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…

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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
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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:

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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.

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:

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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:

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• Felte
• Bandcamp
• Twitter

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

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

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

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

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

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

Be a wild god and give this a spin:

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

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

Pre-order ‘Wild God’ here.

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

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The delightfully enigmatic Please Don’t Tell stands cloaked in the allure of a secret too compelling to keep. Nestled in the quaint embrace of Charlottesville, VA, this trio’s repertoire, a whimsical blend of nocturnal worries, folkloric charm, and the kind of mischief one might expect in a dimly lit Victorian parlour, emerges from an unlikely medley of acoustic instruments. And yet, for all the spectral echoes of yesteryear that dance beneath their tunes, there’s a timeless quality to their music, suggesting it might have effortlessly found its place in the annals of history, serenading an era that never knew it needed them, without so much as a discordant whisper.

At the helm of this clandestine affair is Christina Fleming, a master of melody who doubles as both the lead vocalist and pianist, crafting tunes that beckon the listener closer with the promise of untold tales. For a fleeting moment, the ensemble blossomed into a trio, with Nicole Rimel’s cello and Anna Hennessy’s violin and vocals adding layers to their one-night symphony, an arrangement so enchanting it stubbornly refused to disband.

In the absence of drums, the ensemble finds its rhythm in Fleming’s dynamic piano play and her expansive operatic voice, a combination that fills the air with an unexpected vibrancy. The trio, with their eclectic backgrounds, converge in a sound that looms large, drawing from the grandeur of classical and choral music, the dark allure of goth club nights, and the earthy undertones of bluegrass that whisper of their Central Virginia roots. The revelation that these musicians are as at home in the gritty ambiance of underground punk venues as they are under the refined lights of The Kennedy Center should hardly raise an eyebrow among those tuned in to their diverse range.

The lyrics of their songs oscillate between the compelling tales of remarkable women and intimate contemplations, unearthing the sort of stinging quips that are typically concealed within adversity. At times, they abandon any guise of humor, confronting the listener with the stark, unvarnished truths of Fleming’s musings on our precarious human condition. Yet, more often than not, the somber themes are laced with a sharp, modern wit that deftly targets tyrannical spouses and dissects the mental dilemmas pervasive in today’s society. The group’s sound is profoundly shaped by their eclectic musical tastes, which span a broad spectrum from Mozart and Rasputina to Kurt Weill, Tom Waits, Cab Calloway, and Edith Piaf. This diverse palette informs their modern chamber-pop aesthetic, evoking parallels with acts like The Divine Comedy, Duke Special, and Rufus Wainwright. Their unique approach to music embraces a gothic romanticism, infused with whimsy and charm, and is reminiscent of a Sweeney Todd-like twist, sugarcoating blistering melancholy with enchantment, whimsy and Schoenhut toy pianos.

This brilliant, bizarre album opens with Nearsighted, which expresses a deep sense of internal emptiness and loss, likening the singer’s soul to a desolate graveyard. This internal landscape is marked by a profound stillness and the absence of pain, but also by loneliness and a longing for connection, symbolized by the contrast between wild roses and neglected graves.  The video for the chilling Heave Ho, directed by Mariah Johnson, asks us to examine our realities: is the dear widower in the clip being supported by care givers, haunted by spirits, or drowning his own grief? Was it all a dream?

Blueshift depicts a preference for the night over the day, highlighting the night’s comforting embrace that harbours the singer’s fears and dreams. Contrasting the day’s harshness, the night’s gentle nature offers solace and an attentive ear, embodying a peaceful sanctuary where the moonlight transforms perception, casting everything in a serene, blue hue.

The lyrics to the tragic The March of Grace Fryer poignantly reflect the horrible story of the “Radium Girls,” who were factory watch dial painters who suffered from radium poisoning from the glow in the dark paints they used. Their initial pride transformed into a harrowing reality of physical decay, yet they ironically maintain a haunting elegance. The song critiques societal attitudes towards their plight and the dismissive justifications for their suffering, ultimately depicting them as glowing, disintegrating specters, reminders of a grave injustice. This danse macabre is a reminder that these workplace injustices persist today, and these little ghosts serve as a warning tale.

The lyrics of St James Infirmary depict a mournful visit to a lover’s final resting place, evoking a mix of sorrow and bravado. The narrator requests an extravagant funeral, reflecting a life lived with flair. Amidst the somber setting, there’s a defiant celebration of the self, with the recurring wish for the departed to find peace, yet underscored by the narrator’s assertion of their irreplaceability.

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The post Music for a Victorian Funeral Parlour — Listen to the Dark Folk Cabaret of Please Don’t Tell’s Self-Titled Debut appeared first on Post-Punk.com.