Tag: darkwave

Best known for stints as a member of post-punk acts DTHWBBA and White Fawn, the Halls Head, Western Australia-based singer/songwriter and producer Greg Weir has gone solo with his latest recording project UIU. Detonic Recordings commissioned Weir to provide two singles — “Wild and Innocent” and “Like A Doll” as the  fourth single in their Minimal Viable Product series, a monthly release featuring up-and-coming artists releasing A side and B side singles. At the end of the year, the entire series will be released as a comprehensive compilation. Interestingly, Weir is the first Australian to take part in the series so far — and that shouldn’t be surprising, as Weir’s UIU finds him drawing influence from  the likes of Futurisk, Suicide, Gary Numan, The Human League and others; in fact, the A side single “The Wild and Innocent” is centered around industrial-like drum programming, droning synths, a motorik  groove, a trippy yet ethereal sense of melodicism and  John Carpenter soundtrack-like cinematic bent.

Adding to the overall dark and murky vibes created by the sounds, the song thematically tells a tale of murder, loss and hopelessness from a woman’s perspective — but filtered through a murky, Blade Runner-esque lens.

Advertisements

New Video: Introducing the Brooding and Cinematic Sounds of Chicago’s Well Yells

Patrick Holbrook is a Chicago, IL-based electronic music producer and artist, and his darkwave, synth-based solo recording project Well Yells has received attention both locally and regionally for a spectral sound paired with surreal, dream-like lyrics that draws from much of the music he had admired and learned to play bass following along to  — in particular, Joy Division and Bauhaus, and the fragments of music he could remember from his dreams. Although unsurprisingly, his work has been compared to The Cure, Depeche Mode, John Carpenter, The Legendary Pink Dots, and Clan of Xymox among others.

Holbrook’s latest Wells Yell album Skunk was released earlier this year, and the album’s latest single “Near” is a brooding and cinematic track centered around layers of wobbling and arpeggiated synths, submerged vocals fed through layers of effects pedals, shimmering guitar chords and subtle, industrial clang and clatter. Sonically, the song manages to evoke a slowly unfurling and inescapable, existential dread.

As Holbrook told me through an email, the recently released video for “Near” was directed and shot by Toupee’s Mark Fragassi, and a segment of the of the video was shot at “. . . the Steelworkers Park on the South Side [Chicago], which have these really uncanny ruins of a steel mill — the walls are all that remain, but they’re 1/4 mile long!”