Tag: post punk

New Video: Franz Ferdinand Releases Surreal and Mischievous Visuals for Re-worked Version of “Glimpse of Love”

Over the past few months, I’ve written quite a bit about the Glasgow, Scotland, UK-based indie rock/post punk act Franz Ferdinand, and as you may recall, the Scottish band, which is currently comprised of founding trio Alex Kapranos (lead vocals, guitar), Bob Hardy (bass) and Paul Thomson (drums, percussion and backing vocals), along with newest members Julian Corrie (keys, synths, guitar and backing band), who joined last year, replacing founding member Nick McCarthy and the recently added Dino Bardot (guitar) can trace their origins back to 2002. With the release of their first two singles “Darts of Pleasure” and “Take Me Out” the members of the Franz Ferdinand quickly saw commercial and critical success — with “Take Me Out,” becoming the band’s signature song, as it eventually peaked at #1 the UK Singles Chart, and earning a Grammy nomination for Best Rock Performance by Duo or Group with Vocal. Additionally, their eponymous, 2004 full-length debut received a Grammy nomination for Best Alternative Album and won the Mercury Prize, helping the Scottish indie rockers to establish themselves at the forefront of the early 2000s post-punk revival movement.

Their 2005 Rich Costey-produced sophomore effort, You Could Have It So Much Better was released to critical and commercial success with the album peaking within the Top Ten Charts in multiple countries, and as a result, the album received a Grammy nomination for Best Alternative Album with album single “Do You Want To” receiving a Grammy nomination for Best Performance by Duo or Group with Vocal. However, with 2009’s Tonight: Franz Ferdinand, the members of the Scottish indie act moved away from the post-punk sound that first won them international attention to a much more dance floor oriented sound — all while continuing an impressive run of commercial and critical success. They promptly followed that up with a remix album of Tonight, titled Blood, which was released that summer.

2013 saw the release of Right Thoughts, Right Words, Right Action but they managed to follow that effort up by teaming up with Sparks to form indie supergroup FFS, which released their self-tilted album in 2015. Franz Ferdinand’s fifth, full-length album Always Ascending was released earlier this year and with album singles “Feel The Love Go,” and “Lazy Boy,” the band continued forward with the quirky, disco-like take on  the Gang of Four-inspired sound that first won them international attention but with a loose, adventurous vibe; in fact, the album’s latest single “Glimpse of Love,” finds the band subtly nodding at house music, thanks to the use of twinkling and arpeggiated keys — but within an expansive, groove-friendly song structure. Interestingly, the version of the song that accompanies the recently released video is a re-working of the album track, re-corded as live and mixed by Serban Ghenea, who has worked with the likes of Rihanna and Lorde.

Directed by Alice Kunisue, the hilarious and surreal visuals for “Glimpse of Love” was shot just outside of Paris and features the members of the band primping, brooding and flat out being ridiculous.

Advertisements

New Video: Up-and-Coming Toronto-based Post-Punk act Releases Murky Visuals for Angular Album Single “Taking Pictures”

Currently comprised of Bria, Duncan, Lucas and Kris, the up-and-coming Toronto, Ontario, Canada-based post-punk quartet FRIGS have developed a reputation for a difficult to pigeonhole sound and approach that draws from the diverse array of influences each individual member brings  — and for a visceral live show that embraces the mercurial and experimental, as though built upon instinct and feel. 

The Canadian post-punk band’s self-produced full-length debut Basic Behavior was written and recorded over a 16-month period in two locations: the band’s home studio and Union Sound Company, and while lyrically the album is centered around Bria Salmena’s personal experience, the album is reportedly the product of several years of self-discovery as a unit. Naturally, recording at home allowed the band to take much-needed time to explore and experiment with sonic textures and production, and meticulously re-working their material. However, they felt that a degree of urgency was necessary to push them to finalize the album, and with engineer Ian Gomes, the band embraced the limitations of third-party studio time, which gave the sessions a sense of immediacy, and as a result, the album’s material is at points stark, chaotic, reflective and manic — often within a turn of a musical phrase. 

Basic Behavior’s latest single “Taking Pictures” features an arrangement based around propulsive drumming, slashing and angular bass and guitar chords, over which the band’s Salmena coos and howls throughout — while evoking a growing sense of disillusionment and fury without focusing on an actual narrative; in fact, it gives the song a primal and forceful urgency. As the band says of the recently released video for “Taking Pictures,” “We wanted a video that similarly eschewed narrative in order to portray this feeling through distorted perspective, overlapping subjects and a black-and-white pallet.  Adds the video’s director, Christopher Mills “The camera seems to be broken in a glitchy, 360 degree virtual space filled with multiple exposures of FRIGS, occasionally and inadvertently disrupted by glitchy abstract shapes in this dark and moody portraiture. For me, this song is like what Mazzy Star would play before a street fight. The toughness of this music evokes images of Ponyboy Curtis, with all of his friend running around the perimeter of town, looking for trouble. ”

Over the past year or so, I’ve written about the Los Angeles, CA-based post-punk trio and JOVM mainstays Second Still, and as you may recall the trio, comprised of founding members Ryan Walker (guitar) and Alex Hartman (bass) along with Suki San (vocals) released their critically applauded 2017 self-titled, full-length debut, and from singles  “Walls,” “Recover,” “You Two So Alike,” and “Strangers,” the album’s material thematically focused on decidedly post-modern subjects: depression, frustration, anxiety and alienation among a throbbing, seething mass of humanity, with a visceral and urgent emotionality, while sonically seeming to draw from Sixousie and the Banshees and the early catalog of renowned indie label 4AD Records.

Equals, the Los Angeles-based post punk trio’s much-anticipated follow-up EP finds the band expanding upon their sound and songwriting approach, pushing it towards new directions — but while retaining major elements of the sound that first caught the attention of the this site and the rest of the blogosphere. You’ll still hear the chorus and delay pedal effects-based guitar, bass driven grooves and explosive, industrial rock drum machine beats, paired with ethereal and aching vocals and razor sharp hooks; however, the members of the band have begun employing the use of a couple of analog synthesizers, which adds an atmospheric and moody element to the proceedings. Interestingly, as the band explains in press notes, half the EP’s material (the A side) reportedly finds the band leaning towards a decidedly pop-leaning direction and overall lighter sound, while the second half (the B-side) finds the band hewing towards their gloomy, goth-like roots. EP single “Opening” was a melancholy post-punk track that I think will further their growing reputation for crafting 80s-inspired post-punk with slick, contemporary production values; the EP’s second single “Automata” continued on a similar vein, bearing an uncanny resemblance Sixousie and the Banshees’ “Israel,” and “Happy House.”

“In Order,” Equals third and latest single, is centered around arpeggiated synths, a sinuous bass line, shimmering guitar work, San’s Siouxie Sioux-like vocals and their uncanny ability to write a slick and infectious hook; but interestingly enough, the signal finds the band expanding upon their sound, as it’s arguably one of the most propulsive, club ready songs they’ve ever released.

 

New Video: Chicago’s Ganser Releases Mischievous and Surreal Visuals for “Satsuma”

Over the past couple of months I’ve written quite a bit about the Chicago, IL-based post-punk act Ganser,  and with the release of their debut EP, This Feels Like Living, the members of the Chicago-based act received attention locally for an art rock-leaning post-punk/noise rock sound influenced by Sonic Youth and Magazine.  Now, as you may recall, the band’s full-length debut Odd Talk is slated for release later this month through No Trend Records, and the album’s material reportedly focuses on communication breakdowns, with the song’s narrators desperately seeking meaning in confusion and messiness, as though they were literally sorting through syllables and signals to find the right words to say what they wanted or needed to say.

“Satsuma,” Odd Talk‘s last official single will further cement their reputation for material that thematically can be grimly absurd yet comedic that points at the complexities and frustrations of human relationships paired with angular guitar chords and propulsive drumming that help evoke a sweaty, heart racing anxiety: the sort in which your thoughts are racing and pinballing within your head; but the difference here is that the song focuses on a weary reservation, on avoiding expectations and their inevitable heartache, of not showing your hand when things are uncertain.

Filmed by the renowned photographer Kirsten Micolli and directed and edited by the band, the recently released video for “Satsuma” follow a woman Kate Ziebart as she wanders a post-blizzard Chicago, who’s compelled to dance through the streets. Throughout the course of the video, the woman’s movement varies between graceful and frantic but she turns the mundane and routine to something altogether strange; in fact, her weirdness seems to be infectious, and everyone she passes begins to start acting as weirdly as she is — although the woman is actually completely unaware of her effect on her surroundings or on anyone else. 

Filmed by the renowned photographer Kirsten Miccoli in a post-blizzard Chicago earlier this year and self-directed and edited by the band, the video follows a woman (Kate Ziebart) as she wanders the city, compelled to dance, as she encounters each member of the band in turn as she goes. After being in Chicago, the video not only strikes me as only being possible in Chicago, it manages to evoke the accusatory and sarcastic nature of the song in a mischievously indirect fashion. 

Now, if you had been frequenting this website over the past few years, you may have come across a couple of posts featuring the Brooklyn-based indie rock act Lazyeyes, and as some of you may recall, the band, which initially began as a trio and now currently consists of Jason Abrishami (guitar, vocals), Sam Maynard (guitar, vocals), Jeremy Sampson (drums) and Jermey Rose (bass, vocals) received quite a bit of attention after the release of their 2013 self-titled EP: The Deli Magazine named the band the “Best Psych Rock/Shoegaze band,” Purple Sneakers praised the EP as a “moody and anthemic record, equal parts shoegaze and dream pop,” Stereogum described their sound as a “a muscular, riff-happy brand of guitar based dream-pop” and they were a featured artist in the November 2014 issue of NME — and adding to a growing profile, tracks from the EP received airplay from BBC Radio, XM Radio and a number of FM stations across the globe.

2015’s self-released, sophomore EP New Year was eventually picked up and reissued by Burger Records‘ cassette imprint Weiner Records, and “Adaptation,” the EP’s first single received quite a bit of attention across the blogosphere, including this site. Some time has passed since I’ve last written about them — but their long awaited full-length debut Echoes is slated for a summer release through Egghunt Records and 2670 Records. Interestingly, Echoes first single, album title track “Echoes” is a brooding and seamless synthesis of 80s British post-punk and shoegaze as you’ll hear angular and propulsive bass chords, four-on-the-floor drumming and towering, pedal effected guitar pyrotechnics paired with rousingly anthemic hooks — and while the song may initially strike you as drawing influence from Heaven Up Here-era Echo and the Bunnymen, it reveals a band confidently expanding upon the sound that first captured attention.

 

 

 

Over the past couple of months I’ve written quite a bit about the Chicago, IL-based post-punk act Ganser,  and with the release of their debut EP, This Feels Like Living, the members of the Chicago-based act received attention locally for an art rock-leaning post-punk/noise rock sound influenced by Sonic Youth and Magazine.  Now, as you may recall, the band’s full-length debut Odd Talk is slated for release later this month through No Trend Records, and the album’s material reportedly focuses on communication breakdowns, with the song’s narrators desperately seeking meaning in confusion and messiness, as though they were literally sorting through syllables and signals to find the right words to say what they wanted or needed to say.

“Satsuma,” Odd Talk‘s last official single will further cement their reputation for material that thematically can be grimly absurd yet comedic that points at the complexities and frustrations of human relationships paired with angular guitar chords and propulsive drumming that help evoke a sweaty, heart racing anxiety: the sort in which your thoughts are racing and pinballing within your head; but the difference here is that the song focuses on a weary reservation, on avoiding expectations and their inevitable heartache, of not showing your hand when things are uncertain.

The band will be embarking on a tour to support their full-length debut and it includes an album release show at Chicago’s Empty Bottle on April 16, 2018 and two NYC area dates — April 27, 2018 at Alphaville and May 1, 2018 at Saint Vitus. 

Tour Dates
3/09 – Chicago, IL – Lincoln Hall (w/ Ought, Snail Mail)
3/28 – Chicago, IL – Beat Kitchen (w/ Shopping, Tyvek)
4/16 – Chicago, IL – Empty Bottle (Record Release Show)
4/25 – Detroit, MI – Outer Limits Lounge %
4/26 – Pittsburgh, PA – Howlers %
4/27 – Brooklyn, NY – Alphaville %
4/28 – Philadelphia, PA – Mothership %
4/29 – Providence, RI – Alchemy %
5/01 – Brooklyn, NY – Saint Vitus
5/02 – Baltimore, MD – Sidebar
5/03 – Richmond, VA – Flora
5/04 – North Carolina TBD
5/05 – Atlanta, GA – 529
5/06 – Memphis, TN – Bar DKDC
% – with Bloody Knives

 

 

Throughout the almost eight year history of this site, I’ve written quite a bit about JOVM mainstays Bambara, and as you may recall, the trio, comprised of twin brothers Reid and Blaze Bateh and their childhood friend William Brookshire will be releasing their Andy Chugg-produced third, full length album Shadow on Everything later this week — and the album, which is their first for renowned indie label, Wharf Cat Records, reportedly represents a decisive step in a  new direction for the band, with their sound moving from the noise rock and post-punk of their first two albums to incorporating a Western Gothic-inspired sound. And while the music center remains the trio’s tight and forceful rhythm section featuring Blaze Bateh’s frenzied yet incredibly metronomic drumming and Brookshire’s propulsive bass lines, unlike their previously recorded output, Shadow on Everything finds the band placing Reid Bateh’s vocals at the forefront, symbolically placing the damaged characters and seedy locales of his lyrics at center stage.

With the album’s first single ““Jose Tries to Leave,” the band retains the forceful and nightmarish dynamism that has won them attention here and elsewhere, but with a cinematic air, as it focuses on the lives and thoughts of desperate, fucked up and incredibly seedy sorts with a humanist’s sense of empathy and a novelist’s attention to psychological detail. “Doe-Eyed Girl,” the album’s second while continuing in a similar vein is imbued with a sweaty and furious urgency, fueled by manic and desperate obsession. Interestingly, Shadow on Everything‘s third and latest single “Sunbleached Skulls” is arguably one of the murkiest and bleakest songs of their growing catalog as Reid Bateh’s dark imagery centers around buzzing flies around sun-bleached bones, rotting flesh, dirt and grime paired with Brookshire’s propulsive bass and Blaze Bateh’s mathematically precise, metronomic drumming and shimmering bursts of Western guitar figures, seemingly writhing about in the dirt and grime; but underneath the bleak vibes and foul stenches of the song, there’s a strange sense of finding comfort and companionship in someone else, even if it’s fleeting. And much like its predecessor, the album’s single is incredibly cinematic track, that evokes a feverish and lingering nightmare.

 

 

Over the past year, I’ve written a bit about the  Los Angeles, CA-based post-punk trio Second Still, and as you may recall the trio, comprised of founding members Ryan Walker (guitar) and Alex Hartman (bass) along with Suki San (vocals) can initially trace its origins to when its founding duo met in Los Angeles, back in 2007. By 2011 Walker and Hartman had relocated to New York, where they spent a great deal of time searching for a vocalist, who they felt could match their intensity and creative output, and as the story goes, when Walker and Hartman met Suki San, they felt an immediate connection and began working together.

Second Still’s first show was an infamous party at the now-condemned McKibbin Street Lofts that was shut down by the police during the band’s second song. Building upon the buzz of that incident, the band recorded their debut EP, Early Forms as a limited edition cassette, which quickly sold out. Making the most of their time, the members of the trio wrote and recorded the material that eventually comprised their 2017 self-titled, full-length debut — and from singles “Walls,” “Recover,” “You Two So Alike,” and “Strangers,” the album’s material thematically focused on decidedly post-modern subjects: depression, frustration, anxiety and alienation among a throbbing, seething mass of humanity, with a visceral and urgent emotionality, while sonically seeming to draw from Sixousie and the Banshees and the early catalog of renowned indie label 4AD Records.

Equals, the Los Angeles-based post punk trio’s much-anticipated follow-up EP finds the band expanding upon their sound, pushing it towards new directions — while retaining some of the early elements that first caught the attention of the blogosphere and elsewhere. You’ll see hear the chorus and delay pedal effected guitar, sinuous bass-driven grooves and industrial-like drum machine beats paired with ethereal vocals and infectious, razor sharp hooks; however, the members of the band have begun employing the use of a couple of analog synthesizers, which adds an atmospheric element to their sound. Additionally, roughly half of the EP’s material (the A side) reportedly finds he band exploring a decidedly pop-orientated, lighter sound while the other half (the B side) find site band hewing towards the melancholy and gloomy roots. The EP’s first single “Opening” was a decidedly melancholy post-punk track that to my ears will further their growing reputation for crafting a sound heavily indebted to early 80s post-punk with clean, modern production values, and unsurprisingly, the EP’s latest single “Automata” continues on a similar vein as its predecessor, bearing an uncanny resemblance to Sixousie and the Banshees’ “Israel,” and “Happy House” but with a subtle bit of moody atmospherics.

 

New Video: JOVM Mainstays Preoccupations Release Surreal Visuals for Haunting New Single “Disarray”

Over the past couple of years, I’ve written quite a bit about the Canadian post-punk act Preoccupations, and as you may recall the band which features Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar), initially formed under the highly controversial name Viet Cong, which put the band in the middle of a furious and tumultuous debate centered around the appropriation of terms, names and symbols associated with historical groups and actions that evoke the horrors of despotism, fascism, genocide and so on. Ultimately, the band decided it was best to change their name before the release of their highly-anticipated sophomore album, an album that that found the individual members of the band in an unsteady and uncertain positions: at the time, each  member and relocated to different cities across North America, which made their long-established writing process of writing and testing material while on the road both extremely difficult, if not highly impractical. Along with that, several members of the band were reeling from having serious, long-term relationships end, around the time they were preparing to enter the studio. And unlike their previously recorded efforts, the band went into the writing sessions without having a central idea or theme to consider or help guide them along, essentially making the recording sessions akin to collectively blind leap of faith. Eventually the album’s material wound up drawing from something specific and very familiar — the anxiety, despair and regret that causes sleepless nights.  

Building upon a growing reputation for crafting dark and moody post-punk centered around themes of anxiety, uncertainty, creation, destruction and futility will be releasing their third album New Material is slated for release on Friday through Jagjaguwar Records, and the album, which finds the band recording and producing themselves is as the band’s Matt Flegel said in press notes, “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Interestingly, 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. And although they didn’t initially 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 based rhythm meant to convey a sweaty anxiety, while being about how people forget that we’re all talking, walking, shitting animals, who have an infinite amount of knowledge within their fingertips but still manage to repeatedly make the wrong choices. 

“Disarray,” New Material’s third single is a 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’s centered around someone, who from their perspective, views everything they’ve ever known to be a lie. As the band’s Flegal recalls, When I was writing ‘Disarray,’ it started off with an image of a mother combing her daughters hair that came into my mind, I liked the metaphor of splitting the braids and combing through the tangles, and wrote the rest of the lyrics around that image. This song sat untouched for close to 6 months as a recording with just bass and drums before we came back to it and wrote and recorded the guitar line while out of our minds one night in the early AM.” 

Directed by Ruff Mercy, the recently released video pairs animation and live footage of the band’s Flegel walking on a deserted beach while singing the song’s lyrics, shot with a grainy, almost Instagram-like filter. At points, animated and cartoonish figures and lines burst into the proceedings and superimposed over Flegel’s face to convey deep, inner turmoil and chaos. 

New Video: Chicago’s Ganser Returns with a Tense and Propulsive Single Paired with Badass B-Movie Visuals

Last month, I wrote about the Chicago, IL-based post-punk act Ganser, and as you may recall the act, comprised of  Alicia Gaines (bass, vocals), Nadia Garofalo (keys, vocals), Brian Cundiff (drums) and Charlie Landsman (guitar) formed back in 2014  — and with the release of their debut EP This Feels like Living, the quartet received attention locally for a art rock-leaning post-punk/noise rock sound that was influenced by Sonic Youth and Magazine. 
The Chicago, IL-based post-punk quartet’s forthcoming, full-length debut Odd Talk is an April 20, 2018 release through No Trend Records, and the album reportedly focuses on communication breakdowns — with the song’s narrators desperately seeking meaning in confusion and messiness, as though they were figuratively sorting through syllables and signals to find the right words to say what it is you want or need to say. Album single “PSY OPS” found the band walking a careful tightrope between angular Wire-like post-punk and the furious, bruising punk of Memphis‘ Ex-Cult and Nots but with explosive bursts of discordant noise, and the whole thing was held together by a rhythm section that was propulsive, frenzied and yet strangely danceable. Over that, Garofalo shouted and barked lyrics that sounded and felt like absurdist non-sequiturs. 

Odd Talk’s latest single “Avoidance” is arguably the most decidedly straightforward post-punk songs they’ve released as it features propulsive and angular bass chords, slashing guitar lines, tribal-like drumming and blasts of synths over which Garofalo’s voice rises and falls with increasing frustration, followed by a weary sort of acceptance. Interestingly, the song is about the sharp pain of miscommunication with someone you love and the exhaustion of trying to be understood when your language is just completely wrong. And ultimately, it makes communication and trying to be understood absurd and pointless. 

Centered around edited stock footage taken from 60s and 70s B movies, the video features classic muscle cars racing in a desert landscape towards an unknown end further emphasizing the absurdity at the heart of the song.