Now, Vasquez is back with a new claymation animated video for instrumental “Stupid Child,” a track from the band’s latest album, “Exister.” The video, created by Ashley Miles of Hot Frog Animations, is a deeply personal piece, based on true events and released on the “weirdest day” of the year for Vasquez – his birthday.

The visual narratives sculpted by The Soft Moon in their earlier videos have garnered widespread acclaim for their unparalleled evocative prowess. Each cinematic reel reflects the profound flexibility of Vasquez, both in curating melodious arrangements and showcasing his vocal bravado. The echoes of the influential mid-80s sound, dominated by the likes of Depeche Mode and Tears For Fears, are tangible in some of the band’s latest compositions; however, whether it be avant-garde or pop, Vazquez consistently adheres to an idiosyncratic and brooding auditory aesthetic.

“Stupid Child” is no exception: Ashley Miles created a hauntingly beautiful claymation piece that perfectly encapsulates the raw emotion and introspective themes of The Soft Moon. The surreal quality of the video brings to mind 80s efforts such as the Penny cartoons of Pee Wee’s Playhouse or Peter Gabriel’s offerings. But the story illustrated is far from whimsical – it’s a glimpse into the loneliness and sorrow of a child in desperate need of compassion, encouragement, and an artistic outlet. We see an age-old argument play out between a mother and son as they struggle to find common ground…or even constructive communication.

Watch the video for “Stupid Child” below:

Although brief, “Stupid Child” is a potent maelstrom of fury that transcends the need for words: the emotion is all in the ferocious guitar. I In a recent interview, Vasquez discussed the influences behind “Exister,” explaining that the album was about “coming back home and reconnecting.” He also emphasized that this was the first record where he felt he had “nothing to hide.”

“Exister” represents a new phase in Vasquez’s life. He describes the process of creating the album as both intimidating and positive. Despite the challenges, Vasquez found the process ultimately rewarding, leading to self-discoveries and a sense of closure that has prepared him for the next phase of his journey.

The album serves as Vasquez’s confessional, a chronology of his existence, and a means of self-expression. He also shared that he felt true artistic autonomy while creating this record, a stark contrast to the confusion he experienced while working on previous albums. At first songwriting served as a safe space to house Vasquez’s grief and pain, but as his fanbase grew, he realized that his music was not only a source of relief and freedom of expression for him – but also a means of connecting with others who might be experiencing their own pain.

“Exister” is out now via Sacred Bones Records. You can order the album here.

Follow The Soft Moon:

• Website
• Instagram
• Facebook
• Twitter 

The post A Parent Thwarts Musical Aspirations in The Soft Moon’s Claymation Video for “Stupid Child” appeared first on Post-Punk.com.

The Rose Bowl in Pasadena has long been a hallowed ground in the goth mythos, owing to its status as the setting for the legendary Depeche Mode 101 concert back in 1988. Now, 35 years later, the second edition of the Cruel World Festival has conjured a new and magical experience at the very same location. This festival, a blend of nostalgia and innovation, manages to unite generations of sunscreen-slathered, parasol-toting goths on the not-so-flat field of southern California.

The festival kicked off with an outstanding performance by Aurat, who are perhaps one of the most unique darkwave groups in the scene internationally, blending dark post-punk, synthpunk, and EBM, with vocals sung in Urdu. Azeka’s fiery, Siouxsie-esque vocals come blazing with such a mind-melting tempo, peppered with yelps, shrieks, and thrilling synthwave psychedelia. This was followed by a memorable set from Riki. The latter artist unveiled material likely from her forthcoming third studio album, accompanied by a synth player and two backing vocalists, and even picked up a guitar herself. The live performance of her single “Marigold” was a rare treat, having only been performed twice before.

Gvllows stood out with their cover of “Deathwish,” performed with Christian Death’s Gitane Demone and Rikk Agnew. Modern English then demonstrated their significant musical prowess, deftly blending artistic post-punk with pop new wave, much to the delight of the dancing sea of goths before them. The anthemic guitar creep of “16 Days” and “Gathering Dust” led triumphantly into “Someone’s Calling.”

Twin Tribes, always a crowd favorite, represented the best of modern darkwave, serving as one of the standout modern acts in the genre. The band played hits like “Shadows” and “Phantasmas,” as well as a cover of  La Union’s “Lobo Hombre en París.”

Molchat Doma, the Belarusian post-punk trio, also gave an unforgettable performance, somehow bringing to life that viral dancing bat meme with real live goths. (As I write this, they, as well as Twin Tribes, were just recognized by The Grammys for their contributions to the modern darkwave scene.)

The Soft Moon, better than ever on the live stage, gave a performance that will go down in festival history. They brilliantly demonstrated the connection between krautrock, post-punk, and industrial, with a visceral energy that was both electrifying and deeply moving with classic songs such as “Parallels” and “Die Life,” as well as top-notch material from their latest Exister, such as “Become the Lies.”

Gang of Four delivered a dream-come-true post-punk performance, with founding members Jon King and Hugo Burnham, joined by the phenomenal Sara Lee from the “Songs of the Free” era. The late Andy Gill was deeply missed, but David Pajo’s heartfelt guitar playing did justice to the band’s legacy. In a masterstroke of audacious performance art, frontman Jon King took to the stage, brandishing a brazen air of sardonic wit, and then for kicks, he hurled a microwave into the pit. Occasionally he’d rest, gathering the panther-like strength to prowl around the stage during “I Love a Man in a Uniform,” “Anthrax,” “To Hell With Poverty,” and a particularly passionate delivery of “At Home He’s a Tourist” kept the audience’s adrenaline in full tilt. Imbuing the performance with powerful visuals, a large backdrop of various political flags made a resounding declaration of unity, emblazoned with the phrases “Woman Life Freedom” and “Black Lives Matter.”

Squeeze also delivered a dazzling 55-minute spectacle, igniting their set with the classic “Take Me I’m Yours.” Stepping into the shoes of Adam Ant, who made a sudden exit mere days before the 2023 edition of the Cruel World Festival due to unspecified predicaments.

Boy Harsher, as well, delivered an impeccable performance. The dynamic duo of Gus Muller and Jae Matthews once again proved the undeniable bond between dance music and goth, giving the crowd a set that was as rhythmically engaging as it was darkly mesmerizing, capped off with a brilliant rendition of a “Modulations” from Lesser Man EP.

I’ve seen Echo and the Bunnymen quite a few times, and this was one of their best performances in recent years. After last year’s cancellation, I was glad to see them on the lineup again. Hopefully, this will be the case next year with Adam Ant, who, like the Bunnymen, had to cancel last minute. It is a shame that the band’s performance lacked the dynamic visual element of video projection, with instead, in its place, a static bunnyman on the moon. This visibility issue in such a large-capacity outdoor venue meant that the view was restricted to only those at the forefront. Nevertheless, Ian McCulloch beautifully delivered the heavy hitters: “Bring on the Dancing Horses,” The Killing Moon, and “Lips Like Sugar.”

Billy Idol was undoubtedly a festival highlight, celebrating his granddaughter’s birthday on stage and assuring the crowd during “Rebel Yell” that he was feeling “all right.” Steve Stevens’ guitar playing was as flawless as ever, even playing the Top Gun theme to roaring applause. It was heartwarming to see Billy Idol’s fandom’s effusive affection spiking. While a lengthier set would have paved the way for more of his Generation X-era music, Idol’s exuberant performance of “100 Punks Rule” emerged as a triumphant high point in the day’s lineup. “White Wedding” and “Eyes Without a Face” also resonated powerfully. In a poignant moment, Idol expressed his gratitude to the sea of faces before him, exclaiming, “I just want to thank you for making my life so f***ing great.” The profundity of these words was moving, demonstrating the depth of love accumulated over the years for his music.

Love and Rockets delivered a trippy set of alternative rock classics, their psychedelic visuals and shimmering red suits, underscored a stark contrast to Bauhaus’ Blood Moon swan song performance at last year’s festival. They kick-started the show with the melancholic echoes of “I Feel Speed,” followed by the raw, unyielding pulse of “No Big Deal,” from their seminal self-titled record of 1989. However, their adrenaline-fueled rendition of “Kundalini Express” was mind-blowing, as the stage was bathed in intricate designs and patterns.

Iggy Pop’s Saturday set was abruptly cut short by a little boy’s rain dance during “The Passenger,” as a lightning strike led to a festival-wide evacuation. Rumors swirled that Siouxsie had failed to show up, but as it turned out, she was merely in her trailer, catching up with old friends and waiting for her moment to make a regal entrance. All in all, the festival handled the situation admirably, and by 2 am, following the evacuation, the makeup performances were already set up for Sunday evening.

The Human League’s set was also, unfortunately, cut short due to the evacuation, and they were unable to return for the makeup performances the following night. On the bright side, Gary Numan gave an incredible encore performance, followed by Iggy completing his set, with Noveller’s shredding guitar complementing the shirtless stooge’s proto-punk classics.

On Sunday, May 21st, over 20,000 people returned to see Siouxsie perform. For those unable to return, partial refunds were offered. Siouxsie took to the stage and jokingly commented that she had wanted to tell the fire department not to shut down the festival the night before, as the lightning was simply part of her light show. With her signature charisma, Siouxsie reminded the audience that after a hiatus of 15 years stateside, she wouldn’t make them wait another year for her return, “Nah ah.” This was a performance that could not wait.

Cloaked in a silvery shroud and shadows, Siouxsie emerged, opening her extended set with “Night Shift,” a standout track from her 1981 Banshees album, Juju. Her selection of songs was a tapestry spanning her illustrious career, weaving in deep cuts such as “Lands End” from Tinderbox, alongside iconic classics like “Christine” and “Happy House” from Kaleidoscope. Fans were also treated to a sultry selection of songs from her sole solo album Manta Ray. One of the most touching moments of the evening came when Siouxsie dedicated both “Kiss Them For Me” and “Israel” to Joseph Brooks of the legendary Los Angeles record store Vinyl Fetish. In fact, when her set concluded with the surprise performance of “Israel,” she noted that the song was not originally part of the intended setlist but added in as per the suggestion of her long-time friend Joseph, who reminded her of the song.

 

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As the dust settled on this year’s Cruel World Festival, the joy and thrill of the event lingered on. I, for one, am eagerly looking forward to seeing Siouxsie again and am already dreaming about the lineup for next year’s festival. This year’s festival was a testament to the enduring appeal and vitality of goth and darkwave music, uniting generations of fans in a celebration of the genre’s past, present, and future. The Cruel World Festival has now firmly established itself as a major player in the global goth scene, and I can’t wait to see what they have in store for us next year.

The post Cruel World 2023 was Two Days of Goth Heaven Culminating with the Triumphant Return of Siouxsie appeared first on Post-Punk.com.

Luis Vasquez, the mastermind behind the outfit, deftly weaves his intense ballad poetry with hypnotic electronic music, continuing his knack for compelling storytelling through the filter of a disturbing lucid dream. “Monster” is an existential crisis elegantly set to music, demanding more of ourselves as a collective.

“The song to me evokes a real sense of underlining ache,” the video’s director Bryan M. Ferguson explains. “I knew immediately that the video should be a metamorphosis, a person’s body transforming into something hideous. It’s definitely a literal visual interpretation of what the song is about, but I really wanted the transformation from one physical shape to the other to be slow, painful and almost organic.”

On the stunning music video’s intense and laborious process using in camera and practical effects, Fergurson continues:

“Everything in the video is done practically and in-camera (absolutely no post-production VFX were added later), all of the stages of the transformation are achieved using prosthetics and all the light leaks in the camera where achieved in-camera with unusual methods such as shining a small torch directly into a broken camera lens, manipulating a split diopter to give a ghostly otherworldly movement to the images and even using my own glasses to move across the lens which warped the images.”

“The four of us (myself, my DP, the actor and my SFX makeup artist) shot the video over 12 hours inside a walled off concrete room in my flat that used to be someone’s garage. I stripped down to nothing and lay down a green tinged shag carpet which proved to be an interesting contrast to the industrial room.”

“My DP and I also ended up going out and cutting numerous branches down from nearby trees so we could move our lights by hand through the tree branches/leaves to cast strange shadows across the performer’s skin as he contorted which gives the illusion that their body is moving around unusually from the inside.”

Watch the video for “Monster” below:

Luis Vasquez began The Soft Moon as a solo project in 2009 with the intent to direct his energy toward the aim of delivering a full sensory experience within the context of live performance. The band would later integrate visual elements on stage to accompany performances, specifically light shows. The first from The Soft Moon in four years, Exister materialized after a massive move during lockdown. During the pandemic, Vasquez left his adopted city of Berlin and transplanted himself to the mystical Joshua Tree, California.

Pre-order Exister here.

The Soft Moon is set to embark on a tour of Europe and North America in the autumn to promote the new album.  All dates are listed below.

The Soft Moon Tour Dates:

• Sep 26 Hamburg, DE – U&G
• Sep 27 Berlin, DE – So36
• Sep 28 Leipzig, DE – UT Connewitz
• Sep 29 Cologne, DE – Gebaude9
• Sep 30 Poznan, PL – Próżność
• Oct 01 Warsaw, PL – Praga Centrum
• Oct 02 Krakow, PL – Klub Muzyczny Poczta Główna
• Oct 03 Prague, CZ – Futurum
• Oct 04 Munich, DE – Hansa 39
• Oct 05 Pordenone, IT – Capitol
• Oct 06 Rome, IT – Monk
• Oct 07 Milan, IT – Santeria
• Oct 08 Bologna, IT – Covo
• Oct 10 Toulouse, FR – Le Connexion
• Oct 11 Vigo, ES – Master Club
• Oct 12 Lisbon, PT – LAV room 2
• Oct 13 Madrid, ES – La Casa Encendida
• Oct 14 Zaragoza, ES – Jardín de Invierno
• Oct 15 Barcelona, ES – Nitsa Club (La (2) de Apolo)
• Oct 17 Lyon, FR – Epicerie Moderne
• Oct 18 Zurich, CH – Mascotte Club
• Oct 19 Gent, BE – Handelsbeurs
• Oct 20 Lille, FR – Le Grand Mix
• Oct 21 Luxembourg, LU – Kulturfabrik
• Oct 22 Brussels, BE – Beursschouwburg
• Oct 24 Amsterdam, NL – Paradiso Noord
• Oct 25 Nijmegen, NL – Doornroosje
• Oct 26 Groningen, NL – VERA
• Oct 27 London, UK – The Garage
• Oct 28 Amiens, FR – La Lune des Pirates
• Oct 29 Paris, FR – Trabendo
• Nov 09 Philadelphia, PA – Underground Arts
• Nov 10 Brooklyn, NY – Music Hall of Williamsburg
• Nov 11 Washington, DC – The Howard Theatre
• Nov 12 Richmond, VA – The Broadberry
• Nov 13 Asheville, NC – The Grey Eagle
• Nov 14 Atlanta, GA – Masquerade (Hell Stage)
• Nov 16 New Orleans, LA – One Eyed Jack’s
• Nov 17 Houston, TX – Numbers
• Nov 18 Dallas, TX – Deep Ellum Art Co
• Nov 19 Austin, TX – Mohawk
• Nov 21 Phoenix, AZ – Crescent Ballroom
• Nov 25 Los Angeles, CA – The Regent Theater
• Nov 26 San Francisco, CA – The Independent
• Nov 29 Portland, OR – Wonder Ballroom
• Nov 30 Vancouver, BC – Rickshaw Theatre
• Dec 01 Seattle, WA – Neumos
• Dec 02 Boise, ID – The Olympic
• Dec 03 Salt Lake City, UT – Urban Lounge
• Dec 04 Denver, CO – The Oriental Theatre
• Dec 06 Minneapolis, MN – Fine Line
• Dec 07 Chicago, IL – Metro
• Dec 08 Detroit, MI – El Club
• Dec 09 Toronto, ON – The Opera House
• Dec 10 Montreal, QC – S.A.T.
• Dec 11 Boston, MA – The Sinclair

Follow The Soft Moon:

• Website
• Instagram
• Facebook
• Twitter

The post A Horrifying Transformation in The Soft Moon’s Sorrowful Video for “Monster” appeared first on Post-Punk.com.

The track, produced by Luis Vasquez, and mixed/mastered by Maurizio Baggio, is one of The Soft Moon’s best yet. Showcasing Vasquez’s versatility in song composition and vocals, it is a stirring anthem whose melody leans heavily towards the mid-80s catalog of Depeche Mode and Tears For Fears while maintaining the band’s trademark dark post-punk sound that a decade ago paved the way for today’s Indie label scene.

In writing the song, Vasquez explains:

“I had an identity crisis after discovering dark secrets about my family’s past. This happened while I was writing the album, and it destroyed me. ‘Become The Lies‘ expresses how everything I thought I knew about my life was untrue. Lies, shame, and guilt have been a recurring theme in my music.

I explored it in Criminal, but during the writing process of Exister I became more self-aware and finally understood that I was never the liar in the story. I wanted to dance in the video to contrast with the lack of control I felt over my life in that moment. It’s my way of shaking off the bad stuff. It’s also an escape from the seriousness of this song.”

The video, directed by filmmakers Wiggy and Matt Ploeger, is a nod and homage to those “dance it out” sequences in the likes of films such as Fame, Flashdance, and Footloose. Highlighting Vasquez in silhouette, it is an exorcism of ecstatic movement.

Watch the video for “Become The Lies” below:

Pre-order Exister here. The album comes out on September 23, 2022, via Sacred Bones Records.

Vasquez began The Soft Moon as a solo project in 2009, with the intent to direct his energy into the aim of delivering a full sensory experience within the context of live performance. The band would later integrate visual elements on stage to accompany performances, specifically light shows. The Soft Moon plans to tour in Europe and North America in the autumn to promote the new album.  All dates are listed below.

The Soft Moon Tour Dates:

• Sep 26 Hamburg, DE – U&G
• Sep 27 Berlin, DE – So36
• Sep 28 Leipzig, DE – UT Connewitz
• Sep 29 Cologne, DE – Gebaude9
• Sep 30 Poznan, PL – Próżność
• Oct 01 Warsaw, PL – Praga Centrum
• Oct 02 Krakow, PL – Klub Muzyczny Poczta Główna
• Oct 03 Prague, CZ – Futurum
• Oct 04 Munich, DE – Hansa 39
• Oct 05 Pordenone, IT – Capitol
• Oct 06 Rome, IT – Monk
• Oct 07 Milan, IT – Santeria
• Oct 08 Bologna, IT – Covo
• Oct 10 Toulouse, FR – Le Connexion
• Oct 11 Vigo, ES – Master Club
• Oct 12 Lisbon, PT – LAV room 2
• Oct 13 Madrid, ES – La Casa Encendida
• Oct 14 Zaragoza, ES – Jardín de Invierno
• Oct 15 Barcelona, ES – Nitsa Club (La (2) de Apolo)
• Oct 17 Lyon, FR – Epicerie Moderne
• Oct 18 Zurich, CH – Mascotte Club
• Oct 19 Gent, BE – Handelsbeurs
• Oct 20 Lille, FR – Le Grand Mix
• Oct 21 Luxembourg, LU – Kulturfabrik
• Oct 22 Brussels, BE – Beursschouwburg
• Oct 24 Amsterdam, NL – Paradiso Noord
• Oct 25 Nijmegen, NL – Doornroosje
• Oct 26 Groningen, NL – VERA
• Oct 27 London, UK – The Garage
• Oct 28 Amiens, FR – La Lune des Pirates
• Oct 29 Paris, FR – Trabendo
• Nov 09 Philadelphia, PA – Underground Arts
• Nov 10 Brooklyn, NY – Music Hall of Williamsburg
• Nov 11 Washington, DC – The Howard Theatre
• Nov 12 Richmond, VA – The Broadberry
• Nov 13 Asheville, NC – The Grey Eagle
• Nov 14 Atlanta, GA – Masquerade (Hell Stage)
• Nov 16 New Orleans, LA – One Eyed Jack’s
• Nov 17 Houston, TX – Numbers
• Nov 18 Dallas, TX – Deep Ellum Art Co
• Nov 19 Austin, TX – Mohawk
• Nov 21 Phoenix, AZ – Crescent Ballroom
• Nov 25 Los Angeles, CA – The Regent Theater
• Nov 26 San Francisco, CA – The Independent
• Nov 29 Portland, OR – Wonder Ballroom
• Nov 30 Vancouver, BC – Rickshaw Theatre
• Dec 01 Seattle, WA – Neumos
• Dec 02 Boise, ID – The Olympic
• Dec 03 Salt Lake City, UT – Urban Lounge
• Dec 04 Denver, CO – The Oriental Theatre
• Dec 06 Minneapolis, MN – Fine Line
• Dec 07 Chicago, IL – Metro
• Dec 08 Detroit, MI – El Club
• Dec 09 Toronto, ON – The Opera House
• Dec 10 Montreal, QC – S.A.T.
• Dec 11 Boston, MA – The Sinclair

Follow The Soft Moon:

• Website
• Instagram
• Facebook
• Twitter

The post The Soft Moon Pays Homage to 80s Dance Films in the Video for “Become the Lies” appeared first on Post-Punk.com.

“I always complained that I never had enough freedom to do everything I wanted,” Vasquez says. “This time I literally had everything at my disposal…The whole point of this record was to share every emotion that I feel. No two songs are the same. It’s about existing in the world as a human being and experiencing many emotions and experiences throughout life.”

“Him”, the intense first single from Exister, is a collaboration with musician fish narc.

The video, directed by filmmakers Wiggy and Nick Blanco, shows the band frantically running, being pursued by unseen forces, while navigating through various urban landscapes, and features a wall of televisions that make a charming reference to Bowie’s character in “The Man Who Fell To Earth.”  The paranoia of the video plays well with the emotional anguish of the vocals. It’s a solid return for The Soft Moon, very much of its time and brimming with 21st-century Weltschmerz.

“I struggle with ‘good side/bad side’ endlessly,” says Vasquez about the single. “Him recounts that battle, expressing the turmoil it brings into my life.”

You can watch the video for the song, written by Vasquez and mixed and mastered by Maurizio Baggio, below.

Pre-order Exister here. The album comes out on September 23, 2022 via Sacred Bones Records.

The Soft Moon will also be on tour in Europe and North America in the autumn to promote the new album. Tickets for the tour go on sale Friday, June 17 at 10 AM. All dates are listed below.

The Soft Moon – 2022 Tour Dates

• Sep 26 Hamburg, DE – U&G
• Sep 27 Berlin, DE – So36
• Sep 28 Leipzig, DE – UT Connewitz
• Sep 29 Cologne, DE – Gebaude9
• Sep 30 Poznan, PL – Próżność
• Oct 01 Warsaw, PL – Praga Centrum
• Oct 02 Krakow, PL – Klub Muzyczny Poczta Główna
• Oct 03 Prague, CZ – Futurum
• Oct 04 Munich, DE – Hansa 39
• Oct 05 Pordenone, IT – Capitol
• Oct 06 Rome, IT – Monk
• Oct 07 Milan, IT – Santeria
• Oct 08 Bologna, IT – Covo
• Oct 10 Toulouse, FR – Le Connexion
• Oct 11 Vigo, ES – Master Club
• Oct 12 Lisbon, PT – LAV room 2
• Oct 13 Madrid, ES – La Casa Encendida
• Oct 14 Zaragoza, ES – Jardín de Invierno
• Oct 15 Barcelona, ES – Nitsa Club (La (2) de Apolo)
• Oct 17 Lyon, FR – Epicerie Moderne
• Oct 18 Zurich, CH – Mascotte Club
• Oct 19 Gent, BE – Handelsbeurs
• Oct 20 Lille, FR – Le Grand Mix
• Oct 21 Luxembourg, LU – Kulturfabrik
• Oct 22 Brussels, BE – Beursschouwburg
• Oct 24 Amsterdam, NL – Paradiso Noord
• Oct 25 Nijmegen, NL – Doornroosje
• Oct 26 Groningen, NL – VERA
• Oct 27 London, UK – The Garage
• Oct 28 Amiens, FR – La Lune des Pirates
• Oct 29 Paris, FR – Trabendo
• Nov 09 Philadelphia, PA – Underground Arts
• Nov 10 Brooklyn, NY – Music Hall of Williamsburg
• Nov 11 Washington, DC – The Howard Theatre
• Nov 12 Richmond, VA – The Broadberry
• Nov 13 Asheville, NC – The Grey Eagle
• Nov 14 Atlanta, GA – Masquerade (Hell Stage)
• Nov 16 New Orleans, LA – One Eyed Jack’s
• Nov 17 Houston, TX – Numbers
• Nov 18 Dallas, TX – Deep Ellum Art Co
• Nov 19 Austin, TX – Mohawk
• Nov 21 Phoenix, AZ – Crescent Ballroom
• Nov 25 Los Angeles, CA – The Regent Theater
• Nov 26 San Francisco, CA – The Independent
• Nov 29 Portland, OR – Wonder Ballroom
• Nov 30 Vancouver, BC – Rickshaw Theatre
• Dec 01 Seattle, WA – Neumos
• Dec 02 Boise, ID – The Olympic
• Dec 03 Salt Lake City, UT – Urban Lounge
• Dec 04 Denver, CO – The Oriental Theatre
• Dec 06 Minneapolis, MN – Fine Line
• Dec 07 Chicago, IL – Metro
• Dec 08 Detroit, MI – El Club
• Dec 09 Toronto, ON – The Opera House
• Dec 10 Montreal, QC – S.A.T.
• Dec 11 Boston, MA – The Sinclair

Follow The Soft Moon:

• Website
• Instagram
• Facebook
• Twitter

The post The Soft Moon Returns with the Video for “Him” and Announces New Album and Tour Dates appeared first on Post-Punk.com.

For Episode Two, we chatted with The Soft Moon’s Luis Vaquez about celebrating 10 years of his influential post-punk band, along with discussing our favorite horror films, and his solo instrumental album A Body of Errors, and playing Robert Smith’s Meltdown Festival in 2018.

A Body of Errors is out now on Coloured Vinyl and CD formats, with the 14 track album also available on all the digital platforms for streaming.

Join Luis Vasquez in his home studio as he performs A Body Of Errors on March 19th, 2021 at 8 pm EST and 5 pm PST (March 20th, 2021 | 2 am UTC / 1 am GMT). The performance will have a 72 Hour Rebroadcast window. Purchase Tickets here.

For our upcoming podcast episodes, we have some wonderful guests lined up and recorded already, many that who are legends who have seldom if ever done a podcast before. But we can only produce this podcast series with your support.

If you like what you hear, please support the Post-Punk Podcast through our Patreon Page, or directly via our Contact Form here.

We would like to thank Jason Corbett from Actors for creating our intro music, Korine for creating our outro, and our Editors Frank Deserto and Andi Harriman.

Listen to the Post-Punk Podcast season one episode two below:

The post Post-Punk Podcast Episode Two—Luis Vasquez of The Soft Moon appeared first on Post-Punk.com.

With this album, Vasquez hoped to deliver intimate self-reflection while exorcising inner demons through vulnerability, placing his notorious angst and visceral pain in the context of his own physical being. The searing result is deeply personal, yet widely compelling. One can easily imagine the visuals to the deeply expressive mechanics of the tracks, each evoking feelings of unrest, discomfort and disorientation.

“With this instrumental project I wanted to venture off course from The Soft Moon to explore new sonic worlds. I envisioned this album as a collection of themes to living in the human body because I’ve always been horrified by my own anatomy,” Vasquez says.

The mechanized rhythms and throbbing cardiac pulse express Vasquez’s phobia with the body itself. A little Twin Peaks, a little Goblin and John Carpenter meets NIN…the inspired sounds creak, wail, screech and disarm the listener, placing them in a frightening dungeon of uncertainty and fear. The track serves as a sonic roadmap into the dark inner workings of the human psyche, delving into the struggle between good and evil, Armageddon, symphonic devastation and the post-apocalypse.

That said, the simple accompanying videos for Poison Mouth, Surgery, and This Guilt feature trips down an abandoned dirt road, serving as an ominous platform for nightmarish visions. It’s up to you to manifest them…and damn, it is good.

On February 26th, 2021 A Body of Errors will be released on Coloured Vinyl and CD formats. Meanwhile, the 14 track album is out today on all the digital platforms.

Pre-order Here

The post The Soft Moon’s Luis Vasquez Reimagines The Soundtrack Genre With “A Body of Errors” appeared first on Post-Punk.com.

In fact, The Soft Moon’s release was so important, that we placed it number one in Post-Punk.com’s Best of the Decade list.

And now, to celebrate the album’s decade of existence, Croatian artist Sven Harambasic has created & directed an official video for “Tiny Spiders”, a fan-favorite track from the record.

Watch the video for “Tiny Spiders” below:

Additionally, Sven Harambasic has made a limited fanzine containing photos and collages of The Soft Moon’s Luis Vasquez. The zine is available through The Soft Moon mail-order, as well as some new “10 year anniversary” merch items.

The Soft Moon Official Merch Store

Watch The Soft Moon’s classic videos below:

• TINY SPIDERS – LIVE AT ECHO 
• DEAD LIVE – LIVE AT ROOM 205
• PARALLELS (OFFICIAL VIDEO)
• CIRCLES (OFFICIAL VIDEO) 

In August 2019, Luis Vasquez departed from Berlin Germany to the seclusion of Joshua Tree where he has been working on the follow up to his previous album Criminal, released by Sacred Bones in 2018.

Follow The Soft Moon:

• thesoftmoon.com
• Bandcamp
• Facebook
• Instagram
• Twitter

The post The Soft Moon Unveils Video for “Tiny Spiders” In Celebration of Debut Album’s 10th Anniversary appeared first on Post-Punk.com.

The clip for the chilling take on the modern darkwave classic was filmed at subSine Studios in Glasgow, Scotland, and was created via Flustervision, along with Production by Georgina Penstkart, JJD, and Danielle McHugh.

Watch the video for The Soft Moon remix of “Ritüel below:

She Past Away are celebrating a decade of music with the album, “X”, featuring 22 remixes of songs by influential acts and emerging artists on the current dark-wave and post-punk scene.

“X” is available for pre-orders in physical formats now:

• SPA Bandcamp
• Fabrika Rec (EU)
• Metropolis Records (US)

The post Watch the video for The Soft Moon’s remix of She Past Away’s “Ritüel” appeared first on Post-Punk.com.

Now, Vasquez has used his talent to conjure up a remix that adds grit to an already dark Jakuzi anthem, “Ne Teselli Ne Avuntu”. The track is taken from Jakuzi’s latest album ‘Hata Payi’, which was released in April 2019 via City Slang.

Listen to Jakuzi – “Ne Teselli Ne Avuntu” – The Soft Moon Remix through your favorite streaming platform here or below:

Additionally, Jakuzi have also recently released the official video to “Ne Teselli Ne Avuntu”. The clip, directed by Eli Kasavi follows singer Kutay Soyocak through a feverish dream at a funfair and a deserted valley:

“Ne Teselli Ne Avuntu” is the final track on Jakuzi’s second studio album “Hata Payı” (literally translated as ‘’a part of the mistake”), an album which makes a profound examination into what it’s like to be a young adult coming into his own in the cultural landscape of Istanbul, and what happens when success is finally achieved.

On the record, Jakuzi speaks to the alienation and pressures that come with being an artist, leading to struggles with personal relationships, mental health, and identity in relation to your surroundings.

“Hata Payı” is a crooning catharsis exploring the depths of the human condition.

Order the album here

The post Jakuzi’s “Ne Teselli Ne Avuntu” Receives Soft Moon Remix appeared first on Post-Punk.com.