Tag: post punk

New Video: Vancouver’s SPECTRES Return with an Anthemic and Nostalgic Take on Post Punk

Over the past few months, I’ve written quite a bit about the Vancouver-based post-punk act SPECTRES. Since its formation back in 2005 by frontman Brian Gustavson, the band has been widely cited as being one of the acts responsible for kicking off Canada’s rented interest in the post-punk sound. Initially, inspired by the British anarcho-punk scene of the late 70s and early 80s, the Vancouver-based post punk outfit meshed that scene’s ethos with punk stylings and an unerring knack for crating hook-driven and anthemic material. Interestingly, over the past few years of their existence, the band’s sound as gradually evolved, as they increasingly incorporated elements of New Wave and punk. 

“The band started as a way to creatively explore 1980s British anarcho-punk and while creatively we have drifted in new directions, this core influence still holds a lot of inspiration for us,” the band’s Zach Batalden  (guitar) says in press notes. Bands like The Mob, Crisis, Crass and Zounds are all still very important for us. From there we took a deep interest in ’80s post-punk and new wave with bands like The Sound, The Chameleons, Theatre of Hate and Modern English, central to the way our sound has developed.”

Now, as you may recall, the Vancouver-based post-punk act’s Jason Corbett-produced album Nostalgia was released last month through Artoffact Records, and the album thematically touches upon the alienation of modern life and the search for hope in an increasingly terrifying world. “Deepening political partisanship, aging, and finding one’s own way through alienating times are common themes the on the Nostalgia LP,” says Batalden. Sonically, the material fnds the band continuing their ongoing exploration of a decidedly post-punk like sound with Gustavon’s plaintive and melodic vocals ethereally floating over chiming guitars and propulsive beats. “For the new album, Nostalgia, we were listening to a lot of Flying Nun bands like The Bats, The Verlaines and The Clean as well,” Batalden adds.

Last month, I wrote about album single “Years of Lead,” a decidedly New Order-like track centered around shimmering and jangling bursts of angular guitars, four-on-the-floor drumming and a rousingly anthemic hook. Continuing a run of anthemic post-punk, the album’s latest single “When Possessed Pray” manages to sound as though it were a uncannily slick synthesis of Joy Division and early Echo and the Bunnymen, complete with rousingly anthemic hooks and deceptively anachronistic production that pulls the song’s aching nostalgia to the forefront.

The recently released video features glitchy and stuttering black and white footage of the band in their hometown and performing the song in a suburban looking house. And although they be cooler than you, there’s this sense that their band could very well have been the band you tried to start in high school.  

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New Video: Deathlist Releases a Brooding Visual for Murky Album Single “You Won’t Be Here For Long”

Jenny Logan is a Portland, OR-based multi-instrumentalist and singer/songwriter, who has spent the past few years being very busy as a member of grunge pop trio Loveboys, post-punk act Miss Rayon, guitar pop act Sunbathe, and her solo recording project Deathlist. With her Deathlist, Logan has released a handful of material including 2017’s S/T debut, 2018’s attention-grabbing Fun. and last year’s A Canyon and Loved, which have helped established her sound — a sound that’s influenced by New Order, Suicide and The Jesus and Mary Chain. 

Logan’s fifth Deathlist album You Won’t Be Here for Long is slated for a May 29, 2020 release. Recorded and mixed by Victor Nash at Destination: Universe, the forthcoming album thematically explores loss, grief, survival and love. You Won’t Be Here for Long’s latest single, album title track “You Won’t Be Here For Long” is a slow-burning and murky dirge centered around droning synths, a sinuous bass line, Logan’s husky vocals and tweeter and woofer rocking beats. And while clearly being indebted to the pulsating minimalism of Suicide, the song as Logan explained to New Noise Magazine “is about the temporariness of everything and how stranger it is what we still exist at all.” Considering how dire everything in our world is at the moment, the song’s overall theme seems both prescient and fitting. 

Shot in Red Rock Canyon, outside of Las Vegas, the video is split between black and white home video recorder footage of Lewis hiking and wandering in the desert, and footage of her lying down in a bed of flowers. It emphasizes the eeriness of the song — while illustrating our smallness and fragility within a larger, indifferent universe. 

New Video: JOVM Mainstays Moaning Releases a Brooding and Introspective Single

Throughout the past handful of years of this site’s almost ten year history, I’ve managed to spill a lot of virtual ink covering rapidly rising Los Angeles-based post-punk trio and JOVM mainstays Moaning. Now, as you may recall the members of the band — ean Solomon (vocals, guitar), Pascal Stevenson (keys, bass) and Andrew MacKelvie (drums) — have been friends and collaborators in Los Angeles’ DIY scene for the better part of a decade through music and other creative pursuits in different media: Solomon is also a noted illustrator, art director and animator while Stevenson and MacKelvie have played in or produced and engineered acclaimed and rapidly rising acts like Cherry Glazerr, Sasami and Surf Curse.

With the release of 2018’s self-titled, full-length debut, the JOVM mainstays received attention from a number of nationally and internationally known media outlets including The Fader, The Guardian, DIY Magazine, Stereogum, and others for a moody and angular post-punk sound that — to some ears — recalled the likes of Joy Division, Interpol and Preoccupations. The trio’s highly-anticipated Alex Newport-produced and  engineered sophomore album Uneasy Laughter is slated for release tomorrow through Sub Pop Records. Reportedly, the album is a much more collaborative effort than their self-titled debut, and the material find site band brightening the claustrophobic and uneasy sound of their debut a bit, by replacing guitars for synths and beats.

Thematically, the album focuses on the everyday anxieties of being a somewhat functioning human in the madness of our current century — with the material touching upon the deeply personal and the universal. “We’ve known each other forever and we’re really comfortable trying to express where we’re at. A lot of bands aren’t so close,” the band’s Andrew MacKelvie says in press notes. Sean Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions adds “Men are conditioned not to be vulnerable or admit they’re wrong. But I wanted to talk openly about my feelings and mistakes I’ve made.”

Over the past couple of months I’ve written about three of the album’s previously released singles: the brooding, 80s New Order-like single “Ego,” the cynical A Flock of Seagulls-like “Fall In Love,” and the bleak yet explosive, guitar-driven ripper “Make It Stop.” “Connect the Dots,” Uneasy Laughter’s fourth and latest single is a brooding and atmospheric track, centered around shimmering synths, a soaring hook, Solomon’s achingly plaintive vocals, squiggling blasts of guitar, and an angular and expressive guitar solo. And while continuing a run of New Wave-like material, “Connect the Dots” may arguably be the most personal and introspective songs of the album. “The song is about realizing you need help and being brave enough to ask for it. It’s a misconception that asking for help is a sign of weakness. In reality it’s one of the hardest things you can do,” the band’s Sean Solomon explains in press notes.

Directed by Campbell Logan, the recently released video for “Connect the Dots” uses some mind-bending computer animated graphics. “I created this video with the intention of inspiring self-forgiveness, something I think we should all practice,” Logan says. “Making it gave me the opportunity to practice an approach that I like to call Filmmaking Simulation, which is a process of doing film production using virtual cinematography, set design and performance. The result is photorealistic and mimics live action. We had an extremely quick turnaround on the video, but were able to complete it in a little over a month, and despite these hurdles I’m so proud of it!”

New Audio: Philly’s Control Top Releases the Anthemic Single We All Need Now

With the release of their full-length debut Covert Contracts, the Philadelphia-based post-punk trio Control Top — Ali Carter (vocals, bass), Al Creedon (guitar, sampler) and Alex Lichtenauer (drums) — exploded into the national scene: their debut landed on the Top Albums of 2019 lists of NPR, Pitchfork, Rolling Stone, Stereogum, Bandcamp Daily, Highsnobiety and others. and they were featured on Pitchfork Rising. 

Building upon a rapidly growing profile, the band’s latest single — the first bit of new material from the band this year, “One Good Day” is an anthemic and decidedly pop-leaning take on post-punk that’s energetic and much more optimistic while retaining the explosive guitar work, propulsive bass lines and thunderous drumming of their previously released work. Sonically, the song is like a seamless synthesis of The Go-Gos and Gang of Four. And although the band couldn’t have anticipated, the song’s “we can get through this together” air is absolutely necessary right now. 

Control Top on “One Good Day”:

Alex Lichtenauer: “I’m grateful to be part of the growth of this project and see how it unfolds. Music should constantly evolve, and I think our progression as both musicians and people really shows in this song. We stepped out of our comfort zone and came up with a pop song that has more optimistic elements than our debut album. A band’s first album usually sets the tone for how they are going to sound, but that can get redundant. With this song, we stayed true to our punk background while also creating something new.”

Al Creedon: “‘One Good Day’ started as a rough sketch I made one day in the midst of cleaning our practice space. I brought it to the group and together we continued to evolve it well into the recording process. I had been listening to a lot of disco, particularly the Bee Gees. They are a band everyone claims to hate, so naturally the contrarian in me wanted to give them a chance. I got hooked immediately.

For ‘One Good Day’, I started with the idea of a back and forth between a syncopated verse in the vein of the Bee Gees’ ‘You Should Be Dancing’ and a driving chorus akin to some of our other songs. Guitar and bass weave in and out of each other, while the drums act as gravity holding the notes together. Ali wrote an ambitious pop vocal melody that really glued it all together. The three of us keep pushing ourselves to execute these types of ideas where all musical elements lean on each other for support. Take away one element and the song instantly loses all sense of cohesion.

I’ve started to incorporate my sampler more and more as we write our next record. On this song, I use it most prominently in the bridge to sample and effect both my guitar and Ali’s voice. I’m a big fan of the way Ichiro Agata from Melt Banana uses effects, and here I was able to apply my own take on his glitchy style. The sampler is also used subtly in the choruses. I sample myself during the verse and then run a small slice of that sample through pitch automation to create something that functions as a rhythm guitar part in the chorus.”

Ali Carter: “When Al showed us the beginnings of this song, I was instantly hooked by its upbeat feel. I set out to write a pop vocal melody with a positive message that didn’t sound trite, which is harder said than done. I ended up with ‘One Good Day,’ a song about about a few things: facing your flaws to become a better person for yourself and the people around you, getting outside of yourself to realize everyone has their own struggles and are doing the best they can, and above all trying to help each other even if what we do is imperfect.

Some problems we inherit, like mental health or substance abuse issues, and some problems stem from our environment, like home or working conditions. Some problems are individual and some problems are systemic, the product of entrenched social structures that favor one group over another. Whatever the cause, they are ours to deal with, and they will continue to disrupt our lives until we work through them. Problems are persistent and won’t let you ignore them for long. They can also be the greatest teachers. It is worthwhile to listen to them.

As frustrating as they can be, our problems–personal, local and global–bind us together. Many of us are facing very similar issues. We can’t solve all our problems alone. We depend on one another for support, but we can’t help each other if we can’t help ourselves. If we can show ourselves compassion, overcome shame and self-hate and allow ourselves to grow into the people we want to be, we can also develop empathy for one another. Cynicism is a coping mechanism of avoidance. It is difficult to be vulnerable, but it is the only way to access love.

This song feels especially relevant right now. We’re in the midst of an unprecedented public health crisis with the coronavirus outbreak. Our lives have been completely suspended. We are forced to consider not only how we affect others but also how others affect us. In no uncertain terms, we see how much we depend on each other every day to survive. Workers in hospitals, pharmacies, groceries, waste management and more are working tirelessly to provide for their communities. The choice to self-quarantine is an act of self-protection as well as an act of kindness toward others who would be endangered by the disease.

People can’t go to work or leave their homes. All we can do is try to keep calm and make the best of this situation. What have we been missing due to the constant motion of our daily lives that we can return to in this period of stillness? Connection with friends and loved ones? Activities that make us happy? Deep spiritual reflection? How can we bring balance to this bleak landscape? Perhaps we take a cue from the people of Italy currently under lockdown, singing from their balconies to share a moment of joy in a moment of anxiety.

The fact is, we’re in this state of collective uncertainty and panic because our government has failed to act and communicate information in a timely and appropriate manner. It’s clear now more than ever that we need a president like Bernie Sanders who puts the needs of the American people above Wall Street bailouts, makes sure every single person gets quality healthcare and understands that our problems are not isolated or disconnected.”

Like countless touring bands across the world, most of the rising Philadelphia-based post-punk act’s upcoming dates are being rescheduled, but at the moment they’re still slated to play Calgary’s Sled Island Festival in June.

With the release of their first two EPs, which have received airplay on BBC Radio 1 and BBC Radio 6, the Belfast, Northern Ireland-based indie act Junk Drawer — Stevie Lennox (guitar, synth, vocals), Jake Lennox (guitar, synths ass, drums, vocals), Brian Coney (guitar, bass) and Rory Dee (drums, bass, guitar, synths, piano, backing vocals) —  have firmly established a unique sound that draws from Krautrock, post-punk and psych rock while earning quite a bit of acclaim in their native Northern Ireland: they’re the first DIY act to ever win a Northern Ireland Music Prize for Best Single with last year’s critically applauded “Year of the Sofa.” They’re also responsible for spearheading the independent Northern Irish music community with the acclaimed Litany of Failures compilations, which have become something of an institution. And adding to a growing national and regional profile, the act have toured across the UK and Ireland, opening for the likes of Mclusky, Built to Spill, Jeffrey Lewis and And So I Watch You From Afar.

The Belfast-based quartet’s highly-anticipated Chris Ryan-produced full-length debut Ready For The House is slated for an April 24, 2020 release through Art for the Blind Records reportedly finds the rising act channeling Pavement, Silver Jews and Beak> with the album’s material veering between slacker rock, post-punk, kraurock and psych across seven songs that thematically touch upon malaise, self-worth, the transience of mental illness and the fragmented and distorted narrative that it brings with it.

The album’s first single “Temporary Day” is a decidedly krautrock-inspired track, centered around an off-kilter and propulsive motorik groove, droning synths, blasts of fuzzy guitars and Jake Lennox’s ironically detached vocals. And while nodding at Pavement, the song chronicles a struggle with sexual identity and eating disorders and the string of the constant internalization of these issues on mental health. “‘Temporary Day’ is about having a temporary day of relief from all the horrible feelings I usually have.” the band’s Jake Lennox says in press notes. “The fog ascends briefly & I can think clearly for a time. Also about my face not being puffy from burst blood vessels because I hadn’t thrown up in a day or two.”

Interview: A Q&A with The Orielles

I’ve managed to spill quite a bit of virtual ink covering the rapidly rising and acclaimed Halifax, UK-based act The Orielles over the past couple of years. Founded by siblings Sidonie B. Hand-Halford (drums), Esmé Dee Hand-Halford (vocals, bass) and their best friend Henry Carlyle Wade (guitar, vocals), the JOVM mainstays built up a great deal of buzz, when Heavenly Recordings‘ head Jeff Barrett signed the band after catching them open for labelmates The Parrots in late 2016.

2017’s critically applauded, full-length debut Silver Dollar Moment found the band establishing a genre-defying sound that meshed elements of psych rock, pop and disco centered around surrealistic observations of everyday life. After the release of Silver Dollar Moment, the band’s founding trio recruited Alex Stephens (keys) as a full-time member of the band, expanding the band into a quartet. And with their newest member, they went into the studio to record material that included “Bobbi’s Second World” and a cover/rework of Peggy Gou’s “It Makes You Forget (itgehane).” Those two singles saw the band’s sound increasingly (and playfully) leaning towards Speaking in Tongues-era Talking HeadsESG and the like, while featuring rock-based instrumentation.

Released earlier this year, The Orielles’ sophomore album Disco Volador continues the band’s ongoing collaboration with producer Marta Salogni – and the album’s material finds the newly constituted quartet pushing their sound towards its outer limits. The end result is that the rapidly rising Halifax-based JOVM mainstays have sonically become astral travelers of sorts, creating mind-bending, trippy and progressive material that features elements of samba, ‘70s disco, boogie funk, 80s New Wave, dance floor grooves and ‘90s acid house. The material also draws from the work of Italian film score composers Sandro Brugnolini and Piero Umiliami, as well as contemporary acts like Khruangbin and Altin Gun. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” the band’s Sidonie B. Hand-Halford says in press notes.

Deriving its name from a literal interpretation from Spanish that means flying disc, the band’s Esme Dee Halford says, “ . . . everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens when to your body physically or that euphoric buzz from a great party. But it’s an album of escape; if I went to space, I might not come back.”

The album also manages to capture the British indie quartet riding high off the success of their critically applauded debut, which included a lengthy and successful summer tour with festival stops Green Man and bluedot. Two official singles have been released off the album so far: the expansive, hook-driven and genre-defying “Come Down On Jupiter,” which features a slow-burning and brooding intro, before quickly morphing into a bit of breakneck guitar pop before ending with a psychedelic freakout – and “Space Samba (Disco Volador Theme),” a shimmering dance floor friendly boogie woogie with an lysergic air. And interestingly enough, the album’s first two singles are perfect examples of how versatile and dexterous the JOVM mainstays are – they’re pulling from a wild and eclectic array of sources, like a bunch of mad, crate-digging audiophiles and meshing them into something familiar yet completely novel.

The members of The Orielles are about to embark on their first North American tour. And as you may recall, the tour will include a handful of sets at the second annual  New Colossus Festival. Unfortunately, SXSW has been cancelled because of COVID 19 – but as of this writing, the band’s West Coast dates are still happening. You can check out those tour dates below.

For JOVM’s latest Q&A, I contacted the members of the British JOVM mainstay act. We discuss Halifax’s local sites of note, their impressive and expansive sophomore album, their cover/rework of Peggy Gou’s “It Makes You Forget (itgehane),” the gorgeous and cinematic video for “Come Down on Jupiter,” their upcoming Stateside debut and New Festival Colossus Festival sets and more.  Check it out, below.

TOUR DATES:

3/11/2020-3/15/2020 – New York, NY – New Colossus Festival

3/24/2020 – Los Angeles CA – Moroccan Lounge

3/25/2020 – San Francisco CA – Popscene at Rickshaw Stop

3/27/2020– Boise ID – Treefort Music Festival

3/28/2020 – Portland OR – Bunk Bar

3/29/2020 – Seattle WA – Vera Project

TheOrielles_CreditHollyFernando
Photo Credit: Holly Fernando

cover The Orielles - Disco Volador 

 

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WRH: If I’m traveling to Halifax and Northern England in general, what should I see and do that would give me a taste of local life? Why? 

The Orielles: In Halifax, we really recommend checking out Revo Records to stock up on some quality vinyl. Then head over to the Meandering Bear for a beer before finishing on a cocktail and The Lantern! Also, The Piece Hall is definitely worth a scoop!

WRH: Are there any bands from Halifax or from Northern England that should be getting love in the States that hasn’t yet – and should be? 

The Orielles: There are a few really sick bands coming out of Halifax and West Yorkshire right now. Most noteably The Lounge Society and Short Causeway. We have also just done a few shows with a great young band from the South of England called Drug Store Romeos. Well worth a listen, they’re gonna be biiiggg!

WRH: How did you get into music? 

 The Orielles:  We have all grown up listening to music and trawling through our parents record collections definitely helped influence our love and passion for music. We started playing music pretty much by chance. When we met each other, only Henry could actually play an instrument, but we decided to meet up and jam together the following day regardless. After that we realised our passion for playing music together was huge and we didn’t want to do anything else.

 WRH: Who are your influences? 

The Orielles: Our main influences include Stereolab, Air, ESG, The Pastels and YMO amongst others!

WRH: Who are you listening to right now? 

The Orielles: Right now, [we’ve] been listening to the new Jessica Pratt record a lot! Also, Big Thief and our faves, Altin Gün.

WRH: How would you describe your sound to someone completely unfamiliar to you? 

The Orielles: We like to describe our sound as post-punk funk.

 WRH: Before you went into the studio to your latest album Disco Volador, the band added keyboardist Alex Stephens. Has the addition of Stephens changed your creative process at all? And if so, how? 

The Orielles: He helped to develop our sound and his expanded knowledge on chords and harmony really worked well with our vision of what we wanted this record to be. The creative process stayed the same, we all still write together, and the recording process has always been very collective and shared. We never like it to be rigid in terms of what we play.

WRH: Sadly, it doesn’t appear on the new album, but I love your cover/rework of Peggy Gou’s “It Makes You Forget (itgehane).” How did that come about? 

The Orielles:  Thanks! We wanted to cover a song for a B-side and thought it’d be fun to rework something that wasn’t the genre of music that we make already.

We also love that song and listen to a lot of dance and electronic music so had the idea to try add our own personality to the cover.

WRH: Two of my favorite songs on the album are album opener “Come Down on Jupiter” and album closer “Space Samba (Disco Volador Theme).” Can you tell me a bit about what they’re about and what influenced them? 

The Orielles: “Jupiter” is about the idea of fate and being controlled by a potential higher force from outer space. “Space Samba” is a similar idea but more about boogie and having a disco in space!

We were influenced by bands such as Stereolab, Talking Heads, Arthur Russell, and John Coltrane.

WRH: I love Rose Hendry’s cinematic and hallucinogenic video treatment for “Come Down on Jupiter.” How did that collaboration come about? Can you talk a bit about how the treatment came about? 

The Orielles: We met Rose through a recommendation and as soon as we read her treatment we were in love with her creativity and her ability to be able to understand the lyrics and the ideas of the song on a deeper level.

We think she’s done a really great job of it and are very proud.

WRH: With the release of your debut, 2017’s Silver Dollar Moment, the band went from being one of the most exciting, emerging bands in Northern England to becoming an international blogosphere sensation, playing some of the biggest festivals of the UK touring circuit. How does it feel to be in the middle of that whirlwind of attention and activity?  

The Orielles: It’s really surreal! We definitely didn’t expect for our music to be so well received and for that we’re eternally grateful.

WRH: From what I understand, as you were touring to support Silver Dollar Moment, the members of the band wound up absorbing a wider and more eclectic array of music and sounds – in particular the film scores of Sandro Brugnolini and Piero Umilani, as well as the work of Khruangbin and Altin Gun (who I really dig, by the way). And sonically, the album does manage to reflect getting into a wider variety of things, throwing them into a big old pot and mixing them into something that’s sort of recognizable and sort of alien. So as a result, the material on Disco Volador seems like a bold and self-assured expansion of your sound. Was this intentional? And how much did Altin Gun influence the overall sound and aesthetic? 

The Orielles: I guess it was sorta intentional. We don’t really listen to a lot of western music and prefer exploring other styles and eras.  I think just expanding our musical palette meant that this progression came naturally.

We have been listening to Altin Gun for a while now after first seeing them play in Utrecht. We love the way that they can make traditional Turkish folk songs very danceable and fun and wanted to replicate that idea with guitar music.

WRH: There are brief hints at 80s New Wave – there’s a brief 30 second or so sequence on “Rapid I” that reminds me of Stop Making Sense-era Talking Heads before closing out with a house music-influenced freakout coda. How much did house music and New Wave influence the material? 

 The Orielles: Those genres inspire us a lot. We feel that they are often a lot more interesting than straight up guitar indie etc. We also really wanted to have a go at creating guitar music that people can have a boogie to.

WRH: Disco Volador finds the band returning to the same studio you recorded Silver Dollar Moment and continuing an ongoing collaboration with Marta Salogni. How has it been to work with her? 

The Orielles: Working with Marta is incredible! She’s such a great energy and has a really special and inspiring knowledge of musical production. She’s also a great storyteller and really hilarious!

WRH: You’re about to embark on a handful of sets at this year’s New Colossus Festival here in NYC, before heading down to Austin for SXSW. If I’m not mistaken, these sets will be your first Stateside shows. Are you excited? Nervous? What should Stateside audiences expect from your live show? 

The Orielles:  That’s right! It’ll be our first time playing there. We’re very excited! We are hugely inspired by the NYC late 70s/80s art and music scene and so playing out there will feel special to us.

WRH: Is there anything you’re looking forward to on your first Stateside tour? 

The Orielles:  We’re looking forward to living up to our collective nickname and being proper ‘thrift shop cowboys’. Also excited for hopefully a bit of Vitamin D in California lol.

WRH: Provided that you’ll have the chance to do so: Is there anyone you’re looking forward to catching at New Colossus? 

The Orielles: Looking forward to catching label mates, Stealing Sheep as well as a band from Bilbao, Belako.

WRH: After you play New Colossus and SXSW what’s next for you? Will there be more Stateside tour dates? 

The Orielles: Yes! After the festivals we do a short headline tour of the West Coast. Doing LA, San Francisco, Portland, Seattle and Treefort Festival in Boise.

 

SPECTRES  is a Vancouver-based post-punk act founded in 2005 by Brian Gustavson. And since the band’s formation, they’ve been popularly cited as being one of acts responsible for kicking off Canada’s renewed interest in the post-punk sound. Interestingly, the band was initially inspired by the British anarcho-punk scene of the late 70s and early 80s, the Vancouver-based post-punk meshed that scene’s ethos with post punk stylings and an uncanny knack for crafting hook driven, catchy material. But over the years, the band’s sound has evolved, increasingly incorporating elements of New Wave and punk.

“The band started as a way to creatively explore 1980s British anarcho-punk and while creatively we have drifted in new directions, this core influence still holds a lot of inspiration for us,” the band’s Zach Batalden  (guitar) says in press notes. Bands like The Mob, Crisis, Crass and Zounds are all still very important for us. From there we took a deep interest in ’80s post-punk and new wave with bands like The Sound, The Chameleons, Theatre of Hate and Modern English, central to the way our sound has developed.”

Slated for release this Friday, through Artoffact Records, the Vancouver-based post-punk act’s soon-to-be released Jason Corbett-produced album Nostalgia lyrically finds the band touching upon the alienation of modern life and the search for hope in an increasingly terrifying world. “Deepening political partisanship, aging, and finding one’s own way through alienating times are common themes the on the Nostalgia LP,” says Batalden. Sonically, the material fnds the band continuing their ongoing exploration of a decidedly post-punk like sound with Gustavon’s plaintive and melodic vocals ethereally floating over chiming guitars and propulsive beats. “For the new album, Nostalgia, we were listening to a lot of Flying Nun bands like The Bats, The Verlaines and The Clean as well,” Batalden adds.

“Years of Lead,” Nostalgia’s latest single is a decidedly New Order-like take on post-punk as its centered around jangling and shimmering angular bursts of guitars, four-on-the-floor drumming and rousingly anthemic hook. Interestingly, much like “Northern Towns” off the band’s “Provincial Wake” 7 inch, “Years of Lead” features a pitch perfect, deceptively anachronistic, era specific production paired with a bittersweet and nostalgic air.