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

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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:

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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.

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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The post Houses of Heaven Debut Kaleidoscopic Video for “Deserve” Featuring MS. BOAN 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 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.

Follow Please Don’t Tell:

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The post Music for a Victorian Funeral Parlour — Listen to the Dark Folk Cabaret of Please Don’t Tell’s Self-Titled Debut appeared first on Post-Punk.com.

Enter the enigmatic force known as L — Lynette Ríos Padilla to those in the know — a Mexican-American tour de force in the EBM scene.

L’s voice is that of a siren’s call, at once ethereal and strikingly bold. Her tunes are a cocktail of introspection, wild dreams, and those deep, dark secrets shared only in the most intimate of settings. But don’t let her petite size fool you. L is a titan, a force of nature in the truest sense, armed with the spirit of a warrior and the edge of a rebel, always hidden just so behind her iconic ‘CowDom’ hat and those inscrutable dark shades.

Now Crunch Pod proudly presents “BODYHEAT REMIXED” from the producer, writer, and composer, featuring all-star remixes of her acclaimed album BODYHEAT by some of the best industrial EBM artists of our time. Artists include INHALT, Daniel Meyer, Visitor, Angels and Agony, Manufactura, and more. Blending the elements of Electronic Body Music, Techno, and Darkwave that create moving yet profound and energetic atmospheres from her stunning 4-track 2nd album.

Stream below and purchase here:

L, has been setting the underground scene ablaze since the drop of her debut, DISCIPLINE. With each subsequent release, she’s carved out a niche of devoted followers, captivated by her raw, unbridled energy. Her live gigs are nothing short of legendary.

This August 2024, L is preparing to hit the road, set to take her explosive show across the U.S.

Follow L:

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• Apple Music

The post Listen to Mexican-American EBM Powerhouse L’s “Bodyheat” Remix Album appeared first on Post-Punk.com.

you directed my faith,

you showed me the light,

but blinded me there’s nothing behind it…

Next time, I’ll believe in my own god!”

Originating from Normandy, France, psychedelic noise-pop quartet You Said Strange presents a unique blend of indie rock that incorporates elements of psych pop-rock, shoegaze, and proto-grunge. Hot on the heels of their latest visual release for the EP’s title track, the band unveils another slice from the project, a compelling track titled My Own God.

In a move that might make the indie rock purists do a double-take, the band has decided to throw caution to the wind and actually release a song that you can hum along to without a degree in existential philosophy. Their latest track dives headfirst into the murky waters of trust, emerging with a catchy tune that’s all about the sting of betrayal and the eye-roll-worthy letdowns from our so-called heroes. The rallying cry? “Let’s be our own God!” Because, honestly, who hasn’t been there?

With a melody that hooks you faster than a late-night infomercial and a beat that could make even the most rhythmically challenged consider dancing, the song is a masterclass in indie-rock earworms. Eliot’s vocals ride the dark wave like a surfer with a penchant for existential dread, delivering punchy lyrics with the kind of euphoria that makes you want to believe in something—preferably yourself. Adding a sprinkle of magic is a female voice that not only echoes Eliot’s sentiments but also steps into the spotlight towards the end, shining a beam of light and balancing the scales with a touch of feminine flair.

With My Own God, the band takes a leap into the metaphysical, pondering the age-old question: if the man upstairs is MIA, did we just draft him into existence to keep our societal ship from capsizing? And because they love to keep things interesting, they’re serving up this existential buffet with a side of visuals—a mockumentary-style video that smells distinctly of ’90s nostalgia, cheekily nodding to the dark humour of “C’est arrivé près de chez vous” and the quirky charm of The Lemon Twigs’ “I Wanna Prove to You.”

Five folks, each a walking cliché of various addictions, huddled in a therapy circle that feels more like a scene from a sitcom than a soul-searching session. As the video unfolds, it peels back the layers of these caricatures, delving into the tumultuous sea of their inner conflicts, all while keeping a straight face. It’s a tongue-in-cheek journey through the quest for personal meaning amidst the facade of control, making My Own God a whimsical ride through the chaos of existence. Because, in the end, aren’t we all just trying to direct our own mockumentaries?

Trade Your Soul  marks a significant milestone for the band, seeing them broaden their horizons with a more striking musical approach and a number of innovations. Even still, they continue to create the work of passionate musicians who combine dazzling instrumentation and the union of voices to fuse melancholy and energy alike.

The band recorded their first album, Salvation Prayer, in 2018 in Portland (USA), with Peter G. Holmstrom from The Dandy Warhols. In 2022, the band shared their LP Thousand Shadows Vol. 1. Mythomaniac kings, the Mediterranean, the colors of mourning — these are the detailed subjects, described against a backdrop of psychedelic pop, proto grunge, and shoegaze. The first part of a powerful, reverberant, melodious second album, drawing its inspiration and production stem from encounters during their 2022 European and North American tours, between Normandy, New York, and Oregon. Most recently, You Said Strange shared the second part of their sophomore release, a follow-up to Vol. 1 entitled Thousand Shadows Vol. 2.

The new EP is a post-rock tale unfolding as a metaphorical journey of spirituality through life’s most intense and intimate emotions and experiences — it demystifies the heroes and figures in whom we place our trust, covers themes of betrayal and disillusionment as key elements of the human journey, reflects on the use of faith and spirituality as metaphorical tools for apprehending human reality, raises profound questions about the creation of social frameworks in the absence of a concrete creator, and offers a quest for and discovery of true love.

The upcoming EP was the fruit of exciting collaborations with friends Marvin Borges-Soares(Structures), Raphaëlle Verlaine (Metro Verlaine), Joseph Baudet. Their contributions added a unique dimension to three of the tracks. This EP was also an opportunity to collaborate with engineers Arthur Guegan and Daniel James Goodwin. The project was additionally mixed and mastered by Daniel J. Goodwin.

Trade Your Soul is out March 29 via EXAG / Le Cèpe Records.

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The post French Psychedelic Quartet You Said Strange Worship The Self With “My Own God” appeared first on Post-Punk.com.

Today, Psychic Graveyard announces a brand new LP entitled Wilting (due June 7) and shares its first single, “Your Smile is a Hoax.” 

The band found inspiration in a Butthole Surfers riff and took it from there, complete with a fuzzed-out bass guitar.

“Over the years, we’ve realized that our songs are birthed in pairs,” reflects the band. “Your Smile is a Hoax is the sister to another Psychic Graveyard track off this upcoming album called Haunted By Your Bloodline. Both feature the use of two low-register instruments playing off of each other, with a higher synth note popping obnoxiously out of the mix. We feel as though it helps keep the chaos grounded. Those higher swirl elements come from a forgotten field recording of an ambulance passing by Nate’s house in San Diego. Lyrically, it fills in the listener on some of our experiences as an afflicted band in today’s world, traveling all over the place while we’re wounded, but somehow having a blast while we’re out there—bleeding everywhere.”

The video is a strange animation reminiscent of R. Crumb and 60s concert posters, sure to lull those into an altered state.

With a manic output of four full-length albums—Loud As Laughter, A Bluebird Vacation, Veins Feel Strange, and Wilting–in nearly as many years, this creative juggernaut is just getting started. Post-Punk.com had a few questions for Psychic Graveyard regarding the new single out now via Artoffact Records:

You said “higher swirl elements” in “Your Smile is a Hoax” come from a recording of an ambulance in San Diego. Are there lots of sounds in life that make it into your music, and do you think the geography of where you write and record affects what you’re making?

Quite a few field recordings make it onto our releases.  We compose music by recording things and then chopping them up and reassembling them. Sometimes it’s just a click or a pop from someone moving the recorder.  We find  “life” sounds add a human feel to our digital workflow. We live very far away from each other and rely on technology to communicate our ideas. With that. YES! Where we are, definitely affects the outcome of what we’re making.  Not because of the environment. It’s because we can communicate in real time. On the rare occasions that we are in the same room working on ideas, we notice they have an audible difference to our ears.  Not to mention it speeds up the workflow tenfold.  The foundational sounds we create in different locations stay pretty consistent. No matter where we are. No matter what environment.

How does “Your Smile is a Hoax” compare to the rest of the sound we can expect from the album?

Don’t trust it! HA! Most of our albums have phases. WILTING is no different. There’s a gamut of emotions it passes through and circles back again. We even went in directions none of us had ever gone in before. We were terrified while making it. But I love every moment of the finished version. We hope some others will dig it too!

You said the main impetus for creating this song was the craving for a fuzzed-out bass guitar. Which usually comes first for you- music or lyrics?

For Psychic Graveyard,  it’s always a very loose musical idea. Someone has a sound they’ve made.  Let’s see if we can make this resemble a song.  If we can, we move on to vocals and lyrics.

While creating their latest LP, Wilting, Psychic Graveyard traversed the distances between Providence and San Diego, and now they beckon listeners to look beyond their impressive backgrounds and dive into the vibrant, uneasy dreamscapes they conjure. Mark your calendars: “Wilting” is set to unfold its enigmatic layers on June 7, 2024.

Wilting – TRACKLISTING

1. Your Smile is a Hoax
2. Eyes Are Turning
3. Stuffed With Secrets
4. Sword Through My Neck
5. Lives The Size of An Eyelash
6. Broke All Their Ladders
7. Haunted By Your Bloodline
8. Scar in the Shape of the United States
9. Handcrafts Our Happiness
10. Bellow’s Funeral Home

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• Apple Music

The post Psychic Graveyard Tend To Their Core Wounds With “Your Smile is a Hoax” appeared first on Post-Punk.com.

Fast forward to the mid-’90s, and leave it to David Cronenberg to flip the script with Crash, a film that makes you wonder whether your seat belt might need a safe word. Diving headfirst into the twisted metal love affair between humans and their four-wheeled death machines, Cronenberg’s adaptation of J.G. Ballard’s novel is as much a psychological thriller as it is an R-rated driver’s ed video.

Now, riding the tailwinds of these cultural crash courses, Nightcrawler’s latest EBM banger, Crash Test Dummy, slams into the scene. It’s a track that feels like a head-on collision between the eerie nostalgia of ’70s safety films and Cronenberg’s kinked-out car crash fantasies.

Using sound samples from one of the 70s instructional videos, Crash Test Dummy’s powerful electronic rhythms mimic the firing pistons of a fiercely revved engine..we’ll let you decide if it’s a metaphor or not. We hear the influences of Asymetrc80’s synth waves, Alpha Sect’s dark beats, and DJ Hell’s techno mischief.  Public Service Broadcasting’s docu-samples, Orbital’s electronic odyssey vibes, and The Avalanches’ genre-smashing samples also come to mind with this surefire banger that’s ready to buckle up and take you for a ride you’ll never forget.

The music video, which utilizes found footage from these old films,  was created by the artist himself under his pseudonym as art director and designer George Gold Design.

Watch the video for “Crash Test Dummy” below:

Based in Spain, Nightcrawler is a renowned music producer whose career took off in 2011, drawing inspiration from the eerie and fantastical realms of horror and sci-fi movie soundtracks. His prominence in the synthwave scene was highlighted in The Rise Of The Synths, a documentary narrated by the legendary John Carpenter, where he was featured as a standout artist.

Nightcrawler’s music has evolved over time, venturing into more experimental territories with a blend of unique electronic rhythms. His work now incorporates a myriad of influences from Industrial, Darkwave, and EBM music, maintaining his affinity for the darker side of electronic music.

His collaborative endeavors have been extensive, working alongside notable artists such as Antoni Maiovvi (co-founder of Giallo Disco Records), Dead Astronauts, Miami Nights 1984, Lazerpunk, Makeup & Vanity Set, Deus Ex Lumina, WLDV, Asymetric80, Abraxas, Straight Razor, Reviza, and Destryur, among others.

Nightcrawler’s live performances are a synthesis of music and visuals, creating immersive experiences that have captivated audiences at festivals like Low Fest, SOS 4.8, Primavera Sound, Eufònic, Film Festival Fantastic in Sitges, and the In-edit Festival. His talent has also been showcased in major cities including Berlin, London, Cologne, Lyon, Vienna, Budapest, Madrid, and Barcelona, affirming his status as a dynamic force in the electronic music scene.

Dynamics of a Crash has been released on Nightcrawler’s own label (Nightcrawler Music) and is now available on all digital platforms

Follow Nightcrawler:

• Instagram
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• SoundCloud

The post Spanish EBM Project Nightcrawler Celebrates Cronenberg and Ballard in the Video for “Crash Test Dummy” appeared first on Post-Punk.com.