GosT: Post-Punk Provocateur

As the flames of punk began to fade out in the late seventies, a disillusioned brigade of British bands took the fight to Thatcher. They rejected traditional hegemonic rock aesthetics in favour for avant-garde and experimental styles. They sought to challenge audiences and push beyond punk’s working class whitewash. That genre was called post-punk. Since then, it’s died it’s own death and risen like a phoenix from the ashes. Once again disillusioned with modern rock and a post-Brexit pro-Conservative Britain, post-punk has risen. This time, it drifted off overseas. It infected other genres and inspired change amongst artists, becoming increasingly bored creatively. The latest artist to carry the torch is synthwave veteran GOST – the brainchild of producer James Lollar.

Building on 2019’s Valediction – an album that split opinion like Moses and the red sea – this year’s Rites of Love and Reverence laces abrasive industrial and post-punk characteristics with 80’s synthwave. Prior to it’s political undertones, It’s GOST‘s attempt at appeasing the keyboard warriors.

“Valediction was so polarising, so many of my core fans didn’t get on board with it so I wanted to bring back some of that old sound, because I wasn’t trying to alienate anyone, but they felt that way” he explains cautiously, “I was trying to bring back some of the original elements of GOST whilst incorporating new things so that I could feel okay about how I’m progressing as an artist and still give something to people holding on to that old sound.”

It’s almost ironic that an artist obsessed with post-punk pioneers DEPECHE MODE and JOY DIVISION would bow down to an audience. However, we live in an era where artists are chasing a creative high whilst balancing a bank balance that could slip away in a second. It’s a risk that’s plagued GOST during the years between Valediction and now.

“It’s a risk anytime you progress as an artist, because if enough people stop liking your music, then it no longer works for you to put as much energy into it as I have, and be able to travel and make it my only job,” he deadpans, frustration filling the conversation. “It definitely feels risky that at any point, it could all come out from under me, and I have to somehow get back into the workforce and create less, and man, that would suck.”

It’s not just the keyboard warriors and diehard fans that have fed the post-punk-vs-synthwave attack. It’s the injustice and intolerance the world has increasingly seen over the last few years, especially during COVID-19’s early stages. Interestingly, his social commentary is wrapped up in themes of witchcraft, exploring the witch hunts and trials women were exposed to as a metaphor for wider issues.

“The witchcraft theme is a cover for what’s actually going on in our world, and how volatile conversations have gotten and how separated we are. You’re either this way or that way and if you’re not their way, then, you know, fuck off and die, which is just not the way we want to exist,” he explains, revealing how our dependency on hiding behind online personas owes as much to the Inquisition period as it does technological advances. “It’s a commentary on how we haven’t moved from the Inquisition. We don’t kill our opponents, we just ruin them online, and I don’t think that’s a way we can progress as a civilised society.”

Using the pandemic to indulge in witchcraft throughout the years – including Arthur Miller’s The Crucible and occult-classic The Scarlet Letter – GOST found a fascination in its historical roots. A fascination that fed into his desire to part ways with his satanic reputation.

“I was wanting to move away from the Satanic stuff I’ve been flirting with throughout this project,” he admits, smiling at his own rebellion. “It’s just so fascinating how throughout history, there’s this rise in violence and unacceptance, towards somebody that doesn’t agree with a particular religion or conservative thought basis.”

His fascination with history’s violent past feeds perfectly into Rites of Love and Reverence’s socio-political commentary. It’s also an intrinsic piece of post-punk’s puzzle. In an age where an artist’s every move is documented on social media, it begs the question of ‘with great power, does there come great responsibility?’

“I’d say there can be responsibility, but for me, it’s just who I am,” he explains, distancing himself from being too overtly political. “I’m pretty outspoken about injustices, so it’s hard for me to just make music when I have a platform that I can reach so many people with.”

Having a platform to put politicised thoughts into the world is a double-edged sword. For every fan on board, there’s another ready to stab you in the back. It’s difficult striking a balance, and GOST has faced the backlash of being honest on more than one occasion. “I’ve spoken out about a couple of issues and the response was not all roses, you know, there was some pretty volatile reactions. Sometimes I’m hesitant, like ‘don’t push send’ because I always end up getting myself in hot water, but I think I’m just trying to be a good person, and I want the world to be in a more positive place.”

Tackling social media’s sensitivities can be like walking a tightrope between skyscrapers. There was a time it would’ve held GOST captive conceptually, but now it’s simply freeing, though there is some sense of restraint. Of course, it’s outweighed by an outpouring of personal experiences.

“This album has got a lot of me in it, it’s kind of scary and anxious, as I feel like I’m baring my soul on this one – I’m not disguised anymore,” he admits, both pleased and shocked with his shift, which feeds into sharing his thoughts carefully. “I enjoy speaking for people that can’t speak for themselves, so I’m probably gonna keep doing it no matter what. I’m never gonna be like, you know, fuck your ideas, hope you all die, or whatever.”

In a time characterised by social and political upheaval, the world needs more artists to offer both an alternative view and an escape simultaneously. GOST has completed his transition from satanic synthwave producer to political post-punk provocateur, and that’s something to be excited about.

Rites of Love and Reverence is out now via Century Media Records. 

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