Tag: ACTORS

Single Review by William Ruben Helms

New Audio: Nottingham, UK’s Hurtsfall Releases a Joy Division-Inspired Single

Featuring current and former members of acts like The Death Notes, In Isolation, Gossamer Veil, Dick Venom & the Terrortones, The Midnight Circus, Every New Dead Ghost, Arcane Winter and Tenpole Tudor, the Nottingham, UK-based post-punk act Hurtsfall — founding members Mike Sinclair (bass), Jamie Laws (keys) and Dave Perkins (drums), along with Sam Harrison-Emm (vocals) — can trace its origins back to 2017, when its founding members started a new band. The emerging British act solidified their lineup when they found Harrison-Emm after a lengthy and exhaustive audition process in 2018.

Since the band has solidified their lineup, the members of Hurtsfall have established their own sound, which pairs goth overtones with synth pop sensibilities while developing a following centered around an energetic live show. So far, the le Nottingham-based band has opened for Strange Circuits, one of the first acts to sign with Wax Trax! Records — and building upon a growing profile, the band’s recently released their latest single “12 Long Years.” Centered around angular and propulsive bass chords, forceful yet mathematically precise drumming, shimmering and atmospheric synth flourishes and Harrison-Emm’s Ian Curtis-like baritone, “12 Long Years” will immediately recalls Joy Division, as well as more contemporary acts like ACTORS and others — and while murky and brooding, the track manages to be dance floor friendly.  

Video by William Ruben Helms

New Video: Belgium’s Whispering Sons Release an Ominous and Creepy Video for “Hollow”

Initially formed in 2013, the Brussels, Belgium-based post punk act Whispering Sons, comprised of Fenne Kuppens (vocals), Kobe Linjen (guitar), Sander Hermans (synths), Tuur Vanderborne (bass) and Sander Pelsmaekers (drums) received attention nationally with the release of their debut EP, 2015’S Endless Party through Wool-E-Tapes with a vinyl reissue in March 2016 through Minimal Maximal. The following year, the band won one of their homeland’s most prestigious music competitions Humo’s Rock Rally, which they followed up with two 7 inches, 2016’s “Performance”/”Strange Identities” and  2017’s “White Noise.”

Building upon a growing profile across Belgium, the Brussels-based post-punk quintet released their full-length debut, the Micha Volders and Bert Vliegen-produced Image through Cleopatra Records here in the States and Smile Records throughout the rest of the world last year. Recorded over a ten day period at Waimes, Belgium’s GAM Studios, the album finds the band attempting to capture their live sound — and the sense of anxiety and alienation that each individual bandmember felt when they relocated to Brussels.  

Now, as you may recall album single “Alone” was centered around shimmering and angular guitar lines, a propulsive and sinuous bass line, thunderous and mathematically precise drumming, an area rock-friendly hook derived from a cryptic bit of dialog spoken during Twin Peaks’ first season and Kuppens’ Ian Curtis-like vocal delivery. Much like its predecessors, the album’s latest single “Hollow” further cements the Belgian band’s reputation for crafting an ominous post-punk sound reminiscent of  Joy Division, Actors, Deathlist, True Moon, and Second Still among others — but while evoking the overwhelming sense of dread, anxiousness, isolation and outrage of our current sociopolitical moment, in which we (as a collective whole) seem to be marching lockstep towards oblivion.

Directed by Pieter De Ridder, the incredibly cinematic and downright creepy visuals for “Hollow” further emphasize the end-of-days vibes of the song it accompanies. There’s no murderous cyborgs or aliens sent from the far reaches of space and time to exterminate humanity; there’s no Revelations-like four horsemen riding through towns with demonic glee; nor are there godly folk being immediate raptured to heaven; instead the doom the video focuses on, is as the old poem suggests — that the world will end not with a bang but with a whimper. In fact, the video follows a collection of young people, including the members of the band gathering at a proverbial “tree of life.” Every single person the band and the viewer encounters is looking up at the sky in a trancelike gaze. Whatever is coming from above, no one seems frightened or overly concerned; it’ll be as it’ll always be. It’ll leave a lingering chill down your spine.

Video by William Ruben Helms

Live Footage: Up-and-Coming Belgian Post -Punk Act Whispering Sons Perform “Alone” on “Muziek bij een”

Initially formed in 2013, the Brussels, Belgium-based post punk act Whispering Sons, comprised of Fenne Kuppens (vocals), Kobe Linjen (guitar), Sander Hermans (synths), Tuur Vanderborne (bass) and Sander Pelsmaekers (drums) received attention nationally with the release of their debut EP, 2015’S Endless Party through Wool-E-Tapes with a vinyl reissue in March 2016 through Minimal Maximal. The following year, the band won one of their homeland’s most prestigious music competitions Humo’s Rock Rally, which they followed up with two 7 inches, 2016’s “Performance”/”Strange Identities” and  2017’s “White Noise.” 

Building upon a growing profile across Belgium, the Brussels-based post-punk quintet released their full-length debut, the Micha Volders and Bert Vliegen-produced Image through Cleopatra Records here in the States and Smile Records throughout the rest of the world last year. Recorded over a ten day period at Waimes, Belgium’s GAM Studios, the album finds the band attempting to capture their live sound — and more importantly, the sense of anxiety and alienation that each individual bandmember felt when they relocated to Brussels.  Now, as you may recall Image’s second single “Alone” was centered around shimmering and angular guitar lines, a propulsive and sinuous bass line, thunderous and mathematically precise drumming, an arena rock-friendly hook that’s derived from a cryptic bit of dialog spoken during Twin Peaks’ first season and Kuppens’ Ian Curtis-like vocal delivery.  And while naturally drawing some comparisons to the likes of Joy Division, Actors, Deathlist, True Moon, Second Still and others, the song bristles with an icy ominousness. 

Check out this incredible live footage of the up-and-coming Belgian act on Muziek bij een on EEN Belgium’s Dutch language station. 

Video by William Ruben Helms

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

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

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

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

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

Single Review by William Ruben Helms

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

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

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

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

Single Review by William Ruben Helms

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 decidedly 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, is slated for a March 9, 2018 through Artoffact Records, and from album singles “L’appel du Vide,” and “Slaves,” the band reveals an album featuring slickly, produced, hook-driven material that’s reminiscent from  4AD Records-era post-punk and New Wave with an urgent yet cinematic bent. The album’s third and latest “Face Comes To Glass” will further cement the band’s growing reputation for hook-driven, cinematic and moody post punk; however, the track finds the band employing atmospheric and shimmering synths along with angular bass and guitar chords, which makes the song subtly nod at John Carpenter soundtracks.

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

New Audio by William Ruben Helms

Now, if you’ve been frequenting this site over the past year or so, you’ve likely come across a handful of posts featuring the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence. And throughout their history, the band has developed a reputation for purposefully adhering to old-school DIY principles, for frequently ignoring the clichés and dictates of the music industry machine and perhaps most important, for a sound that draws from the likes of Joy Division, Interpol, Preoccupations and others.

Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding and original member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS on the project’s much-anticipated, Jason Corbett  (of ACTORS) produced follow-up to Black Sea EP, Forty Knives EP.  Forty Knives finds Jespersen and the new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere — while thematically focusing on the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.

“Guillotine,” the EP’s first single was a hauntingly moody and atmospheric track in which the band paired jangling guitar chords played through reverb and delay pedal, shimmering synths, a propulsive bass line and metronomic drumming with Jespersen’s equally moody baritone vocals. And interestingly enough, the song managed to evoke the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time;  and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. The EP’s second and latest single “Shadows of the Thief” is a swirling and jangling song held together with an angular and propulsive bass line paired with Jespersen’s crooning baritone. And while nodding at Joy Division, Interpol and Preoccupations, complete with a rousing and anthemic hook, the song possesses a subtly bitter yet dreamy and lonely undertone.

 

 

Video by William Ruben Helms

New Video: JOVM Mainstays Ultrviolence Return with the Stark and Lonely Visuals for New Single “Guillotine”

Throughout their history together, the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence have developed a reputation for adhering to old-school DIY principles and for frequently ignoring the clichés and dictates of the music industry machine. And over the past couple of years, the band has caught the attention of the blogosphere — and in particular this site, for a sound that seemingly draws from Joy Division, Interpol, Viet Cong and others.

Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS. Produced by ACTORS’ Jason Corbett, the project’s much-anticipated follow-up to Black Sea EP, Forty Knives EP finds Jespersen and the band’s new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere while thematically evoking the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.

“Guillotine,” Forty Knives’ first single is a hauntingly moody and atmospheric track, which finds the band pairing jangling guitar chords played through reverb and delay pedal, shimmering synth chords, a propulsive bass line and a metronomic-like drumming paired with Jespersen’s equally moody baritone vocals. Interestingly, with my 38th birthday being yesterday, this particular song evokes something profoundly familiar — the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time; and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. And as a result, the song possesses a visceral ache.

The recently released video for the song nods at Bob Dylan’s “Subterranean Homesick Blues” and INXS’ “Need You Tonight”/”Mediate” as the video features a man on the side of the road, holding cardboard signs with the song’s lyrics; however, this man is hitchhiking with a sense of desperate urgency.