THE EDITED PRESS RELEASE: “L.A.-bred Dead Posey have punctured her proverbial vicious vein by serenading a posse of devoted followers with fuzz-guitar infused rock ’n’ roll and edgy yet timeless vocals that pack an anti-establishment punch.
When Dead Posey (aka Danyell Souza) and her creative partner Tony F. (guitarist, multi-instrumentalist and producer) met, they quickly tapped into an undeniable chemistry that led them down a cathartic path of creating bold hard rock sounds riddled with unsettling lyrical themes ranging from sexism, depression, angst and rage against oppressive systems — all doused with a healthy dose of attitude, yet still seeing the beauty within the madness.
In 2018, Dead Posey sunk her venomous fangs into the scene with the debut EP Freak Show (featuring standout track Don’t Stop The Devil), garnering over 32 million combined streams and numerous spots in film, TV & video games. This was followed by the darker and more industrial-tinged Malfunction EP in 2020.
The following year brought the start of a new era of Dead Posey, with the release of multiple singles en route to their debut album. The first two singles, Russian Roulette and Sorry I’m Not Dead, quickly claimed support among rock tastemakers. Their most recent singles include Can’t Take Me Down and a cover of the classic new wave banger Blue Monday, mixing elements of New Order‘s ’80s original and Orgy‘s harder ’90s version.
Feeding a monstrous appetite for live performance, Dead Posey has unfurled her punk-infused high-octane shows at notable festivals such as Download, Louder Than Life, Aftershock and ShipRocked, and played illustrious venues such in the U.K. and U.S., touring with bands such as Theory Of A Deadman, BRKN LOVE, Palaye Royale, Bones UK, The Birthday Massacre, Through Fire and more.
Like a vampire craving blood, Dead Posey’s hunger for unapologetic creative expression is deeply intensifying. Dead Posey has steadily begun to uncage many years’ work of titillating and provocative sounds into the speakers of hardcore musical pariahs and grungey sound-systems abound. Meanwhile, the cult of Dead Posey continues to grow.”
