Throughout the 1980s and 90s, Karl Wallinger, whose roots were deeply entrenched in the verdant landscapes of Wales, rose to prominence as the charismatic leader of World Party and as an erstwhile collaborator with The Waterboys. Sadly, he has departed from this mortal coil at 66 years old, as confirmed by his publicist. No official cause of death has yet been given.

“Karl leaves behind a loving family including wife Suzie Zamit, son Louis Wallinger, daughter Nancy Zamit and two grandchildren. The family invites Karl’s friends and fans to share their thoughts on his Facebook page or Instagram.”

Born in Prestatyn, Wales, in October 1957, Wallinger’s formative years unfolded within the storied walls of Charterhouse, an esteemed English boarding school renowned for nurturing the talents of the original Genesis. Although their paths at Charterhouse never crossed, Wallinger would later collaborate with Peter Gabriel’s Big Blue Ball project.

Wallinger dipped his toes in the water with his first band, Pax, which later evolved into Quasimodo and included future members of The Alarm, Dave Sharp and Nigel Twist. However, it was his role as a keyboardist for The Waterboys where he truly found his first brush with success. Contributing to the albums ‘A Pagan Place‘ (1984) and ‘This Is the Sea’ (1985), Wallinger played a pivotal role in shaping the band’s sound. His creative influence extended to arranging the music for iconic tracks such as ‘The Whole Of The Moon‘ and earning a writing credit for ‘Don’t Bang the Drum.’

“Having Karl in the studio was like having a one-man orchestra around. There might have been a This Is the Sea without him, but it wouldn’t have been the same – or as good,” Mike Scott of the Waterboys once commented.

In 1986, Wallinger, following his parting from the Waterboys, sowed the seeds of World Party. The endeavor was a solitary pilgrimage at its inception, with Wallinger ensconcing himself within the confines of his abode to forge the group’s inaugural album, Private Revolution. The album emerged as an unexpected beacon of success, heralded by the anthem Ship of Fools.

The ensemble, buoyed by this triumph, embarked upon a journey of artistic creation and public performances, bequeathing to the world a total of four additional albums by the turn of the millennium. Their odyssey was punctuated with memorable harmonies such as Put The Message In the Box and, arguably his greatest masterpiece, Is It Like Today?

Wallinger, an avid Beatles fan, was also no stranger to side projects: he collaborated with Sinead O’Connor on her debut album The Lion and The Cobra, and  1990’s Goodbye Jumbo garnered widespread acclaim. He spent some time as a musical director for a stage production of The Rocky Horror Picture Show. Hollywood also came calling for a time, as Karl Wallinger became musical director for Reality Bites, and contributed to the soundtrack of Clueless with a cover of Mott The Hoople’s All The Young Dudes.

Wallinger’s arduous recovery from a 2001 aneurysm required tseveral years of rehabilitation in order for him to re-learn to speak and play instruments. World Party later embarked on extensive tours, yet during this period, new albums were notably absent from their repertoire. Nevertheless, in a 2022 interview, Wallinger sparked anticipation by promising fresh material on the horizon.

“It’s good to write songs about stuff that people think about, that I thought about,’ Wallinger once told The Big Takeover. “It’s just a resonance with other people that you get from thinking about things that we’re all thinking about. You put in music, and it becomes a recognizable emotion, and people lock onto that. It’s strange, but amazing. I’ve always thought it should be something to do with healing or finding things out about the world that have truth. It maybe sounds a little idealistic, but it’s what music is about. It’s kind of a pure thing, music. I’m not left or right wing; I don’t even think of in terms of that. I just want people to have what they need to get through living on the planet.”

Former bandmate Mike Scott left a tribute to Wallinger on social media, calling him “one of the finest musicians I’ve ever known.”

The post Karl Wallinger of World Party and The Waterboys Passes Away At 66 appeared first on Post-Punk.com.

Nico B, who has previously worked with Williams, brings a unique perspective to the project, combining personal anecdotes with a vast array of interviews from those who stood by Williams throughout his career. This untitled documentary aims not just to chart the history of a musician but to capture the essence of a cultural icon whose influence transcends his music.

Set against the iconic backdrop of the Masonic Lodge at Hollywood Forever Cemetery, a place as storied and rich in history as Williams’ own legacy, a special fundraiser event on March 15th will support the final stages of the documentary’s editing and post-production. Hollywood Forever, the resting place of numerous legends, provides a fitting venue to honor Rozz Williams (whose ashes are interred there), offering a bridge between past and present artistic luminaries.

The event promises an intimate glimpse into Williams’ world, featuring performances from those who shared his journey, including Gitane Demone, Paul Roessler, and Eva O, each bringing their own connection to Williams’ life and work to the stage. The inclusion of special guest Vincent Price from Body Count adds an exciting layer, blending genres and generations in a tribute to Williams’ diverse artistic reach.

For fans and newcomers alike, the event offers a range of experiences. The VIP experience, limited to 20 attendees, provides a once-in-a-lifetime opportunity to tour Rozz Williams’ memorial site, offering a tangible connection to his legacy. This, along with the chance to meet and greet band members and secure autographs, makes for an unforgettable experience. General admission opens the door to a wider audience, inviting all to partake in this unique celebration of Williams’ life and artistry.

The evening’s schedule is meticulously crafted, featuring a screening of “PIG,” a film by Williams and Nico B, followed by performances that promise to immerse attendees in the world Williams created. The event not only serves as a tribute but as a vital step in ensuring the documentary reaches completion, with proceeds going towards this goal.

The documentary, enriched by interviews with 23 collaborators and friends, including Eva O, Gitane Demone, and Rikk Agnew, aims to paint a comprehensive portrait of Williams. Coupled with a treasure trove of music, photographs, art, and video works, it’s set to be a definitive account of Williams’ life and influence.

As the event approaches, fans are encouraged to remember Rozz Williams, not just as a musician but also as an artist who pushed boundaries and left an indelible mark on the world. Through the documentary and tribute, his legacy continues to inspire, reminding us of the power of art to transcend time and space.

For more information and to support this important project, please visit the Hollywood Forever website. Join us in celebrating the life and legacy of Rozz Williams, ensuring his artistic spirit continues to resonate with generations to come.

The Rozz Williams tribute and fundraiser will be held on March 15th at the Masonic Lodge of Hollywood Forever.

Here is the schedule:

• 6:00 PM VIP EXPERIENCE
• 7:00 PM GA DOORS OPEN
• 7:30 PM SCREENING OF PIG
• 8:00 PM GITANE DEMONE & PAUL ROESSLER
• 9:00 PM SYMBOLISM
• 10:00 PM EVA O

Special guest guitarist: Vincent Price (Body Count) is joining Christian Death’s Rikk and James’ new deathrock supergroup Symbolism.

Get advance tickets here.

The post Celebrating the Legacy of Rozz Williams: A Tribute at Hollywood Forever Cemetery appeared first on Post-Punk.com.

The fusion of Astbury’s distinct vocal style with Black’s electronic landscapes creates a sound that’s both fresh and familiar, challenging the boundaries of genre. Guitars and modular synths weave through the track, building a complex soundscape that pays homage to the roots of both artists while pushing forward into new territories. The collaboration not only showcases their individual strengths but also highlights the potential of cross-genre partnerships in creating innovative music.

Black shares a story about recording the track, highlighting the serendipity and spontaneity that often accompanies creative endeavors.

“Astbury and I agreed that it would be cool to collaborate and since I was already going to LA for a gig,” says Black. “I found a studio. I honestly didn’t know if he would show up, or if some imposter was using his account. Ian showed up. I watched on the studio security cameras as a black SUV pulled up. Ian rolled in with a bag full of notebooks, art books, pens, and stories. We talked for hours. Somehow with only 20 minutes left in our session, he went to the booth and nailed the vocal in 1 take. This was the first time I recorded with a vocalist as they were writing the vocals in my presence,”

Listen below:

Dirge Out marks the second release from the upcoming sophomore album, ‘Infinite Darkness‘, which will see its global release on May 3rd, 2024 via Artoffact Records. Black says it was Astbury who pushed him to get to it. “I was on the bullet train from Osaka to Tokyo when he texted me “you should call your record Infinite Darkness.” How could I refuse?” Black comments.

Produced over the span of five years, the album features incredible talent, including ACTORS, Louisahhh, Michele Lamy, Front Line Assembly, and more!

Pre-order Infinite Darkness here.

Bryan Black, also known as Black Asteroid, kick-started his music career as a sound designer and keyboard technician for Prince at Paisley Park Studios in Minneapolis. Diving into his own creative endeavours, Black produced music under the aliases Haloblack and Motor, catching the attention of Depeche Mode’s Martin Gore. This led to a collaboration that produced the top 40 hit Man Made Machine and tours with Depeche Mode. Black Asteroid emerged on the scene with the debut single Engine 1 in 2011, showcasing a distinctive industrial techno sound that gained rapid popularity and secured him spots in prestigious clubs and festivals globally.

His debut album Thrust, released in 2017, featured a mix of crossover singles with contributions from artists like Zola Jesus and Cold Cave, highlighting Black’s penchant for integrating song structures and vocals into techno. Following this, 2023 saw Black exploring experimental sounds in the EPs Acid Flesh and New Flesh.

Follow Black Asteroid:

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The post The Cult’s Ian Astbury Collaborates with Black Asteroid on Haunting Electronic Music Track “Dirge Out” appeared first on Post-Punk.com.

While the band would change members throughout the late eighties and early nineties, the original core lineup of vocalist Robbie Grey, bassist Mick Conway, guitarist Gary McDowell, and keyboardist Stephen Walker have been recording and releasing a string of incredible records in the modern era, with their latest, this year’s fantastic 1, 2, 3, 4 earning massive accolades across the board. The band are about to head out on an expansive tour that takes them across the world, joining both The Buzzcocks and Thomas Dolby at various points.

We had a chance to talk to Modern English vocalist Robbie Grey about the band’s history, the new record’s political leanings, and the secret to keeping a band together over the years:

Your latest record, 1,2,3,4 has the same vitality as any of your work – it truly sounds like Modern English in the best way possible. How did the record come together?

Well, what you’re getting there is the live feel of the record. The first thing we thought about when recording this album was to consciously get away from that homogenized radio sound where everyone’s using Pro Tools and splicing things together. We wanted to make a live recording as much as we could, so you could feel the movement from  the verse to the chorus. When we first started writing the record, it would have been right around when the pandemic hit in 2020. In England, we were only allowed to go outside for a couple of hours a day, unless you were going to a workplace, which you could go to three days a week. So, we would go over to Mick’s studio, which was nearby in Suffolk. We all gathered there to write the record, but we always knew that we wanted to keep it raw. We had done that for a while and we wanted to get a producer who would allow for that. So, Mario (J. McNulty) came along and we talked about sticking to that live feeling. We then went to a great studio in upstate New York in Rhinebeck and it all just came together really well. It doesn’t always work out like that. It’s like a painting, I suppose. You can either do a really bad one or a really good one, and all the pieces just really fit together for this album…

That’s cool you were in Rhinebeck. I actually grew up in Goshen, which is only an hour or so away from there. It’s such a beautiful area.

Well, Mick lives in Hudson now, I believe. He’s been living in that area for quite some time.

So were any of the songs written before you entered the studio, or were they all written there? 

No, no, we never really come in with a full record ready to go. Actually, for the first time probably ever I wrote a full song for the record in advance, and that was “Long In the Tooth.” When I wrote that song back in my little studio room to when it was recorded and released it’s not changed at all really. Normally though, we start things off with just pieces of music that we develop. We don’t really have complete songs generally. “Not Fake” was another song that was already kind of written, and Mick’s song “Not My Leader” didn’t really change all that much either from the beginning. So, I suppose there are a couple of songs on there that were written from the start, but generally we kind of fiddle around quite a lot as we go.

The lyrics seem quite political – can you tell us a bit about them?

Yeah, I mean, I’m just pissed off with everything, you know? It’s just crazy that people in power just don’t give a shit about anybody else and that’s so frustrating after all this time that the decent side of humanity never seems to get very far but the corrupt people and those who generally crave power seem to be much nastier. It seems to me that if you want to stay in power, you have to be that way, and decent people on the street are just sort of fed up with it. I am at least, anyway. When we first started and came to your country, we had Margaret Thatcher and you had Ronald Reagan. Fast forward from the late 70s and early 80s and it hasn’t changed all that much. In fact, you’ve got a clown like Donald Trump who is very likely going to be your president again, from the looks of it…

Ugh, no one learned anything. It’s kind of maddening.

It’s not even funny, is it? It’s just crazy.

The only way I can survive is to laugh, sometimes. I just can’t believe how surreal it all is most of the time. 

Right! So, a lot of the lyrics on the album, like “Not My Leader” are all about that. “Not Fake” is about things becoming less and less rooted in true humanity really, you know people wanting to have different faces, different bodies, and different brains. Everyone wants to be something else all the time, it’s about that deconstructed sense of nature. I spend a lot of time in Southeast Asia and I live in the countryside in England. Both are near the beach, and seeing the amount of garbage in the ocean inspired another song on the album called “Plastic.” It’s maddening – they clean the beaches daily but they’re filled with trash again in the blink of an eye.

In “Voices” – it’s interesting that you namecheck Billie Holiday and Karen Carpenter – two of the saddest and most tragic figures in pop music. It makes me wonder, what’s that song about in the context of the political machine and how do those lovely singers factor into the story?

Well, I just know that they’re too the best voices I’ve ever heard of my life. That song to me is about gun culture and how young people are brainwashed into believing that the only way out is to go out and blow people up. The song is about someone sitting in their bedroom with a gun in their hands and the internet in front of them, and being disturbed enough to actually go out and hurt someone. Perhaps if they heard a voice like Karen or Billie’s it would help them and they could find some solace in the music. Maybe if they listened to these voices they could hear the beauty and loss they sing about and it could soothe their soul…

That’s really beautiful, and that track is such a standout.

Thank you, thank you.

I love how active Modern English has been over the years, I’ve seen the band several times and you’ve always been one of my favorite live acts. Your energy on stage is unmatched, and you always have so much passion, no matter if you’re playing new music, deep cuts, or the hits. I’d love to know what the secret is to keeping a band together in harmony after all this time.

Well, as you get older, you do tend to let people get away with a lot more than you would have when you were younger! You don’t end up fighting with each other so much. Really, we’ve known each other since we were teenagers, we came from the same town and lived in London for over 30 years. We went through so much together in the eighties and nineties that at this point, we can just sort of take the piss out of each other and people won’t get offended, which is a good thing. Otherwise, the energy level on stage is just how it’s always been. I guess I don’t know what else to do apart from what we do. I feel that energy and react as I always have.

I’d love to hear more about the formation of the band – what brought you all together in 1979? 

Well, that’s brilliant you should ask that because you know, we’re not jaded yet! The creative process is the most important thing about music. The rest of it, once it leaves your hands, is business, really. That part overshadows the creative process a lot, but as long as you can keep writing songs and keep that creative energy flowing, you’re doing all right.

As for  the start of things, it was just an amazing time to be in the UK. Punk happened, and you had people like The Clash and the Sex Pistols on TV which was all very new and very exciting. Before that, we’d listen to Bowie and Roxy Music, things like that, but we never dreamt that we could play music. We thought it was something that other people, these immense talents and virtuosos, could do and that we never could. So when this punk thing happened, we felt empowered, we became part of that whole thing. It just swept over the nation and changed the whole landscape of music almost overnight. After a bit, it got a bit boring, playing just this fast and furious music all the time, so everyone started experimenting in that framework, forming what everyone now calls the post-punk thing. This is where bands started going off on their own and exploring their own ideas, carving out more soundscapes and doing what they wanted with that punk energy. It was such a brilliant time around 1978-79 with all the bands that came out around us. Joy Division, The Cure, Wire, Gang of Four, and so on. This all shaped so much of England’s musical culture, so we were able to put our band together to do something similar.

It’s kind of amazing to think about all the bands that formed and quickly embraced this sound more or less independently from each other, yet still there was this unified movement of sorts…  

Well, John Peel had a lot to do with that. He championed a lot of the bands around that time would play play bands on the BBC that nobody else would go near, at all this kind of crazy wild music by bands who never would write a love song or make music that was like everything else on the radio. He had a lot to do with that unification, but also in general, the whole country was on fire and we were all reacting to that. It was brilliant. There was no money around, the UK was a very poor country outside of those who were in power and who were already rich. Most didn’t have anything at all. We used to steal microphones from concerts, and Gary’s first guitar was worth only $30 or so. Most of these bands, including us, really started from the ground up, and it was all very exciting. That energy was present from the start, you know?

Yeah, and with that in mind, Gary got such a unique sound out of that guitar. To me, those early Modern English guitar textures are otherworldly – so atmospheric and intense. 

Yeah, you know, stick it through a chorus and a flanger and it sounds brilliant!

Can you share any stories about your time on 4AD?

Well, it was if you remember Vaughan Oliver died, you know, I think five years ago now… I think his first artwork was the “Gathering Dust” single in 1980.

Right – with the shadow figures sitting next to the television set! 

Yeah! So that was the first artwork he ever did for the label… His last ever work was the re-imagining of Mesh & Lace and After the Snow, which came out just a few years ago. So it’s a real sense of synergy with 4AD there.

Otherwise, Ivo Watts-Russell and Peter Kent were the guys that signed us. We sent them a demo, and you know, it was just a wild demo we made of our earliest tracks, and they liked it and picked up on us. We were one of the first bands who signed with the label, along with Bauhaus, and then of course it all built up from there with Cocteau Twins, The Birthday Party, Dead Can Dance, and so on…

So we were kind of in at the beginning, at a time when Factory was also operating in the north with all those bands – Joy Division, A Certain Ratio, Crispy Ambulance, and of course Mute Records were doing their thing with Depeche Mode, Fad Gadget, and Daniel Miller. It was such an exciting time… All of us used to play with each other quite a lot – we did some gigs with The Birthday Party and so on. It was a wildly creative period, that 79-81 era…

I really liked that first 7” you recorded – the “Drowning Man” single. but the band really took it so much further out once you locked in with 4AD. Was that where you were heading naturally, or did 4AD’s early lineup and mission statement influence your sound? 

Well, the simple answer to that is we just became better musicians rather quickly. When we recorded “Drowning Man,” we couldn’t even really tune our guitars. We didn’t know how to do that. If you listen to that single, you might notice that we’re out of tune completely! That said, it’s got a certain quality to it that works. Mesh & Lace however, we went in the shooter. We did that record live as well, actually. A lot of that’s live. It’s a very experimental record. Ken Thomas who worked with Throbbing Gristle, engineered it and Ivo was in the studio with us as well. We were in the studio for only two weeks. It all very quick, you know, there was no back and forth, no debating about what was right and what wasn’t. We just went for it without too many overdubs, and it gives it that kind of quality. Everything’s a bit wild. We always enjoy using atmosphere more than musical playing, if you know what I mean… We’d rather explore the texture or do something more abstract than worry about a guitar solo or a beautiful musical passage or anything like that, really.

I think even your more pop-oriented works have that sense of experimentation and abstraction. Even “I Melt With You” or “Chapter 12” have some really interesting counter melodies and production techniques that elevate those tracks. That’s something I’ve always loved about your body of work – that you’ve never lost sight of that knack for experimentation, even on Soundtrack and Take Me to the Trees, and of course, the latest record. 

Yeah, that’s just how we operate overall, you know?

So, I still think it’s kind of wild that one of 4AD’s most beloved projects was birthed from covering two of your tracks – the live medley of “16 Days” and “Gathering Dust.” I love that you were all involved with This Mortal Coil in one form or another. Can you tell us more about your experience with that project? 

Well, really Ivo just felt that those two songs were such classic tracks and he wanted to re-record them the way we were playing them live. It was around that time that more electronic drum kits and samplers were being utilized a bit more. Ivo asked Mick and Gary to play on the This Mortal Coil version. They agreed and then Robin from Cocteau Twins and Martyn from Colourbox played on it. Liz came and did the vocals with Cindy, and the rest was history. I did that Colin Newman song “Not Me” on the first album, It’ll End In Tears. It was just Ivo’s hand’s-on project where he wanted to really celebrate everyone’s music and have his own project. He would get anyone he fancied to come in and play, whether it be us or Cindytalk, or Simon Raymonde, really, whoever was around at the time…

After the Snow really felt like more of a romantic record, though you still retained some that core energy in songs like “Life in the Gladhouse.” I’d love to hear more about that record. Was it a conscious decision to explore a more lush sound, or did that come naturally as well? 

Well, I mean, we’ve never been the sort of band that do the same exact thing twice. That’s been a bit of our downfall in some ways because we’ve confused a lot of people that way. A lot of other acts are happy to do the same thing, but we’ve never really been like that.

With After the Snow – a lot of that sound you mention is due to our producer, Hugh Jones, who encouraged us to focus more on our songwriting. We didn’t even know what that meant at that point, you know? He showed us how to string together a verse and a chorus and then a verse and a chorus and then a middle eight, and those things. His influence was massive! We were all interested in bringing in different instruments to change things – acoustic guitars, violins, and so on. We also tried different things. For instance, “I Melt With You” is probably the first song I never shouted on. I was so used to shouting into the microphone before that…

Did you approach that song from that perspective at first? Did you shout on earlier incarnations of the track? 

No! This, this is a good story actually. I was told to go up to the microphone and just speak into it…and I was like, “what? What the fuck are you talking about? You want me to go up to the microphone and just SPEAK into it?” But that really helped the song, it helped change it up to give it that sort of spoken word sort of feel in the verses, and that makes the chorus work so well.

…and then somehow between trying to softly speak the verses and then adding this lush, soaring chorus, you created one of the most beautiful, perfect pop songs ever recorded. Does it ever shock you how much that song has meant to people over the years? I mean, it’s truly timeless in that way. I almost hate to admit it, but in a previous life, that song was my wedding song, and it’s always funny, since the lyrics are both romantic but also about nuclear fallout and war, and a similar sense of dread that has always been present in your work. 

You know, you’d be amazed at how many times I’ve been told that! There’s definitely that idea of a couple you know, during the Cold War era. When I wrote it, I was staying in a cheap housing complex in London, freezing my arse off, stoned and scribbling down lyrics on a piece of paper, and within ten minutes, the lyrics were finished. It was like poetry really, I used stanzas, and of course, it’s basically about love. I was writing about the bomb dropping while this couple were making love, melting together… I’ve always said that it was a dark love song.

Otherwise, in some ways, it’s just another song for us on the album, you know? At one point we were wondering if we even liked it, or if it was a bit too commercial sounding compared to our other work.

I wondered if you struggled with that in the moment, especially when comparing it to songs like “Swans on Glass” or “Move In Light” which were written not long before that by comparison, you know?

Yeah, we did for about ten minutes, but Hugh was like “don’t be ridiculous – this a good song” you know, blah blah blah. In fact, going full circle, “I Know Your Soul” on the new album is a bit like that. We weren’t sure whether we’re going to put that song on the album, you know, because it’s the most crafted really of all the songs on the out on 1, 2, 3, 4, but Steve Walker, the keyboard player, was a big champion for that for that song. Mick, Gary, and I weren’t too sure about it, but we put it on there…

Did you leave anything on the cutting room floor? Are there any leftover tracks from the latest sessions?

No, no, pretty much everything’s on there!

So, one thing I’ve always admired about Modern English these days is that you always seem to have your finger on the pulse and have taken a lot of newer, underground bands on tour with you, bands like Entertainment or Bootblacks. A lot of older bands don’t seem to be as in tune with what’s going on in modern music and I was wondering what informed that. 

Well, I think we just, that’s just how we are. We’re no different when we started as people, making the kind of music that we want to and seeking out bands that are similar. It’s no different for us now than it was in 1979, except that we were lucky enough that “I Melt With You” gave us the security to carry on however we want to. Mick and Steve are more in tune with music than I am even, and they find that same energy in these bands that we feel we have.

As for me, I’d say I listen to more English music than anything these days, whether it be Fontaines D.C. or Idles. However, Mick would find these new, still obscure bands from Brooklyn and Steve would find some from Poland. We’re always looking for bands that are younger to come on the road with us mostly because we’d have wanted the same thing when we were younger, you know?

That’s great that you do that – I’ve heard so many conflicting stories over the years, some bands have shared stories of scene camaraderie, but others have told me that it was actually more competitive and cutthroat, not as romantic as all that. It’s interesting to hear your perspective on that and to see you lifting up other bands these days. 

It’s really true, though. People in America romanticize about this scene with all these bands hanging out in the pub, but it wasn’t really like that. Everyone was just doing their own thing. You might bump into somebody in the studio somewhere and have a moment with them, but you’re too busy doing your own thing to hang out really. That said, we did tour with Cocteau Twins and Bauhaus, and support Matt Johnson of The The when he started out – 4AD felt more like a family-oriented thing. Outside of that, it was often about getting a drink at the bar, you know?

What are your touring plans for 1, 2, 3, 4? What do you have planned for the year?

Oh my god, we’re not stopping this year! I mean, once I leave Thailand, I’m flying to Mexico City for rehearsals and a show. We’re playing with The Buzzcocks there. After that, we’re going back to America to play in Tucson and LA, two sold out shows with The Buzzcocks again. We’re going to go to Disneyland as well, but then we fly back to England. We’re doing a radio show for the BBC before linking back up with The Buzzcocks again for a few dates in Europe, plus a few on our own.

After all that, we’re going back to America as part of the Totally Tubular festival with Thomas Dolby, The Romantics, and other bands like that. We’re doing a six week run as part of that tour.

I’ve always enjoyed those tours, it seems like they aim to recapture a certain era, but for me, being too young to have seen many of these artists in the eighties, I always have a great time basking in that energy. It’s always great to see your band, whether it be a full headlining set or part of these tours. How long will the set be in the States? 

It’ll be about 25-30 min.

So you really have to carefully pick and choose, then! I imagine you’ll have to balance the new material, some early deep cuts, but I’m sure you have to play the hits, right? 

Well, you know, if we didn’t, we’d probably be hung! You know, it’ll be “I Melt With You” plus five or so other tracks.

I was sad to miss the After the Snow tour. Do you think you’d come back around to the States for a full tour for the new record? It’s always great hearing a full set, being able to enjoy the range and intensity of your material…

Oh yeah, whenever we get the chance, we’ll be playing. For some of these shows, we’re planning on playing three or four tracks from the album. I imagine even on this tour in the States we’ll throw one or two of them in.

Well, I’m a fan of the whole catalogue and anything you play at this point would go over well in my book. Have you found that other fans have been embracing the new material in the same way? 

Yeah, absolutely. It’s been incredible! I get stuff sent to me, you know – press clippings and reviews. It’s been brilliant, the response has been absolutely amazing. It might be the best critical response we’ve ever had if I’m being honest! §

1, 2,3, 4 is out now via InKind Music and available via the band’s Bandcamp page, as well as other outlets. For a full list of tour dates, visit the band’s website here.

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Header photo by Sheva Kafai.

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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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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. 

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Across the globe in countless mythologies, the “wild god” concept occupies a unique niche, embodying the capricious spirit of untamed nature. Unlike their urbane counterparts, these deities, with their feral hearts, preside over the primordial chaos of forests, rivers, and beasts, eschewing the trappings of civilization. From the frolicsome Pan of Greek lore to the antlered Cernunnos of Celtic tradition, these figures serve as conduits to the wild, their narratives steeped in themes of transformation and the perennial dance of life and death. They underscore a profound truth: humanity’s dominion over nature is an illusion, and respect for its indomitable will is paramount.

Now, Nick Cave adds to the pantheon with his glorious new single Wild God, the titular song from his upcoming album with The Bad Seeds – and it is a hymn of profound spirituality. Keep your Kleenex handy, this song is incredibly moving. Cave’s voice is as commanding as ever as he unfurls this complex, uplifting tune – part Americana, part European folk, part gospel, and brimming with euphoria.

…But never lose sight of what the wild god stands for.

With Wild God, it’s clear The Bad Seeds have been revitalized. Their sound, while sometimes briefly recalling their storied legacy, mainly pushes the group into new areas, enhancing their unyielding forward momentum. Wild God shows a band unwilling to dwell on past achievements and propelled by innovation and exploration.

“I hope the album has the effect on listeners that it’s had on me,” says Cave. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” He adds, “Wild God… there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

Be a wild god and give this a spin:

Nick Cave and the Bad Seeds are set to release Wild God on August 30th via Bad Seed/Play It Again Sam. The band—Cave, Ellis, Thomas Wydler, Martyn Casey, Jim Sclavunos, and George Vjestica—wrote and recorded Wild God at Miraval Studios in the French City of Provence and at Soundtree Studios in London.

Wild God marks Cave’s 18th collaboration with the Bad Seeds and follows the critically acclaimed Ghosteen from 2019. In addition,  Cave also worked on Carnage with Warren Ellis of the Bad Seeds in 2021. Wild God is a collaborative production effort between Nick Cave and Warren Ellis, with David Fridmann handling the mixing. The album features contributions from Radiohead’s Colin Greenwood on bass, with whom Cave toured last year, and Luis Almau on nylon string and acoustic guitar.

Pre-order ‘Wild God’ here.

NICK CAVE & THE BAD SEEDS – WILD GOD TRACKLIST
1. Song of the Lake
2. Wild God
3. Frogs
4. Joy
5. Final Rescue Attempt
6. Conversion
7. Cinnamon Horses
8. Long Dark Night
9. O Wow O Wow (How Wonderful She Is)
10. As the Waters Cover the Sea

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Yet, it was with their debut album, One, that Riverside truly soared, embodying the essence of spectral reverberations reminiscent of Echo & the Bunnymen, and the heartfelt yearnings akin to The Smiths. Their sound, however, was distinctly American in its raw passion, an echo of an era that if transplanted to the misty landscapes of Scotland, would have found kinship with the likes of The Lightning Seeds and Belle and Sebastian.

In an age when grunge’s gritty realism dominated the airwaves, Riverside stood as anachronistic heroes, champions of melodic grace in an industry veering towards the jagged edges of rebellion. Yet, the album One remained a steadfast testament to the timeless allure of melody, infused with a British sensibility and the soulful depth of Philadelphia.

The album’s tracks, like Cinnamon Eyes and Waterfall, became anthems of a generation, echoing through the halls of college radio and flickering across the screens of a darker MTV landscape. Cinnamon Eyes, with its buoyant, shimmering jangle-pop reverie and playful percussive beat, captures the essence of an unabashed love song, while Waterfall, with its cascading melodic guitar hooks that flow like their namesake, accompanied by chime-like guitar accents that dance in the wind, perfectly encapsulates the earnestness of a golden era straddling the early ’80s post-punk and the burgeoning alternative rock scene.

The album One stands as a sanctuary for the hopeless romantics and dreamers, a portal to a golden-hued era of alternative rock, its timeless sound never fading into obscurity but rather aging like fine wine, growing more profound with each listen.

In recent years, Riverside has rekindled the flames of their legacy, gracing stages alongside The Ocean Blue in sold-out reunion shows, with whispers of more to come in 2024. In a thrilling development, Riverside has partnered with Lost in Ohio to bring One to vinyl, a first for this cherished debut. This Kickstarter-funded reissue is a call to arms for those who wish to hold a piece of music history in their hands, complete with t-shirts, posters, and a dive back into the riverside of yesteryears.

With the March 1st deadline approaching, the band’s Kickstarter campaign is a call to action for those interested in contributing to the revival of the band’s legacy.

Find the link to the Kickstarter link for Riverside’s project to reissue their debut album, One, on vinyl here.

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The “Black Out” tour is a global journey, commencing on August 4 in Lokeren, Belgium, at the Lokerse Feesten and spanning iconic festivals and venues across Europe and the United States. The tour’s U.S. leg starts on September 6 in St. Petersburg, Florida, with notable stops in Philadelphia, Cleveland, Los Angeles, and notably, Chicago. In Chicago, Front 242 will make two special appearances presented by Cold Waves, underscoring the deep connection between Front 242 and Chicago, a city that has played a significant role in the band’s international success.

Following the U.S. dates, the tour will extend its international leg, visiting countries like Germany, The Netherlands, Sweden, France, the UK, and Spain, before reaching its poignant conclusion with three final concerts in January 2025, including a grand finale in Front 242’s hometown of Brussels, Belgium, at the Ancienne Belgique (AB) on the 24th and 25th.

Patrick Codenys, Jean-Luc De Meyer, and Richard 23, the core trio behind Front 242’s enduring legacy, shared their mixed emotions about concluding their remarkable journey.

“It is with a heavy mix of emotion that we close this great adventure, some 40 years in the making,” they stated, adding: “We realize that ending our journey at this time, when we are still vibrant and full of energy is how the band should be remembered. We are excited to share these meaningful final performances with our wonderful fans who have been with us through it all.”

The announcement, perfectly timed with International EBM Day, underscores the band’s deep connection to the EBM community and its history. Tickets for this historic tour will be available starting March 1, with more details on the band’s official website.

In a fitting tribute to their storied relationship, WAX TRAX! RECORDS is orchestrating an impressive FRONT 242 / CHICAGO VIP WEEK – Final Fan Experience, celebrating 40 years since the label first introduced Front 242 to the U.S. audience. This week-long homage, from November 11-17, 2024, is a heartfelt farewell to the band, featuring a plethora of events designed to showcase Front 242’s monumental impact on music history.

The VIP week in Chicago will offer an array of exclusive experiences, separate from the band’s final U.S. shows (tickets not included). Fans can look forward to unique opportunities such as a private bus tour of Chicago guided by Richard 23 & Julia Nash, exclusive access to a sound check, and a promotional-only reissue of “Endless Riddance” with an alternate cover. Additional highlights include a FRONT 242 retrospective exhibit, a special screening of the Wax Trax! documentary followed by a Q&A session with the band, access to the CLUB FRONT 242 pop-up bar, and intimate meet-and-greet sessions.

These VIP packages not only offer unprecedented access to the band but also include collectible items like a limited edition poster, a tote bag, a commemorative laminate, and a special 2024 ticket for the final U.S. shows. It’s a comprehensive celebration that honors the legacy of Front 242 and their pivotal role in shaping the industrial and EBM genres.

WAX TRAX! takes immense pride in having been the gateway for Front 242’s introduction to the American music scene. The label is now poised to give the band a grand send-off, marking the end of an era with the celebration they truly deserve. As Front 242 bids farewell with their ‘FRONT BYE FRONT’ tour, fans are invited to partake in this historic moment.

For those interested in the VIP FINAL WEEK or the band’s concluding performances, detailed ticket information can be found at the following links:

• FRONT 242 VIP Final Week
• Front 242 Live Performances

A Look Back at Front 242’s Trailblazing Path

In the annals of electronic music, few names are as synonymous with innovation and influence as Front 242. Their journey began in 1981 in Belgium, a time when the electronic music landscape was ripe for revolution. The band’s founding member, Daniel B., set the tone with the single “Body to Body,” laying a foundation that would soon support an entirely new genre.

The arrival of Patrick Codenys and Jean-Luc De Meyer for the band’s inaugural album, Geography, in 1982, marked the true genesis of Front 242’s iconic sound. With Richard 23 joining in 1983, the group’s lineup solidified, and their collective vision began to crystallize. Front 242 wasn’t just creating music; they were crafting a sonic and visual experience that transcended traditional performance art.

Front 242’s commitment to autonomy in their recording and graphic endeavors allowed them to forge a distinct identity, both sonically and visually. This independence was crucial in cultivating a unique stage presence that captivated audiences across Europe, laying the groundwork for their international acclaim.

The mid-1980s saw Front 242’s sound resonate across the Atlantic, with their signing to Chicago’s Wax Trax! Records marking the beginning of their profound impact on the American music scene. The EP Take One, released in 1984, was the first taste of Front 242 for many U.S. fans, leading to a widespread and fervent following.

As EBM began to spread its electronic tendrils across Europe, Front 242 stood at the forefront, their live performances becoming legendary for their energy and intensity. Albums like No Comment (1985), Official Version (1987), and Front By Front (1988) are considered cornerstones of the genre, with tracks like “Headhunter” and “Welcome to Paradise” becoming anthems of the EBM movement.

The 1990s saw Front 242 pushing their creative boundaries even further with Tyranny For You, Up Evil, and Off. These albums marked a departure from their established sound, incorporating new vocalists, live instruments, and innovative production techniques, courtesy of Andy Wallace. This era signified a willingness to evolve and adapt, ensuring their music remained as dynamic and relevant as ever.

Following a hiatus, Front 242’s return to the stage in the late ’90s, alongside German drummer Tim Kroker, reinvigorated their live presence. This period also saw the release of live albums that captured the essence of their performances, reflecting the band’s continuous evolution and the ever-changing nature of their setlists.

In the early 2000s, with the release of Still & Raw and Pulse, Front 242 revisited the raw, analogue sounds that had initially defined them, now enriched by decades of experience and technological advancements. This return to their roots, coupled with a forward-thinking approach, underscored the band’s enduring appeal and influence.

Front 242’s decision to eschew the traditional album-release-followed-by-tour cycle in recent years speaks to their pioneering spirit. They continue to captivate audiences worldwide, not with the promise of new material, but with the sheer power and integrity of their performances.

As Front 242 embarks on their final tour, they leave behind a legacy that is as much about the future as it is about their storied past. Their contributions to electronic music are indelible, having inspired countless artists and fans across the globe. Front 242’s journey may be coming to an end, but their influence will reverberate for generations to come.

Front 242’s Lasting Impact and Final Farewell

As Front 242 prepares for their final tour, it’s clear that their departure will leave a significant void in the EBM and industrial scenes. However, their decision to end on a high note, while still at the forefront of their artistic powers, is a testament to their integrity and commitment to their fans.

The ‘One Last Time’ tour is not just a farewell; it’s a celebration of a band that has consistently pushed the boundaries of music and live performance. For fans old and new, this tour offers a chance to experience the raw energy and innovative spirit that have defined Front 242 for over four decades.

For tour dates and ticket information and to join in celebrating the legacy of Front 242, visit www.front242.com

FRONT 242 “Black Out” Tour Dates

• AUGUST 2024
  • 04: Belgium, Lokeren – Lokerse Feesten
  • 10: Germany, Hildesheim – M’Era Luna
• SEPTEMBER 2024
  • 06: USA, Florida, St. Petersburg – Jannus Live
  • 07: USA, Philadelphia – Union Transfer
  • 08: USA, Cleveland – Agora Theatre
  • 13: USA, Los Angeles – Mayan Theatre
  • 14: USA, Portland – Roseland Theater
  • 15: USA, San Francisco – Great American Music Hall
• OCTOBER 2024
  • 12: Germany, Hamburg – Markthalle
  • 17: The Netherlands, Utrecht – Tivoli Vredenburg, Ronda
  • 18: Germany, Berlin – Huxleys Neue Welt
  • 19: Germany, Oberhausen – Turbinenhalle
  • 25: Germany, München – Backstage
  • 26: Germany, Langen – Neue Stadthalle
• NOVEMBER 2024
  • 07: USA, Houston – Rise Rooftop
  • 08: USA, Dallas – Granada Theater
  • 09: USA, Denver – ReelWorks
  • 15: USA, Chicago – Metro
  • 16: USA, Chicago – Metro
  • 29: Sweden, Göteborg – Film Studios (FutureRetro)
  • 30: Sweden, Stockholm – Berns (FutureRetro)
• DECEMBER 2024
  • 06: France, Lille – The Black Lab
  • 07: France, Paris – Le Trianon
  • 08: UK, London – Electric Ballroom
  • 13: Spain, Barcelona – Sala Apolo
  • 14: Spain, Madrid – Sala La Paqui
  • 25: Germany, Chemnitz – Dark Storm Festival

• JANUARY 2025
  • 10: Denmark, Copenhagen – Pumpehuset
  • 24: Belgium, Brussels – Ancienne Belgique (AB)
  • 25: Belgium, Brussels – Ancienne Belgique (AB)

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The Jesus and Mary Chain are catching a new wave of nostalgia with “Girl 71,” the latest single from their much-anticipated album Glasgow Eyes, slated for a March 22 release. Following the footsteps of “jamcod” and “Chemical Animal,” this track is a blast from the past, yet feels entirely new, launched with gusto via Fuzz Club.

Cranking out tunes with the infectious zest of organ-led power-pop, laced with a raw garage-rock bite, “Girl 71” finds its home in the most playful corner of The Jesus and Mary Chain’s often gloom-laden discography. This catchy anthem serves as an escape from the depths of self-doubt, offering salvation through the eyes of another, and weaves together the swagger of Lou Reed with a post-Pet Sounds Beach Boys-esque groove while also channeling the playfulness of Split Enz.

And when Jim Reid’s unmistakable, laid-back vocal swagger enters, perfectly complemented by the sugary harmonies of Rachel Conte, the effect is akin to finding a piece of bubblegum in a leather jacket pocket—unexpectedly sweet and perfectly aligned with the band’s edgy charm. The blend of Reid’s drawl with Conte’s harmonies creates a sonic dichotomy that’s equally candy as it is the gleam of a switchblade knife (or a comb disguised as one.)

Listen to Girl 71 below:

Recorded in the hallowed halls of Mogwai’s Castle of Doom studio and produced by the Reid brothers themselves, “Girl 71” showcases The Jesus and Mary Chain’s mastery over their sound. The track adds depth to the upcoming Glasgow Eyes album and underscores the band’s ability to evolve their signature style while staying true to their roots.

Glasgow Eyes is available to pre-order here. Anticipation for the album has already seen three vinyl formats sell out, but double-colored vinyl and double-black vinyl are still available, both of which feature artwork from William Reid. The album release has moved back slightly to March 22nd due to a delay in vinyl production.

In addition to the album release and to celebrate their 40th anniversary, The Jesus and Mary Chain are set to embark on an extensive tour across the UK, Ireland, and Europe starting in March. The high demand for their performances is evident, as additional shows have been added in both London and Manchester following the rapid sell-out of initial dates. Moreover, their festival plans for 2024 are shaping up, with confirmed appearances at Festival Tomavistas (Spain), Paredes De Coura (Portugal), and Cruel World (USA).

The UK, Ireland, and Europe leg has just been boosted with confirmation of special guests Aircooled (featuring JAMC drummer Justin Welch) and deathcrash, while their summer festival schedule is also taking shape.

Remaining tickets for the tour can be obtained here.

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