The festival organizers have finally released the highly anticipated lineup for this year’s event, featuring a range of popular performers who are sure to deliver electrifying performances. The lineup includes renowned acts such as Clan of Xymox, Drab Majesty, A Split Second, Attriton, The Cassandra Complex, and more!

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With their latest venture, “Deserve,” Houses of Heaven truly pulls out all the stops, inviting the dynamic presence of MS BOAN (Mariana Saldaña) to the forefront, whose vocals erupt in a spectacular display. Clothed in an opulent array of synths, her voice serves a sumptuous feast of goth-disco ecstasy, coaxing even the most reserved into a dance floor revelry.

“Deserve” harnesses the commanding allure of MS. BOAN’s voice, placing her formidably in the lead, surrounded by a celestial array of synths, conjuring a moment of gothic dancefloor liberation. Her Spanish lyrics resonate with a potent message: “You don’t deserve love, you don’t deserve my love, you don’t know love, it’s not for you.”

The song’s visual counterpart, orchestrated by Claude Cardenas, is nothing short of a visual feast. Imagine a mélange of kaleidoscopic visions, neon illuminations, and avant-garde creativity blended into a concoction that captivates and bewilders in equal measure.

Watch the video for “Deserve” below:

Houses of Heaven is composed of the multi-talented Keven Tecon, who not only lends his voice but also shapes the soundscape with his adept handling of synthesizers, guitars, and drum programming. Adam Beck brings his expertise in synths and guitars to the mix, contributing to the rhythmic foundation alongside Rachel Travers, whose percussive skills solidify the trio’s unique sound. Their recent performance at the Substance Festival in Los Angeles underscored their distinctive approach to music-making.

Their forthcoming album, “Within/Without,” set to release on April 26th through Felte, delves into the dichotomy of fantasy and reality that permeates our modern existence, highlighting the craving for authentic connection amidst the isolating echo chamber of technology. The album, a testament to the band’s distinct sound and creative vision, was brought to life at Infinite Power Studios in Los Angeles under the guidance of producer Matia Simovich, with Grover Greenberg assisting in the intricate processes of tape transfer and editing. The final touch, mastering, was expertly handled by Josh Bonati.

Pre-Order the album here

Follow Houses of Heaven:

• Bandcamp
• Instagram 
• Felte
• Bandcamp
• Twitter

The post Houses of Heaven Debut Kaleidoscopic Video for “Deserve” Featuring MS. BOAN appeared first on Post-Punk.com.

Bend and break beneath the weight

How we used to fall in place

A silence that amputates

Hailing from Oakland, Houses of Heaven boasts a dynamic palette of sound that masterfully blends the melodic undertones of post-punk with the raw intensity of early industrial music, enriched by the vibrant rhythms of EBM, techno, and drum & bass. This eclectic mix crafts a contrast that elegantly oscillates between the textured emotional landscapes of human experiences and meticulous electronic structures. The band’s forthcoming second LP, “Within/Without,” slated for release on April 26th through Felte, amplifies this intricate balance. With Matia Simovich of INHALT’s sophisticated electronic production at the helm, the album gains further depth from the standout guest vocals of Douglas McCarthy of Nitzer Ebb and Mariana Saldaña, propelling the project to new heights with their seasoned contributions.

The post Houses of Heaven Debut Title Track from Forthcoming New Album “Within/Without” appeared first on Post-Punk.com.

Can’t sleep

Transfix

Sink deep

With their frenetic new single “Sight Line,” Oakland-based band Houses of Heaven fuses early industrial and techno rhythms with shoegaze and a heavy dose of dub effects, a keen homage to big beat, Drum & Bass, and The Prodigy through the lens of post-punk.

The band resamples, collages, and re-sequences breaks and live drums on an MPC 2000XL. “The repetitious lyrics were inspired by the cadence of drum & bass MCs and the energy they create,” vocalist Keven Tecon elaborates. “We wanted to capture the feeling of chaos, connection, and catharsis found on the dance floor.”

The video, directed by Cloaking, has an interesting backstory.

“I was interested in exploring light as a medium,” Cloaking says. “I used projector prisms and a basic camera. Besides some mirroring, all of the effects are practical.  I projection-mapped some small prisms and shot on a macro scale.”

Watch below:

“Sightline” was produced by Matia Simovich (Inhalt) and is the first single from Houses of Heaven since 2020’s debut album Silent Places. The band are also celebrating the release of the new single by performing select West Coast dates during September and October. 

Order and Stream “Sightline” here.

TOUR DATES 

• 09.15 San Diego, CA @ The Kensington Club
• 09.16 Los Angeles, CA @ Catch One (Das Bunker)
• 10.13 Sacramento, CA @ LowBrau w/ Topographies
• 11.04 San Francisco, CA @ The Chapel w/ Tamaryn

Follow Houses of Heaven:

• Bandcamp
• Instagram 
• Felte
• Bandcamp
• Twitter

The post Houses of Heaven Return with Mesmerizing Visual for New Single “Sightline” appeared first on Post-Punk.com.

The festival, presented by Restless Nites & Live Nation, is described as “A testament to the enduring sounds of post-punk, industrial, new wave, synth-pop, and experimental,” with the 3-day event celebrating today’s most compelling acts as well as the pioneers who forged the way.

Starting on Friday, November 26th, the festival takes place across three stages at the beautiful, historic Belasco Theater for three completely unique nights of spellbinding sound and vision from talent that spans generations.

Friday, November 26th

Chelsea Wolfe, Earth, Emma Ruth Rundle, Ceremony, King Woman, Lydia Lunch Retrovirus, Plague Vendor, Kid Congo, Bustié, Avalon Lurks, Continues, Aurat, NIIS, Closed Tear, Dearly Departure, Crook 

Saturday, November 27th

Nitzer Ebb, Lingua Ignota, Squid, Twin Tribes, Provoker, VR SEX, Nuovo Testamento, Second Skin, Fearing, Houses Of Heaven, Gel Set, N8NOFACE, Physical Wash, Fawns Of Love, Future Blondes, Ravens Moreland

Sunday, November 28th

HEALTH, SALEM, Secret Guest, Choir Boy, Pictureplane, Riki, Patriarchy, Debby Friday, Plack Blague, Lower Tar, Milliken Chamber, D.I.N., Spike Hellis, 0/X, Omen Awry, Future Of Horror

Tickets go on sale Thursday, September 16th, 2021 at 10am PST.

For more info and to order tickets, go here

The post Los Angeles’ Post-Punk Festival Substance Announces Incredible 2021 Lineup appeared first on Post-Punk.com.

The remix retains much of the track’s original electronic energy, featuring a throbbing synth bass line run through a series of delay and reverb effects, blowing the track wide open in an onslaught of deep, dubbed-out chaos. The remix certainly calls some of the late eighties Wax Trax singles to mind, recalling a forgotten era where Adrian Sherwood, Flood, and François Kevorkian ruled the world. Simovich, who also runs Infinite Power Studios and produced the entirety of Silent Places offers some additional context about the remix:

It seems that long gone are the days of the producer remixing the record they produced, but why abandon a good thing? I always loved the b-side of the 12” single. Often that song was an alternate version the producer of the LP remixed (Flood’s 12” of Nitzer Ebb’s “Ascend” comes to mind). With this dub of “Sleep”, I tried to stay true to that spirit but informed by the hard dubbing of Adrian Sherwood. Pitched Eventide delays, tape echoes and flanging coupled with hard edits, cuts and manual cross fades…

The remix is currently available on Bandcamp for purchase, and can be streamed via the usual services (Spotify, Apple Music). Check the album art and links below:

The post Houses of Heaven Channel the Glory of Wax Trax With INHALT’s Dub Remix of “Sleep” appeared first on Post-Punk.com.

Alex’s Picks:

It was a tough call to narrow down this year’s best-of list. My own personal top 5 is effectively a tie, with each release bringing its own unique and exceptional mood to music playlists this year whether it be experienced through one of the numerous virtual club nights, or through listening to alone as a cathartic way to pass the endless social distancing hours of this beyond surreal year.

Choir Boy with their second studio album Gathering Swans proves they are one of the most talented bands around today, sounding something like if Jimmy Someville were to front The Cure circa 1983 to 1987, or Scottish post-punk band The Wake, but even that description does not do the band justice, as they conjure a heavenly sound all their own. The album’s three singles “Complainer”, “Toxic Eye”, and “Sweet Candy” are absolute perfection, along with the deeply melancholic ballad “Nites Like This”, a song which was released as a stand-alone single preluding the album to come last year.

Riki, the solo moniker of musical matryoshka Niff Nawor, is the best new artist this year with her brilliant self-titled debut. The album, a melange of ethereal, synthpop, and Italo Disco permutations, showcases the creative evolution Niff has developed since her vocal debut whilst playing keys and backing Deathrock act Crimson Scarlet’s Chelsey Crowley on their cover of Joy Division’s Interzone back in 2014. Despite the fact that Riki’s lead single “Napoleon” is sure to pack dancefloors when they open post-covid, “Earth Song” is where the record’s songwriting really shines, along with the Prokofievian “Strohman”, and romantic dreamscapes saturating the tracks “Spirit of Love”, “Come Inside”, “Know”, and “Monumental.”

If it were the 80s, Philadelphia’s synthpop duo Korine seem like an act that would either be on the roster of MUTE, or featured on the soundtrack of a John Hughes film. With the album’s singles “Cast”, “Fate”, “Cruel”, and “Cold Heart”, Trey and Morgy create heartfelt synthpop perfection and teenage anthems for the era of synthwave nostalgia.

Belarusian post-punk trio Molchat Doma are in the middle of a meteoric rise in popularity worldwide, spearheading what some have called “Russian Doom”, aka post-punk and coldwave produced from young bands of the CIS (formerly the Soviet Union). The band have recently been signed to the prestigious NYC label Sacred Bones and released their third studio album Monument. The album features three fantastic singles: the dark and hypnotic soundtrack to the somnambulant masses, “Не смешно” (“Not Funny”); the synth-pop driven “Дискотека” (“Discotheque”); and haunting Victor Tsoi/KINO-esque post-punk gem “Ответа нет” (“No Answer”).

NYC’s post-punk stalwarts Bootblacks, after nearly a decade in existence, recently signed to Canadian label Artoffact Records, joining the ranks of Kaelan Mikla, and several other artists on our best-of list this year. The resulting album Thin Skies, produced by Actors’ Jason Corbett is saturated with the warm reverb sounds of the 80s, propelled unrelentingly by some of the most talented musicians in Gotham’s underground music scene.

Albums:

Choir Boy Gathering Swans

Riki S/T

Korine The Night We Raise

Molchat Doma Monument

Bootblacks Thin Skies

Lebanon Hanover Sci-Fi Sky

Nothing The Great Dismal

Spectres Nostalgia

Houses of Heaven Silent Places

Selofan Partners in Hell

House of Harm Vicious Pastimes

Fearing Shadow

Death Bells New Signs of Life

The Glass Beads Therapy

Otzi Storm

Profligate Too Numb to Know

EP/Singles:

Martial Canterel Horizon Ltd.

Secret Shame Dissolve b​/​w Pure

Rose Garden Funeral Party At The Stake

S. Product Suicide Beat

Altar de Fey And May Love Conquer All

Frank’s Picks

In 2020, I was all over the map. I spent much of the year delving into other genres, exploring long-forgotten favorites, and trying to balance a new way of life alongside my usual listening habits. While the pandemic put a halt to live shows, I did spend a lot of time on Twitch, spinning records as well as watching bands streaming live sets, trying to connect anywhere I could. In the end, it was all about familiarity, reaching for those records that feel like worn-in sweaters and losing myself in them all over again. Less nostalgia, more comfort. Let’s just say I listened to a lot of Cranes and Harold Budd.

That said, there was quite a bit of excellent music released this year. Actually, quite an insane amount. I’d like to chalk a lot of it up to the pandemic itself, inspiring bands to record and release, but you know as well as I that most of these records were completed long before COVID became a global concern. In all due fairness, this year would have been one of the strongest in some time by any standards, and to romanticize or normalize the idea of pandemic creativity or inspiration through trauma is concerning to me as a fellow musician.

As for my personal best-of list, I wanted to give a shout out to a few excellent releases that don’t quite qualify for the site, but nonetheless deserve mention. If I’m being honest with myself, (and with all of you) my favorite record of the year was Hum‘s comeback record, Inlet, which dropped out of nowhere and is just as strong as anything they’ve ever done. Another “off-brand” favorite that deserves a nod here is Fiona Apple’s confessional Fetch the Bolt Cutters, which I spent little actual time listening to, but every moment was poured over in full. On the ambient spectrum, William Basinski’s Lamentations is as gorgeous as anything he ever released, and the 1-2 punch of Nine Inch Nails‘ latest Ghosts installments were an early (and free) pandemic treat. I’d also be foolish to neglect Anna Von Hausswolf‘s All Thoughts Fly, a stunning neo-classical/ambient work consisting of treated pipe organs. It’s a record I just discovered recently, but have listened to non-stop ever since.

I’d also like to note that it was nearly impossible to rank this list as it stands, especially in the upper echelons… I’ve also included ten standout EPs and some incredibly strong singles, as the format was in full effect this year more than any other I can think of in recent memory…

Albums:

Houses of Heaven Silent Places

Bootblacks Thin Skies

Soft Kill Dead Kids, R.I.P. City

Public Memory Ripped Apparition

Siviyex Siviyex

Riki Riki

Palissade Palissade

Aus II

Linea Aspera Linea Aspera LP II

Nothing The Great Dismal

Spectres Nostalgia

Choir Boy Gathering Swans

Ganser Just Look at That Sky

Private World Aleph

Gwendoline Après C’est Gobelet!

The Psychedelic Furs Made of Rain

Plastic Ivy Spots of Time

Deserta Black Aura My Sun

Ringo Deathstarr Ringo Deathstarr

Wire Mind Hive

EPs:

Martial Canterel Horizon, Ltd.

Ces Cadáveres Cuerpos Monstruosos

Ghost Cop End Credits

S. Product Suicide Beat

Profit Prison Dreams of a Dark Building

Rosegarden Funeral Party At the Stake

Entertainment Maggot Church

Andi Corpse to Corpus

Isolated Youth– Iris

MSEA I Turned Into a Familiar Shape

Singles:

Blacklist “Disorder b/w No Secret Islands”

Mueran Humanos “El Lago”

Secret Shame “Dissolve b/w Pure”

Bloody Knives “This is the Way You Burn”

Live For You “Gem1n1 Sun//Gem1n1 Moon”

Andi’s Picks:

When approaching the year-end list, my initial reaction was Wait? Did I even listen to new music? because I was certain the pandemic had driven me further down the road to nostalgia. I found myself reaching for music that was safe, the kind that I knew was predictable but satisfying. But when it came time to create this list, the realization came that there were many amazing albums—and especially EPs—throughout this long, drawn-out year that had provided a reprieve from the misery and despair of the pandemic.

The most surprising of all was the first Cabaret Voltaire album in 26 years, Shadow of Fear, made by Richard H. Kirk, without his bandmate (and vocalist) Stephen Mallinder. After groans and negativity from others about this decision to continue on under the moniker of CV, I was prepared to hate it. However, it was a charming, nearly uplifting, mix of the traditional CV sound that so many artists these days attempt to replicate and fail in doing so. Shadow of Fear is fresh, and it’s the best release of 2020. Other “old school” artists found their way onto my list as well, including the super experimental Einstürzende Neubauten Alles In Allem and Dive‘s last-minute contender, Where Do We Go From Here?—both of which retain moments of their past brilliance but also manage not to sound redundant. But perhaps that’s why I love them: they’re familiar.

It seemed that 2020 was about cross-pollinating genres, blurring the traditional outlines of goth, EBM, post-punk, or darkwave. There’s no better example than my two favorite EPs of the year: Dead Husband and Ces Cadáveres. Dead Husband’s Iguana has been a non-stop listen since it’s release pre-quarantine, which feels like more than a year ago at this point. Iguana easily crosses lines between dreamy Italo-disco and darkwave while Ces Cadáveres’ Cuerpos Monstruosos presented smart and angular synthpunk EBM with a melody (Visitor‘s LP, Technofossil does this incredibly well, too). The EP format leaves no room for mediocrity—and my top picks for the category understood that well. After such a tumultuous year, to look back on the music it generated since many artists completed their albums during quarantine, and what it will initiate for 2021 is exciting. I’m here for it.

Albums:

Cabaret Voltaire Shadow of Fear

Korine The Night We Raise

Riki Riki

Einstürzende Neubauten Alles In Allem

Visitor Technofossil

Dive Where Do We Go From Here?

Linea Aspera LP II

Selofan Partners in Hell

Стереополина (Stereopolina) Институт культуры и отдыха (Institute of Culture and Rest)



Lebanon Hanover Sci-Fi Sky

Vandal Moon Black Kiss

Otzi Storm

Aus Aus II

EPs:

Dead Husband Iguana



Ces Cadáveres Cuerpos Monstruosos



TWINS Great Barrier



Kris Baha Starts to Fall

Choke Chain Tactics

Profit Prison Dreams of a Dark Building



Altar de Fey And May Love Conquer All

Listen to our official Post-Punk.com Best of 2020 Playlist on Spotify:

The post Post-Punk.com Best of 2020 appeared first on Post-Punk.com.

Frontman Keven Tecon, whose sonic history is laid bare in the track by his trademark haunted vocal choral reverb, describes the song as such:

‘”In Soft Confusion’ envisions the aftermath of human extinction: the movement from a noisey, aggressively overcrowded world to one of silent concrete deserts. Cities consumed by roots, earth and oceans. The rigid dance track combined with the soft shoegaze drone feels both calming and unsettling, like the silent, unfamiliar world in the lyrics.”

Watch and Listen below:

Houses of Heaven’s debut LP Silent Places, produced by Matia Simovich of Inhalt, comes out via Felte Records on digital format for May 1st, while the vinyl version is scheduled for release on May 22nd.

Pre Order Here

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In the video for Nasty Boy. which was premiered via Noisey last week, the trio of Constantin Tzenos, Jarod Gibson, Denholm Whale blend a polymorphous and perverse fusion of techno, industrial, and post-punk screams highlighting the throbbing synths like strobe lights glowing in the dark.

No Pop is being released by felte (worldwide excluding Canada) and Telephone Explosion (Canada) on October 20th, 2017. Odonis Odonis continue to add tour dates. They’ll be hitting the Midwest and West Coast with Felte labelmates Ritual Howls, Chasms and Houses of Heaven; all dates below.

ODONIS ODONIS LIVE DATES: 

• 10.27 Brooklyn, NY @ Saint Vitus ^
• 10.28 Montreal, QC @ l’Escogriffe (DJ Set)
• 11.03 Toronto, ON @ The Garrison
• 11.18 Detroit, MI @ Trixie’s ~
• 11.19 Chicago, IL @ Empty Bottle ~
• 11.29 San Diego, CA @ Soda Bar *
• 11.30 Los Angeles, CA @ Zebulon *
• 12.03 San Francisco, CA @  Swedish American Hall *
• 12.06 Portland,OR @ Lovecraft Bar #
• 12.07 Seattle, WA @ Timbre Room #
• 12.08 Vancouver, BC @ Astoria #

^ w/ Boy Harsher
~ Felte Records presents: Ritual Howls, Odonis Odonis
* Felte Records presents: Chasms, Odonis Odonis, Houses of Heaven

*Featured Photo by Cam Tomsett

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