Category: post punk

Comprised of brothers Tim (guitar, vocals) and Cory Race (drums) with Wallace May (bass, vocals), the Brooklyn-based post-punk trio Big Bliss formed back in 2015 when the Race Brothers began collaborating together on a project with the aim of drawing from shared influences between the two — namely 70s punk and 80s post-punk. The Race Brothers recruited Brooklyn-based songwriter Wallace May to flesh out the band’s sound, and since their formation they’ve developed a reputation for crafting shimmering, jangling and energetic post-punk.

The band’s Jeff Berner-produced full-length album At Middle Distance is slated for an October 19, 2018 through Exit Stencil Recordings, and the album, which was recorded at mixed at Studio G and Thump Recordings in Brooklyn, is reportedly a major step forward for the band as the material find the band further refining and perfecting their sound with a deeply emotive quality. Interestingly, At Middle Distance‘s latest single, The Alarm and Starfish-era The Church-like “Duplicate” is centered around thumping and propulsive drumming, shimmering and jangling guitar lines, an angular bass line, a shout along worthy hook and Tim Race’s earnest vocals but while managing to evoke the sensation of being hemmed in, of being deeply frustrated and uncertain over the things they can’t have/aren’t allowed to have and can never really be — and as a result, the song has an emotional heft. As the band’s Tim Race explains, “‘Duplicate’ is the record’s thesis. It informed many of the other songs’ thematic content, as well as Ana Becker’s album art (reflection, duality.) The song centers on conflicting and frustrated identities. It’s so easy to value yourself based on self identity, like social constructs and occupation, but that’s a slippery slope. That will inevitably lead to comparing yourself to your peers to measure self-worth, that can be a painful, distorted way of dealing with life. One will only see what they can’t control or don’t have, leaving little space for basic gratitude and contentment.”

The band will be touring to support the new album and it’ll include two NYC area dates — October 20, 2018 at Alphaville and November 3, 2018 at Union Pool. Check out the rest of the tour dates.

Tour Dates
10/20 – Brooklyn, NY @ Alphaville (At Middle Distance LP Release Show)
11/03 – Brooklyn, NY @ Union Hall
11/27 – Pittsburgh, PA @ Rock Room
11/28 – Detroit, MI @ Kelly’s Bar
11/29 Grand – Rapids, MI @ Pyramid Scheme
11/30 – Chicago, IL @ Burlington Bar
12/01 – Bloomington, IN @ Blockhouse Bar
12/02 – Cincinnati, OH @ MOTR
12/03 – Muncie, IN @ BHN
12/04 – Columbus, OH @ Ace of Cups
12/05 – Cleveland, OH @ Mahall’s
12/06 – Boston, MA @ O’Brien’s

 

 

 

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New Audio: Introducing the Ominous Post Punk of Belgium’s Whispering Sons

Although formed back in 2013, the Brussels, Belgium-based post punk act Whispering Sons, comprised of Fenne Kuppens (vocals), Kobe Linjen (guitar), Sander Hermans (synths), Tuur Vanderborne (bass) and Sander Pelsmaekers (drums) received attention nationally with the release of 2015’s debut EP Endless Party through Wool-E-Tapes with a vinyl reissue in March 2016 through Minimal Maximal. Adding to a growing profile, the band won 2016’s Humo’s Rock Rally, one of Belgium’s most prestigious music competitions, which they followed up with two 7 inch releases, 2016’s “Performance”/”Strange Identities” and last year’s “White Noise.” 

Building upon a growing profile in their homeland, the Belgian post punk outfit’s full-length debut Image is slated for an October 19, 2018 release through Cleopatra Records here in the States and Smile Records throughout the rest of the world — and the Micha Volders and Bert Vliegen-produced album which was recorded over a ten day period at Waimes, Belgium’s GAM Studios will further cement the band’s reputation for crafting tense and ominous post-punk, while attempting to accurately capture both their live sound and the sense of anxiety and alienation that the bandmembers felt upon their relocation to Brussels. 

Speaking of ominous, Image’s second and latest single “Alone” is centered around angular and shimmering guitar lines, an angular and propulsive bass line, thundering and mathematically precise drumming, and a slick, yet infectious hook — and while sonically the song may recall Joy Division, Actors, Deathlist, True Moon, Second Still and others, the song’s refrain is derived from part of a cryptic bit of dialog spoken during Twin Peaks’ first season. 

Produced by The Breakfast Club and directed by Koen Blauwblomme and Pieter De Ridder, the recently released video for “Alone” takes it cues from horror films and Twin Peaks as it follows our protagonist as he goes completely mad  — at one point, the protagonist see his doppleganger, completely immolated in flame, before quickly realizing that his doppleganger is his reflection.  

New Audio: Los Angeles’ Numb.er Returns with a Lysergic-Tinged Visuals and Sounds of “A Memory Stained”

Earlier this year, I wrote about Numb.er, the brainchild of Los Angeles, CA-based mastermind and primary songwriter, photographer and visual artist Jeff Fribourg, who’s probably best known as a founding member of psych rock/kraut rock band Froth. Now, as you may recall, Fribourg can trace the origins of his love affair with synthesizers to when he was leading Froth, and with his latest project, Fribourg fully explores both his deep love of synthesizers and his wildly eclectic influences and inclinations; in fact with Numb.er Fribourg’s work meshes elements of punk rock, post-punk, noise rock and shoegaze.

Goodbye, Fribourg’s latest Numb.er album was released earlier this year through renowned post punk label Felte Records, and the album’s first single “Numerical Depression” featured elements of 77-era punk, post-punk and noise punk in a way that sonically brought the likes of Wire, Nirvana, The Clash, Bauhaus, without resorting to mimicry and cliches. Interestingly, Goodbye’s latest single finds Fribourg seamlessly meshing 60s psych pop with synth-led New Wave and four-on-the-four drumming in a way that brings British psych rockers TOY to mind, but murkier and more foreboding while retaining Fribourg’s uncanny ability to craft an infectious hook. 

Directed by Matt Creed and edited by Chris Rice, the recently released video for “A Memory Stained” employs the use of creepy yet trippy found footage that emphasizes the lysergic quality of the song and its foreboding vibes.

 

New Audio: London’s White Lies Releases a Moody and Epic New Single from Forthcoming Album

Slated for a February 1, 2019 release through [PIAS] Recordings, the acclaimed London-based indie trio White Lies, comprised of Harry McVeigh (lead vocals, guitar), Charles Cave (bass, backing vocals) and Jack Lawrence-Brown (drums) will be marking their tenth anniversary as a band — and interestingly, the album reportedly finds the band pushing their sound and aesthetic in new directions with the addition of personal, and at times deeply intimate lyrics written by the band’s Charles Cave. Unlike the preceding albums, the writing and recording process was a Transatlantic one that included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album. 

Clocking in at a little over 7 and a half minutes, the album’s latest single “Time to Give” may arguably be among the most ambitious songs the band has released, as the track is centered around a lush yet moody arrangement of shimmering synths, a sinuous bass line that’s part of a propulsive, motorik groove and soaring, arena rock-friendly hooks paired with McVeigh’s sonorous baritone. And while nodding a bit at Snow Patrol and others, the song seems to focus on a dysfunctional and abusive relationship from a real an lived-in place; in fact, it’s so real that as a result, the song bristles with bitterness, confusion and hurt. 

Live Footage: Moaning Performs “Artificial” at Tapetown Studios

Over the better part of this year, I’ve written a bit about the Los Angeles, CA-based trio Moaning, and as you may recall, the band which is comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk — and as a result, the Southern Californian trio has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others.

Moaning’s self-titled, full-length debut was released earlier this year through Sub Pop Records, and the album’s fourth single “Artificial” is centered around angular guitar and bass chords, thundering drumming and an anthemic hook — and while recalling Joy Division, Interpol, Preoccupations and others; but just under the surface, the song bristles with a tense an uneasy self-awareness of the narrator’s own artifice, superficiality and ugliness, as well as that of the larger world he lives in. 
Interestingly, if you’ve been frequenting this site over the 18 months or so, you’d also recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. And during that time, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC and a growing list of others. The members of Moaning had stopped by Tapetown Studios during their second European Union tour, and performed an urgent rendition of the attention-grabbing “Artificial” as part of the Tapetown Studio sessions. Check it. 

 

Comprised of founding members Wes Salton (guitar, vocals) and Jason Chiarella (bass, synths) with Adam Reeve (drums, vocals) and Jack Faulkner (guitar, synths), the Nashville, TN-based post-punk quartet Telefones can trace their origins to when its founding members started the band while they were both high schoolers in Atlanta. Later, Salton and Chiarella relocated to Nashville, where they met Faulker and Reeve, who joined the band to flesh out its sound and complete its lineup.  Sonically, the band draws influence from the likes of Fugazi, The Modern Lovers and Buzzcocks — and from “Castle Factory,” the A-side single off their forthcoming “Castle Factory”/”Vitamins”  7 inch, the band specializes in a blistering and raw, garage punk that would make John Dwyer proud while recalling The Stooges and others.

 

 

 

 

Comprised of Kyle Fisher, Merrick Powell, Jonny Dolan and Michael Sacco, the Sydney, Australia-based indie rock quartet STUMPS formed last year and  the band quickly exploded into the national scene, “Piggyback,” “This Home is Mine” and “We’ll Do It Anyway,” off the band’s debut EP Another Stay at Home Son all received airplay on Triple J’s Unearthed.  Already, the band has gone on national tours with Dear Seattle and Maddy Jane, and building upon a growing profile, they played a sold out Sydney headlining show, as well as packed shows in Brisbane and Melbourne — and the band will be on another national tour with Trophy Eyes, Maddy Jane and Dear Seattle in October.

Not wasting time or momentum, the members of STUMPS wrote, recorded and released their latest single, the angular post-punk influenced “Conversation Conversation,” which is centered around four-on-the-floor drumming, angular guitar chords, a propulsive rhythm section and Fisher’s sonorous baritone punchily delivering the song’s lyrics, which are derived from painfully awkward and overheard conversations and interactions of first and second dates, text messages and dating apps – and while being an  ironic view of dating in our short attention span age, it also is an an incisive stab at masculinity and the pointless (and desperate) attempts people make at impressing others.  Sure, the hook-driven song is danceable and arena rock friendly in a way that recalls Franz Ferdinand, but it points a deeply universal and uncomfortable experience that we’ve all had at some point or another.

 

New Video: Introducing the Wiry Post-Punk of Up-and-Coming Leeds-based Trio Drahla

Led by Luciel Brown (vocals, guitars), the Leeds, UK-based trio Drahla have received national and international attention for meshing anxious and wiry post-punk with krautrock-inspired experimentation, featuring angular guitar chords and propulsive and hammering bass, the track is centered by Brown’s half-spoken/half-sung vocals as you’ll hear on “Twelve Divisions,” the band’s Pink Flag-era Wire-like Captured Tracks Records debut.

The recently released video is fully of erratic jump cuts, flickering lights and flickering imagery, the video is full of absurd and at times repetitive imagery and action.   As Brown says of the video, “The video is an abstracted representation of process and routine. This is depicted through the recreation of the cover artwork and repetitive nature of the content used.”

New Video: ACTORS Release Eerie and Murky Visuals for “Slaves”

Vancouver, British Columbia, Canada-based post punk act ACTORS, comprised of Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Jahmell Russell (bass, vocals) and Adam Fink (drums) have developed a reputation fora  modern take on post-punk that some critics have compared favorably to the likes of The Soft Moon, Cold Cave and others.

Building upon the growing buzz surrounding the Canadian post punk act, they released their full-length debut It Will Come To You earlier this year through Artifact Records, and the album’s second single  “Slaves,” may arguably be the most direct and anthemic tracks  on the album as its centered around a propulsive bass line, slashing guitar lines, shimmering synths and an infectious hook — and much like its predecessor, it’s an urgent and forceful track. 

Directed by Shannon Hemmett, the recently released video for “Slaves” is incredibly stylistic as it features grainy VHS-like footage, edited stock footage, and high definition footage of masked character in a seedy, late night parking lot, further emphasizing the murky vibes of the song. 

New Video: Avantist’s Descend into Hell with Visuals for “this_could_be_it”

Deriving their name from a British English word that means to be an avant-gardist — one who emphasizes, practices and celebrates experimental and unorthodox methods and techniques and incorporates them into a craft, Avantist is a South Side, Chicago-based post-punk act, comprised of the Arias Brothers, Luis (drums), David (guitar), Erick (bass) and Fernando (vocals). And over the past decade, the sibling band has dedicated their live stop making avant-garde music, centered around their shared personal philosophy that art is, should and must be progressive, dynamic and unconventional, and that creativity is something to incorporate in every single aspect of one’s life. 
 
The band’s recently released EP Terasaoma finds the band stepping out of their comfort zone by forcing themselves to write, record, mix and master the EP’s material within a month, rather than the two years it took for their debut effort, and while further cementing the band’s reputation locally and regionally for crafting raucous and infectious post-punk, the EP finds the band pushing their sound and songwriting in wildly different directions; in fact, the EP’s material runs the gamut from angular and furious post-punk to soulful R&B. The EP’s latest single though is the thrashing and angular post-punk ripper “this_could_be_it,” which finds Fernando Arias howling and singing alternating lyrics in Spanish and English. May the song remind the listener that being proudly, boldly and fearlessly of color and representing everything that your heritage means in these dark, dark days is truly punk as fuck — and perhaps more so if you’re Black or of Latin descent. 

Co-directed by the members of the band and Justin Nico Flocco, the recently released video for “this_could_be_it” is on some level a tale of death, rebirth and deliverance within a brutal, unforgiving, hellish world as it follows a Sisyphean-like protagonist, who  is endlessly chased by armed soldiers that capture him, bound him and sacrifice him — repeatedly.  Adding  to the hellishness of the video, there’s a brief and fleeting suggestion that the the protagonist after a while is aware that his horrible fate is inescapable.