Browsing Tag

post-punk

The Eyelash’s indie post-punk debut, Dark Shadow, glistens with gothic glamour

Posted on 30 April 2024

The Eyelash has made their debut with “Dark Shadow,” an instant indie post-punk classic that marries Johnny Marr’s angular guitar stylings with the enchanting vocal power of NYC’s Daphne. This cross-Atlantic aural affair showcases a rare synergy, weaving together the morose melancholy of British strings with the cavernous depth of homegrown American vocals.

As the track unfolds, listeners are treated to a guitar line that feeds a quintessentially British sense of gloom, perfectly complemented by Daphne’s raw, tortured and taut vocal timbres. Her voice cuts through the gothic harmonies, to resonate with fans of Siouxsie Sioux while adding a modern twist to the nostalgic undertones.

Formed in 2024, The Eyelash is a two-piece band comprising electric and bass guitarist Tom from Eastern England and vocalist Daphne from New York City. “Dark Shadow” was penned amid the rainy, melancholic waves of the Jurassic Coast and recorded in the equally melancholic but lit-up Manhattan, embodying the geographical and emotional landscapes of its creators.

This track is more than just a debut single; it’s a formidable statement of intent from a duo poised to storm the alt-rock scene. The song invites listeners to explore the haunted corridors of an eloquently poetic psyche, pulling them into a relatable disquiet. The Eyelash promises not only a reflection of our own shadows but a journey through the spectral realms of indie post-punk with every chord and verse.

Dark Shadow was officially released on March 26th; stream the single on Spotify.

Review by Amelia Vandergast

The Vouchers struck a raw nerve with the melodic malaise in their alt-post-punk seminal release, Dead History

Posted on 24 April 2024
OYEZ! by The Vouchers

The Vouchers’ standout single, Dead History, from their debut album OYEZ! doesn’t break the post-punk mould; it is a sublime continuation of the disorder initiated by Joy Divison, infused with the melodic malaise of Dinosaur Jr.

Driven by the creative synergy of Mark Langston, Tom Brown, and Matt Clifton, the three-piece intertwines satirical observational poetry with a distinctive North East twang, resulting in unapologetically raw, eloquently monochromatic chemistry.

Dead History captures the essence of The Vouchers’ distinct approach; the track is a sonic labyrinth where angular hooks meet the cold tonalities of an ennui-laden atmosphere, and sparse lyrics become poignant bursts of clarity. The minimalist lyricism of Dead History might initially seem understated, but every word hangs in the air of the release that ticks all the right post-punk boxes.

If you’re looking for a new indie band to get behind, you’ll need to keep the pace as The Vouchers make their inevitably rapid ascent.

Stream and purchase Dead History on Bandcamp.

Review by Amelia Vandergast

Slip into a post-punk dream with Forgotten Garden’s hauntingly ethereal single, Memoriam

Posted on 22 April 2024

Forgotten Garden’s sophomore EP, ‘In Memoriam,’ brings us the single ‘Memoriam,’ a track that deftly carves its niche within the indie post-punk landscape with its distinct blend of sound and sensibility. The hauntingly ethereal vocal lines in ‘Memoriam’ find a hallowed ground between Mazzy Star, Florence Welch, and Siouxsie Sioux, imbuing the track with an arcane nuance that resonates deeply.

This unique piece strides far from indie mediocrity, propelled by the quintessential angular intensity of indie post-punk instrumentals that jangle with a monochromatic yet vibrant dynamism. ‘Memoriam’ offers enough familiarity to draw listeners in but retains them with its ingenious deviations and its gothic tribute to shoegazed post-punk.

In an era flooded with throwaway indie filler, ‘Memoriam’ stands out as a track that spectrally stays with you, proving Forgotten Garden to be a razor-sharp cut above the rest. The power of ‘Memoriam’ not only captivates but also cements Forgotten Garden’s place in the music world as pioneers with a clear and compelling artistic vision.

In Memoriam was officially released on March 29th; stream the single on Spotify.  

Review by Amelia Vandergast

Lolita Terrorist Sounds – Mind the Gap: A Devilishly Arcane Avant-Garde Post-Punk Reverie

Posted on 14 April 2024

Lolita Terrorist Sounds, the Berlin-based avant-garde ensemble, ensnared once again with their latest single, Mind the Gap, which pulls you into the audacious heart of Berlin’s artistic underbelly.

Fronted by the enigmatic Maurizio Vitale, the band continues to smash aural archetypes with devil-may-care panache by blending provocative themes with ground-breaking sounds. Mind the Gap is a vivid reflection of this ethos. The single, an aural equivalent of arthouse cinema, swaggers through the debauched realms of Avant-Garde post-punk with a Lynchian flair. It’s a track that doesn’t just play; it prowls and gyrates, consuming the listener in its dark, hypnotic embrace.

It’s a journey beyond the tourist traps of Berlin, delving deep into the city’s hedonistic cultural epicentre. The track’s spoken word vocals demand you escape from banality as they wind around dark psych guitars and tribal percussion. The juxtaposing pianos add a cinematic touch, elevating the track to a realm of high art while never eroding the brooding experimentalism.

The invitation to lose oneself in a devilishly arcane reverie drips with artistic liberation, tearing listeners from the trap of mundanity. Lolita Terrorist Sounds, with their rich history of collaborations and innovative projects like Lolita Kitchen Sounds, continues to push boundaries. Their trajectory from Shaved Girl to Prison Song and now to Mind the Gap showcases a band not just at their creative zenith but as torchbearers of a genre that refuses to be defined.

Stream the official music video for Mind the Gap on YouTube.

Review by Amelia Vandergast

[SCRAP] pierced the post-punk innovation veil with their debut, All in Blind

Posted on 31 March 2024

With their debut single, All in Blind, the nefarious alchemists, [SCRAP], found the affecting middle ground between post-punk and post-grunge, the result is a culmination in artfully dark volition that will ensnare you from the first verse.

Reaching the epitome of deadpan seduction with the cadence of the devil may care spoken word lyrical delivery which cuts across the dark grungy pools of bleak ingenuity, [SCRAP] broke the post-punk mould with All in Blind.

In their own words, All in Blind puts you in the mind of a 21st-century East of England Joy Division, but even that is selling themselves short. They broke the spell of post-punk assimilation that has vexed the scene since the departure of the iconic Factory Records outfit with the rhythmics of All in Blind; especially when the unholy matrimony of the outro guitar solo affirms that, as a powerhouse, [SCRAP] is worth its weight in gold.

All in Blind hit the airwaves on March 5th; stream the single on Spotify.

Review by Amelia Vandergast

Run The Enemy brought even more tragedy to the legacy of Sylvia Plath with their Post-Punk vignette, She Writes Poetry

Posted on 18 March 2024

Poetry may be becoming a dying art form, but it lives and breathes through the hauntingly melodic introspection in the standout single, She Writes Poetry, from Run the Enemy’s hotly anticipated debut album, Trail of Tears.

After the post-punk-tinged and angularly cavernous lead guitar work in the prelude, the timbre of the melancholic indie vocal lines spectrally appears in the achingly pensive release which finds the monochrome middle ground between Editors earlier work and Interpol’s most affecting expositions of ennui.

With the final crescendo, She Writes Poetry, which gives Richey Edwards and Morrissey a run for their lyrical vignette money, builds into a massive all-encompassing production with strings carving through the post-punk atmosphere.

Written to allude to the abusive relationship between Plath and Ted Hughes, the Cambridge-based outfit succeeded in bringing even more tragedy to the legacy of Plath, given that she stuck her head in an oven in her final moments and penned some of the most pensively affecting works to date, that is some feat of ingenuity.

Stream She Writes Poetry as part of Run The Enemy’s debut LP, Trail of Tears, on Spotify now.

Review by Amelia Vandergast

SumicSo – It’s Over: A Gothic Rock Ode to Resilience and Power

Posted on 2 March 2024

SumicSo’s latest single, ‘It’s Over’, is a compelling blend of gothic glamour and rock nostalgia, echoing the likes of Siouxsie Sioux, Blondie, Fleetwood Mac, and the Manic Street Preachers. The UK-based musician and songwriter channelled a clarion call for strength and resilience, which will resonate deeply with those who’ve faced the bitter ends of deception and departure.

The track is a masterful fusion of 80s rock aesthetics with 70s rock timbres; the vocals, rich in emotion and power, light a beacon of hope and solidarity, reaching out to listeners who find solace in her message of fighting through pain.

While the production of ‘It’s Over’ might benefit from further refinement, the raw energy and potential of SumicSo as a trailblazing artist are unmistakable. Her lyrical prowess, combined with the strident and rhythmic melodies, ensures that this track is an anthem for those battling their inner demons.

Watch the official music video for It’s Over by heading over to YouTube.

Review by Amelia Vandergast

Strange Cities bled a kaleidoscope of light and soul through the monochromatic prism of post-punk with ‘Where Stars Collide’

Posted on 26 February 2024

Just when I thought I’d seen every scene in the post-punk landscape, Strange Cities appeared on my radar and shattered my aurally jaded heart with Where Stars Collide from their debut album, Moments Stolen.

With the Interpol-esque angular guitar lines cutting through the warmth in the atmosphere that proves post-punk melancholy doesn’t always need to be monochromatic, the San Francisco-hailing visionaries amalgamated a soulful new trajectory of the genre, giving it a definitive place in the contemporary music industry.

As the palpitatingly sweet melodies in the dynamically sepia-tinged production evoke energy and give you kinetic rhythms to move to, the vocals make no bones about relaying the achingly raw lyricism and inciting bitter-sweet desolation in your soul. Versing about cheating death, watching your friends taking their final breath and seeing their faded faces framed in memories was always going to hit hard, but the impact in Where Stars Collide is a collision you’ll never forget.

Imagine if Editors in their An End Has a Start era hired Marin Hannett as a producer and radiated the hues of New Order’s Temptation, and you’ll get an idea of what Strange Cities constructed in Where Stars Collide. Or, you can get acquainted with the band renowned for their live performance, who have recently opened for Sisters of Mercy and Gene Loves Jezebel.

The Moments Stolen LP was officially released on February 2nd; stream the album on Spotify.

Review by Amelia Vandergast

Robert Stone croons through the cosmic veil in this funked-up alt-rock rendezvous, Kissing Glass

Posted on 17 January 2024

Navigating through the cosmic corridors of sound, Robert Stone’s latest single, ‘Kissing Glass’, is a celestial journey, taken via the route of a harmonious blend of spacey funk and alternative rock, laced with a synth-infused new wave vibe that boldly steps beyond the shadows of Bowie-esque influences, showcasing Stone’s unique musical identity.

Stone, known for his early start in the music scene with Oblivion Grin and his intriguing hiatus, has returned not just to the studio but to the very essence of musical innovation. ‘Kissing Glass’ is a testament to this voyage, a fusion of his seasoned artistry with a fresh, modern sensibility. The track resonates with echoes of the interstellar bliss found in Inspiral Carpets’ ‘Saturn 5’ and the dark, experimental tones of Magazine’s ‘Real Life’, yet it stands firmly on its own artistic ground.

The song’s structure is a labyrinth of auditory pleasure, where each turn reveals a new layer of musical gravitas as Robert Stone’s crooning vocal performance is a revelation in itself. The charm and dedication to being a conduit of space pop-soul is an alchemic pairing which won’t fail to endear you to his experimentalism. We can’t wait to hear what follows.

Stream Kissing Glass on SoundCloud now.

Review by Amelia Vandergast

Liya Shapiro delivered darkwave decadence in her debut single, The Thing

Posted on 25 December 2023

Fuse the dark decadence of Lydia Lunch, PJ Harvey, and Siouxsie Sioux with the electronic southern gothic beguile of Chelsea Wolfe, Interpol-esque guitar lines and the trip-hop aesthetic of Massive Attack, and you’ll alchemise a sound as scintillating as the atmosphere within Liya Shapiro’s debut single, The Thing, which officially released on December 15.

After a sequence of stabbing synths that could have been torn from a John Carpenter score, post-punk synthetics start to bleed into the hypnotism of the production which leaves discordant effects to linger in the shadows, harbingering a forboding energy, as striking as the avant-garde tones within Glenn Branca’s The Ascension.

Once you’ve torn yourself away from the grip of the instrumental magnetism, you’ll lock into the lyrical poetry as it elucidates the intangible nature of love. By using dark, almost nihilistically macabre, imagery between the sweetly abstract sentiments, dualism drives through the debut from the London-based singer-songwriter, whose lyrical ambiguity opens a labyrinth of corridors in the mind as you attempt to extrapolate meaning.

The abstractions within the poetry also serve to prevent the single from becoming a derivatively paradoxical debut. To speak of the unspeakable and pretend to possess a firm grip of an incomprehensible emotional and spiritual phenomenon would only cheapen the track which pays a true ode to the ephemeral and constantly in flux constructs of love.

We can’t wait to hear what Liya Shapiro has in the pipeline for her sophomore release.

Stream The Thing on all major platforms via this link.

Review by Amelia Vandergast