Tag: Siouxsie and the Banshees

New Video: JOVM Mainstays Holy Wars Release a Socially Conscious, Horror Film Inspired Visual for “Born Dark”

Last year, I had written quite a bit about Holy Wars, led by Connecticut-born, Los Angeles, CA-based singer/songwriter Kat Leon, and as you may recall, Leon initially developed a reputation for writing material that focused largely on her obsessions with death and the occult as one-half the of the Los Angeles-based electro pop act Sad Robot. Leon’s critically applauded Holy Wars debut Mother Father was influenced by some of the darkest days of her life — when she was reeling from the sudden losses of her mother and father, who both died within months of each other. Building upon the attention she received here and elsewhere with Mother Father, Leon’s latest Holy Wars single “Born Dark” was produced by AFI’s Hunter Burgan, and while arguably being among the slickest produced singles she’s released, the arena rock friendly, hook-driven track is centered by propulsive tribal drumming, buzzing power chords and Leon’s pop star-like powerhouse vocals — and sonically the song manages to nod at Nine Inch Nails, Garbage and Siouxsie and the Banshees in a self-assured and ambitious fashion.

The track reportedly finds Leon going back to her roots — literally — as she explores the very moment of her birth, with the possibility that she may have been a bit of a bad seed, if not devilish, complete with a “don’t give a single fuck” swagger. Interestingly, the recently released video, directed by Kat Leon and Mel Hummel stars Leon as a murderous femme fatale/Barbie doll-type, pointing at the unrealistic representations of what women are supposed to be, act and look.

As Leon explains in press notes, “Growing up, little girls were given fashion dolls to play with as an expectation of what ‘women’ were supposed to look like and act like. It was an unrealistic representation of what we actually are and early on there were no variety to these dolls. There were no gothic or ‘darker’ dolls for years, or gender bending or anything other than what that skinny, blonde bubbly doll represented… the subtle brainwashing of our society. ‘Born Dark’ starts with the original pageant beauty queen doll but this doll carries a dark secret… she is a seductive killer with a thirst for blood. It all starts where the crown is given to another doll and our Born Dark Beauty grabs her first kill for the crown. The journey continues with each character introduced furthering the story of just how dark this doll is. Playing on the dark nature of the song, we decided to go with an overall moody, edgy and vintage vibe for the video starting with the French foreign film introduction to the song. The music video blends the reality between doll vs. human with foreshadowing and FX where the audience is left to question what is real and who is the true ‘character’ in this thriller. The murders are shown in a way where you aren’t sure of just who exactly the true killer is. Is the doll a figment of Kat’s imagination or the other way around?”

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Last year, I had written quite a bit about Holy Wars, led by Connecticut-born, Los Angeles, CA-based singer/songwriter Kat Leon, and as you may recall, Leon initially developed a reputation for writing material that focused largely on her obsessions with death and the occult as one-half the of the Los Angeles-based electro pop act Sad Robot. Leon’s critically applauded Holy Wars debut Mother Father was influenced by some of the darkest days of her life — when she was reeling from the sudden losses of her mother and father, who both died within months of each other. Building upon the attention she received here and elsewhere with Mother Father, Leon’s latest Holy Wars single “Born Dark” was produced by AFI’s Hunter Burgan, and while arguably being among the slickest produced singles she’s released, the arena rock friendly, hook-driven track is centered by propulsive tribal drumming, buzzing power chords and Leon’s pop star-like powerhouse vocals — and sonically the song manages to nod at Nine Inch Nails, Garbage and Siouxsie and the Banshees in a self-assured and ambitious fashion.

Interestingly, the track reportedly finds Leon going back to her roots — literally — as she explores the very moment of her birth, with the possibility that she may have been a bit of a bad seed, if not devilish, complete with a “don’t give a single fuck” swagger.

 

Now, over the past year or so, I’ve written quite a bit about the Los Angeles, CA-based indie pop project and JOVM mainstays Oddnesse, comprised of singer/songwriter Rebeca Arango and producer Grey Goon. The project has received attention for crafting beautiful and infectious hook-driven material centered around dark, heavy grooves. but with each successive single they’ve released, they’ve managed to subtly expand upon the sound that has captured the attention of this site and others. In  fact, the duo’s latest single “It Runs Wild” is driven by swirling and arpeggiated synths, shimmering guitar chords and a chugging rhythm section,  and while clearly indebted to 80s New Wave and pop, in particular, I think of Prince and Siouxsie and The Banshees, as the song’s emotional center is an aching longing.

 

 

 

Blood Blush is a rather mysterious New York-based post-punk act, and their latest single, the shimmering and moody “Demon Clout” as the band told me through email is “one on the lines of post-punk and goth but I think we are trying to blur some lines and call it ‘dreamgoth’ or something along those lines.” Interestingly enough, to my ears, Blood Blush’s latest single reminds me a bit of Chain of Flowers, Sisters of Mercy, Siouxsie and the Banshees and others.

The New York-based act will be touring throughout the summer and it includes two local dates — July 10, 2018 at Jersey City’s Pet Shop and July 13, 2018 at Bushwick Public House. Check out the rest of the tour dates below.

Tour Dates
J U L Y
07.10.18 JERSEY CITY, NJ at Pet Shop with Diap, Gherdty and Sailor Boyfriend.
07.13.18 BROOKLYN, NY at Bushwick Public House with Live Well, Leight Blumer and Keef Clan.
07.25.18 PHILADELPHIA, PA at Philamoca with NITE, The New Division and Korine.
07.26.18 PITTSBURGH, PA at Belvederes (Coven) with Death Instinct.
07.27.18 BALTIMORE, MD at The Baltimore Free Farm with Carl Gene and The Ward.
A U G U S T
08.16.18 KUTZTOWN, PA at Mind Palace with Reaches.
08.17.18 WILKES BARRE, PA at Karl Hall with Draining Youth, The Ordinals and Mr. Softee.
08.18.18 SYRACUSE, NY at The Spit Fam Haus with Siren’s Image and The Shuvits.
08.19.18 ROCHESTER, NY at Rosen Krown with Jan The Actress and Buffalo Sex Change.
08.20.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase).
O C T O B E R
10.19.18 COLUMBUS, OH at No Culture (Video Performance – 5pm).
10.19.18 COLUMBUS, OH at Tree Bar with Master Servos and Child of Night.
10.20.18 INDIANAPOLIS, IN at The Spruce Goose with Tombaugh Regio and Den Dwellers.
10.22.18 HAMMTRACK, MI at The New Dodge Lounge with TBA.
10.24.18 MONTREAL, QE at Mademoiselle with Spring Blades and TBA.
10.25.18 SARATOGA SPRINGS, NY at Desperate Annie’s (Super Dark Collective Showcase) with Spell Runner and Bare Mattress.

Several years ago, I wrote about the London-based electro rock/industrial rock trio Blindness, an act that featured Beth Rettig (vocals, programming), Emma Quick (bass) and Debbie Smith (guitar), who also had stints in Curve, Echobelly and Snowpony. After Blindness split up, Rettig started tinkering around with new music and reworking some ideas that she had lying around without much of a plan. As Rettig told me in an email, “Recently, I decided it was probably time to do something with some of the new stuff.” Debbie Smith, her former Blindness bandmate contributed guitars, along with some programming on one of the two singles, Rettig has released with her new project Where We Sleep, a project that Rettig hopes will have her working with other musicians as well. Unsurprisingly, the project draws from some of Rettig’s lifelong influences — Curve, The Jesus and Mary Chain, Black Rebel Motorcycle Club, Nine Inch Nails, PJ Harvey, Kate Bush, Massive Attack, and others.

“Veins,” the first Where We Sleep single finds Rettig collaborating with her former Blindness bandmate Debbie Smith, who contributes some thumping drum programming, arpeggiated synths and buzzing power chords in a sultry and anthemic New Wave-like song that sounds as though it were influenced by Sixousie and the Banshees and Depeche Mode. “Crawl” is a moody and atmospheric track centered around Rettig’s breathy vocals and industrial clang and clatter — and sonically speaking, the song may arguably be the most Depeche Mode-like that she’s released yet.

 

Over the past year, I’ve written quite a bit about the Los Angeles, CA-based indie pop project (and latest personal obsession of mine) Oddnesse, and as you may recall, the project comprised of singer/songwriter Rebeca Arango and producer Grey Goon can trace its origins to when both members individually relocated from the East Coast to Los Angeles after being in several failed bands. As the story goes, Arango and Goon bonded over a shared vision of beautiful and infectious music with a dark, heavy groove, and initially the project began as two friends jamming and experimenting with ideas before they began to take it as a serious endeavor.

Last month, I wrote about “I Used To,” an atmospheric and meditative track that centered around an ethereal arrangement of twangy guitar, gently droning synths and Arango’s ethereal crooning and while clearly nodding at 80s New Wave with Concrete Blonde and Siouxsie and the Banshees immediately coming to my mind, there was a subtly alt-country vibe that adds to cinematic proceedings. “Trust” the duo’s latest single, much like its predecessors is centered around a tight, hypnotic groove, featuring one of the best bass lines I’ve heard in a rock song to date, atmospheric synths, a sinuous guitar line played through washes of reverb and delay pedal paired with Arango’s come hither vocals and a razor sharp hook. And while continuing a run of subtly ambitious and well-crafted material, the song may be among their most straightforward and infectious pop songs to date that focuses on the swooning and wildly uncertain pangs of love — with the tacit understanding that love can make us all do some strange and unpredictable things.

 

 

 

 

 

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.