On 11/10/2022, of Andrea Lami.
Atmospheric coldwave collective Blacklist, based in New York, today released their highly anticipated second album “Afterworld” via Profound Lore Records. Featuring ten brand new tracks, packed with the band’s catchy and distinctive sound, “Afterworld” seamlessly picks up where its critically acclaimed predecessor “Midnight of the Century” (2009) left off: Powerful and Dark Hymns. , which blend elements of shoegaze and heavy metal with coldwave in one fluid movement. In support of the new album, the band has just released a music video for the song “Lovers In Mourning”, streamed here:
Joshua Strachan on the song:
A lot of strange and perhaps apparently unrelated things came together with this song. But with Blacklist I like to leverage these things. Post-punk is in a sense an exercise in genre, so there is no point in doing things trivial. Like much of “Afterworld”, this song is about longing and nostalgia, but also about the feeling that love can be impossible or forever out of your reach. Whether it’s because of distance, isolation, or a lot of bad luck, I believe we’ve all hit those walls at one time or another.
What started out musically as an early Mötley Crüe / mid 80s style riff by Ozzy quickly morphed into this melancholy sounding thing when I hit the synth pedal. A few months earlier I had finished the Meridiane album, a dark ambient collaboration with Pieter Nooten (Clan of Xymox) with the participation of Warren Defever (His Name is Alive) and Kennedy Ashlynn (SRSQ, Them Are Us Too). Working with Pieter I learned a lot about arrangement and dynamics, so I decided to throw myself headlong into a sort of “Hounds of Love” with drums and strings. It came out surprisingly naturally.
The refrain refers to “crossed lovers”, a well-known expression of Shakespeare, but I think fewer people know that it is a reference to astrology, to the idea that what one personally desires is not drawn into the future that stars predict. So when I say “crossed stars mean nothing”, I mean feeling condemned, but also rejecting this desperation. At the time, I found myself relating to very familiar vampire films like “The Hunger” in a new way, as characters who have experienced eons of isolation from the outside world, for whom love is complicated or perhaps impossible. I was interested in the idea of paying a certain shameless homage to landmark tracks like Concrete Blonde’s “Bloodletting” and Type O Negative’s “Black No. 1”, but at the same time letting them enter new territory, where, once peeling off the metagotic tropes, there are layers of authentic inner life that connect to our deepest emotional turmoil.