The fusion of Astbury’s distinct vocal style with Black’s electronic landscapes creates a sound that’s both fresh and familiar, challenging the boundaries of genre. Guitars and modular synths weave through the track, building a complex soundscape that pays homage to the roots of both artists while pushing forward into new territories. The collaboration not only showcases their individual strengths but also highlights the potential of cross-genre partnerships in creating innovative music.

Black shares a story about recording the track, highlighting the serendipity and spontaneity that often accompanies creative endeavors.

“Astbury and I agreed that it would be cool to collaborate and since I was already going to LA for a gig,” says Black. “I found a studio. I honestly didn’t know if he would show up, or if some imposter was using his account. Ian showed up. I watched on the studio security cameras as a black SUV pulled up. Ian rolled in with a bag full of notebooks, art books, pens, and stories. We talked for hours. Somehow with only 20 minutes left in our session, he went to the booth and nailed the vocal in 1 take. This was the first time I recorded with a vocalist as they were writing the vocals in my presence,”

Listen below:

Dirge Out marks the second release from the upcoming sophomore album, ‘Infinite Darkness‘, which will see its global release on May 3rd, 2024 via Artoffact Records. Black says it was Astbury who pushed him to get to it. “I was on the bullet train from Osaka to Tokyo when he texted me “you should call your record Infinite Darkness.” How could I refuse?” Black comments.

Produced over the span of five years, the album features incredible talent, including ACTORS, Louisahhh, Michele Lamy, Front Line Assembly, and more!

Pre-order Infinite Darkness here.

Bryan Black, also known as Black Asteroid, kick-started his music career as a sound designer and keyboard technician for Prince at Paisley Park Studios in Minneapolis. Diving into his own creative endeavours, Black produced music under the aliases Haloblack and Motor, catching the attention of Depeche Mode’s Martin Gore. This led to a collaboration that produced the top 40 hit Man Made Machine and tours with Depeche Mode. Black Asteroid emerged on the scene with the debut single Engine 1 in 2011, showcasing a distinctive industrial techno sound that gained rapid popularity and secured him spots in prestigious clubs and festivals globally.

His debut album Thrust, released in 2017, featured a mix of crossover singles with contributions from artists like Zola Jesus and Cold Cave, highlighting Black’s penchant for integrating song structures and vocals into techno. Following this, 2023 saw Black exploring experimental sounds in the EPs Acid Flesh and New Flesh.

Follow Black Asteroid:

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The post The Cult’s Ian Astbury Collaborates with Black Asteroid on Haunting Electronic Music Track “Dirge Out” appeared first on Post-Punk.com.

Through the winding, wild years, the Carpenter-Davies trio has been churning out tunes like there’s no tomorrow, dropping a cool dozen sonic bombs that range from full-blown studio masterpieces to the spine-tingling scores of David Gordon Green’s Halloween reboots. The gang’s got music in their marrow – Daniel’s father is Dave Davies of The Kinks. For years he has dropped by the Carpenters’ L.A. beat factory to riff with the fam or take the stage at one of John’s legendary movie wrap shindigs. It’s this kind of kismet that makes Lost Themes IV: Noir glide smoother than a greased-up DeLorean. The trio hit the creative jackpot, and Noir is the proof in the pudding.

Lost Themes IV: Noir is hitting the shelves and streaming platforms this May 3rd, courtesy Sacred Bones Records. To whip up a frenzy, the trio dropped a killer music video for My Name Is Death, the album’s lead single – which doubles as a bite-sized noir thriller, all thanks to the directorial genius of Ambar Navarro.

“Noir is a uniquely American genre born in post-war cinema,” states John Carpenter. “ We grew up loving Noir and were influenced by it for this new album.  The video celebrates this style and our new song, My Name is Death.”

This track is a whole new playground for Carpenter and the gang, riding in on a wave of post-punk bass that’s as relentless as Chandler’s Philip Marlowe himself. The atmosphere’s thick with synths, the drum machine’s got a heartbeat of its own, and just when you think it can’t get any hotter, in comes a guitar solo that sets the whole scene ablaze. The clip a classic mystery with a twist, featuring a lineup of faces you might just recognize, including Natalie Mering (Weyes Blood), Staz Lindes (The Paranoyds), and Misha Lindes (SadGirl) for bringing the drama. Buckle up, because My Name Is Death is about to take you on a wild ride.

Watch below:

“Sandy [King, John’s wife and producer] had given John a book for Christmas, of pictures from noir films, all stills from that era,” Davies says of the lightbulb moment for Lost Themes IV. “I was looking through it, and I thought, ‘I like that imagery, and what those titles make me think of. What if we loosely based it around that? What if the titles were of some of John’s favorite noir films?’” Like the film genre they were influenced by, what makes the songs on Lost Themes IV “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”

Pre-order Lost Themes IV: Noir here in the following formats:

• Sacred Bones Exclusive Red on Clear Splatter vinyl w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• Sacred Bones Society Exclusive on Black and White Splatter on Clear w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.

• All retail Transparent Red, with a Gold Foil Stamped Jacket and poster.

• Indie Exclusive Tan and Black Marble, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Rough Trade Exclusive Oxblood Red and Black Splatter, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Shout Exclusive Black and Clear cloudy, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.

• Black LP, with a Gold Foil Stamped Jacket and poster.

• CD

• Tape

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The post John Carpenter Debuts Video for “My Name Is Death” from “Lost Themes IV: Noir” appeared first on Post-Punk.com.

All this hell for a sliver of hard-earned heaven? Vanderwolf thinks – nay, knows so. The artist, who wound his way from NYC to LA, unveils a futuristic folk treatise on trials of work: The 6.09, the latest single from his upcoming album The Great Bewilderment, set for release on March 13th.

In The 6.09, Vanderwolf’s vocals take flight, weaving through acoustic verses to deliver a poignant critique of contemporary society, all within the framework of a psychedelic-folk-rock ballad. Vanderwolf finds keen allies in Billy Bragg, Heaven 17, Anne Clark and Midnight Oil in sentiment, but their earnest neofolk sound hearkens back all the way to Phil Ochs and Led Zeppelin.

Accompanying the song is a music video crafted by Alden Volney, featuring a sequence of animations that embark on a dark and twisted journey. It is wryly dark, with imagery of a head trapped in a rotating box, MC Escher-esque loops, and the false cheeriness of social media trying to sell your own dopamine back to you. Strangely satisfying, indeed.

Watch the video for “The 6.09” below:

“The Great Bewilderment is a complexly layered reflection of my recent years courting chaos and rootlessness, arriving, leaving, settling and unsettling,” says Vanderwolf. “It’s a collection of interweaving hellos and goodbyes. It’s about leaving certain things behind and, conversely, claiming those things that can be known in the here and now. It’s about coming to terms with a sense of place — after a long period of exile and some self-imposed restlessness. Finally, it is about what can be known. And what can be appreciated as truly valuable in this world despite the bewildering context of war and mass extinction.”

Vanderwolf’s acclaimed 2021 solo debut, 12 Little Killers, saw the native New Yorker roam around garage rock, glam, Americana, psych and blues with the vocals willfully varied. Here, his scope is generally more epic. Vanderwolf remains an explorer, but The Great Bewilderment finds him more focused, despite his wide-ranging vision. While the former album was written and recorded during Vanderwolf’s final years in London following the break-up of his former band Last Man Standing, The Great Bewilderment’s eight songs were mostly written or recorded during the pandemic.

“12 Little Killers grew out of restlessness, personal mistakes and chaos, much of which continued into the pandemic: I lost a friend and mentor in (record producer) Hal Willner, my father died and I never lived anywhere for more than a few months.’’

Parallel to his work as a musician, Vanderwolf has enjoyed a hugely successful career as a music programmer and concert producer: for 9 years he produced the Meltdown Festival.

Facing another New York winter where infection rates were rising, the promise of LA was irresistible. ‘’When I came out to LA and began rehearsing and recording, much of that chaos subsided. LA allows you to enjoy the illusion of paradise. And in the height of the pandemic — that illusion was nurturing.’’

With a fresh batch of songs ready to be rehearsed, Vanderwolf worked with drummer Angie Scarpa, guitarist Dusty Meadows, and bassist H Chris Roy.

Pre-save The Great Bewilderment LP, out 13 March, here.

Post-Punk.com had a few questions to ask of Vanderwolf, who talked about his nomadic past, the music video, and hopes for the album.

1. You’ve spent much of your life in London and New York, however, this record was made primarily in Los Angeles. Did recording in a new location change your approach, or influence the record’s sound in any way?
 
Yes – it undoubtedly influenced the record in ways that are often quite mysterious — and that’s part of the inexplicable and elusive magic of  LA or California — and definitely, of Laurel Canyon.

But there were also some impactful elements that can be explained. I moved to LA during the pandemic — after NYC became an increasingly unattractive scenario. So in some ways I was seeking  refuge. These were tender times for everyone. Just gathering with friends required caution. Gathering friends to make music was practically a political act. It both engaged in and defied some pandemic protocol. Our earliest rehearsals had to be outside. I was living in this weird empty house at the very top of Laurel Canyon in a development called Mount Olympus. It has its own microclimate. The owner of the house was one of the Shah’s of the Sunset Strip Tv show and he’d stash all his equipment and outdoor furniture at this location. Nothing worked. It was a mess. But it was on top of a mountain with incredibly expansive views of LA out to the ocean. There was a feeling of space. A feeling of vast possibilities. And there was time. We didnt rush this music. We allowed the arrangement to breathe. We tried out many ideas, made modifications, tried again, wrote new bits, jammed…and this approach carried  into the studio sessions which were in Silver Lake about a year later. Most of what you hear was recorded live.

2. The music video for “The 6.09” sees a collection of repetitive, “satisfying”animations eventually turn dark and twisted. Where did the idea for the video come from, and what was the process of creating it like?

This was my 4th video with Alden Volney and he’s really a kind of genius. I knew I didnt want an illustration of the songs’ lyrics. They tell certain story that I think is quite complete and self-contained. The question was, what can we bring to this story or what kind of different story can we overlay on it. I really had my doubts when he told me his idea. But he really hates those ”relaxation video” — and I could see why they were disturbing to him. And if we could show the complacency they inspire– as a kind of  drug– I thought we might have something. So I really let him get on with the work. The only thing I asked him to do was add more emphasis to the dark and twisted section of the song….it needed to be darker and more twisted.
 
3. What do you hope your audience takes away from your upcoming record, The Great Bewilderment?

There’s a long list of possible  take-aways. First of all its 45-minutes of music so what I primarily hope is that people will listen to it as an album. I know that’s a rare thing these days. People will watch their favorite  Netflix series for 115 hours of their lives But these days music doesn’t seem to garner an audience’s attention for long. The album doesnt sit in any genre-specific territory so it’s best heard as a composite…and as a journey..or an epic film. As far as themes, there’s a lot to take away…themes of complacency, confusion, bewilderment all contributing to a kind of  paralysis. The song, Gaza, arguably the centerpiece of the album, was written long before the middle-east conflict erupted into this disgusting war. It depicts an inability to connect with political struggles and failures of public policy that lead to the kind of  wars we see now. Back when I wrote it, most people couldn’t find  Gaza on a map. The many years of neglect and our inability to recognise the plight of Gaza was so clearly going to be complicit in the explosion of this current conflict. And this is true for countless other places in the world also suffering from this same kind of  neglect. The song could have easily been titled, Haiti, or the Democratic Republic of  Congo. So maybe there is an opportunity for people to address their own sense of  bewilderment about the world. Other than that,  there’s a lot of  love and loss on this record. Who can’t relate to that?

The Great Bewilderment will be available via all DSPs on March 13th.

Follow Vanderwolf:

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The post Vanderwolf Debuts Surreal Video for Psychedelic Ballad “The 6.09” appeared first on Post-Punk.com.

In the grand tragicomedy of human affection, one might ponder—why must love, that most capricious of emotions, be as perplexing as a Rubik’s Cube rearranged in the dark? The conundrum of nurturing bonds with those to whom our hearts are most tethered, a task both maddening and magnificently fulfilling, is the very meat and mead of Ex-Hyena’s latest offering. Spiral Down. Their sophomore single from A Kiss of the Mind, the band’s first release through Re:Mission Entertainment, dances on the knife-edge of ecstasy and agony. This throbbing leviathan of a track, now further transmogrified by MORIS BLAK’s industrially-tinged, delightfully anarchic remix, invites us to a ball where the music is as richly layered as the human heart itself.

In Spiral Down, Reuben Bettsak and Bo Barringer of Ex-Hyena craft a dystopian banger, plunging listeners into the vortex of our tumultuous present—a blend of reality and the collective anxiety about what the future holds. This track is a deep dive into a kaleidoscopic web of introspection, weaving through doubt, confusion, yearning, and solitude, yet also finding moments of illumination, contrast, and allure. Under Barringer’s production and mixing, with Adam Stillson’s mastering touch at Decade Music Studio, Spiral Down emerges as a powerful opener in the band’s current live repertoire. The track showcases Ex-Hyena’s dynamic range through swirling keyboard layers, deep, resonant bass, and driving, hypnotic rhythms, fully embodying their dark energy.

“Spiral Down is a journey, it feels more expansive,” says Barringer. “At the beginning of the track, it starts out in a much brighter and bouncier place than anything we’ve recorded, but as it continues it goes deeper and deeper into the menace.”

“One of the main reasons we make music and art is that it’s therapeutic and healing,” adds Bettsak. “Through a song or story, we can attempt to process very complex things in our lives…The lyrics-’In molten love I found your kisses, where shadows form and for the season. It feels like pain, it feels like pleasure,’ explore the ying/yang at the root of love….I think love is beautiful and ghastly at the same time. I think it’s ultimately worth it, but can sometimes feel like a deep pit of chaos and confusion. And it’s not just love with people close to us, but also in regards to love of ourselves.”

The MORIS BLAK remix elevates the track to new heights with its intense, high-energy beats that not only allow the melodies to stand out but also showcase the distinctive flair of the MORIS BLAK universe. Accompanying this is a music video directed by Bettsak, featuring dancer Ava Grebe. Through her expressive and dramatic dance movements, Grebe embodies the dual themes of pleasure and pain that are central to the song. Set against the visual projections by JST-N, her performance—spinning, twirling, and shaking—captures the intricate dance of love’s contrasting emotions, bringing the music’s underlying narrative to life.

Watch the video for the Moris Blak remix of “Spiral Down” below:

Since its inception in 2020, surfacing through the haze of a global pandemic and illuminated by the city’s darkest corners, Ex-Hyena has delivered a steady and prolific beat across underground dance floors, with two albums (2021’s Artificial Pulse and 2022’s Moon Reflections), a remix album (2023’s Moon Reflections Remixed), a handful of singles and EPs, and collaborations with Control I’m Here, Hororhaus, BlakLight, Pleasure Policy, Jackson VanHorn, Denial Waits, Blood Handsome, The Mystic Underground, Maduro, and others.

From here, the beat rolls on, and Ex-Hyena’s future-noir styling would not be complete without a look ahead. A Kiss of the Mind is slated for early 2024 release, and will see the band playing many shows in support of the album.

“A lot of the songs from A Kiss of the Mind, including ‘Spiral Down’, deal with the challenge of communicating with one another,” says Betsak. “It can be so hard to understand each other even when we know each other so well. It can be difficult to understand each other even when we know the same language and this modern world makes it even harder with all the distractions…Essentially, we are just thrilled to share the new album with everyone, work with this great label, play shows, meet great people, and collaborate, because it’s those moments, viewed and absorbed at whatever speed they play out, that shape the world in front of us.”

Follow Ex-Hyena:

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Ex-Hyena x Spiral Down Press Release

The post Dark Electronic Music Duo Ex-Hyena Debut Dance-Driven Video for the MORIS BLAK Remix of “Spiral Down” appeared first on Post-Punk.com.

This isn’t your garden-variety musical endeavour. Lana Del Rabies, the brainchild of Phoenix multimedia artist and producer Sam An  – refuses to be hemmed in by the pedestrian boundaries of genre. Del Rabies is an avant-garde master lamenting the wounded world,” suffused with echoes of trip-hop, early experimental post-punk in the vein of Fad Gadget and John Foxx; the eerie mystery of Delia Derbyshire’s experiments for the BBC, a whiff of Karlheinz Stockhausen, and the atmospheric noise collages of Puce Mary and Zola Jesus’s alter ego NIKA. The resulting hauntingly beautiful soundscape ripples through us with the energies of grief, loss, and despair.

Lana Del Rabies explores the ethereal crevices between dreams, a kind of auditory alchemy that stirs up wonder and transcendent immersion. In short, this sorceress conjures spirit through song.

STREGA BEATA is best described as an apocalyptic fairy tale set to a dense, emotive symphony of existential dread and cathartic release, wrapped in a title that hints at otherworldly escapades.  A cryptic “Mother” figure delivers her oracle; her voice a patchwork of eerie harmonies, whispered secrets, desperate cries, and the occasional frenetic scream aimed at another character, the proverbial chosen one.

Now, as we saunter into 2024, Lana Del Rabies is remixing this mythic opus.  Becoming Everything: Strega Beata Remixed transforms the source material through the lens of gothic industrial. This version is a veritable who’s who of the industrial, darkwave, and experimental music scene, featuring collaborations with both the crème de la crème and the bright-eyed newcomers of the genre: Plack Blague, MVTANT, Bara Hari, and the cadenced experimental opera from the mastery of White Boy Scream and Cruel Diagonals.

“There is a specific type of grief that comes from witnessing the brutality of what humans are capable of towards each other,” An remarked upon the album. “If that grief goes unprocessed, it is doomed to also manifest as brutality. “There have been many moments while writing this record that I was grieving through an event that was personal or worldwide, and then another sudden, tragic event would happen. I needed to re-evaluate what I wanted to say because my world and perspective had shifted again. Trying to keep up with tragedy can make one feel helpless, and one way to feel in control is through acts of destruction. My personal impulse towards destruction nearly ended this project.”

Becoming Everything: Strega Beata Remixed is out now. Order here, and listen below:

Follow Lana Del Rabies:

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The post Dark Electronic Music Artist Lana Del Rabies Releases “Strega Beata Remixed” appeared first on Post-Punk.com.

Jack Milwaukee, aka M!R!M, infused his signature dreamy lo-fi bedroom synthpop sound into this exquisite reinterpretation of Into The Night. The more guitar-heavy original, with a psychedelic plodding sound evoking Echo and the Bunnymen, has been transformed into a soaring darkwave number with glistening synths.

Accompanying the new version of the song is a visually arresting music video, the handiwork of the band’s drummer, Thomas Schamann, endearingly referred to as “glitchboy.” This self-directed visual narrative artfully stitches together scenes from their vibrant Fall 2021 tour with M!R!M. As it unfolds, the video traverses the landscapes of Germany, France, and the Czech Republic, each frame offering an intimate lens into Bleib Modern’s vigorous live performances and their creative journey. It’s a piece that not only complements the music but also provides a window into the band’s spirited sojourns and artistic endeavours.

Watch the video for the M!R!M Remix of “Into The Night” below:

2 Afraid 2 Leave is an eclectic treasure trove of collaboratio, from the pulsating club rendition of Bitter Smile by IV Horsemen, to Danish artist Dune Messiah’ crooner version of Loony Voices. The album also boasts contributions from luminaries like The KVB, The Underground Youth, Blind Delon, Shad Shadows, and an array of side projects by Bleib Modern’s own members.

2 Afraid 2 Leave is set for release on February 23rd by Wave Tension Records (vinyl) and Icy Cold Records.

You can pre-order it here.

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The post Berlin-Based Post-Punk Ensemble Bleib Modern Unveil Video for M!R!M Remix of “Into The Night” appeared first on Post-Punk.com.

The Gothic Beauty Subscription Box 54 was such a treasure to come home to on a cold, rainy December night after shooting a show on the Bowery. I positively cackled at its delightful contents, swaddled in charming skull paper and purple confetti. What macabre marvels awaited this elder darkwave dame?

A full-sized LashyDoodle eyeshadow palette in Halloween colours galore – doesn’t matter if your mood is Strawberry Switchblade, Steve Strange or Siouxsie Sioux; there’s something for everyone to play with, in stunning, bright pigments. It blends effortlessly in a rich powder that does not flake. 

They didn’t skimp on the LashyDoodle eyeliner, either: you’re not only covered with the full-sized eyeliner pen, which glides over your peepers beautifully – but comes with a darling bonus: a spiderweb stamp. Give yourself a beauty mark to draw admirers toward you, asking in hushed wonder, “Is that a spiderweb on your face?” 

“Yes – several, in fact,” I’ll respond with a sinister gleam in my eye. “I went…a little mad.”

If you need concealer or highlighter to bring out a more ghoulish complexion to entice a vampire lover, you get a small tub of Dark Asteroid Pretty Pale White Shimmer Creme. It glitters, glistens and glides over your skin with soft matte ease, making you look otherworldly AND fresh-faced. 

For fragrance lovers, there is a perfume roller from Spooky Spirits in a delicious Blood Orange Clove Autumn scent. It’s intoxicating, mysterious, and sure to attract abundance with its potency. Purists will love that it’s 100% steam-distilled jojoba, clove and orange oils – nothing yucky there to hurt those with sensitive skin.

Eerie Baubles also contributed two spooky little items: a fun bat necklace that can adjust between choker length and something less asphyxiating; and one of two rings. The one I received was a darling sterling silver cat-shaped pinky ring with tiny paws hugging your finger, and a heartwarmingly simple kitty face. 

Need a “stiff” drink? They also sent along a Castle Murk silicone ice cube mould for making skull-shaped ice. Serve your guests the chill of Death, or treat yourself to an iced coffee that really gets you. It’s also suitable to craft skull-shaped candy, sure to be the hit of the horror d’oeuvre tray!

It’s chilly in the Big Apple, so it was wonderful to uncover a lovely set of FootClothes socks to pair with your creepers and Docs. This well-made, sturdy hosiery is cozy and stylish: mine had a nice haunted cathedral emblazoned on them, perfect for chasing spectral organ players who dwell in the catacombs of the opera house, or lurking in the rolling hills of Green-Wood Cemetery.

A few more goodies were thrown in there, including a Lip Service sticker and postcard offering a 10% discount, and a sticker from Gothic Beauty Magazine. 

This would certainly make a good Christmas gift, whether you are new to the scene, or a Goth parent.

Pick up your Gothic Beauty box here!

The post Print is Undead — Opening the Gothic Beauty Box appeared first on Post-Punk.com.

“Kill Cave” serves as a hauntingly poignant tribute to those on society’s fringes, evoking the enduring tales of enigmatic women who have been historically misunderstood and marginalized. This collaboration seamlessly melds the distinctive styles of both artists, yielding a composition that is both shadowy and enigmatic, simultaneously possessing elements of beauty and the macabre. Within their artistic underworld, darkness converges with the divine.

Suzi Sabotage, renowned as a Finnish songstress who effortlessly fuses dark coldwave with synthpunk, crafts an ethereal yet danceable auditory landscape, occasionally embellished with the haunting strains of the Finnish kantele.

“Suzi Sabotage was my first choice to join us in this song,” gushes Caitlin Stokes of Corlyx. “I love her powerful iconic energy, and she brought some fresh ideas to the song. We had a blast making the music video together, front women rarely collaborate, and I think we need to see more of this…our unique beauty in harmony is powerful and enchanting.”

“It’s been an unforgettable, wonderfully berserk experience to collaborate with Corlyx, especially flying over to Italy to film the music video with them,” Suzi Sabotage recalls. “I handpicked the song myself out of different alternatives because it immediately took my breath away, sounding like a modern darkwave classic. They’re talented, lovely people who I think should become THE name on everyone’s lips in the goth scene.”

The music video, a captivating visual accompaniment that harmonizes seamlessly with the track’s ethereal nuances, emerged from a collaborative endeavour led by director and editor Caitlin Stokes. Stokes skillfully translates the essence of the song’s lyrics into a compelling cinematic narrative. Through her direction and editing prowess, the video paints a vivid picture of a voyage of self-exploration and the process of discarding ill-conceived facades.

Watch the video for “Kill Cave” below:

You can also stream the track below:

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The post Darkwave Artists Corlyx & Suzi Sabotage Join Forces in Their Macabre Video for “Kill Cave” appeared first on Post-Punk.com.

“This is one of the more existential tracks on ‘Los Angeles,’ the band muses.

“It’s an homage to Philip Glass, Ron Fricke, and Godfrey Reggio’s Koyaanisqatsi, with words by Isaac Brock,” notes Budgie.

“Isaac is one of the most unique voices that we have. He’s brilliant,” adds Jacknife. “He gave us this weird, anxious, beautiful rush of a song. To pump up the duality within the song my daughters and I came up with a chorus that made us giddy with its ridiculousness. The song is absurd. The sound is absurd. And it’s about bugs.”

With its eclectic mix of styles, Lol also asks, “Where else do you get Strings, DAF synths and Bhangra-Punjabi style percussion? Plus you get Isaac Brock and Jacknife and his daughters singing up a beautiful storm of a track.”

With the kind of wild abandon only Daniel Rashid can capture on film, the latest track’s video is nothing short of bedlam. It showcases the multifaceted actor Fred Armisen (himself, once the drummer in the punk band Trenchmouth), clearly throwing caution to the wind, cavorting with Lol and Budgie, not to mention the curious addition of a disembodied Brock.

“The video has me and Lol as Clockwork Orange Droogs Drumming on a Cadillac, while Fred Armisen takes a Sledgehammer to a WC,” notes Budgie. Armisen adds, “I loved being a part of this. I feel very lucky that I got to work with Budgie and Lol… It gave me a feeling of ‘drummers unite!’”

Watch the bedlam unfold below:

Stemming from an insatiable itch of wonder, the trio behind “Los Angeles” boasts of the post-punk drumming luminaries: The Cure’s Lol Tolhurst and Budgie of Siouxsie & The Banshees fame. As if that weren’t enough, throw in the astonishing talents of that maestro of sound, Garret ‘Jacknife’ Lee, and the result is an audacious, pulse-quickening, near-hour jaunt at the fringe of musical avant-garde.

Their undeniable prowess with the drumstick sets the stage. Yet, the record spills over with synth beats and guitar riffs, mostly Jacknife’s playground, punctuated further with beats that add a certain je ne sais quoi to the overall sound. Elevated by an exquisite ensemble of strings and brass, the auditory experience envelops listeners in a lush and captivating embrace. With the acumen of an expert, Lee, in his role as producer, deftly manipulates, refines, and astutely arranges each layer, culminating in a compelling display of musical sophistication.

After parting ways with The Cure in 1989, Tolhurst embarked on personal journeys of both the heart and geography, culminating in his settling in Los Angeles by 1994. Budgie, too, was drawn to L.A.’s allure in the mid-2000s but was serendipitously redirected to Berlin by the twin forces of romance and family. Their initial attempts to recapture their magic unfolded in varied locales, from a coastal haven in Morro Bay to the domain of rock drummer Tommy Lee. Yet, their efforts felt inauthentic, as if they were attempting to recreate versions of their younger selves.

“As we were finishing, Lol turns to me and says, ‘I think we should do something together,” muses Budgie. “With these things, I usually go away and forget, but for once in my life I said to myself, ‘Yeah good idea!’”

There are plans underway to bring the record “Los Angeles” from the studio to the stage for live performances that will showcase this new collaborative project worldwide.

The album can be pre-ordered now on CD and vinyl via the band’s webstore.

In addition to the album, Lol Tolhurst released his second book, GOTH: A History, on the September 26th of September in the U.S. via Hachette Books. The engaging historical memoir of Goth music and the culture explores creative giants like The Cure, Siouxsie and the Banshees, Bauhaus, Joy Division, and many more great bands that offered a place of refuge for the misfits of the 80s and ever since. GOTH offers a fascinating deep dive with stories and anecdotes from Tolhurst’s personal memories as well as the musicians, magicians, and artists who made goth an inevitable and enduring movement.

Pick up a copy here

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To commemorate the LP’s announcement, the group have also shared its first single, “Memory Mirror Overfloweth.”

John Dwyer describes the avant-garde effort as “an experiment in symphonic improvisation paired with synthesizer-scapes. Strings, reeds, synths & hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board, I knew we were going to be OK.”

The album was recorded and mixed at Stu-Stu-Studio in Los Angeles and remotely. The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TVOTR, Rain Machine, etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO).

“This one was a slow burn to see the light of day,” says Dwyer. “And here it is in its final crystal form. Celebrating the spaces between ritual, habit, and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daly ritual, contemplation and meditation.”

Listen to the full album below:

We had a few questions for John about this intriguing and inscrutable Tangerine Dream-meets-Eno extravaganza:

Could you talk about your collaboration with YoshimiO on the album? How did that come to be and what was it like working together?

It was remote, so we didn’t really get to “hang,” but we have met briefly in the past. Basically i reached out to hear through a common friend and it turned out this project sounded eerily like her newer set of recordings, so it was just kinda kismet…and just as expected, she brought something completely original to the mix. Couldn’t be happier with her contribution to the opening track of the album.

How do the ideas of ritual, habit, and ceremony interact with each other? How did those concepts inspire you to create this record?

My daily life is full of these things, and I think they are interchangeable as far as title goes – even the act of improvisation, practice, writing or performing are ritual in my mind…certainly cathartic, when it goes well. There’s something cleansing in the freedom of spontaneous music, and then comes the ceremony of editing to make it palatable to anyone not in the moment with us. Not so much cutting up, but a proper mix, really. All of these things are in constant crossover and necessary parts of my life to keep the wolf from the door.

Is this ever a project that you would perform live with? Or do you think it lives best as studio recordings?

I would like to, but that is likely not in the cards as the players/singers live all over the globe, and I’m already up my ass in Thee Oh Sees. What a pickle!

The post John Dwyer Assembles Supergroup for Release of RITUAL/HABIT/CEREMONY LP appeared first on Post-Punk.com.