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

The post Cold Waves Festival 2024 Announced with Clan of Xymox, Drab Majesty, A Split Second, The Cassandra Complex, Attrition, and More! appeared first on Post-Punk.com.

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.

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:

• Instagram
• Bandcamp
• Spotify

The post Dreaming in Color — Los Angeles Darkwave Project Spiralteeth Debuts New Single “Monochrome” 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.

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
• Instagram

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

Throughout the 1980s and 90s, Karl Wallinger, whose roots were deeply entrenched in the verdant landscapes of Wales, rose to prominence as the charismatic leader of World Party and as an erstwhile collaborator with The Waterboys. Sadly, he has departed from this mortal coil at 66 years old, as confirmed by his publicist. No official cause of death has yet been given.

“Karl leaves behind a loving family including wife Suzie Zamit, son Louis Wallinger, daughter Nancy Zamit and two grandchildren. The family invites Karl’s friends and fans to share their thoughts on his Facebook page or Instagram.”

Born in Prestatyn, Wales, in October 1957, Wallinger’s formative years unfolded within the storied walls of Charterhouse, an esteemed English boarding school renowned for nurturing the talents of the original Genesis. Although their paths at Charterhouse never crossed, Wallinger would later collaborate with Peter Gabriel’s Big Blue Ball project.

Wallinger dipped his toes in the water with his first band, Pax, which later evolved into Quasimodo and included future members of The Alarm, Dave Sharp and Nigel Twist. However, it was his role as a keyboardist for The Waterboys where he truly found his first brush with success. Contributing to the albums ‘A Pagan Place‘ (1984) and ‘This Is the Sea’ (1985), Wallinger played a pivotal role in shaping the band’s sound. His creative influence extended to arranging the music for iconic tracks such as ‘The Whole Of The Moon‘ and earning a writing credit for ‘Don’t Bang the Drum.’

“Having Karl in the studio was like having a one-man orchestra around. There might have been a This Is the Sea without him, but it wouldn’t have been the same – or as good,” Mike Scott of the Waterboys once commented.

In 1986, Wallinger, following his parting from the Waterboys, sowed the seeds of World Party. The endeavor was a solitary pilgrimage at its inception, with Wallinger ensconcing himself within the confines of his abode to forge the group’s inaugural album, Private Revolution. The album emerged as an unexpected beacon of success, heralded by the anthem Ship of Fools.

The ensemble, buoyed by this triumph, embarked upon a journey of artistic creation and public performances, bequeathing to the world a total of four additional albums by the turn of the millennium. Their odyssey was punctuated with memorable harmonies such as Put The Message In the Box and, arguably his greatest masterpiece, Is It Like Today?

Wallinger, an avid Beatles fan, was also no stranger to side projects: he collaborated with Sinead O’Connor on her debut album The Lion and The Cobra, and  1990’s Goodbye Jumbo garnered widespread acclaim. He spent some time as a musical director for a stage production of The Rocky Horror Picture Show. Hollywood also came calling for a time, as Karl Wallinger became musical director for Reality Bites, and contributed to the soundtrack of Clueless with a cover of Mott The Hoople’s All The Young Dudes.

Wallinger’s arduous recovery from a 2001 aneurysm required tseveral years of rehabilitation in order for him to re-learn to speak and play instruments. World Party later embarked on extensive tours, yet during this period, new albums were notably absent from their repertoire. Nevertheless, in a 2022 interview, Wallinger sparked anticipation by promising fresh material on the horizon.

“It’s good to write songs about stuff that people think about, that I thought about,’ Wallinger once told The Big Takeover. “It’s just a resonance with other people that you get from thinking about things that we’re all thinking about. You put in music, and it becomes a recognizable emotion, and people lock onto that. It’s strange, but amazing. I’ve always thought it should be something to do with healing or finding things out about the world that have truth. It maybe sounds a little idealistic, but it’s what music is about. It’s kind of a pure thing, music. I’m not left or right wing; I don’t even think of in terms of that. I just want people to have what they need to get through living on the planet.”

Former bandmate Mike Scott left a tribute to Wallinger on social media, calling him “one of the finest musicians I’ve ever known.”

The post Karl Wallinger of World Party and The Waterboys Passes Away At 66 appeared first on Post-Punk.com.

Plunging into an unusual realm, this album serves up a collection of distinctive interpretations, blending punk aesthetics with the raw edge of garage vibes. The album carries an eerie echo of an absent audience, infusing it with a ghostly aura, fuzzed out voice, the sound of coughing, and acoustic guitar.

Prepare for a deep dive into the heart of the defiant spirit, reinterpreted and refreshed in a minimalist setting that brings its raw emotion to the forefront. This album, both intriguing and unexpected, is as unfiltered DIY folk-punk as it gets.

LIVE FROM GB NEWS STUDIOS stands defiantly unique, challenging norms and embracing the unconventional. Drawing from a diverse array of influences, the album nods to the rebellious echoes of Public Image Limited’s Flowers of Romance period, the gothic shades of Alien Sex Fiend, the cool detachment of Kaelan Mikla, and the trailblazing sounds of early Siouxsie and the Banshees. It also weaves in the melancholic melodies of The Cure and the political edge of Billy Bragg. All of this in a brash and witty acoustic package that transmutes well into a dark folk serenade.

Listen below:

Catch Mark Hex live in the UK this spring and summer:

• Apr 07 White Rock Hastings, UK
• Apr 12 Dublin Castle London, UK
• Apr 20 Ivory Blacks Glasgow, UK
• Jul 27 Dublin Castle London, UK
• Aug 23 St Georges Hall, Bradford Bradford, UK
• Aug 24 Bradford in Bradford Bradford, UK

The post Mark Hex Returns with Dark Folk-Punk LP “LIVE FROM GB NEWS STUDIOS” appeared first on Post-Punk.com.

Velella Velella showcases not only the diversity of Bindrim’s portfolio and her broad artistic talent but also the evolution of her creativity. In her music, Bindrim addresses both personal change and broader societal issues, engaging with contemporary sociopolitical topics and exploring complex aspects of the human psyche. Her lyrics cover a variety of themes, from self-awareness and the balance of empathy and indifference to the harsh reality of disillusionment and the ongoing process of personal growth. This mix of introspection and social commentary in her music offers a profound look at both individual experiences and broader human conditions.

As, Bindrim explains, the songwriting process of each song on the album varied from track to track. “Some songs were spawned from a vocal or lyrical idea, and on a few tracks a synth melody and vocal were first written together all at once,” she says. “In the end, I didn’t try to force ideas or over-think things, so each song on the album developed very naturally and instinctively.”

Velella Velella opens with Obelisk, a more experimental realm for Bindrim, showcasing her versatility and willingness to push the boundaries of her artistic expression. Obelisk distinguishes itself with its forceful, edgy undertones, characterized by unyielding beats and the stark resonance of harsh synthesizers.

“Lyrically, Obelisk explores themes of tribalism, political divides, collective trauma, and surrendering to peace,” Bindrim says. “…I had previously written a lyrical seedling that was close to what ended up in the chorus lines, which I thought fit perfectly and helped spawn the rest of the lyrics in conjunction with the harder, marching energy of music.”

Cast strides in with its array of erratic beats and unconventional time signatures, setting an intriguing stage. Against this backdrop, Bindrim’s ethereal vocals weave through, adding a layer of depth and mystery. Just as you settle into the rhythm’s complexity, the track makes a sudden shift, diving into a killer hook. It’s a clever mix of the unexpected and the irresistible.

The spellbinding One Fixed Point blends dreamy vibes with a touch of darkness, sure to sweep you off your feet as the lyrics delve deep into the whirlpool of intense infatuation and the magical discovery of a perfect match.

“One Fixed Point…is a dark, dreamy love song about finding one’s counterpoint,” Bindrim explains. “The track aims to capture the pinnacle of intoxicating infatuation and bliss – that ephemeral moment where one becomes entangled in the sublime joy of immersing oneself in another. It explores that delicate balance between losing yourself in the intensity of the shared moment and discovering a heightened sense of completeness.”

Fever Dreams ventures into the realm of pure synthpop, set to an anthemic backbeat that instantly grabs attention. The track features gorgeous synth pads that shimmer, casting a spell over listeners with their radiance. Beneath these sparkling sounds, a tense bassline adds a compelling contrast, infusing the track with a sense of urgency that underpins the floating melodies.

In Hearsay, Bindrim draws inspiration from the likes of Zola Jesus, delivering a compelling performance that commands attention. Her vocals powerfully incant the lyrics, each word imbued with emotion and intensity, set against the raw backdrop of a buzzy synth bassline. This blend of forceful vocal delivery and the edgy energy of the synth creates a dynamic contrast.

The Well takes a darker turn with an opener that could easily be mistaken for the soundtrack of a suspenseful thriller. It channels the cinematic mastery of John Carpenter and the innovative soundscapes of John Foxx, creating an ambiance that’s both ominous and hypnotizing. The intro sets a tone that’s thick with anticipation, weaving a spell of mystery and foreboding.

In Fast, the stage is dramatically set with the pulsating rhythm of tribal drums, the whirring of helicopters, and the unsettling whispers of eerie synths, crafting an atmosphere ripe with tension and anticipation. This primal and otherworldly introduction lays the perfect groundwork for Brittany Bindrim’s vocal prowess to take the spotlight. Volcano evokes the same kind of dark, mesmerizing allure of NIN and Siouxsie and the Banshees; a bridge between industrial and gothic, between raw energy and refined artistry. The industrial elements form the backbone of the track, providing a relentless drive. Next, Currents flows with a melancholic melody, bolstered by a frenetic techno backbeat.

As the album draws to a close, Atlas emerges as a poignant finale, offering a moment of reflection amid the diverse array of sounds that preceded it. This ballad is characterized by its sparse piano arrangement, which echoes the haunting beauty found in Zola Jesus’s work, creating a deep, resonant connection through its simplicity and emotional depth. The inclusion of gently soaring choral elements adds a layer of ethereal grace to the track, elevating the overall experience to something transcendent. These choral touches guide the listener through the song, providing a comforting sense of ascension and release.

From beginning to end, Velella Velella stands out as a compelling work of dark electronic pop, encapsulating a range of themes from personal evolution to societal commentary. Through its varied musical landscapes and deep lyrical content, Bindrim’s creation surpasses genre confines, offering a nuanced reflection on contemporary life and showcasing her multifaceted artistic depth.

Velella Velella is out now via Metropolis Records.

Listen to the album below, and order here.

Follow Brittany Bindrim:

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The post Listen to Chicago Dark Industrial Pop Artist Brittany Bindrim’s “Velella Velella” LP appeared first on Post-Punk.com.