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:

• Instagram
• Facebook

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.

But do you like what I’ve done with the place

You think just like me even though I’m much older

Watch the light drain from your face

As we fall from grace

In New York City, Comet emerges as the latest enfant terrible of the nu-grunge/darkgaze scene, transforming her raw, introspective artistry into a full-blown band phenomenon. Her debut EP, Two-Winged, is a tempest of sound—where ethereal whispers escalate into primal screams against a backdrop of relentless guitar riffs and haunting high frequencies that promise to send shivers down your spine and stir the soul.

Taraneh, whose name means “song” in Farsi, perfectly captures the essence of Persian-American artist Taraneh Azar. Operating under this solo moniker, she showcases her prowess as a multi-instrumentalist and producer. With roots in Iran and thriving in New York, her music blends dark elements from various genres. It’s as if rock, pop, and a touch of world music were combined to produce something uniquely compelling. Whether playing guitar, piano, or adjusting settings in the studio, Taraneh Azar is a musical powerhouse, creating rhythms that are both unique and engaging, encouraging everyone to move in harmony with her distinctive beat.

Together, they bring to life the eerie single Bunny, a track that’s bound to send shivers down your spine as it immerses you in the unsettling viewpoint of a prey animal.

Comet’s sharp lyrical prowess unveils the harsh truths of our reality, all viewed through a distinctively female perspective. Bunny is a haunting portrayal of a dark, manipulative encounter, likening the victim to a trapped bunny at the mercy of a domineering predator. The song delves into themes of grooming, perilous power imbalances, and malicious intent, laying bare the complexities of such interactions. The refrain “Just like you wanted” echoes a distorted notion of consent or the imposition of one’s desires onto another, leading to a disturbing climax of control and inevitable collapse.

Comet recently released her debut EP Two-Winged this past fall along with two singles Dirty (featuring Lucy Loone), and One.” Comet Candler takes the lead on vocals and guitars for the project, with Sam Klein and Lea Jaffe adding depth on guitars. The rhythm section is anchored by Grant Lepping on bass and Kevin Jacobsen on drums. The production of the work is a collaborative effort between Comet Candler and Grant Lepping, with engineering handled by Grant Lepping alongside Bailey Kislak. Grant Lepping also took the helm in mixing the tracks. The recording took place at Flux Studios in NYC, with the final mastering touch provided by Justin Termotto.

Order the EP here

Follow Comet:

• Instagram
• Bandcamp
• Spotify
• YouTube

The post A Beatdown in Coney Island — Comet and Taraneh are Two Brutal Darkgaze Brides in their Video for “Bunny” 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:

• Instagram
• YouTube
• Facebook

The post Dan Rincon Announces “Spotlight City” LP and Shares Dreamflight Simulator Video for “Cessna” 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:

• Instagram
• Spotify

The post LA Synth-Pop Duo Active Decay Debuts Video for Sultry Noir-esque Single “Lies” appeared first on Post-Punk.com.

Kimball’s vocal prowess shines brightly, infusing the track with a captivating presence that demands attention. The video is a powerful yet simple visual narrative that strips away the unnecessary, focusing on Kimball in a raw, unguarded state. Shot in a classic 4:3 format, it shows him at a table, the scene set starkly with a broken wine bottle. In a moment of intense vulnerability, Kimball drinks from the jagged edge, the act leaving him bleeding from the mouth—a potent and distressing image that resonates deeply.

This scene vividly recalls the visceral performances of Nivek Ogre from Skinny Puppy, known for his immersive and often jarring stage personas that blend the boundaries between art and reality. Like Ogre’s memorable enactments, Kimball’s self-inflicted wound here is more than shock value; it’s a metaphor for the pain and catharsis embedded in “The Lowest Places You’ll Go,” highlighting the track’s exploration of personal depths and the struggle for self-acceptance.

The song and its video serve as a reminder that our darkest moments do not define our entire existence, As Kimball explains:

“The Lowest Places You’ll Go is a reminder that you are not who you are at your worst. It’s a reminder that everyone has value and is worthy of love. No one should be paralyzed by fear.  Move with it and through it. Break away.”

Watch the video for “The Lowest Places You’ll Go” below:

Emerging from the shadow-laden streets of Philadelphia, Night Sins has been a dark beacon since the early 2010s, weaving a path that follows in the wake of the legacies carved out by The Sisters of Mercy, Clan of Xymox, and other darkwave pioneers. Their sound—a mix of robust rhythms, atmospheric synths, and Kimball’s distinctive vocals—crafts an immersive world that’s both nostalgic and distinctly fresh.

With “The Lowest Places You’ll Go” setting the tone, Night Sins’ forthcoming five-track EP “A Silver Blade in the Shadow” is shaping up to be a definitive statement of their craft. This mini-album, due out May 17th on Born Losers Records, seems poised to reinforce the band’s standing in the dark music sphere, showcasing the distinctive blend of sound and raw edge that they bring to the table.

Pre-Order Here

Stay connected with Night Sins for the latest updates:

• Spotify
• Instagram
• Facebook

The post Philadelphia’s Night Sins Debuts Video for Old-School EBM Track “The Lowest Places You’ll Go” 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:

• Instagram
• Facebook
• YouTube
• Website

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

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

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

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

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

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

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

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

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

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

Pre-order Codes here through Sacred Bones Records. 

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

Named for Dostoyevsky’s protagonist Rodion Raskolnikov in Crime and Punishment, Raskolnikov conjures a “polyphony of unordered consciousness, leading to the division of the self.” Diving headfirst into the abyss of sound, this Swiss-Spanish-French trio (Jérôme Blum, Jaime Fernandez da Costa and Mathieu Pawelski-Szpiechowycz) serves up a blend of shoegaze and post-punk that’s as brooding as a cloudy day, yet still irresistible with Masterfreak. Picture a gloomy cocktail—bittersweet with a twist of ennui—shaken, not stirred, in the dimly lit backroom of an underground club. This is music for the soul that wears its heart on a black, tattered sleeve.

Formed in 2015, Raskolnikov crosses both geographical borders as well as the boundaries between melancholy and euphoria.

So, buckle up for this self-directed joyride of a video below:

Raskolnikov was formed by Mathieu Pawełski-Szpiechowycz (bass/vocals) at the end of 2015, traveling between Geneva, Paris, and Constance. Pablo Garrido (guitar) and Jérôme Blum (drums) joined the project at the beginning of 2017. Mathieu, Jérôme, and Pablo performed together between 2013 and 2016 in a project-based in Geneva. Quentin Allamand joined Raskolnikov on guitar and keyboards in the autumn of 2019. Today, the group is mainly based in Konstanz/Kreuzlingen and Biel.

The first album, Hochmut kommt vor dem Fall, was released in 2017 on Manic Depression Records. The second album, Lazy people will destroy you was released in 2020 on Icy Cold Records and Manic Depression Records. Between releases, the band played over a hundred gigs across Europe. They’ve shared the stage with Dear Deer and Tisiphone.

Masterfreak, the new single from the French-Swiss-Spanish post-punk trio, heralds a new EP in spring and a third full length album slated for autumn 2024.

Follow Raskolnikov:

• Instagram
• Facebook
• Bandcamp
• YouTube

The post Post-Punk Trio Raskolnikov Take a Scenic Road Trip in Their Video for “Masterfreak” appeared first on Post-Punk.com.

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.