After a marathon tour that saw them rocking out in over 100 gigs across 14 countries and gracing the stages of Europe’s festival heavyweights like Sziget and Fusion (and let’s not forget Dour and Paléo), Rendez Vous has decidedly evolved: diving deeper into the global chaos, stripping down their sound to its gritty, guitar-laden bones, all while standing firm on a framework as sturdy as steel – think an unholy combination of Fugazi and Sonic Youth.

Gone are the days of sticking strictly to post-punk norms, now sprinkled with a healthy dose of digital distortion and glitches. Sheer feels like witnessing a dramatic showdown between humanity and technology – a pair of estranged siblings locked in a love-hate tussle, torn between a bear hug and a chokehold.

Watch the visualizer for “Sheer” below:

Founded in 2012 by Francis Mallari and Elliot Bethault (later adding Maxime Gendre and Simon Dubourg to the fray), Rendez-Vous embraces a philosophy of patience and intentionality, likening the lifecycle of a band to that of a long-standing relationship—complex yet rewarding over time. In an age where social media clamour is omnipresent, they opt for a quieter presence, adhering to the old adage that true contentment is found in privacy. This strategic withdrawal from the public gaze isn’t aimless but rather cultivates a sense of anticipation, prompting a more thoughtful engagement with their work. Their approach to managing time and public visibility suggests a sophisticated understanding of how to navigate the fleeting nature of musical fame, clearly marking them as savvy architects of their own history.

“Sheer” marks the latest release from Rendez Vous, following their highly acclaimed debut LP Superior State in 2018. This new album promises to take the band’s sound to the next level, blending moody new wave vibes with industrial grind to create a unique and captivating flurry of sound. Despite the world being even more bewildering than it was six years ago, Rendez Vous has managed to create an album that stands out among the rest.

The new single is available now on all streaming services. Downcast comes out May 17 via Artefact/Wedge.

Listen Here

Rendez-Vous will be embarking on a tour of North America and Europe in support of their new album Downcast, showcasing their acerbic brand of post-punk across a wide array of venues and festivals. Their journey includes a notable appearance at Wave Gotik Treffen in Leipzig Cold-Hearted Festival in Dresden and a performance at the Sanctum Festival in Chicago, among others.

Catch Rendez Vous live:

• 05.17 WGT (At Felsenkeller) – Leipzig (DE)
• 05.24 Release Party – TBA (FR)
• 05.25 Levitation Festival – Angers (FR)
• 06.30 Hellfest – Clisson (FR)
• 07.19 Dour Festival – Dour (BE)
• 09.12 Oslo Hackney – London (UK)
• 09.13 L’Aeronef – Lille (FR)
• 09.21 Les Docks – Lausanne (CH)
• 09.27 Elysée Montmartre – Paris (FR)
• 10.03 La Sirène – La Rochelle (FR)
• 10.04 Le Krakatoa – Bordeaux (FR)
• 10.05 Le Rex – Toulouse (FR)
• 10.15 La Coopérative – Clermont-Ferrand (FR)
• 10.16 Rockstore – Montpellier (FR)
• 10.09 Transbordeur – Lyon (FR)
• 10.24 LPR – New York (NY)
• 10.25 Sonia – Boston (MA)
• 10.26 L’Esco – Montréal (CAN)
• 10.27 The Garrison – Toronto (CAN)
• 10.31 Thalia Hall – Chicago (IL)
• 11.07 1720 – Los Angeles (CA)
• 11.09 Foro Indie Rocks – Mexico (MX)
• 11.15 Cold Hearted Fest – Bochum (DE)
• 11.16 Cold Hearted Fest – Dresden (DE)
• 11.29 La Carène – Brest (FR)
• 12.14 Temple – Athens (GR)More to come…

Follow Rendez Vous:

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The post French Post-Punk Outfit Rendez Vous Announce New LP “Downcast” and Tour Dates — Watch Visualizer for “Sheer” appeared first on Post-Punk.com.

make your stand, there’s no passengers here

no resolution, for this distance between us

no way back, and only one way out of here

Data Void embodies the notion of using information voids to introduce innovative ideas that foster change or disruption. This concept also names the collaborative project of Don Gordon, recognized from NUMB and Halo_Gen, and James Mendez, of Jihad and Trial by Fire, both seasoned figures in the industrial and dark electronic music scenes. The sound of Data Void merges the dynamic rhythms and impactful sound design of NUMB with the dark, melodic qualities of Jihad.

So Alien, a standout track from their debut album Strategies of Dissent (released through Metropolis Records), masterfully blends a wide array of modern electronic music styles. From industrial to drum & bass, dark ambient to post-punk, and touches of experimental, EDM, dub, and psychedelia, the band crafts a sound that entices yet confronts the listener. The album’s rich lyrical content is amplified by Data Void’s unique approach of employing two lead vocalists. This dual vocal setup enables a dynamic interplay of viewpoints  across and within tracks.

Diving into themes of alienation and disconnection, the lyrics present a visceral resistance against conformity and violence. Evocative imagery of “bodies in motion” and “silence so deadly” conveys an internal battle and a drive to defy oppressive forces. The recurring sensation of feeling “alien” highlights the sense of not fitting in, while the urge to challenge violence and abandon the past points to a longing for genuine change and authenticity amid a tumultuous, bewildering environment. The band describes it as “a soundtrack for the dispossessed,” resonating with anyone navigating the complex journey for identity and meaning in a chaotic world.

“Taking the recent protests in Hong Kong and Myanmar as a source of inspiration, this track reflects on this from the level of the individual, while asking how you will respond when the revolution comes for you?” clarifies the band.

Junior Guedes’ video is a mind-bending journey through an AI-crafted psychedelic hellscape, reminiscent of Hieronymous Bosch’s nightmarish realms mingled with the disorientation of a trip gone wrong. Serving as a perfect counterpart to the eerie vibes of So Alien, the visuals plunge you into a twisted dimension where souls are left exposed and unsettled, masterfully capturing the track’s dark and otherworldly essence. .

“The songs on Strategies of Dissent draw their themes from our current era of chaos rather than presenting a faded cyber-dystopian future,” says the band. “This is a world projected in JG Ballard’s view that “the advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology.” But rather than a bleak, nihilistic rant, the album explores the place of the individual in a world where powerful social and technological forces drive uncertainty; where cults, conspiracies, ego and irrational faith hold more sway than trust, facts and reason. Where words and actions have become untethered from consequence and where corporations and late-capitalist agendas hold more power than governments.”

Listen to the album below, and order it here:

Follow Data Void:

• Website
• Instagram
• Bandcamp

The post Dark Electronic Music Project Data Void Releases “Strategies of Dissent” LP — Watch Visualizer for “So Alien” appeared first on Post-Punk.com.

Within the sprawl of many artistic visions flickering like starlight in the City of Angels, a unique new project, Spiralteeth, has emerged. It is the endeavor of the Los Angeles scene’s multifaceted talent, Lark Detweiler, a deaf artist who engages with music in a deeply intimate manner, letting it permeate over them as they dance professionally by day whilst moonlighting as a musician.

Reflecting Detweiler’s avid fandom, Spiralteeth blends a myriad of sounds, from the shadowy tones of darkwave, coldwave, industrial, and gothic rock and the vibrant beats of new wave synth-pop, echoing Detweiler’s compelling individual experience. Channeling a sound reminiscent of popular artists such as Lebanon Hanover, Forever Grey, Dancing Plague, and Selofan, Spiralteeth is built on a minimalist foundation of drums, basslines that echo with a haunting resonance, and the stark coldness of synth melodies.

Spiralteeth extends beyond the realm of performance, evolving into a medium for Detweiler’s evocative poetry. Here they explore the profound sense of isolation and the intense struggle to find one’s place in a seemingly indifferent world. These themes resonate deeply in “Monochrome,” where society is portrayed as trapped by the forces of conformity and urgency. Here, individuals are seen sacrificing their true selves and sanity for momentary pleasures. Against this backdrop of conformity, the voice in “Monochrome’ rises defiantly, questioning the necessity of such a bleak existence and aspiring for a life rich with authenticity and vibrancy.

“‘Monochrome’ paints the world as black-and-grey, how artists live in Technicolor when society and capitalism wants to grind people down into machines, human beings without emotions or passions or any energy to pursue creativity or make a change in the world,” says Detweiler. “It’s also, conversely, talking about how I don’t feel like I can fit in and sometimes that’s a struggle in trying to relate to others, because I don’t have that innate sameness people seem to have, so there’s a double meaning that can be derived from it as well.”

Listen to “Monochrome” below:

Stream and order Monochrome via Spotify and/or Bandcamp below:

Follow Spiralteeth:

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• Spotify

The post Dreaming in Color — Los Angeles Darkwave Project Spiralteeth Debuts New Single “Monochrome” appeared first on Post-Punk.com.

Best known for keeping the beat in the storied psych-rock troupe OSEES, Dan Rincon is now stepping into his own limelight with his first solo venture, Spotlight City, set to drop on the 3rd of May via Castle Face Records.

Imagine a city conjured from thin air, where the streets hum with synths and the skyline is aglow with electronic vibes. This is ‘Spotlight City,’ meticulously built by Rincon’s impressive array of synthesizers, starring the illustrious Moog Grandmother, the mysterious Mellotron, and a quirky Modular system.

Cessna, the album’s inaugural single, unfolds as a mesmerizing blend of droning electro-orchestral vibes, setting the tone for the record. With strings that soar sky-high and sines that zip and zag with the precision of a well-rehearsed dance troupe, Cessna will gently transport you to your destination. One moment, you’re adrift among the clouds; the next, you’re plunging into the core of the earth, or whisking through a neon-lit cityscape that feels lifted straight from the pages of vintage sci-fi.

The track effortlessly transitions from moments of serene beauty to spine-tingling magnificence, embodying the countless hours Rincon has poured into perfecting his experimental world. He masterfully harmonizes a diverse ensemble of electronic elements: throughout this splendid composition, influences from Kraftwerk, the BBC Radiophonic Workshop, Tangerine Dream, and Delia Derbyshire subtly intertwine.

Cessna weaves together strands of hope and melancholy, accompanied by an exhilarating visualizer from Delaney ________ that invites you to explore the city through the lens of the “Cessna Dreamflight Simulator,” offering a unique aerial perspective with the dizzying pixel technology of 1990.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist,” says Rincon. “The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

Watch the video below:

“Spotlight City” is an adventure into the heart of creativity, with Rincon leading the charge. Strap in —it’s going to be one heck of a trip.

A limited pressing will be availabke soon, but today Cessna is available on all streaming services.

Rincon spoke with Post-Punk.com about his process, ideas, and the album’s concept:

This is your first record as a solo artist, how did you find the experience of creating your own record from scratch?

It was a long learning process, I didn’t even know how to record my own music before doing this record, as every other album ive played on has been as a drummer. I know what I like and know what I would want to hear on a record like this and used that as inspiration.

Where did the idea to create a record based around the fictional location of Spotlight City come from?

I’ve always liked themed records, i.e. Kraftwerk’s Autobahn, and I’ve always liked soundtracks. I like that listening to a soundtrack can bring you back to the part of the film the track was used in, i.e. John Carpenter’s Over the Wall from the Escape From New York soundtrack. While I was writing this record, I originally treated it as a fictional soundtrack, trying to create a mood for a shot of a film and that evolved into what it is now, I say it’s a bit of both, a fake soundtrack about a fake city. “Spotlight City Flyover” is supposed to feel like you’re in a police helicopter flying over the city at night, hearing radio chatter while looking down over backstreets and alleys.

This record uses quite a few synths to create its soundscapes, do you have a favorite instrument, patch, or sound that’s on the record?

The mellotron is a secret weapon. I’m not a great keys player, but I could play a Mellotron with my elbows and something beautiful would come out. I would say that might be the most important instrument on this album – it’s used by itself, used as the source for a vocoder and heavily processed through a modular synthesizer. It’s a wonderful instrument.

The Spotlight City LP will be out on May 5th, via Castle Face Records.

Follow Dan Rincon:

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The post Dan Rincon Announces “Spotlight City” LP and Shares Dreamflight Simulator Video for “Cessna” appeared first on Post-Punk.com.

These guys whip up a sound that’s one part heavy psychedelic rock, a dash of feverish funk, a sprinkle of jazz wisdom, and a whole lot of punk energy. They’ve also folded in a generous helping of minor scales that’ll have the metalheads nodding in solemn approval. The cherry on top: Pierre-Luc’s voice, which is as distinctive as his lyrics are introspectively quirky.

Hailing from Saint-Joseph-du-Lac, a spot in Quebec as famous for its apples as it is for now birthing this band, Population II are pushing boundaries with their latest EP, Serpent Échelle (set to drop on April 17), an expedition into the wilder side of their sound, laden with symbols and riffs.

R.B., the lead-off single, is a musical rollercoaster that refuses to adhere to any preconceived track. The band masterfully transitions from grand, sweeping orchestral crescendos to the gritty, mind-bending twists of lysergic riffs. It’s as if Beethoven and Hendrix decided to throw a jam session in the middle of a tempest – unpredictable, thrilling. R.B. is a manifesto for the times we live in; a soundtrack to the age of global unease. Population II doesn’t shy away from the big picture, addressing the ticking clock of our era with a sense of urgency that pulses through every note – yet, they remind us that even as the shadow of doom looms large, there’s a luminous side to life waiting to be embraced.

Despite the maelstrom and doomscrolling of daily life in the 21st century, we still celebrate love, the warmth of genuine friendships, and the simple, yet profound pleasure found in a glass of wine. There are still moments of beauty, connection, and joy to be found. Live fully, love deeply, and toast the moments that make life worth living.

The lovely black and white visualizer directed by Didier Pigeon-Perreault and Hugo Jeanson takes us on a frosty winter walk where we can stop and ponder the wonders of nature:

Population II’s story begins in the shared teenage years of its members, where countless jam sessions eventually forged a near-telepathic bond between them. This synergy led to several independent releases, catching the eye of John Dwyer of Osees and head of Castle Face Records. This connection birthed their first major album release, À la Ô Terre, in 2020. Over the next two years, the band made their mark across Canada and the US, with notable performances at SXSW in Austin, Texas, Pop Montreal, Toronto, New York, and Quebec City.

Their inspiration draws from a rich and varied palette: the raw energy of Detroit’s late 60s garage rock and psychedelic funk, the experimental vibes of the Canterbury scene, the bold sounds of 70s German rock, and the groundbreaking phases of Miles Davis. These influences merge uniquely against the backdrop of Pointe-Calumet’s murky environment, all underpinned by the trio’s deep friendship and undeniable synergy. Deliberately distancing themselves from Montreal’s music scene, Population II has carved out a distinctive sound that stands apart from fleeting musical trends, marking them as a unique presence rising from the metaphorical swamp, defined by both dreamlike atmospheres and intense, cathartic bursts.

Serpent Échelle will be available for a limited edition run on tape, as well as on all DSPs. Pre-order the album at these links:
Digital Preorder | Physical Preorder

Post-Punk.com had a chat with Population II about the band’s evolution, their use of violin, and a few thoughts on the new single:

This is the first single off of an upcoming four track EP. What about these songs led you to pair them up for an EP,  rather than include them on a future album?

Three songs of this EP were supposed to be on Électrons libres (Hélène, R.B. & Comme tu le souhaites). They had a different vibe and the songwriting was also going another with these three songs. We thought R.B. was going to be a central piece of Électrons libres but it just didn’t fit the pacing of the other songs of the album. We knew we had to use them for an EP since it was so different and then we remembered we had a hypnotic jam in 9/8, Le Serpent that felt really cohesive to the three songs on the EP. It all fits nicely in the end!

Emmanuel Ethier plays some violin on this track, which is rather unusual for the psych-rock genre—how did you end up incorporating it into the track?

Emmanuel was already playing live shows with us on the violin! We met him for À la Ô Terre and then he quickly mentioned that he played violin. We invited him to play shows with us since we’re all fan of  Michal Urbaniak’s Inactin. We wrote R.B. and we thought the violin would bring a another layer to the orchestral theme. Emmanuel played the part, we liked it and kept it on the final mix!

How do you see the band’s sound evolving or changing on Serpent Echelle, in comparison to your last record?

The songwriting had step up. We decided to continue on our usual way of improvising first and then add the layers of arrangements. You can feel the different sections more clearly on Serpent Échelle. It has a more refined approach on the sections even though it can gets loud and rowdy has always. It’s something we aspire constantly, to elevate our songwriting and we’re still on this path.

WCatch Population II live:

• 03/12 – Austin, TX – SXSW – Swan Dive 
• 03/16 – Austin, TX – SXSW – Las Perlas 
• 04/19 – Minneapolis, MN – 7th St. Entry *
• 04/21 – Chicago, IL – Schubas *
• 04/23 – Toronto, ON – The Garrison *
• 04/24 – Cleveland, OH – Grog Shop *
• 04/25 – Troy, NY – No Fun *
• 04/27 – Brooklyn, NY – Market Hotel *

*opening for Meatbodies

Follow Population II:

• Bandcamp
• Facebook
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The post Quebec’s Population II Shares Video for New Single “R.B.” — Announces “Serpent Échelle” EP appeared first on Post-Punk.com.

The serendipitous alliance of Brooke and Wyatt was forged amidst the vinyl-laden aisles of Lolipop Records in the halcyon days of 2022. Brooke, initially summoned to lend her vocal harmonies to the astral endeavors of a band aptly named Astrologer, found in Wyatt a kindred spirit with a shared manifesto for melody. Their collaboration has since blossomed, and recently, they’ve ushered into their fold the considerable talents of Cobi Modesto, a bassist of no small repute.

Active Decay’s Lies catapults the band into the stratosphere of sophisti-pop. Imagine cruising through a neon-lit cityscape in a beat-up convertible, a case as twisted as a pretzel waiting to be solved — this track would be blaring on the radio, its infectious beat, scorching sax solo, and hook sinking its claws into you.

There’s a deliciously noir vibe to “Lies,” dripping with the kind of sultry energy that makes you think of shadowy figures in rain-soaked streets, with vocals channeling The Motels and Altered Images. It’s the soundtrack to the detective flick you never knew you needed until now.

Brooks Gallo peeked into the song’s soul and brought its essence to life on screen with the accompanying clip. Dark, moody undertones? Check. The band’s electrifying presence and tight-knit vibe? Double-check. It dances hand in hand with the track’s pulsing heart, showcasing Active Decay’s dynamism and flair for the dramatic.

But we just have one question: will you pass their polygraph test?

Watch below:

Follow Active Decay:

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The post LA Synth-Pop Duo Active Decay Debuts Video for Sultry Noir-esque Single “Lies” 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.

Meet Matthew from Secret Shame, the bass-thumping, synth-slinging maestro who moonlights as XOR (pronounced “ex-or”). Before XOR became his latest gig, Matthew was the musical equivalent of a secret agent, slipping in and out of aliases like a pro. Then, in a twist that could only come from the mind of someone who’s spent too much time toggling between bass lines and binary, he names his new venture after a logic gate. Inspired by his sudden dive into the world of code, XOR symbolizes not just Matthew’s geeky side but also the delightful contradictions of his life. Here’s a guy who tried to ditch the digital for a decade, dreaming of a cabin in the woods, only to swing back, write some slick software, and plug right back into the electronic beat.

In his latest single Waiting, a poignant ballad about the agony of long-distance love, the artist delves into the profound longing for a cherished one’s company, laying bare the challenges and heartache that come with separation. The lyrics, steeped in a sea of mementos, capture the overwhelming desire to reconnect, to bask in the sound of their voice, and to bridge the gap that keeps them apart, underscoring the emotional weight carried by distance. For those who have been there, it brings a tear to the eye. This wistful, sentimental track resonates with echoes of Orchestral Manoeuvres In The Dark, Soft Cell, Aztec Camera, and the Thompson Twins.

“I wrote this song for my partner,” he says. “We’d gone from being around each other non-stop during lockdown to me being away on tour a large part of the year. It’s hard to navigate being on the road so much and having a life at home. No matter how often we call or text, it just isn’t the same as being around someone and sharing a life with them.”

Listen to “Waiting” below:

“I usually write the music for a song before the lyrics, which might be why a lot of what I write ends up being instrumental,” he continues. “I had this song like 80% musically done when Secret Shame went on tour last spring and was listening to it on repeat wearing headphones in the van thinking of what to write about.”

XOR spent the last few years self-releasing several EPs spanning from house to ambient, darkwave to chillwave. He has also released a handful of official and unofficial remixes for many artists, including Secret Shame, Cold Choir, and Shadow Age; and produced beats for hip-hop artists.  In recent years, Matthew began exploring the world of modular synthesizers, reshaping mundane days of remote work into impromptu compositions he would later live-stream against sunsets or amidst the flowers in his garden.

In 2023, XOR also released the EP beyond the tall trees somewhere. Branching out from his previously more straightforward darkwave, the five tracks explore the complexities of human existence, the nebulous boundaries between natural and artificial, and the discomfort of existing in a dying world.

Follow XOR:

• Soundcloud
  
• YouTube
• Bandcamp
• Spotify
• Instagram

The post “Weeks apart, and time feels like an Ocean” — Listen to the Poignant Synthpop of XOR’s “Waiting” appeared first on Post-Punk.com.

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

Follow John Carpenter:

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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. 

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