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.

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The post Dan Rincon Announces “Spotlight City” LP and Shares Dreamflight Simulator Video for “Cessna” appeared first on Post-Punk.com.

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.

With each water drop on a leaf, nature paints a unique masterpiece, crafting a symphony of colour and light.

In the delicate union of a water drop and a leaf, we witness the interconnectedness of all living things.

In the dog-eared pages of many a long out-of-print magazine, where ink bleeds history and nostalgia, the genres of old-school goth and post-punk are vividly chronicled, their tales woven through the angst-ridden anthems of the late 70s and early 80s. Echoing these archives of aural rebellion, West Wickhams etch their narrative, a duo whose music might fit well in the lineup of the legendary Futurama Festival or a hidden gem unearthed from the more romance-driven Batcave bands.

Jon Othello and Elle Flores, the architects of this anachronistic soundscape, bridge the misty moors of England with Sicily’s sun-kissed ruins. Their concoction of psychedelic post-punk is a tribute to the era’s icons, yet it dances to its own macabre melody. The duo channels the spectral elegance of Whitby Abbey and the twisted tales of Gothic literature into their sound, weaving a musical spell that could charm the most discerning ears of Leeds’ or Liverpool’s famed Erics scenes.

West Wickhams wear their eclectic influences like badges of honor, from the haunting prose of Mary Shelley to the avant-garde spectacles of Andy Warhol. Their latest offering, “Vivre Sa Vie,” is a siren call to those who find beauty in the melancholic and the macabre, inviting listeners to step into a world where past and present are entwined in a mesmerizing dance of shadows and sound. Within the music of West Wickhams, the past is not just alive—it’s electric, pulsating through the atmosphere like a ghostly echo from a time when music was a dark, beautiful rebellion.

The album begins with I Am Sparkling Cyanide, an eccentric track that melds psychedelic sensibilities with an Americana twist, setting a tone that’s both intriguing and offbeat.

Following this, The Maddening Crowd takes the stage, eschewing Thomas Hardy’s pastoral moods for a frenetic energy reminiscent of The Normal’s iconic TVOD, where the tempo of surf rock meets the shadowy contours of deathrock.

Carla Suspiria enchants with its deep, brooding bassline, creating a sense of foreboding that pulsates through the track. Layers of ghostly, otherworldly sounds build upon this foundation, crafting an atmosphere that mirrors the eerie depth of Bauhaus’s most chilling pieces, wrapping the listener in a cloak of gothic allure.

The album then transitions to I’m Spinning I’m Spinning, where the tempo slows to a heavy, swampy pace. This track immerses the listener in a haunting ambiance, as the music creates a dizzying effect, akin to being caught in a spectral whirlwind, with each turn drawing one deeper into a mysterious and spooky realm.

After the brooding intensity of the earlier tracks, At The Cinema brings a refreshing burst of energy with its vibrant, jangly guitar work and deep, echoing vocals, all driven by a minimalist motorik bass pattern that nods to Grauzone’s iconic Eisbär. The mood shifts slightly with Shock Celebration, where a more introspective tone prevails, reminiscent of the Pixies and Kim Gordon, yet distinguished by a striking guitar melody that cuts through a backdrop of simulated breaking glass.

The Conformist steers the album back into the realm of post-punk, adorned with resonant chimes that elevate its melody. Scandulous then accelerates into a surf rock tempo, albeit with a dark twist that seems to transport the listener to a moonlit beachside cemetery. The album culminates with Damned Defiant!, a track that leaves a lasting impression with its ethereal quality, drawing the journey to a close with a sense of haunting beauty and otherworldly grace.

To celebrate the release, very limited Vivre Sa Vie CDs are available exclusively on Bandcamp with random extra goodies.

Order Here

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The post Listen to the Old-School Goth and Post-Punk of West Wickhams’ “Vivre Sa Vie” appeared first on Post-Punk.com.

Ritual, the sophomore LP from Blood Relations, unfolds as a concept album, intricately blending the dark energy of post-punk, European folk music, Native American culture, the depth of goth rock, and the mystical ambiance of dungeon synth. The album opens with the mysterious, solemn The Unraveling, bringing to mind the procession scene of The Wicker Man, and moves into the ethereal, simply poetic Be My Sight. After the title song, things get more heavy with All Is Mine, with its plodding guitars and echoing vocals. Go Forth My Shadow follows this trend, with a shoegaze haze enveloping the mournful vocals. The album closes with Final Moon, a droning, shamanistic-flavoured number, sure to hit you square in the third eye.

Listen to the album below, and order here.

Blood Relations:

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The post Listen to New Mexico Dark Post-Punk Project Blood Relations’ “Ritual” — Watch Video for “As This Darkness Takes Hold” appeared first on Post-Punk.com.

Crucify me now and hang me upside down”

Failure Analysis is the third full-length album from Gerry Hathaway, known artistically as Arkham Sunset, a prolific electronic producer based in Portland, Oregon. At the heart of Arkham Sunset lies a steadfast commitment to collaboration: this album brings together contributions from a diverse mix of Portland’s musical talents, including the vocal and instrumental prowess of Lies We Were Told, Doppler Affection, and Ceremony Shadows, complemented by the distinguished Iranian guitarist Farzin Ajorlou. Lee Ann Hathaway, Gerry’s wife, lends the project its most profound and personal dimension. Lee Ann’s artistic vision not only shapes the album’s visual aestheti,c but also the thematic essence of the singles leading up to its release.

Failure Analysis also explores the couple’s shared affinity for vintage horror and erotica, a preference that infuses the work with a delightfully sinister and playful undertone.

Staying true to Hathaway’s signature approach, the album traverses a broad array of musical terrains. It delves into the gritty realms of industrial and metal, ventures through the shadowy echoes of darkwave and goth rock, pulses with the beats of Berlin School and disco, and explores the nuanced realms of synthpop and ambient, showcasing the artist’s eclectic and adventurous musical explorations.

The instrumental ASDR thrives on a vibrant, pulsating rhythm that invigorates and uplifts. Its euphoric melodies and dynamic beats create an energizing ambiance, with its exhilarating and heart-pounding vibe – perfect for igniting a sense of joy and vitality. Channeling the stirring and tension-filled essence of 1970s Italian ‘Giallo’ cinema, Blood In Four Colors unfolds with a bold S&M undertone—echoes of leather, gentle restraints, and yearning looks that suggest the dangerously seductive nature of a love affair teetering on the edge of destruction. The music captures the constant tension inherent in such fraught liaisons, teasing an intimacy that is perpetually just beyond reach, a nuanced dance of dominance and exposure.

Horizon Zero resonates with a strong Knight Rider vibe, thanks to its cinematic arpeggios, use of vocoder and guitar, and the resonant tones of its synths. It evokes the iconic style of Stu Phillips and draws inspiration from Jean-Michel Jarre, bridging nostalgic television scores with motorik beats. Failure Analysis moves into darker territory, sounding more like a latter-day Gary Numan with the raw, jagged vocals of Fugazi or Black Flag.

Neuro Rhythmic moves back into cinematic territory, with an ominous sonar blip anchoring manic synth arpeggios. It’s the soundtrack of all things neurospicy, mimicking the frentic racing thoughts in an overloaded mind. Next is a rousing – if caustic – cover of Ministry’s Revenge, to celebate the 40th anniversary of With Sympathy. The album concludes with Departure Point, a Kraftwerkian track that carries a gentle, rhythmic pulse, marking it as another cinematic instrumental piece. This closing number wraps up the collection with a sense of calm introspection.

Listen to the album below, and order here:

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This process of continual self-renewal, of sloughing off the old to make way for the new, mirrors the journey of intellectual and emotional growth. It is a vivid illustration of the human capacity for transformation, suggesting that within the chrysalis of our existing selves lies the potential for a more enlightened state of being. Ecdysis, in this allegorical sense, speaks to the ever-evolving nature of consciousness, inviting a perpetual renaissance of thought that propels us toward a deeper connection with the essence of our humanity and the universe at large.

This process describes the extraordinary shift Zanias has made with the remarkable new LP Ecdysis, which casts off all language and sound structure, taking us through alternate dimensions with her universal light language. At once human and alien, Ecdysis lays claim to an entirely new electronic soundscape influenced by Dead Can Dance, Enya, and Fever Ray, with the operatic flourishes of Zola Jesus. Mirroring Liz Fraser’s ethereal grace. Zanias has always showcased a distinctive linguistic artistry, drawing words from encyclopedias of flora and fauna, mythology, anatomy, and foreign languages. This unique approach, previously seen in her projects Keluar and Linea Aspera, has now metamorphosized into the abstract rebirth that is Ecdysis. With no narrative, no words, one is left with their imagination to interpret this beautiful mystery in their own soul.

Here, Zanias’ vocal prowess transcends boundaries, effortlessly shifting across species and gender lines, embodying the unity of consciousness often found in profound psychedelic experiences. The recording atmosphere, heavily inspired by the lush Queensland rainforest in Australia, infuses the music with a sense of rich biodiversity, creating a backdrop that is as vibrant and diverse as the natural world itself. This environment played a pivotal role in the album’s genesis, turning the creative process into a profound catharsis.

Designed to mirror this therapeutic effect for its audience, the album is best experienced through headphones, immersed in complete darkness, where its intricate layers and textures can be fully appreciated in solitude.

Submerged in the aqueous embrace of the opening track Earthborn, one feels the serenity of water, where echoes form an underwater symphony, dolphin calls weave through the depths like threads of melody, and distant tribal drumbeats pulse against the liquid canvas, creating a harmonious blend that resonates with the soul’s most primal rhythms. In the haunting expanse of the Martian landscape, a profundity dominates Mars, broken only by ethereal echoes. These ghostly whispers meander through the desolation, casting an eerie yet beautiful spell over the untouched wilderness, highlighting the solitude and majestic mystery of the Red Planet. Euphoric intensity merges with frenetic drumbeats and celestial voices in Duneskipper, articulating a light language from afar, their harmonies pulsating with vibrant energy that transcends earthly bounds and envelops the senses in a cosmic embrace, evoking a sense of boundless connection.

The tempo changes with a hymn to the mighty Acacia, a sacred, ancient tree revered for its symbolic, practical, and ecological significance. The acacia embodies themes of life, death, and rebirth while serving important roles in human livelihood and natural ecosystems. Bloodwood pays homage to the dense, durable hardwood native to Australia, renowned for its striking deep red colour. Its significance extends beyond aesthetics, as bloodwood trees play a crucial role in their native Australian ecosystems.

Habenula pays homage to a small brain structure within the epithalamus, which plays a key role in regulating pain, stress responses, sleep cycles, and reward processing by modulating neurotransmitters like dopamine and serotonin. Its activation in response to negative stimuli makes it crucial in mood and motivation, implicating its function in psychiatric disorders such as depression. Zania’s interpretation of this tiny but might force serves as a poignant dialogue between Earth’s nurturing spirit and a solitary alien consciousness, their harmonies intertwining in a celestial dance, revealing the profound connection between the terrestrial and the cosmic, a symphony of interstellar empathy and terrestrial wisdom, echoing the universal longing for understanding and companionship.

Swim unfolds like a gentle caress to the soul with that strange feeling of murkiness and clarity pulsing through your brain, revealing a serene melody and tranquility that resonates with the heart’s deepest yearnings for peace, each note a whisper of calm, inviting the listener into a sanctuary of stillness. Finally, the title track, Ecdysis, emerges, taking us out of our exoskeletons and urging us to capture the transformation from constraint to liberation. Beginning with tight, dissonant tones, it gradually unfolds into expansive melodies, climaxing in a powerful release, then settles into a reflective, serene finale, mirroring the rebirth and renewal inherent in shedding one’s old self for the new.

Ecdysis is out today from Metropolis Records on limited edition vinyl and CD and through all digital streaming platforms.

Order Here

Alison Lewis, previously associated with revered outfits such as Linea Aspera and Keluar, has etched her own path as a solo artist in the guise of Zanias. This unique solo project effortlessly merges the spectral vibrations of techno and EBM with an immersive emotive resonance. Her discourse has previously been enriched by esteemed collaborations with the likes of Black Rain, Ancient Methods, Dax J, and I Hate Models.

Zanias’s artistry is a quest for transcendence, delving into the rich world of human emotions and their significant role in our evolutionary heritage. Through her music, she investigates her psychological interests, highlighting the remarkable connections that music fosters among individuals. Her creations are more than mere compositions; they are a tribute to the intricate interplay of human experiences, brought to light through her exploration of sound and emotion.

Follow Zanias:

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The post Celestial Songstress Zanias Casts off Her Outer Shell in the Cosmic Pop Rhapsody “Ecdysis” appeared first on Post-Punk.com.

Within the dark embrace of deathrock and gothic music, where deep melodies and introspective lyrics intertwine, lies a distinct solace for those wrestling with mental strain. Far from merely reveling in nocturnal sorrow, it’s the shared recognition of suffering that bridges the gap between souls, fostering empathy and cathartic connection. The subculture’s poetic musings delve into the darker aspects of existence and become a profound haven of comfort, acknowledging the complexity of emotional distress and providing a sanctuary where one’s inner struggles are not only recognized but deeply understood.

Athens, Georgia gothic rock trio Tears For The Dying (Adria Stembridge, Joshua Broughton, and Mick Payne) tosses their bat into the dark carnival of life with In the Shadow of the Midnight Sun, their first full-length release since 2021, out now via Classic City Vinyl/Bat-Cave Productions.

In the Shadow of the Midnight Sun addresses the complexities of mental health, blending struggles and triumphs with reflective insights. The band’s goal is for the album to create a bond of connection and understanding, allowing listeners to see their own mental health experiences mirrored in the music. They hope this album will contribute to the wider conversation on mental well-being, offering listeners a way to process and relate to their personal challenges, and fostering empathy and awareness in the broader community.

The opening track, We Are the Darkness, is a maelstrom of guitars and vocals that channels cosmic horror through a narrative about extraterrestrials drawn to human malevolence, encapsulating themes of otherworldliness and societal critique.

Dagger in God’s Back is a caustic intermezzo, with wailing guitars and vocals with terse and vivid lyrics about consuming the divine and transforming into something ethereal in rebellion.

The brief and angst-laden cry for help that is Jisatsu delves into dark and emotive themes, likely touching on despair and the contemplation of self-harm, an ordeal many in the trans community endure, but thankfully not alone. Its title, which means ‘suicide’ in Japanese, hints at a deep exploration of personal turmoil and the struggle with inner demons and society as a whole. (If you are struggling, please reach out)

The journey through existential crisis and worsening mental state with the baroque Heterochromia. Next, the rhythmic Bloat unfolds as a harrowing tale of an individual beleaguered by a lifetime of bullying, culminating in a tragic end. Yet, in a macabre reversal of fate, the story takes an unexpected turn. The protagonist’s main tormentor from high school, who has since become a police officer and first responder, is confronted with her body. In a chilling twist, she reanimates, seizing the opportunity to rectify past wrongs in a grisly resolution, ensuring she has the final word in this dark saga.

Tears for the Dying’s bandleader Adria turned to the study of a foreign language as a lifeline during a challenging 2021, leading to the creation of Don’t Wanna and Ikinokotta with lyrics written in Japanese. This method of coping underscores the transformative power of engaging in beloved activities, particularly those that stimulate learning or physical movement, to shift our brain’s neural pathways from detrimental cycles toward healthier habits. This transition is palpable in Don’t Wanna, which captures the pivotal moment of rejecting a life overshadowed by depression and despair. The song, brief yet profound, acts as a metaphorical light switch, illuminating a path from darkness to clarity with its straightforward lyrics and resonant message. Ikinokotta. which translates to I Survived, is a song about surviving our worst mental health nightmares, surviving, and growing to become a better person.

The latter half of In the Shadow of the Midnight Sun marks a distinct shift in tone, beginning with Dead Girl Dancing. which celebrates dance as a powerful therapeutic escape from anxiety and depression. It suggests that even simple activities like a solitary walk or a leisurely stroll with a friend, whether through a serene cemetery or along a nature trail, can significantly uplift our spirits and transform our perspective.

Kaiju, drawing inspiration from the anime film End of Evangelion, showcases a pivotal shift in the band’s songwriting approach. The track prominently features an intricate blend of synthbass, synths, and guitars, all layered over a foundation of dynamic drums. This composition marks a notable departure from previous styles, embracing a rich, textured sound that captures the essence of its cinematic influence.

Higanbana addresses the challenge of accepting life’s unforeseen and often unwelcome changes. Drawing from personal experiences, the songwriter recounts the heartache of watching her father battle with dementia and a close friend’s parents struggle against cancer. These personal encounters highlight the cruel realization of facing an inevitable fate with little hope from science or medicine. Yet, Higanbana also offers a sense of comfort in recognizing that, as long as we are alive, we have the opportunity to make a meaningful impact in the world. On this track, guitarist Joshua Broughton’s swelling guitars adds a certain depth, complexity and beauty.

The closing track of In the Shadow of the Midnight Sun offers a surprising twist: a cover of Dolly Parton’s iconic Jolene, paying homage to the explosive rendition by the Sisters from the ’90s. However, Tears For The Dying takes a bold step away from the original, transforming the classic’s feel and tempo entirely. Adding a personal touch, the famous finger-plucked guitar riff that defines Parton’s version is masterfully executed by Adria’s uncle, Chip Stembridge, also known as Chip Young. This reinterpretation serves as a tranquil finale to the album, providing a serene closure to the emotional journey.

The mixing phase of the album saw contributions from Subvon Studio and Tom Ashton, renowned for his involvement with the iconic goth band The March Violets. However, when Ashton rejuvenated The Violets, the search for a new mixer led to another Athens, GA luminary: Jason NeSmith, celebrated for his affiliation with the post-punk Pylon Reenactment Society, who graciously assumed the mixing responsibilities for the remaining tracks.

The mastering process was entrusted to Chase Park Transduction in Athens, ensuring the album’s sound was refined and cohesive. The vinyl version of the album was pressed by a local Athens, GA plant, maintaining the production’s ties to the vibrant local music scene.

In the Shadow of the Midnight Sun is out now.

Order Here

Follow Tears For The Dying:

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The post Through the Darkness of the Mind — Listen to Tears for the Dying’s “In the Shadow of the Midnight Sun” appeared first on Post-Punk.com.

The band is set to release their new LP, Bloom, on February 23 through To Lose La Track and Coypu Records. TSTT’s music artfully merges their signature sound with new explorations, drawing deeply from the mid-90s American alternative, and indie rock vibe. Embracing the defiant essence of 90s alternative rock with a dash of shoegaze, their sound is evocative of  Sonic Youth, No Age, and The Jesus and Mary Chain. TSTT’s approach to music redefines the traditional song structure with their unique use of off-tune guitars and a rich overlay of feedback.

The band released a self-directed, languid video for Stones. (Special guest appearance by that IKEA rug beloved by musicians around the globe.)

Bloom highlights Tiger! Shit! Tiger! Tiger!’s (TSTT) capacity to expand their musical boundaries and captivate listeners. The album serves as a platform for the band to explore various styles, from the grunge-infused Dark Age / Dark Thoughts to the post-shoegaze influenced Endless. Each track is notable for its quality and creativity, particularly the intense rendition of Memory and Empty Pool, which is distinguished by its monumental, feedback-heavy guitar work. Recorded with the help of long-time collaborator Filippo Strang, known for his work with Kurt Vile, Bloom exemplifies TSTT’s unique noisy, lo-fi sound, marking a significant development.

Bloom will be released on vinyl and all digital platforms on February 23. Preorder here and on tape through Coypu Records.

Preview the album below:

In the autumn of 2008, Tiger! Shit! Tiger! Tiger! performed at the CMJ in New York alongside the legendary The Slits, and their single The Architects of Despair from the debut album Be Yr Own Shit was featured in the soundtrack of Lee Madsen’s film Hated. By 2014, their album Forever Young successfully captured the essence of TSTT’s vibrant live performances, marking a significant step in their creative journey with a more electrified sound over 43 minutes that resonated with the energy of their live shows. The band made notable returns to SXSW in 2011, 2015, and 2017.

Continuing this trajectory, Corners (2017) built on the foundation laid by Forever Young, yet ventured into diverse musical territories. It blended fuzzy indie rock with intense aggression, characterized by crashing guitars, anthemic riffs, emotional vocals, and exceptional drumming. The album’s high-quality production and the standout single Weird Times exemplified their songwriting skill while maintaining a raw and driving aesthetic.

Catch them on 23 February at Covo Club in Bologna, Italy.

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The post Listen to the Shoegaze-laced Post-Punk of “Bloom,” The New LP from Italian Outfit Tiger! Sh*t! Tiger! Tiger! appeared first on Post-Punk.com.

I am trying to return here.

And all around are dead flowers,

That they can’t reach for the sun.

Nürnberg, a post-punk duo comprising Yury Luhautsou (vocal, bass, synths) and Aleh Sautin (guitar), hail from Minsk, Belarus. Today, the band announces the release of Adkaz, their third studio album, via Young and Cold Records. The title, translating to “answer” in English, hints at the thematic richness and profound exploration found by exploring within the self.

Formed in 2016, Nürnberg’s artistic vision is deeply rooted in the melancholic essence of post-Soviet urban landscapes. Their music reflects an exploration of existential themes, social issues in today’s industrial societies, and the often overwhelming pressure and fatigue of modern life. Yet, amidst this sombre reflection, their work also resonates with the essential human capacities for love and compassion.

Nürnberg’s sound, characterized by a moody ambience, is infused with a palpable energy, akin to Gang of Four, Chameleons, Scars, and Killing Joke. Their compositions are imbued with a sense of melancholy, gloom, and desolation, all while being adorned with shimmering reverb and bittersweet melodies. One feels a sense of compassion nestled within this fatalistic dance music built on kick and clap drum beats, resonant, melodic basslines, and piercing, wistful guitar leads that intertwine with Luhautsou’s emotive vocals.

Moving beyond their classic post-punk origins, their new album introduces a compelling new buoyancy to their sound, significantly different from their previous work. Thematically, record reflects on individual experiences during significant historical shifts, addressing themes of dislike and mental health challenges pertinent to contemporary Eastern European life, along with insights into love and personal relationships. Adkaz acts as a coherent progression from their earlier albums to what lies ahead, signaling a deliberate and thoughtful shift in their musical direction.

The opening song, Insomnia, is an old-school post-punk gem with its melodic guitar and bass. The ardent vocals flawlessly convey the ache and longing for a lost love, feeling their absence profoundly and experiencing them only in the realm of dreams. The realization dawns each morning that these encounters are merely figments of their imagination.

The next song, Horad, evokes that feeling of heading towards the western sunset that Ennio Morricone conjures up through his film scores, an atmosphere that has always pervaded post-punk. Lyrically, the song conveys a sense of persistent gloom and isolation in a town devoid of sunlight, where both the city and its inhabitants are engulfed in restlessness. A deep desire to share the night with someone special persists despite the bleak backdrop.

In “Adkaz,” a pervasive feeling of tedium and detachment from the day-to-day emerges, encapsulating a quest for insight into feelings of being singled out. The song’s guitar riffs and vocal tones allude to the iconic sounds of Asylum Party and Low-Life, while the musical arrangement imbues the track with an emotional depth and a nostalgic essence that is quintessentially coldwave, reflecting the genre’s unique blend of melancholy and introspection.

Imbued with more synths, most notably a catchy bass, Miesca, through its ensnaring vocals, expresses a longing for gentle connection and clarity.  The song reflects on enduring personal struggles and a surrounding environment where hope, symbolized by flowers unable to reach the sun, seems distant.

Adliha is even more synth-driven, evoking the darker synth-pop of New Order. The song describes a tumultuous relationship marked by conflict and emotional distance, likened to historical events like the Cold War and the Berlin Wall; retreating into isolation as they endure deep emotional pain. Despite the lack of resolution or victory, there’s a glimmer of hope for change…a ‘Prague Spring.’

Vada transforms into an ethereal dance of dreams, where the elevated vocal harmonies evoke a realm of solitude and deep reflection, akin to a longing to immerse oneself in the symbolic embrace of water’s depths. This voyage mirrors a detachment from another, whose proximity and touch have faded away. Here, water acts as a cleansing force, washing away imperfections and beckoning towards a profound self-discovery, extended as an open invitation to the other.

Highlighting the overwhelming nature of fear that can paralyze and consume one’s mental well-being, Strach is a captivating composition where a precipitous melange of guitars, vocals, and synths masterfully conveys the terror of a life overshadowed by such dread. The track delves into the debilitating effects of fear, probing the extent of its power to erode and confine the spirit and articulating the perplexity surrounding its all-consuming presence.

In the vibrant and entrancing melody of “Pacalunak,” driven by an Eastern European guitar flair, the lyrics unfold a tale of unfulfilled affection and the yearning for something beyond mere friendship. The song is anchored by a catchy vocal hook that adds infectious layer to its emotional depth. Here, one individual’s emotional detachment is poetically depicted as a layer of snow upon their soul. Despite deep emotions and a longing to overcome these emotional divides, the possibility of romantic entanglement is decisively dismissed by the other, casting a shadow of definitive rejection and closure over their interactions.

Listen to the album below and order here:

Nürnberg’s third studio album, Adkaz, is a compelling testament to the resilience of post-punk, skillfully weaving together the melancholic textures of post-Soviet urban landscapes with the band’s unique sonic identity. Rooted in the traditions of both Eastern and Western post-punk legacy acts, such as Gang of Four, Scars, Chameleons, Killing Joke, and KINO, the album nevertheless asserts its distinctiveness through its deep engagement with the existential and social undercurrents of contemporary Eastern European life. The themes explored in the album—ranging from the ache of lost love in “Insomnia” to the quest for connection amidst desolation in “Miesca” and the terror of consuming fear in “Strach”—are not just reflections of individual experiences but resonate with broader historical shifts and mental health challenges. Through its moody ambience, resonant melodies, and emotionally charged vocals, Adkaz stands as a poignant narrative of resilience, introspection, and the perennial human quest for love and understanding, firmly planting its roots in the rich cultural soil of Nürnberg’s Belarusian heritage, making it a unique and evocative addition to the post-punk canon.

Adkaz was recorded with Raman Kamahorcaŭ (Molchat Doma) band and with sound engineer Andrej Babroŭka. The striking cover and artwork for the album was created by Jonathan Sirit (Belgrado).

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The post A Search for Meaning and Connection — Belarusian Post-Punk Duo Nürnberg Look Within in Their New Album “Adkaz” appeared first on Post-Punk.com.