“Detachment from ourselves, now what have we become?”
For much of Kontravoid’s existence, the artist’s face has remained a mystery at first glance, though it is not uncommon to see his face make a cameo in a Boy Harsher video or two. Typically, he dons a mask reminiscent of Greek tragedy—expressionless, a white plaster shroud enveloping the soul. This mask serves both as a shield for detachment and a sanctuary for concealment. Reminiscent of the classic death mask L’Inconnue de la Seine, cast from the face of a young girl who had drowned in France in the 1880s, its serene yet enigmatic frozen features provided a barrier of secrets and riddles. 

This dynamic shifts with Detachment, a video piece crafted by Sean McGuirk. It can very well be described as performance art…or lampooning it. Either way, it’s effective. For three full minutes, singer Cameron Findlay engages the camera with an unwavering gaze. Imagine: an Olan Mills portrait brought to life by Marina AbramoviÄ� on a 1987 broadcast of WPVI Action News.

The visuals seamlessly complement the song’s languid synth-pop groove, monotone vocals, and lyrics that delve into a state of detachment. Findlay simultaneously satirizes and confronts his creation head-on. With all the angst swirling our airwaves, arms flailing, teeth gnashing, words hurting, and deaths skyrocketing – it is unnerving to see such a stare. It is both soothing and heartening when most of us want to look away.

“Detachment is more or less the theme for most of the tracks on the record, referring to being disconnected from reality in some way,” he explains. “It’s just a theme I wanted to explore with this era of the project.”

Watch the video below:

Kontravoid, the wisecracking phantom of the darkwave scene, masterfully embodies the essence of contemporary and underground dark electronic music. Striking a balance between gothic sensibilities and dancefloor allure, his music appeals to a wide array of music fans. Canadian-born and Los Angeles-based, Cameron Findlay has been instrumental in shaping the landscape of the dark music scene worldwide. Since launching his career with his self-titled LP in 2012, Findlay, under the persona of masked maestro Kontravoid, has crafted an intricate soundscape that skillfully traverses the genres of EBM, electro, and darkwave. His atmospheric compositions like “Too Deep” and “Faceless” resonate in foggy, strobe-lit clubs, and they invariably turn dance floors into eternally animated spaces.

Kontravoid’s presence extends far beyond the studio. On stage, he enthralls audiences with a commanding performance that synthesizes intense beats with hypnotic bass rhythms. Having toured with notable acts like Boy Harsher, ADULT., Drab Majesty, and HEALTH, and remixed tracks for artists such as Schwefelgelb and Kris Baha, his influence stretches across the dark music spectrum. Known for his shadowy persona and enigmatic performances, he remains an indelible part of the darkwave community.

Among his body of work, the 2018 release “Undone” stands out, cherished by fans for its poignant lyrics and evocative melodies that capture a haunting sense of melancholy. With his latest album, “Detachment,” Kontravoid has arguably delivered his finest work to date. Under the ever-watchful, hollowed eyes of Comedy and Tragedy, his masked mystique continues to thrive, marking over a decade of enduring presence in the music industry.

Detachment is out now.

Order Here

Detachment by Kontravoid

Kontravoid is set to embark on his 2024 European Tour. See full dates below:

Kontravoid Spring European Tour 2024:

Apr 25 – Thessaloniki, Greece @ OSM Tapes
Apr 26 – Athens, Greece @ Death Disco
Apr 27 – Geneva, Austria @ La Gravière
Apr 28 – Marseille, France @ Le Molotov
Apr 30 – Bratislava, Slovakia @ FUGA
May 2 – Madrid, Spain @ The Basement Club
May 3 – Barcelona, Spain @ Sala Upload
May 4 – Valencia, Spain @ Spook Club
May 6 – Glasgow, UK @ Flying Duck
May 9 – Manchester, UK @ The White Hotel
May 10 – Newcastle, UK @ Lubber Fiend
May 11 – London, UK @ Camden Assembly
May 14 – Paris, France @ La Petit Bain
May 17 – Leipzig, Germany @ Wave-Gotik Treffen

Follow Kontravoid:

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I close my eyes for a thousand years…
Over fifteen years and more than 250 live shows across 25 countries, Swiss darkwave group The Beauty of Gemina has established a formidable reputation from its home base in Switzerland to distant shores in Europe, particularly in Central and South America. The band is slated to play in Chile and Brazil this week, with gigs in Santiago on Wednesday, April 24th, and Sao Paolo on Saturday, April 27th, respectively.

The music of The Beauty of Gemina fuses darkly enticing, passionate melodies that traverse melancholic wave to soulful blues, and dip into a chamber music-inflected post-rock, all while being deepened by dark indie-pop twists. Their live performances blur the lines between fantasy and reality. Michael Sele, the powerhouse behind the band, not only writes their songs but also directs their sound as the lead vocalist, arranger, and producer, driving The Beauty of Gemina to notable artistic achievements.

“I want to create an album that captures the essence of coming home and the magic of reunion,” says Michael Sele. “The songs are like a diary of my own journey home.”

Songs of Homecoming is set to drop in late summer 2024, marking four years since their last release, Skeleton Dreams. This period has not only seen the challenges of a global pandemic but also ongoing conflicts like the war in Ukraine and a critical environmental crisis. On stage, Michael Sele’s remarkable presence has been a key factor in the band’s successful live shows, bolstered by the dynamic drumming of TBOG veteran Mac Vinzens. Andi Zuber on bass and Daniel Manhart on keyboards round out the current lineup.

The Beauty of Gemina was founded in 2006 by Michael Sele, following the dissolution of his previous band, Nuuk. From their inception, The Beauty of Gemina made a mark with their debut album featuring the hit “Suicide Landscape,” which quickly climbed the World Gothic Charts. The band’s music videos, such as “This Time” and “Suicide Landscape,” received significant airplay, enhancing their visibility on platforms like VIVA (MTV Europe) and Schweizer Fernsehen.

Over the years, The Beauty of Gemina’s 250 live shows across 25 countries included high-profile gigs supporting The Smashing Pumpkins and playing at renowned festivals such as Wave-Gotik-Treffen and M’era Luna. Their music combines elements of electronic rock, metal, and classical music, often featuring samples from iconic compositions like Mozart’s works.

The band’s evolving sound was particularly noted with the release of “Iscariot Blues” in 2012, where they embraced a more acoustic and introspective style. This shift has continued through subsequent albums like “Minor Sun” and “Skeleton Dreams.”

Their latest project, “Songs of Homecoming,” set for release in late summer 2024, promises to explore themes of return and reunion, reflecting Sele’s personal journey and artistic vision.

Lyrically, Michael Sele, who serves as the songwriter, lead vocalist, arranger, and producer, delves into profound themes of suicide, depression, loneliness, and criticism of societal norms, offering a cathartic experience for listeners. His ability to weave complex emotions into his music has not only defined the band’s sound but also established a loyal fan base around the globe.

As they continue to tour and produce new music, The Beauty of Gemina remains a significant and influential force in the alternative music scene, revered for their artistic depth and innovative approach to music and storytelling.

Catch The Beauty of Gemina in Brazil and Chile this week!

Live Dates:

WED, 24. April 2024 Santiago De Chile – Blondie
Tickets
SAT, 27. April 2024 Sao Paolo – Madame
Tickets
VIP Tickets

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Twilight youth cultivates cries
And you never got to say goodbye
Screams shake off of concrete
Police and thieves get paid across the street
And here’s a bullet for your thoughts
Carving out their own distinct path in the thriving and diverse Texas alternative music scene, Don’t Get Lemon stands out as a genre-defying act that captures all the great things pop music used to be in the halcyon days of the new wave era. The band’s intriguing name, Don’t Get Lemon, comes from a playful twist on Cockney rhyming slang for “don’t get smart,” referencing the phrase “lemon tart.” This choice reflects their sharp, witty approach to music and homage to influences like The Stone Roses and the spirit of the ’68 Paris riots.

The Stone Roses, an iconic Manchester act, famously incorporated lemon imagery into their 1989 debut album cover as a political statement. The lemon, used by protestors during the May 1968 Paris riots as an antidote to tear gas, symbolizes protest and defiance. This imagery resonated deeply with Don’t Get Lemon, influencing their name and underlining their own music’s themes of resistance and speaking out against societal issues.

“We were originally thinking about calling the band Lemon, taking homage from The Stone Roses and the ‘68 Paris riots,” the band previously stated.  “We noticed that searching for Lemon would be near impossible, and there’s probably countless bands called Lemon. So we kept Lemon and added ‘Don’t Get’ to make ‘Don’t Get Lemon’ — it’s a famous line from a movie called The Football Factory which stars Danny Dyer who we use as kind of an inside joke in the band.”

Central to the creation of this world-building art-pop ensemble Don’t Get Lemon are the trio of Austin Curtis, Nicholas Ross, and Bryan Walters, three longtime friends whose combined creative vision has thrust the band headlong into the limelight with their stylish take on post-punk and synthpop. Austin Curtis, with his magnetic charisma, serves as the band’s suave frontman, whose powerful vocals and stage persona are captivating with their mix of theatrical flair tinged with intense emotion.

Nicholas Ross and Bryan Walters amplify Austin Curtis’s performances with their versatile musical skills, shaping the distinctive sound that defines the band. Ross, a wizard on both synth and guitar, weaves the music with dense, atmospheric textures, while Walters anchors the tracks with his robust bass lines and dynamic percussion. Their lyrics, however, make these politically charged anthems of our time, with topics of social media, school shootings, and the general malaise of the 2020s.

Have Some Shame, available now through à La Carte Records and Summer Darling Tapes, was put together in rural Texas by Dan Duszynski of Loma/Sub Pop fame, and given its final polish by Paul Gold, known for his work with LCD Soundsystem and Animal Collective. This lively set of tracks pushes back against the detached coolness of typical coldwave, opting instead for a warmer, more passionate approach the band playfully calls “Heatwave.”

The album opens with the aptly titled title track, which explores themes of authenticity and materialism, contrasting genuine emotional experiences with the superficiality of fame and external appearances. This leads to alienation and the contemplation of the emptiness of public life, emphasizing the need for emotional honesty and criticizing those who lack self-awareness or remorse.

Next comes the powerful Blow-Up, which addresses vulnerability, internal conflict and disillusionment. The recurring idea of imminent self-destruction reflects a deep-seated fear of personal downfall or demise. There is a vibe to this song reminiscent of Combat Rock-era Clash with the repetition, percussion and chorus.

Say Something New For Once expresses frustration with superficial communication and a longing for genuine, meaningful dialogue. This desire for authenticity is coupled with a critique of pretentious or empty literary efforts, yearning for something truly profound.

Highway 59 is an effervescent journey through time and sound, with bubbling retro synths that recall the nostalgic undertones of Survive and Black Marble, coupled with a vocal delivery that finds a unique crossroad between the haunting depth of Dave Gahan, the chameleonic allure of David Bowie, and the resonant croons reminiscent of early-2000s post-punk revival. The presence of the guitars is subtle yet profound, shimmering with an ethereal quality that evokes the peak artistry of The Cure’s Kiss Me, Kiss Me, Kiss Me and Disintegration, with echoes of the iconic Cocteau Twins Gretsch sound as heard in Crushed.

Just in time for graduation season, Pomp and Circumstance packs a wallop of political commentary about the repercussions of gun violence in schools. The song reflects on the disillusionment and frustration of youth in its wake – as well as the harsh realities of urban life, and the sense of hopelessness that can deter aspirations. The tone is one of mourning and deep introspection, lamenting the loss of innocence and the pervasive pain in contemporary society.

Last Chance For Romance explores the tension between professional obligations and personal desires, portraying an internal conflict: does one follow their dreams or fulfill their job duties? The theme of longing for recognition and love adds a layer of emotional depth to the struggle between duty and desire. This is followed by Automatic Gore, a journey from empathy to apathy… and back towards a reconstructed sympathy. It critiques societal norms and power structures, lamenting the inequities of wealth and opportunities; ultimately seeking authenticity in a reimagined reality.

Nostalgia and longing, painted against a backdrop of elemental imagery like wind and waves, take centre stage in The Crest of A Wave. There’s a profound sense of loss and a desire for renewal, culminating in an acceptance of personal shortcomings and a relinquishing of control.

We leave the album with another timely track, Pop Star Salvation, about transient nature of fame and the superficiality of modern success. It asks the tough question: does distinguishing oneself truly offers lasting value or historical significance? A “tear-stained love letter” auctioned to the highest bidder; the personal struggles of tortured poets – all commodified for survival, underscores the cynicism toward the entertainment industry.

Listen to Have Some Shame below, and order here:

Have Some Shame by don’t get lemon

Don’t Get Lemon will be on the road with Holy Wire during the summer of 2024.

Tour Dates:

Saturday, June 8th ˑ Austin, TX ˑ Hotel Vegas
Friday, June 14th ˑ San Antonio, TX ˑ Hi-Tones
Saturday, June 15th ˑ Dallas, TX ˑ Double Wide
Sunday, June 16th ˑ Tulsa, OK ˑ Whittier Bar
Monday, June 17th ˑ Kansas City, MO ˑ Farewell Cafe
Wednesday, June 19th ˑ Milwaukee, WI ˑ Bremen Cafe
Thursday, June 20th ˑ Chicago, IL ˑ Livewire Lounge
Friday, June 21st ˑ Ann Arbor, MI ˑ Ziggy’s
Saturday, June 22nd ˑ Pittsburgh, PA ˑ Remedy
Sunday, June 23rd ˑ Cincinnati, OH ˑ Madison Live
Monday, June 24th ˑ Nashville, TN ˑ The Cobra

Follow Don’t Get Lemon:

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The post Listen to the Halcyon New Wave of Texas Outfit Don’t Get Lemon’s Full Length Album “Have Some Shame” appeared first on Post-Punk.com.

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In the chaotic twists of love’s darker chapters, where initial bliss gives way to tangled emotions, the sense of reality begins to crack. What we feel isn’t always what is. Paris-based singer, songwriter, and musician Julia Gaeta sidesteps a blunt portrayal of these somber themes in her latest EP, Blur Divine, released through A La Carte Records. Rather than dwell in the depths, she wraps these intense emotions in a layer of sublime delicacy, infusing them with a light, almost otherworldly grace.

With that in mind. Gaeta shares Hangin’ On A Dream.  “It is about coming to terms with your desires, and realizing you may have never had them fulfilled,” she explains. “You’re grasping at something and it slips away, leaving you hanging, confused, wondering. The verses were written on the spot in a studio in Portugal. This is a dual-part song, one that begins very intimately and floaty, and then swells deeper into a trance-like state.”

Gaeta’s latest work draws deeply from her personal experiences and the tales of her circle, yet the electric push-pull of gritty Paris nights seems to be her biggest muse. Her evolving view of the city suggests that our personal filters shape our experiences. Gaeta’s musical roots are firmly planted in the rich soil of metal, grunge, post-punk, and goth, with Alice in Chains, Depeche Mode, and Killing Joke leaving a lasting imprint on her sound. Yet, she doesn’t stop there. She seamlessly integrates her affection for the catchy hooks of ‘90s and early ‘00s pop and hip-hop, acknowledging the era’s flair for grand productions. Hangin’ On A Dream masterfully blends these diverse elements, with a nod to early 4AD’s ethereal flavour.

Listen to “Hangin’ on a Dream” below:

With her debut solo EP, Blur Divine, Paris-based American artist Julia Gaeta ushers listeners into a shadowy, nocturnal realm filled with introspective yet groove-worthy ‘unlove’ songs. Fusing sophisticateddark pop with industrial undertones and a hint of sultry roughness, Blur Divine delves into the distorted perceptions and fractured realities of troubled love—yet cloaks these darker themes in a fragile, almost ghostly light.

Blur Divine took shape in two distinct Paris settings during the 2020 pandemic lockdowns, shortly after Gaeta relocated from Berlin. The first was an eighth-floor sublet in a 1970s building, with the famous Père Lachaise Cemetery right behind and the vast Parisian cityscape out front. The apartment, with its faux leather curtains and an assortment of fetishwear tucked away in closets, had the vibe of a low-fi sex dungeon complete with questionable stains and a bed framed by mirrors. For Gaeta, this space seemed to echo a collective consciousness of both anguish and ecstasy. The second spot was tucked away from the city’s constant motion, offering a quieter, more introspective place to craft her music. These contrasting environments played a pivotal role in shaping the dynamic essence of the record.

Gaeta joined forces with LA-based producer Alex DeGroot, known for his work with Zola Jesus, for her album. Packed with powerful beats, warped synths, reverberating guitars, and Gaeta’s profound vocal range, Blur Divine hooks us swiftly and deeply, enticing us to tread a path into territories that are strangely recognizable yet uncharted.

Blur Divine is out on June 25, 2024.

Pre-Order Here

Blur Divine by Julia Gaeta

Julia Gaeta plans to tour her EP in the second half of 2024 and into 2025. She is also beginning work on an LP.

Follow Julia Gaeta:

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“You’re the worst of your kind.”
Whippets, hailing from the No Coast (aka Madison, Wisconsin), are a power trio steeped in a fusion of post-punk, grunge-gaze, and deathrock. The band features Bobby Hussy wielding the guitar and taking on vocal duties, Tyler Spatz on bass, and Hart Alan Miller behind the drums. Their sound channels the raw energy and cutting edge of bands like Wire, Jay Reatard, and Fugazi, mixed with the experimental noise of Jesus Lizard, Metz, and Devo. Adding to their eclectic influences are the likes of A-Frames, Spray Paint, Swell Maps, Unwound, Uranium Club, Spacemen 3, and Christian Death, making their music a complex weave of underground rock’s finest.

Now they unleash Splinter, a deathrock-infused post-punk anthem marked by its angular structure, twangy surf and garage guitar riffs, and a psychedelic flair. The track charges forward with manic ferocity, complete with a killer breakdown.

“Splinter started life as a Cave Curse song a few years back,” says Hussy. “When that band devolved Tyler Spatz and I brought the song over to Whippets and created a whole new life for it. It’s more minimal, immediate and in your face now. We like it like that.”

The DIY video for “Splinter” is a raw cut of visual poetry, featuring found footage that oscillates between flora and fauna in states of birth and decay. Interspersed with expressionistic clips of the band, the imagery gets surreal with giant eyeballs and a big ol’ gator head, feeling like a solid throwback to mid-90s MTV.

Dive into the spectacle of “Splinter” below:

The record ships in June and the band will be touring on the album. Preorder for white vinyl from No Coast Records here.

Whippets by Whippets

Check out the single via Spotify below:

Bobby Hussy made significant waves with his earlier band, The Hussy, featuring Heather Sawyer (of Proud Parents and Heather The Jerk). Over their 12-year trajectory, The Hussy embarked on extensive tours across the U.S., with notable stops in Europe and Australia. They’ve shared stages with modern heavy-hitters like Thee Oh Sees and Ty Segall, as well as legends like Mudhoney, engaging audiences at major events including four appearances at the premier garage rock gathering, GONERFEST.

Beyond The Hussy, Bobby has been involved with several bands including Digital Leather, Cave Curse, Fire Heads, and currently, Wristwatch and TIT. Tyler Spatz, also formerly of The Hussy and Cave Curse, has been a part of Yuka Zolo and currently makes music with Poney and Wristwatch. Hart Miller brings his drumming prowess from stints with Tenement, MDC, and Wartorn.

Whippets hit the road in September 2023 for a U.S. tour with Columbus, OH art rockers DANA and are gearing up for another nationwide tour to coincide with their upcoming LP release.

Tour Dates

June 12th – Dubuque, IA @ The Lift
June 13th – Des Moines, IA @ Yacht Club
June 14th – Omaha, NE @ The Sydney
June 15th – Lawrence, KS @ The Replay
June 16th – Wichita, KS @ Kirby’s
June 17th – Oklahoma City, OK @ Grand Royale
June 18th – Tulsa, OK @ Sound Pony
June 19th – Denton, TX @ Rubber Gloves w/ O-D-EX
June 20th – Austin, TX @ Chess Club w/ O-D-EX
June 21st – Dallas, TX @ Cheap Steaks w/ O-D-EX
June 22nd – Memphis, TN @ B-Side Bar
June 28th – Madison, WI @ Mickey’s Tavern w/ Day Residue

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