Before the publication of the memoir, Russian label Infinite Dawn had pressed a vinyl reissue of Peter’s first solo outing, 1999’s excellent Pathways and Dawns, which was originally released on Projekt Records and among additional tracks, contains both sides of the Taqaharu’s Leaving 12” from 1990. Peter has issued several releases since, including a follow-up solo record in 2005 and a trio of releases under The Peter Ulrich Collaboration. I had the pleasure of meeting with Peter and friends/cohorts Bret Helm (Audra, Unto Ashes, Black Tape for a Blue Girl) and Greg Fasolino (The Harrow, Bell Hollow, The Naked and the Dead) for a discussion of Dead Can Dance’s music, in which we ranked the band’s records and interviewed Peter about his career in addition to his memoir. As a follow up – Peter has lovingly constructed an addendum to his memoir that covers the events since the book’s release, and we’re honored to publish it here.

Without any further ado…

Addendum to:
Drumming with DEAD CAN DANCE and Parallel Adventures
the published memoir by Peter Ulrich

Such is the process of bringing a book into being, two years drifted past between my completion of my memoir and its publication in November 2022. A significant chunk of this period saw the world on pause while health organisations struggled valiantly to contain and control Covid 19, then tentatively emerging from its bunker. As we now head into 2024, another year and a bit has escaped since publication, and this overall extended period has thrown up some further ‘parallel adventures’ and reflections from which I offer this addendum:

April 2022. Following enforced cancellations of tour on tour, Dead Can Dance finally hit the road on a re-scheduled European Tour. Shortly beforehand, I heard from Brendan that preparations had been thrown out of kilter when Lisa went down with Covid while touring with Hans Zimmer’s orchestra, and a bad reaction caused her to miss virtually all the DCD rehearsal period – both a nasty scare for Lisa and a significant issue for Brendan who was introducing new arrangements of several DCD classics.

Percussionist David Kuckhermann was not available this time – principally because of commitments to his young family (ah, that rings a bell) – so Brendan was also re-arranging and redistributing percussion parts. For the support act, long-established DCD touring band members Astrid Williamson and Jules Maxwell would step into the breach, taking turns to open the shows with selections from their respective solo catalogues. In the months preceding the tour, I’d tried to help Jules arrange a couple of low-key warm-up gigs in England, but my efforts had fallen on stony ground, largely again because of the reluctance of venues to commit while the Covid threat still lurked menacingly in the wings.

The tour was scheduled to open in Glasgow on April 7th. As this would be DCD’s first ever show in Scotland, a couple of days later was our daughter Ellie’s birthday, and we (Ulrich family) had long wanted to visit the lands north of the border, Nicki booked the trip. In the foyer of the Royal Concert Hall before the show I was re-acquainted with Looby – the first time we’d seen each other since he’d toured with us back in 1987. Despite the passage in time, we recognised each other instantly, though he immediately demanded to know what had happened to the slug that used to live under my nose – an appendage which I hadn’t sported for nearly as long as I’d not seen Looby, and which we agreed had never been a good look (despite Confucius maintaining that ‘A man without a moustache is a man without a soul’). Also in the foyer was old DCD stalwart Tony Hill, making me envious as he was planning to get along to several shows on the tour while this would be my one and only.

I’d assumed Astrid would provide the opening set in her native land – albeit she’s a Shetlander – but it was Jules who took the stage, and surprised me with a set of folk songs rather than the more ambient, filmic repertoire I’d expected. Then, as the houselights dimmed, I waiting curiously to see how DCD would be greeted in Glasgow – notoriously difficult to win over! The initial reception was very warm, then took a while to properly lift-off, but ultimately the audience brought the house down for the encores as Brendan apologised that ‘it’s only taken us 40 years to get here!’ For a tour opening night, the performance was remarkably relaxed, with both Brendan’s and Lisa’s voices already hitting the highs, Astrid and Jules front of stage either side, Dan providing the percussive bedrock, Robbie flitting seamlessly from instrument to instrument as ever, and Richard supplementing his bass playing with some accomplished forays into the percussion department. The set covered pretty much the entire 40 year span of DCD’s canon and included seven or eight of the pieces we’d played live back in my drumming days. Amongst the new arrangements, I particularly liked how Brendan had breathed new life into “In Power We Entrust…” and “Severance”.

After the show we managed a quick chat with Brendan, Jules and Robbie before the DCD tour bus rolled out of town, leaving us with a couple more days in Glasgow, then a few days up around Loch Lomond. While our Tartan adventure was great, I was curious to know how DCD had fared the following night in Manchester Cathedral. Cathedrals can offer magnificent settings, but the acoustics can be very difficult to manage. I badgered Tony Hill for a report from the front line in the knowledge that, as a Manc, he’d be there on home soil. He’d been surprised – and in turn surprised me – to find that the audience was all standing, and reported that there’d been some mildly aggravated jostling around the Cathedral’s great pillars for a better view of the stage. But Tony had found the sound to be ‘special’ and considers that night’s rendition of “The Host of Seraphim” to be the best live version he’s ever encountered.

Back home, and rummaging around Norwich vintage emporium ‘Loose’s’, I came across an old bass (kick) drum case concealed under a rack of hanging rugs. I pulled it out to find the name ‘The Monochrome Set’ stencilled across the lid, a band I never saw, and whose path DCD didn’t cross during our early touring, but who are on my radar from having featured on the seminal and wonderful 1979 Cherry Red compilation album “Pillows and Prayers”. Both case and drum inside were in ‘heavily used’ condition, but after a light bit of bargaining, I secured it for 40 quid. Although the heads were knackered and a few of the tensioning bolts had seen better days, the shell was sound and it is, I believe, an old Tama Swingstar model, which will bring a tear to the eye of a fair few drummers from back in the day. With the noble efforts of Tristan who runs Drum Attic somewhere in deepest Somerset and keeps an heroic stock of salvaged parts from days of yore, and the purchase of a new pair of Evans EMAD heads, the Tama’s restoration is nearing completion, ready to feature in an upcoming recording. It seems to add something that there’s a bit of history behind it.

It’s been widely reported that Covid lockdowns caused much hardship to musicians prevented from earning their crust through live performance and having to rely on income from sales and airplay. This, in turn, brought back into sharp focus the issue of the pitiful level of payments squeezed out to songwriters by the various download and streaming services. Glancing through my own statement for the April 2022 royalty distribution from the PRS (the UK’s Performing Right Society) gave me a reminder close to home. To pick just one example, my song “The Scryer and the Shewstone” had registered a total of 215 streams/downloads across monitored European territories in the previous accounted quarter. As sole songwriter, I retain a relatively high 75% of the income on that song (the other 25% going to the publisher) – yet in total for that, I received the princely sum of 15.62 pence!

At much the same moment, I happened to read a newspaper article which referenced a tweet by former Undertones singer Feargal Sharkey from March 2021 that a UK musician would need to register 7,343,157 streams per month just to pocket the legal ‘minimum wage’. The same article observed that, while eight out of 10 music creators earn less than £200 per year from streaming, the average base salary for Spotify employees in the UK is (or was then) £60,563 per annum, while in late 2023 it was widely reported that Spotify Chief Financial Officer Paul Vogel resigned his post after cashing in $9.3M worth of shares in the company. In Europe, new copyright regulations should now be starting to bring musicians an increased share of the proceeds of digital streaming, but thanks to the UK’s near-suicidal ‘Brexit’ vote and a government with its thoughts elsewhere, British musicians are back to square one. ‘Mad’ and ‘world’ spring to mind.

May 2022 brought down the curtain on the English Premier League football (soccer) season which saw Norwich City claim the dubious honour of becoming the most relegated club – having now managed the feat six times in the League’s 30 year history. I attended all but three matches, only missing two of those because I contracted Covid on the away trip to Newcastle and had to self-isolate for 10 days. I was lucky, thanks to the vaccinations, to get away with a few days with a bad cough. In a generally dismal season, the outstanding highlight was a 3-0 away win at Elton John’s Watford back in January, but ultimately both teams went down. Sir Elton apparently didn’t bear a grudge as Norwich’s Carrow Road stadium hosted a concert on his Farewell Yellow Brick Road tour in June.

When embarking on my memoir, I had no idea of the grief that lay in store when it would come to tracking down the images I wanted, and gathering the necessary signed permissions. It was epic – writing the book had been the easy bit! At final reckoning, we ended up with 32 illustrations and – I think – a decent balance between images already well-known to DCD fans, and others newly revealed. Several I found and would like to have used eluded me, but one in particular still bugs me. I didn’t even know of its existence until after I’d finished writing the text and Brendan emailed me a photo he’d found online with the subject line: “Hardly recognised you!” It had been taken at an in-store “meet’n’greet” in Paris in 1989 to which I’d accompanied Lisa because Brendan didn’t want to do it. The picture is amusingly odd in that, despite being over 30 and already a father when it was taken, I appear to be about 12 years old. I’m looking over Lisa’s shoulder as she signs an autograph, and there’s a promotional backdrop of “Serpent’s Egg” album covers behind us. The photo is (or was) uploaded on the Pinterest page of a user called only ‘Yaroslava’, but all attempts to contact her failed or were ignored, and in any case, it looks to be a picture she probably downloaded from a third party source, though we could find no trace of an original. It would have been very different from all the other images in the book, and it neatly illustrates a specific event described in the text… but it wasn’t to be.

DCD announced another European tour for the autumn/fall of 2022, and confirmed the re-scheduled US/Canada/Mexico dates for spring 2023. While the Americas tour broadly set about reinstating the shows cancelled and re-cancelled through the pandemic, calling the autumn tour ‘European’ was a little misleading. Although it would kick off down well-trodden paths through France, Germany and DCD-fanatical Poland, there would be debuts in the capitals of Lithuania, Estonia and Finland, and first times back in Oslo and Stockholm since our Scandinavian mini-tour in 1984.

In June 2022, former Cocteau and 4AD label-mate Liz Fraser emerged from self- imposed exile with the fruits of a collaboration with partner Damon Reece (drummer in stints with Echo and the Bunnymen, Spiritualized and Massive Attack) – both project and EP called “Sun’s Signature”. At pretty much the exact same moment Kate Bush – apparently without lifting a finger – reached number one in the UK charts (and, indeed, around the world) with her 1985 single “Running Up That Hill” – a mere 37 years after release. This record-busting feat – the longest ever period between release and hitting numero uno – was the result of the song being prominently featured in Netflix TV series “Stranger Things” which poured it down the collective throat of a global audience. Even at the pitiful royalty rates I bemoaned a few paragraphs earlier, with Spotify logging well over 300 million streams and with the song reportedly appearing in around two million TikTok creations by the end of June, a startled Kate found her bank balance expanding by substantially more than minimum wage. The phenomenon also makes her the oldest female singer to attain the chart summit at 63. Keen-eyed fact-absorbers will have noted that I’m the same age as Kate so, probably illogically, I’m rather chuffed. I’d also like to point out that my 1990 single “Taqaharu’s Leaving” would love to be rediscovered should anyone…

In support of the charity our daughter Ellie then worked for, Nicki and I went to a fund-raiser for Prostate Cancer UK at London’s Royal Albert Hall on June 22nd hosted by Jools Holland and his big band which provided our first live sightings of an array of big name guest performers, including Sir Rod Stewart, Sir Van Morrison and ‘Sir-in-waiting’ (perhaps – though he might not accept if offered) Paul Weller. Highlight of the night, though, was an appearance by Celeste, disappointingly limited to a single song. I’m not sure if she was ‘new’ to a lot of the audience, but there was a discernible ‘electric’ surge through the gathered mass during her performance and, while I’d been mightily impressed when I’d previously seen/heard her on Jools’s TV shows, it was genuinely thrilling to hear her sing live. The same week ended with the post-Covid return of the UK’s Glastonbury Festival. DCD have never played it, and I’ve not been as a punter – a quarter of a million people in a field doesn’t fire my desire – but it’s always compulsive TV viewing. Top spot went to another senior knight of the realm – Sir Macca still rocking as he turned 80 and became the oldest ever headliner (hats off to that) – but a smart bit of scheduling saw the previous night fronted by the Festival’s
youngest ever headliner – Billie Eilish (at 20) – whose set I really enjoyed.

The World Wide Web continues to veer between indispensable information source and purveyor of utter tosh. I was alerted to a site called ‘allfamousbirthday’ which purports to dish the dossier on celebrity folk, and wherein I’m apparently worthy of a listing on account of being a ‘famous percussionist’. Initially the personal details were correct, having been lifted directly from my verified Wikipedia entry, until the website’s algorithm determined that my August birthdate renders me a ‘Capricorn’ (if you don’t know, look it up). This early clue to questionable content was then royally trumped by the revelation that my parents were Grand Duchess Anna Petrovna of Russia and Charles Frederick, Duke of Holstein-Gottorp, and my spouse is, or was, Catherine the Great. Presumably then spotting that Catherine the Great died in 1796, the no-flies-on-me algorithm advised ‘as of May 2022 Peter Ulrich is not dating anyone’. The site further confessed not to know my shoe size (though tantalisingly my body measurements ‘will update soon’), but revealed my net worth to be ‘approximately $1.5 Million’. Bouyed by this wonderful news, I ordered a luxury yacht…. but then failed the credit check. Pah!

August 2022 bestowed grandparenthood on Nicki and me, courtesy of daughter Louise and partner Chris introducing baby Anna to the world. Utterly joyful – enough said. Later the same month came a new album from Lisa’s ongoing collaboration with composer Marcello De Francisci, this called “Exaudía” and said to be inspired by the expulsion of Sephardic tribes from Spain in the late 15th to early 16th centuries, and their subsequent dispersal around the perimeter of the Mediterranean. The album’s seven pieces give great breadth to both Lisa’s vocal styles and Marcello’s compositions, ranging from gentle, tender passages to moments of swirling drama, and have a thematic base in that heady cooking pot where the musics of Andalusia and northern Africa meet, which I love. As a small aside, there’s an interesting interview with Lisa and Marcello on YouTube with our friend and great music supporter Claudio Bustamante on his Fairfax City Music channel – worth checking out!

For the final months leading up to publication of my book, I was deeply back into my old press & promo role, compiling e-lists of music and literary reviewers, sifting through old contacts, drafting my news releases, designing a postcard, identifying retailers who might support it, checking out upcoming literary festivals, and so on. In late October my parcel of author pre-publication copies landed on the doorstep and there I was holding a copy of my first book in my hands – much akin to the thrill of receiving my first vinyl record decades earlier. Publishers Red Hen Press had done a fabulous job – the cover which I’d only previously seen in e-form looked great, and there’s a lovely kind of sheen matt finish on it which doesn’t fingermark. This moment suddenly made the exhaustive process a reality, and shortly after, on November 15, 2022 – publication day arrived.

There was no launch party, no fanfare and no blaze of publicity, but a websearch of the title quickly revealed that Red Hen’s distributors had also done an amazing job – my title was listed by booksellers across the planet. I’ve no idea if it sells in Norway, Switzerland, Chile, Columbia, Taiwan or Korea (to pluck a few retailer locations I’ve seen at random), but it’s out there! Reviews have rolled in steadily ever since and have really exceeded my expectations. I won’t regurgitate them en masse here – suffice to say that, happily, as well as bestowing high praise, they broadly bought into what I was trying to achieve, a few examples of which include:

so different from the typical sex-and-drugs-and-rock-and-roll memoir…really smart recount of a life in music
Eric Alper, That Eric Alper Show, SirusXM

detailed descriptions of the band’s [DCD] unusual songwriting and recording processes left me pretty enthralled
Greg Fasolino, Goth and Post-Punk historian

deftly weaving in tales of life… a vast musical landscape
Jane Cornwell, Songlines Magazine

Happier still, the response from DCD fans across online forums and social media has been overwhelmingly positive, for which I’m hugely grateful. It’s very exciting to create that connection with people who have supported our music over the years and to provide a means for us all to relive the experience. I was also somewhat unexpectedly thrown back into contact with various characters from the plot. Brendan put me in touch with Ivo Watts-Russell for, I think, the first time in around 30 years, triggering a very touching email exchange. Ivo really enjoyed the book and particularly felt I’d captured the serendipity of those early 4AD years when everyone was winging it, acting on gut instinct and clinging onto the stone that had been set rolling down the Alma Road hill in London SW18. Steve Webbon of Beggars Banquet independently gave me much the same response, while Ivo tipped off former Cocteaus and 4AD manager Colin Wallace who then similarly embraced the retro ride and memories. Former v23-er Tim O’Donnell sent a hearty thumbs-up from Pennsylvania, while original DCD bassist Paul Erikson sent his seal of approval from DCD birthplaceMelbourne. Piano Magic’s Glen Johnson was in touch, having received the book as a birthday gift from his brother to bring his own memories flooding back, and we met up at London’s Barbican Centre for him to interview me for his ‘Arcane Delights’ website. Projekt’s Sam Rosenthal loved a story I recount in chapter seven about a dinner one evening in Venice, and then give Lisa’s quite different recollection of the same event, thus confirming his belief that all memory is faulty and there is no reality… a somewhat questionable endorsement for a memoir!

While all this activity was a pure delight, my big opportunity to ‘shift some units’ was going to be the merchandising for DCD’s upcoming tours of Europe and North America. I was in planning for this, as well as hoping to fly over to the States with Nicki to catch a few shows, when news of the cancellation came through. In my fan capacity, I immediately regretted not having attended more shows in the 2022 tour, but this was also a big blow to sales. The American tour was due to play to 60,000+ people, and losing the opportunity to put my memoir right there in front of all those fine folk… well, no need for explanation. Along with the DCD fraternity, I awaited news.

Continuing to check my memoir’s availability across the globe, I found it offered on the website of American supermarket giant WalMart then, scrolling down the page, nearly toppled off my drumstool on encountering a suggestion panel headed ‘Similar items you might like – based on what customers bought’ proffering “Spare” by Prince Harry. Really…??? I clicked through to “Spare” to see if the Duke of Sussex’s readership might be returning the interest, but disappointingly my tome was nowhere to be seen.

March 2023 saw the release of a debut album by an artist unfamiliar to me – Lucinda Chua. What caught my eye was a review in the UK Observer newspaper which began: ‘Signed to 4AD (home to the Cocteau Twins and Jenny Hval)…’ and how curious it seemed that 4AD might be summed up thus. Thinking about it further, I guess writer Tara Joshi had simply chosen to bookend the label’s output with one of its earliest acts and one of its most recent. In April, Cincinnati kids The National – who had inadvertently become a 4AD act following a reshuffle within the Beggars Banquet stable back in 2009 – released new album “First Two Pages of Frankenstein” featuring a guest appearance by global superstar Taylor Swift, which somehow seemed an extraordinary stretch from those early ’80s days! Then in May, 4AD alumni Nick Cave unexpectedly (I suggest) popped up as an invitee to the Coronation of King Charles III of the United Kingdom and its Commonwealth Realms. Old Nick was spotted entering Westminster Abbey in deep conversation with former Archbishop of Canterbury Rowan Williams, prompting one journalistic wag to speculate they may have been discussing Cave’s lyrical disbelief ‘in an interventionist god’. Cave was later reported to have been ‘extremely bored’ during the ceremony, begging the question what exactly was he expecting?

Old 4AD connections seemed to be flavour of the moment. In April a contestant on the BBC’s renowned quiz show “Mastermind” nominated ‘The 4AD Record Label’ as his specialist subject for two minutes’ worth of hard grilling by presenter Clive Myrie. Much to the glee of a swathe of the old guard, Colin Wallace emerged as the answer to one of the questions, setting off a chain of messages including Tanya Donnelly and Emma Anderson posting on their respective Instagrams. In May Glen Johnson invited me to contribute some percussion and sundry bits to tracks for his project Allegory of Vanity, in which old Wolfgang Presser Mick Allen was also due to participate, though ultimately that fell through. And in June, a friend of mine – writer and filmmaker Juliet Jacques – secured a slot for her to interview me about my memoir at the prestigious Stoke Newington Literary Festival in north London, where I discovered on the programme for a couple of days later was Miki Berenyi discussing her memoir “Fingers Crossed”.

June saw Lisa awarded an Order of Australia Medal for ‘service to the performing arts through music’ in the King’s Birthday 2023 Honours List – richly deserved say I, and she seemed mightily chuffed. June also brought the announcement that filming had finally started on “Gladiator 2” – the movie having reportedly been in planning for some 20 years! Way back in this process, word circulated that Nick Cave had been contracted to write the script and had submitted a time-warped tale under the working title “Christ Killer” in which central character Maximus – revived and cursed to live forever – battles his way through the Crusades, World War II, the Vietnam War, and ultimately winds up in The Pentagon. Somewhat disappointingly, Cave’s concept didn’t fly, and it’s reported that the eventual storyline, written by David Scarpa, gives the central role to a now grown up Lucius, being played by Irish actor Paul Mescal. Whether or not Lisa will be involved in creating the soundtrack again I cannot say – principally because, at time of writing this, I genuinely have no idea. Then a while later, in a nod to a hitherto little aired string of 4AD’s bow, I spied a ‘Q&A’ in the UK’s Guardian newspaper with Jane’s Addiction frontman Perry Farrell in which, when asked his choice of best song to have sex to, he replied ‘anything by Cocteau Twins – every song sounds like an orgasm’.

On the flip side, a headline caught my eye in a Songlines circular in July: ‘MARRS supporting Iranian musicians at WOMAD’. It turned out to have nothing to do with pumping any volume up, and – more as a sad sign of the times – this current acronym is for ‘Musicians Artists at Risk Resettlement Scheme’, an organisation established in Northern Ireland in response to persecutions under regimes which censor or even outlaw music. It seems we are going backwards, rather than making progress.

Suddenly the online DCD community was buzzing frantically with the news that Lisa had given a couple of interviews stating that DCD was no more, dashing hopes that previously cancelled tour dates were being rescheduled behind the scenes. I’d been out of touch with both her and Brendan for a while, so thought to let the dust settle a little. Then Lisa contacted me asking how the book was doing and if there was anything she could do to help – she gave it a fresh shout-out across her social media which generated a lively response. And then, following a YouTube blog session I recorded with fellow Projekt alumni Bret Helm and post-punk aficionados Frank Deserto and Greg Fasolino comprising a two hour long appraisal of the DCD back catalogue, Brendan emailed to say he’d seen it and really enjoyed it, then shared it on the DCD Facebook page. That both these wonderful friends are still looking out for me after all these years is something very special.

Among various themes in my memoir, classification and ‘pigeon-holing’ of music pops up a few times, and 2023 has emerged as a year to bring that strangely elusive category of ‘Goth’ back into focus, at least here in the UK. In July the publishers of ‘Uncut’ magazine issued their ‘Ultimate Genre Guide’ to Goth, with a front cover listing the eight bands/artists it apparently sees as its most prominent flag-bearers:

Siouxsie and the Banshees
The Cure
Nick Cave
Bauhaus
The Cult
Joy Division
The Sisters of Mercy
The Cramps

The inclusion of Joy Division in this Top 8 surprised me as I’ve never thought of them as ‘Goth’ and can’t recall having seen them previously categorised thus. The Cramps were ‘psychobilly’ until becoming aware they were gathering some goth following and swiftly coining the additional category of ‘gothabilly’ to welcome them in. Emerging from a clutch of ‘Goth’ books – rather oddly issued in the height of the UK’s summer months – publication of original Cure drummer/keyboardist Lol Tolhurst’s retrospective entitled ‘Goth: A History’ might seem to confirm their credentials, until he revealed in an interview with the Observer newspaper in September: ‘there are loads of fans who are going to say ‘What? No, the Cure were never goth!’ In fact, the original title for the book wasn’t Goth. I wanted to call it The Lesser Saints, but the publishers said: ‘What’s that about?’ I tried ‘Post-Punk’ on my editor, but he said that was too broad.’

I’ve previously said in the early days of Dead Can Dance we were surprised – albeit very grateful – to be so taken to heart by the Goth community, and my memoir explains Brendan’s thinking behind the DCD name which had no intended Goth connotations at its inception. But, having been firmly planted in the heart of Goth territory by so many commentators, I combed through the 124 pages of Uncut’s Ultimate Guide and initially thought we’d been overlooked. A second trawl through revealed I’d missed the inclusion of “Severance” in a Guide to the Top 50 Goth Club Anthems tucked away on page 112, describing Brendan’s opus as “The ‘Jerusalem’ of the late-1980s goth scene”. If I’m honest, I would have been miffed if DCD had been entirely omitted!

To many it appears the currently emerging primary issue facing musicians (and artists/creators/performers more widely) is Artificial Intelligence – ‘AI’. It polarises opinion between the highly alarmed and the dismissive, and personally I’m inclined towards the latter. Polly Jean Harvey makes an interesting point in a recent interview in The Guardian newspaper: ‘I can’t imagine that the imperfection of the human touch will be outridden by the perfection of a computer. I think there’s something beautiful about imperfections and failings of us as human beings.’ I guess AI proponents would counter that imperfections can simply be programmed in to mimic human frailties where desirable – perhaps so, but I’m still not convinced. To me, AI in the music world is just another songwriter and performer. There are millions already out there, and that doesn’t prevent any of us continuing on our creative paths. For decades songwriters have tried to bottle the formula of what makes a ‘hit’, but while some clearly churn out more chartbusters than the average, nobody has ever come close to a definitive blueprint. And they won’t, and I’m highly doubtful AI will either. As regards another application of AI, while avatars may be harnessed to great effect to bring back to life and re-imagine performances of artists and bands no longer with us, would that ever entirely replace the live shows of human beings? And OK, I appreciate that ‘deep fake’ videos in which artists can be replicated and misrepresented are bad news, but those artists (and their management people) are going to get wind of such incidents almost immediately, and can issue disclaimers to their legions of followers and complain to the hosting media – seriously annoying, sometimes upsetting, and a sad reflection on elements of our society, but still not an overly-daunting threat to the artistic community… is it?

The last album of The Peter Ulrich Collaboration’s trilogy – 2019’s “Final Reflections” – opens with the song “Artificial Man”, whose lyrics were written by chief among my cohorts Trebor Lloyd, and in which the protagonist is ’empty of all feeling’ and ultimately confined to an ’empty hell’ – ironic, perhaps, that Trebor found a source of creative inspiration in the robotic world. The clue is in the tag – the ‘Intelligence’ is, by definition, ‘Artificial’. Sorry to bang on, but can a computer be given the ability to create a catalogue of music as widely varied as that of Dead Can Dance – from (and I pluck randomly) “The Trial” to “The Host of Seraphim”, to “The Ubiquitous Mr Lovegrove” to “Kiko” to “Dance of the Bacchantes” – but incorporating the intangible essence of what makes all those pieces intrinsically DCD? And even if it can, what really would be the purpose? And can AI clone and re-project Lisa’s spine-tingling live renditions? I’m doubtful, but in any case, isn’t that just like offering people the chance to go and see a virtual tribute act? Maybe I’m missing some greater point, but I’ll stick with the real world and its imperfections… thanks!

Updates from Lisa’s world find her remaining in insatiable demand for movie soundtracks. Another intriguing collaboration with Marcello De Francisci has spawned the music for a Nepalese film “Gunyo Cholo”, while a return to her earliest big screen collaboration saw her contribute to Michael Mann’s latest blockbuster “Ferrari”. I still love that Lisa’s voice can sit with equal comfort in such extraordinarily different worlds!

Returning to another theme of my memoir, it seems that sales of physical music formats are going from strength to strength, with 2023 seeing a rise in vinyl sales for the 16th consecutive year while CD and cassette sales continued to hold up. Seemingly an increasing number of people weaned on the disposable, background noise of streaming are newly discovering the joys of getting immersed in an ‘album’ and properly ‘listening’ to music. And for those readers who recall my particular frustrations with UK music retail chain HMV, it was bought out of administration by ‘Canadian tycoon’ Doug Putman in 2019 and is being revitalised with a greatly increased emphasis on vinyl sales. Symbolic of this rebirth was the recent re-opening of the original HMV store on London’s Oxford Street, originally opened in 1921 and whose closure four years ago had previously seemed terminal. The album format has long-since infiltrated my DNA, and its resurgence inflates my optimistic sails.

Talking of albums… just as I was about to sign this additional chunk of memoir off, Brendan has leapt back into the spotlight with a retro classic. His beautiful first solo album “Eye of the Hunter” has been re-mastered and re-released in a package together with his live solo performance at London’s ICA in 1993. I wax lyrical about this performance in Chapter Eight of my memoir, but hadn’t previously realised it had been recorded, then the tape stashed away in the proverbial attic. It’s wonderful to be transported back these 30 years later and re-live the experience. And I believe I’m right in saying that it’s reunited Brendan with 4AD for the first time this century. Anyway, it’s been on repeat play in our house since I got my hands on a copy, and I can’t recommend it strongly enough. That feels like a perfect point on which to end.

©️ Peter Ulrich 2024

* * * * * * *

Read the full story:
Drumming with Dead Can Dance and Parallel Adventures
by Peter Ulrich
with foreword by: Lisa Gerrard
published by Red Hen Press
ISBN: 978-1-63628-073-8

available NOW from:
book and music stores everywhere, both bricks’n’mortar and online
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The post Peter Ulrich | Drumming with DEAD CAN DANCE and Parallel Adventures – An Addendum appeared first on Post-Punk.com.

Tolhurst’s GOTH is an engaging and entertaining historical memoir that examines the birth, development, and legacy of the goth genre and culture. The book takes readers on a thrilling ride through the world of iconic goth bands such as The Cure, Siouxsie and the Banshees, Bauhaus, and Joy Division, as well as the artists, places, and events that shaped the movement.

The book begins by exploring the origins of goth, delving into early art and literature that inspired the genre, including works by T.S. Eliot, Edgar Allan Poe, Sylvia Plath, and Albert Camus. Tolhurst also discusses the gothic forebears, highlighting the musicians who first played in punk bands before transitioning to goth.

Tolhurst introduces readers to the “Architects of Darkness”—the bands that established the genre’s roots, such as Bauhaus, Siouxsie and the Banshees, Joy Division, and The Cure. He then highlights the “Spiritual Alchemists,” bands like Depeche Mode and Cocteau Twins, who played a significant role in expanding the darkness of goth culture into mainstream consciousness. The book also chronicles the spread of the genre beyond its English origins to cities like New York and Los Angeles, demonstrating the global impact of goth music and culture.

Gothic fashion, an essential component of the movement, receives due attention in Tolhurst’s account. The book delves into the clothing that not only accompanied the music but also complemented and defined the subculture’s aesthetic, including elaborate hairstyles, black clothing, and distinctive makeup.

In “GOTH,” Tolhurst also examines the enduring legacy of goth music, illustrating its influence on various facets of contemporary culture, such as film, TV, visual arts, and social media. He emphasizes the relevance and importance of the goth movement, underlining its impact and why it still matters today.

With its unique perspective and insider accounts, “GOTH” promises to be an enthralling read for fans of the genre and those interested in the history and impact of the goth movement.

The UK version will be available on September 21, while the US version will hit the shelves on September 26.

The post Lol Tolhurst Delves into the Dark Romanticism of Goth with Forthcoming New Book on the Subculture appeared first on Post-Punk.com.

Publisher Nottingham Press claims that this is the most thorough and comprehensive biography of R.E.M. yet published. Released as an e-book late last year by Apple Books, the 706-page trade paperback version is set to be released on April 3rd and will be available via Amazon.com and Square Books in Oxford, Mississippi.

Born in 1968 in Raleigh, North Carolina, Hunter saw acts ranging from Black Flag, Hüsker Dü and The Replacements to The dB’s, Let’s Active and The Connells as a teenager. He attended the University of Georgia in R.E.M.’s hometown of Athens from 1986 to 1991, and performed music at haunts, including the legendary 40 Watt Club. Nottingham Press notes that “More so than any other biographer, he witnessed firsthand major events in R.E.M.’s career and in the larger Athens music scene during the second half of the 1980s.”

Although Hunter was unable to interview the band members themselves, due to their reticence these days to speak with journalists and biographers, he has scoured hundreds of newspaper and magazine articles about the band, listened to hundreds of audio and video interviews, and spoken to a variety of old friends, members of the R.E.M. inner circle, producers, label chiefs, and other musicians. The result is a rich and comprehensive look at one of indie and alternative rock’s most influential bands.

The post Definitive Book on R.E.M “Maps and Legends” To Be Released appeared first on Post-Punk.com.

The Art Of Darkness: The History of Goth is an in-depth account that presents the first major and comprehensive overview of Goth music, culture, and its lasting legacy.

The book focuses mainly on the 80s era of music, style, legendary clubs, and the political and social conditions that spawned the culture. Interviews with Andrew Eldritch, Killing Joke, Bauhaus, The Cult, The Banshees, The Damned, Einstürzende Neubauten, Johnny Marr, Trent Reznor, Adam Ant, Laibach, The Cure, Nick Cave, and many more give a first-hand account of the times. The book also features photography by Mick Mercer.

Robb takes us on a deep-dive exploring the social conditions that created ‘Goth’ in the post-punk period, from the fall of Rome, to the writings of Lord Byron and the romantic poets, to European folk tales, Gothic architecture and painters, the occult to modern-day Instagram influencers. (Fittingly, the striking tintype cover photo of Robb, by Gareth Jarvis, beautifully embodies that artistic bridge between the past and present.)

Pre-order now to get a signed copy of this definitive deep-dive into the dark side….the book emerges on 24 March via Louder Than War Books.

Order via Bandcamp
Order via Rough Trade

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Featured photo by Jarvis Photography

The post John Robb To Release “The Art Of Darkness: The History of Goth” appeared first on Post-Punk.com.

There were disparate tribes in London that I think the Batcave brought together, because there would be the punky types, the Gothy types, there were also the rockabillys, skinheads… there was a definite tribal thing.

Every decent goth knows the wonderous lure of the Batcave. Hell, even those who merely dabble into the darker aspects of the 1980s know the legend of the Gargoyle Club on 69 Dean Street in London. It’s the birthplace of goth as we know it, a catatonic blend of styles and sounds, looks that were glamorous yet camp, and props that would be just as cozy in a haunted house. But the real story—the in depth story with all the raunchy details—has never been revealed until now.

‘Young Limbs Rise Again’, the story of The Batcave Nightclub 1982-1985 is a collection that maps out the history of the goth subculture one song and story at a time. With over 90 tracks on the CD release, 62 on the 6 LP set and 20 on the 2 LP release, Young Limbs Rise Again is the comprehensive Batcave guide.

The choice of music by Hamish was fantastic. I remember a lot of Cramps, Bauhaus, Bowie, Iggy, Siouxsie & the Banshees. Nights at the Batcave were hot, lots of drinks and other goodies, beautiful youth, incestuous fun, lots of noise and adrenalin, laughing and bickering also… It was a great buzz, innovative and daring.

Hamish Macdonald, the Batcave DJ and frontman of Sexbeat, set the mood within the walls of the foggy (and strawberry-scented) club. The Young Limbs Rise Again boxsets disclose all of Hamish’s favorite and essential tracks—”We had this rule: no soul, funk or disco”—that include songs by goth staples such as The Cure, Sisters of Mercy, Virgin Prunes, and Killing Joke. But there’s also proto-goth and glammy tracks from artists such as New York Dolls, Roxy Music, Suicide and Mick Ronson.

The Batcave’s live performances were paramount as well: the club hosted legendary artists such as Christian Death and Marc and the Mambas, while it ricocheted bands like Alien Sex Fiend and Specimen into the vast expanses of the subculture’s history. Stories about the popularity and importance of the club is divulged via the accompanying 80-page hardback book—which is just as crucial as the compilation. From unseen photos of club go-ers, to an extensive breakdown of artwork and flyers, as well as information about the Batcave at NYC’s own Danceteria, the book is a goldmine of art, inspiration and history.

Out on February 24th. Pre-order here: https://batcave.lnk.to/younglimbs

The post “Young Limbs Rise Again, The Story of The Batcave Nightclub 1982-1985” Compilation and Book Zeroes in on Goth’s Formative Lair, The Batcave appeared first on Post-Punk.com.

Besides Wayne Hussey’s first part of his autobiography “Salad Daze”, and the successfully crowdfunded as well as highly anticipated “Paint My Name In Black And Gold” of Mark Andrews, which will hopefully see the light of day in 2021, last year also saw the release of the excellent “Waiting For Another War” biography, covering the first five years of The Sisters Of Mercy – from 1980 to 1985. The announcement of the book came pretty much out of nowhere, the first edition was gone within a few hours, and the world-wide response to author Trevor Ristow’s work couldn’t have been more enthusiastic. Trevor was kind enough to give Post-Punk.com a few insights into what led to the publishing of “Waiting For Another War”, background into his writing, and a small outlook possible Volume 2.

First question right off the bat: Were you surprised by the vast international feedback to “Waiting For Another War”, your book on the first five years of the history of The Sisters Of Mercy?

Yes, I was very pleasantly surprised. It’s easy to think of a book about The Sisters Of Mercy as an extremely niche thing when you live in the US, where the fanbase is dedicated but small. At first, my print run was going to be 100 copies, but the cost per book was prohibitive so I took a gamble and printed 200 instead. I put up a single, short post on a Sisters Facebook group, with no roll-out whatsoever, and they all sold within a few hours. Nearly every copy went to the UK or the Continent. That was my first inkling that I had underestimated the appetite for the book abroad.

When did you first play around with the idea of writing a book on one of your most favorite bands?

I started writing this book at the end of 1999 after I organized my sprawling collection of Sisters cuttings into binders. I sat down at my messy desk at the end of every day and read through interviews and articles and started layering the facts and quotes into a single, chronological document. In retrospect, I can see that the project was a sort of meditation for me. I was living in a tiny New York apartment on the 49th floor of a building in Tribeca. The entire view was dominated by the huge towers of the World Trade Center. My life wasn’t going so well in a variety of ways. My relationship was not great, I didn’t really have a career, and I had a crippling drug addiction. Then one day the World Trade Center came down outside my window. My building was completely enveloped in a cloud of toxic dust. It was perpetual night, pierced only by flashing lights and wailing sirens. All the power went out and to get to or from my apartment I had to walk 49 flights of stairs. Outside, fathers and children and wives were wallpapering the entire city with flyers, hoping for any sight of their sons, mothers, or husbands, all of whom, we soon learned, were already dead. People were openly crying on the street, everywhere. Even my dealer, who I met one night on 2nd Avenue just next to Stuyvesant Park, was in tears. It was an indescribable, desperately sad time for the city, and for me. I think the book project occupied my mind with something other than despair.

What was the initial moment you’ve encountered the Sisters like, and were you captivated right away?

Yes, I loved them from the moment I heard them in 1984 and I became a huge fan right away. I found them at the right time in my life. I like to say I was an early fan, but that’s by US standards. There are a lot of people, especially in the UK, who were into the band from the very beginning, and I do envy them a bit. Luckily for me, a lot of those guys are on Facebook and are generous with their reminiscences. Also, Nikolas Lagartija’s blog “I Was A Teenage Sisters Of Mercy Fan” has done a great job of collecting memories.

Before breaking through, the Sisters were pretty much an underground band mostly known in the UK. In your opinion, what were the first steps that led to the band being at least a little better known in the US?

Hard work and talent. A few people who’ve read my book have told me that I painted Eldritch in an unflattering light at times, that he came off as overly ambitious and autocratic. Maybe it’s my personality, but I never intended any of that as criticism. I admire those qualities in Eldritch unreservedly. I mean, my other great hero is Bismarck. Very little of value is created by committee; it’s almost always the vision and drive of a single man that creates great art. So I tried to present Eldritch as I understand him: serious about his work, unwilling to compromise it, and dedicated to getting it out in the world. I think The Sisters’ success in the US is attributable to these virtues, same as their success in every other market. At least in the period covered by the book, Eldritch made the right decisions with regard to labels, tours, and press. All of this hard work resulted in increased visibility and sales in the US. Of course, the songs had to be great too.

In the 80s, your TSOM fandom led to you releasing two volumes of a fanzine called „Romance And Assassination“. Do you think that these first baby-steps in publishing were the foundation for you becoming a full-fledged book author decades later in your life?

I guess so. It was satisfying to do those ‘zines. They were an expression of my passion, and – as anyone who publishes a ‘zine can tell you – it felt good to create something and put it out in the world. Even 35 years later I am proud of them, primitive as they are.

How would you describe the longevity of the Sisters up until today?

I think the music has the same appeal as all great art: it moves you. Beethoven has endured even longer.

Taking into consideration that their last full-length album was released 31 years and their last official single 29 years ago, what makes Andrew Eldritch and his hired guns so special that he could still, in pre-pandemic times, tour the world at least bi-annually playing in mid-sized and even big concerts hall internationally?

They don’t stand still. As much as I’d love to see them perform the album First And Last And Always from start to finish, they don’t do that kind of thing. They are an active band, writing new material, and reimagining the old material. Sometimes they’ll fuck up something that was perfect – the replacement riff for ‘First And Last And Always’ anyone? –, but at least they’re moving. Eldritch won’t put on the hat again because you can only really get away with that once and then it’s all over.

I read you mentioning in another interview that you also have quite a soft spot for the live incarnation of the band from 1992 to 1998. So do I. What is it about those line-up(s) in this particular period that made you enjoy the Sisters performance?

After the “Vision Thing” tour Eldritch clearly reevaluated his band and its sound. The two-dimensional Rock’n’Roll band that toured in 1990-1991 was, in my opinion, a bit of an aberration for The Sisters, who were always more complex than that. Before 1990 The Sisters blended elements of rock with punk, new wave with no wave, Suicide with ABBA. After 1992 Eldritch returned to those more eclectic instincts. If you watch a video of, for example, the 1997 gig in Philadelphia, you can clearly see it’s a different beast compared to the band that did the video for ‘More’. It’s sleeker, with a more sophisticated, industrial sound that embraces rather than fights the drum machine. Even the band’s presentation had changed. The entire Vision Thing tour looked as if it had been conceived by the in-house production designer at Harley-Davidson. By 1992 all that was gone. The few new songs from the era – “Summer”, “(We Are The Same) Suzanne”, “Romeo Down” – are terrific. Adam Pearson was an outstanding guitarist. Eldritch was in fine form and the entire machine hummed. “Comfortably Numb/Some Kind Of Stranger” with backup singers? It’s hard to beat.

Have you already started working on Volume 2 of „Waiting For Another War“? And if yes, is your plan to cover the period from after the FALAA line-up split up until „Vision Thing“?

Yep. I’m not sure yet what the scope will be though. It depends on how long the manuscript is. However it ends up, it’ll take some time.

In closing: Do you have a favorite Sisters story, trivia tidbit, or anecdote that you’ve never shared before?

Everything I know about The Sisters went into the book, unless it was too personal to print. But there are some more great anecdotes for Volume II.

My traditional closing question: Your hopes, plans, and dreams for the future?

My hopes these days are mostly for my sons: long, fulfilling, happy lives on an unpolluted, clean earth where all modern architecture has been razed.

I wholeheartedly second that. Thank you very much for taking the time to do this interview, Trevor. Best of luck with all your future endeavors. Stay safe and healthy, please.

Thank you, Thomas.

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The post A History of The Sisters of Mercy in “Waiting for Another War”: An Interview with Author Trevor Ristow appeared first on Post-Punk.com.

During this time legendary LA punk rock photographer Edward Colver befriended the band and followed them around and photographed Christian Death at a dozen of the band’s concerts in the Los Angeles area during a 6 month period late 1981 and early 1982, as well a shoot at Rozz his family home with the band which was later used for the album US back cover of Only Theatre of Pain, plus a session of now-iconic images at a cemetery in Pomona.

Cult Epics founder and friend of Rozz Williams, Nico B wants to produce an oversized Hardcover book of Ed’s photos capturing those rare and never before seen moments, as well tell the story of early Christian Death thru exclusive interviews with Edward Colver and surviving band members for the 40th Anniversary release of Only Theatre of Pain.

To celebrate the upcoming 40th Anniversary of CHRISTIAN DEATH: ONLY THEATRE OF PAIN, Cult Epics want to produce a Hardcover book of the Photography of Edward Colver, and they need your support with the INDIEGOGO Campaign to get this book printed.

Indiegogo Campaign:

CHRISTIAN DEATH: ONLY THEATRE OF PAIN Photography by Edward Colver
New Hardcover book, approx. 208 pages, over 300 images and text, 12×12 inches, edited by Nico B. Sign up now and get the news when you can pre-order, limited editions available, and more. Early Bird Discount.

Note: The book has Euro drop friendly shipping for European Christian Death fans.

Invitation to sign up here

Photos copyright © Edward Colver

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Founded in 2018 by Italian visual artist Federica Scandolo, this old-school fanzine features artists like L.A Witch, The Underground Youth, Be Forest, Soviet Soviet, Alberto Almas, Talk To Her, and many others.

This self-published project has been compared to the likes of old fashioned music zines by the Italian online magazine Onda Rock. Insightful interviews and witchy content are wrapped in fuzzy and distorted risoprinted graphics that take inspiration from Goth, darkwave, shoegaze, and dream-pop aesthetics.

Speaking about the first Issue Federica Scandolo says:

“Fiorista snatches the petals of mystification and listens to the soil that it steps on: without nature, man is destined to rot in oblivion. The second issue Sirene comes to the surface in a strange and sick time, while apocalyptic messages in plastic bottles beach on the shores of the 21st century”.

Following Pigiama Magazine:

• Website: pigiamazine.com
• FB: @pigiamazine
• IG: @pigiamazine
• Twitter: @pigiamazine

The post Pigiama Magazine—An Italian Post-Punk Fanzine appeared first on Post-Punk.com.

“This highly collectable book contains images selected by Cave from ‘Stranger Than Kindness: The Nick Cave Exhibition’, presented by the Royal Danish Library in partnership with Arts Centre Melbourne.

“Featuring full-colour reproductions of original artwork, handwritten lyrics, photographs and collected personal artefacts, it presents Cave’s life, work and inspiration and explores his many real and imagined universes.”

The book is out March 23, 2020, Stranger Than Kindness and along with the images contains “commentary and meditations” from Cave and writer Darcey Steinke. The book will be sold for £35 (approximately $45) and “asks what shapes our lives and makes us who we are, and celebrates the curiosity and power of the creative spirit.”

Stranger Than Kindness: The Nick Cave Exhibition opens at The Black Diamond, Copenhagen on 23 March and runs until 3 October 2020. Tickets on sale now. Limited early bird offer available until 4 December: https://t.co/1sdTdsD6JV pic.twitter.com/KPw1zH0aSQ

— Nick Cave & The Bad Seeds (@nickcave) November 21, 2019

Next year, the Gucci sponsored Stranger Than Kindness: The Nick Cave Exhibition will open at the Black Diamond in Copenhagen, having a more than 6 month run between March 23rd and October 3rd.

The event will feature extensive installations, focusing on more than 50 years in Cave’s life across eight rooms featuring a selection of handwritten lyrics, literature, videos, set designs and personal “artefacts”. These “artefacts” are 300 objects from Cave’s own collection, alongside the collections of the Royal Danish Library.

These displays will also feature atmospheric soundscapes which have been recorded by Nick Cave and Warren Ellis.

Note that the cover image for this event is “Self Cleanse”, a painting of Cave by artist Ben Smith representing the ‘parental role’ of an older Nick Cave towards his younger self.

Meanwhile, next year Nick Cave and The Bad Seeds are set to embark on a tour in support of their recently released seventeenth studio album Ghosteen.

The post Nick Cave’s Illustrated Autobiography “Stranger Than Kindness” Out Next Year Along With Exhibition appeared first on Post-Punk.com.

The track begins with a perfectly dusty, twangy riff, immediately supplemented by a driving drum track and gently strummed acoustic guitar. “Alone Together” is arguably the band’s catchiest song to date, a perfect blend of Ennio Morricone’s spellbinding scores, Johnny Cash’s sweetly striking melodies, and Fields of the Nephilim’s stark nihilism. Sweeping synth hooks are peppered between the verses, offering a welcome juxtaposition to the band’s rhythmic onslaught.

Rendered Armor is currently available for pre-order, and comes in a variety of formats, including a limited edition black splatter vinyl pressing. The band has also crafted a book, collecting a series of rare photos and all lyrics dating back to the band’s inception in 2012. The book is available as a bundle with the limited edition vinyl, as well as separately (30 standalone copies are available via Bandcamp).

Lastly, Ritual Howls will be joining The Faint on a North American tour that sees both bands playing across the New England and the Midwest. Check below for pre-order information and full tour details:

Ritual Howls- Rendered Armor
1. Alone Together
2. Mother Of The Dead
3. Love Cuts
4. The Offering
5. Devoured Decency
6. I Can Hear Your Tears
7. Thought Talk
8. All I’ve Known

Preorder via Bandcamp

Ritual Howls North American Tour Dates

• 02.10 Mexico City, MX @ Foro Indie Rocks
• 07.27 Allston, MA @ Brighton Music Hall *
• 07.29 New York, NY @ Bowery Ballroom *
• 07.30 New York, NY @ Bowery Ballroom *
• 08.02 Philadelphia, PA @ Theatre of Living Arts *
• 08.03 Washington, DC @ 9:30 Club *
• 08.04 Columbus, OH @ Newport Music Hall *
• 08.06 Cleveland, OH @ Grog Shop *
• 08.07 Detroit, MI @ El Club *
• 08.09 Chicago, IL @ House of Blues *
• 08.10 Milwaukee, WI @ The Rave II (Downstairs) *
• 08.12 Minneapolis, MN @ Fine Line Music Cafe *
• 08.13 Kansas City, KS @ Madrid Theatre *
• 08.15 Dallas, TX @ Gas Monkey Live *
• 08.16 Austin, TX @ Scoot Inn *

* w/ The Faint

Photo by Vinnie Massimino

The post Listen to Ritual Howls’ Sweepingly Cinematic Single “Alone Together” appeared first on Post-Punk.com.