Tag: John Carpenter

 

Mike Simonetti is a New Jersey-born and-based electronic music artist, producer, DJ and record label head, who’s perhaps known for a seven year stint as the owner of renowned indie electronic label Italians Do It Better Records — and that period may arguably have been one of the most prolific periods of his creative life, as his music was featured in several films, TV commercials and fashion shows, along with the release of an album or two. Since leaving Italians Do It Better, Simonetti has started another cult-favorite label 2MR and a critically acclaimed synth pop duo Pale Blue; however, his forthcoming album Solipsism (Collected Works 2006 – 2013), which is slated for a September 18, 2018 release through his own 2MR Records, finds the New Jersey-born and-based electronic music artist, producer and label head looking band on his work, which at the time was influenced by AC/DC, Judas Priest, Rockets, Supermax and underground Italian producer Piero Umiliani among others — although the album’s first single “Illusions” sounds as though it were influenced by John Carpenter soundtracks and Giorgio Moroder, complete with arpeggiated analog synths and moodily cinematic vibes.

 

 

 

 

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New Video: Introducing the Murky Synth-based Post-Punk of Columbus,OH’s Child of Night

Child of Night is a rather mysterious Columbus, OH-based post-punk act and over the course of two EPs — last year’s Breathless EP and Neither of These Alone Is Enough, the members of the band have quickly developed a reputation for crafting murky, lo-fi synth based post punk that sounds as though it were inspired by Joy Division, Interpol, The Cure and others. 

What Remains, Child of Night’s forthcoming EP is slated for a late August release through Altarpiece Records and the EP’s latest single “Sirens” continues on a similar vein as their previously released material — murky, synth based post punk with decidedly goth leanings; however, there’s a subtle refinement of their sound, as there’s a focus on crafting a steady, dance floor friendly groove centered around a propulsive bass line, and four-on-the-floor drumming. It’s as though Antics-era Interpol somehow went a smidge disco and a smudge in the direction of John Carpenter soundtracks. 

The recently released video for “Sirens” fittingly looks as though it were filmed on grainy and completely fucked up VHS tape, which in some way evokes lingering ghosts and menacing presences just out of the frame. 

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.

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!”

 

New Video: Up-and-Coming Finnish Electronic Music Producer and Artist NightStop Releases Creepy Visuals for Brooding Album Single “Under the Killing Moon”

Last month, I wrote about the  Jyväskylä, Finland-born and-based, up-and-coming Finnish electronic music producer and artist Ere Ek, who started the 80s cyberpunk soundtrack-inspired project NightStop back in 2012. Since then, Ek has seen a growing profile across Europe and Russia’s tight-knit DIY scene, steadily touring and releasing both cassette and vinyl releases. Now, the Chicago, IL-based label No Trend Records, the label home of Ganser, Absolutely Not and others will be releasing a vinyl edition of NightStop’s most recent effort, Dancing Killer on March 30, 2018 — and as you may recall, although the album has already seen a digital release, Ek included a pulsating John Carpenter meets Umberto-like single “Phantasmagoria,” as a bonus digital track for the album. Interestingly, while that track cemented his reputation for crafting brooding and cinematic retro-futuristic electro pop; however, it may arguably be one of the most dance floor friendly tracks he’s released to date. 

Building upon the buzz surrounding the vinyl release of Dancing Killer, the up-and-coming Finnish electronic music producer and artist recently released the incredibly creepy, stop animation based video for “Under the Killer Moon,” by Tommi Niukkanen. As far as the single, it’s a retro-futuristic and broodingly cinematic track featuring layers of shimmering, arpeggiated synths and thumping beats — and while clearly being indebted to the aforementioned John Carpenter and Umberto, it may also be the most menacing track of the entire album. 

NightStop is the attention grabbing brainchild of its Jyväskylä, Finland-born and-based mastermind, the up-and-coming Finnish electronic music producer and artist Ere Ek, who started the 80s cyberpunk soundtrack-inspired project in 2012. And since then, Ek has seen a growing profile across Europe and Russia’s tight-knit DIY scene, steadily touring and releasing both cassette and vinyl releases. Interesting Chicago, IL-based label No Trend Records, the label home of Ganser, Absolutely Not and others, recently announced that they will be releasing a vinyl edition of NightStop’s most recent effort, Dancing Killer on March 30, 2018.

Although the album has already seen a digital release, Ek has included a pulsating John Carpenter meets Umberto-like single “Phantasmagoria,” as a bonus digital track for the album — and interestingly, while cementing his reputation for crafting brooding yet cinematic, retro-furturistic electro pop, the track may also be among the most decidedly dance floor ready track he’s released to date. (As a side note, the track derives its name from Roberta Williams’ 1995 horror adventure game Phantasmagoria.)

 

 

 

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 Video: The 80s Inspired Sounds and Visuals of Up-and-Coming Boston-based Duo Modesta

Comprised of Arjun Viswanathan and Kostas Papadopoulous, the up and-coming, Boston-based duo Modesta specialize in a retro-futuristic synth pop sound that will remind most listeners of John Carpenter soundtracks and 80s synth funk, as well as contemporaries like Umberto and others — although interestingly enough, the duo cites Roosevelt, The Shins and Unknown Mortal Orchestra as major influences while saying that their own own sound and aesthetic is rooted in diversity and experimentation.

Since their formation, the duo have accrued almost half a million streams on Spotify with over 15,000 monthly listeners, and along with that the duo have built a home recording studio from the ground up, while learning new ways to improve their craft and experiment with their sound and songwriting process. Their debut EP VHS is slated for a January 12, 2018 release and reportedly the EP will find the duo meshing contemporary, electronic production, analog synthesizers, and organic instrumentation while further cementing their reputation for crafting material that’s indebted to 80s synth pop; in fact, as you’ll hear on EP title track and first single “VHS,” Viswanathan and Papadopoulous as the duo pair shimmering layers of arpeggiated, analog synths, thumping beats, a sinuous bass line, ethereal vocals and a slick hook. But underneath the moody iciness of the song is a swooning devotion of love. 

The recently released music video further emphasizes the retro-futuristc theme and vibe of the song as it features VHS player noises, grainy footage shot on VHS tape and incredibly 80s-like graphics and special effects. 

New Video: Danish Electro Pop Duo Tan Returns with Dream-like Visuals for Their Chilly

Now, if you’ve been frequenting this site over the past few months, you may come across a post featuring the Copenhagen, Denmark-based electro pop duo TAN. And as you may recall the duo comprised of Mathias Riss and Andreas Bengsten have had stints in several local post-punk and psych rock bands, which makes their collaborative project together a marked change in direction for them; in fact, their previous single “PANORAMA” found the duo leaning towards the chilly, retro-futuristic synth-based compositions of  John Carpenter, Umberto and countless others while subtly nodding at  early house music.

The Danish electro pop duo’s latest single “BARBARA” will further cement the duo’s reputation for crafting chilly, retro-futrustic synth compositions — in this case, the cinematic and radio friendly track is a bit more straightforward as it features shimmering, arpeggiated synths, propulsive drum programming and a soaring hook. And interestingly enough, the recently released video further emphasizes the single’s chilly and creepy vie, as it stars Danish drag queen PROXY, who the duo met when they saw her dancing during one of their sets. As the story goes, the duo realized that PROXY’S appearance is much more than just putting on a costume, and they wanted to capture that on film.

“In the video, PROXY gets a crush on a synth playing mannequin. Brought together by a mutual love of synthesizers, their attraction slowly grows to the point where it dissolves boundaries and norms into insatiable lust and attraction for each other. Love works in mysterious ways, and rather than trying to understand it, they just surrender and go with it.” As a result, the video possesses a swooning, dream-like logic.

New Video: The Funky Retro-futuristic Visuals and Sounds of Austin’s Neosho

Comprised of Missouri-born Jackson Bennett (vocals, production) and Oklahoma-born Justin Bernard Williams (production, samplers, synths, saxophone), the Austin, TX-based electronic music production and artist duo Neosho can trace their origins to when the duo met on an online forum for introspective, extroverted Ableton artists called solipsism. Once Bennett  and Williams realized that they were different types of weird, they tentatively agreed to start a band — and initially, they started out as a duo and later expanded into a quartet on two different occasions before finally settling as a duo. Interestingly, the duo derive their name from the river and town Neosho, which is on the border of Oklahoma and Missouri. 

Sonically speaking the duo have received attention across Austin for a strutting and swaggering sound based around driving grooves, boom bap-like drum programming, stuttering samples, shimmering synths and soulful blasts of horns as you’ll hear on “Time Traveler,” a single off the duo’s recently released debut effort Borderline — and while reminding listeners of Detroit’s Griz and others, the song reveals a duo whose sound draws from hip hop, house music and John Carpenter soundtracks.

Directed by the duo’s Justin Bernard Williams, the recently released video consists of computer generated animation cut with footage of a jeans and cowboy boot wearing man walking forward and backwards, as though they entered a wormhole. It’s trippy yet swaggering visuals that emphasize the song’s swaggering nature.