Last updated: 23 hours ago
The savage noise of neo post-punk is a beast seldom tamed, but Los Angeles’ Deathday, a quartet centered around brothers Alex and Giovanni Guillen, has done so. Never has the post-punk revival seemed as urgent as with Deathday, who match their guitar driven dirges with esoteric industrial soundscapes and tape manipulation. Their music is often as bleak as it is violent, with low-end cacophony bludgeoning the listener into submission. Lyrically, Deathday often invoke the violent culture hidden beneath the media, as well as explore the crippling aftershocks of isolation and the mysticism of the occult. Comparisons, for those who prefer them, could easily be made to the likes of Throbbing Gristle and Suicide’s uncompromising attitude and primal infrastructure, but the band has equal roots in forgotten post-punk favorites such as Nagamatzu, Venus In Furs, and Joy of Life, creating a powerful hybrid exploring the darkest and most hypnotic corners of the spectrum. The band’s self-titled album, released in early 2012, exists as a cold snapshot of the bands formative material, while both “After Dark” and “Dropped Into Obscurity,” released on Mannequin’s The End of Civilization and Downward’s So Click Heels compilations respectively, offer a club-friendly alternative. While neither track compromises the band’s dark overtones, these tracks are ripe for the dance floor, having garnered heavy play in LA, New York, and Berlin especially. - Frank Deserto, Post-Punk.com
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