Last year was a rather productive and prolific year for critically applauded bassist and vocalist, Stephen “Thundercat” Bruner, as he made guest appearances on two of the the year’s most critically and commercially successful albums — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic. Bruner also released what was arguably one of the best albums of 2015 The Beyond/Where the Giants Roam, which further cemented his reputation as a dexterous and playful bassist and songwriter, with material that sonically channeled Stevie Wonder’s incredible 70s output — or in other words it possessed a retro-futuristic leaning that made it all sound as though it came from straight from a rusty spaceship that’s traveled several hundred lightyears across the universe. In fact, if you had been frequenting this site over the past year, you might remember that I wrote about the wobbling and propulsive bass and arpeggio synth-led single “Them Changes” and its incredibly symbolic and surreal video, which emphasized the devastating heartache at the core of the song.

“Bus In These Streets” is the first bit of new music from Thundercat since the release of The Beyond/Where the Giants Roam and the single, which is a comedic and playful ode to both our reliance and dependence on technology — and the track has Thundercat pairing his dexterous and sinuous bass lines and his ethereal crooning with Louis Cole (keys, drums and programming) playing shimmering and twinkling keys, propulsive drumming and drum programming and Flying Lotus contributing more programming and editing in a song that evokes a dreamy, distracted  self-absorption as the song’s narrator spends their time staring at their smartphone, not noticing the world pass him by — or the inherent danger he might be walking into as he stupidly stares into his phone. Certainly, it’s one of Thundercat’s most playful yet cinematic songs he’s released to date, and every time I’ve heard it, I’ve thought about how it would be perfect in a It’s a Mad, Mad, Mad, Mad World-like comic ensemble film.



You can catch Thundercat as he’s playing several tour dates including a set at this year’s Afropunk Festival. Check out the tour dates below.


Aug 27 Brooklyn, NY – Afropunk Fest

Sep 10 London, UK – OnBlackheath Festival

Sep 15 Oakland, CA – Brainfeeder at Fox Theatre*

Sep 16 Oakland, CA – Brainfeeder at Fox Theatre (sold out)*

Sep 17 Los Angeles, CA – Brainfeeder at Hollywood Bowl*


*with Flying Lotus, Funkadelic featuring George Clinton, Shabazz Palaces & The Gaslamp Killer



Since their formation back in 2005, San Diego, CA-based drone metal/doom metal band Goblin Cock, comprised of frontman and founding member Rob Crow (guitar, vocals) a.k.a. Lord Phallus, and a member of Pinback; Lara Benscher (vocals, guitar), a.k.a. Larben The Druid; Dave Drusky (guitar), a.k.a. Bane Ass-Pounder; Sam Mura (bass), a.k.a. King Sith; Anthony Fusaro (drums), a.k.a. Braindeath; Adam Ekorth (keys), a.k.a. Loki Sinjuggler; Mike Goldfarb (keytar, banjo), a.k.a. Phuck Tard, have developed a reputation for pairing metal power chords with rather unusual lyrical subjects –i.e., they once wrote material about Sesame Street‘s Snuffleupagus.

The band’s soon-to-be released album Necronomidonkeykongimicon is slated for a September 2, 2016 release through Joyful Noise Recordings and as the band notes, the album is a “crushingly brutal ‘Dear John’ letter to society.” And interestingly enough, the album’s latest single “Your Watch” was written for those who “heroically endure” the exhaustion that comes from being a parent — and they pair those lyrics with sludgy power chords, forceful drumming and anthemic, shout-along worthy hooks and melodic vocals. Sonically, the song sounds as though it could have been released in 1993 or 1994 but with a mischievously — and yet subtle — post-modern take on a familiar and beloved sound.

Goblin Cock will be embarking on a US tour throughout the fall to support the new album and it includes a September 25, 2016 stops at The Knitting Factory. Check out tour dates below.

Tour Dates:
9/14: Phoenix, AZ @ Valley Bar
9/15: El Paso, TX @ Bowie Feathers
9/16: Dallas, TX @ Gas Monkey Bar n Grill
9/17: Austin, TX @ The Mohawk
9/18: Houston, TX @ Rudyards
9/20: Atlanta, GA @ The Masquerade – Purgatory
9/21: Carrboro, NC @ Cat’s Cradle – Backroom
9/22: Richmond, VA @ Strange Matter
9/23: Washington, DC @ DC9
9/24: Philadelphia, PA @ Underground Arts – Black Box
9/25: Brooklyn, NY @ Knitting Factory
9/27: Providence, RI @ The Parlour
9/28: Allston, MA @ Great Scott
9/29: Syracuse, NY @ Funk N Waffles
9/30: Ann Arbor, MI @ Blind Pig
10/1: Indianapolis, IN @ The Hi-Fi
10/2: Chicago, IL @ Empty Bottle
10/3: Minneapolis, MN @ 7th Street Entry
10/6: Spokane, WA @ The Observatory
10/7: Seattle, WA @ El Corazon – Funhouse
10/8: Portland, OR @ Ash Street Saloon
10/10: San Francisco, CA @ Social Hall SF
10/11: Los Angeles, CA @ Echoplex
10/14: San Diego, CA @ Casbah

New Video: Thee Oh Sees Pair Strange, Disturbing Visuals with Their Blistering, Forceful Sound

Earlier this year, I wrote about “Plastic Plant,” the first single off Weird Exit, a single that continues the band’s renowned guitar pyrotechnics but filtered through dreamy psych rock, gritty garage rock, prog rock with tons of effects pedals paired with propulsive and forceful drumming and Dwyer’s falsetto. And of course, in typical Thee Oh Sees fashion it’s a thrashing, ass-kicking, sweaty mosh pit worthy song with an atypical, almost jam-like song structure. “Dead Man’s Gun,” Weird Exit’s second and latest single seamlessly meshes garage rock, psych rock, surfer rock and punk as Dwyer’s falsetto and howls are paired with alternating sections of scorching power chords, shimmering reverb and delay pedaled surfer rock and psych rock chords in the song’s quieter sections, and the whole thing is held together by a propulsive rhythm section featuring a throbbing and insistent bass line and a rolling drum pattern. Every time I hear the Bay Area-based band’s material I’m reminded of how much of a sonic debt they owe to the 60s — but with an underlying sense of menace.

The recently video follows a series of people, who clearly appear to be tweaking on crystal meth and freaking out/rocking out in almost exact rhythm to the song and it’s spliced with sequences of someone making the shit in their basement. In some way, the video evokes the perverse human tendency to be unable to stop looking at something particular gruesome — although we’ll almost always regret it later.

Over the last two years or so,  Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound that seamlessly meshes elements of hip-hop, electro pop, stoner rock, indie rock, dub, trap music, drum ‘n’ bass and other related genres. And over that period of time, the prolific duo have been experimenting and expanding upon the sound that first caught my attention and that of the rest of the blogosphere. The duo’s latest single “In My Car” pairs the tweeter and woofer rocking beats and stuttering drum programming of trap with swirling and atmospheric electronics and synths and brief bursts of guitar. Lyrically, the song is both a sultry come-on to a potential fling/lover that simultaneously possesses a sense of adventure  and restlessness about driving around with no particular purpose, except seeing wherever and however the  night goes; maybe you fuck around, get something to eat, listen to music, smoke weed, look at the stars — and maybe you hook up at the end of the night. Interestingly, the song may arguably be the most seductive and sensual song the duo have released to date.




Featuring three high-school friends, Reddmond Perone, Joseph Gara, and Garrett Shafer, the Metuchen, NJ-based trio The Ivory Orchids formed the band with the purpose of creating unique music that touches upon the aspects of a variety of emotions. Interestingly, “It’s Alright,” the first single off the trio’s recently released EP manages to sound as though it channels The Bends-era Radiohead — in particular, “Fake Plastic Trees”  as the song possess a similar quiet introspection with a bitterly ironic sensibility just underneath the surface.


Featuring Anthony Cozzi (vocals, guitar), Russell Calderwood (guitar), Nithin Kalvakota (drums) and Lucas Sikorski (bass), Chicago, IL-based quartet Radar Eyes initially received attention for a fuzzy, garage rock sound, and with Cozzi’s relocation to Los Angeles, the quartet’s forthcoming effort Radiant Remains was in some way meant to be a swan song for the band — while being a sonic change in direction as the band’s material took on a decidedly 80s post-punk rock sound that channeled the likes of CrocodilesHeaven Up Here and Ocean Rain-era Echo and the Bunnymen, Starfish-era The Church and others as you’ll hear on the album’s moody and shimmering first single “Community.” And much like the material that influenced it, “Community” reveals that the band has the ability to write material that possess an incredibly anthemic and rousing hook.

New Audio: Seattle Supergroup Temple Of The Dog Release Bluesy, Unreleased Demo In Advance of 25th Anniversary of Debut Effort

This year marks the 25th anniversary of the release of their full-length album and to celebrate the occasion, the album will be re-released on September 30, 2016 in a deluxe package that will feature previously unreleased demos, live material, alternate takes and concert video. And although the members of the Seattle alt rock supergroup have played a handful of legendary shows back in the early 90s and a couple of reunion appearances over the years, this year will also mark the first time that the act has gone out on a headlining tour.

“Black Cat,” was a previously unreleased demo that finally sees the light of day, and as you’ll hear it’s a propulsive and percussive, bluesy dirge that pairs Cornell’s signature wails with grimy blues power chords in a song that manages to channel Led Zeppelin and Soundgarden’s “Spoonman.”