#post-punk — Public Fediverse posts

In remembrance of Ian Curtis who would have turned 70 today.

🇬🇧 Joy Division "Preston 28 February 1980" – 2015

One of the most infamous live recordings in Joy Division’s catalogue, documenting a concert where technical problems and equipment failures threatened to derail the performance. The sound is better than on most Joy Division live recordings...

#joydivision #postpunk #livemusic #newwave #alternativerock #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening

In remembrance of Ian Curtis who would have turned 70 today.

🇬🇧 Joy Division "Preston 28 February 1980" – 2015

One of the most infamous live recordings in Joy Division’s catalogue, documenting a concert where technical problems and equipment failures threatened to derail the performance. The sound is better than on most Joy Division live recordings...

#joydivision #postpunk #livemusic #newwave #alternativerock #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening

messthetics 16 July 2026

https://friendica.de/display/f6687705-136a-57aa-9499-48e901396074

messthetics 16 July 2026

https://friendica.de/display/f6687705-136a-57aa-9499-48e901396074

Not a lot of gigs in summer doesn't mean no messthetics, so tune in tomorrow on https://twitch.tv/dj_cyberpagan - starting at 6pm CEST (9am PDT, 12pm EDT, 5pm BST, 7pm MSK, 2am AEST etc.)!
...
#party #djing #livestream #messthetics #postpunk #goth #newwave #coldwave #deathrock #indie #minimal #genrefluid #twitchbatgang

Not a lot of gigs in summer doesn't mean no messthetics, so tune in tomorrow on https://twitch.tv/dj_cyberpagan - starting at 6pm CEST (9am PDT, 12pm EDT, 5pm BST, 7pm MSK, 2am AEST etc.)!
...
#party #djing #livestream #messthetics #postpunk #goth #newwave #coldwave #deathrock #indie #minimal #genrefluid #twitchbatgang

Released today 43 years ago:

🇬🇧 Bauhaus "Burning from the Inside" – 1983

With Murphy absent from parts of the recording due to illness, Ash, David J, and Haskins take on expanded creative roles, giving the album a distinctive character and a broader musical palette. The result is a collection that balances dark intensity with moments of surprising warmth and experimentation...

#bauhaus #gothicrock #postpunk #artrock #alternativerock #vinyl #music #nowspinningonvinyl #nowspinning #nowlistening

Released today 43 years ago:

🇬🇧 Bauhaus "Burning from the Inside" – 1983

With Murphy absent from parts of the recording due to illness, Ash, David J, and Haskins take on expanded creative roles, giving the album a distinctive character and a broader musical palette. The result is a collection that balances dark intensity with moments of surprising warmth and experimentation...

#bauhaus #gothicrock #postpunk #artrock #alternativerock #vinyl #music #nowspinningonvinyl #nowspinning #nowlistening

I spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?

Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.

What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.

Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.

I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!

Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026

Samguineous Maximus

Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?

Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.

It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.

As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.

Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.

Rating: 4.5/5.0

I spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?

Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.

What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.

Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.

I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!

Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026

Samguineous Maximus

Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?

Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.

It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.

As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.

Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.

Rating: 4.5/5.0

The founder and original VJ of MTV's 120 Minutes passed away, so I'm rocking an album by The Church which was a band frequently played on the original 120 Minutes AND the non-hosted VH1 Classic version that I personally grew up with.

#postpunk #newwave #dreampop #indierock #alternative #alternativerock

The founder and original VJ of MTV's 120 Minutes passed away, so I'm rocking an album by The Church which was a band frequently played on the original 120 Minutes AND the non-hosted VH1 Classic version that I personally grew up with.

#postpunk #newwave #dreampop #indierock #alternative #alternativerock

Bleib Modern

05.10.2026 - Karlsruhe, Kohi
06.10.2026 - Paris, QG Oberkampf
07.10.2026 - Köln, Die Garagen
08.10.2026 - Hamburg, Hafenklang
09.10.2026 - Jena, Café Wagner
10.10.2026 - Berlin, Neue Zukunft

https://bleibmodern.bandcamp.com/

#postpunk #darkwave #DarkLive

Bleib Modern

05.10.2026 - Karlsruhe, Kohi
06.10.2026 - Paris, QG Oberkampf
07.10.2026 - Köln, Die Garagen
08.10.2026 - Hamburg, Hafenklang
09.10.2026 - Jena, Café Wagner
10.10.2026 - Berlin, Neue Zukunft

https://bleibmodern.bandcamp.com/

#postpunk #darkwave #DarkLive

New Music Review: Poison Ruïn – Hymns From the Hills (2026; Relapse Records)

Link: https://diyconspiracy.net/poison-ruin-hymns-from-the-hills/

We are obviously not fans of labels like Relapse, and no, we don’t receive promos, press releases, or anything else from them. We just write about records we genuinely like, and Poison Ruïn remain one of those bands whose world still feels worth entering, even after moving to a big label.

#punk #postpunk #poisonruin #anarchopunk

New Music Review: Poison Ruïn – Hymns From the Hills (2026; Relapse Records)

Link: https://diyconspiracy.net/poison-ruin-hymns-from-the-hills/

We are obviously not fans of labels like Relapse, and no, we don’t receive promos, press releases, or anything else from them. We just write about records we genuinely like, and Poison Ruïn remain one of those bands whose world still feels worth entering, even after moving to a big label.

#punk #postpunk #poisonruin #anarchopunk

In memory of Ian Kevin Curtis—lead singer, lyricist, and occasional guitarist of the post-punk band Joy Division—who was born on this day in 1956 and would have turned 70 today.

Photo: Jon Super
Mural: Aitch
Location: Manchester

#punkrock #postpunk #iancurtis #joydivision #history #punkrockhistory #otd

In memory of Ian Kevin Curtis—lead singer, lyricist, and occasional guitarist of the post-punk band Joy Division—who was born on this day in 1956 and would have turned 70 today.

Photo: Jon Super
Mural: Aitch
Location: Manchester

#punkrock #postpunk #iancurtis #joydivision #history #punkrockhistory #otd

Recorded #OnThisDay 42 years ago:

Red Guitars - Peel Session 1984

The complete session recorded by Red Guitars on 14 July 1984 for the John Peel show on BBC Radio 1 and broadcast on the 24th of that month.

Tracklist:

1. Within Four Walls (0:07)
2. Shaken Not Stirred (4:08)
3. Crocodile Tears (8:02)
4. Remote Control (12:47)

https://www.youtube.com/watch?v=3Tbj5kCCcgE

#RedGuitars #PeelSessions #Indie #PostPunk #OTD

Recorded #OnThisDay 42 years ago:

Red Guitars - Peel Session 1984

The complete session recorded by Red Guitars on 14 July 1984 for the John Peel show on BBC Radio 1 and broadcast on the 24th of that month.

Tracklist:

1. Within Four Walls (0:07)
2. Shaken Not Stirred (4:08)
3. Crocodile Tears (8:02)
4. Remote Control (12:47)

https://www.youtube.com/watch?v=3Tbj5kCCcgE

#RedGuitars #PeelSessions #Indie #PostPunk #OTD

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Bow Wow Wow - Go Wild In the Country (12" Version)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #BowWowWow #NewWave #PostPunk #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Bow Wow Wow - Go Wild In the Country (12" Version)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #BowWowWow #NewWave #PostPunk #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Generation X - Dancing With Myself (Uptown Mix / Remastered 2002)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #GenerationX #PostPunk #NewWave #1980s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Generation X - Dancing With Myself (Uptown Mix / Remastered 2002)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #GenerationX #PostPunk #NewWave #1980s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Blue Peter - Don't Walk Past

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #BluePeter #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 Blue Peter - Don't Walk Past

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #BluePeter #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 XTC - Dear God

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #XTC #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 XTC - Dear God

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #XTC #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex Rewind ⏪ (80s extended versions, maxi singles, long versions)
──────────────
🎵 The cure - Boys don't cry

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex Rewind ⏪ (80s extended versions, maxi singles, long versions)
──────────────
🎵 The cure - Boys don't cry

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCure #PostPunk #NewWave #80s

More Songs About Buildings And Food

#TheTalkingHeads #TalkingHeads #NewWave #postpunk #psychedelicfunk #avantegard #davidbyrne #brianeno #rock #rockmusic #music #musicsky #musiciansky The Talking Heads release their second on July 14, 1978. It's the first of three produced by Brian Eno. The album also gave them their first hit -- a tasty remake of Al Green's "Take Me To The River." It's #364 on Rolling Stone's "500 Greatest Albums of All Time."

https://robinbannks.com/2026/07/14/more-songs-about-buildings-and-food/

More Songs About Buildings And Food

#TheTalkingHeads #TalkingHeads #NewWave #postpunk #psychedelicfunk #avantegard #davidbyrne #brianeno #rock #rockmusic #music #musicsky #musiciansky The Talking Heads release their second on July 14, 1978. It's the first of three produced by Brian Eno. The album also gave them their first hit -- a tasty remake of Al Green's "Take Me To The River." It's #364 on Rolling Stone's "500 Greatest Albums of All Time."

https://robinbannks.com/2026/07/14/more-songs-about-buildings-and-food/

DiscogsDienstag: New Order – Brotherhood

Dienstags stelle ich ein Stück aus meiner Tonträgersammlung vor, das mir Discogs zufällig ausgewählt hat, dafür gibt es dort einen Button.

New Order haben nach ihrer Transformation von Joy Division einen ordentlichen Spannungsbogen gespannt. Vom Debütalbum „Movement“, das 1981 noch im düsteren Schatten von Joy Division (ent-)stand, über den überraschenden Erfolg von „Blue Monday“ und das Album „Power, Corruption & Lies“ (1983), mit denen sie die Düsternis ablegten und sich als Pioniere der elektronischen Tanzmusik zeigten, und „Low-Life“ (1985), das endgültig die Gothic- und Darkwave-Szene mit der aufkommenden Clubkultur verband, bis zu dem Album, um das es heute gehen soll: „Brotherhood“ aus dem Jahre 1986.

Für mich ist „Brotherhood“ ein besonderes Album, zunächst ist es für mich der Prototyp eines New Order-Albums, gleichzeitig war es vor 40 Jahren mein erstes New Order-Album und ich habe es damals sehr geliebt und oft gehört. Es betont die Vielfalt der Band und das auf ganz besondere Weise. Drummer Stephen Morris wird in der englischen Wikipedia zitiert, das Album „was kind of done in a schizophrenic mood that we were trying to do one side synthesizers and one side guitars“, was er in der Nachbetrachtung für nicht gelungen hält. Ganz im Gegensatz zu mir, denn die Reihenfolge der Songs war für mich nie ausschlaggebend. Tatsächlich hören wir auf der A-Seite mit den Songs „Paradise“, „Weirdo“, „As It Is When It Was“, „Broken Promise“ und „Way Of Life“ hauptsächlich Bernard Sumners und Gillian Gilberts Gitarren sowie Peter Hooks prägnanten Bass mit Stephan Morris‘ echtem Schlagzeug. Die Lieder bewegen sich zwischen Post-Punk und Gitarren-Wave.

Die B-Seite wird stilecht mit „Bizarre Love Triangle“ eröffnet, das nur mit Synthesizern und Sequenzern erstellt wurde, mit Ausnahme von Gesang und Bassmelodie. „Bizarre Love Triangle“ wurde als Single veröffentlicht und war recht erfolgreich. „All Day Long“ ist ebenso ein Meisterwerk, mit klassischen Elementen, die von Richard Wagner entliehen wurden. „Angel Dust“ ist ein tanzbarer Synth-Pop-Song, der mit einem melancholischen Gesang kombiniert wird. Auch hier dominieren Synths und Sequenzer. „Every Little Counts“ zum Abschluss ist ein weiterer besonderer Song, hauptsächlich wegen Bernhard Sumners Gesang, der hier fast ein Sprechgesang ist und mehrfach durch Lachanfälle des Sängers unterbrochen wird. Musikalisch ist es ein ruhiges Lied, das durch die Kombination aus Bass-Lauf, cleane Gitarre und Synthesizer getragen wird. Am Ende hören wir, wie eine Plattennadel über die Schallplatte rutscht und kurz ein ganz anderes Lied spielt. Zusammen mit dem Video zu „Touched By The Hand Of God“ ist „Every Little Counts“ der humorvollste New Order-Moment.

„Brotherhood“ empfinde ich als das herausragende Album von New Order, weil es die Post-Punk-Seite der Band mit der elektronischen Seite verbindet, und das ja sogar nach A- und B-Seite unterteilt. Mich interessiert, ob andere New Order-Fans das genauso sehen oder ob „Power, Corruption & Lies“, Low-Life“ oder eines der späteren Alben höher eingeschätzt werden.

DiscogsDienstag: New Order – Brotherhood

Dienstags stelle ich ein Stück aus meiner Tonträgersammlung vor, das mir Discogs zufällig ausgewählt hat, dafür gibt es dort einen Button.

New Order haben nach ihrer Transformation von Joy Division einen ordentlichen Spannungsbogen gespannt. Vom Debütalbum „Movement“, das 1981 noch im düsteren Schatten von Joy Division (ent-)stand, über den überraschenden Erfolg von „Blue Monday“ und das Album „Power, Corruption & Lies“ (1983), mit denen sie die Düsternis ablegten und sich als Pioniere der elektronischen Tanzmusik zeigten, und „Low-Life“ (1985), das endgültig die Gothic- und Darkwave-Szene mit der aufkommenden Clubkultur verband, bis zu dem Album, um das es heute gehen soll: „Brotherhood“ aus dem Jahre 1986.

Für mich ist „Brotherhood“ ein besonderes Album, zunächst ist es für mich der Prototyp eines New Order-Albums, gleichzeitig war es vor 40 Jahren mein erstes New Order-Album und ich habe es damals sehr geliebt und oft gehört. Es betont die Vielfalt der Band und das auf ganz besondere Weise. Drummer Stephen Morris wird in der englischen Wikipedia zitiert, das Album „was kind of done in a schizophrenic mood that we were trying to do one side synthesizers and one side guitars“, was er in der Nachbetrachtung für nicht gelungen hält. Ganz im Gegensatz zu mir, denn die Reihenfolge der Songs war für mich nie ausschlaggebend. Tatsächlich hören wir auf der A-Seite mit den Songs „Paradise“, „Weirdo“, „As It Is When It Was“, „Broken Promise“ und „Way Of Life“ hauptsächlich Bernard Sumners und Gillian Gilberts Gitarren sowie Peter Hooks prägnanten Bass mit Stephan Morris‘ echtem Schlagzeug. Die Lieder bewegen sich zwischen Post-Punk und Gitarren-Wave.

Die B-Seite wird stilecht mit „Bizarre Love Triangle“ eröffnet, das nur mit Synthesizern und Sequenzern erstellt wurde, mit Ausnahme von Gesang und Bassmelodie. „Bizarre Love Triangle“ wurde als Single veröffentlicht und war recht erfolgreich. „All Day Long“ ist ebenso ein Meisterwerk, mit klassischen Elementen, die von Richard Wagner entliehen wurden. „Angel Dust“ ist ein tanzbarer Synth-Pop-Song, der mit einem melancholischen Gesang kombiniert wird. Auch hier dominieren Synths und Sequenzer. „Every Little Counts“ zum Abschluss ist ein weiterer besonderer Song, hauptsächlich wegen Bernhard Sumners Gesang, der hier fast ein Sprechgesang ist und mehrfach durch Lachanfälle des Sängers unterbrochen wird. Musikalisch ist es ein ruhiges Lied, das durch die Kombination aus Bass-Lauf, cleane Gitarre und Synthesizer getragen wird. Am Ende hören wir, wie eine Plattennadel über die Schallplatte rutscht und kurz ein ganz anderes Lied spielt. Zusammen mit dem Video zu „Touched By The Hand Of God“ ist „Every Little Counts“ der humorvollste New Order-Moment.

„Brotherhood“ empfinde ich als das herausragende Album von New Order, weil es die Post-Punk-Seite der Band mit der elektronischen Seite verbindet, und das ja sogar nach A- und B-Seite unterteilt. Mich interessiert, ob andere New Order-Fans das genauso sehen oder ob „Power, Corruption & Lies“, Low-Life“ oder eines der späteren Alben höher eingeschätzt werden.

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Pretenders - Brass in Pocket (2006 Remaster)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #Pretenders #PostPunk #NewWave #1980s

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Pretenders - Brass in Pocket (2006 Remaster)

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #Pretenders #PostPunk #NewWave #1980s

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 The Adventures - Broken Land

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheAdventures #PostPunk #NewWave #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 The Adventures - Broken Land

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheAdventures #PostPunk #NewWave #80s

RE: https://mastodon.social/@sauvageoness/116913531387962638

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum #perpignan

RE: https://mastodon.social/@sauvageoness/116913531387962638

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum #perpignan

RE: https://mastodon.social/@sauvageoness/116913509119584309

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum #bretagne

RE: https://mastodon.social/@sauvageoness/116913509119584309

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum #bretagne

RE: https://mastodon.social/@sauvageoness/116913499018835976

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913499018835976

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913492132252032

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913492132252032

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913485112886778

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913485112886778

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum

RE: https://mastodon.social/@sauvageoness/116913456441294068

#concert #livemusic #music #indie #music #rock #punk #postpunk #tour #france #newalbum