Keep On Going: A Retrospective of Modern Post-Punk
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If what goes around comes around, and that certainly seems true in music, then for an ‘80s music fan such as myself the recent years have been good times. One of the prevalent recent trends that has enthralled me most has been a resurgence in post-punk music.
As profiled in the new wave and dark wave playlists, those terms can be largely interchangeable to all forms of music that arose after punk created a break from classic rock and led to the rise of modern rock and the post-punk period. I align post-punk with dark wave as its stylings – dark tones, rhythm over melody, lesser uses of electronics, less expressive vocals – were more kindred to punk’s spirit of moody aggressiveness.
The Playlist
The Rapture \ “House of Jealous Lovers”
Protex \ “Strange Obsessions”
Protex \ “On the Wire”
Gang of Four \ “You Don’t Have to Be Mad”
Shopping \ “In Other Words”
Shopping \ “The Hype”
Shopping \ “Initiative”
Rolling Blackouts Coastal Fever \ “Clean Slate”
French Vanilla \ “Evolution”
French Vanilla \ “Real or Not”
Fontaines D.C. \ “Liberty Belle”
Fontaines D.C. \ “Televised Mind”
The Suburban Homes \ “Magazine”
Lithics \ “Excuse Generator”
Lithics \ “Hands”
shame \ “Concrete”
shame \ “This Side of the Sun”
Squid \ “The Dial”
Squid \ “Paddling”
Crack Cloud \ “Drab Measure”
Viagra Boys \ “Down in the Basement”
Mick Trouble \ “A Council Boy”
Dry Cleaning \ “Magic of Meghan”
Dry Cleaning \ “Strong Feelings”
The Murder Capital \ “Feeling Fades”
LIINES \ “On and On”
LIINES \ “Keep on Going”
The Wants \ “The Motor”
Yard Act \ “The Trapper’s Pelts”
BAMBARA \ “Serafina”
Public Practice \ “Compromised”
Silverbacks \ “Dunkirk”
The Cool Greenhouse \ “Alexa!”
Gustaf \ “Mine”
Cheekface \ “Listen to Your Heart. No.”
Black Country, New Road \ “Athens, France”
Wet Leg \ “Chaise Longue”
The Lounge Society \ “Burn the Heather”
Do Nothing \ “Glueland”
While post-punk had a lot of variety within its boundaries, this modern post-punk playlist will narrow the focus more tightly around those dark wave musical markers. And while, consistent with the original era, most of the acts hail from the UK, we’ll see that the sound is also being driven out of many other locales. These contemporary groups are slickly mining a brand of music that is punchy, heavily rhythmic, generally dark, moody, and aggressive, and in most cases employ spoken vocals. This approach takes the minimalistic approach of dark wave to a place that further emphasizes the music when offset by the stark vocals. These bands are tight, lively, and talented, producing some absolutely thrilling tunes – some of the best I’ve heard in quite some time. It’s also nice to see a healthy mix of genders in the bands, making this generation of post-punks more balanced than the original era. And while this playlist explores a healthy selection of acts, there are many more out there to be found as it’s proving to be a growing scene that’s even gained some success. Therefore, take this list as a jumping off point.
There are also dark wave pioneers still going such as Jesus & Mary Chain, Psychedelic Furs, Modern English, Echo & The Bunnymen, Killing Joke, and Wire, though they tend only occasionally to return to their earlier sounds and instead have branched out to other styles either more melodic and pop, or harder and metal-tinged. We will, however, visit one stalwart from the original generation.
Let’s get into it.
“House of Jealous Lovers” \ The Rapture (2003)
The Rapture was one of the first acts to take me directly back to the post-punk feel of the early ‘80s, channeling the sparse mix of drum and bass with sharp guitar accents and direct vocals that harkened back to the likes of Gang of Four and Public Image Ltd. I didn’t learn about The Rapture until I heard the brilliant song, “Echoes,” as the theme song for the UK dark comedy and sci-fi romp, Misfits, a series I didn’t watch until Netflix offered it in Canada in the early 2010s and after the band had wrapped up their short career.
Coming out of New York, The Rapture was driven by the frenetic mix of Luke Jenner’s guitar and vocals, buoyed by some sparse electronics from Gabriel Andruzzi (keyboards) and the propulsive rhythms of Vito Roccoforte (drums) and Mattie Safer (bass, vocals). The debut LP, Echoes, arrived in 2003 and set themselves apart from their city’s contemporaries, The Strokes, by eschewing the retro-rock vibe of the ‘60s for the darker beats and punk-edged guitars of the dark wave early ‘80s. Songs like the title track or the jarring, “Killing,” brought a contemporary take on post-punk, and with the album’s sprinklings of electronic beats and keyboards, could also shift into an outright dark-disco vibe on tracks like, “Sister Saviour” and “I Need Your Love.” The mix of these styles was no more evident and sublimely executed as on the epic, “House of Jealous Lovers,” in which steady beats underpinned the song’s stark strums, growling basslines, and feverish vocals.
While Echoes was an instant classic of the new century, the band followed strongly with two more fantastic LPs in 2006 and 2011, but which shifted to indie-dance styles and delved less into the post-punk waters as strongly as that first album. Yet, I’m willing to give The Rapture, an American band, a hat tip to helping remind us that the dark sounds of the early UK ‘80s were richly deserving of being mined for inspiration and a modern refresher.
“Strange Obsessions” (2010); “On the Wire” (2017) \ Protex
Protex offers us a bridge from the original post-punk era to current times. They were formed in Belfast, Ireland in 1978 and, like brethren The Undertones, pursued a sound that mixed ‘60s garage rock and ‘70s punk to deliver raw, melodic, power-pop. After releasing a batch of singles from 1978 to 1980, the band was dropped by their label and faded away. In 2010, their unreleased recordings from that era were issued by Sing Sing Records on an album, Strange Obsessions, prompting interest in the band and bringing the act back to life. Therefore the title track was released in 2010 but dated back to 1980.
Original members Aidan Murtagh (guitar, vocals) and David McMaster (guitar, vocals) joined with Gordie Walker (drums) and Andrew Curliss (bass) to resume Protex into the new century. Curliss was eventually replaced by Norman Boyd and the band released a live LP in 2014 followed by a new studio recording, Tightrope, in 2017 that included new bassist, John Rossi. The band’s current sound continues to work in the punky, power-pop styles of their original music, as heard on, “On the Wire.”
“You Don’t Have to Be Mad” \ Gang of Four (2011)
Gang of Four in 2011
Leeds, England was a rich source of post-punk acts, with few as storied and distinguished as Gang of Four. The original line-up, formed in 1976, was Andy Gill (guitar), Jon King (vocals), Hugo Burnham (drums), and Dave Allen (bass). Their first three LPs, Entertainment! (1979), Solid Gold (1981), and Songs of the Free (1982) helped define the dark wave era as the band evolved from pure punk into smartly crafted, political, adroit compositions. The band broke in 1983 but subsequently reformed and have gone through multiple iterations over the years, having released an additional five LPs between 1991 and 2019, led primarily by Gill before his passing in 2020. The original line-up came together from 2004 to 2006 while King, Burnham, and Sara Lee, the band’s bassist from 1980-84, have re-formed for a tour in 2022.
The resurgence in post-punk has seen Gang of Four both inspire and participate in the current scene. The 2011 LP, Content, saw King and Gill put a modern spin on their angular, sonic brand. “You Don’t Have to Be Mad” was an excellent example from the LP and a track that might have belonged comfortably on any of their first three LPs.
“In Other Words” (2013); “The Hype” (2018); “Initiative” (2020) \ Shopping
Shopping (L to R): Rachel Aggs, Billy Easter, & Andrew Milk
One act that has driven the recent dark wave resurgence via their fantastic, fresh takes on the consummate post-punk sound has been the London-Glasgow band, Shopping. Formed in London in 2012 out of the ashes of the band, Covergirl, the trio of Rachel Aggs (guitar, vocals), Billy Easter (bass), and Andrew Milk (drums) released their first LP in 2013, the seriously excellent, Consumer Complaints. With tracks like, “In Other Words,” the band blended the early generation female post-punks such as Delta 5 and The Slits, with the sharp-edged turns of Gang of Four. They followed this with an equally compelling LP, Why Choose, in 2015, led by the wonderful lead track, “Wind Up.”
After moving to Glasgow and working with Edwyn Collins, of the post-punk era band, Orange Juice, Shopping’s sound evolved to a more polished yet no less stirring vibe for their third LP, 2015’s The Official Body. The track, “The Hype,” mixed in the dub groove of P.I.L. The fourth album, All or Nothing, issued in 2020, was a little more pop infused but the band continued to rely on the angular, precise guitar work laid over propulsive rhythms, no more exquisitely than on the LP’s catchy lead single, 2019’s “Initiative.”
These modern times pose challenges for bands to break through, especially for rock acts, and post-punk was always a style that worked in the more obscure corners of the modern rock world. Therefore, despite having issued four stellar albums and establishing themselves as one of the best of the new era dark wave acts, Shopping has yet to see much attention outside of the UK.
“Clean Slate” \ Rolling Blackouts Coastal Fever (2016)
Australia was one of the more vibrant locales for post-punk outside of the UK and that continues in the new century. Rolling Blackouts Coastal Fever, though as prone to the melodic pop stylings of the modern indie scene has also delved into the retro-tinged, dark wave moods. Formed in 2013 in Melbourne, the band is led by three guitarist-vocalists, Tom Russo, Fran Keaney, and Joe White, while being underpinned by the rhythm section of Marcel Tussie on drums and Joe Russo on bass.
Rolling Blackouts C.F. have released two EPs, Talk Tight in 2016 and The French Press in 2017, followed by two albums, Hope Downs in 2018 and Sideways to New Italy in 2020, the last three of which via the legendary grunge indie label, Sub Pop. The consistent, infectious, and enervating music across all these releases has been impressive and has built themselves a strong following down under. “Clean Slate” was from their first EP and helped establish the band’s mix of driving rhythms and jangly guitars.
“Evolution” (2017; “Real or Not” (2019) \ French Vanilla
French Vanilla (L to R): Greg Shilton, Ali Day, Daniel Trautfield, & Sally Spitz
Hailing from Los Angeles, French Vanilla follows in the footsteps of original post-punk US artists such as B-52s, The Waitresses, and Romeo Void. They are the first on this playlist to incorporate a common enhancement to the core dark wave sound, the saxophone. They came together in 2013 with Sally Spitz on vocals, Ali Day on guitar and bass, Daniel Trautfield on bass and sax, and Greg Shilton on drums.
Their first LP in 2017 was self-titled and drew as much from the late ‘70s UK acts such as Au Pairs and Delta 5, whereas the 2019 follow-up, How Am I Not Myself?, mixed in some new wave accents to give it that ‘80s US flavour. Both albums are a fun listen that can seduce and jar you at equal turns, as is often the case with such angular music.
“Liberty Belle” (2018); “Televised Mind” (2020) \ Fontaines D.C.
Fontaines D.C., from Dublin, are one of the few acts on this playlist to have garnered both critical and audience attention. The quintet features Grian Chatten on vocals, guitarists Conor Curley and Carlos O’Connell, Conor Deegan on bass, and Tom Coll on drums. The band mixes the spoken, accented feel of UK punk of yore into a heady mix of insistent beats, driving guitars, and near unhinged energy. They arrived on the scene with their first LP, Dogrel, and the single, “Liberty Belle,” an album that saw them score a sizeable and passionate following. This was further entrenched via the follow-up album, 2020’s A Hero’s Death, thanks to engaging singles such as the title track, “A Lucid Dream,” and the stark, psychedelic-tinged, “A Televised Mind.”
Fontaines D.C.
“Magazine” \ The Suburban Homes (2018)
Out of Crawley, a community in the shadow of Gatwick Airport south of London, comes the suitably named band, The Suburban Homes. Since relocated to Gijon, Spain, the band employs a ‘lo-fi’ punk sound that is reminiscent of the early releases from Fast Product records such as Gang of Four, The Mekons, or 2.3. There is little info out there about the band beyond being a trio of Andy H, Martin Ratcliffe, and Paul Messis – all of which appear to be linked to several other bands and have released solo material. To date, the band has released three EPs and a couple singles since their debut in 2014, though only the most recent, 2018’s E.P. 3, is available on streaming services and clocks in – in punk fashion – at a tidy seven minutes across four songs. “Magazine” (also listed in some releases as “Magazine Version”) is the EP’s lead track and captures their raw mix of repeated rhythms and jangly guitars.
“Excuse Generator” (2018); “Hands” (2020) \ Lithics
Lithics
While the American Northwest is known more for its grunge pedigree, its strong indie music scene has no problems cranking out a variety of other musical forms. Lithics, formed in 2014 in Portland, are one such example. Employing a stark, minimalist form of post-punk that resolutely eschews melody in favour of jangly, sharp-edged sonics and diffident vocals, Lithics has shown that the more esoteric forms of early ‘80s dark wave are still alive and well.
The band’s structure aligns to the trend with contemporary post-punk acts, with female vocalist Aubrey Horner offering a mostly spoken, devoid effect over a male band’s precise mixes of guitar, bass, and drums, provided by Mason Crumley, Bob Desaulniers, and Wiley Hickson respectively. They debuted with a self-titled, self-released EP in 2015 followed by their first LP, Borrowed Floors, in 2016. Building on a word of mouth buzz, they built a wider audience over subsequent LPs, Mating Surfaces (2018) and Tower of Age (2020) along with another EP in 2017, Wendy Kraemer, and a double A-side single in 2018, “Photograph, You of” / “Lost Signal.” While the band’s stark landscape and cornered sounds can be resistant, run-throughs of their LPs inevitably reveal many moments of catchy, toe-tapping moments and ear-catching turns, making the band an intriguing presence in the modern music scene.
“Concrete” (2018); “This Side of the Sun” (2021) \ Shame
shame
Also formed in 2014, London quintet Shame (also stylized as shame) was formed by a group of teen schoolmates, Charlie Steen (vocals), Sean Coyle-Smith and Eddie Green (guitars), Josh Finerty (bass), and Charlie Forbes (drums). Building a local following, the band managed indie releases of an EP and several singles before issuing their first LP, Songs of Praise, in 2018. The album found a receptive audience and built their profile in the UK, paving the way for further critical and commercial success with the second LP, 2021’s Drunk Tank Pink.
The band’s sound rides a more traditional punk vibe, blending some melodies into driving rhythms and mixes of politically charged, passionate lyrics and the occasional, heavily accented spoken or rapped vocal. “Concrete” was one of their earliest singles and was a track delving most strongly into the post-punk milieu. “This Side of the Sun” was a live recorded single that coincided with their 2021 UK tour but was not a track from the new album.
“The Dial” (2018); “Paddling” (2021) \ Squid
Formed in 2017 and originally from Brighton but now London based, Squid is the quintet of Ollie Judge (vocals, drums), Louis Borlase (guitar, bass), Arthur Leadbetter (keyboards), Laurie Nankivell (bass, horns), and Anton Pearson (guitar, bass, vocals). Their sound builds on dark wave moods and rhythms while often extending out into prog-like, jazzy jams and extended mixes. Judge’s vocals range from angrily spitted vocals and semi-rap to give the punk-edged vibe every good post-punk act embodies.
As is the case with many contemporary acts, Squid built their reputation over a series of singles and EPs, starting in 2016 and culminating in their debut album in 2020, Bright Green Field. “The Dial” was the single that first gained them wider recognition in the UK indie scene. “Paddling” was a single from the album that shows off some of their prog-like guitar riffs, and while the single edit is used on this playlist, like many songs on the album there is a longer version that ventures away from the core energy of the short version.
“Drab Measure” \ Crack Cloud (2018)
I would be remiss if I didn’t include at least one act from my native Canada, though the style in focus in this playlist hasn’t permeated the Canadian music scene to a great degree. Originally from Calgary before relocating to Vancouver, Crack Cloud has issued two LPs and two EPs since 2016. It started as a solo project of singer/drummer Zach Choy before growing into an expansive septet alongside a broader collective of artists. “Drab Measure” is from the 2018 self-titled LP and shows how the band works very well within the tight strictures of dark wave rhythms.
“Down in the Basement” \ Viagra Boys (2018)
Sweden is better known for its sweet, melodic pop and new wave acts or, at the other end of the rock spectrum, death metal, but with Viagra Boys also offer an enervating mix of caustic, dark wave punk. The band also mixes beats into the mix, often resulting in a danceable version of the post-punk recipe. Formed in 2015, the band originated out of a mix of other acts, resulting in an original quartet of Henrik Höckert (bass), Sebastian Murphy (vocals), Benjamin Vallé (guitar), and Sol Tor Sjödén (drums). They later expanded to a sextet with the additions of Oskar Karls (sax) and Martin Ehrencrona (keyboards).
Two EPs over 2016 and 2017 led the way to their first LP, Street Worms, in 2018. The album was popular in Sweden and, combined with the band’s enthusiastic performances, helped expand their reputation into the rest of Europe and even a little into North America. After another EP in 2020 the band issued their second LP in 2021, Welfare Jazz. The line-up has also changed with the departure of Ehrencrona in 2018 and Vallé prior to the second LP, who also passed away in October 2021. Elias Jungqvist joined on keyboards in 2019. “Down in the Basement” was the lead track on their Street Worms LP, a great example of the band’s mix of edgy guitars, propulsive beats, shouty vocals, and sax accents.
“A Council Boy” \ Mick Trouble (2019)
Jed Smith, aka Mick Trouble
Perhaps the most throwback sounding act on this playlist, and more of the jangly, melodic mix of pub-rock and early punk than the drum and bass thrust of the other modern post-punks, Mick Trouble is simply a perplexing artist. The act is the alter-ego of Jebediah (Jed) Smith, ex of My Teenage Stride, and though originally from rural Massachusetts and operating out of Brooklyn, sounds like a dead ringer for an early ‘80s UK act. And that is by design, since Smith had a project, Wondering Sound, in which he created fake profiles of artists, from which came Mick Trouble, an artist supposedly born in London in 1963 and whose 1980 album was only recently discovered. The fake bio also had him disappearing just before an appearance on John Peel’s show. Whether intentional or not, Mick Trouble’s sound is usually compared to that of the band, Television Personalities and their singer, Dan Treacy.
In keeping with the offbeat humour and sounds of the music, the releases to date are titled, It’s the Mick Trouble EP (2017) and It’s the Mick Trouble LP (2019). “A Council Boy,” from the LP, tidily captures the full package of put-on sounds and subject matter that is the raison d'être of Mick Trouble.
“Magic of Meghan” (2019); “Strong Feelings” (2021) \ Dry Cleaning
Dry Cleaning is quickly becoming one of the most celebrated bands of this emerging wave of post-punk bands and, along with Shopping and Wet Leg, was one of the primary inspirations for creating this playlist. They are the consummate embodiment of the modern sound, combining the precise, strong guitar work of Tom Dowse with the pounding rhythms of Lewis Maynard on bass and Nick Buxton on drums, all underpinning the sardonic and evenly delivered spoken vocals of Florence Shaw. A friend of the band and not a confident singer, Shaw had to be convinced to join, and when her spoken delivery mixed perfectly with the music, she gained the comfort to front the band, even if her performance style is as minimalistic as her delivery.
The London band arrived on the scene with their brilliant single, “Magic of Meghan,” issued in 2019 and inspired by the engagement announcement of Prince Harry and Meghan Markle. The song then anchored the fantastic EP, Sweet Princess, which was followed by another bewitching EP that year, Boundary Road Snacks and Drinks. Signing with legendary and post-punk friendly label, 4AD, the band is currently enjoying wide praise for their recently released debut LP, New Long Leg. As I write this, I am seeing the album show up on ‘best of’ lists for 2021, and the band recently made a North American TV appearance on The Tonight Show with Jimmy Fallon. If this dark wave resurgence is going to break open to any degree, it seems that it will be Dry Cleaning that will be the spark.
Dry Cleaning (L to R): Lewis Maynard, Tom Dowse, Nick Buxton, & Florence Shaw
While much of the attention from the new album is directed towards the single, “Scratchcard Lanyard,” originally issued in 2020, it’s the LP’s second single, “Strong Feelings,” that displays the band’s sublime combination of Dowse’s guitar work and Shaw’s vocals. Oft compared to original dark wave stalwarts such Joy Division, Wire, and Magazine, Dry Cleaning is earning its own bona fides with the impeccable quality of their own compositions.
“Feeling Fades” \ The Murder Capital (2019)
Coming out of Dublin, Ireland, The Murder Capital have been together since 2015 with James McGovern on vocals, Damien Tuit and Cathal Roper on guitars, Gabriel Pascal Blake on bass, and Diarmuid Brennan on drums. They lean into the heavier rock style of post-punk, still anchoring on dark rhythms under the heavy layers of guitar combined with mostly spoken vocals. They have released one LP, 2019’s When I Have Fears, from which “Feeling Fades” was the lead single. They are understandably grouped with their compatriots, Fontaines D.C.
“On and On” (2019); “Keep on Going” (2021) \ LIINES
LIINES (L to R): Leila O’Sullivan, Zoe McVeigh, & Tamsin Middleton
I discovered LIINES when they performed as part of a livestream festival I watched in the summer of 2021 headlined by ‘90s acts, The Lightning Seeds and Charlatans UK. They are an all-female trio out of Manchester, England, whose dark punk sound combines with ‘90s riot grrrl energy and the likes of Sleater-Kinney. Built on dark wave rhythms from Tamsin Middleton (bass) and Leila O’Sullivan (drums), their passion is driven by the guitar and shouted vocals of Zoe McVeigh. The trio started in 2014 with Steph Walker originally on bass, to be replaced by Middleton in 2017.
LIINES has released several singles since 2015, with their debut LP, Stop-Start, released in 2018. “On and On” was a single released after the LP that exhibited the increasing polish and confidence the band was riding on and that revealed their gritty combination of persistent rhythms, sharp guitar work, and passionate singing. “Keep on Going” is their most recent single, another consistent offering within their signature sound.
“The Motor” \ The Wants (2019)
The Wants (L to R): Heather Elle, Jason Gates & Madison Velding VanDam
I discovered The Wants while building this playlist, and upon hearing their 2019 single, “The Motor,” for the first time was immediately smitten. The driving, even-paced tune building to a chaotic finish, pounding beats, minimalist vocals, and sharply applied guitars were a perfect example of dark wave brilliance. While other tracks from their 2020 LP, Container, such as the single, “Fear My Society,” display more of a pop vibe, much of their sound is rooted in explorations of repeated drum and bass combinations, such as the title track.
The New York trio is led by Madison Velding VanDam, also of the band, BODEGA, whose vocals and guitar plays off the solid combo of Jason Gates (drums) and Heather Elle (bass). They acknowledge their band’s penchant for krautrock styles, with Neu! inspired droning in many of their tracks. I can’t wait to see if there is more to come from The Wants, especially given they’ve toured with Dry Cleaning and there is evidently an expanding audience for their genre.
“The Trapper’s Pelts” \ Yard Act (2020)
I also just discovered this band while updating the Ceremony concert schedule, and upon hearing their music, knew that I had to buy a ticket to their show and add them to this playlist. Looking at the many sold out shows on their upcoming UK dates, I anticipate good things from their performance.
Yard Act combines the musical tenets of post-punk with the more contemporary rap vocals of The Streets and the spoken vocal styles of this playlists’ emerging dark wave acts. Though the sound of Yard Act’s singer, James Smith‘s voice does draw comparisons to the classic post-punk Manchester act, The Fall, and its vocalist Mark E. Smith. Hailing from the post-punk breeding ground, Leeds, England, the quartet has been around for a couple years and have only released a half-dozen songs, but have an album, The Overload, due out in January. Smith is joined by Ryan Needham (bass), Sammy Robinson (guitar), and George Townend (drums) in creating their self-proclaimed minimalist music style. Given the impressive consistency of their songs to date, it bodes well for the quality of their now, for me at least, much anticipated LP.
“Serafina” \ Bambara (2020)
Formed in 2009 in Athens, Georgia by twin brothers, Reid (vocals, guitar) and Blaze (drums, vocals) Bateh, Bambara has since been based out of Brooklyn and made into a trio with the addition of William Brookshire (bass). With four LPs and three EPs under their belt since 2013, they’re one of the earlier acts to have re-championed the dark wave sound over the past ten years. Their penchant for experimentation, use of tape loops and electronics, and compositions in feedback have also joined them to the noise rock and lo-fi genres.
Bambara’s most recent release was the 2020 LP, Stray, which has been garnering them some increased attention thanks to its more accessible and polished sound. “Serafina” captures the band’s moody atmospheres and throwback vibes to the likes of consummate mid-‘80s dark wave.
“Compromised” \ Public Practice (2020)
Public Practice (L to R): Scott Rosenthal, Samantha York, Drew Citron, & Vince McLelland
One of the catchiest dream pop bands of the past decade was the New York outfit, Beverly, and from its ashes comes Public Practice. Beverly members Drew Citron (guitar) and Scott Rosenthal (drums) joined with Samantha York (vocals) and Vince McLelland (guitar), both ex-members of post-punk act, WALL, to create Public Practice, which naturally blends the predecessor acts’ styles.
The band has issued several singles and their debut LP, Gentle Grip, was released in 2020. The LP is an engaging and varied listen, mixing R&B, reggae, disco, and dark wave rhythms that reminds of The Waitresses, Tom Tom Club, and B-52s. “Compromised” exhibits their multi-faceted sound, moving at turns between almost disjointed, angular rhythms and slick, pop-infused choruses, and of course with a mix of spoken vocals.
“Dunkirk” \ Silverbacks (2020)
Silverbacks is yet another Irish post-punk act. The quintet includes brothers Daniel (guitar, vocals) and Kilian (guitar, vocals) O’Kelly, Peader Kearney (guitar), Gary Wickham (drums), and Emma Hanlon (bass, vocals). With three guitarists you’d think their sound would be thick and heavy, yet they adhere to the ‘less is more’ approach to post-punk, employing angular effects to the steady bass and drum foundations. The guitar interplay reminds, in places, of the ‘70s post-punk progenitors, Television. “Dunkirk” was Silverbacks’ first single and the lead track on their album, 2020’s FAD.
“Alexa!” \ The Cool Greenhouse (2020)
The Cool Greenhouse was first a solo project for Tom Greenhouse (vocals, guitar) who bounced between Paris, London, and Norwich, England. After releasing several singles between 2017 and 2019, it evolved into a full band for the 2020 self-titled debut album with the additions of another guitarist, Tom O’Driscoll, Thom Mason on bass, Kevin Barthélemy on drums, and Merlin Nova on keyboards. All the modern post-punk elements are there – the angular guitars, sardonic, spoken vocals, rich basslines, and edgy, caustic interludes over pounding beats. “Alexa!” was the last single released before the album in 2020 and stands as The Cool Greenhouse’s best-known tune. It’s catchy, repetitive riff, clever and funny lyrics, and Television flavoured guitar interplay laid into the contemporary dark wave groove.
“Mine” \ Gustaf (2020)
Gustaf
Led by the female vocal duo of Tarra Thiessen and Lydia Gammill, New York’s Gustaf released their debut LP, Audio Drag for Ego Slobs this past October 2021. ‘Audio drag’ refers to a process ‘80s artist Laurie Anderson created in which the vocals are fed through effects pedals in order to change the register and disguise the sound and gender of the voice. The band also includes co-founder (with Thiessen) Tine Hill (bass), Vram Kherlopian (guitar), and Melissa Lucciola (drums). Formed in 2018, their local reputation gained them a performance slot with Beck, who has also remixed one of their singles. The band has released several singles over the past two years leading up to the LP’s recent arrival. “Mine” was the first single, released in 2020 (and included on the album), and is representative of the band’s dark, beat driven, angular sound accompanied by the harmonic vocals.
“Listen to Your Heart. No.” \ Cheekface (2019)
Cheekface has released two albums, Therapy Island (2019) and Emphatically No (2021) (followed recently by a Christmas variation, Emphatically Noel). The band hails from Los Angeles and offers a variety of post-punk sounds that blends American indie styles a la ‘80s and ‘90s California acts such as Cake and Minutemen. The trio of Greg Katz (vocals, guitar), Amanda Tannen (vocals, bass), and Mark Edwards (drums) produce humourous, sharp-edged, jangly tunes with an impressive cache of hooks compared to typical bands in the post-punk style. The spoken delivery style of Katz fits the consistent trend of the modern dark wave acts.
“Athens, France” \ Black Country, New Road (2021)
Black Country, New Road was formed in 2018 in London and their expansive, varied take on the modern post-punk style and energetic shows have turned heads and built them heightened critical praise. The septet is comprised of Isaac Wood (vocals, guitar), Luke Mark (guitar), Tyler Hyde (bass), Lewis Evans (sax), Georgia Ellery (violin), May Kershaw (keyboards), and Charlie Wayne (drums).
Their first release was the single, Athens, France in 2019 (the album version is on this playlist) and was followed by six more singles over the next two years, culminating in the LP issued in February 2021. The album’s short track listing of six songs still stretched over forty minutes, revealing the band’s penchant for extended, jammed out compositions. The result was a sound somewhere between the spoken word, post-punk contemporary formula mixed with the concurrent rise in prog rock. Moody, jazzy in places, contemplative, and caustic and jumped up with angular guitars at turns, the BCNR sound moves through a lot of places, yet has found a receptive and supportive audience in the UK. They will be releasing a new LP early in 2022.
“Chaise Longue” \ Wet Leg (2021)
If any band has the potential to rival Dry Cleaning as the leading champion of the new post-punk sound, it is Wet Leg. The duo of Rhian Teasdale and Hester Chambers had been friends for a decade after attending Isle of Wight College together when they formed Wet Leg in 2019. They have released three singles and are preparing for the release of their first LP in April 2022. They tour with the backing of Ellis Durand on bass, Henry Holmes on drums, and Joshua Omead Mobaraki on guitar and keyboards
Hester Chambers & Rhian Teasdale of Wet Leg
Their first single, “Chaise Longue,” issued in June 2021, has achieved millions of streams and the band has scored recent appearances on Later… with Jools Holland and, in North America, on The Late Show with Seth Myers, giving indication of the band’s quickly rising profile. The song exemplified the core signals of the current post-punk zeitgeist – a driving, bass and drum driven rhythm, spoken and humourous lyrics, and precise, cutting guitar work, and all mixed with a catchy as hell hook. Their following single in September, “Wet Dream,” fit more into the R&B and dance mold, mixing an indie edge into a more melodic pop groove. However, the most recent double A-side single, “Too Late Now” / “Oh No,” issued in November, returned the band solidly into the dark wave style. Its pricklier, more experimental vibe may not find the same welcoming audience the first two singles did, but does create intrigue to hear what the rest of the forthcoming album will have in store.
“Burn the Heather” \ The Lounge Society (2021)
Out of the rural community of Hebden Bridge, England, nestled between Manchester and Leeds, The Lounge Society have only released a couple singles and an EP over the past year and a half. They have joined the same label, Speedy Wunderground, as Squid and Black Country, New Road and are building their profile. Their best-known track, “Burn the Heather,” is melodic and rides a danceable disco rhythm, but the spoken vocals over punky guitars and dark textures links them to the wave of burgeoning post-punks. The EP, Silk for the Starving, even includes a song, “Television,” that pays tribute to the ‘70s post-punk pioneers. Their most recent single, “Last Breath,” introduces electronic vibes into a varied, discordant track. The Lounge Society are so far proving to be hard to button into a particular genre.
“Glueland” \ Do Nothing (2021)
Do Nothing
We’ll finish up with another band that’s been making some waves in this emerging post-punk scene. Formed in Nottingham, England in 2012 as Field Studies, the band changed to the name Do Nothing in 2017 and have since issued five singles and an EP since 2018. The quartet is comprised of long-time school friends, Chris Bailey (vocals), Kasper Sandstrøm (guitar), Andy Harrison (drums), and Charlie Howarth (bass).
Early singles, “Handshakes” (2018), which had an indie-pop feel while “Gangs” (2019) compared to LCD Soundsystem, precluded the band’s more decisive shift to post-punk in the subsequent EPs, Zero Dollar Bill (2020) and Glueland (2021). Do Nothing has indicated a desire to not be grouped into the wave of post-punks and to instead find their own style. Curiously, their most recent single, “Adventures in Success,” again saw them riding an LCD Soundsystem mix of electronic rhythms and spoken vocals. Like so many UK post-punk acts with spoken vocals, comparisons are drawn to Mark E. Smith of The Fall. 2021 has also seen a compilation release of their EPs, appropriately titled, The EPs.
Making this playlist of modern acts delving into classic post-punk styles has asserted this sound as my favourite music of the moment. I’m certain the contemporary take on dark wave rhythms, the spoken vocals, and sharp-edged guitars will certainly dominate my stereo for the next while. I also look forward to seeing several of these bands in the new year as I’m currently holding tickets for upcoming shows with Dry Cleaning, Squid, Shame, Black Country, New Road (opening for Shame), Gang of Four, Wet Leg, and Yard Act. I still lament the cancelled Shopping show from 2020 but I’m sure there will be a chance to see them again. I hope this playlist also serves to whet your appetite for these bands and as your own starting point to exploring the impressive array of new albums and songs in this modern post-punk era.
Black Country, New Road
