Category: Alt-rock

Throwback: Happy 62nd Birthday, Ed Roland!

JOVM’s William Ruben Helms celebrates Collective Soul frontman Ed Roland’s 62nd birthday.

New Audio: The Charlatans UK Share Anthemic “We Are Love”

The Charlatans UKTim Burgess (vocals), Martin Blunt (bass), Mark Collins (guitar), Tony Rogers (keys) and The Verve co-founder Pete Salisbury (drums) — are arguably one of the best-loved and commercially British bands of the past 40 years or so. Over the course of their lengthy run, the band has released 13 albums, 3 of which earned #1 on the UK Albums Charts with 22 Top 40 UK singles, including “The Only One I Know,” “North Country Boy” and “One to Another.”

The acclaimed British outfit’s long awaited, highly anticipated 14th album, the Dev Hynes, Fred Macpherson and Stephen Street co-produced We Are Love is slated for an October 31, 2025 release through BMG. The first album from the acclaimed outfit in eight years, the longest gap in their history, was a result of the COVID-19 pandemic, the individual members’ solo projects and side projects, life’s twists, turns and complexities and the fact that each of the band’s individual members live scattered across Europe. With all of that going on, it took longer than usual to figure out schedules; for the stars to align; and for the right vibe and right time.

Recoded at two places that are almost apocryphal in the band’s history — Wales-based Rockfield Studios and the band’s Middlewich, Chesire-based Big Mushroom, We Are Love reportedly sees the band launching into a bold new era, one that finds them at peace with their past while looking forward to the future. The band’s Tim Burgess cites hauntology and psychogeography as two major concepts that swirled in his head as the band worked on the album.

The band returned to Rockfield Studs for the first time since the recording sessions for the fifth album, 1997’s Tellin’ Stories. As a band, they hadn’t been there since keyboardist Rob Collins’ death, in the middle of that album’s sessions, in a car accident at the bottom of the track leading to the farm surrounding the studio. Reportedly throughout the album, you can hear the band’s awareness of the things that made them — the highs and lows the desire to honor their own legacy, while not being deeply defined by it; and a career-long drive to be innovative and progressive. “The whole idea of hauntology and psychogeography is represented by us going back to Rockfield, where so much history has happened for The Charlatans,” the band’s Tim Burgess says. “That was important as a way of honoring every member who’s played in the band. So we’re honouring ourselves, our past, feeling that energy and reincarnating it, doing something fresh, brand new.” 

The album’s introspective creative process, brought home the fact that love has been the glue that has held the band together for so long, and ultimately that’s reflected on the album’s 11, forward-thinking, future-facing songs.

We Are Love‘s first single, album title track “We Are Love” is a defiantly upbeat, road trip-meets-big venue/festival anthem, anchored by a propulsive, motorik groove and rousingly anthemic hooks and choruses. Tim Burgess describes it as “like an open-top car ride in the credits of your favorite movie, driving along the coast to somewhere amazing.”

One of the first tracks to emerge as they were writing material, “We Are Love” became a pathfinder for the record as the band’s Mark Collins explains: Early on, we thought it felt right. And it turned out that way: first single, title track, second song on the album. And things started forming around ‘We Are Love.’ There was a certain energy to it that drove us forward.”

New Audio: Still Blank Shares Breakneck and Sultry “Ain’t Quite Right”

Rising, transcontinental duo Still BlankKaua’i, HI-based Jordy and Manchester, UK — have quickly established themselves as one of more enigmatic and exciting voices in contemporary alternative music. Drawing from shoegaze, grunge and folk, they’ve developed and honed a sound that’s difficult to pigeonhole, often minimalist and emotionally rich.

Their unique sound comes from rather unlikely roots: Jordy grew up immersed in the natural rhythm of island life in Hawaii, gigging at weddings and fundraisers by the time she was in her early teens, while drawing inspiration from Hawaiian traditions and the solitude of Kaua’i. Ben, who was raised on Manchester’s rich and deep musical legacy, played some of his earliest gigs in pubs with his dad’s band. He developed a love of ambient textures, citing The Durutti Column and Vini Reilly as formative influences. The duo’s unlikely meeting in the UK sparked a lightning-in-a-bottle creative partnership that started as casual jam sessions in a Liverpool basement and quickly evolved to sessions ranging from stripped-back recordings on a broken, classical guitar to long studio sessions fueled by long walks through rural Wales and a shared commitment to imperfect perfection.

As a collaborative unit, their work draws from introspection and their surroundings, echoing the mood and vibe of acts like Yo La Tengo, Big Thief and Cat Power paired with lyrics informed by people-watching, dreams, nature and existential observation.

The duo’s sophomore single “Ain’t Quite Right,” comes on the heels of their critically applauded debut single “What About Jane,” which received praise from Under The Radar, Clash, Dork, DIY and a lengthy list of others. “Ain’t Quite Right” sees the pair swapping roles in the creative process while crafting a breakneck post punk tune that’s sultry and vulnerable yet simultaneously confrontational and accusatory in a way that subtly channels PJ Harvey.

“We wrote the song around Christmas in rainy Manchester while listening to a lot of Sonic Youth and PJ Harvey,” the transcontinental duo explain. “Usually, Ben leads the music and I work on lyrics and melody, but this one flipped. We wanted it to feel on edge—building tension. The lyrics explore a dysfunctional relationship where both sides are suffocating, and neither can let go. The guitar almost talks back to the vocal, responding with this jarring energy that adds to the unease.”

New Video: Kim Gordon Shares “BYE BYE 25” with Proceeds Going to NOISE FOR NOW

Last year, the legendary Kim Gordon released her critically applauded, Grammy-nominated, sophomore solo album The Collective, which featured “BYE BYE.” As a form of righteous protest agains the hateful, authoritarian Trump Administration, Gordon and her collaborator and producer Justin Raisen got back together to re-do the song.

“(Producer and collaborator) Justin Raisen had this idea to redo ‘Bye Bye’ starting at the end of the song. When I was thinking of lyric ideas, it occurred to me to use words taken from a site that had all the words that Trump has essentially banned, meaning any grant or piece of a project or proposal for research that includes any of those words would be immediately disregarded or ;cancelled.’ I guess Trump does believe in cancel culture, because he is literally trying to cancel culture.

Gordon continues, “Trump has used the term “cancel culture” not only as a political talking point but also as a dog whistle while weaponizing the term to signal support for white grievance politics, traditional gender roles, anti-LGBTQ+ sentiment and hostility toward racial justice movements – without always saying those things outright.”

Here is a short list of some of the words Gordon mentions in “BYE BYE 25” that have already begun to disappear under the Trump Administration agenda:

ADVOCATE

CLIMATE CHANGE

FEMALE

HISPANIC

IMMIGRANTS

INTERSEX

MALE-DOMINATED

MENTAL HEALTH 

NON-CONFORMING

TRAUMA

UTERUS

VICTIM

WOMEN

Among the organizations that have been targeted by the Administration’s policies include Centers for Disease Control and Prevention (CDC), Department of Health and Human Services (HHS), Office of Personnel Management (OPM), National Science Foundation (NSF), Department of Defense (DoD), Small Business Administration, National Cryptologic Museum and NASA.

Proceeds from “BYE BYE 25!” — both song and t-shirt will be donated to the reproductive rights nonprofit NOISE FOR NOW. If you have a few bucks, please buy the song and/or a t-shirt; it’ll go to a worthy, much-needed cause. If you’re unable to protest because of health concerns or some other very valid reason, donating to worthy causes if and when you’re able to, is a form of protest, y’all. In the event that donating is a hardship for you, don’t worry. Pass the word along to those who could. Links are here: https://kimgordon.lnk.to/byebye25

Of course if you’re curious: NOISE FOR NOW enables artists and entertainers to connect with and financially support organization that work in the field of Reproductive Health, Rights and Justice. They’re needed now, more than ever with reproductive health care services, including access to legal abortion being under attack. Learn more at https://www.noisefornow.org

The song is accompanied by a video directed by Vice Cooler and Kim Gordon.