Through the winding, wild years, the Carpenter-Davies trio has been churning out tunes like there’s no tomorrow, dropping a cool dozen sonic bombs that range from full-blown studio masterpieces to the spine-tingling scores of David Gordon Green’s Halloween reboots. The gang’s got music in their marrow – Daniel’s father is Dave Davies of The Kinks. For years he has dropped by the Carpenters’ L.A. beat factory to riff with the fam or take the stage at one of John’s legendary movie wrap shindigs. It’s this kind of kismet that makes Lost Themes IV: Noir glide smoother than a greased-up DeLorean. The trio hit the creative jackpot, and Noir is the proof in the pudding.

Lost Themes IV: Noir is hitting the shelves and streaming platforms this May 3rd, courtesy Sacred Bones Records. To whip up a frenzy, the trio dropped a killer music video for My Name Is Death, the album’s lead single – which doubles as a bite-sized noir thriller, all thanks to the directorial genius of Ambar Navarro.

“Noir is a uniquely American genre born in post-war cinema,” states John Carpenter. “ We grew up loving Noir and were influenced by it for this new album.  The video celebrates this style and our new song, My Name is Death.”

This track is a whole new playground for Carpenter and the gang, riding in on a wave of post-punk bass that’s as relentless as Chandler’s Philip Marlowe himself. The atmosphere’s thick with synths, the drum machine’s got a heartbeat of its own, and just when you think it can’t get any hotter, in comes a guitar solo that sets the whole scene ablaze. The clip a classic mystery with a twist, featuring a lineup of faces you might just recognize, including Natalie Mering (Weyes Blood), Staz Lindes (The Paranoyds), and Misha Lindes (SadGirl) for bringing the drama. Buckle up, because My Name Is Death is about to take you on a wild ride.

Watch below:

“Sandy [King, John’s wife and producer] had given John a book for Christmas, of pictures from noir films, all stills from that era,” Davies says of the lightbulb moment for Lost Themes IV. “I was looking through it, and I thought, ‘I like that imagery, and what those titles make me think of. What if we loosely based it around that? What if the titles were of some of John’s favorite noir films?’” Like the film genre they were influenced by, what makes the songs on Lost Themes IV “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”

Pre-order Lost Themes IV: Noir here in the following formats:

• Sacred Bones Exclusive Red on Clear Splatter vinyl w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• Sacred Bones Society Exclusive on Black and White Splatter on Clear w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• All retail Transparent Red, with a Gold Foil Stamped Jacket and poster.

• Indie Exclusive Tan and Black Marble, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Rough Trade Exclusive Oxblood Red and Black Splatter, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Shout Exclusive Black and Clear cloudy, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Black LP, with a Gold Foil Stamped Jacket and poster.

• CD

• Tape

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The post John Carpenter Debuts Video for “My Name Is Death” from “Lost Themes IV: Noir” appeared first on Post-Punk.com.

In global mythologies, the raven emerges as a figure of paradox, weaving threads of transformation and intellect across Norse sagas, Native American tales, and Celtic lore. This enigmatic bird, at once a trickster and a sage, embodies the duality of creation and destruction, offering insights into the empowerment derived from wisdom, adaptability, and the mystical. From Odin’s feathered emissaries to the Tlingit creator, the raven’s shadow dances over the collective human psyche, urging us to embrace the complex interplay of light and shadow within ourselves and the world around us.

This Friday Sacred Bones celebrate the parallel releases of Xmal Deutschland’s Early Singles 1981-1982 (including two bonus tracks), and the debut solo album from Xmal Deutschland’s inimitable front-woman Anja Huwe, Codes. To whet our appetites, Anja Huwe celebrates the mystical power of the shadowy corvid with Rabenschwarz, a spectacular new single, and an Expressionist video from Codes.

“The main theme is the raven, a classic symbol for black (raven black), which stands for empowerment and is also a symbolic transmission of wisdom,” explains Huwe. The raven also stands for the rediscovery of mystical paths. The emerging egg represents fear but also stands for rebirth.

Directed by Anja Huwe and Stefan Heintzenberg, the video for Rabenschwarz (raven black) ties in with the album artwork, inspired by a private collection of photos from the late 1920s and public domain film footage. The clip also includes video bootleg footage from early Xmal Deutschland shows, as well as textual collages and text boards, created by Anja Huwe.

“We combined old film footage—such as The Fall of the House of Usher (1928) and White Zombie (1932)—with additional material filmed in the basement of a derelict bunker in Hamburg,” Huwe explains. We’ve intercut all the subjects with private outdoor footage filmed at Hamburg Harbor, Brooklyn, and New York City.”

Early Singles (1981-1982) is a map of their foundational movements, just seconds before takeoff. The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. This reissue includes two bonus tracks; Kaelbermarsch (originally from the compilation Lieber Zuviel Als Zuwenig) and a gritty live version of Allein (originally from the compilation Nosferatu Festival), which is shared online today along with a video montage of footage from this era of the band’s career.

Pre-order ‘Early Singles (1981-1982) here.

Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. “The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains.

The thematic extremities cause an erraticism to Codes—a passing thunderstorm, a cyclonic burst of nature’s force—but one that exudes anticipation amidst the chill. With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesised drones of sound even feel claustrophobic at times.

Pre-order Codes here through Sacred Bones Records. 

The post Xmal Deutschland’s Anja Huwe Unveils her Gothic Expressionist Video for “Rabenschwarz” (Raven Black) appeared first on Post-Punk.com.

In punk’s audacious departure from traditional mores, Xmal Deutschland found a haven for their anti-establishment inclinations, a world remote from the rigid conventions of bygone eras. Emblematic of punk’s ethos, the band’s members—Caro May, Rita Simon, Manuela Rickers, Fiona Sangster, and Anja Huwe—ventured into music without the trappings of prior experience. Their initial foray into recording, with the single Schwarze Welt, was marked by an unexpected shift: Rita Simon, who was set to take the helm as lead vocalist, was absent on the day of recording. This twist of fate propelled Anja Huwe, originally the bass player, to the forefront as the lead singer, a role she accepted, albeit with reservations.  “The only condition from my side [was that] I will never perform onstage,” she reflects. “Two months later, they made me without ever telling me up front. I had no choice.”

The characterization of Xmal Deutschland primarily as a female ensemble—a notion later playfully amended with the inclusion of Wolfgang Ellerbrock, who became the group’s lone male counterpart—gained momentum within the circles of media, a fascination propelled as much by their visual appeal as by their musical prowess. “We were like paradise birds,” Huwe wryly remembers. “We as girls, especially being creative in many ways, ignored facts like: be nice, be polite, take good care about your looks. Of course, we wanted to look good but in a different and unconventional way. We were enough for ourselves.”

Following Xmal Deutschland’s distinguished run, marked by four albums released under esteemed labels like 4AD, Anja Huwe shifted her creative focus, leaving the musical stage to delve into the realm of visual arts. However, this transition did not mean an effortless departure from her musical legacy; the echoes of her past endeavors lingered.

“Since the split in the early 1990s, I have been haunted by the ‘Legend of Xmal Deutschland’ and never-ending requests from all over the world, all of which I always turned down,” she says.

Finally, however, the persistent clamour for reissues has met a resonant response. Sacred Bones Records announces with palpable enthusiasm two simultaneous releases: a reissue of Xmal Deutschland’s ‘Early Singles,’ enriched with two bonus tracks, and the inaugural solo album from Anja Huwe, titled ‘Codes.’ These records are slated for a concurrent release on March 8th, 2024,

Early Singles (1981-1982) is a map of their foundational movements, just seconds before takeoff. The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk. This reissue includes two bonus tracks; Kaelbermarsch (originally from the compilation Lieber Zuviel Als Zuwenig) and a gritty live version of Allein (originally from the compilation Nosferatu Festival), which is shared online today along with a video montage of footage from this era of the band’s career.

The Schwarze Welt seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with Die Wolken and Großstadtindianer, whose crude synthesiser noises escalate in tension. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.

Anja’s debut solo album Codes, a pleasant surprise, emerged following an invitation from her long-standing friend, Mona Mur. Huwe, reevaluating her extended sabbatical from the music scene, decided to collaborate with Mur in her Berlin studio. Over eighteen months, the duo meticulously crafted, performed, and produced the tracks that would culminate in ‘Codes.’ A critical element of the album’s distinctive sound came from the involvement of Manuela Rickers, who infused it with her renowned guitar style. This partnership was marked by a shared artistic vision and mutual understanding.

“Mona and I have a similar artistic background since the 1980s,” says Huwe. “We hung out together, and we sport a similar attitude towards life and art. We don’t have to explain ourselves to one another.”

Mur adds: “Anja’s voice is like a spear, her appearance a torch in the darkness.”

Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. “The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains.

The thematic extremities cause an erraticism to ‘Codes’—a passing thunderstorm, a cyclonic burst of nature’s force—but one that exudes anticipation amidst the chill. With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesised drones of sound even feel claustrophobic at times.

Along with the announcement today, she shares the frenzied Rabenschwarz, which, with Rickers’ hypnotic apocalyptic guitars, Mur’s agitated and distinctive electronic sounds and beats, forged together with Huwe’s unmistakably energetic and expressive vocals, hits you in the face

Pre-order Early Singles (1981-1982) here. Pre-order Codes here

Follow Anja Huwe:

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The post Anja Huwe Announces Solo Album “Codes” and Xmal Deutschland’s Early Singles for Release on Sacred Bones appeared first on Post-Punk.com.

Their sound is a heady mixture, a fusion that’s both a nod to the roaring resurgence of 80s-style hardcore punk and a dalliance with the dynamic revival of synth-laden post-punk. But Lathe of Heaven is more than a mere reflection of these influences; their unique sonic concoction is a bold statement of individuality and strength, a testament to their artistic prowess.

The anticipation is building as Lathe of Heaven has just dropped their second single from their forthcoming full-length debut album. Slated for release on the revered Sacred Bones label, this record promises to be not just a continuation of their journey but a defining moment.

This latest offering, the monochromatic visual for “At Moments Edge,” is a masterclass in cinematic simplicity. Directed by the visionary duo Zack Shorrosh and Emma Penrose, this atmospheric montage is a beautiful interplay of scenes and mesmerizing band performance. It’s a piece that harkens back to the profound aesthetic of German Expressionism, conjuring echoes of silent cinema, yet feels entirely fresh and contemporary.

Adding to the allure is the ambiguity of the video’s time of filming, a detail that wraps the visual narrative in a cloak of mystique. This enigmatic touch aligns perfectly with the essence of the song, weaving the old with the new, the past with the present, into a seamless blend. It’s a work that’s reflective yet pioneering, a timeless creation that stands as a testament to Lathe of Heaven’s ability to transcend the ordinary and craft something truly extraordinary.

Watch “At Moment’s Edge” below:

Formed in 2021, Lathe of Heaven unites talents from a spectrum of distinguished Brooklyn projects, including Pawns, People’s Temple, Porvenir Oscuro, Android, Hustler, and more. This blend of musical heritages creates a vibrant and dynamic tapestry that could easily have been an echo of the collective members’ past and parallel engagements. Yet, Lathe of Heaven is anything but that.

Instead, the band emerges as an intriguing divergence from their roots, delving into uncharted territory, marked by a melody uniquely their own. The legacy of their lineup, rich in various genres and capabilities, has evolved into a bold venture into a realm distinctively defined by their inimitable rhythm, timbre, and harmony. Far from being a reflection of their earlier influences, Lathe of Heaven’s musical exploration sets them apart.

Bound By Naked Skies resonates with profound reverence to the surreal landscapes crafted by authors like Arthur C. Clarke, Octavia Butler, Ken Liu, and, naturally, Ursula Le Guin—whose novel inspired the band’s name. It is these intricate themes of cosmology (Ekpyrosis), simulation (Heralds of the Circuit-Born), mental health struggles (Moon-Driven Sea), and the exploration of being (Entropy, The Spider, etc.) that subtly thread throughout the album’s narrative. This intricate tapestry of themes grants listeners a glimpse into the minds troubled by the uncertainty of humanity’s unsettling and imminent future.

Listen below:

Bound By Naked Skies will be released via Sacred Bones Records on September 1st.

Pre-order here.

Follow Lathe of Heaven:

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The post NYC Dark Post-Punk Outfit Lathe of Heaven Debuts Video for “At Moments Edge” appeared first on Post-Punk.com.

Now, Lathe of Heaven stands poised to release their much-anticipated debut LP, “Bound by Naked Skies,” via prestigious NYC label Scared Bones, Crafted with meticulous care, this eleven-track LP infuses elements of British New Wave and Finnish Post-Punk, resulting in a nuanced and intricate homage to the fervour of the 80s. Drawing deeply from the wells of both classic and contemporary science fiction, “Bound by Naked Skies” weaves a unique and intentional harmony, indebted as much to its literary inspirations as to its musical roots.

Their newest single, “Ekpyrosis“—borrowing its name from an ancient Greek term signifying the cyclical obliteration of the cosmos—ventures into cosmic themes. Captured in the raw charm of VHS-style filming, the energetic performance video flexes the dimensions of space and time as effortlessly as the melody of the track. The song harks back to the sound of bands like Killing Joke, Lords of The New Church, and especially Blitz via Second Empire Justice, carrying the timbre of a discovered relic from a bygone era.

Intriguingly, the video interweaves scenes from the Oculus near the World Trade Center. The stark contrast between the modern architectural marvel and the vintage aesthetic of the video that harkens back to the Before Times creates an engaging dissonance. It’s a poignant juxtaposition that blurs the lines between the past and present, much like the band’s distinctive musical amalgamation.

Watch the video for “Ekpyrosis” below:

Emerging in 2021, Lathe of Heaven brings together talents from renowned Brooklyn projects, such as Pawns, People’s Temple, Porvenir Oscuro, Android, Hustler, and beyond. This line-up’s legacy, steeped in a spectrum of genres and abilities, reveals a dynamic musical tableau. Yet, Lathe of Heaven is far from being a mere echo of these past and parallel ventures. Instead, the band embodies an intriguing divergence from these influences, venturing into an uncharted territory of melody that is uniquely their own. Their musical exploration is a bold adventure into a realm distinctly defined by their unique rhythm, timbre, and harmony.

Bound By Naked Skies resonates with profound reverence to the surreal landscapes crafted by authors like Arthur C. Clarke, Octavia Butler, Ken Liu, and, naturally, Ursula Le Guin—whose novel inspired the band’s name. It is these intricate themes of cosmology (Ekpyrosis), simulation (Heralds of the Circuit-Born), mental health struggles (Moon-Driven Sea), and the exploration of being (Entropy, The Spider, etc.) that subtly thread throughout the album’s narrative. This intricate tapestry of themes grants listeners a glimpse into the minds troubled by the uncertainty of humanity’s unsettling and imminent future.

Listen below:

Bound By Naked Skies will be released via Sacred Bones Records on September 1st.

Pre-order here.

Follow Lathe of Heaven:

• Instagram
• Bandcamp
• Spotify
• 

The post NYC Dark Post-Punk Outfit Lathe of Heaven Sign to Sacred Bones and Release Video for “Ekpyrosis” appeared first on Post-Punk.com.

Just as lovers etch their initials deep into the bark of an age-old oak, Lust For Youth, the Swedish-Danish synth-pop collaboration sparked by Hannes Norrvide and Malthe Fischer, has delicately chiseled their signature into the monumental pines adorning the genre’s Scandinavian landscape, leaving their distinct mark on the international music scene.

Their latest offering, “Giorgia,” arrives as a guitar-laden anthem, underscored by a throbbing synth bass. This mesmerizing track conjures summer twilight’s ethereal warmth while fostering a haunting sense of unease and mystery. Intriguingly, “Giorgia” sees Hannes stepping into uncharted territory, crafting lyrics and lending his voice in his native Swedish tongue. This daring shift exposes a fresh level of vulnerability within Lust For Youth’s sound, further deepening their enigmatic allure.

The gripping visuals for the music video were captured within the secluded, verdant expanses of Skåne’s northern territories in Sweden. The clip becomes a surreal journey centered on our protagonist, Hannes. He finds himself at odds with ominous entities lurking in the timberland, creating an atmosphere thick with anticipation, suspense, and uncertainty. The darkened woods and their shadowy inhabitants chase Hannes in this thrilling piece of artistry that perfectly underscores the cryptic and immersive themes behind the melancholic track. Through the guise of a typical horror movie format, the threatening cryptids may also serve as a metaphor for the demons that chase us in moments of vulnerability.

“Giorgia resonated with me immediately,” says director Alexander Brask. “Singing in his native Swedish, and the self-revealing lyrics about being caught up by mistakes of the past, and scrambling to come out as better version on the other side of the realisation. That transformation was the starting point of the video, and I wanted to express it by fleeing something or someone in a car. From there we went to a friend in the Swedish forest who happened to have a kitten mask, ATV and a broken cowboy wood-fired bathtub, and it all came together.”

Watch below:

Listen to the track below, and find it on Bandcamp here.

Making their mark with performances that grip the audience from start to finish, Lust For Youth has steadily cultivated a legion of devoted followers. Their irresistible live shows are a testament to their seamless fusion of dream-infused pop hooks, potent rhythmic pulses, and atmospheric synthscapes. These brooding, electronic vistas are signature to Lust For Youth, deftly balancing between the light and the shadowy realms.

In June, Lust For Youth will be performing at the iconic Sydney Opera House alongside HTRK, Croatian Amor and Yl Hooi, as well as two dates in Melbourne. More information here.

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The post Lust For Youth are Lost in the Forests of Sweden in their Surreal Video for “Giorgia” appeared first on Post-Punk.com.

Now, Vasquez is back with a new claymation animated video for instrumental “Stupid Child,” a track from the band’s latest album, “Exister.” The video, created by Ashley Miles of Hot Frog Animations, is a deeply personal piece, based on true events and released on the “weirdest day” of the year for Vasquez – his birthday.

The visual narratives sculpted by The Soft Moon in their earlier videos have garnered widespread acclaim for their unparalleled evocative prowess. Each cinematic reel reflects the profound flexibility of Vasquez, both in curating melodious arrangements and showcasing his vocal bravado. The echoes of the influential mid-80s sound, dominated by the likes of Depeche Mode and Tears For Fears, are tangible in some of the band’s latest compositions; however, whether it be avant-garde or pop, Vazquez consistently adheres to an idiosyncratic and brooding auditory aesthetic.

“Stupid Child” is no exception: Ashley Miles created a hauntingly beautiful claymation piece that perfectly encapsulates the raw emotion and introspective themes of The Soft Moon. The surreal quality of the video brings to mind 80s efforts such as the Penny cartoons of Pee Wee’s Playhouse or Peter Gabriel’s offerings. But the story illustrated is far from whimsical – it’s a glimpse into the loneliness and sorrow of a child in desperate need of compassion, encouragement, and an artistic outlet. We see an age-old argument play out between a mother and son as they struggle to find common ground…or even constructive communication.

Watch the video for “Stupid Child” below:

Although brief, “Stupid Child” is a potent maelstrom of fury that transcends the need for words: the emotion is all in the ferocious guitar. I In a recent interview, Vasquez discussed the influences behind “Exister,” explaining that the album was about “coming back home and reconnecting.” He also emphasized that this was the first record where he felt he had “nothing to hide.”

“Exister” represents a new phase in Vasquez’s life. He describes the process of creating the album as both intimidating and positive. Despite the challenges, Vasquez found the process ultimately rewarding, leading to self-discoveries and a sense of closure that has prepared him for the next phase of his journey.

The album serves as Vasquez’s confessional, a chronology of his existence, and a means of self-expression. He also shared that he felt true artistic autonomy while creating this record, a stark contrast to the confusion he experienced while working on previous albums. At first songwriting served as a safe space to house Vasquez’s grief and pain, but as his fanbase grew, he realized that his music was not only a source of relief and freedom of expression for him – but also a means of connecting with others who might be experiencing their own pain.

“Exister” is out now via Sacred Bones Records. You can order the album here.

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The post A Parent Thwarts Musical Aspirations in The Soft Moon’s Claymation Video for “Stupid Child” appeared first on Post-Punk.com.

In June of 2022, Zola Jesus (aka Nika Roza Danilova) released a ten-track album following an intense period of writer’s block, called Arkhon, an ancient Greek word for “power” or “ruler.”  For the first time in her career, Danilova waded into the murky waters of the unknown: by involving other musicians into her creative process, she relinquished control of the outcome.

This newfound – or rediscovered – sense of community recharged Zola Jesus as an artist, and as a human. A change of scenery – literally – also led to unearthing another treasure within herself. During the video shoot in Turkey for Lost, the lead single from Arkhon, Danilova and director Mu Tunc also shot and recorded a live album and performance film in the stunning chapel of Bezirhane: Alive In Cappadocia. The history of Bezirhane spans nearly two thousand years: initially used to produce linseed oil, it has also served as a monastery, and as a caravansary frequented by Silk Road travelers. 

The poetic simplicity of the four-song album features three key elements: the powerful vocals of Zola Jesus, a piano, and the incredible acoustics, echoes, and energy of the ancient sacred space. She performs Desire and Into the Wild from Arkhon, as well as two previous songs, Skin and Siphon.

The footage from this performance is nothing short of mesmerizing. Surrounded by candles, beams of sunlight, and centuries-old ghosts, Danilova transcends space and time. She sits calmly at the piano dressed in a veil, with interspersed footage of her wandering the wintry landscape in a woolen cloak. With this strong imagery, she embodies the experience of our common ancestors, echoing and amplifying their voices. 

Watch below:

The spiritual reawakening Danilova experienced during the creation of Arkhon also manifested as a passionate battle against the suffocating influence of capitalist technology in the music industry. As she grappled with the personal aspects that fueled the poetry of Arkhon, she also took to social media to lash out at the exploitation and sanitization of a deeply flawed industry that favours algorithms over artistry; capitalism over collaboration.

During an NPR interview at NYC’s Rough Trade in July, Danilova doubled down on asserting her independence and determination to maintain her autonomy in a world rife with global and societal crise. She strongly asserted that all artists have a collective need for honest, authentic artistic catharsis. This David and Goliath battle against Big Tech against highlights the active silencing of veracity in favour of a numbers game for advertising. Gone are the days of Top-40 protest songs, politically-charged lyrics, and the celebration of nonconformity in music. So what is possible with these bleak prospects? With Zola Jesus, Danilova continues to set a firm example of navigating artistic independence during the glossy Neo-Gilded Age of late capitalism.

In this interview, we discuss Arkhon, Alive In Cappadocia, her process, and more insight about the pitfalls of a technocratic music industry.

Arkhon was a change from your previous albums as far as the writing process goes – you’ve said you were able to push through creative block through new kinds of collaboration. What have you discovered about your own artistry, reflected off what others bring to the table?

It got to a point in my writing where I felt like I was stuck in a pattern that I couldn’t get myself out of. I felt limited by my own sense of expression. I had so, so much I needed to get out but the way in which I was used to working wasn’t channeling it properly. I had to collaborate in an effort to break myself open and renew my perspective. It was so helpful, because I was finally able to see the ways in which I was holding myself back as a writer. It’s been a long process of trying to get back to the beginning, to writing like a child again. But I’m finally getting there, and seeing just how much is possible with this newfound sense of melody and experimentation! Making Arkhon has really led me to where I am now in that process.

“Arkhon” means ruler in ancient Greek. How do you connect with that word, or have come to connect with it?

I named the record “Arkhon” after the term used in Gnosticism. The archons are malevolent rulers which force humanity astray from total union. I wrote the record between 2018-2021, which was an incredibly tense time not only in my personal life, but nationally and globally. It felt as though I was in a constant battle against these archons who were pushing me towards madness.

With each undertaking, artists generally undergo a kind of spiritual rebirth during the process of creation. What did Arkhon reveal to you?

More than most records I’ve made, Arkhon was like a mirror held in front of my own shadow. Because the record is the outcome of so much personal pain, it wasn’t easy to make. For that reason, it’s quite a tender piece of work. But at the end of the day, it revealed how much I cherish music as a means of self-acceptance and understanding. It allowed me to take control of my own narrative, while at the same time making peace with all the things that are simply out of my control. Making music for me is always this awkward experience of getting to know myself, whether it’s through who I want to be or who I am… at the end of the song I will find a deeper connection to myself and the world. There is a humility to sharing that journey with others, but that’s the part that feels like the service. 

The album cover for Arkhon is a remarkable photo. Can you tell us about it?

After I finished final mixes for the record, I listened to it in headphones in the dark and tried to see the visual world. This usually happens more during the making of the record, but this time I didn’t want to let myself get in the way, so I left this part for last. Upon listening I saw a cave in my inner vision. I imagined the cave as my home… the tunneling dark crystalline world in which the music was made. I remembered there was an ancient limestone cave not far from where I live, so I decided to go there with my mom and my sister-in-law to take photos. I didn’t want it to be highly stylized, as I wanted it to feel as authentic and realistic as possible. I asked my friend Katie Martin of Graceland, who’s an amazing costume designer, if she had any sort of red robe or dress I could wear for the photo, which miraculously she did. It was perfect. Shooting the cover in that cave after spending so much time in the realm of the songs felt like it was all meant to be. I felt as though that cave really was my womb.

Alive In Cappadocia  gave me chills. Your voice fills that sacred space so perfectly – you give the space such reverence. It’s just you, that piano, and 2000 years of history. Wearing a veil and surrounding yourself with candles – it’s almost like witnessing Hildegard Von Bingen herself spring to life. What did you feel, hearing your music filling that space? 

It was such a special opportunity to be able to record something live in that amazing space. The history that is literally buried in Cappadocia is so immense. Hearing my voice resonate against the walls felt very strange, as if I was combining with the millennia of history. 

How did you find yourself drawn to Bezirhane? What did you come away with from the experience?

While making Arkhon, I became very interested in time. The resilience of humanity is reflected in our own survival, yet we should never forget how much perseverance it took others for us to get here. Cappadocia is a relic of history, in that it has captured the essence of survival and faith. Many people were drawn to Cappadocia in an effort to hide and practice their spirituality in freedom. I wanted to feel this strong, sacred energy for myself. 

You’ve been passionately vocal about the importance of artistic autonomy in the music industry, and wrote “Lost” about the uphill battles these fights for independence mean to us. What advice can you give indie artists who are navigating these waters?

Ugh, this is so hard. Hard because I don’t really have an answer. By nature, I’m quite anti-authoritarian, so all of the corporate consolidation that’s been happening has gotten under my nerves in a deep way. I think the only way through it out, honestly. I think the more we divorce ourselves from these corrupt services and companies, the more control and autonomy we’ll have both as musicians and music fans. It’s a really difficult time, because listeners have become trained by the convenience of these services and musicians have been coerced into agreeing to really pitiful terms. The only change will come from awareness and conscious choices. Spotify isn’t going anywhere until we do.

One thing you mention over and over – regardless of whether it’s society, the music industry or artists’ struggles – is that change happens from the bottom up. How have you done this with your music, and what are some steps we can all take to accomplish this?

I started a Patreon a couple years ago, which still isn’t perfect, as it’s another VC-funded company mediating between artist and fan, but at least it gives me more control over my value. That’s helped me see that alternative models are possible. I tried to do the NFT thing, which of course isn’t ideal in the very least either, but it was another way to experiment with operating outside of the paradigm. I continue to work with my label Sacred Bones, which at this point is family to me. I have no interest in working with anyone else.  I have been making music as Zola Jesus for almost 15 years. I have been through the gamut of what this industry can offer and I’ve learned that nothing is more stable than deep family and community. Belonging to a group of likeminded people who work together to accomplish each others’ artistic goals is not only successful, but it’s rewarding to a level that nothing else can compare to. If anything is here to stay, it’s that. And if anything will get us through this hellishly isolating, alienating individualist black hole, it’s that. So I would recommend anyone reading this to find their crew and ride or die.

Arkhon is available on special edition coloured vinyl through Sacred Bones, Bandcamp, and various independent retailers, as well as on CD and cassette. You can stream and purchase the Alive In Cappadocia album below:

Follow Zola Jesus:

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Photos for Post-Punk.com: Alice Teeple

Makeup: Jenny Atwood Smith for NARS

Wardrobe: Brittany Anjou

The post Alive In Cappadocia—An Interview with Zola Jesus appeared first on Post-Punk.com.

The track, produced by Luis Vasquez, and mixed/mastered by Maurizio Baggio, is one of The Soft Moon’s best yet. Showcasing Vasquez’s versatility in song composition and vocals, it is a stirring anthem whose melody leans heavily towards the mid-80s catalog of Depeche Mode and Tears For Fears while maintaining the band’s trademark dark post-punk sound that a decade ago paved the way for today’s Indie label scene.

In writing the song, Vasquez explains:

“I had an identity crisis after discovering dark secrets about my family’s past. This happened while I was writing the album, and it destroyed me. ‘Become The Lies‘ expresses how everything I thought I knew about my life was untrue. Lies, shame, and guilt have been a recurring theme in my music.

I explored it in Criminal, but during the writing process of Exister I became more self-aware and finally understood that I was never the liar in the story. I wanted to dance in the video to contrast with the lack of control I felt over my life in that moment. It’s my way of shaking off the bad stuff. It’s also an escape from the seriousness of this song.”

The video, directed by filmmakers Wiggy and Matt Ploeger, is a nod and homage to those “dance it out” sequences in the likes of films such as Fame, Flashdance, and Footloose. Highlighting Vasquez in silhouette, it is an exorcism of ecstatic movement.

Watch the video for “Become The Lies” below:

Pre-order Exister here. The album comes out on September 23, 2022, via Sacred Bones Records.

Vasquez began The Soft Moon as a solo project in 2009, with the intent to direct his energy into the aim of delivering a full sensory experience within the context of live performance. The band would later integrate visual elements on stage to accompany performances, specifically light shows. The Soft Moon plans to tour in Europe and North America in the autumn to promote the new album.  All dates are listed below.

The Soft Moon Tour Dates:

• Sep 26 Hamburg, DE – U&G
• Sep 27 Berlin, DE – So36
• Sep 28 Leipzig, DE – UT Connewitz
• Sep 29 Cologne, DE – Gebaude9
• Sep 30 Poznan, PL – Próżność
• Oct 01 Warsaw, PL – Praga Centrum
• Oct 02 Krakow, PL – Klub Muzyczny Poczta Główna
• Oct 03 Prague, CZ – Futurum
• Oct 04 Munich, DE – Hansa 39
• Oct 05 Pordenone, IT – Capitol
• Oct 06 Rome, IT – Monk
• Oct 07 Milan, IT – Santeria
• Oct 08 Bologna, IT – Covo
• Oct 10 Toulouse, FR – Le Connexion
• Oct 11 Vigo, ES – Master Club
• Oct 12 Lisbon, PT – LAV room 2
• Oct 13 Madrid, ES – La Casa Encendida
• Oct 14 Zaragoza, ES – Jardín de Invierno
• Oct 15 Barcelona, ES – Nitsa Club (La (2) de Apolo)
• Oct 17 Lyon, FR – Epicerie Moderne
• Oct 18 Zurich, CH – Mascotte Club
• Oct 19 Gent, BE – Handelsbeurs
• Oct 20 Lille, FR – Le Grand Mix
• Oct 21 Luxembourg, LU – Kulturfabrik
• Oct 22 Brussels, BE – Beursschouwburg
• Oct 24 Amsterdam, NL – Paradiso Noord
• Oct 25 Nijmegen, NL – Doornroosje
• Oct 26 Groningen, NL – VERA
• Oct 27 London, UK – The Garage
• Oct 28 Amiens, FR – La Lune des Pirates
• Oct 29 Paris, FR – Trabendo
• Nov 09 Philadelphia, PA – Underground Arts
• Nov 10 Brooklyn, NY – Music Hall of Williamsburg
• Nov 11 Washington, DC – The Howard Theatre
• Nov 12 Richmond, VA – The Broadberry
• Nov 13 Asheville, NC – The Grey Eagle
• Nov 14 Atlanta, GA – Masquerade (Hell Stage)
• Nov 16 New Orleans, LA – One Eyed Jack’s
• Nov 17 Houston, TX – Numbers
• Nov 18 Dallas, TX – Deep Ellum Art Co
• Nov 19 Austin, TX – Mohawk
• Nov 21 Phoenix, AZ – Crescent Ballroom
• Nov 25 Los Angeles, CA – The Regent Theater
• Nov 26 San Francisco, CA – The Independent
• Nov 29 Portland, OR – Wonder Ballroom
• Nov 30 Vancouver, BC – Rickshaw Theatre
• Dec 01 Seattle, WA – Neumos
• Dec 02 Boise, ID – The Olympic
• Dec 03 Salt Lake City, UT – Urban Lounge
• Dec 04 Denver, CO – The Oriental Theatre
• Dec 06 Minneapolis, MN – Fine Line
• Dec 07 Chicago, IL – Metro
• Dec 08 Detroit, MI – El Club
• Dec 09 Toronto, ON – The Opera House
• Dec 10 Montreal, QC – S.A.T.
• Dec 11 Boston, MA – The Sinclair

Follow The Soft Moon:

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The post The Soft Moon Pays Homage to 80s Dance Films in the Video for “Become the Lies” appeared first on Post-Punk.com.

“I always complained that I never had enough freedom to do everything I wanted,” Vasquez says. “This time I literally had everything at my disposal…The whole point of this record was to share every emotion that I feel. No two songs are the same. It’s about existing in the world as a human being and experiencing many emotions and experiences throughout life.”

“Him”, the intense first single from Exister, is a collaboration with musician fish narc.

The video, directed by filmmakers Wiggy and Nick Blanco, shows the band frantically running, being pursued by unseen forces, while navigating through various urban landscapes, and features a wall of televisions that make a charming reference to Bowie’s character in “The Man Who Fell To Earth.”  The paranoia of the video plays well with the emotional anguish of the vocals. It’s a solid return for The Soft Moon, very much of its time and brimming with 21st-century Weltschmerz.

“I struggle with ‘good side/bad side’ endlessly,” says Vasquez about the single. “Him recounts that battle, expressing the turmoil it brings into my life.”

You can watch the video for the song, written by Vasquez and mixed and mastered by Maurizio Baggio, below.

Pre-order Exister here. The album comes out on September 23, 2022 via Sacred Bones Records.

The Soft Moon will also be on tour in Europe and North America in the autumn to promote the new album. Tickets for the tour go on sale Friday, June 17 at 10 AM. All dates are listed below.

The Soft Moon – 2022 Tour Dates

• Sep 26 Hamburg, DE – U&G
• Sep 27 Berlin, DE – So36
• Sep 28 Leipzig, DE – UT Connewitz
• Sep 29 Cologne, DE – Gebaude9
• Sep 30 Poznan, PL – Próżność
• Oct 01 Warsaw, PL – Praga Centrum
• Oct 02 Krakow, PL – Klub Muzyczny Poczta Główna
• Oct 03 Prague, CZ – Futurum
• Oct 04 Munich, DE – Hansa 39
• Oct 05 Pordenone, IT – Capitol
• Oct 06 Rome, IT – Monk
• Oct 07 Milan, IT – Santeria
• Oct 08 Bologna, IT – Covo
• Oct 10 Toulouse, FR – Le Connexion
• Oct 11 Vigo, ES – Master Club
• Oct 12 Lisbon, PT – LAV room 2
• Oct 13 Madrid, ES – La Casa Encendida
• Oct 14 Zaragoza, ES – Jardín de Invierno
• Oct 15 Barcelona, ES – Nitsa Club (La (2) de Apolo)
• Oct 17 Lyon, FR – Epicerie Moderne
• Oct 18 Zurich, CH – Mascotte Club
• Oct 19 Gent, BE – Handelsbeurs
• Oct 20 Lille, FR – Le Grand Mix
• Oct 21 Luxembourg, LU – Kulturfabrik
• Oct 22 Brussels, BE – Beursschouwburg
• Oct 24 Amsterdam, NL – Paradiso Noord
• Oct 25 Nijmegen, NL – Doornroosje
• Oct 26 Groningen, NL – VERA
• Oct 27 London, UK – The Garage
• Oct 28 Amiens, FR – La Lune des Pirates
• Oct 29 Paris, FR – Trabendo
• Nov 09 Philadelphia, PA – Underground Arts
• Nov 10 Brooklyn, NY – Music Hall of Williamsburg
• Nov 11 Washington, DC – The Howard Theatre
• Nov 12 Richmond, VA – The Broadberry
• Nov 13 Asheville, NC – The Grey Eagle
• Nov 14 Atlanta, GA – Masquerade (Hell Stage)
• Nov 16 New Orleans, LA – One Eyed Jack’s
• Nov 17 Houston, TX – Numbers
• Nov 18 Dallas, TX – Deep Ellum Art Co
• Nov 19 Austin, TX – Mohawk
• Nov 21 Phoenix, AZ – Crescent Ballroom
• Nov 25 Los Angeles, CA – The Regent Theater
• Nov 26 San Francisco, CA – The Independent
• Nov 29 Portland, OR – Wonder Ballroom
• Nov 30 Vancouver, BC – Rickshaw Theatre
• Dec 01 Seattle, WA – Neumos
• Dec 02 Boise, ID – The Olympic
• Dec 03 Salt Lake City, UT – Urban Lounge
• Dec 04 Denver, CO – The Oriental Theatre
• Dec 06 Minneapolis, MN – Fine Line
• Dec 07 Chicago, IL – Metro
• Dec 08 Detroit, MI – El Club
• Dec 09 Toronto, ON – The Opera House
• Dec 10 Montreal, QC – S.A.T.
• Dec 11 Boston, MA – The Sinclair

Follow The Soft Moon:

• Website
• Instagram
• Facebook
• Twitter

The post The Soft Moon Returns with the Video for “Him” and Announces New Album and Tour Dates appeared first on Post-Punk.com.