Tag: ACTORS

New Video: JOVM Mainstays ACTORS Release a Oliver Stone-Inspired Visual for Dance Floor Friendly “Only Lonely”

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) — found the band quickly establishing an anthemic yet brooding post-punk sound centered around icy synths, angular bass lines, squiggling guitars and Corbett’s reverb-drenched croon.

ainstays have been busy: Until the pandemic put touring on pause, the band had been on an extensive touring schedule to support the album, including at stop at the long-shuttered Brooklyn Bazaar for a headlining set at 2018’s A Murder of Crows Festival. Simultaneously, Corbett has been busy as an in-demand producer working with a number of post-punk acts including fellow JOVM mainstays Bootblacks and Ultrviolence.

ober 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.

Late last year, I wrote about “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. The band’s Shannon Hemmett describes the song’s atmosphere as “standing alone on a shadowy street. I see the flash of a cat’s eyes in the dark. I am hunting and hunted, recognizing that tension that lives inside me, and all of us. This track embraces the bittersweet moments of loss with the ancipatoon of new possibilities.” 

“Only Lonely,” Acts of Worship’s second and latest single is a brooding yet sensual song featuring glistening synths, a disco inspired baseline, metronomic four-on-the-floor, rousingly anthemic hooks and Corbett’s plaintive delivery expressing aching yearning and vulnerability. Arguably one of the Vancouver-based act’s most dance floor friendly songs, the song as Corbett explains is indebted to Roxy Music — in particular “The Space Between” “Dance Away” and “Love Is The Drug” come to my mind as reference points.

“‘Only Lonely’ pumps with a bass grind that harkens back to top tier Roxy Music. It finishes with a flourish of arpeggiated synths that’s the icing on the cake. Dance floor approved,” Corbett says.

The recently released video is indebted to Oliver Stone’s Natural Born Killers and continues a run of visuals that sees the video’s obsessed and deranged anti-heroes drive across surreal landscapes to find the members of ACTORS, brutally torture them while dancing around the room. It’s disturbing much like the source that inspired it.

New Audio: JOVM Mainstay Art d’Ecco Releases an Incisive and Withering Look at Online Dating

Art d’Ecco is an enigmatic British Columbia-based singer/songwriter and grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett. In 2018, he emerged as dark bobbed hair wearing, androgynous and charismatic glam rock with the release off his full-length debut Trespasser.

Since Trespasser, the British Columbia-based art rocker has been busy: he played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Continuing a busy period, d’Ecco opened for acclaimed British psych rock act Temples right before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

Released yesterday through Paper Bag Records, the Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album finds d’Ecco further establishing a sound that some critics have described as neo-glam. But interestingly, the album’s overall sound and aesthetic sees d’Ecco and his backing band pushing the sonic boundaries of glam rock as far as they can, as the material draws from a diverse and eclectic array of influences including 50s pop, psychedelia, , Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

In the buildup to the album’s release, I wrote about four of In Standard Definition’s previously released singles:

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths. 
“Head Rush” an infectious boogie that owes a sonic debt to Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths. 
“I Am The Dance Floor,” a shimmering and strutting disco take on glam rock that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy. 
“Desires,” a jangling and densely layered glam anthem that sonically is a slick synthesis of Ziggy Stardust-era Bowie, Gary Numan and The Cars. “A tale born inside the dark underbelly of old Hollywood, then repackaged and reimagined as a rock and roll tragedy,” d’Ecco said of the song in press notes.. “’Desires’ is about the entertainer at the end of their career — soon to be phased out by the next wave of rising talent, and shifting audience tastes. For the old guard, this spectre of change is a constant existential threat that will challenge their ability to keep up with the times and to remain relevant in this brutal industry of show business.”

In Standard Definition’s fifth and latest single “Good Looks” is a shimmering and slickly produced synthesis of classic rock, New Wave and glam influences — i.e., think Queen, David Bowie, Gary Numan and The Cars — with the song being centered around an angular and propulsive bass line, four-on-the floor, crystalline synths arena rock friendly hooks and punchily delivered lyrics, But underneath the rousingly anthemic hooks, the song is a withering look at the artificiality and superficiality of online dating: The song specially points out that while we’re swiping left and right, we’re not actively taking part in the world.

New Video: Art d’Ecco Releases a Stylish and Noir-ish Visual for Anthemic “Desires”

The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser. 

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples right before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

Slated for an April 23, 2021 release through  Paper Bag Records, the Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

So far, throughout the year I’ve written about three of In Standard Definition‘s previously released singles: 

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths. 
“Head Rush” an infectious boogie that owes a sonic debt to Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths. 
“I Am The Dance Floor,” a shimmering and strutting disco take on glam rock that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy. 

In Standard Definition’s latest single “Desires” is a jangling, densely layered, glam rock anthem centered around rousingly anthemic hooks, blasts of twinkling synth arpeggios, soulful horn blasts, an angular bass line, strummed rhythm guitar and shimmering guitar solos and punchily delivered vocals. Sonically, the song is a slick synthesis of Ziggy Stardust-era Bowie, Gary Numan and The Cars — all while being carefully crafted. “A tale born inside the dark underbelly of old Hollywood, then repackaged and reimagined as a rock and roll tragedy,” d’Ecco explains. “’Desires’ is about the entertainer at the end of their career — soon to be phased out by the next wave of rising talent, and shifting audience tastes. For the old guard, this spectre of change is a constant existential threat that will challenge their ability to keep up with the times and to remain relevant in this brutal industry of show business.”

Directed and edited by Brandon William Fletcher, the recently released video for “Desires” is a stylistically shot, noir-is black and white visual that features d’Ecco and his backing band performing the song — but underneath the stylish surface, there’s this sense of an artist fearful of being phased out by an indifferent and bored audience and industry. Certainly, as you get older in an industry that often values beauty and youth before wisdom and experience, those fears become increasingly real — and the desire to be relevant more desperate.

New Video: Art d’Ecco Releases a “Saturday Night Fever” Inspired Visual for Dance floor Banger “I Am The Dance Floor”

The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser.

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

The forthcoming, Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

So far, throughout the year I’ve written about two of In Standard Definition’s previously released singles:

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths.
“Head Rush” an infectious boogie that owes a sonic debt to Man That Sold The World and Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths.

“I Am The Dance Floor,” In Standard Definition’s latest single is a shimmering and strutting disco take on glam rock centered around a rapid-fire four-on-the-floor, fluttering synth arpeggios, a funky and propulsive, dance floor friendly grooves, a regal horn sample and an enormous hook that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy.

Directed by Wai Sun Cheng, the recently released video for “I Am the Dance Floor” features d’Ecco and his backing band under a glittering disco ball and on a giant, patchwork light up floor, made famous in Saturday Night Fever, beckoning the viewer — and of course, the listener — on to the dance floor, where there’s true liberation, if only for a three-minute song.

“I was picturing this alt version of Saturday Night Fever where the lead is this aging loner obsessed with dance, who every weekend shows up at different clubs around town and just murders the dance floor, and then disappears out the back door,” d’Ecco says. “There is a person from my home town who sort of fits this description quite well. I think every scene has their own version of Random Dancing Dude.”

In Standard Definition is slated for an April 23, 2021 release through Paper Bag Records.

New Video: Art d’Ecco Releases a Strutting Glam-Inspired Ode to Nostalgia

Although he’s a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett, the mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco emerged as a dark bobbed hair wearing, androgynous and charismatic glam and art rock-inspired presence with the release of 2018’s critically applauded, full-length debut Trespasser.

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

Sonically, the forthcoming, Colin Stewart-produced In Standard Definition was recorded on 2-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

Last month, I wrote about “TV God,” a shimmering and strutting synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths. In Standard Definition’s second single “Head Rush” is a shimmering and strutting boogie that owes a sonic debt to Man That Sold The World and Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths. Directed by Avi Glanzer, the recently released video for “Head Rush” features the Canadian art rocker in a sleek leather jumpsuit and acoustic guitar in a stylish, slick and trippy visual.

“It’s a song about the head rush of our youth – nostalgia is a powerful drug, it distorts and reframes the past, often reconciling our memories into one place for easy access and to better suit our current disposition or state of mind,” d’Ecco explains. “I wanted all the hallmarks of a classic rock song – the kind of music that used to blast from the kitchen radio at the summer jobs I’d worked at as a teen. Guitar solo? Check. Drum solo? Check. Big horns and sparkly synths? Check.”

In Standard Definition is slated for an April 23, 2021 release through Paper Bag Records.

Formed in 2013, the Novosibirsk, Siberia, Russia-based post-punk trio Ploho have firmly established themselves as one of the most prominent purveyors of a new wave of Russian music. Inspired by the aesthetic and sounds of late Soviet era of the 80s like Kino, as well as Joy Division, the band’s sound and approach also manages to reflect the icy chill of their homeland.

Since their formation, the Siberian band has been busy: they’ve released four albums, several EPs and over 10 singles, which they’ve supported with multiple tours across Europe with stops at over 40 cities. Building upon a growing profile, the band has made appearances at several prominent festivals including Боль in Russia, Kalabalik in Sweden, and Platforma in Lithuania. And as a result, the members of Ploho have slowly built up a fanbase in Europe and elsewhere. Building upon a growing profile, the band teamed up with Belarusian band Molchat Doma to collaborate on “Along the Edge of the Island” in 2019.

The rising Siberian act’s fifth album Фантомные Чувства (Phantom Feelings) is slated for February 5, 2021 release through Artoffact Records, the label home of acts like Bootblacks, ACTORS, and Kælan Mikla. The album’s latest single “Танцы в темноте (“Dancing in the Dark”)  is a perfect example of the band’s sound: shimmering, reverb-drenched guitars, shimmering synth arpeggios, an angular and propulsive bass line, stuttering four-on-the-floor and rousingly anthemic hooks paired with ironically detached vocals sung in Russian. And while being a dance floor friendly bop, the song is imbued with the sort of nostalgia and melancholy that makes it sound as though it could have been released during 4AD Records‘ heyday.

New Video: JOVM Mainstays ACTORS Release a Creepy Halloween Themed Visual for “Love U More”

With the release of 2018’s full-length debut It Will Come To You, the acclaimed Vancouver-based JOVM mainstay act ACTORS — Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Jahmell Russell (bass, vocals) and Adam Fink (drums) — developed and honed a sleek, hook-driven, 4AD Records-era inspired post-punk sound.

The past two years have been a whirlwind for the Canadian post punk quartet: During most of that period, the members of ACTORS have been on tour to support their debut, a tour that included a headlining set at A Murder of Crows Festival at the now-shuttered Brooklyn Bazaar. Along with that the band’s Jason Corbett has been an in-demand producer, collaborating with fellow JOVM mainstays Bootblacks, Ultrviolence and a number of post punk acts.

“Love U More,” the band’s latest single is the first bit of new material from the band since the release of It Will Come For You. Interestingly, the single can trace it origins to the road: The track first came to life as the band was traveling the Autobahn at 190 kilometers per hour (about 120 mph) — and the song’s opening synth line melody looped through Jason Corbett’s head. Centered around shimmering synth arpeggios, angular and reverb-drenched guitar blasts, and a motorik groove, “Love U More” finds the act crafting a brooding yet sensual song that evokes the feeling of being both watched and being watcher, of hunter and pray.

The band’s Shannon Hemmett describes the song’s atmosphere as “standing alone on a shadowy street. I see the flash of a cat’s eyes in the dark. I am hunting and hunted, recognizing that tension that lives inside me, and all of us. This track embraces the bittersweet moments of loss with the ancipatoon of new possibilities.”

Directed by Juno Award-winning and Leo Award-winning director Peter Ricq, the recently released video for “Love U More” the cinematically shot visual is set in a Vancouver that has just gone through a zombie apocalypse — and we follow, our undead protagonist as she travels the streets of Vancouver to an empty theater, where she delivers an unsettling performance.

Rising New York-based post-punk act Bootblacks — Panther Almqvist (vocals), Alli Gorman (guitar), Barrett Hiatt (synths) and Larry Gorman (drums) — derive their name from novelist William Burroughs’ description of the dark underbelly of New York. Unsurprisingly, the band’s surroundings have deeply influenced their work both sonically and thematically. “It’s an energetic city and people have all the reasons in the world not to give you the time of day,” the band’s Panther Almqvist says in press notes. “I think our music has been shaped by that in many ways.”

In 2012, the New York-based post-punk released their Jim Sclavunos-produced debut EP Narrowed. 2016 saw the release of their full-length debut Veins, which they supported with extensive touring. Interestingly, 2017’s sophomore effort Fragments found the band expanding their sound with the material becoming more synth-based, more atmospheric and much bigger than its immediate predecessors. And as a result, Fragments received quite a bit of attention, which helped the band earn slots on a number of post-punk/New Wave/goth festivals including Cold Waves, Terminus, Absolution, Wave Gotik Treffen and A Murder of Crows — and the album landed on a lot of year-end lists.

The members of Bootblacks have played at every significant venue in the New York Metropolitan area, sharing stages with Clan of Xymox, Light Asylum, HEALTH and VOWWS. Along the way, they’ve managed to tour across North America and Europe. Of course, like countless acts across the world, the members of the rising New York-based post-punk act had plans — and hopes — for a big 2020, pre COVID-19 pandemic quarantines and lockdowns: they were handpicked to open for Modern English during their North American tour this year. Unfortunately, that tour has been postponed. But in the meantime, the band’s highly anticipated Jason Corbett-produced third album Thin Skies will be released through Artoffact Records and the album reportedly finds the band zooming forward where Fragments left off — with its nine songs meshing dance floor pulse and melodic, brooding post-punk with anthemic hooks. The album’s material also features backing vocals from ACTORS‘ Shannon Hemmett, SRSQ‘s and Them Are Us Too‘s Kennedy Ashyln.

Thin Skies continues the band’s long-held thematic concerns: the loneliness of city life. “Most of the lyrics on the album are about loneliness,” says Almqvist. “Looking back on the lyric writing process there seems to be some connective feeling of isolation and distance present in all of the songs… I’m always hoping that a listener personalizes the song, that’s why the songs never have a narrative but try to embody a feeling.”

Earlier this month, I wrote about Thin Skies‘ first single “Traveling Light,” a brooding yet dance floor friendly track with reverb-drenched guitars that recall The Unforgettable Fire and The Joshua Tree-era U2, shimmering synth arpeggios and relentless motorik groove that made the track evoke sweaty nights on the dance floor and coming across someone who captures your attention and dreams.  The album’s second and latest single, “The Jealous Star” continues in a similar vein as its immediate predecessor — but centered around jittery percussion, atmospheric synths and motorik pulse, meant to evoke the anxious and unsettled yearning of a confused, vagabond heart.

“I was fascinated with this tradition of the wanderer’s poem, like ‘Ozymandias,'” Bootblacks’ Panther Almqvist says in press notes. “I wanted to contribute my own version to this theme, the eternal traveler, the rolling stone. In the last couple of years I experienced that dichotomy, alone on the road, anxious at home. So ‘The Jealous Star’ is about the disorientation of travel. How it forces you to live outside of yourself and makes you appreciate the places and people you leave.”

Rising New York-based post-punk act Bootblacks — Panther Almqvist (vocals), Alli Gorman (guitar), Barrett Hiatt (synths) and Larry Gorman (drums) — derive their name from novelist William Burroughs’ description of the dark underbelly of New York. And it shouldn’t be surprising that the band’s surroundings have influenced their work both sonically and thematically. “It’s an energetic city and people have all the reasons in the world not to give you the time of day,” the band’s Panther Almqvist says in press notes. “I think our music has been shaped by that in many ways.”

In 2012, the New York-based post-punk released their Jim Sclavunos-produced debut EP Narrowed. 2016 saw the release of their full-length debut Veins, which they supported with extensive touring. Interestingly, 2017’s sophomore effort Fragments found the band expanding their sound with the material becoming more synth-based, more atmospheric and much bigger than its immediate predecessors. Fragments received quite a bit of attention, which helped the band earn slots on a number of post-punk/New Wave/goth festivals including Cold Waves, Terminus, Absolution, Wave Gotik Treffen and A Murder of Crows — and the album landed on a lot of year-end lists.

The members of Bootblacks have played at every significant venue in the New York Metropolitan area, sharing stages with Clan of Xymox, Light Asylum, HEALTH and VOWWS. And along the way, they’ve managed to tour across North America and Europe. Of course, much like countless bands across the world, the rising New York-based post-punk act had hopes for a big 2020 pre COVID-19 quarantines: they were recently handpicked to open for Modern English during their North American tour this year. Unfortunately, that tour has been postponed.

But in the meantime, the band’s highly anticipated Jason Corbett-produced third album Thin Skies will be released through Artoffact Records and the album reportedly finds the band zooming forward where Fragments left off — with its nine songs meshing dance floor pulse and melodic, brooding post-punk with anthemic hooks. The album’s material also features backing vocals from ACTORS‘ Shannon Hemmett, SRSQ‘s and Them Are Us Too‘s Kennedy Ashyln.

Unsurprisingly, the album continues the band’s long-held thematic concerns: the loneliness of city life. “Most of the lyrics on the album are about loneliness,” says Almqvist. “Looking back on the lyric writing process there seems to be some connective feeling of isolation and distance present in all of the songs… I’m always hoping that a listener personalizes the song, that’s why the songs never have a narrative but try to embody a feeling.”

Centered around reverb-drenched guitars that recall The Unforgettable Fire and The Joshua Tree-era U2, shimmering synth arpeggios, a relentless motorik groove, an enormous and Almqvist’s plaintive vocals, Thin Skies‘ first single “Traveling Light” may arguably be among the most dance floor friendly yet brooding songs Bootblacks has ever released, as it evokes sweaty nights on the dance floor, meeting some one who captures your attention and dreams — and eventually heading home alone to obsess over what you should have done.