IC2 is the darkwave/post-punk solo recording project of a rather mysterious Villa Latina, Italy-based producer, singer/songwriter and multi-instrumentalist. The emerging Italian artist’s latest single, the brooding yet dance floor friendly “Falling Down” is centered around glistening synth arpeggios, thumping electronic drums, wiry bursts of distorted guitars, crooned vocals and an enormous hook. Sonically, “Falling Down” may remind some listeners of post-punk heavyweights like Siouxsie and the Banshees, The Cure and Joy Division — as well as contemporaries like ACTORS, Bootblacks and others.
Category: post punk
New Video: French Artist Haya The Hellcat Takes Viewers on a Tour of Paris in Trippy Visual for Punchy “Histoire De Se Revoir”
Haya The Hellcat is a Nancy, France-based singer/songwriter and multi-instrumentalist, who writes and records out of a basement studio of an artists’ house called AXLV — All Exclusive. The Nancy-based artist grew up spitting his time between Reunion Island and France, where he studied music and began writing instrumentals when he turned 14. When he turned 26, the emerging French singer/songwriter and multi-instrumentalist began writing his own lyrics — and recording material singing his own lyrics.
The Nancy- based artist’s debut EP Quarante-Six Kilomètres Dans Les Sable was released earlier this month, and the EP touches upon several themes including travel, emotions and others. The EP’s latest single “Histoire De Se Revoir” is a decidedly post-punk influenced tune centered around a punchy and propulsive bass line, shimmering guitars, plaintive vocals and a razor sharp hook. Interestingly, the song sees the French artist deftly balancing wistful nostalgia with a breezy, radio friendly accessibility.
The recently released, gorgeously shot black and white visual for “Histoire De Se Revoir” follows Haya The Hellcat through Paris — sometimes forward, sometimes backward.
With the release of her first two albums — 2016’s Sirens and 2018’s Empty Sea — Berlin-based singer/songwriter, guitarist and photographer Laura Carbone received critical praise for a sound that has frequently drawn comparisons to PJ Harvey, Shana Falana, Chelsea Wolfe, St. Vincent and others.
If you’ve been frequenting this site for some time, you may recall that Carbone and her band were scheduled to go into the studio last May to record what would be he highly-anticipated third album. But unfortunately, as a result of pandemic-related restrictions and lockdowns, Carbone’s plans were indefinitely shelved, much like countless other artists and bands across the world at the time.
While she was touring across the European Union to support her first two albums, Carbone and her band appeared on the beloved German live concert series Rockpalast. For Carbone, who grew up in a small, southwestern German town watching Rockpaalst, appearing on the show was the achievement of a lifelong dream: A who’s who list of artists and bands have appeared on the show including Siouxsie and The Banshees, Radiohead, Sonic Youth, Patti Smith, Sinead O’Connor, David Bowie, R.E.M., Echo and the Bunnymen, Screaming Trees, Lynyrd Skynyrd, Bob Marley and the Wailers, Charles Bradley and a very lengthy list of others.
Inspired by the lockdowns, Carbone and her band came up with an idea: “What if Rockpalast would let us release that show as a live album?” Taken from her October 2019 Rockpalast set at Harmonie Bonn, the Laura Carbone — Live at Rockpalast is a career-spanning set featuring material from her first two albums.
I had written about three of the live singles:
- “Who’s Gonna Save You,” which found Carbone and her band deftly balancing menace and sultriness, while introducing a rock goddess, you need to know — right now.
- “Cellophane Skin” which found Carbone and company taking the tension of the original and informing with a feral intensity developed while touring. And as a result, the song finds its narrator — and perhaps, even the artist herself — turning into a seductive, yet vengeful force of nature tearing down the bonds of poisonous social norms that have imprisoned her, while demanding that we — men particularly so — examine ourselves.
- “Nightride,” a slow-burning and brooding bit of psychedelia-tinged post punk that sonically and lyrically nods at The Doors “The End” as though covered by PJ Harvey.
Each video from the live session continued Carbone’s ongoing visual collaboration wit Olya Dyer — but the visual for “Nightride” also featured The Underground Youth‘s Carig Dyer as a dark and handsome stranger, who picks up Carbone.
Carbone and The Underground Youth have collaborated on the recently released In Dreams EP, an effort that sees them tackling four Roy Orbison songs, which chart the age-old and universal narrative of falling in and out o love, and the deep yearning for romance and connection we all feel — even if we don’t want to always admit it. (As a personal note, I fucking love Roy Orbison.)
The In Dreams EP shines with its bittersweet blend of a reserved musical background that leaves space for Craig’s earthy voice and Laura’s soaring, ethereal vocals to connect, embrace and unravel again. Centered around sparse and atmospheric arrangements, the EP’s material is roomy enough for Craig Dyer’s earthy baritone and Carbone’s yearning and ethereal vocals to seemingly connect, embrace and unravel throughout.
In Dreams‘ latest single “Crying” finds Dyer and Carbone slowing the tempo down and stripping the song down to its barest elements — shimmering guitar. Dyer’s baritone and Carbone’s achingly tender vocals. Turning the song into a duet, subtly changes the song into a conversation between a couple, who both realize — with some aching bitterness — that their relationship has come to an end, and that there’s nothing much they could do to resolve it. At some point, all of us have been there, and the song’s universality and familiarity is what makes it powerfully transcendent.
New Video: JOVM Mainstays ACTORS Release a Horror Movie-Inspired Visual for Slow-burning “Obsession”
With the release of 2018’s full-length debut It Will Come To You, the acclaimed Vancouver-based JOVM mainstay act ACTORS — currently Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Kendall Wooding (bass) and Adam Fink (drums) — quickly established a brooding yet anthemic post-punk sound centered around icy synths, angular bass lines, squiggling guitars and Corbett’s reverb-drenched croon.
Since the release of their full-length debut, the Canadian post-punk outfit had been busy: Until pandemic-related lockdowns and restrictions put touring on pause, ACTORS had been on a relentless touring schedule to support the album, including a stop at the long-shuttered Brooklyn Bazaar for a headlining set at 2018’s A Murder of Crows Festival. Interestingly, during that same period of time, ACTORS’ frontman Jason Corbett has become an in-demand producer, who has worked with the likes of Bootblacks, Ultrviolence, SPECTRES, and a growing list of post punk acts.
The Canadian post-punk outfit’s highly-anticipated sophomore album Acts of Worship was released earlier this year through Artoffact Records. Recorded and produced at Corbett’s Jacknife Studio, the album finds the members of the JOVM mainstay act pushing their synth-driven sound in a more dance floor friendly direction, while retaining the brooding melancholy and massive hooks that have won them attention across the international post-punk scene.
I’ve managed to write about three of the album’s singles so far:
- “Love U More,” a single that can trace its origins to the band being on the road: While traveling the Autobahn at 190km per hour (about 120 mph), the song’s opening synth melody looped through Jason Corbett’s head. The song itself is centered around shimmering synth arpeggios, angular and reverb-drenched bursts of guitar and a relentless motorik groove in one of the act’s more sensual songs to date.
- “Only Lonely,” Acts of Worship‘s second single, a song that Corbett explains is indebted to Roxy Music — in particular “The Space Between” “Dance Away” and “Love Is The Drug.” And much like the sources that inspired it, “Only Lonely” manages to express a similar yearning and vulnerability.
- “Cold Eyes,” a leather, lace and light night come on, centered around buzzing bass synths, twinkling synth arpeggios and a relentless motorik groove.
Acts of Worship‘s fourth and latest single “Obsession” is a slow-burning yet sultry song centered around a propulsive bass line, glistening synth arpeggios, Corbett’s achingly tender crooning and the band’s unerring knack for an enormous hook. Sonically, the song — to my ears, at least — reminds me of The Cars “Drive” and Avalon era Roxy Music with a subtle nod to classic soul but while tackling loneliness and obsession gone dangerously wrong.
The recently released video for “Obsession’ is split between sequences of the band playing the song in a dark, strobe lit room and a masked killer, who stalks a punk rock couple, hanging out in a parked van.
Post punk outfit Sei Still — Sebastián Rojas (organ, synths), Mateo Sánchez Galán (guitar), Jerónimo Martín (drums, percussion) and Lucas Martín (vocals, guitar) — can trace its origins to when the members of the band decided to take a random trip to some desolate woodlands outside of Mexico City to work on a couple of songs. Those sessions were so productive that it led to the quartet starting the band in earnest.
With just a couple of singles under their collective belts — 2017’s “Oto” and 2019’s “Tacticas de Guerrilla Urbana” — the band quickly earned a rapidly growing profile in their native Mexico, sharing stages with Stereolab, Kikagaku Moyo, Institute, and Lorelle Meets The Obsolete. As a result of the growing buzz surrounding them, the Mexican post-punk outfit signed to London-based label Fuzz Club Records, who released their self-titled full-length debut last year. The album quickly solidified a new European fanbase for the Mexican post punk outfit, while selling out its initial vinyl pressing.
The band’s highly-anticipated sophomore album El Refugio is slated for a November 26, 2021 release through Fuzz Club Records, and the album marks a number of major changes for the Mexican post-punk quartet: The band relocated to Berlin, where they wrote and recorded El Refugio. And sonically, the album represents an evolution in the now-Berlin-based band’s sound. Whereas their self-titled debut was heavily indebted to the Krautrock sounds of Can and Neu!, El Refugio reportedly sees the band eschewing the expansive and hypnotic tendencies of their previously released work for a wiry, post-punk inspired sound, that’s still centered around a motorik pulse. Additionally, the songs are shorter and unapologetically to the point, while bristling with tension and anguish.
“The biggest influence on this record was the fact that our personal lives had a radical change and we felt the need to do something different, to dig deeper into the possibilities of what the band was about,” the members of Sei Still explain. “We never wanted to make the same record twice.” Understandably, the move from Mexico to Germany would normally be a massive upheaval culturally, emotionally and personally — but the band managed to move a few weeks before COVID-19 struck across the world and forced shutdowns and lockdowns. And as a result, the material possesses a visceral unease,
More expressionist than psychedelic, the and explains that El Refugio thematically “alludes to childhood, dreams, desire, loneliness, paranoia and hope. A longing for a different reality that breaks the monotony of daily life. It’s more about sensations than something you can describe in words. I think what makes music great is that it has to be experienced so we try to part from a specific mood or emotion, which is something very abstract that people can interpret in their own way.”
Last month, I wrote about “Extraradio,”a brooding, Joy Division-like take on post-punk centered around Lucas Martín’s dry sprechgesang delivery in Spanish, an angular bass line, bursts of wiry, delay pedaled guitar and an insistent motorik pulse. The song to me managed to evoke the profound loneliness of being an Other in a foreign land and surrounded by a culture and language you can’t speak or understand.
El Refugio‘s latest single “Exilo” is a taut and brooding bit of post-punk centered around a relentless motorik pulse, wiry bursts of guitar, glistening synths, mathematically precise electronic drum paired with forceful kick drum paired with Martín’s dry vocal delivery. Reportedly indebted to Spanish New Wave, “Exilo” personally reminds me of endlessly gray, German skies, damp rainy nights in Frankfurt’s Romer and Haupwatche sections with the seemingly permanent costume of foreigner, of man from far away.
New Video: Nice, France’s BLC MIRROR CLB Releases a Creepy Visual for Scorching “Sleepwalk Time”
Nice, France-based act BLC MIRROR CLB was initially formed as a duo in 2017 featuring founding members Fabz (vocals, guitar, synths) and Marz (drums, backing vocals). The French act’s 2019 self-titled debut EP was release to critical praise nationally and internationally from Skriber, Rock Made in France, Indiebox and Eric Alper among a list of others, and the EP received airplay globally from stations like CT Rocks, London Radio, Nuevos Pero Rotos, CATA Radio, ODDScene, Radio Kaos Caribou and Radio Volna.
The rising French act expanded into a trio with the addition of Ben (bass, backing vocals). Shortly after Ben joined the Nice-based outfit, gradually went through a radical change in sonic direction, moving from indie rock into brooding electro post-punk, inspired by Portishead, Eagulls, Siouxsie and The Banshees and others.
BLC MIRROR CLB’s latest effort, the five-song We Are The Ghosts Part 1 was recently released through Shake A Leg/Exquisite Noise Records. The EP continues the act’s gradual movement into post punk and cold wave. EP single “Sleepwalk Time (A Song for M)” is a brooding and uneasy song featuring buzzing bass synths, scorching guitar lines, thumping beats, industrial clang and clatter and howled vocals in an expansive, dread-inducing song structure. Sonically, the song — to my ears, at least — brings The Fragile era Nine Inch Nails, Third era Portishead to mind but while evoking our near-dystopian reality.
Directed by Albin Lunareiff, the recently released video features grainy and intimate VHS-styled footage of the band performing the song in a bare studio. Bursts of computerized MS DOS-like text appears superimposed over the band. It’s just as creepy and uneasy as the accompanying song.
New Video: Sei Still Releases a Trippy Visual for Tense and Brooding “Extraradio”
Post punk outfit Sei Still — Sebastián Rojas (organ, synths), Mateo Sánchez Galán (guitar), Jerónimo Martín (drums, percussion) and Lucas Martín (vocals, guitar) — can trace its origins to when the members of the band decided to take a random trip to some desolate woodlands outside of Mexico City work on a couple of songs. Those sessions were so productive that it led to the quartet starting the band in earnest.
With just a couple of singles under their collective belts — 2017’s “Oto” and 2019’s “Tacticas de Guerrilla Urbana” — the band quickly earned a rapidly growing profile in their native Mexico, sharing stages with Stereolab, Kikagaku Moyo, Institute, and Lorelle Meets The Obsolete. The members of the Mexican post punk outfit signed to London-based label Fuzz Club Records, who released their self-titled full-length debut last year. The album quickly solidified new European fanbase for the Mexican post punk outfit, while selling out its initial vinyl pressing.
Slated for a November 26, 2021 release through Fuzz Club Records Sei Still’s highly-anticipated sophomore album El Refugio marks a number of major changes for the Mexican post-punk outfit: The band relocated to Berlin, where they wrote and recorded El Refugio. And sonically, the album represents an evolution in the now-Berlin-based band’s sound. Whereas their self-titled debut was heavily indebted to the Krautrock sounds of Can and Neu!, El Refugio reportedly sees the band crafting a somewhat skeletal effort: while still centered around a motorik pulse, El Refugio‘s songs sees the band eschewing the expansive and hypnotic tendencies of its predecessors for a more wiry, post-punk sound. The song are much shorter and unapologetically to-the-point, while brimming with tension and anguish.
“The biggest influence on this record was the fact that our personal lives had a radical change and we felt the need to do something different, to dig deeper into the possibilities of what the band was about,” the members of Sei Still explain. “We never wanted to make the same record twice.” Naturally, the move from from Mexico to Germany would have been a massive upheaval both personally and culturally, but the rising post punk outfit managed to do so a few weeks before pandemic-related shutdowns and quarantines, which gives the material a visceral feel.
Expressionist rather than psychedelic, the band explains that El Refugio “alludes to childhood, dreams, desire, loneliness, paranoia and hope. A longing for a different reality that breaks the monotony of daily life. It’s more about sensations than something you can describe in words. I think what makes music great is that it has to be experienced so we try to part from a specific mood or emotion, which is something very abstract that people can interpret in their own way.”
El Refugio‘s latest single is the brooding, “Extraradio.” Centered around Lucas Martín’s dry sprechgesang delivery in Spanish, an angular bass line, bursts of wiry, delay pedaled guitar and an insistent motorik pulse, “Extraradio” bears a resemblance to Joy Division while evoking the profound loneliness of being an Other in a foreign land with a culture and language you can’t understand.
Directed by Pilar Gost, the recently released video for “Extraradio” evokes the lonely and paranoid feel of the song, capturing the band’s members dancing, vamping and brooding in strobe light.
Since the release of 2016’s full-length debut High Hopes, Halifax, Nova Scotia-based post-punk act Like a Motorcycle — currently Kim Carson (bass, vocals), KT Lamond (guitar, vocals) and David Casey (guitar, vocals) and Clare McDonald (drums, vocals) — have managed to muscle through the sort of tumult and instances that has busted up countless other bands: substance abuse, health issues, several lineup changes, and a former label that nearly bankrupted them. And despite all of that they’ve bravely — and perhaps stubbornly — kept on, honing on their long-held reputation for crafting anthems for disenfranchised rejects like themselves, who are working several different gigs, maneuvering five-figure college debts and barely surviving.
The Halifax-based post-punk outfit’s sophomore effort, last year’s aptly titled Dead Broke featured the anthemic, Ganser-like “Wide Awake,” a bristling and incisive commentary on a capitalist system that allows and celebrates rampant exploitation for personal gain.
Adding to a growing profile in their native Canada, Like a Motorcycle has opened for the likes of Against Me!, Propagandhi, Headstones, The Vibrators, Japandroids, The Pack A.D., Art Bergmann, Danko Jones and JOVM mainstays L.A. Witch and METZ.
The Halifax-based post-punk outfit’s latest single sees them tackling a song by Los Angeles-based cult favorite punk act The Screamers, who despite the buzz surrounding them at the time, never recorded or released an album. “122 Hours of Fear” outlines the 1977 hijacking of Lufthansa Flight 181 from the point of view of a hostage on the flight. Beginning with blown out beats, reverb and pedal effected guitars, the song quickly turns into a tense affair centered around angular guitar bursts, glistening synth arpeggios in the background, howled vocals and thunderous drumming. And at its core is slow-burning sense of dread of the potentially terrible fate that awaits the song’s narrator, much like the original.
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Initially formed in Chicago back in 2019 and now currently based Portland, OR, the members of rising indie rock outfit Koalra quickly established a sound and songwriting approach indebted to 120 Minutes-era alt rock — in particular, The Cure, Dinosaur Jr., Ween, Sonic Youth, Boyracer, and The Thermals, as well as contemporaries like No Age, and Waaves.
In the almost three years since their formation, the Portland-based outfit has been remarkably prolific: They’ve released three albums and a handful of EPs, including 2019’s self-titled debut, last year’s The Wakes and this year’s Into The Everything. Interestingly, Into The Everything, which featured “Water’s Push” found the rising indie rock act pushing their sound into decidedly New Wave territory.
Koalra’s fourth album Love Songs To Remind Us That We Can’t Stand Each Other continues upon the band’s reputation for being prolific while being a collection of songs inspired by the disenchantment of our current sociopolitical climate, as well as a major lineup change — and their recent relocation to Portland.
Last month, I wrote about the 4AD Records-like “Sight Unseen,” a track centered around atmospheric synths, angular guitars, a driving, motorik-like groove, plaintive vocals and an enormous hook. Thematically, the song focused on some familiar and universal themes — in particular, nostalgia over a youthful yet major love that’s been long lost.
“When We Fall” is a melodic and yearning bit of post punk featuring shimmering and atmospheric synths, plaintive vocals, a driving 80s New Order-like groove, propulsive four-on-the-floor and a swooning hook. Much like its immediate predecessor, “When We Fall” is centered around a familiar nostalgia — of a time and place that you can’t quite get back.
New VIdeo: JOVM Mainstays Kælan Mikla Teams up with Alcest on Brooding and Atmospheric “Hvítir Sandar”
2018 was a breakthrough year for Reykjavik-based post-punk/industrial act and JOVM mainstays Kælan Mikla— Sólveig Matthildur Kristjánsdóttir (synths, vocals), Margrét Rósa Dóru-Harrysdóttir (bass), and Laufey Soffía Þórsdóttir (vocals): The Cure’s Robert Smith championed the Icelandic trio, and handpicked them to open for the legendary British act’s festival stops through the UK and US. The Icelandic post punk outfit played that year’s Roadburn Festival, and they toured with King Dude. Interestingly enough, all of that happened before the release of their critically applauded third album Nótt eftir nott.
Undir Köldum Norðumljósum, the Reykjavik-based trio’s soon-to-be released, Barði Jóhannsson-produced fourth album is slated for release next week through their longtime label home Artoffact Records. Undir Köldum Norðumljósum reportedly sees the trio crafting lush and cinematic material centered around shimmering synth arpeggios, ethereal vocals sung in their native Icelandic, spine-chilling background screams, relentless motorik grooves and programmed drums while pulling the listener into their unique world full of folklore, fairytales, magic, spells and mysticism. The album will also feature a guest spot from Alcest, who toured with the trio across the European Union before the pandemic.
In the lead-up to the album’s release I’ve managed to write about three of the album’s released singles:
- “Sólstöður,” a brooding and cinematic track centered around droning and shimmering synths, nightmarish screams and an ethereal and gorgeous vocal melody. Sonically, “Sólstöður,” evokes horror soundtracks — especially those featuring witches and demons slinking out into the night to perform ancient rituals involving human or animal sacrifices. “’Sólstöður’ is an ode to the darkest night of the year, when witches summon winter spirits in the frozen vastness of Icelandic landscapes,” the members of the Icelandic trio explain in press notes. “The song represents the strength of unity, Kælan Mikla in its truest form, fueled by the power of harsh and raw nature.”
- “Ósýnileg,” a dance floor friendly track centered around shimmering and atmospheric synth arpeggios, relentless motorik grooves, rapid fire, four-on-the-floor beats and blood curdling screams in the background. Interestingly, the track manages to evoke strobe lit discos and howling wintry winds and unexplained phenomena simultaneously.
- “Stormurinn,” a decidedly widescreen take on the sound that has won them attention internationally: While you’ll still hear shimming synth arpeggios, rapid fire four-on-the-floor, motorik grooves and razor sharp hooks paired with the trio’s ethereal vocals, you’ll also hear some a gorgeous flute arrangement and howling winds, which evoke Icelandic’s stormy and unpredictable weather.
Undir Köldum Norðumljósum‘s fourth and latest single is the slow-burning and brooding “Hvítir Sandar,” a collaboration with French act Alcest. Sólveig Matthildur Kristjánsdóttir’s hauntingly ethereal vocals float over a stormy mix of glistening and icy synths and industrial clang and clatter.
“‘Hvítir Sandar’ is about feeling like you’re being defeated by your inner faults and demons. It’s about self-acceptance,” the Icelandic JOVM mainstays explain in press notes. ” Even if you carry a darkness within, it’s what makes you who you are, and you shouldn’t have to change for other people.”
“We felt really honored when Kælan Mikla offered us to be guests on their song ‘Hvítir Sandar,'” the members of Alcest say in press notes. “Alcest and Kælan Mikla toured together in 2020 and from the start we definitely saw connection between the two bands, despite the stylistic difference. ‘Hvítir Sandar’ is one of our favorites on the album and before even starting to work on it we had a vision of what the aesthetics of Alcest could bring to the song. We are so proud of how it turned out and we hope that the fans of Kælan Mikla will enjoy this collaboration just as much as we did!”
Directed by Máni Sigfússon, the recently released video for “Hvítir Sandar” continues a run of gorgeous and cinematically shot and incredibly eerie visuals paired with computer generated graphics.
Album pre-order is available here: https://kaelanmikla.bandcamp.com
New Video: Tampa’s Glove Releases a Frenetic Yet Dance Floor Friendly Ripper
Rising Tampa-based indie act Glove can trace their origins back to 2017: the band’s founding members Rod Wendt, Brie Deux and Michelle Primiani started playing music. Justin Burns joined shortly thereafter, and the band quickly established their sound, which blends 80s synth-based New Wave with elements of contemporary rock ‘n’ roll,.
The Tampa based indie outfit honed their show through two years of self-booking DIY shows, and then opening for The Nude Party and Broncho on a string of East Coast shows. The members of Glove caught the attention of Cage the Elephant‘s Brad Shultz, who produced the band’s forthcoming, full-length debut Boom Nights.
Boom Nights‘ first single “Glass” was released in April and landed on Spotify’s New Noise playlist. Since then, the Tampa based band has hit the road: they finished a month-long tour with White Reaper and have played sets at Lollapalooza and Levitation. They’ll play a handful of dates with Wavves this month.
2022 looks to be a breakthrough year for the Tampa-based quartet: they’ll begin the year touring with A Place to Bury Strangers and Boom Nights will see its release. As always, tour dates are below. But in the meantime the album’s third and latest single “Modern Toy,” which features the band’s Brie Deux taking up lead vocal duties, is a frenetic yet dance floor friendly ripper that’s one-part Freedom of Choice era Devo, one-part Fever to Tell era Yeah Yeah Yeahs.
“‘Modern Toy’ refers to the dark underbelly of Hollywood,” Glove’s Brie Deux says. “The song slowly creeps up and starts revealing the frustrations and alienation within the entertainment industry. It all leads up to a full fledge lash out, where the industry has completely consumed the person and reveals they’re nothing but a prop. This can be interpreted in any industry or life and for anyone who is being used or treated unjustly. I dedicate this song to Britney Spears.”
The recently released video features the band’s Brie Deux is a Tron-inspired silver jumpsuit and silver wraparound shades. If you’re a child of the 80s as I am, the video brings back a lot of memories.
New Video: White Lies Release a Mesmerizing Visual for an Anthemic Yet Intimate Exploration of Vulnerability
Acclaimed London-based post-punk act and JOVM mainstays White Lies — Harry McVeigh (vocals. guitar), Charles Cave (bass, vocals) and Jack Lawrence-Brown (drums) — can trace their origins to a band that they started while they were all in high school called Fear of Flying. Although the band’s Charles Cave has publicly described Fear of Flying as a “weekend project” and one of many bands that each of the individual members were involved in at the time, Fear of Flying managed to release two Stephen Street-produced double A-side singles released through Young and Lost Club Records.
Building upon the initial buzz surrounding them, Fear of Flying earned opening slots for The Maccabees, Jamie T, and Laura Marling. They completed a national tour as an opener, and they played the inaugural Underage Festival.
Two weeks before the trio were to start college, they decided that they would take a second gap year to write and perform new material, which coincidentally they felt didn’t quite suite their current project. “I felt as though i couldn’t write about anything personal, so I would make up semi-comical stories that weren’t really important to anyone, not even me,” Charles Cave reflected on that period. Fear of Flying broke up in 2007 with a MySpace status that read “Fear of Flying is DEAD . . . White Lies is alive!,” before introducing a new name that the trio felt better represented their newfound maturity — and a much darker sound.
Officially forming in October 2007, the members of the then-newly formed White Lies delayed their first live shows for five months to build up media hype. And as the story goes, a few days after their live debut, the band signed with Fiction Records, who released the band’s first two singles — “Unfinished Business” and “Death,” which quickly drew comparisons to Joy Division, Editors, The Killers and Interpol. As a result of the buzz that their first two official singles earned, the London-based JOVM mainstays toured across the UK and North America, including a headlining BBC Radio 1 Big Weekend Festival set, a slot on 2009’s NME Awards tour, and number of appearances across the international festival circuit.
2009 saw the release of the act’s breakthrough, full-length debut To Lose My Life, which was released on the heels of being prominently featured in multiple “ones to watch” polls for that year, including BBC’s Sound of 2009 poll and the BRIT Critics’ Choice Award. To Lose My life earned the trio the distinction of being their first #1 album on the British Charts, and the first album by a British act that year to debut at #1.
White Lies third album, 2013’s Ed Bueller-produced Big TV was a critical and commercial success with the album debuting at #4 on the UK charts. The album’s material was centered around a narrative structure that followed a romantic couple, who leave a provincial area for a big city. Thematically, the material focused on equality and equity within a relationship. Interestingly, album single “Getting Even” landed at #1 on the Polish Singles charts.
The band’s fifth album, 2019’s aptly titled FIVE continued a run of material that found the band deftly balancing an ambitious arena rock friendly sound with enormous hooks and swaggering bombast with intimate and confessional, singer/songwriter pop lyrics. Album singles like “Time to Give,” “Tokyo” “Jo” and “Believe It” describe relationships on the brink of collapse and/or suffering through one of both parties’ dysfunction while rooted in the uncertainty, confusion, heartache and bitterness that romantic relationships often engender. And it all comes from a very lived-in, real place that should familiar to most, if not all of us.
FIVE also continued a remarkable and enviable run of commercially and critically successful material, with the album landing on UK Charts’ Top 15. The band supported the album with an extensive bit of touring that included a headlining stop at Irving Plaza. The London-based JOVM mainstay capped off a big 2019 with standalone single, the Andrew Wells-produced “Hurt My Heart,” which was recorded during a hiatus from touring.
White Lies’ highly anticipated sixth album, the Ed Bueller and Claudius Mittendorfer co-produced As I Try Not To Fall Apart is slated for a February 18, 2022 release through [PIAS]. Along with the album announcement, the trio and their long-time label home released the album’s latest single, album title track “As I Try Not To Fall Apart.” Featuring glistening synth arpeggios, thunderous boom bap-like drumming, McVeigh’s plaintive vocals, a hypnotic motorik-like groove, bursts of twinkling keys and their unerring knack for crafting an enormous hook “”As I Try Not To Fall Apart” is a psychologically precise character study of a desperate man, who feels stuck in a prescribed gender role while trying to accept and be comfortable with his vulnerability and weakness.
“We wrote this song quickly, late one night, and often the songs which come quickest are written from the gut and the heart, not with the head,” the members of White Lies explain. “We wanted the melody to feel like a hymn, to give the confessional lyrics weight despite being wrapped up as a pop song. It’s about accepting vulnerability as a man, and knowing it’s ok to be broken. There’s never been a more pressing time to spread the message that it’s ok to not be ok.”
Directed by James Arden, a.k.a. The Trash Factory, the recently released video features the band’s frontman Harry McVeigh broodingly sitting on an ornate chair in a room with couple of inches of sand. As McVeigh sings the song, more sand is dumped on him.
“The track made me think of people trying to lift themselves out of emotional spirals – navigating feelings of fragility and fighting everyday pressures just so they can keep it together – and it made me think about how we can be buried and overwhelmed by our feelings and emotions, and how we could explore that, visually,” James Arden explains in press notes.
White Lies’ Harry McVeigh adds, “Being buried in sand was too mad to pass up. The sensation was really chilling and I was picking sand out of my ears for days, but I’m thrilled with the video, it really carries the message of the song and it looks beautiful.”
New Audio: Seattle’s Fotoform Returns with a Brooding New Single
Deriving their name from a mid-century avant-garde photography movement, Seattle-based post punk outfit Fotoform — longtime collaborators and married couple Kim House (bass, vocals, synths) and Geoffrey Cox (guitar), along with newest member, Michael Schorr (drums), who has had stints with Death Cab for Cutie and The Long Winters — can trace their origins back to the formation of a previous project, the goth-adjacent dream pop act C’est la Mort, which formed shortly after House and Cox married.
Specializing in what they dubbed “pointy-shoegaze,” C’est la Mort released their full-length debut through their own Dismal Nitch label, as well as various compilation tracks, including a limited split 7 inch with Stars for American Laundromat‘s The Smiths‘ tribute Please Please Please. After a series of lineup changes, House and Cox re-emerged as Fotoform in late 2016.
House and Cox released their Fotoform self-titled debut in 2017. Supported with tours of the West Coast and Europe, the album received airplay and praise both locally and nationally: Album single “I Know You’re Charming” was featured as a KEXP Song of The Day. The self-titled album was voted as one of KEXP Listeners’ Top 90.3 Albums of 2017 and it landed on several year-end lists, including The Big Takeover and Part-Time Punks.
Building upon a growing profile, the band followed up with 2018’s Part-Time Punks EP, which was selected as one of The Big Takeover’s EPs of 2018. Michael Schorr joined the band in 2019 and they started last year with two benefit singles “Yves Klein Blue,” which was recored for voter outreach and the Christmas-themed “They Say It’s Always Lonely” to benefit local food banks. Both singles found the trio expanding upon their sound with the addition of synths.
The trio then went into the studio with Evan Foster to record the material for their forthcoming sophomore album Horizons in early 2020. But as a result of pandemic-related quarantines and restrictions, the Horizons sessions resumed a year later with Foster — and with Matt Bayles recording drum parts.
Horizons, which is slated for an October 15, 2021 release, reportedly finds the band pivoting even further from the towering wall of guitars-based sound of their previously released work and towards a much more nuanced sound drawing equally from shoegaze, dream pop and post-punk. Continuing to pair synths with layers of guitars and driving bass, the album’s sound may bring the likes of The Cure, Siouxsie and the Banshees, The Chameleons, Cocteau Twins, Slowdive and others to mind.
So far, I’ve written about two of Horizons‘ singles”
- The Garlands era Cocteau Twins meets Souvlaki era Slowdive-like “Running,” a track centered around atmospheric synths, swirling guitars, soaring hooks and a forceful motorik pulse paired with House’s ethereal vocals.
- “Too Late,” the first single to feature the band’s Kim House on guitar. Arguably, the most dynamic single off the album the single sees the band further establishing their painterly and textured approach but while featuring a fed-up narrator, who spends the song telling off someone who has grievously wronged her.
“You Set Fire to the Sun,” Horizons‘ latest single continues a run of brooding, Cocteau Twins-like material centered around shimmering and reverb-drenched guitars, thunderous drumming, ethereal vocals and enormous hooks. But unlike its immediate predecessor, “You Set Fire to the Sun” is a swooning ode to desire and longing.
Besides the new album, the trio — much like the rest of us — is looking forward to getting back to live shows and touring. They’ve also been writing and working on new material, including a split 7 inch with Savage Republic.
The band has an pre-order for the album: https://distrokid.com/hyperfollow/fotoform/horizons
New Video: JOVM Mainstays ACTORS Releases a Sultry Dance Floor Friendly Bop
With the release of 2018’s full-length debut It Will Come To You, the acclaimed Vancouver-based JOVM mainstay act ACTORS — currently Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Kendall Wooding (bass) and Adam Fink (drums) — quickly established a brooding yet anthemic post-punk sound centered around icy synths, angular bass lines, squiggling guitars and Corbett’s reverb-drenched croon.
Since the release of their full-length debut, the Canadian post-punk outfit had been busy: Until pandemic-related lockdowns and restrictions put touring on pause, ACTORS had been on a relentless touring schedule to support the album, including a stop at the long-shuttered Brooklyn Bazaar for a headlining set at 2018’s A Murder of Crows Festival. Interestingly, during that same period of time, ACTORS’ frontman Jason Corbett has become an in-demand producer, who has worked with the likes of Bootblacks, Ultrviolence, SPECTRES, and others.
The Vancouver-based JOVM mainstays’ highly-anticipated sophomore album Acts of Worship is slated for an October 1, 2021 release through Artoffact Records. Recorded and produced at Corbett’s Jacknife Studio, the album reportedly finds the Vancouver-based pushing their synth-driven post-punk sound in a much more dance floor friendly direction while retaining the brooding melancholy and massive hooks that have won them attention across the international post-punk scene.
In the lead-up to the album’s release, I’ve written about two of the album’s previously released singles:
- “Love U More,” a single that can trace its origins to the band being on the road: While traveling the Autobahn at 190km per hour (about 120 mph), the song’s opening synth melody looped through Jason Corbett’s head. The song itself is centered around shimmering synth arpeggios, angular and reverb-drenched bursts of guitar and a relentless motorik groove in one of the act’s more sensual songs to date.
- “Only Lonely,” Acts of Worship‘s second single, a song that Corbett explains is indebted to Roxy Music — in particular “The Space Between” “Dance Away” and “Love Is The Drug.” And much like the sources that inspired it, “Only Lonely” manages to express a similar yearning and vulnerability.
Acts of Worship‘s third and latest single “Cold Eyes” continues a relatively new run of dance floor friendly bangers. Centered around buzzing bass synths, twinkling synth arpeggios, a relentless motorik groove, Corbett’s breathy vocal delivery dueling boy-girl harmonizing for the song’s rousingly anthemic hook, “Cold Eyes” is all leather, lace and late night come on.
“‘Cold Eyes’ was written and recorded in one day. Sometimes that just happens and it ends up being the band’s favorite song on the new album,” ACTORS’ Jason Corbett says in press notes. “We can’t wait to play it live!”
Shot in a cinematic black and white, the recently released video for “Cold Eyes” employs a relatively simple concept: we see the individual members of the band dancing to the song while occasionally playing their respective instruments. As ACTORS’ Jason Corbett notes, the band’s current lineup perfectly reflects the balance of masculine and feminine energy contained within the songs.
The members of ACTORS had planned a Fall North American tour to build up buzz for the album and them to support it; but those plans have been put on hold because of pandemic. Hopefully, they’ll be able to reschedule those dates.