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:

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The post Dreaming in Color — Los Angeles Darkwave Project Spiralteeth Debuts New Single “Monochrome” appeared first on Post-Punk.com.

we’ll find a dark place to meet

I’ll leave in the middle of the night

with no promises left to keep

Rest assured, it’s perfectly fine to unlock those emotional floodgates and let the tears cascade. ‘I Still Feel Alone All The Time,‘ the latest single from Austin’s  Holy Wire is bound to hit you right in the heartstrings with its poignant resonance. The song is out now via à La Carte Records.

Holy Wire, conceived by Alain Paradis, emerged in the wake of a geographical and existential transition from Brooklyn to Austin during the pandemic. In the aftermath of a personal upheaval and a commitment to sobriety, Paradis found himself an isolated figure in a city gingerly awakening from its pandemic-induced solitude. Surrounded by nothing but the echo of memories and the expanse of time, he turned to songwriting as a solace and a means of connection, gradually syncing his rhythm with the vibrant pulse of Austin’s musical landscape.

I Still Feel Alone All The Time elegantly merges the austere aesthetics of post-punk and cold-wave with the polished sheen of hi-fi sophisti-pop, carving out a niche that oscillates between the shadowy realms of Grauzone and the soulful clarity of Hall and Oates. The composition teeters on the brink, where mechanized percussion, unyielding basslines, and the synthetic whispers reminiscent of a Soviet-era lab surrender to a chorus that envelops the listener in a misty, dreamlike embrace. Throughout, the frostbitten synths wax and wane, casting an ambiance of an eternal winter, a landscape both stark and mesmerizing. We hear shades of The Teardrop Explodes, Tears for Fears, and Nation of Language in its sound.

I Still Feel Alone All The Time delves into a profound sense of solitude that belies the bustling backdrop of an urban milieu, ostensibly ripe with the promise of connection yet equally isolating. The song is a page from the personal diary of Paradis, who mined the depths of his own experiences when living in Park Slope, Brooklyn. Following the conclusion of a tumultuous romance and his departure from the familiar social circles of Bushwick, Paradis found himself adrift in the nocturnal life of the neighborhood bars, weaving through the streets, seeking fleeting companionship through the ephemeral encounters promised by dating apps.

“I always lacked a sense of belonging,” admits Paradis, “it just felt like this cosmic wash of winter darkness.”

Listen below:

In the past, Alain Paradis lent his talents to several bands, including Fixtures, Miserable Chillers, and Your Dream Coat. This odyssey in search of belonging ultimately drew him to the vibrant music scene of Austin, Texas. There, Paradis rejuvenated a long-dormant solo endeavor, rechristened as Holy Wire, and assembled a fluid lineup of musicians for live performances. This ensemble featured guest appearances from members of DAIISTAR, Pelvis Wrestley, and TC Superstar. Since its rebirth, Holy Wire has graced stages alongside notable acts such as The KVB, Urban Heat, and Xeno & Oaklander.

Holy Wire sought the help of key New York players Abe Seiferth (Nation Of Language, Yeasayer) to produce and mix the album, and Heba Kadry for mastering. I Still Feel Alone All The Time marks the first release with A La Carte Records and is the first single off the upcoming album The Ending Of An Age, out on June 5th, 2024.

Pre-Order the album here

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The post Austin New Wave Project Holy Wire Unveils New Single “I Still Feel Alone All The Time” appeared first on Post-Punk.com.

Robert Alfons, known professionally as TR/ST and previously Trust, made a striking entrance in 2010, resembling a sophisticated anomaly within the underground music work. His distinctive fusion of dark electronic pop quickly set him apart, cultivating a dedicated following that cherished the unconventional. Alfons masterfully combines brooding rhythms with an enigmatic allure.

As TR/ST ascended through a whirlwind of international tours, the Toronto titan settled in the scenic sprawl of Los Angeles for the past decade as his project transformed into a pillar of dark dance music. With the release of ‘Joyland‘ in 2014 and the ambitious two-part ‘The Destroyer‘ in 2019, Alfons navigated the complexities of the music world with finesse, continually expanding the boundaries of his creative vision.

Today marks the debut of TR/ST’s first full release through Dais Records. The EP opens with the previously debuted Robrash, which is an electronic odyssey characterized by vibrant synth basslines and robotic vocal effects, all culminating in a memorable hook. The lyrics depict a journey of longing and introspection, reminiscing about past experiences and questioning their self-worth in the context of a relationship. They invoke imagery of riding with crows and calling light, symbolizing a search for companionship and clarity.

Run, a pulsating new anthem for the dance floor, is graced by the presence of hyperpop sensation Cecile Believe. The lyrics explore themes of stagnation and introspection, with a reflection on unchanging situations and personal monotony. Somtimes a creative outlet just doesn’t do it for ya, sometimes we simply need an escape or cataclysmic change. Adding to the diversity is Evercall, a track that ventures into the realm of the ethereal with its delicate, nearly-ambient textures.

TR/ST also does a faithful cover of Pet Shop Boys’ iconic 1990 hit Being Boring, reimagined with the distinctive falsetto vocals of Jake Shears from Scissor Sisters. Being Boring is a reflective track inspired by a quote from Zelda Fitzgerald about people not being dull as long as they are curious. It touches on themes of nostalgia, the passage of time, and the bittersweet nature of memories. Neil Tennant was partly inspired by his own experiences and the loss of friends to the AIDS epidemic, which adds a poignant depth to the lyrics.

Completing the lineup is Slug, which delves into feelings of insignificance and emotional turmoil, juxtaposed with advice to remain kind and to cleanse negativity. It reflects on the struggle with love’s absence and the desire for solitude, amidst a backdrop of perceived betrayal and the need for emotional closure.

Purchase the EP here or listen below:

Alfons confirms he is in the studio working on a new album, expanding their singular sound in ways both cinematic and surprising: “Bigger, better, beautiful, and buried in mud.”

Catch TR/ST at Cruel World Festival on May 11 in Pasadena.

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The post TR/ST Releases Surprise EP and Cover of Pet Shop Boys’ “Being Boring” with Jake Shears appeared first on Post-Punk.com.

Los Angeles outfit Your Labour deftly straddles the realms of indie pop ecstasy and darkwave lament, crafting a sound that resonates with a deep, pulsating rhythm. Their track “The Shape” is an artful blend of shadowy post-punk exhilaration and harmonious drone, creating an ambience that feels both enigmatic and utterly captivating. Your Labour channels something strikingly gorgeous and otherworldly. One can hear echoes of TV On The Radio’s experimental vibrancy, The Soft Moon’s moody intensity, and the eclectic, avant-garde spirit of Animal Collective. It’s a unique sonic alchemy that sets Your Labour apart, marking them as a band that not only embraces but revels in the unconventional and the sublime.

“It’s about losing something dearly loved but remaining forever devoted,” says Your Labour’s Michael Faulkner. “I buried it in dirt a bit and spent a lot of time sculpting the emotional arc of the song out of that. Weird way of working but I think it ultimately has the intensity and mood I was hoping to bring.

The Shape delves into love’s staying power: unyielding, even when faced with loss. This haunting track bestows a subtle nod to the human heart’s remarkable talent for clinging to fondness and devotion, even when the object of such affection is no longer in the picture. Those memories, be they of a person or a cherished trinket, weaves in and out between states of wistful nostalgia, wrenching pain, and deep-seated gratitude. Emotional ties are not bound by the physical world, instead they echo in the spiritual and emotional realms. This could manifest in various forms, from living out the lost one’s values or desires, to keeping their memory alive with rituals or mementos, or simply by enshrining them in the chambers of one’s heart.

All in all, when you’re mired in ‘the feels,’ play this one and remember the good times.

Listen below:

The Shape was mixed by Chris King (Cold Showers) and mastered by Matia Simovich (INHALT).

Follow Your Labour:

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The post Love Never Dies — Los Angeles Post-Punk Project Your Labour Debuts “The Shape” appeared first on Post-Punk.com.

Their universal message, however, firmly occupies the present: tackling contemporary struggles and crafting profoundly personal elegies that resonate deeply with those navigating our current complexities and uncertainties. Their newest single, A Ready Defense, delves into the complexities of human nature and the perennial struggle to transcend the challenges of the winter season, both literal and metaphorical. It serves as a reminder of our shared humanity, our capacity for empathy, and the ongoing quest to find ways to realize these ideals even in the face of adversity.

“The song came to me in a fever dream when I was very ill while visiting family during a holiday season a few years ago,” says Chisolm Thompson. “I wouldn’t say this was ever meant to be a ‘Christmas’ song as such, but it’s a song about winter and how I believe it is, after all these centuries, still the hardest time of the year for humanity. Deep down I think it brings out our best nature to want to look for the greater good in everyone, but I think we’re often tortured by the inability to find ways to do it.”

Thompson’s introspective reflection provides a deep insight into the thematic depth of A Ready Defense. It reveals a desire for unity and the innate urge to strive for the betterment of all, but also acknowledges the painful struggle and personal anguish that often accompany this pursuit. This is punctuated by the anguished vocals accompanied by a persistent military-style drum beat, evoking the sound of a slow, steady march forward in the face of adversity.

“I’ve always struggled with guilt during the season of celebrating, knowing there’s so much loss out there during a time of excess, with so many with so little,” he says. “It’s always most tragic when we’ve lost good friends to crushing loneliness, substance abuse, the weight of the world. I often reflect on the power of acknowledgement of other people. I often dwell on the homeless and the lonely and wish there was a way to give something more to people. Sometimes it seems the mid-winter season is the time when everyone genuinely endeavors to acknowledge and celebrate the existence of one another; of the recognition of dignity in someone else’s humanity.”

Listen below or at your streaming service of choice here.

After a triumphant 2019 UK tour, backing Spear of Destiny, the Athens, Georgia-based group ventured onto their inaugural full UK tour and unveiled their debut tour album, ‘The Sound Of Broken Worlds.’ Navigating pandemic-induced travel constraints, they showcased their inventive spirit by crafting a cross-continental concert experience. In this innovative performance, bandmates played live while projecting their virtual presence from diverse locations. This groundbreaking concert is now available in the recently released DVD ‘Live and Transatlantic’ or as an exclusive live-streamed event.

Feather Trade have shared stages with The Soft Moon, Deerhoof, Daniel Johnston, Florence and the Machine, and The Maccabees, as well as The Blinders and Peter Hook and The Light.  The band is currently recording their debut album with US producer Matt Yelton (Pixies, Frank Black and the Catholics),

Feather Trade now tour the UK this November 2023 support of  “A Ready Defense,” and have a series of dates lined up in late April/early May, as well as festival appearances in the summer and fall of 2024. UK fans, take note:

• Sat 18 SALFORD The Eagle Inn
• Wed 22 NOTTINGHAM The Chapel
• Thu 23 YORK Fulford Arms
• Tue 28 OXFORD The Bullingdon (with The Chameleons)

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The post The Winter of Loneliness — Manchester’s Feather Trade Debuts Emotional New Single “A Ready Defense” appeared first on Post-Punk.com.

Now, listeners can indulge in their introductory offering, “Anniversary,” courtesy of Brazil’s Systemica Records. There’s a melancholic twinge to this track, with a gorgeous hook and intertwining vocals playing off the synths. It sounds like a lost 80s number from a John Hughes soundtrack, with its echoing pads and wistful lyrics – but the sentiments are immersed firmly in a 21st century mindset. Echoes of pioneers like Depeche Mode intertwine with the contemporary cadences reminiscent of Iamamiwhoami/Ionnalee, TRST, Korine, Pet Shop Boys, and Boytronic in Anniversary‘s ambiance.

Listen to and purchase the single below:

Penned by A Charming Defense, “Anniversary” reflects a collaboration of notable craftsmanship. Gabriel Pelenson (Lost Lenore, Secret Shelsons, Pontagulha). took the helm in its production alongside A Charming Defense, while the mixing was managed by Pelenson, with Adam K. Stilson lending his expertise specifically to the vocal mix. The final mastering touch was conferred by Stilson, ensuring the piece’s refined finish.

Follow A Charming Defense:

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The post Chicago’s A Charming Defense Debuts Old-School Synth-Pop Anthem “Anniversary” appeared first on Post-Punk.com.

Electric Six’s adventures with Turquoise began in January of 2020, but, like all of us, some global commotion made them briefly lose their train of thought. The world’s woes seem to have lengthened their creative process a smidge. During that time, Electric Six paused to take a gander in the looking glass. And what visage did they find peering back? None other than their own. When a band conjures something this thrilling, one might argue there’s little need to ever stir again. Yet, let’s not be naïve… Electric Six shan’t meet its demise anytime soon.

The album’s tunes flit from irresistibly catchy numbers to soul-stirring weightiness with their signature concoction of disco, punk, New Wave, and more, spanning generations with their infectious sound. From the irresistibly sugary beats of Take Me To The Sugar and the cheekily titled Staten Island Ass Squad, to the profound riffs of Child Of Hunger and Skywriting, and then tiptoeing into a realm reminiscent of Springsteen with Units of Time. Electric Six isn’t just a musical fling; they’re an affair for every palette, every moment, and every silhouette.

Turquoise will entice you, charm you, and have you shimmying before you even realize there’s a tune blaring in that dance-loving noggin of yours.

If you fancy, the album’s up for grabs on CD and a chic limited-edition vinyl through Metropolis Records (Order Here). For those tethered to the modern age, streaming is an option, too.

Look for Electric Six on tour in North America with the Surfrajettes, starting on September 26th in St. Louis, MO.

Tour Dates:

• Tuesday, September 26: Off Broadway, St. Louis, MO
• Wednesday, September 27: RecordBar, Kansas City, MO
• Thursday, September 28: Wave, Wichita, KS
• Friday, September 29: Trees, Dallas, TX
• Saturday, September 30: Antone’s, Austin, TX
• Sunday, October 1: Continental Club, Houston, TX
• Tuesday, October 3: The Parish at House of Blues, New Orleans, LA
• Wednesday, October 4: Zydeco, Birmingham, AL
• Thursday, October 5: The Earl, Atlanta, GA
• Friday, October 6: The Barrelhouse Ballroom, Chattanooga, TN
• Saturday, October 7: The Grey Eagle, Asheville, NC
• Sunday, October 8: Charleston Pour House, Charleston, SC
• Tuesday, October 10: Cat’s Cradle, Carrboro, NC
• Wednesday, October 11: The Tin Pan, Richmond, VA
• Thursday, October 12: Tally Ho Theater, Leesburg, VA
• Friday, October 13: The Meadow, Kings County, NY
• Saturday, October 14: Askew Bistro & Entertainment Venue, Providence, RI
• Sunday, October 15: City Winery Boston, Boston, MA
• Tuesday, October 17: Debonair Music Hall, Teaneck, NJ
• Wednesday, October 18: Bond Street Bar, Asbury Park, NJ
• Thursday, October 19: City Winery Philadelphia, Philadelphia, PA
• Friday, October 20: Hard Rock Cafe, Pittsburgh, PA
• Saturday, October 21: The Magic Bag, Ferndale, MI
• Sunday, October 22: Tip Top Deluxe Bar & Grill, Grand Rapids, MI
• Wednesday, October 25: Turf Club, St Paul, MN
• Thursday, October 26: Shank Hall, Milwaukee, WI
• Friday, October 27: The Chop Shop & 1st Ward, Chicago, IL

Europe:

• Thursday, November 23: Melkweg, Amsterdam, Netherlands
• Friday, November 24: De Bosuil, Weert, Netherlands
• Saturday, November 25: Muziekgieterij, Maastricht, Netherlands
• Monday, November 27: Cottingham Civic Hall, Cottingham, United Kingdom
• Tuesday, November 28: The Crescent Community Venue, York, United Kingdom
• Wednesday, November 29: New Century Hall, Manchester, United Kingdom
• Thursday, November 30: Liquid Room, Edinburgh, United Kingdom
• Friday, December 1: Limelight, Belfast, United Kingdom
• Saturday, December 2: The Academy, Middle Abbey Street, Dublin, Ireland
• Monday, December 4: O2 Academy Bournemouth, Bournemouth, United Kingdom
• Tuesday, December 5: O2 Academy Bristol, Bristol, United Kingdom
• Wednesday, December 6: O2 Academy Birmingham, Birmingham, United Kingdom
• Thursday, December 7: O2 Academy Sheffield, Sheffield, United Kingdom
• Friday, December 8: O2 Academy Liverpool, Liverpool, United Kingdom
• Saturday, December 9: Islington Academy, London, United Kingdom
• Sunday, December 10: Concorde 2, Brighton, United Kingdom

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The post Detroit’s Electric Six Release New Album “Turquoise” — Tour in US and Europe to Begin This Autumn appeared first on Post-Punk.com.

Their crime? Tattoos.

Tattoos, seen by mainstream Indonesian society as an intimidating insignia of criminals, often inked behind bars to instill fear, are etched on their faces. “They’re to scare people,” explains one patriarch. Consequently, these young men are dismissed from job opportunities, their facial tattoos both embodying and emphasizing their estrangement from the society they once belonged to. The film doesn’t shy away from the profound implications these tattoos bear on their lives, as they wander the streets, ukuleles in tow, creating punk protest songs every bit as acerbic as their 1970s-80s forebears.

A sense of camaraderie is evoked between the punks and the indigenous Dayak people, renowned for their traditional tattoo artistry. The Dayak are stubbornly hanging on to their rich, centuries-old traditions, cognizant that the encroaching future may spell an end to their culture and their lush rainforest home. This empathetic bond forms the heart of “A Punk Daydream,” a tale of the struggle to hold on to one’s identity in an unforgiving world.

“A Punk Daydream” wades into the distinctive undertow of Indonesian punk culture, through the lens of its most marginalized classes. This film captures the existential journey of Eka, a street punk thirsting for personal freedom, the embodiment of punk’s counter-cultural spirit. The narrative, however, isn’t solely confined to the subterranean punk milieu. It extends to offer a panoramic view of the socio-political landscape that engulfs the wider Indonesian society, seen through their rebellious streak. The punks and the indigenous aren’t just passive observers; their persistent acts of defiance serve as catalysts for an enduring socio-political and ecological transformation in Indonesia.

This is not just a story of survival against the odds but an audacious proclamation of hope, sowing the seeds for possible change in the fabric of a society deeply rooted in tradition. In “A Punk Daydream,” the struggle for identity and freedom, of Eka and his ilk, becomes a potent symbol of resistance, a beacon illuminating the path to revolution and reform.

The filmmakers ingeniously intertwine documentary, video art and photography with fairy-tale traditions and contemporary reality. Eka hopes to reconnect to society by acting out his own story in the film. Through the seasoned and artful lens of Jimmy Hendrickx, the film skillfully stitches together an intricate tapestry of personal struggles, the transcendent beauty of Indonesia’s landscapes, and the impassioned voices of its punks and indigenous people.

Hendrickx, steeped in the realms of video art and experimental cinema, navigates the visual narrative with an innovative touch. His extensive background allows him to venture beyond conventional filmmaking, introducing a layered exploration of different visual mediums. His unorthodox approach transforms “A Punk Daydream” into a compelling cinematic work.

After A Punk Daydream, other projects came naturally, such as Savior of the Kaja-Kaja (2019) and Slave Island (2024), which is scheduled to premiere next year.

Having great cultural and political relevance, the documentary was well received in major film festivals such as IFFR – International Film Festival Rotterdam and Hot Docs – International Competition.

The documentary is available to rent below. Its masterful storytelling is absolutely spellbinding. It’s an unflinching gaze at the relentless march of “progress,” an insatiable beast devouring the sanctity of indigenous culture and the plucky – if exhausted – resilience against the grueling poverty that persistently erodes the struggling margins of society.

Your heart will break for all the Ekas in the world, today and yesterday – and remember the purpose behind punk music.

A Punk Daydream from Harald House – creative media on Vimeo.

Learn more about A Punk Daydream:

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The post A Punk Daydream — A Captivating Documentary on Indonesian Punks appeared first on Post-Punk.com.

The first single is the sultry sonic narrative of “Fur and Metal,” which is woven into the fabric of Crash, featuring both Sadie and Velvet taking center stage in the gorgeous video accompanying the intriguing instrumental.

(You might want to bookmark these to watch at home as these steamy visualizers are NSFW!)

The second single is the tension-imbued tonalities of “Stretching/Invading,” which color the backdrop of “Automaton,” where Daisy and Miss Marilyn lend their provocative performances, embodying a contemporary queer EBM, industrial, quasi-Thunderdome style.

Crash, is a 1996 film based on JG Ballard’s novella and directed by David Cronenberg. It explores the eroticism of car crashes, blending the mechanical and the morbid, the metallic and the macabre, with the sensual extremities of a beyond-taboo fetish. This harshly contrasting duality of sensations serves as the keystone of Muller’s inspiration. Conversely, Automaton blossoms from the solitary confinement the pandemic wrought, metamorphosing many into digital addicts. Ashley’s narrative peels back the layers of our obsession with techno-eroticism in this sci-fi-laced adult film, featuring a stern computer entity and captive, slowly surrendering to euphoria. Contrary to Crash, Muller eschews the ‘industrial’ in favor of synthetic instrumentation for Automaton.

Crash and Automaton serve as the perfect soundboards, showcasing Muller’s skill with the stark and the mechanical. Yet, with their cold, rigid lines, these aural works form only the base of Muller’s hypnotic soundscapes. In a deft twist, he infuses his works with elements of the club scene — the energetic throb of “nu disco” and the soft whispers of vocal samples. This novel direction complements the films’ exploration of the ‘body converging with the machine’ theme. Each chord and beat offers a narrative, echoing the tawdry tales unfolding on the screen.

Cellulosed Bodies is out on September 1, 2023

Pre-Order Here

Boy Harsher Tour Dates

• Tue. Jul. 18 – Riga, LV @ VEF Kvartals
• Thu. Jul. 20 – Cluj Napoca, RO @ Electric Castle Festival
• Fri. Jul. 21 – Leeds, UK @ Project House %
• Sat. Jul. 22 – Stuttgart, DE @ About Pop Festival
• Thu. Aug. 3 – Chula Vista, CA – North Island Credit Union Amphitheater #
• Sat. Aug. 5 – Irvine, CA – FivePoint Amphitheatre #

 % = w/ THE KVB
# = w/ Danny Elfman

The post Boy Harsher’s Augustus Muller to Release Seductive Tribute to JG Ballard’s “Crash” and More with “Cellulosed Bodies” appeared first on Post-Punk.com.

There can be no answers

no matter how corrupt our world becomes

Cautionary Tales, an innovative art-rock alliance, has emerged from the creative depths of Berlin, bearing roots that stretch to the far corners of New Zealand and the bustling streets of NYC. This global convergence of creativity is led by the unmistakable prowess of Will Marshall, a lyric architect wielding a powerful baritone that effortlessly commands attention.

The term “cautionary tales”  is synonymous with the age-old narrative tradition of tales intended as dire warnings and life lessons. These are stories that have been woven into the fabric of our cultures and societies, from timeless fables and Greek epics to contemporary horror flicks. They chart the myriad paths that life might veer off-course, unfolding tales of tragedy or comedy alike. Drawing inspiration from this enduring storytelling form, Cautionary Tales offers the dynamic “No Funeral Blues,” a debut single that can only be described as a richly surreal symphony of eclectic musical flavors.

Like the ancient tales of caution that form the core of their inspiration, Cautionary Tales’ music underscores the infinite ways in which life can take unexpected turns. “No Funeral Blues” – clocking in at eight minutes – is storytelling at its finest, brave in its stylistic diversity, and unapologetic in its narrative richness. We hear the influences of Nick Cave, Leonard Cohen, and Anne Clark here, as Marshall weaves between chant and spoken word with a minimal, eerie synth backing – but there is a progressive, psychedelic bend to this extraordinary performance as well, verging on The Wall-era Pink Floyd.  The brilliance of Will’s lyricism casts a shadowy, comedic spell against the musical canvas as his stories unfold into a darkly humorous commentary on the absurdities and foibles of life.

“No Funeral Blues” is out now via Siren Song Records on all streaming services. Listen below:

The band – Will Marshall (vocals, keyboards), Karl Weber (guitar, backing vocals), Martyn Matthews (synthesizers, Rhodes, Hammond), Taylor Mallo (bass) and David Binnie (drums) – treads on the vast canvas of artistic expression, pulling together seemingly disparate elements into a cohesive, riveting experience. Their aesthetic is steeped in the diverse hues of modern art-rock, taking inspiration from the esoteric narratives of Greek mythology and the thoughtful complexity of modernist poetry.

With a brave leap into the experimental fringes of electronic music, Cautionary Tales weave an intricate tapestry of sound that refuses to conform to the norm.  There is a unique essence of rebellion and innovation in their work: this daring spirit challenges conventions and transcends boundaries in a world saturated with formulaic sounds.

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The post Listen to Cautionary Tales’ Doom-laden Dark Folk Lament “No Funeral Blues” appeared first on Post-Punk.com.