been a dark beacon since the early 2010s, weaving a path that follows in the wake of the legacies carved out by The Sisters of Mercy, Clan of Xymox, and other darkwave pioneers. Their sound—a mix of robust rhythms, atmospheric synths, and Kimball’s distinctive vocals—crafts an immersive world that’s both nostalgic and distinctly fresh.

With “The Lowest Places You’ll Go” setting the tone, Night Sins’ forthcoming five-track EP “A Silver Blade in the Shadow” is shaping up to be a definitive statement of their craft. This mini-album, due out May 17th on Born Losers Records, seems poised to reinforce the band’s standing in the dark music sphere, showcasing the distinctive blend of sound and raw edge that they bring to the table.

Pre-Order Here

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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

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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.

Named for Dostoyevsky’s protagonist Rodion Raskolnikov in Crime and Punishment, Raskolnikov conjures a “polyphony of unordered consciousness, leading to the division of the self.” Diving headfirst into the abyss of sound, this Swiss-Spanish-French trio (Jérôme Blum, Jaime Fernandez da Costa and Mathieu Pawelski-Szpiechowycz) serves up a blend of shoegaze and post-punk that’s as brooding as a cloudy day, yet still irresistible with Masterfreak. Picture a gloomy cocktail—bittersweet with a twist of ennui—shaken, not stirred, in the dimly lit backroom of an underground club. This is music for the soul that wears its heart on a black, tattered sleeve.

Formed in 2015, Raskolnikov crosses both geographical borders as well as the boundaries between melancholy and euphoria.

So, buckle up for this self-directed joyride of a video below:

Raskolnikov was formed by Mathieu Pawełski-Szpiechowycz (bass/vocals) at the end of 2015, traveling between Geneva, Paris, and Constance. Pablo Garrido (guitar) and Jérôme Blum (drums) joined the project at the beginning of 2017. Mathieu, Jérôme, and Pablo performed together between 2013 and 2016 in a project-based in Geneva. Quentin Allamand joined Raskolnikov on guitar and keyboards in the autumn of 2019. Today, the group is mainly based in Konstanz/Kreuzlingen and Biel.

The first album, Hochmut kommt vor dem Fall, was released in 2017 on Manic Depression Records. The second album, Lazy people will destroy you was released in 2020 on Icy Cold Records and Manic Depression Records. Between releases, the band played over a hundred gigs across Europe. They’ve shared the stage with Dear Deer and Tisiphone.

Masterfreak, the new single from the French-Swiss-Spanish post-punk trio, heralds a new EP in spring and a third full length album slated for autumn 2024.

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The post Post-Punk Trio Raskolnikov Take a Scenic Road Trip in Their Video for “Masterfreak” appeared first on Post-Punk.com.

With their latest venture, “Deserve,” Houses of Heaven truly pulls out all the stops, inviting the dynamic presence of MS BOAN (Mariana Saldaña) to the forefront, whose vocals erupt in a spectacular display. Clothed in an opulent array of synths, her voice serves a sumptuous feast of goth-disco ecstasy, coaxing even the most reserved into a dance floor revelry.

“Deserve” harnesses the commanding allure of MS. BOAN’s voice, placing her formidably in the lead, surrounded by a celestial array of synths, conjuring a moment of gothic dancefloor liberation. Her Spanish lyrics resonate with a potent message: “You don’t deserve love, you don’t deserve my love, you don’t know love, it’s not for you.”

The song’s visual counterpart, orchestrated by Claude Cardenas, is nothing short of a visual feast. Imagine a mélange of kaleidoscopic visions, neon illuminations, and avant-garde creativity blended into a concoction that captivates and bewilders in equal measure.

Watch the video for “Deserve” below:

Houses of Heaven is composed of the multi-talented Keven Tecon, who not only lends his voice but also shapes the soundscape with his adept handling of synthesizers, guitars, and drum programming. Adam Beck brings his expertise in synths and guitars to the mix, contributing to the rhythmic foundation alongside Rachel Travers, whose percussive skills solidify the trio’s unique sound. Their recent performance at the Substance Festival in Los Angeles underscored their distinctive approach to music-making.

Their forthcoming album, “Within/Without,” set to release on April 26th through Felte, delves into the dichotomy of fantasy and reality that permeates our modern existence, highlighting the craving for authentic connection amidst the isolating echo chamber of technology. The album, a testament to the band’s distinct sound and creative vision, was brought to life at Infinite Power Studios in Los Angeles under the guidance of producer Matia Simovich, with Grover Greenberg assisting in the intricate processes of tape transfer and editing. The final touch, mastering, was expertly handled by Josh Bonati.

Pre-Order the album here

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Over the last decade, the Greek duo Selofan, consisting of Joanna Pavlidou and Dimitris Pavlidis, have garnered attention for their distinctive blend of darkwave, post-punk, and ’80s synthpop. Their music has created a unique niche for them within the international music scene, fueled by their artistic integrity and continuous evolution.

The band’s spellbinding new single, Sticky Fingers, is a pulsing bittersweet synth-driven coldwave culled from their upcoming seventh album, Animal Mentality. The song has a cinematic, Jean-Michel Jarre vibe, with an icy, spiky, and ominous sound that gives it a whiplash feeling. It is a classic car accident death disc song in the tradition of Leader of the Pack by the Shangri-Las, Carroll County Accident by Porter Wagoner, Jan & Dean’s Dead Man’s Curve, but with a new wave twist. The lyrics describe a tragic car journey through the snowy Alps, filled with youthful joy and music, which ends in a fatal crash. The initial bliss turns to sorrow as the icy roads lead to a devastating catastrophic collision with fate, taking a life and leaving a haunting memory of loss. Evocative descriptions and sensory details, like the tactile “sticky fingers” and joyriding to Joy Division, enrich the atmosphere of the story.

Anyone who has gone on a road trip can easily envision the situation and put themselves in their place. The emotional landscape shifts dramatically throughout the song, however, encapsulating the shock of loss and the enduring weight of grief…we are suddenly confronted with a keen awareness of the fleeting nature of joy and the profound depth of solitude that follows tragedy.

Helmed by the keen eye of Tassos Gkoletsos, the video unfolds the tale of tragedy with a raw, unfiltered lens, plunging us into the world of a band of spirited friends, their lives brimming with unbridled joy and reckless decisions. It’s this stark contrast between their zest for life and the looming shadow of despair that strikes a chord, crafting a warning that’s as jolting as it is poignant—a masterful cautionary tale.

Watch the video for “Sticky Fingers” below:

Animal Mentality marks a milestone in Selofan’s career, marking more than a decade of musical innovation and growth. As Selofan continues to evolve, they remain at the vanguard of darkwave, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Their seventh studio album is out April 10, 2024 via Fabrika Records.

Pre-Order Here

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The post Greek Darkwave Duo Selofan Take a Drive Through the Snowy Alps in Their Video for “Sticky Fingers” — Plus Announce New Album “Animal Mentality” 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.

  
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The delightfully enigmatic Please Don’t Tell stands cloaked in the allure of a secret too compelling to keep. Nestled in the quaint embrace of Charlottesville, VA, this trio’s repertoire, a whimsical blend of nocturnal worries, folkloric charm, and the kind of mischief one might expect in a dimly lit Victorian parlour, emerges from an unlikely medley of acoustic instruments. And yet, for all the spectral echoes of yesteryear that dance beneath their tunes, there’s a timeless quality to their music, suggesting it might have effortlessly found its place in the annals of history, serenading an era that never knew it needed them, without so much as a discordant whisper.

At the helm of this clandestine affair is Christina Fleming, a master of melody who doubles as both the lead vocalist and pianist, crafting tunes that beckon the listener closer with the promise of untold tales. For a fleeting moment, the ensemble blossomed into a trio, with Nicole Rimel’s cello and Anna Hennessy’s violin and vocals adding layers to their one-night symphony, an arrangement so enchanting it stubbornly refused to disband.

In the absence of drums, the ensemble finds its rhythm in Fleming’s dynamic piano play and her expansive operatic voice, a combination that fills the air with an unexpected vibrancy. The trio, with their eclectic backgrounds, converge in a sound that looms large, drawing from the grandeur of classical and choral music, the dark allure of goth club nights, and the earthy undertones of bluegrass that whisper of their Central Virginia roots. The revelation that these musicians are as at home in the gritty ambiance of underground punk venues as they are under the refined lights of The Kennedy Center should hardly raise an eyebrow among those tuned in to their diverse range.

The lyrics of their songs oscillate between the compelling tales of remarkable women and intimate contemplations, unearthing the sort of stinging quips that are typically concealed within adversity. At times, they abandon any guise of humor, confronting the listener with the stark, unvarnished truths of Fleming’s musings on our precarious human condition. Yet, more often than not, the somber themes are laced with a sharp, modern wit that deftly targets tyrannical spouses and dissects the mental dilemmas pervasive in today’s society. The group’s sound is profoundly shaped by their eclectic musical tastes, which span a broad spectrum from Mozart and Rasputina to Kurt Weill, Tom Waits, Cab Calloway, and Edith Piaf. This diverse palette informs their modern chamber-pop aesthetic, evoking parallels with acts like The Divine Comedy, Duke Special, and Rufus Wainwright. Their unique approach to music embraces a gothic romanticism, infused with whimsy and charm, and is reminiscent of a Sweeney Todd-like twist, sugarcoating blistering melancholy with enchantment, whimsy and Schoenhut toy pianos.

This brilliant, bizarre album opens with Nearsighted, which expresses a deep sense of internal emptiness and loss, likening the singer’s soul to a desolate graveyard. This internal landscape is marked by a profound stillness and the absence of pain, but also by loneliness and a longing for connection, symbolized by the contrast between wild roses and neglected graves.  The video for the chilling Heave Ho, directed by Mariah Johnson, asks us to examine our realities: is the dear widower in the clip being supported by care givers, haunted by spirits, or drowning his own grief? Was it all a dream?

Blueshift depicts a preference for the night over the day, highlighting the night’s comforting embrace that harbours the singer’s fears and dreams. Contrasting the day’s harshness, the night’s gentle nature offers solace and an attentive ear, embodying a peaceful sanctuary where the moonlight transforms perception, casting everything in a serene, blue hue.

The lyrics to the tragic The March of Grace Fryer poignantly reflect the horrible story of the “Radium Girls,” who were factory watch dial painters who suffered from radium poisoning from the glow in the dark paints they used. Their initial pride transformed into a harrowing reality of physical decay, yet they ironically maintain a haunting elegance. The song critiques societal attitudes towards their plight and the dismissive justifications for their suffering, ultimately depicting them as glowing, disintegrating specters, reminders of a grave injustice. This danse macabre is a reminder that these workplace injustices persist today, and these little ghosts serve as a warning tale.

The lyrics of St James Infirmary depict a mournful visit to a lover’s final resting place, evoking a mix of sorrow and bravado. The narrator requests an extravagant funeral, reflecting a life lived with flair. Amidst the somber setting, there’s a defiant celebration of the self, with the recurring wish for the departed to find peace, yet underscored by the narrator’s assertion of their irreplaceability.

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Stockholm post-punk stalwards Then Comes Silence are back with their brand new single Ride or Die, accompanied by a video directed bu aux animaux’s by Gözde Duzer. The track, which stands as a bold declaration of solidarity, friendship, and community, heralds the arrival of their seventh studio album, Trickery, soon to be released by Metropolis Records.

The video, set against the backdrop of a purple-hued parking garage, showcases the band in a playful yet mysterious light, donning masks reminiscent of something akin to Love and Rockets’ The Bubblemen. This setting provides a canvas for the band’s vibrant and graffiti-inspired lyrical manifesto, encapsulating the song’s spirit of fellowship and resilience.

Musically, “Ride or Die” strikes a balance between brightness and an icy post-punk clarity, maturing into a somber yet steadfast anthem. It celebrates the unbreakable bonds of friendship, echoing the sentiment that, come what may, we persevere together—Ride or Die. This song encapsulates the essence of enduring together against all the odds, a theme deeply woven into the fabric of the upcoming album Trickery.

Watch the video Ride Or Die below:

Founded in Stockholm in 2012 by Alex Svenson and inspired by a blend of horror, the occult, touring with acts like A Place To Bury Strangers, Then Comes Silence has evolved into a formidable force within the goth and post-punk scene. Joined by Jonas Fransson on drums and Hugo Zombie on guitar, the band continues to forge connections through their music, celebrating the sense of belonging and unity within the dark music community.

Recorded at Stockholm’s Kapsylen Studio by Jörgen Wall and mixed by Tom van Heesch, Trickery is a testament to the band’s roots in punk and alternative rock, enhanced with electronic elements that bring a fresh dynamic to their sound. Following their 2022 album Hunger, Then Comes Silence is set to captivate audiences once again with their dark, compelling melodies and evocative themes.

With a history of touring alongside renowned acts and performing at major festivals, Then Comes Silence is poised to take ‘Ride or Die’ and the rest of their new material on the road, embarking on an extensive North American tour with Vision Video from late April through May.

“Ride or Die” is available now on all major platforms, including Apple Music, Spotify, and Bandcamp, with the full album ‘Trickery’ set for release on April 5 in vinyl, CD, and digital formats.

Pre-Order Here

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