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.

Dee Dee stands at the helm of this vibrant platform, not merely curating tracks but weaving stories through a meticulously selected collection that spans the frosty whispers of coldwave, the vibrant beats of Italo and synth-pop, to the boundary-pushing sounds of post-punk. Dee Dee’s Picks invites music aficionados on a captivating journey through the Swiss music landscape, offering a thriving cultural hub where in-depth interviews reveal the essence of the artists and their creative processes, and music video premieres showcase the unique Swiss aesthetic,

For those drawn to the allure of Alpine music, both old and new, Dee Dee’s Picks offers an exclusive backstage pass to explore the rich, textured world of Swiss coldwave, synth, and post-punk treasures.

Dee Dee was gracious enough to do an interview with Post-Punk.com to discuss life in and out of Switzerland, the platform’s foray into journalism, and what’s next for Dee Dee’s Picks.

What initially inspired you to specifically focus on Swiss music and culture with Dee Dee’s Picks? How has your experience of living abroad and missing aspects of growing up in Switzerland influenced the platform’s direction?

Prior to leaving Switzerland from the age of 11, I felt that not many people saw the appeal of things that were traditionally Swiss. Most media that were seen as cool on television programs , radio broadcasts or billboards were American, or at least spoken in English. So I felt that there was less incentive to be proud of your own culture. The beginning of the domestication of the Internet also meant that English was a must, since I was more curious in seeing what was happening abroad as opposed to next door, so to speak. In opposition to this, it seems that nowadays people are tired of everything being the same everywhere. There seems to be a newfound appreciation to go back to your roots and be more local. The search for differentialism and individualism has developed into a newfound attractiveness to the charm of the niche, rarity and exclusivity. Additionally, having moved around, meant that I was missing the aspect of integration in a specific community that you already had ties in. 

Another reason I wanted to focus on Switzerland is by no means suggesting that its scene is superior, but rather to help me retain the focus on something, like a region. I didn’t know where to start otherwise as there’s so much good music out there. At first I didn’t know what to expect when I first started, whether I’d find enough music that I’d like or anything relevant to talk about. But it has been a continuous prompt of surprises and directions in the people I have met. Here I am in Year Four, which will end with (normally) a handful of more releases. Dee Dee’s Picks is after all to challenge myself into bringing something unknown to a more international audience. I wasn’t really sure why Swiss artists were not being more represented from abroad despite having the rich multicultural flexibility that it has. So I wanted to see if I could create a better bridge between Switzerland and the rest of the world. Eventually, this became a bit of a front, as the project evolved further than simply being a socio-cultural commentary. It rather became an opportunity to peek into the complexity of lives of others, the intimacy through their creative process and releasing their music or talking about their projects. You get so much more than just what’s on the surface. You get a real time movie, where you get to direct and act in. 

Aboriginal Voices

You mentioned transitioning from wanting to start a record label to creating a website focused on Helvetian culture. Can you discuss this journey and what prompted the shift in your vision?

It’s to create context around my findings. And for accessibility reasons, especially regarding the music. I realised rather quickly when I started Dee Dee’s Picks you’d have to be a committed digger to have previously heard of releases from bands like Aboriginal Voices or Mario Scherrer beforehand, whereas if you were a regular record store attendee in Switzerland it was relatively easier (albeit still rather underground). 

For myself, the best records are those where storytelling relates to the music in front of you. I find that humans are fascinated by stories, whether visually or sonically. The desire to dream and be inspired, which is why I find music and visual components related to storytelling very important to Dee Dee’s Picks. Because everything from the font on vinyl sleeves and graphic design are original, it was important for me to understand its origins and where it was coming from. I didn’t want to release things I didn’t know about so therefore opted to ask people around the scene if I could talk about Swiss graphic design, their perception of it and such to get more insight. It’s important to understand its origins and to get to know how the artist came to apply such techniques to their own work. The more I was digging, the more I realised that there is a lot more than just the music that revolves around Helvetian cultural identity. There is a whole creative facet that synergised around it, visuals artists, collectives, illustrators, graphic designers, all contribute to what a scene is. I wanted to unravel a storytelling aspect and unveil the artist differently than what we see on social media. To give depth to art as opposed to scratching its surface level by a half second scroll. 

Dee Dee’s Picks seems to have evolved into a form of journalism, particularly with the inclusion of interviews. How did this evolution come about, and what role does journalism play in your platform now?

It’s also the idea to remove some mysticism around each other, whether it is our local scene or our neighbouring countries. I took it upon myself to tell the story of people the best way that I could, as I would be representing them. I think there is a responsibility to tell the truths of people and to genuinely ask thought provoking questions out of respect for their work. I could put out more content at regular intervals by repeating some template-like questions but I’d rather take the necessary time to cater questions relevant to myself and the featured artist.

Social media broke down boundaries on granular levels regarding what’s happening next door. I also think the fact that most people speak English fluently and are online breaks down a lot of barriers and incites more curiosity in what is happening beyond your neighbourhood and also ways to find out about it. Therefore, the need to evolve into some form of journalism became apparent. It’s my way of bettering and contributing positively to today’s digital music ecosystems in terms of context and information. It can be difficult to get the whole picture of an artist solely from their online presence. I find the presentation of the music and art via social media so database-like; souleless, that it usually doesn’t really incorporate any valuable knowledge or inspiration on how a piece of art is made. It became more of a list of numbers, accounts.. with the idea that its value is determined by the number of plays/likes/views on it, all seen and to be opinionated upon publicly. Moreso that streaming services like Spotify do not provide much archival information as opposed to when you own a record on a tangible format, it is more likely to have information in the back, on inner sleeves and so forth. Sure, this is perhaps more relevant to those who build collections, archives or libraries such as myself, but it also speaks for the interests driving the design of these services. People should have the possibility to inform themselves about the whole universe that came into place to ‘make’ this release or art. It’s a way to branch out to make the listener/viewer aware that a release/project does not always just come from a sole member, but an array of creative individuals that were able to make this project real. From who did the mix, mastering, pressing, graphics, videos, promotion…It’s also another way of discovering a certain period, or a certain scene from a certain network. It’s the way it should be held to help each other. In the end, the art outlives the person who made it, so there is a sense of responsibility to preserve context that will in the end translate into memories for the next listener. I find the idea to immortalise yourself and your art online very powerful. Love it or hate it, you will always find pieces of yourself and others from the past and for future generations. 

Bermuda Idiots 

It’s also to retain the imagery of the ethic of working together, not for or against each other. To be involved in each other’s lives as opposed to seclusion. To give the opportunity for people who have something to say, whether it’s a concept, production technique or really just an identity. It is so important to credit each other with our works in order to thrive together. Regardless, whatever kind of artistic output an artist has in the end, they shine through these aspects that turn into their own artistic signature.  This is why I think that some people get confused when I say “we released” as opposed to singular. Because it is really a collaborative effort to make these things happen. It would not have the same impact or surrounding vision just by one person. You sometimes need to have an outsider to help you see outside of the box in how your art can be perceived, be defined and what it means to them and to yourself. Hindsight and reflection is not something you can always do by yourself in the present. It is not always evident to reflect on your work, as you continuously evolve as a person in life and go forward with future projects. So actually discussing projects and topics is something most of the people I’ve worked with seem to appreciate instead of being pushed into constantly having a creative output with no reflection.

Given your unique perspective, having lived both inside and outside Switzerland, how do you see Dee Dee’s Picks contributing to the global understanding and appreciation of Swiss culture?

Something that I noticed is that on one hand, I think that it is really fascinating to Switzerland is how despite its size, it functions with 4 languages, quite intertwined with English and other cultures. So you really get a melting pot of influences from each respective neighbouring country and meet in the middle. From what I’ve witnessed, the broad range of influences comes from neighbouring countries before amalgamating from within. Regarding music, I find that on the Swiss German side, cities like Zurich have a more Industrial, EBM edge to the music, probably due to germanic influenceas. Whereas cities like Geneva on the french side, something more bass and dub oriented, possibly due to the immense squat scene that occurred in the 90s where Dub genres were very prominent. 

On the other hand, I find that the concept of locality and the underground scene dissipating to some extent because of the popularisation of social media makes trends less grounded to a local scene or movement, but rather to the world wide web directly. Since we have access to so much content online, it’s easier than ever for example to draw inspiration from the work of a Swiss artist based in Brussels who was then influenced by someone’s work in Beijing. The lines are getting blurred from their origin. To further elaborate, Swiss typography or graphic design is something quite unique, although replicated in various cultures, However, many artists that I featured on Dee Dee’s Picks have an educational background that focuses on this style or art that has been ingrained in Swiss culture for decades, to which they naturally include into their own creative endeavours. Whatever is encompassed in this core is what never leaves. The trends surrounding it come and go quickly because they do not stick as much due to its speed of diffusion, whether related to social media algorithms or not. There’s a globalisation of using tools and techniques that if reached high in popularity, means we will get bored of it a lot quicker due to over exposure.

It’s inevitable that by living in the modern world, using the same tools as others, that people will spot similarities to their own works. Thus I try to always be aware of maintaining an aspect of traditional and personal in Dee Dee’s Picks. To respect the influence of Swiss design that is still obviously relevant to this day and my own, as well as the artist’s personal perspective. 

Mario Scherrer

What do you look for when featuring or releasing someone via Dee Dee’s Picks?

There’s no strict criteria besides the fact that you have to be at least based in Switzerland. Or Swiss living abroad. The idea of nationalism does not particularly interest me. You could be Swedish but based in Switzerland and that would still work. I focus more on the idea of contributing and taking something to your community. That, and to explore the more “underground” areas of the world.

Regardless of the storytelling aspects, there is still this immense feeling of responsibility to not just put anything out. It is important that I foremost find a connection in these artists for me to be able to talk about them confidently. I look for identity to relate to a core, basically artists who have their own musical language or artistic identity and not necessarily experts in a certain field. I do keep some popular appeal in order to be enthused by others because I am considerate and realistic about how many people go to record stores and buy such albums. Therefore, in the decision making process, I don’t want to have this rapid pace of picking up trends and moving on. I like to ask myself when considering a release: can I see myself listening to this in five or in ten years time? After all, the artists I work with are the people who define Dee Dee’s Picks. It’s not enough to give, you need to take something also for yourself.

With the dissolution of locality, do you keep trying to keep a balance between keeping the outside world from Switzerland connected? Old and contemporary? To what extent is is strict?

I find it particularly difficult to be very reactive yet focused in today’s fast-moving environment. You are exposed to a lot more work by talented individuals and trends come and go much faster. Sometimes, as rapidly as they are conceptualised. I do incorporate some trending and outside elements on my platform because I do belong in today’s world regardless where my head is at. My surroundings, whether past, present or future, are constant influences on how we evolve as people. I’m not against mimicking external influences as they indirectly shape us as an individual. In my case, I add a personal touch with the inclusion of the obi on every release. Something very common on LP formats in Japan, which I took interest in through an internship with Guruguru Brain. I do this because it’s important to have a piece of myself in Dee Dee’s Picks. This also be expressed through writing, mastering or graphic designing. It is important for me to not only stay true to my ethic, technique or approach but also that my work relates to contemporary tastes and be relevant with what is happening around you. Therefore to better myself as a curator on Dee Dee’s Picks means I have to keep a healthy balance of awareness and development, which is a reason why I have not released the same artist twice. At the same time, being self-indulgent gives me the ressources to be able to keep inspiration going. 

Despite not having the same upbringing that the people I have worked with, I do have memories, things that were once ever so present in my surroundings, that make me gravitate and recognise pieces of myself in the Swiss art style. Whether its graphic design or typography for instance, is something I am subconsciously drawn to. It’s rather unique, which I want to maintain in the releases and Dee Dee’s Picks identity. This is in part to why I also like to collaborate with non-Swiss people, like we did for the artwork and graphic designer for Infesta’s record. This continuously helps me break out of the box and to have non-natives have their interpretation of the work, have their own signature with it, and thus mutate it into something new. This idea of inclusion probably comes from me growing up in Singapore, where my environment encouraged me to use other’s ideas and cultural upbringing and incorporate them the best way possible in your environment in part for diplomacy and for the other, progress. 

Infesta

Looking towards the future, how do you envision Dee Dee’s Picks evolving, especially in terms of balancing the representation of past and present Swiss music and culture?

In regards to releases, I couldn’t tell you. I treat it as I see things developing, the people I encounter, the situations I find myself in. I try to plan my year to maintain a sort of chronological order for releases so they make sense to some extent next to each other, as some of them intertwine per collective, location, collaborators and the such.  For the near future, I will be solely working with contemporary artists. Unfortunately, tracking artists that were active pre internet era is a very time consuming task, whereas I do not always have the resources for. Thankfully, I have my two radio residencies on Echobox Radio (Amsterdam) and Fade Radio (Athens) to have the possibility to broadcast my various findings, and thus maintain a sort of coherent balance between time periods. For example, in February, I will be broadcasting on Echobox Radio one hour of 70s-80s Swiss Italo Disco as part of my “Dee Dee’s Club Picks” series, and for Fade Radio, two hours of unearthed Swiss Minimal Wave, Post-Punk, and more, from the past and today.

Nordland

But to conclude, the way that I’ve found myself preserving the Dee Dee’s Picks seal of approval on upcoming projects and the eclecticism in its content is on one hand unpredictability. On the other, it’s through experience. Dee Dee’s Picks has been active for quite a while now, so the recurring fanbase seems to “get” what I am doing. It also plays a part for myself and the audience in what you like and what works for you. Trial and error. I think what makes it exciting and enthused is that I am willing to take risks and not go for the obvious and already established artists. Artists that are part of a scene, but outsider enough that their work does not quite hit evident genres, despite evoquing familiarity. That’s what I look for, regardless of its genre. Even though we did releases that were perhaps more traditional and in their element, there was always a twist. For example, some of the artists’ I have worked with wanted to compose an album without a theme, which they were worried they would have nothing to talk about prior to its release. I make it my duty to tackle it from an outsider’s perspective. It’s important to make one think (whether the maker or consumer), to challenge them, in order to break barriers and move on to next levels of experimentation in discoveries. 

Next releases will be from March onwards, always contrasting what we have put out so far on Dee Dee’s Picks. We have Baroque music with an electronic contemporary reimagination by Basel-based Marie Delprat, Baile Funk rhythms from the Neuchatelian skateboard scene by Dimosoundz, and breakbeat madness from Lausanne’s Atonal.

Check out some of Dee Dee’s mixes:

• Swiss 80s post-punk minimal wave further flavoured with contemporary Helvetian artists 
• Dee Dee’s Club Picks Vol. 3 – Swiss Italo Disco mix from the 70s-80s.

Post-punk, minimal wave, punk, coldwave releases:

• DDP010 Passerella by Infesta
• DDP007 The First Album – Aboriginal Voices
• DDP006 Kollected Kashews 2017​-​2021 by Don Kashew
• DDP005 Live at Fri​-​Son ’87 – Nordland
• DDP004 Squares and Crossings – Mario Scherrer
• DDP003 ALL WE WANTED by Bermuda Idiots
• DDP002 Musique Électronique Pour La Sc​è​ne Et L’image 1976 – 1992

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The post Dee Dee’s Picks — A Curation of Swiss Coldwave, Synth, and Post-Punk Treasures 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.

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.

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

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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The post Philadelphia’s Night Sins Debuts Video for Old-School EBM Track “The Lowest Places You’ll Go” appeared first on Post-Punk.com.

While the band would change members throughout the late eighties and early nineties, the original core lineup of vocalist Robbie Grey, bassist Mick Conway, guitarist Gary McDowell, and keyboardist Stephen Walker have been recording and releasing a string of incredible records in the modern era, with their latest, this year’s fantastic 1, 2, 3, 4 earning massive accolades across the board. The band are about to head out on an expansive tour that takes them across the world, joining both The Buzzcocks and Thomas Dolby at various points.

We had a chance to talk to Modern English vocalist Robbie Grey about the band’s history, the new record’s political leanings, and the secret to keeping a band together over the years:

Your latest record, 1,2,3,4 has the same vitality as any of your work – it truly sounds like Modern English in the best way possible. How did the record come together?

Well, what you’re getting there is the live feel of the record. The first thing we thought about when recording this album was to consciously get away from that homogenized radio sound where everyone’s using Pro Tools and splicing things together. We wanted to make a live recording as much as we could, so you could feel the movement from  the verse to the chorus. When we first started writing the record, it would have been right around when the pandemic hit in 2020. In England, we were only allowed to go outside for a couple of hours a day, unless you were going to a workplace, which you could go to three days a week. So, we would go over to Mick’s studio, which was nearby in Suffolk. We all gathered there to write the record, but we always knew that we wanted to keep it raw. We had done that for a while and we wanted to get a producer who would allow for that. So, Mario (J. McNulty) came along and we talked about sticking to that live feeling. We then went to a great studio in upstate New York in Rhinebeck and it all just came together really well. It doesn’t always work out like that. It’s like a painting, I suppose. You can either do a really bad one or a really good one, and all the pieces just really fit together for this album…

That’s cool you were in Rhinebeck. I actually grew up in Goshen, which is only an hour or so away from there. It’s such a beautiful area.

Well, Mick lives in Hudson now, I believe. He’s been living in that area for quite some time.

So were any of the songs written before you entered the studio, or were they all written there? 

No, no, we never really come in with a full record ready to go. Actually, for the first time probably ever I wrote a full song for the record in advance, and that was “Long In the Tooth.” When I wrote that song back in my little studio room to when it was recorded and released it’s not changed at all really. Normally though, we start things off with just pieces of music that we develop. We don’t really have complete songs generally. “Not Fake” was another song that was already kind of written, and Mick’s song “Not My Leader” didn’t really change all that much either from the beginning. So, I suppose there are a couple of songs on there that were written from the start, but generally we kind of fiddle around quite a lot as we go.

The lyrics seem quite political – can you tell us a bit about them?

Yeah, I mean, I’m just pissed off with everything, you know? It’s just crazy that people in power just don’t give a shit about anybody else and that’s so frustrating after all this time that the decent side of humanity never seems to get very far but the corrupt people and those who generally crave power seem to be much nastier. It seems to me that if you want to stay in power, you have to be that way, and decent people on the street are just sort of fed up with it. I am at least, anyway. When we first started and came to your country, we had Margaret Thatcher and you had Ronald Reagan. Fast forward from the late 70s and early 80s and it hasn’t changed all that much. In fact, you’ve got a clown like Donald Trump who is very likely going to be your president again, from the looks of it…

Ugh, no one learned anything. It’s kind of maddening.

It’s not even funny, is it? It’s just crazy.

The only way I can survive is to laugh, sometimes. I just can’t believe how surreal it all is most of the time. 

Right! So, a lot of the lyrics on the album, like “Not My Leader” are all about that. “Not Fake” is about things becoming less and less rooted in true humanity really, you know people wanting to have different faces, different bodies, and different brains. Everyone wants to be something else all the time, it’s about that deconstructed sense of nature. I spend a lot of time in Southeast Asia and I live in the countryside in England. Both are near the beach, and seeing the amount of garbage in the ocean inspired another song on the album called “Plastic.” It’s maddening – they clean the beaches daily but they’re filled with trash again in the blink of an eye.

In “Voices” – it’s interesting that you namecheck Billie Holiday and Karen Carpenter – two of the saddest and most tragic figures in pop music. It makes me wonder, what’s that song about in the context of the political machine and how do those lovely singers factor into the story?

Well, I just know that they’re too the best voices I’ve ever heard of my life. That song to me is about gun culture and how young people are brainwashed into believing that the only way out is to go out and blow people up. The song is about someone sitting in their bedroom with a gun in their hands and the internet in front of them, and being disturbed enough to actually go out and hurt someone. Perhaps if they heard a voice like Karen or Billie’s it would help them and they could find some solace in the music. Maybe if they listened to these voices they could hear the beauty and loss they sing about and it could soothe their soul…

That’s really beautiful, and that track is such a standout.

Thank you, thank you.

I love how active Modern English has been over the years, I’ve seen the band several times and you’ve always been one of my favorite live acts. Your energy on stage is unmatched, and you always have so much passion, no matter if you’re playing new music, deep cuts, or the hits. I’d love to know what the secret is to keeping a band together in harmony after all this time.

Well, as you get older, you do tend to let people get away with a lot more than you would have when you were younger! You don’t end up fighting with each other so much. Really, we’ve known each other since we were teenagers, we came from the same town and lived in London for over 30 years. We went through so much together in the eighties and nineties that at this point, we can just sort of take the piss out of each other and people won’t get offended, which is a good thing. Otherwise, the energy level on stage is just how it’s always been. I guess I don’t know what else to do apart from what we do. I feel that energy and react as I always have.

I’d love to hear more about the formation of the band – what brought you all together in 1979? 

Well, that’s brilliant you should ask that because you know, we’re not jaded yet! The creative process is the most important thing about music. The rest of it, once it leaves your hands, is business, really. That part overshadows the creative process a lot, but as long as you can keep writing songs and keep that creative energy flowing, you’re doing all right.

As for  the start of things, it was just an amazing time to be in the UK. Punk happened, and you had people like The Clash and the Sex Pistols on TV which was all very new and very exciting. Before that, we’d listen to Bowie and Roxy Music, things like that, but we never dreamt that we could play music. We thought it was something that other people, these immense talents and virtuosos, could do and that we never could. So when this punk thing happened, we felt empowered, we became part of that whole thing. It just swept over the nation and changed the whole landscape of music almost overnight. After a bit, it got a bit boring, playing just this fast and furious music all the time, so everyone started experimenting in that framework, forming what everyone now calls the post-punk thing. This is where bands started going off on their own and exploring their own ideas, carving out more soundscapes and doing what they wanted with that punk energy. It was such a brilliant time around 1978-79 with all the bands that came out around us. Joy Division, The Cure, Wire, Gang of Four, and so on. This all shaped so much of England’s musical culture, so we were able to put our band together to do something similar.

It’s kind of amazing to think about all the bands that formed and quickly embraced this sound more or less independently from each other, yet still there was this unified movement of sorts…  

Well, John Peel had a lot to do with that. He championed a lot of the bands around that time would play play bands on the BBC that nobody else would go near, at all this kind of crazy wild music by bands who never would write a love song or make music that was like everything else on the radio. He had a lot to do with that unification, but also in general, the whole country was on fire and we were all reacting to that. It was brilliant. There was no money around, the UK was a very poor country outside of those who were in power and who were already rich. Most didn’t have anything at all. We used to steal microphones from concerts, and Gary’s first guitar was worth only $30 or so. Most of these bands, including us, really started from the ground up, and it was all very exciting. That energy was present from the start, you know?

Yeah, and with that in mind, Gary got such a unique sound out of that guitar. To me, those early Modern English guitar textures are otherworldly – so atmospheric and intense. 

Yeah, you know, stick it through a chorus and a flanger and it sounds brilliant!

Can you share any stories about your time on 4AD?

Well, it was if you remember Vaughan Oliver died, you know, I think five years ago now… I think his first artwork was the “Gathering Dust” single in 1980.

Right – with the shadow figures sitting next to the television set! 

Yeah! So that was the first artwork he ever did for the label… His last ever work was the re-imagining of Mesh & Lace and After the Snow, which came out just a few years ago. So it’s a real sense of synergy with 4AD there.

Otherwise, Ivo Watts-Russell and Peter Kent were the guys that signed us. We sent them a demo, and you know, it was just a wild demo we made of our earliest tracks, and they liked it and picked up on us. We were one of the first bands who signed with the label, along with Bauhaus, and then of course it all built up from there with Cocteau Twins, The Birthday Party, Dead Can Dance, and so on…

So we were kind of in at the beginning, at a time when Factory was also operating in the north with all those bands – Joy Division, A Certain Ratio, Crispy Ambulance, and of course Mute Records were doing their thing with Depeche Mode, Fad Gadget, and Daniel Miller. It was such an exciting time… All of us used to play with each other quite a lot – we did some gigs with The Birthday Party and so on. It was a wildly creative period, that 79-81 era…

I really liked that first 7” you recorded – the “Drowning Man” single. but the band really took it so much further out once you locked in with 4AD. Was that where you were heading naturally, or did 4AD’s early lineup and mission statement influence your sound? 

Well, the simple answer to that is we just became better musicians rather quickly. When we recorded “Drowning Man,” we couldn’t even really tune our guitars. We didn’t know how to do that. If you listen to that single, you might notice that we’re out of tune completely! That said, it’s got a certain quality to it that works. Mesh & Lace however, we went in the shooter. We did that record live as well, actually. A lot of that’s live. It’s a very experimental record. Ken Thomas who worked with Throbbing Gristle, engineered it and Ivo was in the studio with us as well. We were in the studio for only two weeks. It all very quick, you know, there was no back and forth, no debating about what was right and what wasn’t. We just went for it without too many overdubs, and it gives it that kind of quality. Everything’s a bit wild. We always enjoy using atmosphere more than musical playing, if you know what I mean… We’d rather explore the texture or do something more abstract than worry about a guitar solo or a beautiful musical passage or anything like that, really.

I think even your more pop-oriented works have that sense of experimentation and abstraction. Even “I Melt With You” or “Chapter 12” have some really interesting counter melodies and production techniques that elevate those tracks. That’s something I’ve always loved about your body of work – that you’ve never lost sight of that knack for experimentation, even on Soundtrack and Take Me to the Trees, and of course, the latest record. 

Yeah, that’s just how we operate overall, you know?

So, I still think it’s kind of wild that one of 4AD’s most beloved projects was birthed from covering two of your tracks – the live medley of “16 Days” and “Gathering Dust.” I love that you were all involved with This Mortal Coil in one form or another. Can you tell us more about your experience with that project? 

Well, really Ivo just felt that those two songs were such classic tracks and he wanted to re-record them the way we were playing them live. It was around that time that more electronic drum kits and samplers were being utilized a bit more. Ivo asked Mick and Gary to play on the This Mortal Coil version. They agreed and then Robin from Cocteau Twins and Martyn from Colourbox played on it. Liz came and did the vocals with Cindy, and the rest was history. I did that Colin Newman song “Not Me” on the first album, It’ll End In Tears. It was just Ivo’s hand’s-on project where he wanted to really celebrate everyone’s music and have his own project. He would get anyone he fancied to come in and play, whether it be us or Cindytalk, or Simon Raymonde, really, whoever was around at the time…

After the Snow really felt like more of a romantic record, though you still retained some that core energy in songs like “Life in the Gladhouse.” I’d love to hear more about that record. Was it a conscious decision to explore a more lush sound, or did that come naturally as well? 

Well, I mean, we’ve never been the sort of band that do the same exact thing twice. That’s been a bit of our downfall in some ways because we’ve confused a lot of people that way. A lot of other acts are happy to do the same thing, but we’ve never really been like that.

With After the Snow – a lot of that sound you mention is due to our producer, Hugh Jones, who encouraged us to focus more on our songwriting. We didn’t even know what that meant at that point, you know? He showed us how to string together a verse and a chorus and then a verse and a chorus and then a middle eight, and those things. His influence was massive! We were all interested in bringing in different instruments to change things – acoustic guitars, violins, and so on. We also tried different things. For instance, “I Melt With You” is probably the first song I never shouted on. I was so used to shouting into the microphone before that…

Did you approach that song from that perspective at first? Did you shout on earlier incarnations of the track? 

No! This, this is a good story actually. I was told to go up to the microphone and just speak into it…and I was like, “what? What the fuck are you talking about? You want me to go up to the microphone and just SPEAK into it?” But that really helped the song, it helped change it up to give it that sort of spoken word sort of feel in the verses, and that makes the chorus work so well.

…and then somehow between trying to softly speak the verses and then adding this lush, soaring chorus, you created one of the most beautiful, perfect pop songs ever recorded. Does it ever shock you how much that song has meant to people over the years? I mean, it’s truly timeless in that way. I almost hate to admit it, but in a previous life, that song was my wedding song, and it’s always funny, since the lyrics are both romantic but also about nuclear fallout and war, and a similar sense of dread that has always been present in your work. 

You know, you’d be amazed at how many times I’ve been told that! There’s definitely that idea of a couple you know, during the Cold War era. When I wrote it, I was staying in a cheap housing complex in London, freezing my arse off, stoned and scribbling down lyrics on a piece of paper, and within ten minutes, the lyrics were finished. It was like poetry really, I used stanzas, and of course, it’s basically about love. I was writing about the bomb dropping while this couple were making love, melting together… I’ve always said that it was a dark love song.

Otherwise, in some ways, it’s just another song for us on the album, you know? At one point we were wondering if we even liked it, or if it was a bit too commercial sounding compared to our other work.

I wondered if you struggled with that in the moment, especially when comparing it to songs like “Swans on Glass” or “Move In Light” which were written not long before that by comparison, you know?

Yeah, we did for about ten minutes, but Hugh was like “don’t be ridiculous – this a good song” you know, blah blah blah. In fact, going full circle, “I Know Your Soul” on the new album is a bit like that. We weren’t sure whether we’re going to put that song on the album, you know, because it’s the most crafted really of all the songs on the out on 1, 2, 3, 4, but Steve Walker, the keyboard player, was a big champion for that for that song. Mick, Gary, and I weren’t too sure about it, but we put it on there…

Did you leave anything on the cutting room floor? Are there any leftover tracks from the latest sessions?

No, no, pretty much everything’s on there!

So, one thing I’ve always admired about Modern English these days is that you always seem to have your finger on the pulse and have taken a lot of newer, underground bands on tour with you, bands like Entertainment or Bootblacks. A lot of older bands don’t seem to be as in tune with what’s going on in modern music and I was wondering what informed that. 

Well, I think we just, that’s just how we are. We’re no different when we started as people, making the kind of music that we want to and seeking out bands that are similar. It’s no different for us now than it was in 1979, except that we were lucky enough that “I Melt With You” gave us the security to carry on however we want to. Mick and Steve are more in tune with music than I am even, and they find that same energy in these bands that we feel we have.

As for me, I’d say I listen to more English music than anything these days, whether it be Fontaines D.C. or Idles. However, Mick would find these new, still obscure bands from Brooklyn and Steve would find some from Poland. We’re always looking for bands that are younger to come on the road with us mostly because we’d have wanted the same thing when we were younger, you know?

That’s great that you do that – I’ve heard so many conflicting stories over the years, some bands have shared stories of scene camaraderie, but others have told me that it was actually more competitive and cutthroat, not as romantic as all that. It’s interesting to hear your perspective on that and to see you lifting up other bands these days. 

It’s really true, though. People in America romanticize about this scene with all these bands hanging out in the pub, but it wasn’t really like that. Everyone was just doing their own thing. You might bump into somebody in the studio somewhere and have a moment with them, but you’re too busy doing your own thing to hang out really. That said, we did tour with Cocteau Twins and Bauhaus, and support Matt Johnson of The The when he started out – 4AD felt more like a family-oriented thing. Outside of that, it was often about getting a drink at the bar, you know?

What are your touring plans for 1, 2, 3, 4? What do you have planned for the year?

Oh my god, we’re not stopping this year! I mean, once I leave Thailand, I’m flying to Mexico City for rehearsals and a show. We’re playing with The Buzzcocks there. After that, we’re going back to America to play in Tucson and LA, two sold out shows with The Buzzcocks again. We’re going to go to Disneyland as well, but then we fly back to England. We’re doing a radio show for the BBC before linking back up with The Buzzcocks again for a few dates in Europe, plus a few on our own.

After all that, we’re going back to America as part of the Totally Tubular festival with Thomas Dolby, The Romantics, and other bands like that. We’re doing a six week run as part of that tour.

I’ve always enjoyed those tours, it seems like they aim to recapture a certain era, but for me, being too young to have seen many of these artists in the eighties, I always have a great time basking in that energy. It’s always great to see your band, whether it be a full headlining set or part of these tours. How long will the set be in the States? 

It’ll be about 25-30 min.

So you really have to carefully pick and choose, then! I imagine you’ll have to balance the new material, some early deep cuts, but I’m sure you have to play the hits, right? 

Well, you know, if we didn’t, we’d probably be hung! You know, it’ll be “I Melt With You” plus five or so other tracks.

I was sad to miss the After the Snow tour. Do you think you’d come back around to the States for a full tour for the new record? It’s always great hearing a full set, being able to enjoy the range and intensity of your material…

Oh yeah, whenever we get the chance, we’ll be playing. For some of these shows, we’re planning on playing three or four tracks from the album. I imagine even on this tour in the States we’ll throw one or two of them in.

Well, I’m a fan of the whole catalogue and anything you play at this point would go over well in my book. Have you found that other fans have been embracing the new material in the same way? 

Yeah, absolutely. It’s been incredible! I get stuff sent to me, you know – press clippings and reviews. It’s been brilliant, the response has been absolutely amazing. It might be the best critical response we’ve ever had if I’m being honest! §

1, 2,3, 4 is out now via InKind Music and available via the band’s Bandcamp page, as well as other outlets. For a full list of tour dates, visit the band’s website here.

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Header photo by Sheva Kafai.

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