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.

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

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

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

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

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

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

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

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

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

Here is the schedule:

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

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

Get advance tickets here.

The post Celebrating the Legacy of Rozz Williams: A Tribute at Hollywood Forever Cemetery appeared first on Post-Punk.com.

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

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

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

Listen below:

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

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

Pre-order Infinite Darkness here.

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

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

Follow Black Asteroid:

• Website
• Soundcloud
• Instagram

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

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

Stay connected with Night Sins for the latest updates:

• Spotify
• Instagram
• Facebook

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.

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

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

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

Listen to “Waiting” below:

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

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

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

Follow XOR:

• Soundcloud
  
• YouTube
• Bandcamp
• Spotify
• Instagram

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

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

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

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

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

Watch below:

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

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

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

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

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

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

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

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

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

• CD

• Tape

Follow John Carpenter:

• Instagram
• Facebook
• YouTube
• Website

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

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

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

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

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

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

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

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

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

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

Pre-order Codes here through Sacred Bones Records. 

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

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

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

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

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

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

In the meantime, listen to glasshour below:

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

Stages Alive is available to view in full here.

Catch cumgirl8 live: 

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

* SXSW
^ Supporting Bratmobile

Follow cumgirl8:

• Facebook
• Instagram
• Website
• YouTube
• Spotify

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