Dee Dee stands at the helm of this vibrant platform, not merely curating tracks but weaving stories through a meticulously selected collection that spans the frosty whispers of coldwave, the vibrant beats of Italo and synth-pop, to the boundary-pushing sounds of post-punk. Dee Dee’s Picks invites music aficionados on a captivating journey through the Swiss music landscape, offering a thriving cultural hub where in-depth interviews reveal the essence of the artists and their creative processes, and music video premieres showcase the unique Swiss aesthetic,

For those drawn to the allure of Alpine music, both old and new, Dee Dee’s Picks offers an exclusive backstage pass to explore the rich, textured world of Swiss coldwave, synth, and post-punk treasures.

Dee Dee was gracious enough to do an interview with Post-Punk.com to discuss life in and out of Switzerland, the platform’s foray into journalism, and what’s next for Dee Dee’s Picks.

What initially inspired you to specifically focus on Swiss music and culture with Dee Dee’s Picks? How has your experience of living abroad and missing aspects of growing up in Switzerland influenced the platform’s direction?

Prior to leaving Switzerland from the age of 11, I felt that not many people saw the appeal of things that were traditionally Swiss. Most media that were seen as cool on television programs , radio broadcasts or billboards were American, or at least spoken in English. So I felt that there was less incentive to be proud of your own culture. The beginning of the domestication of the Internet also meant that English was a must, since I was more curious in seeing what was happening abroad as opposed to next door, so to speak. In opposition to this, it seems that nowadays people are tired of everything being the same everywhere. There seems to be a newfound appreciation to go back to your roots and be more local. The search for differentialism and individualism has developed into a newfound attractiveness to the charm of the niche, rarity and exclusivity. Additionally, having moved around, meant that I was missing the aspect of integration in a specific community that you already had ties in. 

Another reason I wanted to focus on Switzerland is by no means suggesting that its scene is superior, but rather to help me retain the focus on something, like a region. I didn’t know where to start otherwise as there’s so much good music out there. At first I didn’t know what to expect when I first started, whether I’d find enough music that I’d like or anything relevant to talk about. But it has been a continuous prompt of surprises and directions in the people I have met. Here I am in Year Four, which will end with (normally) a handful of more releases. Dee Dee’s Picks is after all to challenge myself into bringing something unknown to a more international audience. I wasn’t really sure why Swiss artists were not being more represented from abroad despite having the rich multicultural flexibility that it has. So I wanted to see if I could create a better bridge between Switzerland and the rest of the world. Eventually, this became a bit of a front, as the project evolved further than simply being a socio-cultural commentary. It rather became an opportunity to peek into the complexity of lives of others, the intimacy through their creative process and releasing their music or talking about their projects. You get so much more than just what’s on the surface. You get a real time movie, where you get to direct and act in. 

Aboriginal Voices

You mentioned transitioning from wanting to start a record label to creating a website focused on Helvetian culture. Can you discuss this journey and what prompted the shift in your vision?

It’s to create context around my findings. And for accessibility reasons, especially regarding the music. I realised rather quickly when I started Dee Dee’s Picks you’d have to be a committed digger to have previously heard of releases from bands like Aboriginal Voices or Mario Scherrer beforehand, whereas if you were a regular record store attendee in Switzerland it was relatively easier (albeit still rather underground). 

For myself, the best records are those where storytelling relates to the music in front of you. I find that humans are fascinated by stories, whether visually or sonically. The desire to dream and be inspired, which is why I find music and visual components related to storytelling very important to Dee Dee’s Picks. Because everything from the font on vinyl sleeves and graphic design are original, it was important for me to understand its origins and where it was coming from. I didn’t want to release things I didn’t know about so therefore opted to ask people around the scene if I could talk about Swiss graphic design, their perception of it and such to get more insight. It’s important to understand its origins and to get to know how the artist came to apply such techniques to their own work. The more I was digging, the more I realised that there is a lot more than just the music that revolves around Helvetian cultural identity. There is a whole creative facet that synergised around it, visuals artists, collectives, illustrators, graphic designers, all contribute to what a scene is. I wanted to unravel a storytelling aspect and unveil the artist differently than what we see on social media. To give depth to art as opposed to scratching its surface level by a half second scroll. 

Dee Dee’s Picks seems to have evolved into a form of journalism, particularly with the inclusion of interviews. How did this evolution come about, and what role does journalism play in your platform now?

It’s also the idea to remove some mysticism around each other, whether it is our local scene or our neighbouring countries. I took it upon myself to tell the story of people the best way that I could, as I would be representing them. I think there is a responsibility to tell the truths of people and to genuinely ask thought provoking questions out of respect for their work. I could put out more content at regular intervals by repeating some template-like questions but I’d rather take the necessary time to cater questions relevant to myself and the featured artist.

Social media broke down boundaries on granular levels regarding what’s happening next door. I also think the fact that most people speak English fluently and are online breaks down a lot of barriers and incites more curiosity in what is happening beyond your neighbourhood and also ways to find out about it. Therefore, the need to evolve into some form of journalism became apparent. It’s my way of bettering and contributing positively to today’s digital music ecosystems in terms of context and information. It can be difficult to get the whole picture of an artist solely from their online presence. I find the presentation of the music and art via social media so database-like; souleless, that it usually doesn’t really incorporate any valuable knowledge or inspiration on how a piece of art is made. It became more of a list of numbers, accounts.. with the idea that its value is determined by the number of plays/likes/views on it, all seen and to be opinionated upon publicly. Moreso that streaming services like Spotify do not provide much archival information as opposed to when you own a record on a tangible format, it is more likely to have information in the back, on inner sleeves and so forth. Sure, this is perhaps more relevant to those who build collections, archives or libraries such as myself, but it also speaks for the interests driving the design of these services. People should have the possibility to inform themselves about the whole universe that came into place to ‘make’ this release or art. It’s a way to branch out to make the listener/viewer aware that a release/project does not always just come from a sole member, but an array of creative individuals that were able to make this project real. From who did the mix, mastering, pressing, graphics, videos, promotion…It’s also another way of discovering a certain period, or a certain scene from a certain network. It’s the way it should be held to help each other. In the end, the art outlives the person who made it, so there is a sense of responsibility to preserve context that will in the end translate into memories for the next listener. I find the idea to immortalise yourself and your art online very powerful. Love it or hate it, you will always find pieces of yourself and others from the past and for future generations. 

Bermuda Idiots 

It’s also to retain the imagery of the ethic of working together, not for or against each other. To be involved in each other’s lives as opposed to seclusion. To give the opportunity for people who have something to say, whether it’s a concept, production technique or really just an identity. It is so important to credit each other with our works in order to thrive together. Regardless, whatever kind of artistic output an artist has in the end, they shine through these aspects that turn into their own artistic signature.  This is why I think that some people get confused when I say “we released” as opposed to singular. Because it is really a collaborative effort to make these things happen. It would not have the same impact or surrounding vision just by one person. You sometimes need to have an outsider to help you see outside of the box in how your art can be perceived, be defined and what it means to them and to yourself. Hindsight and reflection is not something you can always do by yourself in the present. It is not always evident to reflect on your work, as you continuously evolve as a person in life and go forward with future projects. So actually discussing projects and topics is something most of the people I’ve worked with seem to appreciate instead of being pushed into constantly having a creative output with no reflection.

Given your unique perspective, having lived both inside and outside Switzerland, how do you see Dee Dee’s Picks contributing to the global understanding and appreciation of Swiss culture?

Something that I noticed is that on one hand, I think that it is really fascinating to Switzerland is how despite its size, it functions with 4 languages, quite intertwined with English and other cultures. So you really get a melting pot of influences from each respective neighbouring country and meet in the middle. From what I’ve witnessed, the broad range of influences comes from neighbouring countries before amalgamating from within. Regarding music, I find that on the Swiss German side, cities like Zurich have a more Industrial, EBM edge to the music, probably due to germanic influenceas. Whereas cities like Geneva on the french side, something more bass and dub oriented, possibly due to the immense squat scene that occurred in the 90s where Dub genres were very prominent. 

On the other hand, I find that the concept of locality and the underground scene dissipating to some extent because of the popularisation of social media makes trends less grounded to a local scene or movement, but rather to the world wide web directly. Since we have access to so much content online, it’s easier than ever for example to draw inspiration from the work of a Swiss artist based in Brussels who was then influenced by someone’s work in Beijing. The lines are getting blurred from their origin. To further elaborate, Swiss typography or graphic design is something quite unique, although replicated in various cultures, However, many artists that I featured on Dee Dee’s Picks have an educational background that focuses on this style or art that has been ingrained in Swiss culture for decades, to which they naturally include into their own creative endeavours. Whatever is encompassed in this core is what never leaves. The trends surrounding it come and go quickly because they do not stick as much due to its speed of diffusion, whether related to social media algorithms or not. There’s a globalisation of using tools and techniques that if reached high in popularity, means we will get bored of it a lot quicker due to over exposure.

It’s inevitable that by living in the modern world, using the same tools as others, that people will spot similarities to their own works. Thus I try to always be aware of maintaining an aspect of traditional and personal in Dee Dee’s Picks. To respect the influence of Swiss design that is still obviously relevant to this day and my own, as well as the artist’s personal perspective. 

Mario Scherrer

What do you look for when featuring or releasing someone via Dee Dee’s Picks?

There’s no strict criteria besides the fact that you have to be at least based in Switzerland. Or Swiss living abroad. The idea of nationalism does not particularly interest me. You could be Swedish but based in Switzerland and that would still work. I focus more on the idea of contributing and taking something to your community. That, and to explore the more “underground” areas of the world.

Regardless of the storytelling aspects, there is still this immense feeling of responsibility to not just put anything out. It is important that I foremost find a connection in these artists for me to be able to talk about them confidently. I look for identity to relate to a core, basically artists who have their own musical language or artistic identity and not necessarily experts in a certain field. I do keep some popular appeal in order to be enthused by others because I am considerate and realistic about how many people go to record stores and buy such albums. Therefore, in the decision making process, I don’t want to have this rapid pace of picking up trends and moving on. I like to ask myself when considering a release: can I see myself listening to this in five or in ten years time? After all, the artists I work with are the people who define Dee Dee’s Picks. It’s not enough to give, you need to take something also for yourself.

With the dissolution of locality, do you keep trying to keep a balance between keeping the outside world from Switzerland connected? Old and contemporary? To what extent is is strict?

I find it particularly difficult to be very reactive yet focused in today’s fast-moving environment. You are exposed to a lot more work by talented individuals and trends come and go much faster. Sometimes, as rapidly as they are conceptualised. I do incorporate some trending and outside elements on my platform because I do belong in today’s world regardless where my head is at. My surroundings, whether past, present or future, are constant influences on how we evolve as people. I’m not against mimicking external influences as they indirectly shape us as an individual. In my case, I add a personal touch with the inclusion of the obi on every release. Something very common on LP formats in Japan, which I took interest in through an internship with Guruguru Brain. I do this because it’s important to have a piece of myself in Dee Dee’s Picks. This also be expressed through writing, mastering or graphic designing. It is important for me to not only stay true to my ethic, technique or approach but also that my work relates to contemporary tastes and be relevant with what is happening around you. Therefore to better myself as a curator on Dee Dee’s Picks means I have to keep a healthy balance of awareness and development, which is a reason why I have not released the same artist twice. At the same time, being self-indulgent gives me the ressources to be able to keep inspiration going. 

Despite not having the same upbringing that the people I have worked with, I do have memories, things that were once ever so present in my surroundings, that make me gravitate and recognise pieces of myself in the Swiss art style. Whether its graphic design or typography for instance, is something I am subconsciously drawn to. It’s rather unique, which I want to maintain in the releases and Dee Dee’s Picks identity. This is in part to why I also like to collaborate with non-Swiss people, like we did for the artwork and graphic designer for Infesta’s record. This continuously helps me break out of the box and to have non-natives have their interpretation of the work, have their own signature with it, and thus mutate it into something new. This idea of inclusion probably comes from me growing up in Singapore, where my environment encouraged me to use other’s ideas and cultural upbringing and incorporate them the best way possible in your environment in part for diplomacy and for the other, progress. 

Infesta

Looking towards the future, how do you envision Dee Dee’s Picks evolving, especially in terms of balancing the representation of past and present Swiss music and culture?

In regards to releases, I couldn’t tell you. I treat it as I see things developing, the people I encounter, the situations I find myself in. I try to plan my year to maintain a sort of chronological order for releases so they make sense to some extent next to each other, as some of them intertwine per collective, location, collaborators and the such.  For the near future, I will be solely working with contemporary artists. Unfortunately, tracking artists that were active pre internet era is a very time consuming task, whereas I do not always have the resources for. Thankfully, I have my two radio residencies on Echobox Radio (Amsterdam) and Fade Radio (Athens) to have the possibility to broadcast my various findings, and thus maintain a sort of coherent balance between time periods. For example, in February, I will be broadcasting on Echobox Radio one hour of 70s-80s Swiss Italo Disco as part of my “Dee Dee’s Club Picks” series, and for Fade Radio, two hours of unearthed Swiss Minimal Wave, Post-Punk, and more, from the past and today.

Nordland

But to conclude, the way that I’ve found myself preserving the Dee Dee’s Picks seal of approval on upcoming projects and the eclecticism in its content is on one hand unpredictability. On the other, it’s through experience. Dee Dee’s Picks has been active for quite a while now, so the recurring fanbase seems to “get” what I am doing. It also plays a part for myself and the audience in what you like and what works for you. Trial and error. I think what makes it exciting and enthused is that I am willing to take risks and not go for the obvious and already established artists. Artists that are part of a scene, but outsider enough that their work does not quite hit evident genres, despite evoquing familiarity. That’s what I look for, regardless of its genre. Even though we did releases that were perhaps more traditional and in their element, there was always a twist. For example, some of the artists’ I have worked with wanted to compose an album without a theme, which they were worried they would have nothing to talk about prior to its release. I make it my duty to tackle it from an outsider’s perspective. It’s important to make one think (whether the maker or consumer), to challenge them, in order to break barriers and move on to next levels of experimentation in discoveries. 

Next releases will be from March onwards, always contrasting what we have put out so far on Dee Dee’s Picks. We have Baroque music with an electronic contemporary reimagination by Basel-based Marie Delprat, Baile Funk rhythms from the Neuchatelian skateboard scene by Dimosoundz, and breakbeat madness from Lausanne’s Atonal.

Check out some of Dee Dee’s mixes:

• Swiss 80s post-punk minimal wave further flavoured with contemporary Helvetian artists 
• Dee Dee’s Club Picks Vol. 3 – Swiss Italo Disco mix from the 70s-80s.

Post-punk, minimal wave, punk, coldwave releases:

• DDP010 Passerella by Infesta
• DDP007 The First Album – Aboriginal Voices
• DDP006 Kollected Kashews 2017​-​2021 by Don Kashew
• DDP005 Live at Fri​-​Son ’87 – Nordland
• DDP004 Squares and Crossings – Mario Scherrer
• DDP003 ALL WE WANTED by Bermuda Idiots
• DDP002 Musique Électronique Pour La Sc​è​ne Et L’image 1976 – 1992

Follow Dee Dee’s Picks:

• Website
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• Facebook
• Bandcamp
• Soundcloud

The post Dee Dee’s Picks — A Curation of Swiss Coldwave, Synth, and Post-Punk Treasures appeared first on Post-Punk.com.

Kimball’s vocal prowess shines brightly, infusing the track with a captivating presence that demands attention. The video is a powerful yet simple visual narrative that strips away the unnecessary, focusing on Kimball in a raw, unguarded state. Shot in a classic 4:3 format, it shows him at a table, the scene set starkly with a broken wine bottle. In a moment of intense vulnerability, Kimball drinks from the jagged edge, the act leaving him bleeding from the mouth—a potent and distressing image that resonates deeply.

This scene vividly recalls the visceral performances of Nivek Ogre from Skinny Puppy, known for his immersive and often jarring stage personas that blend the boundaries between art and reality. Like Ogre’s memorable enactments, Kimball’s self-inflicted wound here is more than shock value; it’s a metaphor for the pain and catharsis embedded in “The Lowest Places You’ll Go,” highlighting the track’s exploration of personal depths and the struggle for self-acceptance.

The song and its video serve as a reminder that our darkest moments do not define our entire existence, As Kimball explains:

“The Lowest Places You’ll Go is a reminder that you are not who you are at your worst. It’s a reminder that everyone has value and is worthy of love. No one should be paralyzed by fear.  Move with it and through it. Break away.”

Watch the video for “The Lowest Places You’ll Go” below:

Emerging from the shadow-laden streets of Philadelphia, Night Sins has been a dark beacon since the early 2010s, weaving a path that follows in the wake of the legacies carved out by The Sisters of Mercy, Clan of Xymox, and other darkwave pioneers. Their sound—a mix of robust rhythms, atmospheric synths, and Kimball’s distinctive vocals—crafts an immersive world that’s both nostalgic and distinctly fresh.

With “The Lowest Places You’ll Go” setting the tone, Night Sins’ forthcoming five-track EP “A Silver Blade in the Shadow” is shaping up to be a definitive statement of their craft. This mini-album, due out May 17th on Born Losers Records, seems poised to reinforce the band’s standing in the dark music sphere, showcasing the distinctive blend of sound and raw edge that they bring to the table.

Pre-Order Here

Stay connected with Night Sins for the latest updates:

• Spotify
• Instagram
• Facebook

The post Philadelphia’s Night Sins Debuts Video for Old-School EBM Track “The Lowest Places You’ll Go” appeared first on Post-Punk.com.

Stockholm post-punk stalwards Then Comes Silence are back with their brand new single Ride or Die, accompanied by a video directed bu aux animaux’s by Gözde Duzer. The track, which stands as a bold declaration of solidarity, friendship, and community, heralds the arrival of their seventh studio album, Trickery, soon to be released by Metropolis Records.

The video, set against the backdrop of a purple-hued parking garage, showcases the band in a playful yet mysterious light, donning masks reminiscent of something akin to Love and Rockets’ The Bubblemen. This setting provides a canvas for the band’s vibrant and graffiti-inspired lyrical manifesto, encapsulating the song’s spirit of fellowship and resilience.

Musically, “Ride or Die” strikes a balance between brightness and an icy post-punk clarity, maturing into a somber yet steadfast anthem. It celebrates the unbreakable bonds of friendship, echoing the sentiment that, come what may, we persevere together—Ride or Die. This song encapsulates the essence of enduring together against all the odds, a theme deeply woven into the fabric of the upcoming album Trickery.

Watch the video Ride Or Die below:

Founded in Stockholm in 2012 by Alex Svenson and inspired by a blend of horror, the occult, touring with acts like A Place To Bury Strangers, Then Comes Silence has evolved into a formidable force within the goth and post-punk scene. Joined by Jonas Fransson on drums and Hugo Zombie on guitar, the band continues to forge connections through their music, celebrating the sense of belonging and unity within the dark music community.

Recorded at Stockholm’s Kapsylen Studio by Jörgen Wall and mixed by Tom van Heesch, Trickery is a testament to the band’s roots in punk and alternative rock, enhanced with electronic elements that bring a fresh dynamic to their sound. Following their 2022 album Hunger, Then Comes Silence is set to captivate audiences once again with their dark, compelling melodies and evocative themes.

With a history of touring alongside renowned acts and performing at major festivals, Then Comes Silence is poised to take ‘Ride or Die’ and the rest of their new material on the road, embarking on an extensive North American tour with Vision Video from late April through May.

“Ride or Die” is available now on all major platforms, including Apple Music, Spotify, and Bandcamp, with the full album ‘Trickery’ set for release on April 5 in vinyl, CD, and digital formats.

Pre-Order Here

Keep up with Then Comes Silence:

• Website
• Bandcamp
• Facebook
• Twitter
• Instagram
• YouTube
• TikTok
• Apple Music
• Spotify

The post Swedish Post-Punk Stalwarts Then Comes Silence Pay Tribute to Their Fellowship With The Video for “Ride or Die” appeared first on Post-Punk.com.

The new single “Something New” is a beacon for the band’s new direction, showcasing a more pop-oriented and straightforward approach than their previous works. The track is characterized by Principe Valiente’s signature soaring guitars coutersy of Jimmy Ottosson, which resonate with the grandeur of a string section. Suave frontman Fernando Honorato’s velvety vocals glide over the instrumentation, echoing a classic Hollywood charm reminiscent of a black-and-white era where a captivating performance steals the spotlight.

The accompanying video for “Something New” presents a cinematic experience, with Honorato commanding the stage with a presence akin to the legendary crooners, serenading a lady in the audience who is lost in the music’s allure. This visual piece not only complements the track’s auditory experience but also highlights the band’s ability to convey deep emotions and narratives through their sound and vision.

Watch the official video for “Something New” below:

“In This Light” promises a rich symphony of mellotrons, samplers, and analog synths, all in perfect harmony with the celestial twang of Jimmy Ottosson’s Rickenbacker 12-string and Gretsch guitars. This lush musical landscape is further enhanced by melodic piano lines, a distinctively distorted driving bass, and enveloped by the enigmatic vocals of Fernando Honorato.

In May, Metropolis Records will unveil the band’s forthcoming new album, and if this new single is anything to go by, it promises to be yet another showcase of their enduring artistry and meticulous craftsmanship within the international post-punk scene.

Follow Principe Valiente:

• Website
• Bandcamp
• Facebook
• YouTube
• Instagram

The post Sweden’s Principe Valiente Returns in Silver Screen Splendor with their Video for “Something New” appeared first on Post-Punk.com.

With “Lapidation,” The City Gates unleashes a sonic barrage reminiscent of a pummeling hailstorm. The track is characterized by its guitar-driven force, deep, resonant vocals, and rhythmic underpinnings that compel listeners to the dance floor. Serving as the second single from their anticipated album set for release by the end of 2024, “Lapidation” solidifies The City Gates’ mastery in fusing atmospheric post-punk with the raw energy of gothic rock, creating an immersive soundscape.

The accompanying music video, set against the backdrop of a hauntingly lit space with swinging lightbulbs, casts the band in a ghostly luminescence, enhancing the track’s tempestuous vibe. Directed by the band’s own drummer, Bitou, with MADOC, TWEAX, and Dino Chauvette lending their talents to the visuals and lighting, the video serves as a haunting visual complement to the song’s tumultuous nature.

Watch the video for “Lapidation” below:

Recorded, mixed, and mastered by François Marsan at Velouria Studio in Montreal, “Lapidation” stands as a darkly danceable offering that’s sure to resonate with fans of The Sisters of Mercy, The Chameleons, and Ash Code. Now available across all major platforms, including Bandcamp, Spotify, and Apple Music, the track is accessible to all who seek to immerse themselves in its stormy depths.

As The City Gates prepare to embark on their European tour, they are not merely transporting their music; they are bringing a tempest of sound and emotion. From Geleen in the Netherlands to the Dark Spring Festival in Berlin, and culminating in Paris, the tour promises to showcase the band’s formidable live presence. Notable performances alongside acts such as Forever Grey and The Chameleons are set to further cement The City Gates’ reputation in the post-punk realm.

With the release of “Lapidation,” The City Gates invite listeners into a maelstrom of sound and vision. As March 1st marks the unleashing of this powerful track, fans are encouraged to delve into the experience and catch the band’s electrifying live performances across Europe this April. “Lapidation” is more than a song—it’s a force of nature, ready to leave its mark on the post-punk landscape.

THE CITY GATES – Lapidation European Tour 2024 

• 19/04: Geleen, NL- De Reunie w / The Lost Tapes, Fragment  
• 20/04: Berlin, DE – Lido – Dark Spring Festival (w/ Je t’aime, Ductape, Undertheskin, Golden Apes, VV and the Void)
• 21/04: Prague, CZ – Kampus Hybernska w/ Cosmo Brigade, RIME
• 24/04: Bielefeld, DE – Movie Bielefeld w/ SUIR
• 25/04: The Hague, NL – The Grey Space w/ Resplandor, Death by Audio
• 26/04: Holzminden, DE – U-Rock w/ Boy with Apple
• 27/04: Paris, FR – *******     TBA    (Supersonic Records w/ Varsovie) 

Follow The City Gates:

• Facebook
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• YouTube
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The post Montreal Post-Punk Outfit The City Gates Debut Video for “Lapidation” — Spring European Tour Announced appeared first on Post-Punk.com.

In a world where music often flits from one trend to the next, it’s rare to stumble upon a sound that feels both utterly timeless and thrillingly contemporary. But here we are, caught in Ultra Sunn’s gossamer web.

That haunting synth hook is a siren call, permeating the atmosphere with a smoothness that belies its complex underpinnings. It takes up residence in your soul, making mundane moments feel more…cinematic, the kind that turns a simple walk down the street into a strut down a personal runway, all eyes on you.

Drawing comparisons to grandiose gothic novels, there’s a romantic depth and intrigue in Some Ghost Could Follow, but not the kind that’s tied up with a neat bow at the end. This is the romance of the night, of shadows and whispers; of things left unsaid, feelings simmering just below the surface. The song makes you feel more alive: lighting a fire in your chest and daring you to waltz ever onward with your demons rather than run from them. In an era where so much music feels disposable, Ultra Sunn offers a piece of eternity captured in melody and verse.

Regarding the new track, Ultra Sunn shares, “The difference here is that we are a little more intimate and personal about ourselves and with you. With this track, we invite you to think about these ghosts who could follow you in the night as you wander in a city that you know too well. The streets are paved with regrets, but some ghosts seem so much weaker in the end. In the verses, we mention insomnia, resilience, and the memories that come back to haunt you like a hallucinatory apparition, directly and deliberately interrupted by the mantra of the chorus, like a magic spell, a prayer, a call to order.”

Adding depth to their musical inspiration, the band notes, “The composition has a more orchestral aspect, comparatively, and is somewhat more feminine. We thought of the French-Canadian singer Mylène Farmer, who is a great source of inspiration for us in her way of being, her strength, her character, and her incredible stage performances. Strong and powerful women are often a source of inspiration in their gestures, their relationship with the body, and in their unique sensitivity.”

Accompanying the single is the second installment in Ultra Sunn’s live video series, showcasing the band’s experimental approach to visuals and lighting, further enhancing the track’s atmospheric qualities.

Watch “Some Ghost Could Follow” below:

The forthcoming album holds a special place for Ultra Sunn, as they explain, “The album is called ‘US,’ like the initials of ULTRA SUNN. In addition to being a reference to two records that we love, VU (Velvet Underground) and AM (Arctic Monkeys), it reflects the more personal texts in this album – the bond between us (Gaelle and Sam) being stronger than ever, a new musician joining us on tour, and the bond that we have created with our audience / how the concerts are carried and experienced all together with strength and love. It’s our album, it’s yours, it’s about US.”

With an extensive tour on the horizon, Ultra Sunn is poised to bring their live show to fans across the globe. From the intimate setting of Brussels’ Botanique Orangerie to the vast stages of international festivals, 2024 will surely see Ultra Sunn pull more listeners into their orbit.

Don’t miss the chance to experience Ultra Sunn live on their upcoming tour. For tour dates below.

US is out on April 19, 2024.

Pre-Order Here

ULTRA SUNN TOUR DATES:

• 02.08.24 – HAMBOURG (GER) Hafenklang
• 02.09.24 – DORTMUND (GER) Junkyard
• 02.10.24 – STRASBOURG (FR) La Laiterie
• 02.11.24 – DEN HAAG (NL) Grauzone
• 03.09.24 – BETHUNE (FR) La Poche
• 03.29.24 – LONDON (UK) Moth Club
• 03.30.24 – BRIGHTON (UK) Alphabet
• 03.31.24 – SHEFFIELD (UK) Resistanz Festival
• 04.21.24 – MALTE (MT) Dark Malta Festival
• 04.25.24 – DENVER (CO) The Oriental Theater
• 04.26.24 – LOS ANGELES (CA) Catch One
• 04.27.24 – LAS VEGAS (NV) Sick New World Festival
• 05.02.24 – PHOENIX (AZ) Rebel Lounge
• 05.03.24 – SAN DIEGO (CA) The Kensington Club
• 05.04.24 – RIVERSIDE (CA) The Hideaway Cafe
• 05.07.24 – SAN FRANCISCO (CA) DNA Lounge
• 05.08.24 – SACRAMENTO (CA) Harlows
• 05.10.24 – PORTLAND (OR) Coffin Club
• 05.11.24 – SEATTLE (WA) Substation
• 05.12.24 – VANCOUVER (BC) Verboden Festival 
• 05.30.24 – PARIS (FR) Le Petit Bain
• 06.01.24 – BRUSSELS (BE) Botanique Orangerie Album Release party + Guests
• 06.06.24 – BERLIN (GER)
• 06.07.24 – KRAKOW (PL) Klub Re
• 06.08.24 – WARSAW (PL) Hydrozagadka
• 06.09.24 – WROCLAW (PL) Liverpool
• 06.28.24 – KÖLN (GER) Amphi Festival
• 08.08.24 – LOKEREN (BE) Fonnefeesten
• 09.21.24 – LAUSANNE (CH) Les Docks

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The post Haunted Nights in the City — Belgian Darkwavers Ultra Sunn Debut Video for “Some Ghost Could Follow” appeared first on Post-Punk.com.

The “Black Out” tour is a global journey, commencing on August 4 in Lokeren, Belgium, at the Lokerse Feesten and spanning iconic festivals and venues across Europe and the United States. The tour’s U.S. leg starts on September 6 in St. Petersburg, Florida, with notable stops in Philadelphia, Cleveland, Los Angeles, and notably, Chicago. In Chicago, Front 242 will make two special appearances presented by Cold Waves, underscoring the deep connection between Front 242 and Chicago, a city that has played a significant role in the band’s international success.

Following the U.S. dates, the tour will extend its international leg, visiting countries like Germany, The Netherlands, Sweden, France, the UK, and Spain, before reaching its poignant conclusion with three final concerts in January 2025, including a grand finale in Front 242’s hometown of Brussels, Belgium, at the Ancienne Belgique (AB) on the 24th and 25th.

Patrick Codenys, Jean-Luc De Meyer, and Richard 23, the core trio behind Front 242’s enduring legacy, shared their mixed emotions about concluding their remarkable journey.

“It is with a heavy mix of emotion that we close this great adventure, some 40 years in the making,” they stated, adding: “We realize that ending our journey at this time, when we are still vibrant and full of energy is how the band should be remembered. We are excited to share these meaningful final performances with our wonderful fans who have been with us through it all.”

The announcement, perfectly timed with International EBM Day, underscores the band’s deep connection to the EBM community and its history. Tickets for this historic tour will be available starting March 1, with more details on the band’s official website.

In a fitting tribute to their storied relationship, WAX TRAX! RECORDS is orchestrating an impressive FRONT 242 / CHICAGO VIP WEEK – Final Fan Experience, celebrating 40 years since the label first introduced Front 242 to the U.S. audience. This week-long homage, from November 11-17, 2024, is a heartfelt farewell to the band, featuring a plethora of events designed to showcase Front 242’s monumental impact on music history.

The VIP week in Chicago will offer an array of exclusive experiences, separate from the band’s final U.S. shows (tickets not included). Fans can look forward to unique opportunities such as a private bus tour of Chicago guided by Richard 23 & Julia Nash, exclusive access to a sound check, and a promotional-only reissue of “Endless Riddance” with an alternate cover. Additional highlights include a FRONT 242 retrospective exhibit, a special screening of the Wax Trax! documentary followed by a Q&A session with the band, access to the CLUB FRONT 242 pop-up bar, and intimate meet-and-greet sessions.

These VIP packages not only offer unprecedented access to the band but also include collectible items like a limited edition poster, a tote bag, a commemorative laminate, and a special 2024 ticket for the final U.S. shows. It’s a comprehensive celebration that honors the legacy of Front 242 and their pivotal role in shaping the industrial and EBM genres.

WAX TRAX! takes immense pride in having been the gateway for Front 242’s introduction to the American music scene. The label is now poised to give the band a grand send-off, marking the end of an era with the celebration they truly deserve. As Front 242 bids farewell with their ‘FRONT BYE FRONT’ tour, fans are invited to partake in this historic moment.

For those interested in the VIP FINAL WEEK or the band’s concluding performances, detailed ticket information can be found at the following links:

• FRONT 242 VIP Final Week
• Front 242 Live Performances

A Look Back at Front 242’s Trailblazing Path

In the annals of electronic music, few names are as synonymous with innovation and influence as Front 242. Their journey began in 1981 in Belgium, a time when the electronic music landscape was ripe for revolution. The band’s founding member, Daniel B., set the tone with the single “Body to Body,” laying a foundation that would soon support an entirely new genre.

The arrival of Patrick Codenys and Jean-Luc De Meyer for the band’s inaugural album, Geography, in 1982, marked the true genesis of Front 242’s iconic sound. With Richard 23 joining in 1983, the group’s lineup solidified, and their collective vision began to crystallize. Front 242 wasn’t just creating music; they were crafting a sonic and visual experience that transcended traditional performance art.

Front 242’s commitment to autonomy in their recording and graphic endeavors allowed them to forge a distinct identity, both sonically and visually. This independence was crucial in cultivating a unique stage presence that captivated audiences across Europe, laying the groundwork for their international acclaim.

The mid-1980s saw Front 242’s sound resonate across the Atlantic, with their signing to Chicago’s Wax Trax! Records marking the beginning of their profound impact on the American music scene. The EP Take One, released in 1984, was the first taste of Front 242 for many U.S. fans, leading to a widespread and fervent following.

As EBM began to spread its electronic tendrils across Europe, Front 242 stood at the forefront, their live performances becoming legendary for their energy and intensity. Albums like No Comment (1985), Official Version (1987), and Front By Front (1988) are considered cornerstones of the genre, with tracks like “Headhunter” and “Welcome to Paradise” becoming anthems of the EBM movement.

The 1990s saw Front 242 pushing their creative boundaries even further with Tyranny For You, Up Evil, and Off. These albums marked a departure from their established sound, incorporating new vocalists, live instruments, and innovative production techniques, courtesy of Andy Wallace. This era signified a willingness to evolve and adapt, ensuring their music remained as dynamic and relevant as ever.

Following a hiatus, Front 242’s return to the stage in the late ’90s, alongside German drummer Tim Kroker, reinvigorated their live presence. This period also saw the release of live albums that captured the essence of their performances, reflecting the band’s continuous evolution and the ever-changing nature of their setlists.

In the early 2000s, with the release of Still & Raw and Pulse, Front 242 revisited the raw, analogue sounds that had initially defined them, now enriched by decades of experience and technological advancements. This return to their roots, coupled with a forward-thinking approach, underscored the band’s enduring appeal and influence.

Front 242’s decision to eschew the traditional album-release-followed-by-tour cycle in recent years speaks to their pioneering spirit. They continue to captivate audiences worldwide, not with the promise of new material, but with the sheer power and integrity of their performances.

As Front 242 embarks on their final tour, they leave behind a legacy that is as much about the future as it is about their storied past. Their contributions to electronic music are indelible, having inspired countless artists and fans across the globe. Front 242’s journey may be coming to an end, but their influence will reverberate for generations to come.

Front 242’s Lasting Impact and Final Farewell

As Front 242 prepares for their final tour, it’s clear that their departure will leave a significant void in the EBM and industrial scenes. However, their decision to end on a high note, while still at the forefront of their artistic powers, is a testament to their integrity and commitment to their fans.

The ‘One Last Time’ tour is not just a farewell; it’s a celebration of a band that has consistently pushed the boundaries of music and live performance. For fans old and new, this tour offers a chance to experience the raw energy and innovative spirit that have defined Front 242 for over four decades.

For tour dates and ticket information and to join in celebrating the legacy of Front 242, visit www.front242.com

FRONT 242 “Black Out” Tour Dates

• AUGUST 2024
  • 04: Belgium, Lokeren – Lokerse Feesten
  • 10: Germany, Hildesheim – M’Era Luna
• SEPTEMBER 2024
  • 06: USA, Florida, St. Petersburg – Jannus Live
  • 07: USA, Philadelphia – Union Transfer
  • 08: USA, Cleveland – Agora Theatre
  • 13: USA, Los Angeles – Mayan Theatre
  • 14: USA, Portland – Roseland Theater
  • 15: USA, San Francisco – Great American Music Hall
• OCTOBER 2024
  • 12: Germany, Hamburg – Markthalle
  • 17: The Netherlands, Utrecht – Tivoli Vredenburg, Ronda
  • 18: Germany, Berlin – Huxleys Neue Welt
  • 19: Germany, Oberhausen – Turbinenhalle
  • 25: Germany, München – Backstage
  • 26: Germany, Langen – Neue Stadthalle
• NOVEMBER 2024
  • 07: USA, Houston – Rise Rooftop
  • 08: USA, Dallas – Granada Theater
  • 09: USA, Denver – ReelWorks
  • 15: USA, Chicago – Metro
  • 16: USA, Chicago – Metro
  • 29: Sweden, Göteborg – Film Studios (FutureRetro)
  • 30: Sweden, Stockholm – Berns (FutureRetro)
• DECEMBER 2024
  • 06: France, Lille – The Black Lab
  • 07: France, Paris – Le Trianon
  • 08: UK, London – Electric Ballroom
  • 13: Spain, Barcelona – Sala Apolo
  • 14: Spain, Madrid – Sala La Paqui
  • 25: Germany, Chemnitz – Dark Storm Festival

• JANUARY 2025
  • 10: Denmark, Copenhagen – Pumpehuset
  • 24: Belgium, Brussels – Ancienne Belgique (AB)
  • 25: Belgium, Brussels – Ancienne Belgique (AB)

The post Front 242 Announce Farewell “Black Out” Tour — Their Final Shows Celebrating a 40-Year Legacy of EBM appeared first on Post-Punk.com.

The EP’s standout single, “My Kingdom For A Glimpse,” accompanied by a visually engaging video premiere, anchors this collection of songs that also includes “Rain In Europe” and “A Desert Song.” Together, they weave a sonic narrative that showcases Vincent Christ’s ability to blend classic sensibilities with contemporary sounds.

“My Kingdom For A Glimpse” captures the listener’s imagination with its dynamic synths and rhythmic guitars, evoking the spirit of ’80s film scores while maintaining a sound that’s unmistakably current. Vincent’s vocal delivery bridges the gap between the heartfelt earnestness of Corey Hart and the anthemic presence of Jim Kerr from Simple Minds, creating a track that’s as captivating as it is nostalgic.

“Rain In Europe” shifts the mood to a more introspective space, with its lush, shoegaze-inspired arrangements reminiscent of the atmospheric sounds of Slowdive and Joy Division. This track envelops listeners in a sonic exploration of memory and connection, articulated with a subtle urgency that’s both moving and profound.

Completing the EP, “A Desert Song” offers a reflective take on friendship, marked by its evocative melody and Monty Carlos’ expressive lead guitar. The track paints a vivid picture of contemplation and longing, set against the backdrop of vast, open landscapes.

The video for “My Kingdom For A Glimpse” strips away pretension to offer a genuine look into Vincent Christ’s artistic world. Merging intimate studio moments with the dynamic energy of live performances, the video reveals the unadorned essence of Christ’s music, characterized by a confident ease that draws the viewer into his creative realm.

This visual narrative, crafted with authenticity, contrasts the solitary act of creation with the shared experience of performance, embodying the duality at the heart of Christ’s music. The video not only enhances the EP’s auditory journey but also connects viewers to the tangible roots of musical creation and the shared joy of live art.

Watch the video for My Kingdom For A Glimpse” below:

“Fast Paint,” expertly mixed by Monty Carlos and showcasing Vincent’s versatility across multiple instruments, affirms his dedication to music that transcends time and genre. Each track adds to the story of an artist who is constantly evolving while remaining anchored to the foundational elements of sound and emotion. The EP’s analogue artwork, created by Rocy, visually complements the music’s depth, inviting listeners into the textured, nuanced world of Vincent Christ’s music.

With “Fast Paint,” Vincent Christ continues to chart a course through the music landscape that is as adventurous as it is genuine. This EP is more than a collection of songs; it’s an invitation to immerse oneself in the rich, layered world of Vincent Christ’s music, promising a journey that’s as enriching as it is entertaining.

Order the EP here and listen below:

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The post Listen to the 80s Pop Infused Post-Punk of Vincent Christ’s “Fast Paint” EP — Plus Watch Video for “‘My Kingdom For A Glimpse” appeared first on Post-Punk.com.

In an evocative foray into the nocturnal pulse of Los Angeles ensemble Male Tears unveils their latest visual work, “Sex on Drugs,” aka “SOD,” Filmed and Directed with a keen eye for the surreal by Daniel Maggio & Myles Gilbert, and brought into sharp relief through Kevin Jojo’s meticulous edits, the music video immerses its audience in a Lynchian tableau. The sordid soiree takes place Within the shadowed corners of a nightclub drenched in reds and magentas, where the enigmatic James Edward commands the screen, his performance a study in the art of haunting new romantic allure.

This video draws heavily on the eerie charm of David Lynch and the stylized horror of Giallo films, marrying the exuberance of vintage disco with the brooding depths of darkwave. “Sex on Drugs” emerges as a narrative rich with unanswered questions, and visuals that are a labyrinth of desire and disconnection.

The track itself, a siren song that debuted on the most romantic of days, Valentine’s Day, sees Male Tears exploring newer dance-pop territories. James Edward, the architect behind the band’s sound, weaves together the dark threads of New Romanticism, the electric fervor of EBM, and the neon gloss of Synth Pop and Hi NRG. This concoction is further augmented by the vocal talents of Ryan Flint and Caitlin Stokes of Corlyx, alongside DJ Azy, creating an immersive atmosphere that gives the song tactile texture.

In the music video’s narrative arc, the crowd’s rhythmic sway to the beat juxtaposes sharply with intimate zoom-ins on club-goers. These close-up shots reveal individuals mouthing the lyrics with an eerie calmness, their expressions detached and impassive, adding a layer of haunting dissonance to the vibrant dance floor scene.

Watch the video “SOD” below:

“Sex on Drugs” is a poetic rumination on the quest for love in the shadow of substance, its lyrics painting a vivid picture of the dichotomy between the search for genuine connection and the void that compels one towards the fleeting solace of narcotics. It’s a track that resonates with the hollowed-out heartbeats of a generation, echoing the synthy undercurrents of New Order and the anthemic cries of the Pet Shop Boys, while carving out a niche that is distinctly Male Tears.

As the band soon embarks on a series of live performances, from the intimate settings of El Paso’s Rockhouse Dive Bar Kitchen Venue to the electric atmosphere of The Coffin Club in Portland, and finally, a hometown gig at Los Angeles’ Catch One, “Sex on Drugs” stands as a testament to their evolving sound and vision.

Catch Male Tears live:

• Mar 02 Rockhouse Dive Bar Kitchen Venue El Paso, TX
• Mar 09 The Coffin Club Portland, OR
• Apr 26 Catch One Los Angeles (LA), CA

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The post Los Angeles Darkwave Outfit Male Tears Debuts Lynchian Video for “SOD” aka “Sxx on Drvgs” appeared first on Post-Punk.com.

At its core, “Living for the Night” is a masterful blend of genres, a track that resonates with the house-inflected beats and piano-driven rhythms and harmonies that previously defined an entire generation, capturing the spirit of late 80s and early 90s dance floors with a contemporary freshness that speaks to today’s underground club scene. The song further surprises and delights with its eclectic mix of jazzy trumpets, a blues-infused harmonica, and an array of field recordings, culminating in the unexpected thrill of a Christmas choir.

Chopper, spearheaded by the visionary Jonatan K. Magnussen (The Love Coffin), delivers a sound that is both a tribute and a reinvention, weaving together the threads of post-punk energy and dance-pop elegance into a vibrant frequency of sound.

Beneath the track’s pulsating rhythms lies a lyrical depth that offers a poignant reflection on the fleeting nature of youth. “It’s the same story every evening, it’s the same story every night,” the song begins, capturing the universal quest for meaning in the hedonistic whirl of nightlife. Yet, as the lyrics unfold, they reveal a deeper introspection: “And nobody seems to wonder, nobody seems to care, about the damage that they’re doing, to anyone else but themselves.” This narrative duality serves as a powerful commentary on the self-absorbed, self-destructive patterns that often accompany youthful exuberance, acknowledging the beauty and brutality intertwined in reckless abandon.

The video for “Living for the Night” is a journey through whimsical, introspective, and unguarded moments that perfectly complement the song’s vibrant energy. From scenes of Chopper’s charismatic presence in the back of a cruising car to intimate moments of solitude in a bathtub, the video is an unapologetic celebration of extravagant style. As Chopper wanders the city streets at night, blowing bubbles and taking drags from a cigarette, what transpires is the essence of living in life the moment, unburdened by the weight of the world.

Jonatan K. Magnussen’s insights into the song provide a deeper understanding of its thematic core:

“The song reflects on the experience of being young, self-absorbed, and somewhat self-destructive, repeatedly engaging in unhealthy patterns with the awareness that it constitutes an unsustainable way of living. I perceive the song as both a tribute to and a condemnation of reckless youth, acknowledging that the beauty of youthful carelessness is intertwined with its potential for brutality and damage.”

Watch the video for “Living for the Night” below:

“Living for the Night” emerges as a bold statement from Chopper, setting the tone for the much-anticipated “Shock Pop Vol. II” and solidifying their stylish niche within the ever-evolving post-punk and dance-pop scenes. The song is a clarion call to the night owls and the dreamers, an invitation to dive headfirst into the nocturnal abyss with a sense of liberation and introspection that’s as exhilarating as it is poignant.

“Shock Pop Vol. II” is out on March 22nd.

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