There exists a constellation in the music cosmos known as Mirror of Venus. It’s a dreamy post-punk ensemble in Los Angeles comprised of Joy DaMert, Jose Espinoza, Heidi Weber, and Margot Rhodes. Their shared history is not a mere snapshot but a tapestry woven across a decade, its threads spun in the intimate, tightly-knit San Francisco Bay Area music scene. Those were nights of endless creativity, nights when their musical identities were honed and polished. Now, they’ve migrated south, replanted in Southern California, where the quartet has rediscovered their common ambitions, their collective pulse throbbing in time with the heartbeat of the post-punk pioneers from the UK’s late ’70s and early ’80s, names like The Durutti Column, Sad Lovers & Giants, and Wire.
Their new single, “Never Say Forever,” birthed from their own artistic womb, is a grand tableau of sound, nearly six minutes of spider-like guitar threads and feverish synths, painting the air with vibrations. It’s a musical progeny conceived in the harsh infancy of the pandemic when Rhodes, freshly arrived in Los Angeles, set pen to paper. The song pulses to a relentless, almost phantasmal rhythm, a reverie on the prices we pay, the pieces of ourselves we relinquish, when we consign our lives to the ceaseless maw of social media.
Never Say Forever is a hypnotic, melodic track with gorgeous vocal interplays spanning the sublime to the feral, anchored by gorgeous guitar work and pulsing drums, culminating in a glorious hook.
“The song is about a person who feels isolated from the modern world and begins to battle with an internal monologue that is trying to convince them that the only way to fit in is to completely lose their true identity and to succumb to a new digital version of themselves,” says Espinoza, also of LA darkwave project, Shock Doctrine.
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