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:

• Bandcamp
• Facebook
• Instagram

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

Throughout the 1980s and 90s, Karl Wallinger, whose roots were deeply entrenched in the verdant landscapes of Wales, rose to prominence as the charismatic leader of World Party and as an erstwhile collaborator with The Waterboys. Sadly, he has departed from this mortal coil at 66 years old, as confirmed by his publicist. No official cause of death has yet been given.

“Karl leaves behind a loving family including wife Suzie Zamit, son Louis Wallinger, daughter Nancy Zamit and two grandchildren. The family invites Karl’s friends and fans to share their thoughts on his Facebook page or Instagram.”

Born in Prestatyn, Wales, in October 1957, Wallinger’s formative years unfolded within the storied walls of Charterhouse, an esteemed English boarding school renowned for nurturing the talents of the original Genesis. Although their paths at Charterhouse never crossed, Wallinger would later collaborate with Peter Gabriel’s Big Blue Ball project.

Wallinger dipped his toes in the water with his first band, Pax, which later evolved into Quasimodo and included future members of The Alarm, Dave Sharp and Nigel Twist. However, it was his role as a keyboardist for The Waterboys where he truly found his first brush with success. Contributing to the albums ‘A Pagan Place‘ (1984) and ‘This Is the Sea’ (1985), Wallinger played a pivotal role in shaping the band’s sound. His creative influence extended to arranging the music for iconic tracks such as ‘The Whole Of The Moon‘ and earning a writing credit for ‘Don’t Bang the Drum.’

“Having Karl in the studio was like having a one-man orchestra around. There might have been a This Is the Sea without him, but it wouldn’t have been the same – or as good,” Mike Scott of the Waterboys once commented.

In 1986, Wallinger, following his parting from the Waterboys, sowed the seeds of World Party. The endeavor was a solitary pilgrimage at its inception, with Wallinger ensconcing himself within the confines of his abode to forge the group’s inaugural album, Private Revolution. The album emerged as an unexpected beacon of success, heralded by the anthem Ship of Fools.

The ensemble, buoyed by this triumph, embarked upon a journey of artistic creation and public performances, bequeathing to the world a total of four additional albums by the turn of the millennium. Their odyssey was punctuated with memorable harmonies such as Put The Message In the Box and, arguably his greatest masterpiece, Is It Like Today?

Wallinger, an avid Beatles fan, was also no stranger to side projects: he collaborated with Sinead O’Connor on her debut album The Lion and The Cobra, and  1990’s Goodbye Jumbo garnered widespread acclaim. He spent some time as a musical director for a stage production of The Rocky Horror Picture Show. Hollywood also came calling for a time, as Karl Wallinger became musical director for Reality Bites, and contributed to the soundtrack of Clueless with a cover of Mott The Hoople’s All The Young Dudes.

Wallinger’s arduous recovery from a 2001 aneurysm required tseveral years of rehabilitation in order for him to re-learn to speak and play instruments. World Party later embarked on extensive tours, yet during this period, new albums were notably absent from their repertoire. Nevertheless, in a 2022 interview, Wallinger sparked anticipation by promising fresh material on the horizon.

“It’s good to write songs about stuff that people think about, that I thought about,’ Wallinger once told The Big Takeover. “It’s just a resonance with other people that you get from thinking about things that we’re all thinking about. You put in music, and it becomes a recognizable emotion, and people lock onto that. It’s strange, but amazing. I’ve always thought it should be something to do with healing or finding things out about the world that have truth. It maybe sounds a little idealistic, but it’s what music is about. It’s kind of a pure thing, music. I’m not left or right wing; I don’t even think of in terms of that. I just want people to have what they need to get through living on the planet.”

Former bandmate Mike Scott left a tribute to Wallinger on social media, calling him “one of the finest musicians I’ve ever known.”

The post Karl Wallinger of World Party and The Waterboys Passes Away At 66 appeared first on Post-Punk.com.

Plunging into an unusual realm, this album serves up a collection of distinctive interpretations, blending punk aesthetics with the raw edge of garage vibes. The album carries an eerie echo of an absent audience, infusing it with a ghostly aura, fuzzed out voice, the sound of coughing, and acoustic guitar.

Prepare for a deep dive into the heart of the defiant spirit, reinterpreted and refreshed in a minimalist setting that brings its raw emotion to the forefront. This album, both intriguing and unexpected, is as unfiltered DIY folk-punk as it gets.

LIVE FROM GB NEWS STUDIOS stands defiantly unique, challenging norms and embracing the unconventional. Drawing from a diverse array of influences, the album nods to the rebellious echoes of Public Image Limited’s Flowers of Romance period, the gothic shades of Alien Sex Fiend, the cool detachment of Kaelan Mikla, and the trailblazing sounds of early Siouxsie and the Banshees. It also weaves in the melancholic melodies of The Cure and the political edge of Billy Bragg. All of this in a brash and witty acoustic package that transmutes well into a dark folk serenade.

Listen below:

Catch Mark Hex live in the UK this spring and summer:

• Apr 07 White Rock Hastings, UK
• Apr 12 Dublin Castle London, UK
• Apr 20 Ivory Blacks Glasgow, UK
• Jul 27 Dublin Castle London, UK
• Aug 23 St Georges Hall, Bradford Bradford, UK
• Aug 24 Bradford in Bradford Bradford, UK

The post Mark Hex Returns with Dark Folk-Punk LP “LIVE FROM GB NEWS STUDIOS” appeared first on Post-Punk.com.

Velella Velella showcases not only the diversity of Bindrim’s portfolio and her broad artistic talent but also the evolution of her creativity. In her music, Bindrim addresses both personal change and broader societal issues, engaging with contemporary sociopolitical topics and exploring complex aspects of the human psyche. Her lyrics cover a variety of themes, from self-awareness and the balance of empathy and indifference to the harsh reality of disillusionment and the ongoing process of personal growth. This mix of introspection and social commentary in her music offers a profound look at both individual experiences and broader human conditions.

As, Bindrim explains, the songwriting process of each song on the album varied from track to track. “Some songs were spawned from a vocal or lyrical idea, and on a few tracks a synth melody and vocal were first written together all at once,” she says. “In the end, I didn’t try to force ideas or over-think things, so each song on the album developed very naturally and instinctively.”

Velella Velella opens with Obelisk, a more experimental realm for Bindrim, showcasing her versatility and willingness to push the boundaries of her artistic expression. Obelisk distinguishes itself with its forceful, edgy undertones, characterized by unyielding beats and the stark resonance of harsh synthesizers.

“Lyrically, Obelisk explores themes of tribalism, political divides, collective trauma, and surrendering to peace,” Bindrim says. “…I had previously written a lyrical seedling that was close to what ended up in the chorus lines, which I thought fit perfectly and helped spawn the rest of the lyrics in conjunction with the harder, marching energy of music.”

Cast strides in with its array of erratic beats and unconventional time signatures, setting an intriguing stage. Against this backdrop, Bindrim’s ethereal vocals weave through, adding a layer of depth and mystery. Just as you settle into the rhythm’s complexity, the track makes a sudden shift, diving into a killer hook. It’s a clever mix of the unexpected and the irresistible.

The spellbinding One Fixed Point blends dreamy vibes with a touch of darkness, sure to sweep you off your feet as the lyrics delve deep into the whirlpool of intense infatuation and the magical discovery of a perfect match.

“One Fixed Point…is a dark, dreamy love song about finding one’s counterpoint,” Bindrim explains. “The track aims to capture the pinnacle of intoxicating infatuation and bliss – that ephemeral moment where one becomes entangled in the sublime joy of immersing oneself in another. It explores that delicate balance between losing yourself in the intensity of the shared moment and discovering a heightened sense of completeness.”

Fever Dreams ventures into the realm of pure synthpop, set to an anthemic backbeat that instantly grabs attention. The track features gorgeous synth pads that shimmer, casting a spell over listeners with their radiance. Beneath these sparkling sounds, a tense bassline adds a compelling contrast, infusing the track with a sense of urgency that underpins the floating melodies.

In Hearsay, Bindrim draws inspiration from the likes of Zola Jesus, delivering a compelling performance that commands attention. Her vocals powerfully incant the lyrics, each word imbued with emotion and intensity, set against the raw backdrop of a buzzy synth bassline. This blend of forceful vocal delivery and the edgy energy of the synth creates a dynamic contrast.

The Well takes a darker turn with an opener that could easily be mistaken for the soundtrack of a suspenseful thriller. It channels the cinematic mastery of John Carpenter and the innovative soundscapes of John Foxx, creating an ambiance that’s both ominous and hypnotizing. The intro sets a tone that’s thick with anticipation, weaving a spell of mystery and foreboding.

In Fast, the stage is dramatically set with the pulsating rhythm of tribal drums, the whirring of helicopters, and the unsettling whispers of eerie synths, crafting an atmosphere ripe with tension and anticipation. This primal and otherworldly introduction lays the perfect groundwork for Brittany Bindrim’s vocal prowess to take the spotlight. Volcano evokes the same kind of dark, mesmerizing allure of NIN and Siouxsie and the Banshees; a bridge between industrial and gothic, between raw energy and refined artistry. The industrial elements form the backbone of the track, providing a relentless drive. Next, Currents flows with a melancholic melody, bolstered by a frenetic techno backbeat.

As the album draws to a close, Atlas emerges as a poignant finale, offering a moment of reflection amid the diverse array of sounds that preceded it. This ballad is characterized by its sparse piano arrangement, which echoes the haunting beauty found in Zola Jesus’s work, creating a deep, resonant connection through its simplicity and emotional depth. The inclusion of gently soaring choral elements adds a layer of ethereal grace to the track, elevating the overall experience to something transcendent. These choral touches guide the listener through the song, providing a comforting sense of ascension and release.

From beginning to end, Velella Velella stands out as a compelling work of dark electronic pop, encapsulating a range of themes from personal evolution to societal commentary. Through its varied musical landscapes and deep lyrical content, Bindrim’s creation surpasses genre confines, offering a nuanced reflection on contemporary life and showcasing her multifaceted artistic depth.

Velella Velella is out now via Metropolis Records.

Listen to the album below, and order here.

Follow Brittany Bindrim:

• Spotify 
• YouTube 
• Instagram
• TikTok
• Facebook
• Website

The post Listen to Chicago Dark Industrial Pop Artist Brittany Bindrim’s “Velella Velella” LP 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:

• Instagram
• Spotify

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

Nico B, who has previously worked with Williams, brings a unique perspective to the project, combining personal anecdotes with a vast array of interviews from those who stood by Williams throughout his career. This untitled documentary aims not just to chart the history of a musician but to capture the essence of a cultural icon whose influence transcends his music.

Set against the iconic backdrop of the Masonic Lodge at Hollywood Forever Cemetery, a place as storied and rich in history as Williams’ own legacy, a special fundraiser event on March 15th will support the final stages of the documentary’s editing and post-production. Hollywood Forever, the resting place of numerous legends, provides a fitting venue to honor Rozz Williams (whose ashes are interred there), offering a bridge between past and present artistic luminaries.

The event promises an intimate glimpse into Williams’ world, featuring performances from those who shared his journey, including Gitane Demone, Paul Roessler, and Eva O, each bringing their own connection to Williams’ life and work to the stage. The inclusion of special guest Vincent Price from Body Count adds an exciting layer, blending genres and generations in a tribute to Williams’ diverse artistic reach.

For fans and newcomers alike, the event offers a range of experiences. The VIP experience, limited to 20 attendees, provides a once-in-a-lifetime opportunity to tour Rozz Williams’ memorial site, offering a tangible connection to his legacy. This, along with the chance to meet and greet band members and secure autographs, makes for an unforgettable experience. General admission opens the door to a wider audience, inviting all to partake in this unique celebration of Williams’ life and artistry.

The evening’s schedule is meticulously crafted, featuring a screening of “PIG,” a film by Williams and Nico B, followed by performances that promise to immerse attendees in the world Williams created. The event not only serves as a tribute but as a vital step in ensuring the documentary reaches completion, with proceeds going towards this goal.

The documentary, enriched by interviews with 23 collaborators and friends, including Eva O, Gitane Demone, and Rikk Agnew, aims to paint a comprehensive portrait of Williams. Coupled with a treasure trove of music, photographs, art, and video works, it’s set to be a definitive account of Williams’ life and influence.

As the event approaches, fans are encouraged to remember Rozz Williams, not just as a musician but also as an artist who pushed boundaries and left an indelible mark on the world. Through the documentary and tribute, his legacy continues to inspire, reminding us of the power of art to transcend time and space.

For more information and to support this important project, please visit the Hollywood Forever website. Join us in celebrating the life and legacy of Rozz Williams, ensuring his artistic spirit continues to resonate with generations to come.

The Rozz Williams tribute and fundraiser will be held on March 15th at the Masonic Lodge of Hollywood Forever.

Here is the schedule:

• 6:00 PM VIP EXPERIENCE
• 7:00 PM GA DOORS OPEN
• 7:30 PM SCREENING OF PIG
• 8:00 PM GITANE DEMONE & PAUL ROESSLER
• 9:00 PM SYMBOLISM
• 10:00 PM EVA O

Special guest guitarist: Vincent Price (Body Count) is joining Christian Death’s Rikk and James’ new deathrock supergroup Symbolism.

Get advance tickets here.

The post Celebrating the Legacy of Rozz Williams: A Tribute at Hollywood Forever Cemetery 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
• Soundcloud
• Instagram

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
  
• YouTube
• Bandcamp
• Spotify
• Instagram

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:

• Instagram
• Facebook
• YouTube
• Website

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. 

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