There’s plenty of stuff going on in the punk-rock world right now, but La Vida Es Un Mus (LVEUM) is definitely one of the labels you have to periodically check for releases if you want to listen to the real stuff. That’s why it’s so frustrating to write about them
AZTEC DEATH from Dallas, Texas play a type of dark postpunk that might sound familiar to fans of Warsaw or the earlier days of Joy Division and the postpunk phases of classic bands like UK’s The Blitz (Second Empire Justice) or the USA’s The Proletariat (in their Indifference LP era).
I could say so many awesome things about New York’s Anasazi, but I think the video you are about to see below says it all! To me, they are a band that are willing to take chances with the way they express themselves through music. Part 1 also performed at
Rule of Thirds‘ self-titled debut LP will be released in a few weeks on Mass Media in the US, on keyboardist Lewis Ratboy’s No Patience label in their native Australia, and in Europe on Desire Records (What a trifecta of great labels, by the way). The Adelaide gothy postpunk band’s
The terms “deathrock” and “post-rock” have been tossed around frequently in recent years, but seldom have those titles been earned. I am as much to blame as anyone – an addict by nature, there is the need to re-capture that feeling I found the first time I popped Only Theater
Salome’s Dance are a deathrock band that hail from St. Petersburg, Russia; appropriately, their debut was released just before Halloween this year. I originally wanted to do an overall piece on Russian deathrock and postpunk that would include both Sierpien (from Moscow, whose earlier interview and streaming LP is available