Category: covers

New Audio: Swedish Instrumental Outfit Automatism Shares Languorous Cover of Kraftwerk’s “Neon Lights”

Swedish instrumental psych rock outfit Automatism — Hans Hjelm (guitar), Gustav Nygren (guitar), Mikael Tuominen (bass) and Jonas Yrlid (drums) — will be releasing their long-awaited fourth album Sörmland Friday through German-based label Tonzonen Records.

Five years have passed since the release of 2020’s Immersion. The hiatus wasn’t completely voluntary, so when the band reconvened in September 2023 to begin the creative process for their fourth album, it felt like a special occasion for the band — much like a family reunion. Recorded in a former chapel in the Swedish rural county of Sörmland, the building’s high ceilings and open atmosphere helped set the overall tone of the soon-to-be-released album. As they were recording, they could see the verdant landscape from the building’s tall windows, which inspired them to name the album after the province.

Sörmland‘s latest single “Neon Lights” is an instrumental take on Kraftwerk‘s “Neon Lights.” Clocking in a roughly the same time as the original, which appeared on 1978’s The Man-Machine, the Automatism rendition slows both the tempo and melody down, giving the song a languorous and dreamy, psilocybin-fueled buzz.

“Another one of those occasions when the best stuff comes out when you stop trying,” the band’s Mikael Tuominen says. “We had been working on a version of ‘Neon Lights’ for a while, even played it live, that was much closer to the original in feel and tempo. We did a couple of recordings of that version and they were okay. Then, without deciding anything, we just fell into playing the theme really slowly and softly, and again, luckily enough I hit the red button. First it was almost as if we didn’t take it seriously, but soon we entered the zone, and listening to the versions back to back there was no question of which one to choose.”

New Audio: Los Angeles’ Swimming Bell Lovingly Tackles Beck’s “The Golden Age”

Los Angeles-based singer/songwriter and musician Katie Schottland is the creative mastermind behind Swimming Bell. Earlier this year, she released her five-song  Rob Schnapf-produced EP Somnia  through Perpetual Doom

Somnia invites listeners to an ethereal sonic realm, a sort of underwater dreamworld where melodies drift effortlessly and rhythms pulse like ocean currents. Schottland envisioned the EP as an escape from the crushing weight of reality, a space where listeners could feel suspended — as though they were floating — between wakefulness and dreaming. Collaborating with Schnapf, Schottland embraced a much more percussive approach, allowing textures and rhythms to guide the listener through the material’s shimmering soundscapes.

I wanted this EP to feel like sinking into water, where everything is softened and suspended,” says Schottland. “Given all the stress and tension in the world, I wanted to make a feeling of escape – something hypnotic and transportive. Rob and I explored percussive layers in a way that felt both grounding and dreamy, creating movement within.”

Her first single since the release of Somnia EP is a gorgeous and lovingly faithful cover of “The Golden Age,” off Beck’s critically acclaimed and beloved 2002 effort Sea Change. “Sea Change has always been one of my favorite albums. I love the production so much,” Schottland says. “I’ve wanted to cover ‘The Golden Age’ for a long time and when my pedal steel and keyboard players lit up at the idea too, it felt right. Rob Schapf produced this version, and we kept it minimal and open, letting the song unfold naturally.”

New Audio: Detroit Punks The Lowcocks Share a Cheeky Cover of Dolly Parton’s “9 to 5”

Founded back in 2017, the Detroit-based punk outfit The Lowcocks have established their own sound while sharing stages with several national touring acts, including The CasualtiesTotal ChaosNekromantixThe Koffin KatsMenstrual TrampsGBHThe Suicide Machines and The Exploited.

The Detroit-based punks latest single is a deliriously fun and cheeky, straightforward bruising cover of Dolly Parton‘s beloved 1980 smash-hit “9 to 5.” If you somehow didn’t know, “9 to 5” is a defiant feminist anthem, capturing the ambition, chutzpah and the bitter frustrations of its narrator/songwriter. But what makes it truly great is that what the song expresses and evokes is something that generations of working women know exactly what Dolly is talking about in the song. And in some small way, The Lowcocks cover feels like a passing of the torch for a younger generation, who will have to maneuver and fight an altogether different yet similar fight.

New Audio: Gan Shares Flirty and Summery “Infinity”

Gan is a rising, French Mediterranean-born, New York-based electronic music producer and artist, who has received attention for bending modern beats and production informed by the New York scene with his French and Mediterranean heritage.

The rising New York-based producer’s latest single is a slick and flirty take on Jaymes Young‘s “Infinity” that turns the smash-hit into the sort of summery, house/Afrohouse take on the song that could simultaneously rock grown and sexy lounges, rooftop parties and the club.

New Audio: JOVM Mainstay Kelly Finnigan Teams Up with Chicago Soul Legend Renaldo Domino on a Deep Soul Cover

Acclaimed singer/songwriter, musician, producer and Monophonics frontman Kelly Finnigan teamed up with Chicago‘s Renaldo Domino for a cover of Buffalo-based duo Samson & Delilah‘s 1967 song “Keep Me In Mind.” The Finnigan and Domino cover, which features an All-Star cast of some of the soul scene’s best players was recorded entirely to tape in studios between the Bay Area, Chicago and Ohio during the recording sessions for the JOVM mainstay’s most recent solo album, last year’s A Lover Was Born.

The Finnigan and Domino rendition sees the pair and their collaborators tightening the original’s groove just a bit while retaining the original’s spirit and feel in a remarkably loving and straightforward period specific manner. And much like the original, the song’s mid-tempo groove-driven arrangement serves as a lush and funky bed for the pair’s uncannily soulful harmonizing, which in some way rekindles memories of Sam and Dave, and the like.

The standalone single was released digitally through Colemine Records. The 7″ 45RPM vinyl will be available on May 23, 2025. You can pre-order the vinyl or stream on your favorite DSP here: https://colemine.lnk.to/clmn260

New Video: Tom Petty and The Heartbreakers Perform “Wild Thing” at The Record Plant, 1982

Originally airing only once on MTV in February 1983, the Cameron Crowe directed Tom Petty: Heartbreakers Beach Party is a fun, candid and fast-paced film that captures Tom Petty and The Heartbreakers as they finish, promote and tour their groundbreaking Long After Dark album, their third and final album with the legendary Jimmy Iovine.

Nearly 40 years after the film had become folklore to fans, musicians and the music industry, the tapes from Cameron Crowe’s directorial debut were finally found. Interestingly, this also coincides with the Tom Petty Estate opening up the vaults and sharing previously unreleased music and some never-before-seen and rarely seen, remastered films from one of the band’s prolific and commercially successful eras — 1982 to 1983.

Tom Petty: Heartbreakers Beach Party was restored from its original 16mm source tapes and is exclusively streaming on Paramount + in the States, Canada, UK, Australia, Latin America, France, Italy and Germany, marking the first time that the now-fully restored version of Cameron Crowe’s directorial debut is widely available to international audiences.

The Tom Petty Estate has also released newly restored footage of Petty and company performing a rollicking and boozy, barroom blues-meets-Damn the Torpedoes-era Petty and Heartbreakers-like rendition of The Troggs‘ beloved and oft-covered 1966 rendition of “Wild Thing” filmed at Los Angeles-based studio The Record Plant in 1982.

Directed by Justin Kreutzmann, the video, which now boasts newly remastered audio, features footage of the band’s performance at The Record Plant, filmed for French TV program, Houba Houba, alongside never-before-seen footage originally filmed by Cameron Crowe for Tom Petty: Heartbreakers Beach Party.

Along with long-awaited release of Tom Petty: Heartbreakers Beach Party, Geffen/Universal Music Enterprises (UMe) just released the digital only Heartbreakers Beach Party: The Soundtrack, which includes 35 songs from the film with tracks from Long After Dark (Deluxe Edition).

New Audio: Pythies Tackle a 2000s Banger

Paris-based punks Pythies — founding member Lise L. (vocals) with Thérèse La Garce (guitar) and Anna B. Void (drums) — was formed by Lise L. in late 2022 with the intent of starting an all-woman band. In early 2023, Lise L. met Thérèse La Garce and Anna B. Void through social media. The trio felt a very strong simpatico, rooted in the meshing of three distinct and strong personalities, and from that point on, the band’s lineup was cemented.

The French trio released their debut EP Disillusion last year. The EP featured two singles that I wrote about on this site:

  • Toy,” a track that seemed indebted to riot grrl-era punk and grunge, featuring fuzzy power chords, thunderous drumming and enormous hooks and choruses placed within the classic grunge song structure. 
  • I Pythie You” is a grunge and riot grrl-inspired ripper that reminds me a bit of early PJ Harvey, The Breeders and Hole anchored around Lise L.’s feral delivery.

The French JOVM mainstays recently tackled Peaches‘ signature single, 2000’s “Fuck The Pain Away,” turning the dance floor banger into a grungy, 90s era riot grrl ripper while retaining the feral sexuality of the original. In some way, their take possesses a sense of danger that’s both unhinged and thrilling.  

New Audio: clubdrugs Tackles Portishead’s “Sour Times”

Chicago-based, self-described goth pop duo clubdrugs have developed a reputation both locally and regionally for a genre-defying sound and for captivating live performances.

Last year, I wrote about “Waiting,” a slickly produced, hook-driven, club friendly bop featuring glistening synth arpeggios, tweeter and woofer rattling thump and a sinuous and propulsive bass line that serves as a lush bed for Maria’s yearning vocal to ethereally float over. It’s the sort of song that’s perfect for the lovelorn and heartbroken to dance while crying their hearts out on the dance floor.

To celebrate Valentine’s Day and the season of love, the Chicago-based outfit shared a cover of Portishead‘s “Sour Times” that turns the slow-burning, brooding torch ballad into a tense, club friendly industrial banger.

“As kids, we passed out Valentine’s to our friends to show we care. We miss that,” Maria shares. “This year, our Valentine is this sexy melancholic love song. We hope it resonates with everyone, no matter how they’re feeling this Valentine’s Day.”

New Audio: JOVM Mainstays The Harrow Tackle For Against’s “December”

Deriving their name from the harrow, the name of a device used to punish and torture prisoners in the Franz Kafka short story “In the Penal Colony,” Brooklyn-based JOVM mainstays The Harrow — currently founder Frank Deserto (bass), LeeAnn Falciani (vocals), Greg Fasolino (guitar) and John Forester (drum programming, guitar, mixing) — can trace their origins back to 2008 when its founder started the band as a solo recording project. The band became a full-fledged band in 2013 when Deserto recruited Vanessa Irena (vocals, synths, programming), Barrett Hiatt (synths, programming) and Fasolino to complete the band’s first lineup.

With their first lineup, the Brooklyn-based JOVM mainstays released the “Mouth to Mouth”/”Ringing the Changes” 7 inch and their full-length debut Silhouettes to critical applause from The Deli MagazineThe Big TakeoverImposeAltSounds as well as this site for a sound that is deeply indebted to The CureSiouxsie and the BansheesJoy Division, and others.

Following up on the November release of their latest EP, Cinderglow, the members of The Harrow have released a lovingly faithful cover of Lincoln, NE-based jangle pop/dream pop band For Against’s “December,” the title track of 1988’s December. Much like the original, The Harrow’s take on the song manages to be simultaneously wistful and brooding, and full of the recognition of life’s unending cycles, of time’s endless march forward and the compiling of regret and shame.

“For Against have always been a very special band for us here at The Harrow,” the band explains. “Their blend of jangle pop, post-punk, and dream pop set them apart from many of their American contemporaries, and their discography is in a word: perfect. We first heard the news of vocalist and bassist Jeff Runnings’ stage 4 cancer diagnosis in November, and we as a band wanted to show our deep appreciation and love for Jeff and For Against with this very special cover. Jeff has always been extremely supportive of our band and is a truly kind soul, and we are honored to call him a friend. 

We will be donating all Bandcamp proceeds for this single to Jeff’s GoFundMe, which can be found here: 

https://www.gofundme.com/f/help-jeff-runnings-battle-stage-4-cancer

The Bandcamp link for the song can be found here: https://theharrownyc.bandcamp.com/track/december