Post-Punk was founded in early 2004. The site is a home for Post-Punk/New Wave/Goth and related styles of music—created as a central location online where fans of these more left-field styles of dance music could congregate, share reviews, and network for gigs, etc.
It may be a bit soon to call it, but Nostalgist’s upcoming mini-LP Disaffection may very well be a contender for album of the year. The album is due for release on March 16th via the band’s own Nostalgium Directive imprint, and we’re thrilled to premiere “Smoldering Amber,” the album’s second track.
“Smoldering Amber” is many things at once; a stunning ode to under-celebrated post-punk treasures, a love song to the early 90s wave of hard-hitting shoegaze juggernauts, and a powerful exercise in the best aspects of modern metal.
The track begins with a deep, delicious bass groove and a storm of heavy percussion courtesy of ex-Agalloch drummer Aesop Dekker. A delicate, reverb drenched guitar line takes hold as Asa Eisenhardt’s vocals, channeling The Comsat Angels’ Stephen Fellows, solemnly weave through the syrupy melodies. The track’s delicate tension breaks with a driving chorus that goes straight for the throat, channeling the quiet devastation of bands like Red House Painters and Swervedriver. A rare and extremely welcome bass/guitar interlude floats ominously at the halfway mark, before the track explodes into a wash of distortion and warm synthesizer.
“‘Smoldering Amber’ is the most lyrically intimate thing I’ve written to date. As with many of my songs, it chronicles the beginning, middle and end of some manner of relationship, but here the words are especially dramatic (even for me, ha) and visceral. Infatuation is the most central theme.
I do my best to really blend things up when I write, and both the mix and contrast of the heavy and the ethereal in “Smoldering Amber” is easily the most pronounced of the songs on Disaffection. Dynamics are another dimension of musical color one can explore and manipulate, really. All in all, I think this track is especially exemplary of what makes up Nostalgist.”
– Asa Eisenhardt
To celebrate the release of Disaffection, Nostalgist will be performing live at Kame House in Seattle on March 17th, alongside Geist & the Sacred Ensemble and Grey Waves. This will be the band’s first show with new drummer Alex Entrekin.
Check out the album art and tracklisting for Disaffection below:
Nostalgist- Disaffection Mini-LP
2. Smoldering Amber
3. Present Tense
5. Threshed At Dusk, Winnowed At Dawn
Hailing from Paris France, dark folk and cold-wave act Vesperal recently released their chilling and somber full length debut Conqueror of Emptiness. The eight track record is adrift in Parisian poesy and nihilistic existentialism channelled through hushed vocals softly reverberating over an icy fusion of electric and acoustic guitars.
The cassette version of Conqueror of Emptiness released through Le Recours aux Forêts, contains a bonus a piano version of I am the Silence, as well as the track Extinction, for which there is a hand crafted animated video directed by Darko Subotin.
Vesperal - Extinction (Official Video) - YouTube
Vesperal recently opened for Lydia Lunch in Paris, are currently working on material for future releases.
John Lydon has announced today that he is celebrating the 40th anniversary this year of his long running post-punk bandPublic Image Ltd. with “The Public Image Is Rotten” tour of the U.K., Europe and Japan.
Additionally, a new career-spanning box celebrating of 4 decades of PiL will be the released along with a new documentary both also bearing the title “The Public Image Is Rotten”.
No North American tour dates have been announced as of yet , however a “very special London date” is still to be announced, along a tour of Japan and more dates in the U.K. and Europe.
Following the release of the video for Magazine, the first single off of their upcoming sixth studio LP Violence, Tom Smith and his long running post-punk revival act Editors have unveiled their next Rahi Rezvani directed video for the album—this time for the track Hallelujah (So Low).
“I wrote the words to “Hallelujah (So Low)” when I got back from a trip with Oxfam, visiting refugee camps in Northern Greece. It was obviously an incredibly moving trip, seeing people living in dust, surviving only on the help of others was very moving.
Musically the track hung on the relationship between the acoustic guitar and the drum machine that was part of the track from my demo. It had something special very early on. Then when Justin [Lockey] came up with his outrageous guitar riff we knew we had a winner. It’s the most “rock” we’ve ever been and it’s exhilarating. I think the video attempts to capture this intensity, both in the track and in us as a live band.”
In the interview, Smith goes on to describe director Rahi Rezvani’s vision for the video, and how it differs from his previous collaborations with the band:
“I think this video is pretty straightforward for Rahi. There’s no narrative or concept other than capturing the intensity of the track and the excitement of us as a live band. Rahi has been on stage with us whilst we perform, literally in front of my face, in between us and the audience. He knows about the energy and I think he was trying to convey this. Oh, and us looking sultry under a rain machine obviously!”
For a brief moment in 1984 The Smiths were performing on BBC music programs without the crooning vocals of Morrissey, but instead featuring the singing talents of 1960’s era popstar Sandie Shaw.
Shaw, one of the most popular British vocalists of her era, is best known for her #1 hit rendition of (There’s) Always Something There to Remind Me, and the 1967’s winning Eurovision song entry Puppet on a String.
Sandie Shaw - Puppet On A String (1967) HD 0815007 - YouTube
Morrissey and Marr having the strong desire to be recognized professionally as great songwriters not unlike Burt Bacharach and Hal David who wrote Shaw’s first hit, began writing her letters asking if she would cover their song I Don’t Owe You Anything, which they had written and composed in the hopes that Shaw would agree to perform it.
Shaw was initially reluctant to accept the offer being averse to the controversy surrounding The Smith’s track Reel Around the Fountain.
Despite this, Morrissey and Marr persisted in trying to recruit Shaw to perform their music, and Shaw was eventually won over by Morrissey’s praise of her in the press by the intervention of Rough Trade label founder Geoff Travis.
Morrissey & Sandie Shaw interview on Earsay - YouTube
“he’s started sending me pictures of naked men with their bums showing!”
One of songs Morrissey sent to Shaw was The Smith’s debut single Hand In Glove, which reportedly caused her to exclaimed to her husband “he’s started sending me pictures of naked men with their bums showing!.
the smiths and sandie shaw - hand in glove [earsay 1984] - YouTube
Shaw and the Smiths would enter Matrix Studios in London in February of 1984, recording three Smiths songs with Johnny Marr, Mike Joyce and Andy Rourke. From the session Hand In Glove was ultimately chosen as the A side for the collaboration with I Don’t Owe You Anything as the b-side, and the inclusion of the song Jeanne on the 12 inch.
The Smiths On Charlie Bus Kids TV - YouTube
Forgoing the nude posterior on the original, the Sandie Shaw version if Hand In Glove’s sleeve features a still image of Rita Tushingham from the movie A Taste of Honey—an adaptation of the play written by Shelagh Delaney, who appeared on the covers of the single Girlfriend In a Coma and the compilation album Louder Than Bombs.
In promotion of the single Shaw would join The Smiths on live on stage on several television programs such as Top Of The Pops where the band performed barefoot in homage to Shaw’s habit on doing so in the 60s.
Sandie Shaw - Hand In Glove (TOTP 1984) - YouTube
Sandie Shaw & The Smiths - Hand In Glove (HQ Audio) - YouTube
Dark pop duo VOWWS are gearing for the release of their second studio LP Under The World due out March 2nd on the band’s newly formed label Anti-Language Records.
Following the video premiere for the track Forget Your Finery, and the audio for Esseff, Matt and Riz have continued their sonic exploration from industrial soundscapes into something more rural—but no less cinematic.
On their latest composition culled from the new LP the pair continue to expanding their unconventional repertoire by imbuing their music with the warm fuzz of dark space-aged indie garage–utilizing western styled guitars that augment the impact of Riz’s vocal’s on the complicated and challenging track Structure Of Love.
“We nerd the fuck out on this one,” explains VOWWS. “It was the most difficult one to get right cause it has so many twists and turns — there were a lot of influences we were pulling from. It sort of ended up sounding like a jazzy, sci-fi, western video game. Or like the theme of an ambitious low budget movie called ‘The Return of Space Cowboy 3.’ It was worth following through, it came out with a kind of twisted beauty that we wouldn’t have gotten if we’d tried to simplify it.”
Marc Almond and Dave Ball are reuniting for one last Soft Cell concert!
The announcement came today that Marc Almond and David Ball are reuniting for the first time in 15 years to commemorate Soft Cell’s 40th anniversary with a concert that is naturally billed as “Say Hello, Wave Goodbye”.
This final Soft Cell gig will occur at London’s O2 Arena on September 30th. Tickets will be available via a fan pres-ale beginning Thursday with general sales beginning Friday. Go to Soft Cell’s website for more information.
Solo artist and producer A.D Mana has premiered today the video for Blue Romeo, a track off of his forthcoming debut LP that was recently completed with Alex Akers of Forces (Fleisch Records).
The new album, set to be released later this year, is the follow up to his 4 track self titled debut EP (Sentimental Records), featuring Take Hold—whose video was shot, directed, and edited by singer and video production polymath Sally Dige.
A.D. Mana - "Blue Romeo" (Official Music Video) - YouTube
A neon and metallic futurism imbues Blue Romeo with the feeling of a an electric dreamstate initiated by some sort of a chemical culled from the literature of Philip K. Dick—where the subject drifts through surreal urban surrounding while carried upon hypnotic and pulsing rhythms.
LA-based post-punk darlings Second Still are slated to release a new EP this Spring on Belgium’s Weyrd Son imprint. Entitled Equals, the EP consists of five brand new cold tracks with one bonus track released over a string of formats. Preorders for the EP begin today via both Weyrd Son and Second Still’s Bandcamp, with the official EP release date slated for April 20th.
Lead single “Opening” picks up where the band left off with last year’s stunning self-titled debut. The track begins with Ryan Walker’s brief, but ominous guitar line before launching into a driving onslaught of hard-hitting drum programming and Alex Hartman’s hypnotic bass. Suki San’s vocals arrive soon after, dripping with reverb and peppering textural vocal repetition. The track twists and turns over the course of four and half minutes of cold bliss, building layers of guitars, staccato bass textures, and tense vocals into a frenzy, ending just as quickly as it began.
Equals marks a progression in the band’s sound with the inclusion of synthesizers. While they are absent from this single, they are a welcome addition throughout the course of the EP. In contrast to their debut LP, Equals was recorded in piecemeal form in various practice spaces and provisional studios. Engineered, mixed, and produced by Chris King, guitarist of Cold Showers and mastered by Mike Tierney, Equals marks a more DIY direction, with no dip in quality or power.
The angular die-cut artwork for Equals was created by Jean Lorenzo of Silent Em. The EP will be released on three different types of vinyl – black (300), silver (200), and silver with white/black splatter (100). The first 100 orders will include a flexi-disc featuring “Walls” – a previously released track recorded in 2016 under the same circumstances as the EP. A limited cassette edition of 100 copies, featuring all six tracks, will appear on sentimental Records [sic].
Preorders for Equals begin today and include a digital download of “Opening.” Check out the artwork and tracklisting below:
Second Still- Equals EP
1. In Order
6. Walls (cassette, digital, and flexi bonus track)
Additionally, sentimental Records has announced a similarly limited cassette release of Second Still’s Part Time Punks session, featuring a live drummer to flesh out the band’s sound for this release only. This release contains three previously recorded tracks, one exclusive new song, and a cover of For Against’s haunting “Echelons.” Presale for this release also begins today. Details and art below:
Second Still- Part Time Punks Session cassette
1. New Barn
2. You Two So Alike
3. Redwood Floor
5. Echelons (For Against cover)
Second Still will be touring Europe in May, centered around an appearance at Wave-Gotik-Treffen on May 19th. Tour dates will be announced shortly on the band’s Facebook page, so stay tuned for more as they develop!
On February 18th, 1998, South Park aired the episode Mecha-Streisand.
In the episode a mysterious triangle written in Anasazi shows up during a fossil dig, which turns out to be the “Triangle of Zinthar”. Barbra Streisand arrives in town and tries to acquire the triangle from Stan, Kyle, Cartman, and Kenny, to add to the the one she already has to create an ancient relic called “the Diamond of Pantheos” so she can become the most evil and dangerous creature to ever walk the Earth: Mecha-Streisand!
She succeeds and Leonard Maltin and Sidney Poitier fight her in the form of a giant Ultraman like robot, and a Gamera like turtle. and takes the form of a giant turtle much like Gamera.
They are no match for Mecha-Streisand, until Robert Smith of The Cure arrives. And naturally, inspired by the song The Caterpillar He turns into a Mothra like creature and defeats Mecha-Streisand, tossing her into outer space where she explodes.
After the battle everyone celebrates Robert Smith as their saviour including Jesus.
Robert Smith then walks off into the sunset with Kyle shouting at him “Disintegration is the best album ever!”