The Los Angeles-area group Death Bells have captured a particularly bright version of guitar-driven post-punk on their new album New Signs of Life, out now on Dais Records. The band members, including singer Will Canning and guitarist Remy Veselis, are originally from Sydney, Australia, but they moved to the United States following the release of their 2017 debut album Standing at the Edge of the World.
Death Bells used to feature six members, but lowering that count to just Canning and Veselis did not translate into a decrease in the power of the sound. The songs on New Signs of Life feel richly developed with a sometimes-jangly, foundational atmosphere firmly in place. The duo have cultivated richly poignant flashes of strong melody—and there’s even a saxophone interwoven with the overall quite strong musicianship.
That particular instrument makes memorable appearances at moments like the song “Alison” and on “A Different Kind of Happy” as Canning, with his memorable baritone, sings the refrain “Despite the uncertainty of life, I wouldn’t give up.”
That lyric seems to encapsulate the overall mood of the record quite well. Below, Canning and Veselis discuss what it was like moving across the globe, how a 1982 record by The Cleaners From Venus informed their perspective towards music, and—among other things—a particularly “indescribable” recent, live music experience. (Fingers crossed that safe live music experiences can return soon!)
Thanks for your time today! The new record is awesome. As a listener, the new album definitely feels like there’s some light in it. It seems grounded yet upbeat. From your perspectives, how would you describe what you see as the mood or guiding force of the record?
Canning: Thank you! We’re glad you like it. There’s an intentional feeling of optimism across the record. It’s got a bit of an arc to it, and the “flow” of the track list tells a story. The first few tracks are a little more morose, but it opens up midway through and treads happier water from there on out.
Veselis: My favorite albums morph as they go along, and with New Signs of Life, that was a goal. The darker-sounding songs are front-loaded on the album, and, as you listen, from my perspective, the mood changes ever-so-slightly [with] each song. The guiding force of the record for me was that it’s a new start for us, a new decade, and the record is a reflection on that.
What sorts of things did you take cues from in developing the sound? To be more specific, there’s definitely a lineage of “post-punk” bands out there who have made some impressive stuff. Even if there’s not a one-to-one relationship to your music per se, do you feel influenced and/or inspired by those sorts of things, or did you more just want to start fresh? Some of both?
Canning: We both listened to a lot of punk, post-punk, and hardcore growing up. I ride the bus to hang out with friends and listen to Joy Division every day. I think the net of influence is a lot wider on this record. When we were actually recording, I was listening to Skee Mask, 1010 Benja SL, Bomfunk MCs, CIVIC, Jean Dawson, and Darcy Baylis.
Veselis: I think whether it’s conscious or not, you are always influenced in some way by your surroundings and art that you consume. I am inspired a lot by my friends who make music, especially those who are completely devoted to it. Musically during the recording for New Signs of Life, I was focused a lot on “less is more” in terms of guitar playing and sounds, so I was taking in a lot of inspiration from rock acts that have one guitar player and use minimal effects.
Sometimes, like on the song “Alison,” the music comes across as slightly jazzy. Have you been listening to a lot of jazz lately? What sorts of things underpinned your inclusion of the sax?
Canning: When I was a teenager, my friend Mikey got me into Nujabes, and I loved it. Apart from that, John Lurie and the Lounge Lizards have been super formative for the music nerd part of my brain. Within the context of this record—I was thrashing Corridor of Dreams by The Cleaners From Venus when we first moved here. It helped me realize how classy ‘rock’ music can be—even if it was recorded on a portastudio or something.
Veselis: When I was living in Brisbane, Australia, I worked at a small music venue that hosted a lot of jazz acts, so although I’ve never actively listened to jazz, I’ve been exposed to it a lot. Including the sax was a result of wanting to try new things with this record. That specifically came to be after throwing the idea around when we were demoing the songs and adding a MIDI instrument to get a sense of how it would come to be. I’m thankful we followed through on that impulse; it adds another element to the songs that it’s featured on.
So, I’ve read that you made quite a big move, traveling all the way to L.A. Whether it’s in terms of your own emotional states or new opportunities and connections that you found in L.A. or anything else, how would you say that the move has weighed on the band?
Canning: Well, we were a six-piece, and now we’re a two-piece. I think that says a lot. Moving was tough, and touring non-stop for three months did us in mentally. Nowadays, Remy and I are pretty settled in. The move has definitely helped us grow as people and as musicians, too. The access in this city to things like practice spaces and off-kilter venues is pretty insane. We also just get to hang out constantly with other bands, designers, and videographers, which is super inspiring.
Veselis: The move wasn’t easy, but I think it has worked out for all involved at the time. It was a conscious decision to make the most of an opportunity, and it was a huge gamble financially, but most likely, it would never present itself again with other projects if we stayed in Australia.
Leaving stable jobs and families at home to pursue music isn’t the most logical career move, especially when you are a small, independent band. But we’re realistic. Moving to Los Angeles and deciding to play music in a “career” sense is only one factor. The new people we’ve met and experiences (both positive and negative) of living in the United States have added a lot to my development as a person, and I’m extremely thankful that Will and I stuck it out. The band has transformed since we arrived two years ago, and I’ve never been happier with it.
In general, what sorts of roles does the music tend to play in your own lives? Have you found some catharsis? Something else?
Canning: I constantly have tunes on and am generally just a huge fan. Whilst writing, for me, can be sometimes difficult, I live in a constant state of appreciation and adoration for music.
Veselis: Catharsis is an apt way to describe listening to music for me. No other creative medium can transport me to certain moments in time or invoke feelings as music does. I moved around a bit in my late teens and early 20s, and music has always been there for me. Whether that’s making new friends through going to watch live music, talking about it online, writing it, or just appreciating it, I can’t imagine life without it.
Outside of your own band, what sorts of music have been most intriguing to you lately? What have you liked about it?
Canning: Cro Memory Grin by Oily Boys is the best punk record I’ve heard in years. Everything on U.K. label AD93 is amazing and intricate. Croatian Amor’s new album is pretty good. Protocol’s Bloodsport EP is terrifying. I also want Death Bells’ next LP to sound like Angel Olsen.
Veselis: I love deep-diving into scenes and genres, and over the past year or so for me, that has been trip-hop. I saw Massive Attack last year, which was indescribable. Bowery Electric, Sneaker Pimps, and Portishead have been on regular rotation. I adore the contrast between the driving, funk-style beats that are usually quite busy and sparse instrumentation.
That type of music is something I can’t just throw on in the background, it always stands out and attracts my attention in the best possible way. Our label, Dais Records, has also been putting out some great music too, and Hugo Costin released a folk record this year that is exceptional.
Pick up a copy here.
