Manche Leute haben alles Glück der Welt. XASTHUR-Gründer Scott Conner zählt leider nicht dazu. Die offene Wunde seines Lebens blutet in einem konstanten klanglichen Ausfluss erst in sein neues Album "Disharmonic Variations" hinein – und von dort wieder heraus. Die dreizehn bitteren, dreckigen, schmerzhaften und manchmal auch ein wenig hoffnungsvollen Songs sind natürlich auch keine hübschen "Goldberg Variationen". Vielmehr ist der Titel "Disharmonic Variations" ("Disharmonische Variationen") zugleich Botschaft und Programm. Musik ist nicht einfach das, was Scott macht. Er führt kein Bilderbuchleben. Für ihn und in ihm gibt es nur die Musik – ohne die der amerikanische Hüne vermutlich auch nicht mehr auf dieser Welt weilen würde. Scott schreibt und nimmt nicht bloß die üblichen 8 Songs im Jahr auf. Sondern er macht Musik in jeder Stunde und an jedem Tag einer Woche in seiner eigenen Zeit und auf seine eigene Art; und zwar das ganze Jahr über. Scott spielt analog und nimmt auch so auf – auf die harte, altmodische Tour, während sich Ausrüstung und Instrumente in dem Zimmer stapeln, in dem er gerade haust. In diesem musikalischen "Stream of Consciousness", diesem Tagebuch eines Künstlers, sind alle Gedanken zu einem bestimmten Stil ein Luxus, den Scott weder hat noch hegt. Seine aktuelle Ausdrucksform auf "Disharmonic Variations" tendiert zum bitteren Geschmack der Dark Folk Americana mit einem vereinzelten Ausreißer in den Ambient-Sound. Es wird nie eine Garantie für die Richtung geben, die XASTHUR als nächstes einschlagen. Was auch immer noch passieren wird, hängt allein davon ab, was Scott Conner dann fühlt. Der Sänger und Multiinstrumentalist rief XASTHUR ursprünglich im Jahr 1995 ins Leben. Obwohl das Projekt im sonnigen Kalifornien, USA seinen Anfang nahm, bewegte es sich anfangs in der Dunkelheit des nordischen Black Metal der zweiten Welle. Im Jahr 2010 gab Scott das Ende von XASTHUR bekannt und kehrte mit einem akustischen Dark Folk Projekt unter dem Namen NOCTURNAL POISONING zurück. Dessen Alben wurde später unter dem Namen XASTHUR neu veröffentlicht. Im Jahr 2015 nahm der Amerikaner den Faden mit XASTHUR wieder auf, betonte aber, dass seine Black Metal Tage vorbei seien. Diese Aussage wurde mit der letzten Veröffentlichung "Inevitably Dark" (2023) teilweise revidiert – einfach nur, weil Conner wieder Lust auf etwas Black Metal hatte. Mit "Disharmonic Variations" liefern XASTHUR ihre nächste Scheibe ab, die unter dem Motto "Nehmt das Album so wie es ist oder lasst es bleiben" entstand. Scott Conner ist es egal, was andere über seine Musik denken. Er kann nicht anders. Ob er verflucht oder gelobt wird – Conner macht immer nur das, was er gerade will, und das ist und bleibt seine wahre künstlerische Leistung.

Tracklist:
01. Beginning of a new end
02. Mirrors made of misery
03. Haunted by the living
04. Selling yourself to die
05. Who will smash the mirror of lies
06. Psychedelic darkness in reality
07. Messenger of your reflection
08. Your existence is not enough
09. Other blind believers
10. As you point into guilty mirrors
11. Fairytale ideologies
12. Sheep in wolves clothing
13. Counterfeit pennies

Bonustracks (artbook only)
14. Trapped in purgatory
15. Dangerously poor

Source: Prophecy

I tore out my page,
I liked what I read,
If I’m not in your book,
Can I come back to bed?
Following their spirited concert in one of Europe’s oldest inhabited towns, Patriarchy embarked on an impulsive yet inspired journey to film the video for their new single, “Hurt Me,” a collaborative track with Gothic renaissance man, Producer Luca Venezia, aka Curses, The enchanting atmosphere of Trencin, Slovakia, with its monumental 11th-century castle and ancient Roman relics, served as the perfect setting for this spontaneous video project.

On creating the video, Patriarchy frontwoman Actually Huinzenga explains:

“After a long visit to the castle, wandering the grounds, and locking The Drummer in the original stocks they had on display, we felt inspired to shoot something and decided to do it after the show. We asked around after our set and met some cool people who live in a squat nearby. They gave us the coordinates and we drove over after the show.

We really didn’t know what to expect or what we were gonna shoot, but on our way there (with Shari, aka Void Vision, who assisted with this guerilla production), we developed the concept of being ‘willingly abducted’ – which I’m sure many patriarchy fans can identify with – and a sort of metaphor for the cycle of abuse that’s alluded to in our single Hurt Me.

Before we got there, and after a bit of mushrooms, The Drummer demanded The Driver stop the van and pushed me out of it! He yelled for me to just run in front of the van, and I decided to just roll with it.”

The filming process was raw and improvised, and the first that was not produced by Actually herself, as she explains:

“This is the first Patriarchy video that was not Directed, Edited, and Produced by Actually Huizenga, and at first, I felt a bit weird handing over the reins, but it actually made sense in this instance. I let The Drummer get his payback for all the torture I put him through in the last five videos (and the stocks earlier that day) and played out the lyrical role-reversal present in Hurt Me, baring my soft white underbelly and getting tossed around for a change.

The whole thing was over in a flash. The Drummer knew exactly what he wanted, and we only filmed for one chaotic hour – i can only imagine how we looked – driving up and down this dark back road, him hanging out of the van filming in full makeup, no shirt, and a skirt; me running and screaming and falling; Shari holding the camera as The Drummer physically dragged me into the van in front of dozens of passing cars… and somehow the cops never came (not sure if that’s good or bad come to think of it)

At one point the people we met at the show came out of their squat and said hello, we hadn’t even realized we arrived at the coordinates they gave us!

Afterward, we went into a gas station to get some treats, and the beautiful Slovakian cashier with perfect makeup and long nails looked at us like we were a pack of cockroaches – usually, we get a few smiles from gas station people, but not this time.”

Watch the video for “Hurt Me” below:



Hurt Me is a one-off collaboration between Patriarchy (Actually/The Drummer – lyrics, melody, and arrangement) and Curses (Luca Venezia, production and all instruments)It was mixed by Twin Shadow with additional production by John Fryer of This Mortal Coil.

Through her trademark smirk, Actually describes ‘Hurt Me’ as a “lullaby for a Lothario” – pairing her inimitable biting, haunting lyrics with lush evocative synths, throbbing bass line, and an infectious breakbeat reminiscent of early 90s Madonna and The Cure.

While it may seem like a sonic departure to those more familiar with Patriarchy’s industrial dancefloor sound, it sits nicely between some of The Unself’s more emotive tracks like Heat Lamps, State Of Undress, and title track The Unself – showcasing Actually’s singular lyrical ability and melodic identity.

Speaking about the track, Actually felt compelled to make something that echoed the ethereal magical power of womanhood while she was pregnant – probing the dark, exhilarating, sometimes confusing feelings you navigate during a ‘complicated’ relationship – like using her lover’s little black book as a bedtime story.

We had to pry Actually for more info on this special song, video, and collaborative track,  one of Patriarchy’s best to date. Here’s what she had to say:

What’s the story behind your first meeting with Luca from Curses? How did your collaboration with him come into being?

“Legend is that he came and introduced himself after our first show in Paris last year, but it was smokey and loud. I only remember his tall presence and his nice nose. Honestly, it was all kinda a blur, but then he reached out about using our song Suffer on his Next Wave Acid Punx comp and planned to do music together one day. That day came, in the midst of my pregnancy, he sent over this haunting lo-fi instrumental track that he’d been working on for years. We absolutely loved it, and the ideas started pouring out of the void.”

Given your mutual admiration for David Bowie, especially since Luca dedicated an album to the film ‘The Hunger,’ did this shared passion help forge your connection?

“Yes, the connection between Bowie fanatics is instant. You just cross paths with a like-minded degenerate, and you can sense it in the pheromones. Speaking of The Hunger, we remind readers that Patriarchy injected a healthy dose of The Hunger into our video for Suffer.”

Your track “Hurt Me” has a vibe that reminds me of the underappreciated single “Bad Girl” from Madonna’s ‘Erotica’ album, which many consider the standout track. Would you agree with that comparison?

“Wow, yes, I love that song, and it was (with a few others from Bedtime Stories) our Northstar when writing Hurt Me. Also, the various Batman Official Soundtracks are ALL incredible—especially the also underappreciated U2 track from Batman Forever, ‘Hold Me, Thrill Me, Kill Me, Kiss Me.'”

Were any of the following influences on the concept of your music video: David Lynch’s cinematic style, Jonathan Demme’s ‘The Silence of the Lambs’, or the infamous Ted Bundy?

“David Lynch and all the Hanibal Lector films, especially Hannibal (for Actually) and Red Dragon (for The Drummer), are subconscious inspriations etched on our DNA – but the truth is – this video came about as an exercise in letting go, and came organically with no prior discussion in the short mushroom-fueled drive from the venue to a Slovakian squat house in the van where we lived for 30 days with Shari Vari from Void Vision. We felt compelled to shoot after an inspiring day in this ancient town of Trencin – and when The Drummer started barking orders at me, it felt like the perfect opportunity to embrace a role reversal and let him get his payback for the torture he endured across the previous 5 videos.”

Hurt Me is Patriarchy’s first independent release after two albums and two remix collections with Aussie label Dero Arcade, with whom they have parted ways.

They plan to release a new album produced by George Lewis Jr., aka Twin Shadow, before the end of the year and are nearly done recording it.

Meanwhile, Patriachy’s Hurt Me is set to make its live debut at Cruel World Fest 2024.

Follow Patriarchy:

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The post An Abduction in Slovakia — Watch the Video for Patriarchy’s New Single, “Hurt Me,” a Collaborative Track with Curses appeared first on Post-Punk.com.

Source: Post-Punk.com

Berlin’s CIERŃ, a band comprising Devi, Laura Bailey, Eduardo Saravia, and Justin Deaktivere, conjures up a potent blend of peace, post-punk, dark, cold wave, and anarcho-punk. Their music infuses elements of philosophy, politics, and raw emotion. Describing themselves as “witchy,” CIERŃ draws inspiration from bands like Xmal Deutschland, Siouxsie and the Banshees, and Skeletal Family. Their music features rapid-fire guitar riffs, piercing vocals, chilling minor chords, and haunting harmonies— a concoction that compels us to confront and exorcise anxieties about societal and environmental issues.

The band’s name, a Polish term for “thorn,” reflects their sharp and penetrating approach to music and activism. Symbolically, they adopt the rune Thurisaz, chosen by Devi, which represents the force of resistance—a fitting emblem for their confrontational and transformative style.

“It is a rune of protection against that which aggresses us,” explains Devi, pleading with listeners to place the same importance and value on all life, no matter where they are from. “We ask you to question everything… be conscious… think before you speak… think before you act… be aware of the impact you have in society and on everyone and everything around you… there is a ripple effect.”

The band have just released their fiery political collection of four songs: Flawless.

The album kicks off with Double Beat, a track that dives into the throes of anxiety with evocative imagery of time crawling to a halt and the heart skipping beats. The song navigates through emotions of despair and intense pressure, tied together with the primal “fight or flight” instinct. Its references to tarot cards weave in a theme of metamorphosis and the essential act of letting go to find peace.

Following this, Puppets takes the stage, exploring the theme of control and dominance exerted by modern media and technology. This track paints a bleak picture of an individual ensnared by external forces, transforming them into a mere puppet. The relentless bombardment of digital noise traps the listener in a cycle of obedience and turmoil, highlighting the struggle to reclaim autonomy over one’s thoughts and actions.

The standout track Disposable evokes the dystopian vibes of films like Blade Runner and They Live, delivering a sharp critique of the shallow and damaging habits of contemporary consumer culture. With a backdrop of chattering media pundits, the song delves into the concept of “synthetic love”—products crafted for quick allure but destined for the trash heap. It touches on rampant consumerism, ecological harm, labor abuses, and the mindless duplication of items, advocating for a shift towards more deliberate and sustainable consumption habits.

The album wraps up with the title track Flawless, a poignant commentary on the relentless beauty standards imposed from an early age. This track traces the transformation from a spirited child to a self-conscious teenager, manipulated by glossy magazine ideals and societal pressures. It champions self-acceptance, encouraging listeners to cherish their flaws and resist the psychological toll of self-imposed perfection.

Listen to the album below and order here:

Flawless by CIERŃ

In 2022, CIERŃ began writing new songs and began the process of recording them in October 2023 at Andere Baustelle Tonstudio, the home of Einstürzende Neubauten, in Berlin, Germany. Boris Wilsdorf assisted in recording and mixing the four songs. Afterward, Maurizio Baggio provided final mastering at La Distilleria in Vicenza, Italy.

CIERŃ’s first album, “The Emperor Rx” (2022), focused on a macro perspective of the world’s state, while their second album, “Flawless,” shifts to a micro perspective of how humans relate and exist in the world and their own reality. “Flawless” explores self-perspective, self-recovery, and self-acceptance, as well as the effects of large industries on climate change and the human race.

Catch CIERŃ live—a list of venues throughout Germany and Poland this summer is here. Juan Gauz is currently performing with the band live as their bassist, and Laura Bailey (Neu Romancer) is on tour with Zanias as part of her live band.

Follow CIERŃ:

Bandcamp 
Instagram 
YouTube 
Facebook
Spotify
Soundcloud

The post Listen the Politically Charged Gloom of Berlin-based Witchy Post-Punk Outfit CIERŃ’s “Flawless” EP appeared first on Post-Punk.com.

Source: Post-Punk.com

Le Brame is the solo endeavor of Federico Piegaja, a musician hailing from Lucca, Italy. Piegaja taps into the New Wave and synth Pop echoes of 1980s Italy, drawing influence from iconic artists like Franco Battiato, Matia Bazar, and Litfiba. He also nods to contemporary American dream pop and post-punk outfits such as Drab Majesty and Black Marble.

Today marks the unveiling of “Cravings,” the debut EP from the talented Tuscan artist Piegaja. With his signature nostalgic FM synthesizers and soulful vocals, Federico has expertly written and composed all four tracks, while the renowned Jack Milwaukee (M!R!M) has expertly helmed production and mixing from London.

“Cravings” is a journey through the intense yearning for both tangible and abstract entities, with each track exploring the depths of human emotion. The EP’s synth-pop architecture is a beautiful marriage of the past and present, with Federico’s emotive lyrics and warm vocals set against a modern, sampled drum framework.

As the four tracks unfold, the listener travels through a world of energy and romance, with Federico’s unique blend of synth-driven melodies and heartfelt lyrics capturing the imagination. “Cravings” is a gorgeous collection that offers a glimpse into Federico Piegaja’s soulful artistry and boundless potential.

Strade di Città (City Streets) captures a longing to rediscover innocence, to wander lost through familiar streets, and to embrace one’s unique identity. Its warm, staccato synths sound like a soundtrack to a long lost John Hughes film. Following that,  La Nebbia (The Fog) explores the urge to break free from a suffocating, unsatisfying reality, urging clarity amidst a haze of trivial theories and false beliefs.

Luna (Moon) depicts a frantic flight from the shadows of the forest, led by the moon’s dim light toward deliverance. This track showcases Le Brame’s profound talent and passion within the darkwave genre. With its blend of crystalline synths, Juno arpeggiators, and forceful percussion, the song delivers a distinctly retro feel. Sung entirely in Italian, Le Brame’s vocals carry a raw emotional charge, especially as they tremble through the track’s powerful outro.

Non ti Abbandonare (Don’t Abandon Yourself) confronts the perils of a life steeped in passive reflection, effectively capturing the struggle to rise above depressive states within its gothic soundscapes. Iridescent synths shimmer against a backdrop of relentless percussive beats, infusing the track with a retro allure. The sorrowful timbre of the vocals deeply resonates, adding emotional depth to the song. Sung entirely in Italian, the lyrics enhance the track’s enigmatic quality. In the song’s climax, Le Brame’s sardonic drawl vibrates with intense, unguarded emotion.

Listen to “Crawings” below, and order the EP here:

Cravings by Le Brame

Follow Le Brame:

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The post Listen to the Crystalline Retro Synth of Italian Darkwave Artist Le Brame’s “Cravings” EP appeared first on Post-Punk.com.

Source: Post-Punk.com

Das dritte Album der schwedisch-kanadischen Death Metaller DARKENED mit dem Titel „Defilers of the Light“ ist angekündigt. Das von Lawrence Mackrory (Firespawn, Katatonia, Meshuggah) gemixte und gemasterte Album mit dem Artwork von Juanjo Castellano wird am 14. Juni das Licht der Welt erblicken, eine erste Single ist nun erschienen. https://darkened.lnk.to/defilers

Source: Amboss-Mag.de