In Fai e Disfai, Bohémien channels the dark heart of deathrock with a distinctly Italian flair. The track pulses with a deep, haunting bass and sharp, dissonant guitars that cut through the gloom. The vocals, sung in Italian, add an emotional intensity, turning the lyrics into a raw, poetic outcry. The production blends cold, mechanical rhythms with warm, vintage textures and eerie dissonance, creating a rich, atmospheric sound. With ghostly echoes and a vibe that’s both introspective and alluring, Fai e Disfai is a masterful nod to the genre’s roots, wrapped in the drama and passion of Italian lyricism. We hear shades of Sex Gang Children, UK Decay/Furyo, Death Cult, Virgin Prunes, Corpus Delicti, and Cinema Strange in this spooky little number.

Fai e Disfai marks the beginning of an upcoming physical EP, set to be released by Polish label Bat-Cave Productions in the near future. The music video, directed by acclaimed filmmaker Alex Visani, a renowned figure in Italy’s horror cinema, unfolds within the eerie confines of a deserted cinema. In this setting, two girls embark on an urban exploration adventure, stumbling upon a mysterious totem in the shape of a bat, assembled from film rolls. Their encounter with the band blurs the lines between reality, imagination, and the spectral, leaving viewers pondering the true nature of these interactions.

Watch the video for “Fai e Disfai” below:

In the hallowed halls of Rome’s underground scene, Bohémien erupted onto the stage in 1985, wielding their Sangue e Arena debut like a fiery manifesto. The band’s early days were a whirlwind of electric live shows that swept across Italy, their performances a spectacle of raw theatrical energy. Their sound—a vibrant cocktail of positive punk infused with the dark, moody vibes of the Batcave scene, all delivered with a distinctly Italian flair—quickly caught the ears and eyes of fans and critics alike. Their standout act at the inaugural Arezzo Wave in ’87 marked them as serious contenders on the musical battleground.

But then, silence. For 15 long years, the stages went dark, the fans waited, and the music paused. In 2002, the core trio—frontman Alex Buccini, axe-wielder Luciano Liberatore, and beatmaster Walter Vincenti—rose from the silence, flanked by fresh faces, reigniting the Bohémien flame with Danze Pagane. This comeback album, dropped under the In The Night Time banner in  2003, wasn’t just a return; it was a resurrection. Their follow-up, the enigmatic La Parata del Circo EP, further cemented their status on the global stage, earning nods from deathrock and gothic aficionados far and wide.

Bohémien’s saga took them from the gritty streets of New York’s Drop Dead festival to the haunting melodies of Bats Over Milan, and even to the pulsing heart of Leipzig’s Gothic Pogo Party. Yet, amidst their ascent, tragedy struck with the loss of Vincenti in ’06, a blow that would reshape the band’s rhythm section with Valentina Larussa and Gian Paolo Cesarini stepping in to carry the torch.

Throughout their odyssey, Bohémien shared stages with legends like Lene Lovich, Nina Hagen, and Peter Murphy, weaving their story into the fabric of alternative music history. Their saga, a blend of triumphs, tragedies, pauses, and playbacks, mirrors the very essence of punk and goth – a relentless pursuit of expression, against all odds.

Order here

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This succulent, harmonious feast of bliss-pop introduces a voice sample from the illustrious Erykah Badu, only amplifying the resplendent resonance of the music. The echo of this tune was not allowed to fade before being followed by the single “Big Bliss”. Here, Amy Herring lends her enchanting vocals.

The rest of the album offers gems galore in an eclectic kaleidoscope of sound: standout tracks include the expansive, psychedelic “Innerspace.” which straddles a gossamer line between futurism and the hypnotic chant of medieval choral arrangements, bringing to mind Mutations-era Beck. “Late Night” introduces a little bossa-nova flavour and a sultry saxophone howling through the mists of the evening, if Sérgio Mendes had joined forces with Tuxedomoon.

Embracing an audacious fusion of indie pop and electronic reverberations, The Mystery Plan has unveiled a duo of engaging visuals for the tracks “Big Bliss” and “What A Day (Disco)”. Crafted with the essence of their distinct sonorous palette, these videos add a captivating dimension to their inventive sound. These video companions, swathed in intrigue, demonstrate  The Mystery Plan’s ability to carve out an intriguing narrative in their music, forging a compelling dialogue between the sonic and the visual realms.

In the enigmatic ‘Big Bliss,’ directed by the visionary Jason Herring, the aesthetic language weaves an exquisite synergy with the song’s transcendent, celestial harmonies. The cinematic journey immerses the viewer in a swirling cosmos of oneiric imagery – a fluid ballet of visuals akin to the ephemeral snapshots that populate our dreamscapes.

In a triumphant divergence from the shadowy chord orchestrations of Big Bliss, “What A Day (Disco)” emerges, pulsating with an electrifying vibrance. The track embarks on a rich exploration of the House and EBM spectrum, graced with enchanting vocals that soar over its rhythmic undulations. The accompanying visuals for the song paint a surreal dreamscape that is a far cry from the obsidian confines of hyperspace in Big Bliss.

Instead, we’re greeted with a summery tableau – a vast field, wildflowers swaying rhythmically to the invisible orchestra of the breeze, bathed in the warm glow of sparkling sunbeams. The song, a truly delightful composition, finds its residence in the loftier frequencies. It twinkles with the unexpected, yet entirely fitting inclusion of a buoyant flute melody, weaving in and out of the groove. There’s a 1970s “free to be you and me” spirit in this one.  We also hear elements of Basement Jaxx, Massive Attack, Thievery Corporation, and Groove Armada.

With their inception dating back to 2010, The Mystery Plan emerged as a trailblazing duo, featuring the dynamic creative combination of Jason Herring and Paul Jensen – the latter of whom boasts an illustrious history with Fetchin’ Bones and the Interstellars.

In a compelling twist of fate, the duo expanded its ranks with the addition of Jason’s wife, the enchantingly talented Amy Herring, solidifying the group’s signature style. As time passed, the unit morphed into a potent ensemble, ultimately welcoming the distinctive talents of Otis Hughes, Patty McLaughlin Thomas, and Jefferson Chester into the fold. This meticulously curated line-up fortifies the essence of The Mystery Plan, who continue to explore and experiment in their relentless pursuit of post-punk excellence.

While The Mystery Plan’s last few records were co-produced and mixed by the legendary John Fryer (4AD, This Mortal Coil, Cocteau Twins, Nine Inch Nails, Love & Rockets), this album was produced by Jason Herring and Rob Tavaglione.

‘Haunted Organic Machines‘ is available, both digitally and on CD. Order Here.

The ‘What A Day’ EP is also available via Spotify, Apple Music, and to Order Here.

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My shadow cuts my wings

I’m falling to my knees

My shadow pulls my strings

Danish darkwave artist St. Digue (a.k.a. Kasper Deichmann) debuts the video for “Shadow” from his upcoming album “Toxic Kiss” to be released May 12th via Midnat Records.

“Shadow” is a work of art that is as dark as it is soul-crushing, unnerving as it is lush. The ethereal synthesizers weave a web of intrigue, while hard-hitting drum machines and harsh industrial electronic soundscapes keep the heart pounding. It’s a journey through desolation and armageddon, with soaring, melancholic melodies that cut straight to the bone.

“Shadow is a song about the struggle of hiding the sides of oneself that others are quick to dismiss you for because it doesn’t fit their image of how they want you to be,” Deichmann muses. “The things you are born with, the traumas you have faced. Aspects about yourself you simply cannot change. The lyrics tab into how exhausting it is, to forcefully tether your true self day after day, and the fear of letting that true self show by accident. No one can notice the mask flaking or you’ll lose your role.”

Drawing inspiration from the likes of 80s gothic synth-pop, underground EBM, post-punk, and even his own black metal roots, St. Digue has crafted a track that is utterly unique and unmistakably his own. Shadow is a showpiece of sonic experimentation. Sophie Lien Lake (Pleaser, Konvent) makes an appearance on Shadow, her guitar riff hauntingly beautiful.

In the single’s hypnotic, hard-hitting DIY video (co-directed by Sophie Lien Lake), St. Digue is seen stumbling and crawling through a pitch-black room, his anguished cries cutting through the air like a razor blade. The melancholic melody of the track echoes through the dimly lit space, as flashes of VHS static and fluorescent colours add to the visual cacophony. Amidst the chaos lies a thread of live footage, shot by fans in places as far-flung as Tallinn, Sarajevo, and Deichmann’s own native Copenhagen.

Watch below:

Deichmann began making music under the ‘St. Digue’ name in 2020, while he was the guitarist in the black metal band Sunken, and has in less than three years played shows across Scandinavia, Germany, The Baltics and The Balkans, as well as released two EPs and the debut album “Everything Hits At Once” which put him on the map in the danish underground music scene.

Pre-order the album here and listen to “Shadow” below:

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The bewitching duet, “Crime,” co-written by the duo with production and mixing by Athens-based Hristos Lainas, aka Franklin, paints a “mysterious yet romantic journey into a femme fatale electro underworld,” as envisioned by NINA. The melancholic saxophone is played by Skylar Funk, imbuing the track with a sense of longing.

On the song’s cinematic flair, Kid Moxie notes that “CRIME, for me, is the kind of song that would be playing in a strip club in the original Blade Runner. Like two sirens inviting you to share your fantasies with them so that they can make your “dreams come true.”

Musing on the sultriness of “Crime,” Director Paige Von Bank adds, “The saxophone in this track creates a perfect soundscape for themes of allusion and idiosyncrasy. Beauty isn’t always overt, and I took pleasure in pushing the boundaries of strangeness and inquisitiveness to evoke a sense of allure. While ‘Lust’ embodies the blatant glamour and indulgence of 1950s Hollywood, ‘Crime’ transforms into the shadowy, yet seductive, neo-noir undercurrent, drawing inspiration from late 80s and early 90s cinema.”

The visualizer, a mesmerizing and strange concoction of Bond Girl-style dancing silhouettes, red strobes, and fiery touches, casts the composers as sirens, luring us into the uncharted abyss. The director, inspired by their “synth twin” moniker, fashioned them into Gemini twins, each a reflection of the other. “The visuals came very organically,” Von Bank shares. “They were originally targeted to be one with the ‘Lust’ music video but after seeing all the footage it made more sense to split the visuals into two separate, but connected, pieces. Ironically, just as NINA and Kid Moxie are on this EP, they became the Gemini twins of each other.”

Watch the video for “Crime” below:

In the realm of cinematic pop, Kid Moxie reigns supreme. A fateful encounter with a can of Moxie Cola revved up her impetus in creating her musical alter-ego, and with this, Kid Moxie was auspiciously born. “I like to call my music cinematic pop,” she explains, and the cinematic elements found in the enchanting aurae she infuses in her music can’t be overstated.

Hailing from the City of Angels, this Greek-born artist, whose real name is Elena Charbila, has made a name for herself through high-profile collaborations with luminaries such as Gaslamp Killer and the legendary Angelo Badalamenti, with whom she famously recorded an orchestrated version of “Mysteries of Love” from David Lynch’s cult classic Blue Velvet. Her formidable musical prowess has also seen her composing for the recently rebranded Orion/MGM Pictures logo, and scoring the Cannes award-winning director Vassilis Kekatos’ latest TV show Milky Way.

But it’s not just her impressive resume that’s turning heads. Kid Moxie’s own personal albums are an aural delight, with tracks that have received significant international airplay and have been featured in indie films, hit TV shows, and international brand campaigns. She’s even contributed several tracks to the wildly popular video game sensation Cyberpunk 2077.

Enter LUST, her latest project born out of the depths of the pandemic. This digital and international collaborative experience saw Kid Moxie working closely with NINA to produce an album that encapsulates the timeless themes of desire, old Hollywood glamour, and night drives. The pair remotely bounced vocal ideas and lyrics back and forth until they finally came together to record at Kung Fu Studios in Berlin during two intense 12-hour recording sessions.

For Kid Moxie, having a partner in crime like NINA was a dream come true. “LUST is an album that encapsulates themes that I find eternally exciting,” she says. “I’ve never had a partner in crime before, and NINA, from the beginning, felt like the perfect match to explore this neon noir universe with.” NINA herself was equally thrilled to experiment with themes of erotica for the first time. “Collaborating with Kid Moxie was lots of fun, and I think this album’s sound is dark yet playful,” she says. “We don’t take ourselves too seriously while still maintaining a mysterious edge.”

With two LPs and several EPs under her belt, NINA has been making waves in the synthwave and retrowave scenes for years. Her debut album, Sleepwalking, was a critical darling, earning her the moniker “The Queen of Synthwave.” Over the years, she’s collaborated with a diverse array of artists, from Erasure to Richard X, and her hit single “My Mistake” was used in high-profile ad campaigns for Mercedes Benz, Hugo Boss, and Adidas.

In 2019, NINA was featured in the synthwave documentary The Rise of the Synths, and she recorded “I’ll Wait,” a haunting tune created especially for the horror film There’s No Such Thing as Vampires. In 2021, NINA embarked on a bold new direction with her acclaimed first single as an independent artist, “Carnival Night.” The single was produced by Radio Wolf, who is currently collaborating with NINA on new music. And that’s not all – NINA is also working on an album with 80s songwriting veteran Ricky Wilde. With all these exciting projects on the horizon, it’s clear that NINA is an artist to watch in the coming years.

LUST out now via Italians Do It Better on all digital platforms here.

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The swaggering “Mirrors For Thieves”, with Christ’s gravelly lead, is backed with a hushed whisper call-and-response. The sexy, smokin’ bass line anchors the song, bringing to mind a more gothic-flavoured INXS, coupled with The Damned, Talking Heads, and The Gun Club. This track is catchy as hell with its cyclical post-punk vibe and detached cool. You can almost imagine these guys gracing the stage of CBGBs in 1979, they embody the post-punk sound so authentically and with such grace.

“This is an introduction to a live sound,” says Vincent Christ. “I release a lot, but this time around I’m out to prove we can do it live! The upcoming EP also has a more positive sound than my previous work, which I think comes through in the video.”

The analogue VHS-style video clip, directed by Rocy, documents a mesmerizing performance by the band, showcasing their collective energy….and looking trés cool, to boot.

Watch these smooth gents croon below:

Originally involved in hip-hop production, Vincent gravitated to working with instruments and playing, arranging and recording himself, developing sharp and shimmering guitar tones and a bellowing baritone. This year he has already released an album, ‘Truant‘, an EP called ‘Kil St. Clare‘ and numerous singles. ‘Mirrors For Thieves‘ is the first song off an EP coming on the 15th of January, called ‘Galore.’

Pre-order the ‘Galore‘ EP here.

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The former Londoners have since taken up residence on the South coast of England, dazzling us with a similarly colourful kaleidoscope of jangle-pop and distorted wobble, first introduced in their 2021 LP The Technicolour Liquid Audio Machine.

Their new album, Aped Flair & Hijacked Ideas, is the first where Stanley Belton is joined by a co-writer / performer: his brother Finley Belton.  Previously, Stanley has always composed and performed everything himself on the recordings, and the resulting new record from the brother’s collaboration is beautifully heralded by a pair of singles, the first being the indie-pop reverie “Dead Trajectory,” a song, like many on tracks on the album, that perfectly captures the daydream euphoria of the late 80s and early 90s heyday from 4AD and Creation Records.

Watch the video for “Dead Trajectory” below:

With “In My Child Mind (E to A),” we are treated to a groovy, laid-back single with an accompanying video created by film director Louisa Pili and edited by lead singer Stanley Belton, following him through a blissful trip around the magical realm of Tokyo.

Watch the video for “In My Child Mind (A Day In Tokyo)”:

Black Market Karma has a timeless sound firmly rooted in that Mancunian jangle pop style with a hefty dose of 90s Britpop psychedelia.

“I like to think of the sound of this record as Aquatica,” says Belton. “It’s like a psychedelic carousel of syrupy melody and liquid audio. Fat, baggy, saturated bass and drums, shimmering jangly guitars, wobbling fuzz, drunken keyboards, and telephonic vocals. Imagine something along the lines of The Velvet Underground and The Troggs making tunes together but underwater, performing on marine life instead of instruments and routing the whole thing through a UFO.”

“The album’s title is a tongue-in-cheek reference to the idea that nothing is truly original. Influence is an infinite web connecting all art, and I think that’s a beautiful thing that should be embraced. I often see people getting too hung up on the pursuit of some kind of idea of total originality that doesn’t exist. It’s all in the blend.”

With broader flavours of psychedelia, fuzzed-out tones, and thumping grooves, Black Market Karma’s sound is shaped by the use of vintage equipment. Rooted in 60’s guitar and pop music, other influences range from folk and blues through to lo-fi electronica, traditional Indian music, shoe gaze, hip hop, soul and Motown.

More recently, Stan has been working on collaborations with Pete Kember (a.k.a. Sonic Boom)of Spacemen 3, Joakim Ahlund of Cesars & Les Big Byrd; Tess Parks, and The Underground Youth.

Aped Flair & Hijacked Ideas is available everywhere digitally, including Apple Music and Spotify. The double album, pressed on 180-gram coloured vinyl with a gatefold sleeve, can also be ordered here. For an additional feel-good factor, Act Cool Records also released a live session with Stanley Belton.

And listen to the album below via Bandcamp.

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The post Listen to Dreamy Jangle Pop Outfit Black Market Karma’s New Album “Aped Flair & Hijacked Ideas” appeared first on Post-Punk.com.

“The lyrics of the song deal with the impact of Covid and politics on friendships and how people suddenly feel estranged to each other,” says the band. “Differences people were able to cope with before suddenly become too much, and longtime friends go separate ways.”

The video was directed by longtime collaborator Arian Soheili, creating a gloomy atmosphere in black & white. It tells a compelling story of isolation, solitude and barriers to connection. Shadow phantoms of a cruel temptress, snakes, light play, and faded memories intersperse between shots of the band. The nightmare noir feel illustrates the video beautifully.

Watch below:

“Overturn will be part of our live set when embarking on our first North American tour in over three years,” says the band.

All North American tour dates can be found here.

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When a relationship deteriorates, one feels a unique powerlessness as the person they love metamorphoses into something unfamiliar and unwanted. Dublin quartet Scattered Ashes explores this specific heartbreak in their new single, “Slow Motion”, and their sleek, cinematic accompanying music video.

“…You become a prisoner of time, waiting for the final nail in the coffin to declare your commitment null and void,” frontman Rob Dalton explains.

Scattered Ashes ranges in influence from Brutalism to classic punk, matching aggressive sonic textures with a strict sense of space, created by urgent guitar stylings and prophetic vocals. From the abstract to the oppressive, the band defies expectations in their bid to take post-punk back to its murkier roots.

Stepping out of their usual influential shadows of Bauhaus and Interpol influences, the band detours into shoegazey dream-pop territory with Slow Motion. Dalton’s voice barks out those final moments of a doomed romance with clarity, purpose, and determination to finally drift into the next state.

The beautiful video, directed by Conor Dockery, is a stylized performance video, depicting the singer in a state of suspended animation, detached from reality and clutching a bouquet of optimistic daisies. Finally, the daisies disappear in favour of an instrument of emotional expression.

Watch the video for “Slow Motion” below:

Slow Motion was recorded with Fontaines D.C. producer Daniel Doherty as part of a new EP that will be released Summer 2022. Scattered Ashes will round off the year with a campaign for their next two singles, including a special hometown headline show next month at The Thomas House Dublin, on 16 December. Tickets are on sale now and are available here.

You can stream and order the track below:

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During one section of the clip, Smith passionately declares:

“Any kind of hereditary privilege, it’s just wrong! It’s not just anti-democracy; it’s just inherently wrong.”

Smith doesn’t hold back as he continues:

“What upsets me is that some people who I’ve actually admired down the years get offered a reward by the royal family, by the hereditary monarchy, and they take it, and they become Lord or Sir… and you think like…

Honestly, if I ever accepted, and I’m never going to get one, I would honestly cut off my own hands before I did that because how dare they presume that they could give me an honour.

I’m much better than them. They’ve never done anything, they’re f****** idiots.”

Catch the full interview below, where Smith offers his unfiltered thoughts on the Monarchy. The conversation begins around the 6-minute mark in the “Culture” section:

The post A Knight Like This? Watch An Unearthed Interview With The Cure’s Robert Smith Taking Down the Monarchy appeared first on Post-Punk.com.

The band has just released a new video for lead single “Alone Together,” created by Kirill Slavin. Watch below:

The video matches the song’s psychedelic and pictorial nature, derived mainly of footage from short film Witch Zombies & The Lightbox Rave. Hues of blues and deep purples underscore a nefarious narrative, supplementing the sinister undercurrent of the track.

As mentioned previously, Rendered Armor comes in a variety of formats, some of which include a hardbound book of all Ritual Howls lyrics and rare photos. The band are also joining The Faint on the road for a series of tour dates in late summer. Full list of dates below:

• • 04.13 Los Angeles, CA @ Echoplex (Record Release)
  • 07.27 Allston, MA @ Brighton Music Hall *
  • 07.29 New York, NY @ Bowery Ballroom *
  • 07.30 New York, NY @ Bowery Ballroom *
  • 07.31 New York, NY @ Bowery Ballroom *
  • 08.02 Philadelphia, PA @ Theatre of Living Arts *
  • 08.03 Washington, DC @ 9:30 Club *
  • 08.04 Columbus, OH @ Newport Music Hall *
  • 08.05 Pittsburgh, PA @ Get Hip Records
  • 08.06 Cleveland, OH @ Grog Shop *
  • 08.07 Detroit, MI @ El Club *
  • 08.09 Chicago, IL @ House of Blues *
  • 08.10 Milwaukee, WI @ The Rave II (Downstairs) *
  • 08.12 Minneapolis, MN @ Fine Line Music Cafe *
  • 08.13 Kansas City, KS @ Madrid Theatre *
  • 08.15 Dallas, TX @ Gas Monkey Live *
  • 08.16 Austin, TX @ Scoot Inn *
  • 10.04 – 05 Tampa Bay, FL @ Absolution Festival

*w/ The Faint, Closeness

Photo by Vinnie Massimino.

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