The delightfully enigmatic Please Don’t Tell stands cloaked in the allure of a secret too compelling to keep. Nestled in the quaint embrace of Charlottesville, VA, this trio’s repertoire, a whimsical blend of nocturnal worries, folkloric charm, and the kind of mischief one might expect in a dimly lit Victorian parlour, emerges from an unlikely medley of acoustic instruments. And yet, for all the spectral echoes of yesteryear that dance beneath their tunes, there’s a timeless quality to their music, suggesting it might have effortlessly found its place in the annals of history, serenading an era that never knew it needed them, without so much as a discordant whisper.

At the helm of this clandestine affair is Christina Fleming, a master of melody who doubles as both the lead vocalist and pianist, crafting tunes that beckon the listener closer with the promise of untold tales. For a fleeting moment, the ensemble blossomed into a trio, with Nicole Rimel’s cello and Anna Hennessy’s violin and vocals adding layers to their one-night symphony, an arrangement so enchanting it stubbornly refused to disband.

In the absence of drums, the ensemble finds its rhythm in Fleming’s dynamic piano play and her expansive operatic voice, a combination that fills the air with an unexpected vibrancy. The trio, with their eclectic backgrounds, converge in a sound that looms large, drawing from the grandeur of classical and choral music, the dark allure of goth club nights, and the earthy undertones of bluegrass that whisper of their Central Virginia roots. The revelation that these musicians are as at home in the gritty ambiance of underground punk venues as they are under the refined lights of The Kennedy Center should hardly raise an eyebrow among those tuned in to their diverse range.

The lyrics of their songs oscillate between the compelling tales of remarkable women and intimate contemplations, unearthing the sort of stinging quips that are typically concealed within adversity. At times, they abandon any guise of humor, confronting the listener with the stark, unvarnished truths of Fleming’s musings on our precarious human condition. Yet, more often than not, the somber themes are laced with a sharp, modern wit that deftly targets tyrannical spouses and dissects the mental dilemmas pervasive in today’s society. The group’s sound is profoundly shaped by their eclectic musical tastes, which span a broad spectrum from Mozart and Rasputina to Kurt Weill, Tom Waits, Cab Calloway, and Edith Piaf. This diverse palette informs their modern chamber-pop aesthetic, evoking parallels with acts like The Divine Comedy, Duke Special, and Rufus Wainwright. Their unique approach to music embraces a gothic romanticism, infused with whimsy and charm, and is reminiscent of a Sweeney Todd-like twist, sugarcoating blistering melancholy with enchantment, whimsy and Schoenhut toy pianos.

This brilliant, bizarre album opens with Nearsighted, which expresses a deep sense of internal emptiness and loss, likening the singer’s soul to a desolate graveyard. This internal landscape is marked by a profound stillness and the absence of pain, but also by loneliness and a longing for connection, symbolized by the contrast between wild roses and neglected graves.  The video for the chilling Heave Ho, directed by Mariah Johnson, asks us to examine our realities: is the dear widower in the clip being supported by care givers, haunted by spirits, or drowning his own grief? Was it all a dream?

Blueshift depicts a preference for the night over the day, highlighting the night’s comforting embrace that harbours the singer’s fears and dreams. Contrasting the day’s harshness, the night’s gentle nature offers solace and an attentive ear, embodying a peaceful sanctuary where the moonlight transforms perception, casting everything in a serene, blue hue.

The lyrics to the tragic The March of Grace Fryer poignantly reflect the horrible story of the “Radium Girls,” who were factory watch dial painters who suffered from radium poisoning from the glow in the dark paints they used. Their initial pride transformed into a harrowing reality of physical decay, yet they ironically maintain a haunting elegance. The song critiques societal attitudes towards their plight and the dismissive justifications for their suffering, ultimately depicting them as glowing, disintegrating specters, reminders of a grave injustice. This danse macabre is a reminder that these workplace injustices persist today, and these little ghosts serve as a warning tale.

The lyrics of St James Infirmary depict a mournful visit to a lover’s final resting place, evoking a mix of sorrow and bravado. The narrator requests an extravagant funeral, reflecting a life lived with flair. Amidst the somber setting, there’s a defiant celebration of the self, with the recurring wish for the departed to find peace, yet underscored by the narrator’s assertion of their irreplaceability.

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The post Music for a Victorian Funeral Parlour — Listen to the Dark Folk Cabaret of Please Don’t Tell’s Self-Titled Debut appeared first on Post-Punk.com.

The EP’s standout single, “My Kingdom For A Glimpse,” accompanied by a visually engaging video premiere, anchors this collection of songs that also includes “Rain In Europe” and “A Desert Song.” Together, they weave a sonic narrative that showcases Vincent Christ’s ability to blend classic sensibilities with contemporary sounds.

“My Kingdom For A Glimpse” captures the listener’s imagination with its dynamic synths and rhythmic guitars, evoking the spirit of ’80s film scores while maintaining a sound that’s unmistakably current. Vincent’s vocal delivery bridges the gap between the heartfelt earnestness of Corey Hart and the anthemic presence of Jim Kerr from Simple Minds, creating a track that’s as captivating as it is nostalgic.

“Rain In Europe” shifts the mood to a more introspective space, with its lush, shoegaze-inspired arrangements reminiscent of the atmospheric sounds of Slowdive and Joy Division. This track envelops listeners in a sonic exploration of memory and connection, articulated with a subtle urgency that’s both moving and profound.

Completing the EP, “A Desert Song” offers a reflective take on friendship, marked by its evocative melody and Monty Carlos’ expressive lead guitar. The track paints a vivid picture of contemplation and longing, set against the backdrop of vast, open landscapes.

The video for “My Kingdom For A Glimpse” strips away pretension to offer a genuine look into Vincent Christ’s artistic world. Merging intimate studio moments with the dynamic energy of live performances, the video reveals the unadorned essence of Christ’s music, characterized by a confident ease that draws the viewer into his creative realm.

This visual narrative, crafted with authenticity, contrasts the solitary act of creation with the shared experience of performance, embodying the duality at the heart of Christ’s music. The video not only enhances the EP’s auditory journey but also connects viewers to the tangible roots of musical creation and the shared joy of live art.

Watch the video for My Kingdom For A Glimpse” below:

“Fast Paint,” expertly mixed by Monty Carlos and showcasing Vincent’s versatility across multiple instruments, affirms his dedication to music that transcends time and genre. Each track adds to the story of an artist who is constantly evolving while remaining anchored to the foundational elements of sound and emotion. The EP’s analogue artwork, created by Rocy, visually complements the music’s depth, inviting listeners into the textured, nuanced world of Vincent Christ’s music.

With “Fast Paint,” Vincent Christ continues to chart a course through the music landscape that is as adventurous as it is genuine. This EP is more than a collection of songs; it’s an invitation to immerse oneself in the rich, layered world of Vincent Christ’s music, promising a journey that’s as enriching as it is entertaining.

Order the EP here and listen below:

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The post Listen to the 80s Pop Infused Post-Punk of Vincent Christ’s “Fast Paint” EP — Plus Watch Video for “‘My Kingdom For A Glimpse” appeared first on Post-Punk.com.

With each water drop on a leaf, nature paints a unique masterpiece, crafting a symphony of colour and light.

In the delicate union of a water drop and a leaf, we witness the interconnectedness of all living things.

In the dog-eared pages of many a long out-of-print magazine, where ink bleeds history and nostalgia, the genres of old-school goth and post-punk are vividly chronicled, their tales woven through the angst-ridden anthems of the late 70s and early 80s. Echoing these archives of aural rebellion, West Wickhams etch their narrative, a duo whose music might fit well in the lineup of the legendary Futurama Festival or a hidden gem unearthed from the more romance-driven Batcave bands.

Jon Othello and Elle Flores, the architects of this anachronistic soundscape, bridge the misty moors of England with Sicily’s sun-kissed ruins. Their concoction of psychedelic post-punk is a tribute to the era’s icons, yet it dances to its own macabre melody. The duo channels the spectral elegance of Whitby Abbey and the twisted tales of Gothic literature into their sound, weaving a musical spell that could charm the most discerning ears of Leeds’ or Liverpool’s famed Erics scenes.

West Wickhams wear their eclectic influences like badges of honor, from the haunting prose of Mary Shelley to the avant-garde spectacles of Andy Warhol. Their latest offering, “Vivre Sa Vie,” is a siren call to those who find beauty in the melancholic and the macabre, inviting listeners to step into a world where past and present are entwined in a mesmerizing dance of shadows and sound. Within the music of West Wickhams, the past is not just alive—it’s electric, pulsating through the atmosphere like a ghostly echo from a time when music was a dark, beautiful rebellion.

The album begins with I Am Sparkling Cyanide, an eccentric track that melds psychedelic sensibilities with an Americana twist, setting a tone that’s both intriguing and offbeat.

Following this, The Maddening Crowd takes the stage, eschewing Thomas Hardy’s pastoral moods for a frenetic energy reminiscent of The Normal’s iconic TVOD, where the tempo of surf rock meets the shadowy contours of deathrock.

Carla Suspiria enchants with its deep, brooding bassline, creating a sense of foreboding that pulsates through the track. Layers of ghostly, otherworldly sounds build upon this foundation, crafting an atmosphere that mirrors the eerie depth of Bauhaus’s most chilling pieces, wrapping the listener in a cloak of gothic allure.

The album then transitions to I’m Spinning I’m Spinning, where the tempo slows to a heavy, swampy pace. This track immerses the listener in a haunting ambiance, as the music creates a dizzying effect, akin to being caught in a spectral whirlwind, with each turn drawing one deeper into a mysterious and spooky realm.

After the brooding intensity of the earlier tracks, At The Cinema brings a refreshing burst of energy with its vibrant, jangly guitar work and deep, echoing vocals, all driven by a minimalist motorik bass pattern that nods to Grauzone’s iconic Eisbär. The mood shifts slightly with Shock Celebration, where a more introspective tone prevails, reminiscent of the Pixies and Kim Gordon, yet distinguished by a striking guitar melody that cuts through a backdrop of simulated breaking glass.

The Conformist steers the album back into the realm of post-punk, adorned with resonant chimes that elevate its melody. Scandulous then accelerates into a surf rock tempo, albeit with a dark twist that seems to transport the listener to a moonlit beachside cemetery. The album culminates with Damned Defiant!, a track that leaves a lasting impression with its ethereal quality, drawing the journey to a close with a sense of haunting beauty and otherworldly grace.

To celebrate the release, very limited Vivre Sa Vie CDs are available exclusively on Bandcamp with random extra goodies.

Order Here

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Crucify me now and hang me upside down”

Failure Analysis is the third full-length album from Gerry Hathaway, known artistically as Arkham Sunset, a prolific electronic producer based in Portland, Oregon. At the heart of Arkham Sunset lies a steadfast commitment to collaboration: this album brings together contributions from a diverse mix of Portland’s musical talents, including the vocal and instrumental prowess of Lies We Were Told, Doppler Affection, and Ceremony Shadows, complemented by the distinguished Iranian guitarist Farzin Ajorlou. Lee Ann Hathaway, Gerry’s wife, lends the project its most profound and personal dimension. Lee Ann’s artistic vision not only shapes the album’s visual aestheti,c but also the thematic essence of the singles leading up to its release.

Failure Analysis also explores the couple’s shared affinity for vintage horror and erotica, a preference that infuses the work with a delightfully sinister and playful undertone.

Staying true to Hathaway’s signature approach, the album traverses a broad array of musical terrains. It delves into the gritty realms of industrial and metal, ventures through the shadowy echoes of darkwave and goth rock, pulses with the beats of Berlin School and disco, and explores the nuanced realms of synthpop and ambient, showcasing the artist’s eclectic and adventurous musical explorations.

The instrumental ASDR thrives on a vibrant, pulsating rhythm that invigorates and uplifts. Its euphoric melodies and dynamic beats create an energizing ambiance, with its exhilarating and heart-pounding vibe – perfect for igniting a sense of joy and vitality. Channeling the stirring and tension-filled essence of 1970s Italian ‘Giallo’ cinema, Blood In Four Colors unfolds with a bold S&M undertone—echoes of leather, gentle restraints, and yearning looks that suggest the dangerously seductive nature of a love affair teetering on the edge of destruction. The music captures the constant tension inherent in such fraught liaisons, teasing an intimacy that is perpetually just beyond reach, a nuanced dance of dominance and exposure.

Horizon Zero resonates with a strong Knight Rider vibe, thanks to its cinematic arpeggios, use of vocoder and guitar, and the resonant tones of its synths. It evokes the iconic style of Stu Phillips and draws inspiration from Jean-Michel Jarre, bridging nostalgic television scores with motorik beats. Failure Analysis moves into darker territory, sounding more like a latter-day Gary Numan with the raw, jagged vocals of Fugazi or Black Flag.

Neuro Rhythmic moves back into cinematic territory, with an ominous sonar blip anchoring manic synth arpeggios. It’s the soundtrack of all things neurospicy, mimicking the frentic racing thoughts in an overloaded mind. Next is a rousing – if caustic – cover of Ministry’s Revenge, to celebate the 40th anniversary of With Sympathy. The album concludes with Departure Point, a Kraftwerkian track that carries a gentle, rhythmic pulse, marking it as another cinematic instrumental piece. This closing number wraps up the collection with a sense of calm introspection.

Listen to the album below, and order here:

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I am trying to return here.

And all around are dead flowers,

That they can’t reach for the sun.

Nürnberg, a post-punk duo comprising Yury Luhautsou (vocal, bass, synths) and Aleh Sautin (guitar), hail from Minsk, Belarus. Today, the band announces the release of Adkaz, their third studio album, via Young and Cold Records. The title, translating to “answer” in English, hints at the thematic richness and profound exploration found by exploring within the self.

Formed in 2016, Nürnberg’s artistic vision is deeply rooted in the melancholic essence of post-Soviet urban landscapes. Their music reflects an exploration of existential themes, social issues in today’s industrial societies, and the often overwhelming pressure and fatigue of modern life. Yet, amidst this sombre reflection, their work also resonates with the essential human capacities for love and compassion.

Nürnberg’s sound, characterized by a moody ambience, is infused with a palpable energy, akin to Gang of Four, Chameleons, Scars, and Killing Joke. Their compositions are imbued with a sense of melancholy, gloom, and desolation, all while being adorned with shimmering reverb and bittersweet melodies. One feels a sense of compassion nestled within this fatalistic dance music built on kick and clap drum beats, resonant, melodic basslines, and piercing, wistful guitar leads that intertwine with Luhautsou’s emotive vocals.

Moving beyond their classic post-punk origins, their new album introduces a compelling new buoyancy to their sound, significantly different from their previous work. Thematically, record reflects on individual experiences during significant historical shifts, addressing themes of dislike and mental health challenges pertinent to contemporary Eastern European life, along with insights into love and personal relationships. Adkaz acts as a coherent progression from their earlier albums to what lies ahead, signaling a deliberate and thoughtful shift in their musical direction.

The opening song, Insomnia, is an old-school post-punk gem with its melodic guitar and bass. The ardent vocals flawlessly convey the ache and longing for a lost love, feeling their absence profoundly and experiencing them only in the realm of dreams. The realization dawns each morning that these encounters are merely figments of their imagination.

The next song, Horad, evokes that feeling of heading towards the western sunset that Ennio Morricone conjures up through his film scores, an atmosphere that has always pervaded post-punk. Lyrically, the song conveys a sense of persistent gloom and isolation in a town devoid of sunlight, where both the city and its inhabitants are engulfed in restlessness. A deep desire to share the night with someone special persists despite the bleak backdrop.

In “Adkaz,” a pervasive feeling of tedium and detachment from the day-to-day emerges, encapsulating a quest for insight into feelings of being singled out. The song’s guitar riffs and vocal tones allude to the iconic sounds of Asylum Party and Low-Life, while the musical arrangement imbues the track with an emotional depth and a nostalgic essence that is quintessentially coldwave, reflecting the genre’s unique blend of melancholy and introspection.

Imbued with more synths, most notably a catchy bass, Miesca, through its ensnaring vocals, expresses a longing for gentle connection and clarity.  The song reflects on enduring personal struggles and a surrounding environment where hope, symbolized by flowers unable to reach the sun, seems distant.

Adliha is even more synth-driven, evoking the darker synth-pop of New Order. The song describes a tumultuous relationship marked by conflict and emotional distance, likened to historical events like the Cold War and the Berlin Wall; retreating into isolation as they endure deep emotional pain. Despite the lack of resolution or victory, there’s a glimmer of hope for change…a ‘Prague Spring.’

Vada transforms into an ethereal dance of dreams, where the elevated vocal harmonies evoke a realm of solitude and deep reflection, akin to a longing to immerse oneself in the symbolic embrace of water’s depths. This voyage mirrors a detachment from another, whose proximity and touch have faded away. Here, water acts as a cleansing force, washing away imperfections and beckoning towards a profound self-discovery, extended as an open invitation to the other.

Highlighting the overwhelming nature of fear that can paralyze and consume one’s mental well-being, Strach is a captivating composition where a precipitous melange of guitars, vocals, and synths masterfully conveys the terror of a life overshadowed by such dread. The track delves into the debilitating effects of fear, probing the extent of its power to erode and confine the spirit and articulating the perplexity surrounding its all-consuming presence.

In the vibrant and entrancing melody of “Pacalunak,” driven by an Eastern European guitar flair, the lyrics unfold a tale of unfulfilled affection and the yearning for something beyond mere friendship. The song is anchored by a catchy vocal hook that adds infectious layer to its emotional depth. Here, one individual’s emotional detachment is poetically depicted as a layer of snow upon their soul. Despite deep emotions and a longing to overcome these emotional divides, the possibility of romantic entanglement is decisively dismissed by the other, casting a shadow of definitive rejection and closure over their interactions.

Listen to the album below and order here:

Nürnberg’s third studio album, Adkaz, is a compelling testament to the resilience of post-punk, skillfully weaving together the melancholic textures of post-Soviet urban landscapes with the band’s unique sonic identity. Rooted in the traditions of both Eastern and Western post-punk legacy acts, such as Gang of Four, Scars, Chameleons, Killing Joke, and KINO, the album nevertheless asserts its distinctiveness through its deep engagement with the existential and social undercurrents of contemporary Eastern European life. The themes explored in the album—ranging from the ache of lost love in “Insomnia” to the quest for connection amidst desolation in “Miesca” and the terror of consuming fear in “Strach”—are not just reflections of individual experiences but resonate with broader historical shifts and mental health challenges. Through its moody ambience, resonant melodies, and emotionally charged vocals, Adkaz stands as a poignant narrative of resilience, introspection, and the perennial human quest for love and understanding, firmly planting its roots in the rich cultural soil of Nürnberg’s Belarusian heritage, making it a unique and evocative addition to the post-punk canon.

Adkaz was recorded with Raman Kamahorcaŭ (Molchat Doma) band and with sound engineer Andrej Babroŭka. The striking cover and artwork for the album was created by Jonathan Sirit (Belgrado).

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The post A Search for Meaning and Connection — Belarusian Post-Punk Duo Nürnberg Look Within in Their New Album “Adkaz” appeared first on Post-Punk.com.

Dusk, with its fading light, symbolizes a dying planet, embodying the Earth’s decline due to environmental degradation and unsustainable human practices. This twilight metaphor highlights the gradual loss of ecological vibrancy, serving as a poignant reminder of the urgent need to address these issues before it’s too late, transforming the daily transition into a larger tale about our planet’s precarious future. A reliquary is a practice from antiquity, involving the preservation of relics, which are believed to be the physical remains of saints, within ornately decorated vessels. These sacred containers are sought out by devotees for blessings and comfort, serving as tangible connections to the divine and the historical figures venerated within various faith traditions.

Melbourne-based darkwave duo Ov Pain, composed of New Zealanders Renee Barrance and Tim Player, delves into existential themes with their latest offering, Reliquary of Dusk, released through Melbourne’s It Records. Known for their exploratory approach to music, Ov Pain consistently forges new paths with each album.  The Barrance-Player collaboration is known for its adventurous spirit, as evidenced by their varied discography. However, with Reliquary of Dusk, they appear to have honed in on a musical direction that aligns closely with their 2022 work Kauri Island and the lauded The Churning Blue of Noon from 2021. The former showcased a commitment to a slower pace, richer textures, and a minimalist approach, with melodies that were straightforward yet captivating in their repetition. Reliquary of Dusk continues this trend, presenting a refined, atmospheric, and introspective sound. The duo aims to craft an experience that embraces simplicity, allowing listeners ample space to immerse themselves in the music’s complex layers and draw their own interpretive insights.

“Dusk seems an especially operative noun in the context of the historical-material moment,” the band reflects. “It might be thought that we’re living through a moment much akin to dusk, with a bleak future ahead, a future of perpetual darkness. Perhaps.”

Reliquary of Dusk unfolds as an entirely electronic creation, where layered synth drones meld into minimalist rhythms, creating a complex tapestry of slow-emerging melodies that weave and bubble into existence. Barrance’s vocals hover ethereally, offering a seductive yet misleading serenade that unveils grim realities and a sense of existential unease. Her voice, with its gothic nuances, occupies a unique space that recalls the distinctive folk-inflected tones of artists like Nico or Cosey Fanni Tutti, and at times, carries echoes of a feminine Marc Almond. It’s a voice that blends cold, spectral, and industrial elements, yet remains captivatingly alluring despite—or perhaps because of—these characteristics. The fusion of these elements, coupled with Barrance’s adept improvisation, culminates in a harmonious work that echoes the distinct styles of Muslimgauze, Coil, Julee Cruise, and Dead Can Dance.

The songs featuring vocals on the album are compelling; they delve into the recklessness and excessive waste of the Anthropocene era. Barrance is direct in addressing these issues, leaving no room for light-heartedness. The usual optimism found in pop music is tempered, yet pop’s presence is not entirely dismissed. Instead, it’s presented with a sophisticated polish, inviting serious consideration of its substance.

On Evil Hour features the ethereal, chilling vocals of Barrance, setting a mood that reflects on the dangers of mistaking hubris for progress. Through her lyrics, Barrance critiques the contemporary conflation of greed with success and the vulnerability of Western ideals. Illusion and superficiality in human interactions and achievements suggest a sense of emptiness and the transient nature of glory, with an underlying message about the inevitability of change and the search for meaning. Silver Gate depicts a scene of manipulation and deceit, where people are drawn together by superficial attractions and become entangled in duplicitous transactions. The repetition of being “forced unstuck by the fluro shore” suggests a disruptive event or realization that breaks the cycle of deceit, hinting at a potential escape or awakening.

Saturn evokes the feeling of impending closeness to both life’s delicate beginnings – and its inevitable end. We are presented with a gradual approach to reality, marked by decay and transformation, highlighting the contrast between observers and the cursed. The deceptive nature of reality is portrayed as a Prism of L, and the entrapment within fear. The song explores themes of division, the stifling of diversity, and the daily monotony of life under these illusions. The act of unveiling truth is depicted as a revelation of the world’s inherent chaos, questioning the existence of purpose, love, and hate within this framework, and the desire for retribution.

“Are we living in a kind of dusk?” the band asks. “Is perpetual night ahead of us? Should we seek solace in the relics from the past? Or should we all get with the program and march with accelerated emphasis toward our global demise such that we get it over and done with asap and rejuvenation can henceforth begin?”

While Barrance occasionally offers a semblance of romantic respite, her voice, with its siren-like foreboding, never softens the stark portrayal of the apocalyptic reality she aims to underscore. Similarly, the drone backdrops created by the band are more likely to provoke tension than tranquility. The compositions themselves are intriguing oddities, reflecting the uneasy journey towards our collective end—a journey that, inevitably, carries a degree of discomfort.

Reliquary of Dusk may provide just the right space for one to ponder these thoughts. Good luck out there.

Listen to the album below, and order it here.

Reliquary of Dusk was recorded and mixed by Simon Maisch and mastered by Lawrence English.

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“Stranger Minds” is a compelling expedition through the labyrinthine corridors of the soul, with each track representing a milestone of personal and artistic metamorphosis, creating a dance of shadows and light. The lo-fi aesthetic of Analog Dance invites us into an experience where the echoes of Clan of Xymox, New Order, and haunting baritone reminiscent of surly gothic rock frontmen converge in a symphony of melancholic euphoria.

The album opens with “Eyes,” a track that ensnares with its spectral vocals and throbbing beats, setting the stage for a voyage into the depths of the psyche. “Melancholy” and “Lost” weave a dense fog of synth and sorrow, while “Echo” mesmerizes with its eerie, repetitive melodies, drawing listeners into a reflective trance.

“Emulation” quickens the pulse with its frenetic synths, a nod to the Human League’s legacy, whereas “Closely” slows the tempo to a somber march. The journey ventures further into the unknown with “Unknown Place,” a fusion of synthpop and post-punk, and “Nostalgia,” which dazzles with its new wave radiance.

As “Digital Tears” cascades into “Drowning,” we’re submerged in a sea of retro-infused melancholy, only to be revived by the nostalgic undercurrents of “Gloom.” The odyssey concludes with “Animal,” a vibrant finale that pulses with the promise of renewal.

Listen to the album below:

Analog Dance’s “Stranger Minds” is a synth-driven phantasmagoria that not only can be heard through the ears, but is also tactile with emotion. It’s an obscure and esoteric darkwave record that serves a soundtrack that resonates like shadows cast upon the walls within the caverns of the heart and mind, perhaps mirroring our own transformations or serving as a beacon for those adrift in their own narratives.

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Today he releases a new LP and an intriguing new video for the opening single, and title track Ride Again.

Stone sets the scene for the Rosa Luna-directed lo-fi extravaganza: “A lonely synthesizer enters like sand swirling in the desert. Through the haze of the heat, we hear the deep thumping of a four-on-the-floor kick drum, and Ronnie’s solemn tenor comes into focus. He describes running out of gas on the freeway, leaving behind his motorcycle, and wandering through the desert, a broken man searching for meaning in his life. He finds his way to a strange city, where he seeks guidance from a psychic who tells him he has made a terrible mistake.”

Watch the video for “Ride Again” below:

The Diamond finds Ronnie Stone stripping down to a raw, mechanical core, weaving together jarring bass lines with haunting synths and vocals. The track is a masterclass in minimalist cool, laced with killer hooks. Stone elevates his dark electro-synth game to new heights with this number, channeling the gritty essence of pioneers like Tobacco and Front 242, while nodding to the early, gritty days of Nine Inch Nails’ Pretty Hate Machine. It’s a bold step forward for Stone, one that solidifies his place as a dark wizard of the dance floor.

“I wanted the lyrics to be more conceptual and more graphic novel-esque to fit more in with the sound I was channeling,” says Stone. “The song takes place in a retro-dystopian future inspired by Haruki Murakami’s 1Q84. In a surreal and seedy narrative drawing influence from crime films like Natural Born Killers and Pulp Fiction, it details the thoughts of a woman on a mission to do whatever it takes to survive. She crosses a bridge, seduces a guard, steals some money, and slits the throat of anyone who gets in her way.”

Although nostalgic and light sounding, Riding In The Rain punches you square in the gut. Navigating his hometown’s transformed streets, a man grapples with a deep sense of alienation and despair in the wake of a departure. Familiar places now seem distant, tinged with sorrow. He rides under relentless rain, confronting the pain and change, haunted by memories and a future irrevocably altered.  “As I was writing this song, I was thinking about movies such as Taxi Driver, Say Anything,” says Stone. “There is a vivid section of Zen And The Art of Motorcycle Maintenance where the narrator (Phaedrus) describes riding his motorcycle straight into a torrential downpour. This imagery was on my mind when writing this song.”

Backstreet Leather Toy (ft. Sedona) has that blue-eyed soul vibe, channeling Wang Chung and Hall & Oates alike, with delicious synth flourishes tinkling throughout. That ‘bad boy’ had better watch his back with a R&B groove this smooth, modernized with an Electropop sheen and a touch of George Michael. The final, eponymous, single was inspired by the worlds and sounds of techno and house.

Trippin’ the light fantastic? Chemicals is a groovy laundry list of hallucinogenic pleasures crafted for club euphoria, channeling the retro funk of Louis Cole and Knower. Calle Loiza follows with the sweet spot of wistful synth cheesiness – we can almost picture Michael McDonald frantically rushing to the studio to sing backup on this path to paradise. Daddy’s Last Night In Town channels that samba beat off your childhood Casio, replete with orchestral hooks and a funky wah-wah bassline. Disappear Here moves solidly into Prince territory, speeding up that funk and fuzzing it out with call-and-response delivery. The album closes out with a much chiller vibe: Return 2 Love, another Hall & Oates-flavoured ballad.

Verdict: all killer, no filler. Blast this one loud for your Valentine and watch the magic happen.*

*Disclaimer: we cannot guarantee WHAT kind of magic, so use this powerful mojo with caution!

Listen to the album below and order here:

Ronnie’s hitting the streets of America with a cross-country tour, kicking off at Trans-Pecos in NYC and snaking though the northeast, midwest, and Pacific coast.

Tour Dates

• 2/17 – NYC, NY @ Trans Pecos w/ Nuxx Vomica, Public Circuit
• 3/20 – Philadephia, PA @ The Dolphin
• 3/21 – Cambridge, MA @ ZuZu w/ Tyler – Sactuary (DJ night)
• 3/26 – Cleveland, OH @ Dunlaps
• 3/27 – Columbus ,OH @ Dirty Dungarees
• 3/29 – Chicago, IL @ FeelTrip w/ Wingtips
• 4/3 – St. Louis, MO @ Platypus
• 4/5 – Witchita, KS @ Kirby’s Beer Garden
• 4/6 – Tulsa, OK @ Showpony
• 4/8 – Denver, CO @ GLOB
• 4/9 – Salt Lake City, UT @ International Artist Lounge
• 4/13 – Seattle, WA @ Bad Bar
• 4/14 – Olympia, WA @ The Crypt w/ rosetan
• 4/16 – Portland, OR @ Kelly’s Olympian
• 4/17 – Longview, WA @ Stash Records
• 4/24 – Los Angeles, CA @Permanent Records w/ Primer
• 4/26 – Longbeach, CA @ Vine w/ They / Live, Primer
• 4/30 – El Paso, TX @ Rosewood w/ Primer
• 5/1 – San Antonio, TX @ Cream w/ Zen Handler, Delenda, Primer
• 5/2 – Austin, TX @ Hotel Vegas w/ Primer
• 5/3 – New Orleans, LA @ Poor Boys
• 5/8 – Gainesville, FL @ Portal 4
• 5/9 – Orlando, FL @ Will’s Pub w/ KT Kink, Mother Juno
• 5/10 – Jacksonville, FL @ The Walrus
• 5/11 – St. Pete, FL @ The Bends
• 5/13 – Savannah, GA (Houseshow)
• 5/14 – Athens, GA @ Flicker
• 5/16 – Atlanta, GA @ Innerspace
• 5/18 – Nashville, TN @ The Cobra w/ Nuxx Vomica, Puerta Negra, Korine, Xibling, Blood Handsome, Inva//id, Moon 17 – She’s Lost Control: D3MON N1GHT festival
• 5/19 – Memphis, TN @ Lamplighter Lounge
• 5/20 – Murphressboro, TN (Houseshow)
• 5/22 – Louisville, KY @ Zanzabar w/ Buddy Crime, Angel 004
• 5/23 – Bowling Green, KY – SECRET LOCATION w/ Baby Chips, Satan’s Halo
• 5/24 – Asheville, NC @ Static Age Records w/ Cold Choir, Jessie Slaughter
• 5/25 – Richmond, VA (Houseshow)

Follow Ronnie Stone:

• Website  
• Instagram
• Spotify
•  iTunes
• Deezer
•  YouTube
• Amazon

The post NYC Dark Synth Pop Artist Ronnie Stone Debuts Video for Title Track From New Album “Ride Again” — Plus Tour Dates appeared first on Post-Punk.com.

Waiting for your chains to break

You were in the fire forever

With nothing left to take

Oakland’s Still Ruins, a trio which includes Frankie Soto, Jose Medina, and Cyrus VandenBerghe, have recently released their debut self-titled EP, a record that serves as an intriguing blend of Dream-Pop, New Wave, and Post-Punk. The record reimagines the essence of these classic 80s sounds, offering a contemporary flair that melds perfectly into the retro atmosphere currently permeating the underground music scene.

Rich in soundscapes and heartfelt vocals, the EP echoes the styles of China Crisis, Choir Boy, ABC, Spandau Ballet, and early Tears For Fears while maintaining a unique identity. Each of the five tracks skillfully combines engaging melodies with fluid rhythms, resulting in a cohesive and immersive listening experience, feeling like songs culled from a John Hughes soundtrack from a parallel universe.

The album kicks off with the poignant track Silhouette, immediately immersing us in a poignant moment, where a person’s presence strikes us profoundly, yet from a distance. It hints at the possibility that they’ve lost faith in the situation and are willing to trade their identity for a chance at redemption. There’s a palpable longing and a glimmer of transformation within these shadows. Next comes the lead single, Perfect Blue, setting itself apart with its refined elegance, profound emotional depth, and an aura of contemplative composure.  The song’s message revolves around someone who attempted to go unnoticed but left an enduring imprint. Despite their absence, the hope persists that they might reappear…at the speaker’s discretion.

Next comes a plea for intimacy and honesty, yearning for comforting moments in Until Then. We all seek assurance of love’s arrival, despite its past trials. Promising unwavering patience, one must grant time for the other to find direction. The lyrics echo the hope of a future filled with love, trust, and understanding.

The lyrics of the poignant Of Devotion delve into themes of disconnection and abandonment, capturing the struggle to grasp a semblance of reality and seek healing. They convey a deep yearning for someone who has traversed a challenging path, awaiting liberation and experiencing a profound sense of being forsaken. This emotional turmoil becomes evident as the singer contends with their inner feelings and the gravity of their past experiences.

Directed by Eli Wengrin, the video for the track is a delightful glimpse of the band by the seaside, shedding the protective armor of pretense. It exudes a pure 80s synthpop nostalgia, embracing a mellowness that harks back to the ambiance of a homecoming dance in 1986.

The final track on the EP, Left Against, expresses a sense of persistence and commitment. They see themselves as the entertainer, always trying to bring joy to their partner; willing to endure hardships and remain accessible. It’s a beautiful reminder of enduring dedication and a willingness to reciprocate, even during difficult circumstances.

Still Ruins’ debut self-titled EP is out now on Smoking Room (Vinyl/Digital) and Cercle Social Records (Cassette).

Vinyl can be ordered here. If cassettes are more your speed, they can be ordered here.

Stream below via Spotify or Bandcamp:

Follow Still Ruins:

• Instagram
• Spotify

The post Listen to Oakland Post-Punk Trio Still Ruins’ Self-Titled Debut EP appeared first on Post-Punk.com.

The Gothic Beauty Subscription Box 54 was such a treasure to come home to on a cold, rainy December night after shooting a show on the Bowery. I positively cackled at its delightful contents, swaddled in charming skull paper and purple confetti. What macabre marvels awaited this elder darkwave dame?

A full-sized LashyDoodle eyeshadow palette in Halloween colours galore – doesn’t matter if your mood is Strawberry Switchblade, Steve Strange or Siouxsie Sioux; there’s something for everyone to play with, in stunning, bright pigments. It blends effortlessly in a rich powder that does not flake. 

They didn’t skimp on the LashyDoodle eyeliner, either: you’re not only covered with the full-sized eyeliner pen, which glides over your peepers beautifully – but comes with a darling bonus: a spiderweb stamp. Give yourself a beauty mark to draw admirers toward you, asking in hushed wonder, “Is that a spiderweb on your face?” 

“Yes – several, in fact,” I’ll respond with a sinister gleam in my eye. “I went…a little mad.”

If you need concealer or highlighter to bring out a more ghoulish complexion to entice a vampire lover, you get a small tub of Dark Asteroid Pretty Pale White Shimmer Creme. It glitters, glistens and glides over your skin with soft matte ease, making you look otherworldly AND fresh-faced. 

For fragrance lovers, there is a perfume roller from Spooky Spirits in a delicious Blood Orange Clove Autumn scent. It’s intoxicating, mysterious, and sure to attract abundance with its potency. Purists will love that it’s 100% steam-distilled jojoba, clove and orange oils – nothing yucky there to hurt those with sensitive skin.

Eerie Baubles also contributed two spooky little items: a fun bat necklace that can adjust between choker length and something less asphyxiating; and one of two rings. The one I received was a darling sterling silver cat-shaped pinky ring with tiny paws hugging your finger, and a heartwarmingly simple kitty face. 

Need a “stiff” drink? They also sent along a Castle Murk silicone ice cube mould for making skull-shaped ice. Serve your guests the chill of Death, or treat yourself to an iced coffee that really gets you. It’s also suitable to craft skull-shaped candy, sure to be the hit of the horror d’oeuvre tray!

It’s chilly in the Big Apple, so it was wonderful to uncover a lovely set of FootClothes socks to pair with your creepers and Docs. This well-made, sturdy hosiery is cozy and stylish: mine had a nice haunted cathedral emblazoned on them, perfect for chasing spectral organ players who dwell in the catacombs of the opera house, or lurking in the rolling hills of Green-Wood Cemetery.

A few more goodies were thrown in there, including a Lip Service sticker and postcard offering a 10% discount, and a sticker from Gothic Beauty Magazine. 

This would certainly make a good Christmas gift, whether you are new to the scene, or a Goth parent.

Pick up your Gothic Beauty box here!

The post Print is Undead — Opening the Gothic Beauty Box appeared first on Post-Punk.com.