Tag: Joy Division

With the release of 2014’s full-length debut, Dogging, the Sydney-based punk act Low Life featuring core trio Mitch Tolman, Cristian O’Sullivan and Greg Alfaro quickly received national and international attention — while leaving a nasty mark on the punk landscape. Interestingly, the band’s much-anticipated sophomore effort Downer Edn (read as Downer Edition) is slated for a March 15, 2019 release through Goner Records.

Recorded over a two year period, the acclaimed Aussie punk band’s forthcoming sophomore effort finds the band expanding from a trio to a quintet with the addition of Oily Boys and Orion’s Dizzy Daldal (guitar) and Yuta Matsumura (guitar), with Matsumura rejoining the band to allow Tolman to be a full-time vocalist. Additionally, the material is a decided change in sonic direction for the band — with the material finding the band going for a lush, New Wave-like sound; in fact the album’s first single is the icy and angular “Lust Forevermore.” And while sonically bearing an uncanny resemblance to Joy Division, the song manages an uneasy balance of melancholy, anxious tension, pensiveness and urgency.

 

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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. 

New Audio: Austin-based Doom Rockers The Well Release a Murky and Uneasy Ripper

Comprised of Ian Graham (guitar, vocals), Lisa Alley (bass, vocals) and Jason Sullivan (drums), the Austin TX-based heavy psych rock/heavy metal act The Well can trace their origins to when Graham was fired from his previous band. Determined to redirect his musical focus, Graham hooked up with Alley and the two began picking out riffs in their garage. Completing the lineup, Graham and Alley stole Sullivan from Graham’s old band — partially out of vengeance and partially out of karma. The members of the trio are huge fans of cult horror films, and are inspired by early 70s psych rock and proto-metal and as a result their material revels in dark themes and haunting echoes. Interestingly, with their first few releases the Austin-based trio have developed a reputation for a sound that has been compared to Black Sabbath, Sleep, Electric Wizard and Uncle Acid and The Deadbeats. And adding to a growing profile, the band has shared stages with the likes of Kadavar, Orchid, Fu Manchu, High on Fire, NAAM, Orange Goblin, Pentagram, Dead Meadow and others. 

Slated for an April 26, 2019 release through Riding Easy Records, The Well’s forthcoming, third album Death and Consolation reportedly may be the darkest and most intense album of the band’s growing catalog. As the band’s Ian Graham says in press notes, “This one is a little more personal. 2018 was a strange, dark year. A lot of change was going on in my life, there was a lot of depression and coming out of it over the last year.” And while darker, the album continues their ongoing collaboration with longtime producer and engineer Chico Jones and finds the band expanding upon their sound and approach, at points nodding at Joy Division and The Cure — but also while being a bit of a continuation of 2016’s critically applauded Pagan Science. Death by Consolation’s latest single is the monstrous and murky ripper “Raven.” Centered around enormous and extremely downtuned, power chords and bass chords,  thunderous drumming paired around Layne Staley-delivered vocals, the song evokes a sense of unease and dread, familiar to classic horror movies — and stumbling around graveyards late at night. But more important, the song captures a band that kicks ass, takes names and will frighten  the shit out of you. 

New Video: JOVM Mainstays Preoccupations Release Stark and Gorgeously Cinematic Visuals for Album Closer “Compliance”

Over the past handful of years, I’ve written quite a bit about the Canadian post-punk act and JOVM mainstays Preoccupations. And as you may recall, the band’s third full-length album New Material was released last year through Jagjaguwar Records, and the album further cements the band’s growing reputation or crafting dark and moody post-punk that touches upon themes of anxiety, uncertainty, creation, destruction and futility while being “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred,” the band’s Matt Flegel explained in press notes.

Much like their sophomore album, the band met without having much written or demoed beforehand — and according to the members of the band, it was arguably one of the most collaborative writing sessions they ever had as a band, with the sessions being extremely architectural in nature, as some ideas were  (proverbially speaking) being built up while others were torn down to the support beams. Initially they didn’t know what the songs were about or where they were going with them, they had resolved to let the material show and not explicitly not tell; however, the writing and recording sessions reportedly led to a reckoning for the band’s Flegel. “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. In fact, the murky and angular  Manchester/Joy Division-like first single “Espionage,” while being among the most danceable songs they’ve written and released, focuses on a narrator, who has finally become aware of a disturbing penchant for self-sabotage in every aspect of his life. “Antidote,” New Material‘s second single was centered around propulsive, industrial clang and clatter meant to convey a sweaty anxiety; however, the song is actually about how humans forget that they’re walking, talking, shitting animals — animals that have an infinite amount of knowledge within their fingertips but still manage to repeatedly making terrible choices. “Disarray,” the album’s third single was meditative and slow-burning single featuring shimmering guitar chords, an angular and propulsive bass line, organic drumming and boom bap-like drum machine work during the song’s bridge. And while superficially nodding at Turn On the Bright Lights-era Interpol, the song captures something much darker and uncertain — as it was centered around someone, who from their perspective, views everything they’ve ever known to be a lie. The album’s fourth single “Decompose” was an angular and propulsive track that featured twinkling synths, buzzing power chords and an eerie sense of melodicism that underlies the song’s danceable vibe. 

Album closer “Compliance” is a decided and stark sonic departure for the band as it’s a climatic wall of industrial clang, clatter and other noise — but two chiming tones peak up and rise upward, giving the instrumental track a yearning nature. Directed by Nicholas Brown and Evan Henderson, the recently released video for “Compliance” is set in a post-apocalyptic world, featuring an enigmatic forest spirit named “Mariah.”  As the band explains in press notes, “Mariah has awakened from eons of slumber to a world that has long been abandoned by humans and heavily mutated by their waste and consumption. As Mariah struggles to make sense of this new world, she grieves for the one she has lost forever. The Mariah creature was painstakingly designed and constructed by Brown, portrayed by Henderson, and captured by the haunting and beautiful cinematography of Adam Stewart. Compliance brings a close to this chapter of the band as we look towards the future and marvel at the new heights their [sic] music will take.”

New Video: JOVM Mainstays White Lies Release Anthemic New Single Paired with Gorgeous and Cinematic Visuals

London-based indie trio White Lies’s aptly titled, fifth, full-length album Five is slated for a February 1, 2019 release through [PIAS] Recordings, and while marking the trio’s tenth anniversary together, the album reportedly finds the British pop trio pushing their sound in new and adventurous directions paired with arguably some of the most deeply personal and intimate lyrics of the band’s entire catalog. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place. In fact, the song feels so lived-in that it bristles with the bitterness and hurt that comes from being in a relationship in which you’ve left broken, fucked up and confused. “Believe It,” continued in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks while bearing a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order.

“Tokyo,” Five’s latest single continues a run of rousingly anthemic singles centered around enormous hooks, arpeggiated synths, razor sharp grooves and McVeigh’s inimitable vocals. And while the song reminds me of Tears For Fears’ “Shout,” “Change” and “Everybody Wants to Rule The World,” the song will remind the listener, that the British trio have an unerring and uncanny ability to write a triumphant, arena rock-like song. 

The recently released, gorgeously shot video for “Tokyo” was directed by long-time visual collaborator David Pablos and was shot back-to-back with the video for previously released single “Believe It,” in Tijuana, Mexico late last year. As the band explains in press notes “Once again we were lucky to work with David in Tijuana to create what is our best video since ‘Death’. His unique knowledge of the area affording us access into some of the city’s most stunning and bizarre locations helps bring to life his vision of stories of love and loss. Where in the world would you be able to film a scene of the band sat on a 4-story high nude woman? Tijuana, that’s where apparently and resulted in our favourite collaboration with him yet.”

Pablos adds  “As soon as I heard the song I knew I wanted to shoot the video during night time. Everything starts with us seeing scenes of life through windows from the outside, but once we go inside we discover nothing is exactly what it looks like or what it appears to be. Each window is a metaphor; more than a real space it is a representation of a mental state. But more than portraying the city, what was important was the human face and to capture the personalities of each one of the characters.”

New Audio: Acclaimed British Act White Lines Release an Earnest Power Ballad

Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks their tenth anniversary together — and instead of resting on their laurels, the members of the trio decided that it was the perfect time to push their sound and aesthetic in new and adventurous directions. Along with that, the trio’s bassist and primary lyricist Charles Cave wrote what may arguably be the most deeply personal and intimate lyrics of the band’s entire catalog. 

Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing PumpkinsNine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Believe It” continued in a similar vein as its immediate predecessor  — full of the enormous, arena rock friendly hooks that have won them acclaim; but sonically speaking, it manages to bear a resemblance to Pet Shop Boys, Tears for FearsJef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone.

“Finish Line,” Five‘s latest single is a slow-burning, power ballad featuring an ambitious and expansive song structure with the song moving from Roxy Music-like atmospherics to big power ballad and arena rock-friendly hooks bolstered by powerfully earnest sentiment. But at its core, the song is about a young couple’s breakup negotiations, complete with bitter accusations and recriminations, regret, heartache and uncertainty. Interestingly, the song is a band favorite and as the band’s Charles Cave mentions in press notes. We are all hugely attached to this song, and really excited to share it prior to the album being released. Much like album-opener ‘Time To Give’, the track has an ambitious structure – one emanating from our love of Prog. At its heart, it’s a simple song about a young couple’s break-up negotiations, I like to hope the music itself takes the listener through the emotional ups and downs. It’s up there as one our best songs and we hope our fans think so too

 

Now, over the past handful of years of this site’s eight-plus year history, I’ve written quite a bit about the Canadian post-punk act and JOVM mainstays Preoccupations. And as you may recall, the band which is comprised of Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) initially formed under the name Viet Cong — and by the time their 2014 self-titled full-length debut was released, the members of the band found themselves in the middle of a firestorm centered around cultural appropriation and the usage of terms, names and symbols associated with historical groups and actions that evoke the horrors of war, despotism, authoritarianism, fascism, genocide and the like. Ultimately, the band decided to change their name before the release of their sophomore album — and to re-issue their self titled debut with another name.

Released earlier this year through  Jagjaguwar Records, Preoccpuations’ third album New Material further cements the bands growing reputation for crafting dark and moody post-punk that touches upon themes of anxiety, uncertainty, creation, destruction and futility while being “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred,” the band’s Matt Flegel said in press notes. Much like their sophomore album, the band met without having much written or demoed beforehand — and according to the members of the band, it was arguably one of the most collaborative writing sessions they ever had as a band, with the sessions being extremely architectural in nature, with some ideas (proverbially speaking) being built up while others were torn down to the support beams.

Initially they didn’t know what the songs were about or where they were going with them, they had resolved to let the material show and not explicitly not tell; however, the writing and recording sessions reportedly led to a reckoning for the band’s Flegel. “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. In fact, the murky and angular  Manchester/Joy Division-like first single “Espionage,” while being among the most danceable songs they’ve written and released, focuses on a narrator, who has finally become aware of a disturbing penchant for self-sabotage in every aspect of his life. “Antidote,” New Material‘s second single was centered around propulsive, industrial clang and clatter meant to convey a sweaty anxiety; however, the song is actually about how humans forget that they’re walking, talking, shitting animals — animals that have an infinite amount of knowledge within their fingertips but still manage to repeatedly make the worst possibly choices. “Disarray,” the album’s third single was meditative and slow-burning single featuring shimmering guitar chords, an angular and propulsive bass line, organic drumming and boom bap-like drum machine work during the song’s bridge. And while superficially nodding at Turn On the Bright Lights-era Interpol, the song captures something much darker and uncertain — as it was centered around someone, who from their perspective, views everything they’ve ever known to be a lie. The album’s fourth single “Decompose” was an angular and propulsive track that featured twinkling synths, buzzing power chords and an eerie sense of melodicism that underlies the song’s danceable vibe.

The JOVM mainstays will close out a busy 2018 with a co-headlining tour with long-time friends Protomartyr that will include a November 28, 2018 stop at Warsaw — and you can check out the rest of the tour dates below. And to celebrate the announcement of the tour, the bands have released a split 7 inch in which each band covers the other. The split 7 inch’s latest track is Preoccupations subtle reworking of Protomartyr‘s “Pontiac 87,” that features a slightly sped up tempo and a lush, studio sheen.

Tour Dates:
Fri. Nov. 23 – Toronto, ON @ Lee’s Palace *
Sat. Nov. 24 – Ottawa, ON @ 27 Club *
Mon. Nov. 26 – Boston, MA @ Brighton Music Hall *
Wed. Nov. 28 – Brooklyn, NY @ Warsaw *
Thu. Nov. 29 – Washington, DC @ Union Stage *
Fri. Nov. 30 – Philadelphia, PA @ The Foundry *
Sat. Dec. 01 – Columbus, OH @ The Basement *
Mon. Dec. 03 – Buffalo, NY @ Mohawk Place *
Tue. Dec. 04 – Ann Arbor, MI @ Blind Pig *
Thu. Dec. 06 – Chicago, IL @ Thalia Hall *
Fri. Dec. 07 – Omaha, NE @ Waiting Room *
Sat. Dec. 08 – Kansas City, MO @ Record Bar *
Mon. Dec. 10 – Denver, CO @ Bluebird *
Wed. Dec. 12 – Salt Lake City, UT @ Metro Music Hall *
Thu. Dec. 13 – Boise, ID @ Olympic *
Fri. Dec. 14 – Portland, OR @ Mississippi Studios *
Sat. Dec. 15 – Vancouver, BC @ Venue *
Sun. Dec. 16 – Seattle, WA @ Crocodile *
Tue. Dec. 18 – San Francisco, CA @ Independent *
Wed. Dec. 19 – Los Angeles, CA @ Regent *
* w/ Protomartyr

New Audio: London’s White Lies Returns with a Rousingly Anthemic Single from Their Forthcoming New Album

Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks the band’s tenth anniversary while finding them pushing their sound and aesthetic in new and adventurous directions, paired with deeply personal and intimate lyrics written by the trio’s Charles Cave. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeysand Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Five’s latest single “Believe It” continues in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks — but it manages to bear a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone. 

Interestingly, as the band explains, the song is “about types of therapy, seen from a shifting perceptive of those passionate towards it, those skeptical of it, and those out to make money from it. We wrote it mid-way through the sessions and it became an instant favourite of ours. It’s a four-minute ‘no-nonsense’ singalong with lots of ingredients we’ve used before so we hope our fans will love it.” 

Country Line Runner is the solo recording project of singer/songwriter and multi-instrumentalist Adam Day — and with the release of the Bill Ryder-Jones-produced single “Hard to Find,” Day has received attention across the blogosphere for his unique songwriting approach. Interestingly, Day’s latest single is the incredibly cinematic “Wide Eyes,” which manages to nod at Joy Division and Brothers in Arms-era Dire Straits, complete with a carefully crafted and anthemic hook that reveals an ambitious songwriter with hopes to take over the world.

Live Footage: Moaning Performs “Artificial” at Tapetown Studios

Over the better part of this year, I’ve written a bit about the Los Angeles, CA-based trio Moaning, and as you may recall, the band which is comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk — and as a result, the Southern Californian trio has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others.

Moaning’s self-titled, full-length debut was released earlier this year through Sub Pop Records, and the album’s fourth single “Artificial” is centered around angular guitar and bass chords, thundering drumming and an anthemic hook — and while recalling Joy Division, Interpol, Preoccupations and others; but just under the surface, the song bristles with a tense an uneasy self-awareness of the narrator’s own artifice, superficiality and ugliness, as well as that of the larger world he lives in. 
Interestingly, if you’ve been frequenting this site over the 18 months or so, you’d also recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. And during that time, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC and a growing list of others. The members of Moaning had stopped by Tapetown Studios during their second European Union tour, and performed an urgent rendition of the attention-grabbing “Artificial” as part of the Tapetown Studio sessions. Check it.