JUICEBOXXX s a Milwaukee, WI-based emcee, who has developed a reputation within underground circles for a sound that draws from rock, punk rock, hip-hop and a disparate array of other influences that frequently finds him attempting to walk a difficult tightrope between appealing to the avant garde-leaning artist fringe and a pop sensibility.

Unsurprisingly, the Cleveland, OH-based punk band The Pagans were a major influence on the Milwaukee-based rapper’s work. “I rarely do covers, but The Pagans classic ‘Dead End America’ always seemed like a great fit, and a good b-side for my coming ‘Freaked Out American Loser’ single,” JUICEBOXXX explains in press notes. “It was recorded last summer in LA with my backing band (The Thunder Zone Band — Rocker Mike and Willy D) and Aaron Espinoza. I had a blast going crazy in the studio and trying to remember why I do this shit in the first place. ”

“I was saddened to hear about the passing of Pagans singer Mike Hudson,” JUICEBOXXX says in press notes “Coming from the Midwest, I can’t help but think of this thread of punk rock as heartland music, born in rustbelt basements and dive bars out of desperation and boredom. Freaking out to stay alive.” And although it’s a fairly straightforward and loving JUICEBOXXX’s cover manages to evoke the same sort of furious and desperate urgency of the original — while suggesting that throughout the years kids everywhere are practically the same.

 

New Video: The Swooning and Nostalgic Sounds and Visuals for Lake Jons’ “Call Me”

Now, if you’ve been frequenting this site over the past 5 or 6 months, you may recall that with the release of their first two EPs, Explore and Explode released in 2016, the up-and-coming Helsinki, Finland-based indie act Lake Jons quickly developed a reputation for  crating forward thinking material with a delicate and atmospheric sound, rooted around driving rhythms, delicate guitar progressions, lush vocals and incredibly hook driven songs that frequently found the act effortlessly blending elements of ambient electronica, lo-fi pop, psych pop, soul, and folk.

As the story goes, the Helsinki-based pop act retreated to a cabin deep in the Finnish forest to record their recently released self-titled debut album, and as a result the album’s material touches upon the introspection that comes about in severe isolation and a deep, quiet and almost mystical connection with the natural world, as well as existentialism and human relationships. Album singles such as  “Breathe Out The Fumes” reminded me of Caveman‘s Coco Beware, Fredrik‘s Flora with sleek, contemporary electro pop, while “Lake Family” was lush and percussive track that balanced a difficult tightrope of deliberate introspection and swooning euphoria, which gave the song a tense push and pull between nostalgia, regret, longing and devotion  — and those two singles further cemented their growing reputation for a sound that’s both warmly familiar and yet uniquely theirs.

“Call Me” manages to be even more euphoric as its immediate predecessor as it’s a swooning love song rooted around industrial clang and clatter, swirling electronics, jangling guitars, and a plaintive, aching melody — but as the recently released video, featuring old Super 8-styled film suggests, underneath the surface is bittersweet nostalgia over something that has long passed and the narrator can’t quite recapture in the same fashion.

New Video: Up-and-Coming Indie Rock Act Delivers an Ironic Take on Infomercials and Commercialism in Visuals for “TV”

Comprised of Grant Mullen (guitar, vocals), Gianni Aiello (bass, vocals) and Henry LaVallee (drums), the Seattle, WA-based indie rock/punk rock trio Naked Giants formed in 2014 and over the past few years they’ve become one of the Pacific Northwest’s best, up-and-coming bands, thanks in part to a sound that manages  draw from a wild array of disparate influences from punk rock, psych rock, post punk, garage punk and the individual band members own different influences and tastes with a brash, restless and explosive creativity and mosh pit worthy hooks as you’ll hear on “TV,” the latest single off their forthcoming, full-length debut SLUFF, which is slated for a March 30, 2018 release through New West Records.  

Adding to a growing profile, the members of Naked Giants have become members of renowned singer/songwriter Will Toledo and Car Seat Headrest’s backing sextet and will be supporting him both an opener and his backing band for his upcoming world tour, that will include a stop at this year’s SXSW. You can check out the tour dates below; but in the meantime, the recently released Sean Downey-produced video is an extensive and ironic take on informercials, and rampant commercialism. 

 

Earlier this month, I wrote about the  Savannah, GA-based singer/songwriter and multi-instrumentalist, David Brady Lynch. And as you may recall, Lynch began writing and recording his own original music at a very early age; however, over the past few years, Lynch has developed a number of musical projects that showcase a wide array of dynamic and forward-looking sounds, including including the groove-based, electro rock/electro pop act Sunglow, the grittier projects Cray Bags and Greta O. and the Toxic Shock, and the garage rock act The Lipschitz. And with each project Lynch explores different sounds and songwriting approaches while maintaining a thin thread throughout.

Interestingly, Lynch’s latest project found Lynch writing and recording in a spontaneous fashion and according to the Savannah, GA-based singer/songwriter and multi-instrumentalist, moving quickly when he’s long been used to writing within the specific context of different projects with their own personas offered a fresh perspective — and perhaps a bit of a reprieve from strictly structured writing. Lynch’s Bummerville debut, Bottom Feeder is slated for release next week through Graveface Records, and the album’s first single “That Time It Takes” was a gritty, power chord-based rock single that was an amalgamation of 90s grunge and 70s power pop, complete with anthemic hooks. “C U Gone,” Bottom Feeder‘s latest single however, is a wild sonic left turn from its predecessor as it draws directly from scuzzy garage rock and bubblegum pop in a way that oddly enough reminds me of Odelay-era Beck — in particular, “Devil’s Haircut” while retaining a “first-thought-best-thought” improvised vibe.

Lynch will be embarking on a tour to support Bottom Feeder with a backing band featuring his brother Derek (bass), Joshua Sterno (rhythm guitar) and Jonathan Graham (drums) and the tour will feature a February 1, 2018 stop at Max Fish. Check out the tour dates below.
Tour Dates
Fri 1/19 – Chicago, IL @ Cole’s
Sat 1/20 – Indianapolis, IN @ TBA
Sun 1/21 – Lexington, KY @ Liberty House
Mon 1/22 – Nashville, TN @ Found Object
Tues 1/23 – Memphis, TN @ Lamplighter
Wed 1/24 – Birmingham, AL @ TBA
Thu 1/25 – Atlanta, GA @ 529
Fri 1/26 – Savannah, Ga @ The Jinx
Sat 1/27 – Orlando, FL @ Uncle Lou’s
Sun 1/28 – Charleston, SC @ Makeout Reef
Mon 1/29 – Chapel Hill, NC @ The Cave
Tues 1/30 – Charlottesville, VA @ Magnolia House
Wed 1/31 – Baltimore, MD @ True Vine
Thu 2/01 – NYC, NY @ Max Fish w/ Foster Care
Fri 2/02 – Syracuse, NY @ Spithaus
Sat 2/03 – Buffalo, NY @ Deep Space 8
Sun 2/04 – Columbus, OH @ Legion of Doom

New Video: The Brooding and Intimate Black and White Visuals for Fufanu’s “Tokyo”

Last year was a breakthrough year for the Reykjavik, Iceland-based indie rock/post-punk trio Fufanu as their sophomore effort Sports received attention nationally and internationally, thanks in part to critically applauded album singles like album title track, Sports,” which retains the synth-driven sound of their debut A Few More Days to Go while nodding at Can, Neu!  Joy Division and early ’80s Peter Gabriel,  and the slow-burning and moody  “Liability” and “White Pebbles.” And if you were frequenting this site, you’d recall that the Icelandic trio ended a breakthrough year with the release of a previously unreleased album single “Top of the Queens,” which was recorded during the Sports sessions and didn’t make the cut. 

Building upon a growing national and international profile, the members of the Icelandic post-punk trio recruited photographer Jonatan Gretarsson to direct and shoot the striking visuals for the moody and atmospheric album single “Tokyo.” Nodding at the gorgeous black and white photography and video work of the legendary Anton Corbjin, and perfume commercials, the incredibly intimate  video features the members of the band in individual and group portraits and tight close ups — and while capturing these brooding young men, there’s an underlying sense of their vulnerability, frailty, and ultimately their own loneliness. And as result, it further emphasizes the brooding nature of the song. 

With the release of their critically acclaimed full-length debut La Allianza Profana and its follow-up, Serpiente Dorada, the Lima, Peru-based electronic production and artist duo Dengue Dengue Dengue, comprised of Rafael Pereira and Felipe Salmon quickly received attention for a sound that possesses elements of traditional cumbia, dub, dancehall and techno — and for being at the forefront of an expanding electronic cumbia movement.

Now, if you’ve been frequenting this site throughout the course of its eight year history, you may have come across a couple of posts featuring the Peruvian electronic production and music duo  — in particular Siete Raices‘ album singles, “Guarida,” a hauntingly ambient track that meshed ancient and traditional Peruvian sounds with contemporary, electronic production in a timeless fashion, and “The Enemy,” a glitchy and percussive track that nodded at El Dusty‘s club-banging, nu-cumbia but with a subtly menacing and uneasy vibe.

The Lima, Peru-based duo’s latest album Son de Los Diablos (which translates into English as Sound of the Devils) derives its name from a traditional dance that was brought to Peru by the Spanish conquistadors, which consists of a procession of dancers and musicians taking to the streets wearing devil masks. By enlisting Lima’s sizable African slave population, this procession increasingly incorporated the rhythms and dance styles that would eventually become known as Afro Peruvian — one of the main elements of modern Peruvian music and culture, which also informs Dengue Dengue Dengue’s sound. Interestingly, Son de Los Diablos‘ latest single “Cobre” features breezy and minimalist production consisting of looped woodwind instruments and stuttering African percussion. While the song  evokes a slow procession of marchers stomping to a throbbing beat, it possesses a murky and menacing undercurrent.

 

 

New Video: The Shimmering, Early 80s MTV-Inspired Visuals for Moaning’s “Artificial”

Comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie, the Los Angeles, CA-based trio Moaning have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk which has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others. 

Building upon the growing buzz that’s surrounding them, the Los Angeles-based indie rock/post-punk trio’s highly-anticipated self-titled, full-length debut is slated for a March 2, 2018 release through Sub Pop Records. The album’s fourth and latest single “Artificial” possesses a decidedly familiar post punk sound reminiscent of Joy Division, as well as contemporaries like Precocupations and others, complete with an anthemic and directly infectious hook; but just underneath the surface, the song bristles with a tense, self-awareness of artifice, superficiality and ugliness. 

Directed by directorial team A Stranger, the recently released video for “Artificial” draws from early 80s MTV videos — and appropriately, it was shot on 35mm film, complete with tight zooms that follows the band, dressed completely in white as they play the song in a house covered in tin foil, filled with fake plants. At various points, the bandmembers faces are distorted and mirrored in ways that are trippy and somewhat disturbing. And in some way, the video continually points out artifice, insincerity and superficiality, while suggesting that there’s ugliness and uncertainty just beneath. 

New Audio: Hot Snakes Release an Anthemic Piss and Vinegar-Fueled Single off First Full-Length Album in 14 Years

Led by its then-San Diego, CA-based founding duo of Swami John Reis and Rick Froberg, Hot Snakes formed in 1999 as a side project, when Reis’ primary band Rocket from the Crypt went on hiatus after being in between labels and the departure of long-time drummer Atom Willard. While searching for a new label and drummer, Reis started his own label Swami Records and began experimenting with other musicians, which resulted in the formation of Hot Snakes and Sultans. Interestingly, Hot Snakes can trace their origins to when Reis recorded a batch of material with Delta 72’s Jason Kourkounis, and then contacted his former bandmate and collaborator Froberg to contribute vocals, and as it turns out most of those recording sessions eventually comprised their full-length debut Automatic Midnight.

Although Reis and Froberg collaborated together in Pitchfork and Drive Like Jehu, Hot Snakes proved to be a logistical challenge as Reis was in San Diego, Froberg had relocated in New York to start a career as a visual artist and illustrator, and Kourkounis was based in Philadelphia. Naturally, this resulted in sporadic and intense recording and touring schedules that frequently included bassist Gar Wood, best known for his work in Beehive and the Barracudas, Tanner and Fishwife. While Hot Snakes shares some musical similarities to Reis’ and Froberg’s previous projects, they developed a reputation for a much more primal, garage punk sound influenced by Wipers, Suicide, and Michael Yonkers Band — and for a completely DIY approach to recording, touring and merchandise with the band releasing material through Reis’ Swami Records. In fact, Hot Snakes’ debut Automatic Midnight was the first release through Reis’ label. 

After releasing two more full-length albums, 2002’s Suicide Invoice and 2004’s Audit in Progress, the band called it a day in 2005 but they reunited for a world tour in 2011 which reportedly set the stage for the band’s fourth, full-length album Jericho Sirens, the band’s first album in 14 years, which is slated for a March 16, 2018 release through Sub Pop Records. Recored in short bursts over the past year in San Diego and Philadelphia, the album features Reis and Froberg collaborating with Wood and drummers Kourkounis and Mario Rubalcaba — both of whom have been on prior Hot Snakes albums but never on the same one until now. And as Reis explained in press notes for the album, one of the most rewarding aspects was reacting his collaboration and creative partnership with Froberg. “Our perspectives are similar. Our tastes are similar. He is my family. And more is there to say? My favorite part of making this record was hearing him find his voice and direction for this record. I came hard,” Reis says. 

Reportedly, the material thematically commiserates with the frustration and apathy of our daily lives while pointing out that generally we don’t have a fucking clue. As Froberg says of the album, ““Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that. No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.”

Sonically, the album reportedly finds the band incorporating some of the most extreme fingers of their sound while staying true to their long standing influences — but interestingly, some songs feature nods to AC/DC and others. As Reis says in press notes, It sounds like panic and chaos. Restlessness and unease. That’s a sound that I would ask for. I want that record. The inspiration would be simple, maybe even kind of straightforward. Very early rock ‘n’ roll DNA with lots of rules. I would find some note or rhythm in it that captivated me and I dwelled on it and bent it. That’s where I found dissonance. Bending and rubbing against each other uncomfortably. Marinate and refine. A lot of the other Hot Snakes records always had tension and release, but this one is mainly just tension.”

Album single “Six Wave Hold-Down” while reminding me of Curses-era Rye Coalition, thanks to an furious piss, vinegar, vitriol and whiskey-fueled punk air, and anthemic raise your beer in the air hooks. But along with that the song possesses the sort of  urgency that’s absolutely necessary. 

Throughout the course of the past 18 months or so, I’ve written quite a bit about JOVM mainstays Geowulf, comprised of Noosa, Australia-born friends and collaborators, Star Kendrick and Toma Benjamin. And although the duo have known each other since they were teenagers, their musical collaboration began in earnest when Kendrick, who grew up in a musical home, started to pursue music seriously a few years ago, and enlisted the help of her old friend to flesh out her earliest demos.

After a string of successful, critically applauded singles including “Saltwater,” which received over 1 million Spotify streams and reached Hype Machine‘s top ten before landing at #4 on Spotify’s US Viral Charts; the Mazzy Star meets  Fleetwood Mac-like   “Don’t Talk About You;” and the  Phil Spector meets Still Corners “Drink Too Much,” the JOVM mainstays announced that their highly-anticipated Duncan Mills-produced, full-length debut, Great Big Blue is slated for a February 16, 2018 release through 37 Adventures Records. And along with the announcement of their debut, the duo then released, the shuffling and jangling, 60s girl group pop-inspired single “Hideaway,” which continues the dream pop duo’s growing reputation for material that possesses a careful and deliberate attention to craft but with subtly modern flourishes — all while focusing on the complications, frustrations and aches of romantic relationships.

The album’s latest single “Sunday” is a slow-burning, gorgeous and cinematic bit of guitar pop, with a soaring hook that should immediately bring comparisons like Mazzy Star, The Smiths and others — while continuing a string of songs that pair dark and moody lyrics with upbeat sounds.  As the duo says in press notes, “‘Sunday’ is a favorite of ours in the album. It’s a little cruiser of a song meant to make you feel all the good things. Lyrically, it’s about feeling like Sunday is a pretty lonely day sometimes.”