“Let’s get weird,” they gleefully announce, grabbing random props from drag shows past. A mannequin leg here; a six-foot foil moon there. “Be quiet, I’m having my Paper Moon moment,” someone exclaims, as Rubin tosses his hands through the most glorious waterfall mullet this side of Kentucky.

Welcome to the theatrical, fantastical world of Candy & The Kids – a blessed combo of classic glam rock, chaotic good Riot Grrl spirit, 1960s girl groups, the battiness of the B-52s, and a rainbow version of Black Flag. Although the towering Rubin cuts a striking silhouette, his androgynous, coquettish voice is truly extraordinary, channeling the primal scream yelps of Kathleen Hanna, Karen O, and Siouxsie Sioux rather than, say, the expected croon of Jeffrey Lee Pierce.

Their live show is infectiously energetic, despite the over-enthusiasm of the fog machine shrouding these characters in mystery. Rubin goads the audience with his wryly confrontational DIY fashion, certainly inspired by Vivienne Westwood. Flanked by Jurin and Winans keeping time and intermittently shouting out call-and-response lyrics, Candy & The Kids’ onstage combustion ignites the normally-apathetic crowd into a frenzy of dance, beer splashing everywhere. This is pure, raw NYC punk, the kind of music we grew up wishing we could see at CBGB, smothered in a delicious sugary frosting. These sweet kids bring down the house.

Candy & The Kids are set to debut with The Cover-Up, dropping on January 30, 2024. This seven-track EP is a dynamic collection of covers, delving into the discographies of Metric, The Gun Club, Le Tigre, Siouxsie and the Banshees, Romeo Void, and Bauhaus, for starters. It’s a rich fusion of gritty synth-pop, sharp-edged grooves, and – naturally – a screamin’ sax, crafted to set your hips in motion with its infectious rhythms.

The band plans to mark their release of “The Cover-Up” with a limited-edition cassette, only 50 copies available; featuring all 7 tracks plus two original tracks, showcasing what’s ahead in 2024. Order the cassette at their Bandcamp here.

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Red Tape Pictures has unveiled a visually captivating music video for Adore by Australia’s Chiffon Magnifique, a mesmerizing reinterpretation of the well-known track originally composed by Gold Coast artist Amy Shark. This rendition is part of the compilation album House Keys II from 4000 Records, which features a distinctive array of local Brisbane talents covering songs from fellow artists in Brisbane and South-East Queensland.

At the helm of Chiffon Magnifique is Jed A. Walters, an artist with a visionary approach. Walters embraced this project as a chance to explore the intricacies of pop music craftsmanship. In his rendition of Adore, Walters delves deep into the elements that give a pop song its resonance – the melody, lyrics, and chord progressions. His choice to cover this particular song stems from a shared history and mutual experiences in the Gold Coast milieu.

“Amy Shark and my old industrial/coldwave synth-and-drums duo Tesla Cøils came up in the same little Gold Coast music venues,” says Walters. “Back in the day, the scene was narrower, and the venues were tiny, not equipped to create the subculture we enjoy in the Gold Coast today.”

In 2016, Amy Shark’s meteoric rise and the success of Adore in the Triple J Hottest 100 marked a turning point. “I became kind of jaded after that because my band didn’t really go anywhere, but it made sense,” Walters admits. “She was making commercially viable pop music, and I was making electronic industrial space-rock about cyborg dinosaurs that was super left-field.”

In the Chiffon Magnifique reinterpretation, Walters ventures into the realm of musical alchemy, shifting the song’s original major key to a more introspective and melancholic minor key. This transformation imbues the track with a new emotional depth, resonating with the influences of Sisters of Mercy, Drab Majesty, and Pixies. Walters further enhances the song’s texture by incorporating twangy guitar riffs, adding a layer of complexity and richness to the composition. This inventive approach pays homage to the original work and showcases Walters’ artistic ingenuity.

The music video, crafted by Clint Lewis of Red Tape Pictures, transports viewers into a visually enthralling and hauntingly beautiful realm. Featuring performances by Shakira Tanah, Desiré Kellson, and Heaven Arici, the video is a cinematic exploration of the central theme of adoration. Intricately designed miniatures by Jacqueline Lewis add depth and texture to the narrative.

Central to the video is Chiffon Magnifique’s poignant performance, depicted holding a mannequin, an imagery that adds to the eerie and surreal atmosphere. This creative visual representation complements the song’s transformed mood, weaving together the auditory and visual to create an immersive and thought-provoking experience.

“Clint approached me with his idea for this video,” Walters says. “He had some footage from another shoot left on the cutting room floor, so to speak. He wanted to re-film more footage with myself performing the song in the same spooky environment, with dollhouses, trinkets, junk…basically the classic environment of a tortured artist. The titular adoration comes through with the way I’m holding this mannequin and singing to her. I think it turned out super cute. Clint has an amazing approach to atmospheres and editing. I really look up to him as a filmmaker.”

Watch the video for “Adore” below:

All proceeds from this album contribute to the unwavering support of community radio station 4zzz, an entity that has played a pivotal role in Chiffon Magnifique’s artistic journey.

House Keys 2 is available to purchase here:

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The post Australian Darkwave Act Chiffon Magnifique Debuts Video for Cover of Amy Shark’s “Adore” appeared first on Post-Punk.com.

Nowhere Girl, B-Movie’s claim to near-fame, sways with atmospheric synths and a catchy bass line – a perfect echo of the era’s existential ennui. The song, a bit gloomy yet undeniably catchy, wiggled its way into the hearts of alternative music enthusiasts in the early 80s. Fast forward to the present, and Nowhere Girl continues to reverberate through the echoes of time…and, fitting to their moniker, maintaining B-Movie’s cult status. It’s been remixed and reimagined more times than one can count.

Enter The Slashes, a ‘Border Goth trio with a penchant for post-punk.’ They’ve decided to take a whack at Nowhere Girl, infusing it with their own blend of zesty guitar, peppy drums, and vocals deep enough to make the Mariana Trench look like a culvert by the highway. In their hands, the song takes on a menacing, spookier new life, proving that even after four decades, Nowhere Girl can still be the coolest kid in the music block.

Listen below, and find the single on Bandcamp here:

In 2015, The Slashes, featuring Esteban Rene on guitar and vocals, Beto Bautista on bass, and Carlos Robles on drums, debuted with a self-titled album. Produced by Alan Sanderson, known for working with The Rolling Stones and Elvis Costello, the album showcased their raw, adrenaline-fueled sound.

The Slashes’ debut album earned critical acclaim and a Best Rock nomination at the San Diego Music Awards. They’ve since rocked Southern California, playing at renowned venues like Santa Ana’s The Observatory, LA’s Rainbow Bar, and San Diego’s The Casbah.

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The post Border Goth Trio The Slashes Debut Dark Guitar Driven Cover of B-Movie’s “Nowhere Girl” appeared first on Post-Punk.com.

As All Hallows Eve casts its long, ghostly shadows, Chicago’s Dark-Wave ensemble, KILL SCENES, unfurl their eerie rendition of The  “A Short Term Effect” alongside a bone-chilling video. Their cover preserves the original’s ghostly atmospherics, yet embroiders new textures that delve deeper into the song’s desolate ambiance, infused with a fresh dynamism in the strings and percussions. Producer and axeman Sean Whittaker crafts a thick tapestry of harmonics that encase the familiar heartbeat of the song’s rhythm, whilst songstress Meghan Lamb unleashes a riveting vocal performance, wielding the dark lyricism as if it were an extension of her soul. Her voice resonates with a chill-inducing fervor, reminiscent of a haunting chant echoing over cliffside waves crashing into the abyss below. If “A Short Term Effect” was a cry into the void, Lamb’s rendition is the somber echo reverberating back from the depths.

The video, envisioned by Whittaker, situates the band in a void—a liminal realm birthed from a catatonic dreamer’s thoughts, tethered to an old, broken radio. Glitched, degraded images leap into view, akin to memories hallucinated in real-time by a mind teetering on the edge.

Dive into the haunting visuals below:

KILL SCENES’ reimagining of “A Short Term Effect” also comes with a b-side, “The Chrysalis (Doomring Remix),” a re-envisioned track from their 2022 album, Masque, by artist/producer Tom Whittaker (aka Doomring).

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VERSION/SACRIFICE is infused with the spirit of the punk, goth, and post-punk vibrations from the 70s and 80s. With Simon lending her vocals to two of the EP’s quintet of tracks, there’s an unmistakable evolution in their musical articulation. The duo seems to have gently distanced themselves from the intense darkwave rhythms of Loverboy Molotov, harkening back to the liberating, dance-inducing beats of their earlier compositions.

And now, this ensemble presents a modern, yet reverent, rendition of Spellbound by Siouxsie and the Banshees. Simon faithfully recreates the spark, down to the Bromley Contingent pronunciation of “entrance.”

“Spellbound is one of my favorite songs of all time,” says Patrick Bobilin. “I wanted to do it justice but I also wanted to grow as a band. Sarah and I worked through many takes, with her pushing away from her pitch-perfect tone and embracing the punk energy of her youth….I haven’t gotten to scream on a song since high school and Sarah hasn’t released the kind of rage she has on Spellbound on any record ever. We’ve already got a new record in the can, but on this, we decided to take a leisurely stroll through some spooky classics and maybe learn something on the way.”

Accompanying the single is a lyric video; a visual mosaic crafted by Bobilin himself, drawing upon cinematic masterpieces such as 1981’s Possession and 1968’s 2001: A Space Odyssey. Further enriching the auditory palette, David Simutis (Err0r C0de) lends his guitar artistry, seamlessly integrating with Bobilin’s intricate sound designs. True to the spirit of the entire EP, the cover art elegantly intertwines touches reminiscent of old haunted mansions, cleverly juxtaposing playfulness with the more foreboding undertones of the tracks.

From the outset of the band’s journey, Bobilin’s path has been as eclectic as it has been impassioned. He ventured into the political arena, led notable community initiatives during the tumultuous social justice movements of 2020, and remained an unwavering pillar of community organization. Amidst the fervour of the 2020 Black Lives Matter movement, Bobilin found himself detained on two occasions while orchestrating protests. These moments, including spirited debates with then-Mayor de Blasio concerning law enforcement aired over live radio, permeated the lyricism of the punk-laden darkwave album he so fervently put together in the nascent weeks of 2023.

Loverboy Molotov, their 2023 musical offering, bears the unmistakable imprint of Bobilin’s relentless vigor, reminiscent of his political forays in 2017, 2020, and 2022. While he had resolutely chosen to vacate the political stage, it did little to quell his inner fires. The album encapsulates his myriad frustrations, leading him toward a decidedly progressive perspective, with reflections spanning the emotional, societal, spiritual, and political spectra.

In addition to Spellbound, the rest of the covers in VERSION/SACRIFICE herald a departure, adopting a whimsical, yet self-aware demeanor. Sarah Simon’s vocals gracefully command the spotlight. Yet, Bobilin offers a nod to Danzig with his rendition of The Misfits’ Hybrid Moments, Samhain’s The Howl, and playfully tackles the work of Peter Steele with a brooding dance interpretation of Black No 1. Concluding the EP is a hauntingly psychedelic reinterpretation of their homage to Bauhaus’s Bela Lugosi’s Dead.

“Sarah and I wanted to do something fun and light to brighten our own spirits after the heavy content on Loverboy Molotov,” says Bobilin. “We also wanted to feature Sarah more prominently as less of a background player in MIDNIGHTCHOIR. We took the opportunity to grow stylistically and in our working relationship by taking some of these songs in a new direction.”

Listen to the EP via Spotify below:

See them live at Berlin in NYC’s East Village on 12/20 with Winkie and MangoDog.

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The post NYC Darkwave Project Midnight Choir Releases Goth Classics Covers EP for Halloween appeared first on Post-Punk.com.

Now, Los Angeles New Wave outfit Sacred Skin has inked a deal with Artoffact Records, and to celebrate this pivotal moment, they’re paying homage to the past with a revitalized cover of Seona Dancing’s Bitter Heart. 

“We are thrilled to announce that we have signed with Artoffact Records amongst so many of our peers and heroes,” says the band. “Our second LP (and first for Artoffact) will be released in Spring of 2024. In the meantime, we are dropping a cover of a little-known new wave anthem from Ricky Gervais and his short-lived career as a recording artist before finding his second calling as one the world’s biggest comedians.”

Listen to the new Sacred Skin version below:

Check out the original version below…and marvel at Ricky’s New Wave looks:

SACRED SKIN LIVE DATES:

• Sat, Oct. 14 – San Diego, CA @ The Casbah w/ Forever Grey
• Sun, Oct. 22 – Reno, NV @ Holland Project w/ Fearing
• Mon, Oct. 23 – Salt Lake City, UT @ Liquid Joe’s w/ Fearing
• Tue, Oct. 24 – Denver, CO @ The Crypt Bar w/ Fearing
• Thu, Oct. 26 – Austin, TX @ LEVITATION – Elysium 
• Fri, Oct. 27 – San Antonio, TX @ Vice Versa 
• Sun, Oct. 29 – El Paso, TX @ Modern Art Bar w/ Fearing
• Tue, Oct. 31 – Mesa, AZ @ Nile Underground w/ Fearing
• Wed, Nov. 1 – Las Vegas, NV @ Backstage Bar w/ Fearing
• Fri, Nov. 10 – Los Angeles @ Substance Festival
  

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The post Los Angeles New Wave Outfit Sacred Skin Covers Seona Dancing’s “Bitter Heart” appeared first on Post-Punk.com.

Drawing inspiration prominently from the ‘Loverboy’ descriptor in their album title, the “Need You Tonight” video highlights the charismatic interplay between band members Patrick Bobilin and Sarah Simon as they faithfully cover the track. Embracing a nostalgic flair, the video takes cues from the ’90s, reminiscent of vintage karaoke visuals, revealing a more vulnerable facet of the group. In contrast to the earlier “Molotov” video, which underscored the gravitas of the pressing political climate, this piece delves into the track’s rhythmic allure and Bobilin’s earnest homage to Michael Hutchence’s iconic sotto voce.

“I wanted to show our more approachable and sensual side after releasing a video like Molotov,” says Bobilin. “Molotov was confrontational and aggressively political. While that remains true about us, it’s also true that we’re just as indebted to the New Romantics like Depeche Mode and INXS as we are to the politics of bands like Crass. You can find us out at just as many darkwave goth shows as you can find us hanging at the city’s karaoke bars singing Cyndi Lauper. Any useful revolution should make room for both.”

Join in the karaoke fun (created with authentic visuals from Sunfly and Pioneer Karaoke) – and don’t forget to tip your bartender:

Native New Yorker Patrick Bobilin has been sculpting auditory experiences under the moniker MIDNIGHTCHOIR since 2014. “Loverboy Molotov” marks the sophomore offering from MIDNIGHTCHOIR, following a hiatus after 2016’s “THE CROWN“, a project crafted in collaboration with Chicago’s electronic savant, Jeremiah Meece.

Bobilin’s fury at the system is not merely the lamentation of an artist scorned.  Loverboy Molotov was made with much of Bobilin’s urgency and energy of his political campaigns in 2017, 2020, and 2022. Besides his runs for public office, Bobilin led community action organizations during the 2020 social justice uprisings…got arrested repeatedly while organizing Black Lives Matter protests, and founded a Manhattan mutual aid organization. That social justice work, which had Bobilin arguing with former-mayor de Blasio about policing on live radio, has found its way into his lyrics, which amplifies many of the frustrations that inspired his far-left politics.

While Bobilin may lean on 80’s new wave and goth influences, the autobiographical elements of the album reflect his experiences in politics and protest. The politics of the album are far left, with emotional, social, religious, and political concerns peppered throughout.

“After seeing how the sausage is made running for office in New York City and being arrested during the 2020 racial justice protests, there’s no hope in my mind that we can change the system from within,” Bobilin says. “‘Molotov’ was written with the spirit of protest and frustration with the decades of empty promises made by leaders. I learned first-hand that the only thing that motivates elected officials, from judges to city council members to federal elected officials, is fear. Whether it’s fear of their stock prices going down, their campaign accounts drying up, or losing the next election, it’s the one thing that unites them all. With an eye on the lost art of ‘dangerous music,’ I decided to write ‘Molotov’ from the perspective of the 99%. Maybe they need to fear us a little more than they do.”

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Much like Australia, the United States also carries a bleak history and law enforcement aggression, stretching from colonial slave patrols, to Ku Klux Klan attacks, to the Trail of Tears and Wounded Knee, to recent events highlighting names like Trayvon Martin and George Floyd. The latter have recently catalyzed political movements, such as Black Lives Matter. In both nations, these issues remain at the forefront of broader societal dialogues on race and reform.

Now it’s 2023, and we’re still treading these same murky waters, with increased violence, frustration, and lives at stake.

Sacred Hearts delves deep into the vexing issue of the corruption of power by reimagining The Parameters’ 1983 track, Pig City—a subversive hymn that once reverberated through the streets of Brisbane. Penned in an era where Premier Joh ‘Jackboot’ Bjelke-Petersen wielded the police force as a tool to quash contrarian voices, the original song audaciously called attention to an oversight: the rampant police malfeasance that seeped up to the Commissioner’s chambers. Capturing this fraught atmosphere, in 1985, filmmaker Stephen Stockwell embarked on a cinematic sojourn, armed with a Super-8 camera, documenting the police’s operations in various Brisbane locales.

Watch the original:

Sacred Hearts took a cue from Stephen Stockwell and created a brand new, video – shockingly similar to the scenes around Brisbane 38 years ago, down to the graffiti. The more things change, the more they stay the same. There’s got to be some grandiose philosophy behind that “back to the 80s” nostalgia mentality in general – but Sacred Hearts punctuates that in reality, when we wave ourselves through the fog of AquaNet, mall bangs, and neon dazzle, society has barely evolved since the Reagan era.

In fact, Sacred Hearts are more than happy to throw in a bit of chaos to stir the pot.

“In our video, we had a lot of fun walking to some iconic/seedy spots in our town, West End and Fortitude Valley,” says the band. “We got a lot of stares and some yells – being dressed up as cops- so it was even funnier. We don’t take ourselves too seriously, so the video leans into camp. At the end we burn an Australian Flag, which if we did so in the city would’ve definitely got us arrested for ‘disorderly conduct! We did this because we aren’t proud (to say the least) of the country Australia was and continues to be- particularly with their treatment of our First Nations (Aboriginal People) and refugees.”

In a world abuzz with these dissonant 21st-century noises, post-punk enfants terribles Sacred Hearts swerve past all the humdrum. Religious strictures? Dainty domesticity? Please. These unapologetically queer firebrands, a potpourri of fierce females and enbys, are drawing a road map all their own. They’ve no time for trite truisms, preferring the raw, unvarnished notes of womanhood in all its mess and magnificence. Treading deep waters from mental battles to throwing off the Abrahamic man’s yoke, they’re heralding the goddess within. Musically, think Berlin, B-52s with a dash of Siouxsie. But spirit? It’s all wild Riot Grrrl rebellion.

Watch Pig City in 2023 below:

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The post ACAB — Watch the Video for Australian Post-Punk Act Sacred Hearts’ Cover of The Parameters’ “Pig City” appeared first on Post-Punk.com.

Miss Trezz, an industrial goth-pop artist from Los Angeles, has lent her haunting voice to Duran Duran’s classic song, “Come Undone”. Though the familiar strains remain at its core, her rendition adds a dark allure to the track. With a breathy sensuality, Miss Trezz’s version offers a fresh and sultry take on the tale of a heart torn asunder.

“I was drawn to the authenticity and vulnerability of this song,” she says. “It expressed a familiar unraveling of self when emotions of the heart override the logic of self preservation in romantic relationships.”

Paul Wiley, maestro of the macabre, also casts his spell, giving the track a more foreboding, almost wicked ambiance. This synthpop/electronic rock makeover of the timeless melody is a bewitching dance between the ethereal and the eerie. Let your guard down to the darkness, even if for just a song’s length.

Listen below via Bandcamp, or the streamer of your choice here.

From the reverent halls of classic training to the neon-soaked streets of modern electronica, Miss Trezz’s journey through this world has been anything but ordinary. With a voice that both silences rooms and ignites them, she’s drawn parallels with the raw edginess of Phantogram and the electric current of Metric.

Yet, to pigeonhole her would be a mistake. While her roots lie deep in classic training, her branches spread wide, touching the melancholic vibes of darkwave, the steely beats of industrial, and the mesmerizing rhythms of trip-hop. And when you think you’ve got her figured out, she’ll surprise you with a hint of goth pop, a sultry nod to opera, a playful glance towards jazz, or a riotous dive into the pulsating worlds of synthwave, electronica, and unapologetically fierce Nu Metal.

Miss Trezz’s cover of “Come Undone” is out now via Re:Mission Entertainment.

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While there are many urban legends floating around about the cryptic, ominous lyrics, including it being a confession to witnessing a drowning, Collins has stated that the original version was partly influenced by the emotional tides rolling in following his divorce from first wife Andrea Bertorelli, who ended the marriage over his constant touring.

“Nobody knows what the song is about, and I kind of like the mystery,” Collins told Rolling Stone. He did clarify its origins, however: “Genesis had done a tour that was far too long. She said to me, ‘We won’t be together if you do the next tour.’ I said, ‘I’m a musician. I have to go away and play. Just hold your breath when I’m over there.’ Then Genesis toured Japan. When I got back, she said she was leaving and taking the kids.”

In Vix’s fervent rendition, her resonant voice breathes new life into the song. She takes her seat behind the drums as Reid moves through his searing guitar licks; boldly experimenting with diverse textures, pushing the limits of traditional song frameworks and shattering genre expectations.

The self-directed video, infused with nocturnal imagery, shows a raven-tressed Vix standing resolute by a dimly lit coastline – reminiscent of a woman yearning for the return of a sailor lost at sea and keeping vigil, steadfastly clinging to her feminine intuition until dawn…but with those ominous lyrics, we may be witnessing the rumblings of a revenge sequel to Brandy You’re A Fine Girl.  Will her ship finally come in after that pack of lies?

While Phil Collins’ iconic track pivoted around the drums, Vix’s interpretation shines a spotlight on the narrative, elevated by Reid’s guitar prowess.

Watch below:

The official release date is the 22nd of September, 2023.

You can pre-order the song here.

From an early age, Vix displayed a profound passion for music. Getting her musical start in Providence, RI, she also cut her teeth in NYC in her teens, crossing paths with the likes of Iggy Pop, her first experience as a vocalist being with 1980s one-off band Disco Donut (with Adam Horovitz of The Beastie Boys and singer-songwriter Nicole Willis).

Drawing inspiration from a diverse range of artists spanning genres and eras, she developed a deep understanding of thepower of melody, rhythm, and storytelling. With a hauntingly beautiful voice, and the ability to play several instruments, Vix began honing her craft and crafting her own identity. Vix’s approach to music draws from an expansive palette: she’s unafraid to redefine what’s familiar, pushing against the norms with innovation and audacity. Her artistry, rooted in this fearless exploration, continually breaks barriers, inviting listeners into uncharted territories of sound and emotion. Each release showcases her versatility as a songwriter, and her ability to evoke a range of emotions through her music. Her lyrics delve into deeply personal experiences, exploring themes of love, loss, introspection, and resilience.

As an indication of her ever-evolving approach to her craft, in recent years, Vix has been performing both as a solo artist and also as a drummer (on an electronic drum kit) and vocalist, in Boston-based post-punk/electronic rock duo Feeney Vix.

Follow Jenn Vix:

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