I think I saw you at my window
You know it’s dark at night but I know
I think I saw you at my window
I think I always see your shadow
There is something deliciously sinister about calling your project Jet Cemetery. It suggests speed meeting stillness, glamour grounded, chrome kissing concrete. Out of Austin, TX, where idealism and irony share a drink, TaSzlin Trébuchet (of Fuck Money) and Lars Wolfshield (Wolfshield Records) convene as if at a séance for obsolete futures. The result: The Canary, arriving March 12th, 2026, on vinyl, tape, and Dolby Atmos, because even despair deserves spatial depth.
These are not dilettantes dabbling in dystopia. Both have histories as artist-activists, fluent in the language of liberation, dignity, and direct action. Yet Lights Out, the single at the centre of this slow-burn transmission, shrinks the revolution to a room, a window, a mind in mild disarray. The lyrics fixate on a presence glimpsed at night, perhaps memory, perhaps paranoia, perhaps that old lover who still rents space in your peripheral vision. The relationship is ash; the bridges politely immolated.
Trébuchet traces the track’s lineage with refreshing candour: “My influences on this one come from growing up in San Antonio in the 90s, listening to electronic music, trip-hop and freestyle.” You can hear that education. The beat carries a certain after-hours patience. Keys drift in like half-remembered radio hooks from a humid Texas dusk. There’s a sense of Y2K déjà vu, the ghost of a CD wallet rattling around in the backseat.
Wolfshield frames the song’s thesis with therapeutic clarity: “Lights Out begins as an internal struggle and culminates in found freedom and empowerment. Why do we keep holding on to that which doesn’t serve us? It’s time to let go, to say goodbye, to put a foot down…and to stop letting toxic things, whether they be people, thought patterns, or substances, govern our realities.” It’s a manifesto delivered with nightclub poise: self-help for the softly disillusioned.
The video opens with a wink: a news segment interviewing goth vampires. Yes, really. It is knowingly absurd, which is precisely the point. From there, it slips into cinéma vérité drift: rooftops at dusk, wandering streets, abandoned buildings, nature reclaiming neglect. Shot in Bordeaux, Paris, and Austin, directed and edited by Trébuchet, it feels like a love letter to that era when digital glitches were accidental…and therefore divine. A dreamy montage of youth in transit, flirting with freedom and the faint possibility of falling apart.
Watch below:
Produced by Trébuchet, engineered by Charles Godfrey at Point West Recording, mastered by Marco Ramirez at Britannia Road Studio, Lights Out arrives polished but personal. It’s electronic music delivered with dry wit and a raised eyebrow. This is a song for fans of Boan, Las Eras, Madeline Goldstein, The Cranberries, and for anyone who has ever stared out a window at 2 a.m., convinced they saw something move. Or perhaps simply themselves, reflected back, asking awkward questions.
Listen to Lights Out below and order the single here.
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The post “I Always See Your Shadow” — Austin’s Jet Cemetery Sheds the Darkness in Video for “Lights Out” appeared first on Post-Punk.com.
