Tag: Ultrviolence

New Video: JOVM Mainstays Ultrviolence Return with the Stark and Lonely Visuals for New Single “Guillotine”

Throughout their history together, the Calgary, AB-based indie rock/darkwave/New Wave/post-punk act Ultrviolence have developed a reputation for adhering to old-school DIY principles and for frequently ignoring the clichés and dictates of the music industry machine. And over the past couple of years, the band has caught the attention of the blogosphere — and in particular this site, for a sound that seemingly draws from Joy Division, Interpol, Viet Cong and others.

Since the release of last year’s Black Sea EP, the band has gone through a massive lineup change with Nate Jespersen (vocals, bass), the sole founding member, collaborating with several members of Vancouver, BC-based indie rock band ACTORS. Produced by ACTORS’ Jason Corbett, the project’s much-anticipated follow-up to Black Sea EP, Forty Knives EP finds Jespersen and the band’s new lineup building upon the moody, post-punk sound that first caught the attention of this site and the blogosphere while thematically evoking the dark and seemingly unending solitude that arises when one allows themselves to be completely isolated from the world.

“Guillotine,” Forty Knives’ first single is a hauntingly moody and atmospheric track, which finds the band pairing jangling guitar chords played through reverb and delay pedal, shimmering synth chords, a propulsive bass line and a metronomic-like drumming paired with Jespersen’s equally moody baritone vocals. Interestingly, with my 38th birthday being yesterday, this particular song evokes something profoundly familiar — the lingering and embittering ghosts and ill-feelings of a particularly dysfunctional and/or ambivalent relationship; the awareness of time passing by and of the built-in regret that you’ve squandered the most valuable and important commodity you’ll ever know — time; and that feeling of stepping away from the wreckage of a lengthy relationship and not quite knowing what to do next or how to even go about it. And as a result, the song possesses a visceral ache.

The recently released video for the song nods at Bob Dylan’s “Subterranean Homesick Blues” and INXS’ “Need You Tonight”/”Mediate” as the video features a man on the side of the road, holding cardboard signs with the song’s lyrics; however, this man is hitchhiking with a sense of desperate urgency.

New Video: The Fight Club Meets Art School Visuals for Ultrviolence’s “Radiation”

Ultrviolence’s latest single “Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention as the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords.The recently released music video for the song is an aptly noir-ish video that features the awesomely casual destruction of an old cathode ray TV, some bad ass dudes swinging sledgehammers, brandishing knives, fighting each other and posing about; in some way, the video reminds me of a fashion forward jeans ad mixed with Fight Club.

 

Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based post-punk/darkwave/chillwave trio Ultrviolence have quickly developed a reputation for a moody, post-punk sound that’s indebted to Joy Division, New OrderInterpol, Viet Cong and others and for adhering to the sort of DIY principles that led them to ignore the clichés and dictates of the major recording industry machine. Now over the past couple of months the Canadian post-punk trio have become one of my new favorites as I’ve written about “Better Learn How to Swim,” and “Radiation,”  the first two singles off the Canadian  trio’s soon-to-be released EP Black Sea; in fact, both singles manage to remind me quite a bit of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down.”

Much like “Radiation,” “Untitled,” will further cement the trio’s reputation for moody and angular post-punk with anthemic hooks — but while arguably being the most propulsive and forceful songs they’ve released to date.

 

 

 

 

Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.

Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.

Earlier this month, I wrote about Calgary, AB-based indie rock/darkwave/New Wave/post-punk trio Ultrviolence. Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), the Canadian trio have quickly developed a reputation for a moody post-punk sound that’s reminiscent of contemporary acts like Interpol, Viet Cong and others, and for adhering to DIY principles as they’ve played in countless basements and tiny clubs across the continent, using battered instruments and battered instruments and ignoring the cliches and dictates of the recording industry machine. Now you might recall that i wrote about “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming Black Sea EP that manages to be reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.

Black Sea‘s latest and single ” Radiation” will further cement the Canadian trio’s burgeoning reputation for crating dark and moody post-punk/New Wave/darkwave-leaning rock while gently expanding upon the sound that initially captured my attention — the band pairs Nate J’s expressive and yearning baritone with ethereal synths, shimmering guitar chords played through copious reverb, and a driving rhythm consisting of four-on-the-floor drumming and propulsive bass chords. Sonically, the new single manages to clearly draw influence from the likes of the aforementioned Turn On The Bright Lights-era Interpol, Joy Division and New Order — but with as subtle twist on a familiar sound.

Comprised of Nate J. (vocals, bass), Ali Abbas (guitar) and Kirk Power (drums), Calgary, AB-based trio Ultrviolence have developed a reputation for a moody post-punk sound reminiscent of Interpol, Viet Cong and others, and for adhering to DIY principles — they’ve played in countless basements and small clubs across the continent, using battered instruments and blinking electronics while writing and recording their material, following wherever their muses take them. Recently, the Canadian post-punk trio have started to receive both radio airplay and attention for their live show and building upon the growing buzz they’ve received, they released “Better Learn How to Swim,” a moody yet swooningly Romantic song off their forthcoming EP Black Sea that’s reminiscent of Turn On The Bright Lights-era Interpol — in particular, I think of “Untitled,” “NYC” and “Stella Was a Diver and She Was Always Down” — as the band pairs a sinuous bass line, angular and shimmering guitar chords and an dramatic, anthemic hook with Nate J’s aching baritone.