The sweeping soundscape “False Light”, off the upcoming album Parade Nocturne, is a passionate wail in the cosmos. The album is due out in October via aufnahme + wiedergabe.

Tim Gainet also helms the Parisian synth project Poison Point.

Listen to the single below on via the a + w Bandcamp:

• Instagram
• Facebook
• Soundcloud
• Bandcamp

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Thomas More’s 15q6 socio-political satire Utopia – meaning “nowhere” – imagined a future way of life and social order in a fictional island kingdom.  Austria’s The Devil & The Universe took a cue from More and created their own utopia…of goats. In a world out of balance, the Viennese band is reluctant to face dystopian predictions: instead, they unmask the spectre of the future. 

In 2013, Ashley Dayour and David Pfister founded The Devil & The Universe, focusing on musical experimentation with magical systems; the herd was later joined by Stefan Elsbacher. Inspired by Krautrock, conceptual art bands like The Residents and Devo, and a generous smattering of the occult, the track “Viva! Goatopia” is a synth frenzy peppered with thundering drums and spoken word samples. They gleefully mix cinematic ambient sounds and driving beats in their cauldrons, don goat masks, and deliver it all with sardonic humour. “VIVA! GOATopia hallucinates the missed opportunities of the past without mourning them.

The video, directed by Edie Calie, shows the GOATopia in the once-promising world of an abandoned geodesic dome. The darkly funny video concept brings to life what was once described forty years ago by Fad Gadget: the attempts to control nature and society in the face of global disaster.

Watch the video for “Viva! Goatopia” below:

“Viva! Goatopia” follows The Devil and The Universe’s previous video, “The Great God Pan Is Dead (Long Live The Great God Pan)”, which was released at the end of November.

GOATopia continues the psychedelic feeling from their previous album: Endgame 69, ever innovating their sound. After all, Utopias themselves are created, destroyed, and rebuilt.  

GOATopia is out now on vinyl via AUFNAHME + WIEDERGABE, and on CD & Digital via SOLAR LODGE. (The vinyl should ship around February 17th).

Order Here

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The post The Devil and The Universe Return in Their Trippy Disco-Discordant Video for “Viva! GOATopia” appeared first on Post-Punk.com.

The Marquis gets down to basics deconstructing sound and vision with End of the Line: Corroded and Broken.

The Marquis, also known as multi-instrumentalist and composer Dillon Steele (or Tetsuo Paradis formerly of Automelodi), is exploring new territory with this endeavour.  He creates a demented dystopia with his soundscapes: hardcore vocals, looping effects, shilling, guitar experiments, and industrial screeching comprise this composition.

This is a special project for The Marquis: besides the usual cassettes, there will be a limited edition of VHS available. The Marquis carefully handmade the releases from entirely recycled and found materials from previous owners or abandoned places.

Watch the trailer below:

The Marquis began his project with a self-titled cassette release in Montreal. The more EBM-fueled Sodomie et Violence EP (RND Records) followed in France. Now The Marquis is based in Berlin, out with his latest album The Suburbs Dream of Bloodshed (Aufnahme + Wiedergabe).

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In short, how do we get back to basics and really remember what it’s like to have a creative mind in a world oriented solely toward the commodification and exploitation of art and artists?

Milk Me is a new investigative performance series based around the Berlin music scene, specifically long-term artists of the Milk Me / Urban Spree scene over the last 6 years. Using the modern-day singularity of the digital platform, the series incorporates mediums of sound, portrait photography, and interview-based journalism, in an attempt to rediscover the full scope of an artist’s experience. Milk Me aims to answer these questions by shedding the artifice of performative, empty creation for a camera to satisfy demands for content instead of meaningful art.

The show is a labour of love from people involved in the scene. Milk Me is divided into three parts, a live performance video, an in-depth interview, and portrait photography.

The first episode is about the music, and origins of Brazilian born, Argentinean-raised artist Cristiano Monga, known by his artist name Eyes Gone, ahead of his upcoming release on Berlin-based label aufnahme + wiedergabe.

A fascinating time capsule of this era, in a world constantly redefining itself and its purpose within the context of technology and social media.

Milk Me Episode 1 – Eyes Gone

Presented by Joshua Murphy and Catherine Elsässer
Interview – Bernd Skischally
Filming and editing – Christiania Krueger & Enrique Arribas
Photography – Clara Sokol
Audio Recording – Martin Ortiz
Documentary Filming – Claudia Lapin
Interview colouring – Stéphanie Morin

While we wait for the forthcoming release on a + w, check out Eyes Gone’s recent remix of Mueran Humans’ “Alien below:

The post Berlin Music Program Milk ME Episode 1: An Interview with Eyes Gone plus Live Set appeared first on Post-Punk.com.

“Vanitas” a still-life painting of a 17th-century Dutch genre that with its symbolism conveys the transience of life, the futility of pleasure, and the certainty of death.

Harriman, being not only a skilled musician and DJ, is also an author, journalist, and noted lecturer on the subject on gothic culture and representations of death throughout the ages, most notably at the Morbid Anatomy Museum in NYC.

In addition to her academic research, Harriman is very passionate and outspoken in her activism in gender-related issues, one of the underlying themes of the EP.

Harriman explains:

“This record is about the necessary retribution of men who have harmed women through the abuse of power.”

Listen to Silent Servant remix of “Vanitas” below:

Andi is releasing her debut EP under her one-name moniker through infamous Berlin label aufnahme + wiedergabe as cataloged LIX, or the 59th release.

Corpse To Corpus, mastered by Thomas P. Heckmann,  is a caustic cohesion of old-school Industrial techno beats, and EBM flourishes showcasing Harriman’s love for synthesizer-based music.

Corpse To Corpus is out on July 3, 2020.

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The video, which was shot in Norway and revisits the theme of their pulsing darkwave dancefloor classic “Teutonic Knights”, and song infused with sinister synths overlaid with dispassionate and unaffected vocals, overall giving the impression of deep-seated anxiety brimming below right the surface, which only a body twitching and contorting in constant motion along with the tracks mesmerizing rhythms, could possibly abet.

The video was just published via the Youtube channel of Okayss, an independent production company that specializes in powerful, uncompromising films and music videos, for which this clip is no exception.

Watch the video for “Teutonic Knights”  below:

Figure Section will tour in the US in May 2020, with around a dozen dates set to be announced.

A brand new LP is expected later this year via Legendary Berlin label Aufnahme + Wiedergabe, who released a smashing Spectre EP last autumn.

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The song is a dark and brooding; like a catastrophic whisper across acoustic strings that drift into an experimental daydream of soft sirens, puffs of steam, broken glass, and other aural metaphors of inner torment, altogether leading into elegant post-punk bassline, overlaid with distorted spoken word.

The song complex as the finest single malt defiled by a veil of cigarette smoke catching the light cracking through a set of Venetian blinds in a dark room.

Listen below:

Dune Messiah begins their European tour very soon and will be presenting their latest record ‘Moments of Bliss’ to Europe/UK audiences this month.

Don’t miss Dune Messiah live in Berlin on March 1st at the infamous Urban Spree!

Credits:

• Tour poster by Olya Dyer:
• The song is mixed by Kristian Alexander Pedersen.
• Cover photo by Mike Sheridan.

Tour Dates:

• 10/02 DE, Hamburg – MS Stubnitz
• 11/02 NL, Nijmegen – Extrapool
• 12/02 FR, Lille – Yourself Café
• 13/02 BE, Brussels – Cafe Central
• 14/02 UK, London – The Fiddler
• 16/02 UK, Glasgow – Nice N’ Sleazy
• 17/02 UK, Edinburgh – Opium
• 18/02 UK, Sheffield – West Street Live
• 19/02 UK, Brighton – Rialto
• 21/02 FR, Paris – Supersonic
• 22/02 FR, Angers – Joker’s Pub
• 25/02 ES, Vitoria Gastiez – Dardara Klub
• 27/02 FR, Toulon – Hilde of La Villa Cool
• 28/02 IT, Sezzadio – Cascina Bellaria
• 1/03 DE, Berlin – Urban Spree

The post Dark Folk Act Dune Messiah Drifts into Melancholic Malaise in “I Headed For The Dancers” appeared first on Post-Punk.com.

The Marquis, the solo vehicle of synth maestro Tetsuo Paradis formerly of Automelodi had this to say about the song and video:

“I wrote Poison during a long period of personal turmoil and at a specific moment of grave, definite change in my life. Metaphorically speaking there was a certain poison which I was in the processing of expelling from my body, it was a moment in time when I decided to finally put an end to a situation which had caused me pain for far too long.
The video is, I believe, a parallel to what I conveyed in the music, however, represented through the performance and interpretation of one of my favourite visual artists and long time collaborator, Camille Coït.
As the video and song are both representations of a very personal journey of struggle and change, I would prefer to leave it to the individual viewer to grasp rather than explain any more in detail, I feel it is best viewed and understood on a personal level.”

Watch “Poison” below:

The video also could not have been done without the amazing eye of False Idols Studio, who co-directed and co-produced with Paradis himself.

The post Industrial EBM Chimera The Marquis Expels his Venom with the Video for “Poison” appeared first on Post-Punk.com.

The b-side to this 12-inch remix features the source track “hommage aux machines”, which is a more concentrated version of the corrosion washed over the more playful “Botisch”, with cinematic horns imbuing the track with a sense of urgency and dread that only Ancient Methods can convey.

Watch the video below:

Yello’s Bostich (Ancient Methods Remix) 12″ is pressed in a limited edition of 500 copies, and releases November 30, 2019 through Berlin label aufnahme + wiedergabe. The record was mastered by Alain Paul, with artwork by Hectic Laboratory.

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The album’s lead single, “Silence and Surrender” envisions a stylized alternative take on the folk-genre; acoustic guitars and violins violently grinding upon a frantically mechanic drum machine beat. The song ends with a heartbreaking violin solo played by Nils Gröndahl. The music video star Dune Messiah mastermind Magnus Westergaard playing a minanthropic loser and scoundrel, who seems unable to cope with normal human emotions.

During the video below we see our protagonist desperately trying to seduce women at night throughout Copenhagen, with his despaired stumbling and falling. The surreal scenes that transpire within a jealousy-drama between him and two other characters (played by Danish actress Rosalinde Mynster and Mathias Broe).

In the song “Silence and Surrender”, Magnus Westergaard sings:

“They say that forgiveness is a way to be free, and Jesus told us all just to turn the other cheek, within silence and surrender, there has been a way of showing you the faces of the people you betrayed”.

Throughout the album we get to explore this kind of isolated character more so, where he expresses his bitter emotions and pity for humanity. A misanthrope who is outside the common society and sometimes with a sense of jealousy tries to reach out towards it. The character often finds himself hopelessly in love with a female figure, or in hateful envy and with a burning desire to destroy or degrade the female figure as a reaction to this.

The overall theme of the album thus deals with escapism and exclusion from society. An escapism that can also unfold in abuse of substances. Hence the inspiration for the song “A Moment of Bliss”, Westergaard explains:

“The song’s lyric side has two themes; a cross-over of a state of deep meditation, seeking an inner peace, and a state of escape through heroin abuse, which can give the same sense of inner peace, but which eventually may lead to death. The title of the album Moments of Bliss, therefore also has an embedded ambiguity; a mystery that can also be reflected in the unfathomable smile of the misanthrope. The title is very much self-ironic i think”.

Magnus explains that a lot of the inspiration for the songs come from personal stories:

“I have experienced many things around me that can influence or give inspiration. The music can, for me, be a means of communicating emotions that might otherwise be difficult to express. I had a girlfriend who tried suicide but was disabled and is sitting in a wheelchair today. I’ve had friends who were far away on drugs. I have a friend who is an ex heroin addict, but got a period of relapse and I experienced him dealing with it on close hand. The experience of such violent events can be liberating to treat in the world of art where everything is allowed, and it can be possible sometimes to laugh at or make fun of horrible events. This misanthropic character I have created through the texts is therefore also, I think, a way of getting it at a distance. It’s not me speaking out, it’s all his work. And then I find it easier to screw up the emotions in the texts; it’s simply more comical and more easy to deal with”.

The album moves through many genres, ranging from jazzy improvisations on trumpet, to american country music a’la Hank Williams, to ballads with a calypso, lonely wedding-keyboard player feel to it. All of which is narrated through the same gothic folk style that Dune Messiah has put out thus far. The genre can be described as a folk-noir, in the same way as the old films deal with grand emotions and the romantic, but at the same time possess the eerie and gloomy. There is a certain outlandish and perhaps rather French touch in the music, which paints with large brush strokes. Magnus has a consistent Leonard Cohen reference, but is constantly moving in his own interpretation of the artist’s piercing poetic expression.

Magnus explains how ever since he started playing music (guitar and drums) as a 13 year old, he has had a burning desire to be able to write a song one day, but he never succeeded in that, he explains. However, the songs came to him suddenly and easily when he was divorced from his ex-wife.

“I played in a rock band The Woken Trees, which can be described as aggressive post-punk. I got an idea while sitting in the snow, selling Christmas trees somewhere in a forest where no people ever came. I wanted to create an expression that had the same intense nerve as punk, but where the raw energy instead would lie in a relentless silence and presence than in the grandiose distortion guitars. From this principle, I created the Dune Messiah. However, I still couldn’t write songs. When I parted from my wife some time later, I found myself with an acoustic guitar, in a cellar outside of Copenhagen having suddenly written 3 songs and time had disappeared all awhile”.

Magnus explains how the connection to the Parisian label Third Coming Records started as a kind of incident. When he had to go on holiday back in 2015 and decided to try to set up a show at some bar while he was there. He then got through to this new label, who had by then, only released one other album by a french band.

“And was at the time about to record an EP so, of course I write the label if they want to release it. Louis X. Legris immediately answers “FUCK YEAH” and then one thing took the other. I got hold of Victor Nuno from Ocean View and started playing concerts with him in Paris, Copenhagen and around Germany. Later guitar player Daniel Frank Christensen also came along, and these two have played really a big role for me. Now the live act consists, apart from myself, of Lisa Jespersen on keyboards, Andreas Bengtsen on guitar and Lee Tomas on drums, and I play acoustic guitar and sing”.

Magnus goes on further to explain tells about the production of Moments of Bliss and how it was recorded.

“The recording and production of “Moments of Bliss” is the longest and most exhausting I have ever experienced. I had long ago talked to my friend Kristian Alexander Pedersen from The Love Coffin if he wanted to produce the next album. I had already decided when I was about to finish “The Iron Oak” that I would have the next album ready to record the coming November. So we did. November 2017 we went under ground in a bunker I have as rehearsal space. I also sold Christmas trees this year, so after selling I went to Oliver Matthew from Shiny Darkly to record vocals. We also had a long night at the conservatory where we recorded guitars from eight in the evening to ten in the morning. When we came in February and we had gone on tour with Drab Majesty, I listened to it all and wanted to start over, so I deleted some of what we had recorded and recorded it all again. Then me and Kristian spent the whole spring and summer mixing and producing the rest in Berlin and Copenhagen.

Moments of Bliss is out March 29th, through French label Third Coming Records (who also releases Danish bands like Pardans and The Love Coffin) and German label Aufnahme + Wiedergabe.

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Tour Dates:

• 19.04.19 Friday (SE) STOCKHOLM – Klubb Död
• 20.04.19 Saturday (SE) GÖTEBORG – Skjul Fyra Sex
• 21.04.19 Sunday (DK) AARHUS – Tape
• 23.04.19 Tuesday (DE) HAMBORG – Ms Stubnitz
• 25.04.19 Thursday (NL) GRONINGEN – Neutronstraat 7-8
• 26.04.19 Friday (BE) ANTWERP – Het Bos
• 27.04.19 Saturday (BE) BRUSSELS – Chaff
• 29.04.19 Monday (FR) LILLE – Imposture
• 30.04.19 Tuesday (FR) PARIS – Petit Bain (w. Underground Youth)
• 01.05.19 Wednesday (BE) COLOGNE – Em Drügge Pitter
• 02.05.19 Thursday (DE) BERLIN – Urban Spree
• 03.05.19 Friday (DE) DRESDEN – Scheune
• 04.05.19 Saturday (CZ) PRAGUE – Karárna Karlín
• 17.05.19 Friday (DK) KØBENHAVN – Illutron, (release fest)
• 23.05.19 Thursday (DK) AARHUS – Radar (w. King Dude)
• 26.05.19 Sunday (DK) KØBENHAVN – Hotel Cecil (w. King Dude)

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