Comprised of friends and collaborators Ben Greenberg (guitar, production), who has spent time as a member of The Men and  with his solo project Hubble, and is the producer and engineer, who has worked on most of the Sacred Bones Records catalog; and Michael Berdan (vocals), who has spent time as a member of Drunkdriver and York Factory Complaint, the New York-based duo of Uniform can trace their origins back to 2013 when the duo had reconnected and recognized that they were both in the same place musically. Desiring as intimate of a recorded and live experience as possible, the duo decided that they had to keep the project as a duo, eschewing a live rhythm section for drumming programming and low end synths paired with Greenberg’s guitar work and Berdan’s vocals. And the immediate result of Greenberg and Berdan’s collaboration was a 12 inch single, quickly followed by their full-length debut Perfect World.

The “Ghosthouse” 12 inch is the duo’s first proper release through Sacred Bones Records and while retaining the us of drum programming, low end synths paired with Greenberg’s guitar and Berdan’s vocals, the duo have expanded upon their sound to include the sounds of war and violent conflict including shots, explosions, implosions, things collapsing, along with industrial clang and clatter to create a murky and abrasively confrontational sound — the sound of the fearful, vicious and uncertain contemporary age we live in while being paired with lyrics that are influenced by Berdan’s own struggles with depression and insomnia.

The duo’s latest single is a Ministry and black metal-like cover of Black Sabbath‘s “Symptom of the Universe” that’s abrasive, punishing and fatalistically bleak — essentially turning the song into a love letter from the grave.

Look for the duo’s sophomore effort sometime in 2017.


New Video: The Hazy and Aching Visuals and Sounds of Jess Williamson’s “See You In A Dream”

“See You In A Dream” is Heart Song’s latest single and it will further cement the Austin, TX-based singer/songwriter’s burgeoning reputation for crafting material that’s lush and cinematic while being profoundly intimate and vulnerable. The ache, longing, recrimination and resolve at the core of the song not only evokes the lingering ghosts that drift and haunt your loneliest moments — perhaps drinking alone at your local bar, when everyone else has gone home and the bartenders are beginning to clean up and shut down for the night. And much like Vera Lynn’s “Auf Wiederseh’n, Sweetheart” Williamson’s “See You In A Dream” there’s a sense of regret and begrudging acceptance of people growing apart, of relationships ending and something that was once part of your present becoming part of a growing and complicated past.

Directed by Daniel Hill, the recently released video for “See You In A Dream” was inspired by an old Roky Erickson video and was shot mostly on VHS — with the VHS footage representing dream sequences, emphasizing both the ache and the lingering ghosts that inhabit the sparse arrangement.

Jacob Montague is a San Francisco, CA-based electronic music artist and producer, best known as a of member BRANCHES and as a solo artist, who has had his music appear in a number of popular TV shows including — America’s Got Talent, The X FactorOne Tree Hill and others, as well as the film trailers for The Secret Life of Walter MittyAfternoon Delight, and Love Is Strange. Adding to a growing profile, Montague has also been on bills with Mutemath, Joseph, Twin Forks, DEVO and others.

However, with his latest solo recording project Tsutro, Montague’s sound draws from a diverse array of influences including pop, worldbeat, future garage, ambient and downtempo. And with his debut as Tsutro, Montague’s sound reveals a new sonic approach in which the Bay Area-based producer and artist carefully chose a vocalist that would work with a particular aesthetic in mind, sampled a few phrases and then carefully built up a new arrangement around that sample; so while seeming like a remix and a rework of sorts, the material Montague has crafted manages to feel as though it’s a crafted original song in which a producer has collaborated with a vocalist. In fact, with his latest single as Tsutro “Back To You,” you hear shimmering aqueous-like synths paired with stuttering drum programming paired with Sunday Lane‘s plaintive and tender vocals reminiscing and mourning over an ex-lover in a radio-friendly, house-music-leaning electro pop song that reminds me quite a bit of Octo Octa‘s Between Two Selves as it evokes a lonely, late night ache and a falling into a bracingly cold bath.







Now, if you’ve been frequenting site over the past few years, you’ve likely been made intimately familiar with JOVM mainstay act  Thee Oh Sees. Led by  Castle Face Records co-founder John Dwyer and featuring a rotating cast of collaborators and friends, the band has long-held reputation for being both incredibly prolific and for a relentless touring schedule. And this year, further cemented that established reputation as the band released two albums — a live album with DVD footage, aptly titled Live in San Francisco, which was recorded over three nights of shows The Chapel and featured live versions of material off the band’s also recently released full-length Weird Exit, the first entry of a planned series of albums.

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 single seamlessly meshed 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 — with the whole thing being held together by a propulsive rhythm section featuring a throbbing and insistent bass line and a rolling drum pattern.  Interestingly, Weird Exit‘s third and latest single “You Will Find It Here” may arguably be one of the more contemplative and dreamier singles that the band has released to date, as the song begins with a trippy introduction full of shimmering feedback before turning into a slow-burning dirge of sorts in which layers of buzzing and angular guitar chords, twisting and turning organ chords, propulsive cymbal-led drumming and a driving bass line are paired with Dwyer’s equally dreaming falsetto floating over the instrumentation before gently fading out. And in some way, the song evokes a pleasant reverie in which the song’s narrator has spent contemplating their inner self and their place in the universe. Yes, it’s that trippy.

Dwyer and company are finishing a rather lengthy world tour with a full slate of Fall/Winter Stateside shows with Amplified HeatStraight ArrowsAlex CameronMagnetix and my personal favorites The Blind Shake opening for Dwyer and company during various dates — and it includes three NYC area dates: 11/11/16 and 11/12/16 at the Bowery Ballroom and 11/13/16 at Warsaw. Check out tour dates below.

Fall/Winter Tour Dates.

11-01 Tucson, AZ – Rialto Theatre
11-02 El Paso, TX – Lowbrow Palace
11-04 McDade/Austin TX – Sherwood Forest Faire @ Sound on Sound F
11-05 New Orleans, LA – One Eyed Jack’s #
11-06 Memphis, TN – The Hi Tone Cafe #
11-07 Nashville, TN – Mercury Lounge #
11-09 Asheville, NC – Grey Eagle Tavern & Music Hall #
11-10 Philadelphia, PA – Underground Arts ^
11-11 New York, Ny – Bowery Ballroom
11-12 New York Ny @ Bowery Ballroom w/ Straight Arrows
11-13 Brooklyn, NY – Warsaw ^
11-15 Providence, RI – Aurora ^
11-16 Montreal, Quebec – La Tulipe
11-17 Toronto, Ontario – Danforth Theater
11-18 Cleveland, OH – Beachland Ballroom
11-19 Chicago, IL – Thalia Hall
11-20 2016 Chicago, IL @ Empty Bottle w/ The Blind Shake, Torture Love
11-23 Missoula, MT – Stage 112
11-25 Seattle, WA – Neumos %
11-27 Portland OR @ Aladdin Theater %
11-26 Vancouver, BC – Rickshaw Theatre %
11-29 San Francisco, CA – The Chapel %
11-30 San Francisco, CA – The Chapel %

# Amplified Heat
^ Straight Arrows
% Alex Cameron
* Magnetix
! Blind Shake


If you’ve been frequenting this site over the past couple of years, you’ve certainly been very familiar with Toronto, ON-born, New York-based singer/songwriter and electro pop artist Joanie Wolkoff, who has long been a JOVM mainstay, thanks to her work in a number of attention-winning projects including Her Habits, her solo work as Wolkoff, collaborations with The Hood Internet and others, as well as Gemology, a project Wolkoff began with the then-New York-based multi-instrumentalist and producer Natasha Chitayat, who has since relocated to Los Angeles. Now, it’s been a while since we’ve last heard from the duo as a writing and recording unit, as the aforementioned Wolkoff and Chitayat have been busy with a variety of other creative pursuits; however, the duo recently reconvened to write and record their latest single “Come Again.”

As for “Come Again,” Wolkoff’s ethereal vocals float over a dramatic and slow-burning production consisting of shimmering  and twinkling synths, tweeter and woofer rocking boom-bap like beats, stuttering and skittering drum programming, warm blasts of guitar and a sinuous bass line.  Underneath the shimmering surface is a slowly swooning and euphoric giddiness over stumbling on to someone (whether as a friend or a lover) with whom you speak the same language, and with whom you find an instant and profound connection — and it comes about easily, frequently without explanation; it just is and always will be. But there’s also an underlying uncertainty that comes from the fact that relationships can be endlessly frustrating and short-lived; that sometimes there are moments in which you feel that maybe you’re not quite ready to give yourself — and you find that you’re freely and happily giving yourself. But no matter what, considering how frustrating and confusing relationships of any sort can be, lucky and are are those who find such a profound connection.






Now, if you’ve been frequenting this site, you may recall that I’ve written about Montreal-based psych rock/indie rock quintet Chocolat — and with the release of their 2008 full-length debut effort, Piano Elegant, the Canadian act received critical praise for material comprised of sophisticated arrangements with a gritty garage rock sound that also simultaneously drew from yeye and indie rock. And as a result of the attention from the press and blogosphere, the band played several dates with the renowned Jay Reatard — that is before quickly and completely disappearing from the public eye. Interestingly, as it turned out, the band had gone on an extensive and somewhat unannounced hiatus in which several members pursued other creative pursuits — in particular, Ysaël Pépin played bass and toured with Demon’s Claws while Jimmy Hunt focused on a solo career as a singer/songwriter, collaborating with producer Emmanuel Ether and Organ Mood‘s Christophe Larmarche-Ledoux on his 2013 effort, Maladie d’amour. 

According to press notes, the members of the Montreal-based indie rock band were brought back together by a strange force of nature for their 2014 release Tss Tss, an album that was released to international acclaim for a sound that drew from psych rock and krautrock, and was supported by several tours both nationally and internationally. And building upon the buzz that they received after the release of Tss Tss, the Canadian band will be releasing their third full-length album, Rencontrer Looloo on November 11, 2016 through Beyond Beyond Is Beyond Records. And as you would have heard “Ah Ouin,” the album’s first single, the single suggests that the band has been heavily experimenting with their songwriting approach — the material is heavily modal-leaning while with that single possesses elements of skronking and screeching experimental, avant-garde jazz, surfer rock, surfer metal and psych rock. The album’s second and latest single “Le Falcon el Chacal et le Vaisseau Spatial” begins with a twinkling analog synth introduction reminiscent of 80s cartoons followed by lengthier section consisting angular guitar stabs, swirling electronics, bop jazz-like syncopation, followed by a much more anthemic section  consisting of angular power chords and a steady rhythm, twinkling synths and a fiery guitar solo to craft a song that not only sonically and structurally sounds indebted to prog rock but nods at psych rock and classic, arena rock.



New Video: The Psychedelic Yet Nostalgic Visuals for Indie Rock Act Pamphleteers’ “Shivering”

“Shivering,” is the first single off the band’s recently released full-length debut Ghost That Follows, and the single consists of shimmering and angular guitar chords paired with propulsive drumming, tumbling bass line, Crawford’s plaintive and urgent vocals and an anthemic hook in a song that sounds as though it were inspired by 80s post-punk — but at its core the song feels simultaneously joyous over small pleasures and haunted by the ghosts of their friends and loved ones and the recognition that some losses linger forever.

The recently released video for the single fittingly uses a ton of nostalgic imagery — including a cassette tape being run through an off-brand Walkman that appears as though it were recorded onto an old VHS or Betamax tape, psychedelic imagery of people skateboarding in the California sun and amusement parks shot on Super 8 film but treated through a kaleidoscopic filters and the like.

Comprised of Nobuyuki Takeda (guitar), Kozo Kusumoto (guitar / synthesizer), Jun Ozawa (bass) and Akinori Yamamoto (drums), the Tokyo, Japan-based instrumental rock band LITE have over their 14 years together and four full-length albums and six EPs  developed both a national and international profile for mischievously playful and complex compositions featuring edgy riffs, complex rhythms and a prog rock and math rock-leaning sensibility, a well-regarded live show and a relentless touring schedule across the US, Europe and Asia. And with “-D,” the first single off the Japanese quartet’s fifth full-length and second proper Stateside release Cubic, the band has released a composition that playfully bridges funk, jazz, prog rock and hip-hop as angular guitar chords are paired with a regular yet ethereal horn line, a sinuous bass line and old school-like breakbeats which hold together a composition featuring three distinct yet incredibly funky sections together.  Sonically, I’m reminded of the Josh Roseman Unit‘s Treats for the Nightwalker (in particular, their rendition of Burt Bacharach‘s “Long Day, Short Night,” which Dionne Warwick sung) and of a contemporary batch of Afrobeat and Afro-pop inspired acts that includes Superhuman Happiness (think of “Half-Step Grind” off their excellent Hands) and others.

Cubic is slated for a November 18, 2016 release through Topshelf Records and the Japanese quartet will be touring to support and build up buzz for the album with a handful of West Coast tour dates, which you can check out below.

All dates with Mouse on the Keys

Nov 10 – San Diego, CA @ Soda Bar
Nov 11 – Los Angeles, CA @ The Hi Hat
Nov 12 – San Francisco, CA @ Slim’s
Nov 13 – Sacramento, CA @ Harlow’s
Nov 14 – Portland, OR @ Mississippi Studios
Nov 15 – Vancouver, BC @ Biltmore Cabaret
Nov 16 – Seattle, WA @ Sunset Tavern

New Video: The 60s Psych Rock and Horror Movie-Inspired Sounds and Visuals of Tele Novella’s Latest Video

“Even Steven” is the latest single off the band’s recently released House of Souls and the single sounds as though it were inspired by 60s psych pop and Roger Corman horror movies — in particular, his loopy Fall of the House of Usher, as the band pairs shimmering guitar chords played through reverb, soaring organ chords, an anthemic and infectious hook, and sultry and subtly menacing vocals in a song about a evil character, named Even Steven who does everything within his power to get even with those who he feels wronged him.

The recently released music video employs the use of Claymation, construction paper animation and collages to create a hilarious DIY video full of cartoonish gore and violence — all of which are fitting for the Halloween season.