Category: post punk

Comprised of founding members Ryan Walker (guitar) and Alex Hartman (bass) along with Suki San (vocals), the Los Angeles, CA-based post-punk trio Second Still initially formed when its founding duo met in 2007. Fast forward to 2011, and the duo relocated to New York — and at that point, they had written and recorded over 100 instrumental demos, which were inspired by French coldwave and No Wave. Walker and Hartman spent a great deal of time searching high and low for a vocalist that they felt could match their intensity and creative output. And as the story goes, when they met Suki San, the newly constituted trio felt an immediate connection.

Second Still’s first show was an infamous party at the now-condemned McKibbin Street Lofts that was shut down by the police during the band’s second song. Building upon the buzz of that incident, the band recorded their debut EP, Early Forms as a limited edition cassette, which quickly sold out. Making the most of their time, the members of the trio wrote and recorded the material that eventually comprised their 2017 self-titled, full-length debut — and from singles “Walls,” “Recover,” “You Two So Alike,” and “Strangers,” the album’s material thematically focused on decidedly post-modern subjects: depression, frustration, anxiety and alienation among a throbbing, seething mass of humanity, with a visceral emotionality while sonically drawing from Sixousie and the Banshees.

Equals, the Los Angeles-based post punk trio’s much-anticipated follow-up EP finds the band expanding upon their sound, pushing it towards new directions — while retaining some of the early elements that first caught the attention of the blogosphere and elsewhere. You’ll see hear the chorus and delay pedal effected guitar, sinuous bass-driven grooves and industrial-like drum machine beats paired with ethereal vocals and infectious, razor sharp hooks; however, the members of the band have begun employing the use of a couple of analog synthesizers, which adds an atmospheric element to their sound. Additionally, roughly half of the EP’s material (the A side) reportedly finds he band exploring a decidedly pop-orientated, lighter sound while the other half (the B side) find site band hewing towards the melancholy and gloomy roots. The EP’s latest single “Opening” is a decidedly melancholy, post-punk track that features the shimmering, chorus and delay pedal effected guitar lines, sinuous bass lines, industrial-like drum programming and ethereal vocals — and while further cementing their reputation for a sound heavily indebted to Siouxsie and the Banshees, with a gritty and visceral emotionality that belies its clean, modern production sheen.

 

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

Building upon a growing amount of buzz surrounding the band, their forthcoming full-length debut It Will Come To You, which is slated for a March 9, 2018 release through Artoffact Records, the album reportedly finds the band crafting slickly produced, hook-driven material. In fact, album single “L’appel du Vide,” features angular and razor sharp guitar chords played through gentle amounts of reverb, a motorik groove, shimmering arpeggiated synths paired with propulsive drumming and a rousingly anthemic hook — and while drawing from 4AD Records-era post-punk and New Wave, the single will further cement their growing reputation for crafting urgent yet cinematic material. The album’s second single “Slaves,” features a propulsive bass line, slashing guitar chords, soaring synths and industrial clang and clatter, and while as urgent as its predecessor, it also manages to be the most direct and anthemic track of the two from the new album.

The Canadian post-punk act will be touring throughout their native Canada, the States and Europe throughout 2018. Check out tour dates below. 

Feb 1 – Vancouver, BC @ Astoria
Mar 10 – Vancouver, BC @ Rickshaw (It Will Come to You album release show)
Mar 22 – Seattle, WA @ The Crocodile
Mar 23 – Boise, ID @ Vista Bar
Mar 28 – Sacramento, CA @ LowBrau
Mar 29 – Oakland, CA @ Golden Bull
Mar 30 – Los Angeles, CA @ La Cita (Part Time Punks)
Apr 2 – Eugene, OR @ Old Nicks
Apr 3 – Olympia, WA @ Crytatropa
Apr 4 – Everett, WA @ Obscurus
Apr 6 – Portland, OR @ Tonic Lounge (Out from the Shadows Festival)
Apr 12 – Vancouver, BC @ Astoria (Verboden Festival)
May 10 – Paris, FR @ Le Supersonic
May 11 – Lille, FR @ Le Bobble Cafe
May 17 – Stockholm, SE @ Debaser Strand
May 18 – Copenhagen, DK @ Stengade
May 19 – Hamburg, DE @ Gruner Jager
May 20 – Leipzig, DE @ Wave Gotik Treffen Festival

With the release of 2015’s debut effort, The Great Sun, the post-punk duo VOWWS, comprised of Sydney, Australia-born, Los Angeles-based duo of Rizz and Matt quickly received attention for a sound that drew upon a diverse array of influences including classic Western, electronica, surf rock, metal, film soundtracks, post-punk and industrial rock. Now, if you’ve been frequenting this site, you may recall that earlier that the duo’s highly-anticipated sophomore effort, Under the World continues their ongoing collaboration with longtime friend, mentor and renowned Kevin S. McMahon, and finds the Australian-born, Los Angeles, CA-based duo reportedly eschewing much of the familiar post-punk and industrial tropes of their previously recorded material to focus on a razor sharp hooks, direct vocals and richer, more nuanced textures.

Forget Your Finery” found the duo pairing angular guitar and bass chop Yrds played through layers of fuzz and other distortion pedals, thumping and propulsive drumming and while still sounding to me as though it were influenced by 80s New Wave, there’s a deliberate attention to melodicism and to infectious, arena rock friendly hooks. “ESSSEFF” their sophomore effort’s latest single sonically will remind some listeners of Depeche Mode‘s “Policy of Truth” and U2′s “Mysterious Ways” as it finds the duo pairing layers of buzzing industrial-like synths, stomping and propulsive drum machine, bluesy guitar chords  — but just like it’s predecessor the duo continue with a deliberate attention to melodic, razor sharp and rousingly anthemic hooks.

VOWWS’ sophomore effort is slated for a March 2, 2018 release through the band’s own Anti-Language Records, and throughout the mid-March and early April, the Sydney, Australia-born, Los Angeles, CA-based duo will be embarking on a North American tour that will include a March 22, 2018 stop at Saint Vitus. Check out the tour dates below.

Tour Dates 

3.19 – 529 – Atlanta, GA
3.20 – Strange Matter – Richmond, VA
3.22 – Saint Vitus – Brooklyn, NY
3.23 – Meatlocker – Montclair, NJ
3.24 – Geno’s – Portland, ME
3.25 – Kung Fu Necktie – Philadelphia, PA
3.26 – Cafe Nine – New Haven, CT
3.27 – O’Brien’s – Boston, MA
3.28 – Casa Del Popolo – Montreal
3.29 – Coalition – Toronto
3.30 – Now That’s Class – Cleveland, OH *
3.31 – Deluxx Fluxx – Detroit, MI *
4.1 – Empty Bottle – Chicago, IL *
4.3 – Reverb Lounge – Omaha, NE *
4.4 – Hi Dive – Denver, CO *
4.5 – Metro Music Hall – Salt Lake City, UT *
4.6 – Neurolux – Boise, ID *
4.7 – Barboza – Seattle, WA *
4.8 – Tonic Lounge – Portland, OR *
4.10 – Old Nick’s – Eugene, OR *

* w/ Soft Kill and Choir Boy

New Video: The Shimmering, Early 80s MTV-Inspired Visuals for Moaning’s “Artificial”

Comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie, the Los Angeles, CA-based trio Moaning have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk which has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others. 

Building upon the growing buzz that’s surrounding them, the Los Angeles-based indie rock/post-punk trio’s highly-anticipated self-titled, full-length debut is slated for a March 2, 2018 release through Sub Pop Records. The album’s fourth and latest single “Artificial” possesses a decidedly familiar post punk sound reminiscent of Joy Division, as well as contemporaries like Precocupations and others, complete with an anthemic and directly infectious hook; but just underneath the surface, the song bristles with a tense, self-awareness of artifice, superficiality and ugliness. 

Directed by directorial team A Stranger, the recently released video for “Artificial” draws from early 80s MTV videos — and appropriately, it was shot on 35mm film, complete with tight zooms that follows the band, dressed completely in white as they play the song in a house covered in tin foil, filled with fake plants. At various points, the bandmembers faces are distorted and mirrored in ways that are trippy and somewhat disturbing. And in some way, the video continually points out artifice, insincerity and superficiality, while suggesting that there’s ugliness and uncertainty just beneath. 

Initially formed under the highly controversial name, Viet Cong, the members of the band now known as Preoccupations — Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) —unknowingly and unwittingly found themselves in the middle of furious and tumultuous debate around cultural association and the association with historical groups and actions that would immediately evoke the horrors of despotism, war and genocide. And as an understandable result of that controversy, the members of the Canadian post-punk act made the difficult decision to change their name before releasing their highly-anticipated sophomore album.

When the members of the band reconvened to write the material that would comprise their self-titled effort as Preoccupations, each individual member of the band was in a rather unsteady and uncertain position: the members of the band had all relocated to different cities across North America, which made their long-established creative process of writing material while on the road extremely difficult. Along with that, as it turned out several members of the band were dealing with the heartache of having long-term relationships end, just as they were set to write. Adding to a growing sense of uncertainty, their sophomore effort found the band going into the writing session without having a central idea or theme to consider or guide them, making the sessions a collective and blind, leap of faith.

The end result was an album that drew from very specific things — the anxiety, despair and regret that has most people up at night. In fact, album singles like  “Anxiety,” focused on the natural and forced change placed upon the members of the band, and more generally on people while simultaneously capturing the confusing push and pull of human relationships, while “Degraded” one the album’s most straightforward and hook-laden songs was full of bilious accusation and recrimination. The album’s expansive, third single “Memory” as comprised of three distinct and very different movements held together by the song’s central narrative, which focused on the weight of one’s memory and the past has on every relationship and aspect of our lives.

Building upon a growing reputation for crafting dark and moody post punk, centered around themes of creation, destruction, futility, the Canadian post-punk band’s third, full-length album New Material is slated for March 23, 2018 release through Jagjaguwar Records, and the album, which finds the band recording the album themselves and enlisting the assistance of Justin Meldal-Johnson on mixing duties is as the band’s frontman Matt Flegel says in press notes, “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Much like their previous album, the band went into the process without much written or demoed — and it was arguably the most collaborative writing sessions that they’ve ever had. While, writing New Material may have been extremely architectural with the band building ideas up, tearing others down to the support beams without quite knowing what exactly they were about, and as they were writing they had resolved for it all to show, not tell.

But reportedly, the writing and recording sessions led to a reckoning for Flegel.  “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. To that end, it’s interesting that “Espionage,” the murky and angular Manchester/Joy Division-like single is the first single off New Material — and in some way, the song evokes a narrator, who has finally become aware of his disturbing penchant for self-sabotage in every aspect of his life but despite the dark theme of the song, it finds the members of the JOVM mainstays crafting some of the most infectious, danceable material they’ve written to date.

Preoccupations will be embarking on a lengthy tour to support the album that begins in Toronto and includes two NYC area dates — April 19, 2018 at Rough Trade with Freak Heat Waves as an opener and April 20, 2018 at Elsewhere’s Zone One with Odonis Odonis as an opener. Check out the rest of the tour dates below.

 

TOUR DATES
4/14/18 Toronto, ON @ Horseshoe Tavern
4/18/18 Boston, MA @ Brighton Music Hall *
4/19/18  Brooklyn, NY @ Rough Trade *
4/20/18 Brooklyn, NY @ Elsewhere (Zone One) ^
4/23/18  Philadelphia, PA @ Underground Arts *
4/24/18  Washington, DC @ Rock & Roll Hotel *
4/26/18  Columbus, OH @ The A&R Music Bar *
4/27/18  Chicago, IL @ Empty Bottle *
4/29/18  Minneapolis, MN @ 7th Street Entry *
5/1/18  Winnipeg, MB @ Pyramid Cabaret *
5/3/18  Edmonton, AB @ Starlite *
5/4/18  Calgary, AB @ Palomino *
5/5/18  Calgary, AB @ Palomino
5/9/18  Vancouver, BC @ The Cobalt
5/11/18 Seattle, WA @ Barboza #
5/12/18  Portland, OR @ Star Theater #
5/14/18  San Francisco, CA @ Rickshaw Stop #
5/18/18  Los Angeles, CA @ The Echo #
5/19/18  Phoenix, AZ @ Valley Bar #
5/22/18 Austin, TX @ Barracuda
5/23/18  Dallas, TX @ Club Dada
5/24/18  St. Louis, MO @ Firebird
6/5/18 London, UK @ London Underground
6/7 Berlin, D @ Musik & Frieden
6/10/18 Hilvarenbeek, NL @ Best Kept Secret Festival
6/11/18 Paris, France @ Maroquinerie
6/12/18 Ramsgate, UK @ RMH
6/13/18 Leeds, UK @ Brudenell Social Club
7/3/18 Amsterdam @ Sugarfactory
7/4/18 Hamburg @Molotow
^ w/ Odonis Odonis
* w/ Freak Heat Waves
# w/ Moaning

New Audio: Los Angeles’ VOWWS Releases an Anthemic Hook-Laden Single

With the release of 2015’s debut effort, The Great Sun, which was recorded with longtime friend, mentor and renowned engineer Kevin S. McMahon, the post-punk duo VOWWS, comprised of Sydney, Australia-born, Los Angeles-based duo of Rizz and Matt quickly received attention for a sound that drew upon a diverse array of influences including classic Western, electronica, surf rock, metal, film soundtracks, post-punk and industrial rock; however, the duo’s highly-anticipated sophomore effort, Under the World, which continues their ongoing collaboration with Kevin S. McMahon, finds the duo reportedly eschewing the familiar post-punk and industrial tropes to allow much more hook for razor sharp hooks, direct vocals and richer, nuanced textures.

And with Under the World’s latest single “Forget Your Finery,” the duo pair angular guitar and bass chords played through layers of fuzz and other distortion pedals with thumping and propulsive drumming — but throughout the song there’s a deliberate attention to melodicism and crafting an infectious, arena rock friendly hook in what may be one of the more anthemic songs I’ve come across so far this year.

New Audio: Franz Ferdinand Continues Their Run of Shimmering and Quirky Dance Floor Friendly Singles

Currently comprised of founding quartet Alex Kapranos (lead vocals, guitar), Nick McCarthy (rhythm guitar, keys and backing vocals), Bob Hardy (bass) and Paul Thomson (drums, percussion and backing vocals), along with newest Julian Corrie (keys, synths, guitar and backing band), who joined last year, replacing founding member Nick McCarthy, the Glasgow, Scotland, UK-based indie rock/post punk act Franz Ferdinand formed back in 2002.  And with the release of their first two singles “Darts of Pleasure” and “Take Me Out” the members of the Scottish indie rock act quickly saw commercial and critical success — with “Take Me Out,” the band’s signature song peaking within the Top of the UK Singles Chart, and later earning a Grammy nomination for Best Rock Performance by Duo or Group with Vocal. Additionally, not only did their eponymous, 2004 full-length debut received a Grammy nomination for Best Alternative Album and won the Mercury Prize, the band established themselves at the forefront of the post punk revival movement. Along with that, the band has won two Brit Awards — one for Best British Group, as well as one NME Award. 

Their 2005 Rich Costey-produced sophomore effort, You Could Have It So Much Better was released to critical and commercial success with the album peaking within the Top Ten Charts in multiple countries, with the album receiving a nomination for Best Alternative Album and “Do You Want To” receiving a nomination for Best Performance by Duo or Group with Vocal. However, 2009’s Tonight: Franz Ferdinand found the band moving from the post-punk sound that first won them international attention to a much more dance friendly sound while continuing an impressive streak of commercial and critical success. They promptly followed that up with a remix album of Tonight, titled Blood, which was released that summer. 

2013 saw the release of Right Thoughts, Right Words, Right Action and they followed that up with teaming up with Sparks to form a supergroup FFS, which released their self-tiltled album in 2015. The renowned Scottish band’s fifth full-length album Always Ascending is slated for a February 9, 2018 release and the album’s latest single “Feel The Love Go,” finds the band continuing with a dance floor friendly, disco-era inspired sound while retaining elements of the Gang of Four-like post punk that first won them international attention as they pair angular guitar chords, sinuous bass lines, four-on-the-floor drumming and thumping beats with arpeggiated synths, warm blasts of soulful, Hall and Oates-like saxophone and razor sharp hooks. And yet interestingly enough, the song also finds the band maintaining their unique ability to craft quirky, white boy funk. 

Comprised of Stefano Bellerba (vocals, guitar), Leonardo Mori (synth), Matteo Luciani (bass), Saverio Paiella (guitar) and Daniele Cruccolini, the members of the Terni, Italy-based post-punk quintet Japan Suicide met and bonded over their mutual love of Joy Division, The Cure, Nine Inch Nails and Depeche Mode — but they also cite the likes of Bauhaus, Siouxsie and the Banshees, Yeah Yeah Yeahs, Japan, The Damned, Interpol, Suicide, CSI, CCCP and Massimo Volume as being major influences on their sound and songwriting approach. With the release of 2015’s We Die In Such a Place, 2016’s 1978 EP, and the appearance of “This Be The Verse” on Darkitalia’Sparkles in the Dark, Vol. 4 compilation, the Italian post punk quintet have received both national and international attention as one of their homeland’s best, contemporary indie rock/post punk bands.

Building on their growing profile, Japan Suicide’s third full-length effort Santa Sangre is slated for a February 14, 2018 release through Unknown Pleasures Records, and while the album’s first single “Circle” will further cement the band’s reputation for crafting material heavily indebted to early 80s post punk, it reveals a band that has been gently expanding upon their sound with nods to shoegaze and industrial rock as the band pairs fuzzy and angular guitar chords, thundering drumming, merrily twinkling synths and a soaring hook to evoke a creeping yet uncertain dread.

 

New Audio: Introducing the Industrial Post-Punk Sounds of Springfield, MO’s Kudzu

Publicly citing Tears for Fears, The Cure, Spectrum, Guided by Voices, Sympathy Nervous and This Heat as major influences, the Springfield, MO-based synth wave/synth punk duo Kudzu, comprised of Seth Goodwin (vocals, synths, drum programming) and Mark Gillenwaters (vocals, guitar) will be releasing their forthcoming full-length album Defeated on March 2, 2018 through Push & Pull Records. And reportedly, the album’s 9 songs come from several layers of disenchantment and frustration — first with their local punk and DIY scenes, which has resulted in a general dissociation from them and second, the stark reality of life in the Ozarks. As the band’s Mark Gillenwaters explains in press notes “I feel like there is a type of alienation you can harbor in a place like this that lends itself to bleak music. I like to treat lyrics as more emotional than literal, so some lyrics might not make sense but still convey the emotion I’m trying to present.” 

“Some Cops,” the latest single off the band’s forthcoming album finds the duo drawing from the likes of Ministry, PIL and early Nine Inch Nails as it features layers of buzzing, analog synths, slashing and buzzing power chords, propulsive yet forceful drum programming and an anthemic hook — and while clearly being mosh pit friendly, the song bristles and snarls with a pent up frustration at its core.