Comprised of Lou Nutting (guitar, harmonica, and vocals) and Ben Brock Wilkes (drums, vocals), the up-and-coming Virginia-born, Brooklyn-based indie rock duo Winstons can trace their origins to when the duo met while working at Williamsburg hotspot and music venue, Baby’s All Right. And with the release of 2015’s Turpentine EP and Black Dust, the duo quickly received attention for a soulful, garage-based blues rock that sonically speaking seems to owe a debt to The Black Keys, and Screamin’ Jay Hawkins, complete with a visceral and forceful earnestness — and for making a decided point in recording live to tape, with no touch-ups, no overdubs and no-retakes; in other words recording with the old adage, first thought, best thought. “Without You,” the A side of their “Without You”/”Enough” 7 inch will further cement the duo’s growing reputation for blues and garage rock that possesses an unmistakable immediacy — while in this particular song, a visceral
Directed by Buried Muse, the recently released video for “Without You” cuts between footage of the duo performing at Baby’s, hanging around and singing the song and running around all over Brooklyn — to suddenly encounter their dopplegangers looking back at them.
Category: garage rock
Comprised of Lou Nutting (guitar, harmonica, vocals) and Ben Brock Wilkes (drums, vocals), the up-and-coming Virginia-born, Brooklyn-based duo Winstons can actually trace their origins to when the duo met while working at Williamsburg hotspot Baby’s All Right. With the release of two EPs Turpentine and Black Dust back in 2015, the Brooklyn-based duo received attention for a soulful, garage, blues rock that owes an equal debt to The Black Keys, Screamin’ Jay Hawkins complete with a visceral and forceful earnestness — and for making a decided point of recording live to tape, with no touch-ups, no overdubs, no retakes; first thought, best thought.
A couple of weeks ago, I wrote about “Without You,” off their “Without You”/”Enough” 7 inch, a single bluesy single that possessed a forceful immediacy and heartache and an anthemic, arena rock sized hook. And building upon the buzz that “Without You” has received, the duo released the B side single “Enough” a single which will further cement their burgeoning reputation for crafting raw, urgent, blues-leaning garage rock with arena-friendly, anthemic hooks — and while drawing from The Black Keys, the mid-tempo barnburner manages to nod at The Band and The Animals.
New Video: The Surreal and Darkly Psychedelic Visuals for Thee Oh Sees’ “Gelatinous Cube”
If you’ve been frequenting this site over its nearly 7 year history, you’d likely be familiar with JOVM mainstays Thee Oh Sees. Led by Castle Face Records co-founder, and the band’s founder and creative mastermind, John Dwyer, the Bay Area-based garage rock/psych rock band has a long-held reputation for being incredibly prolific and last year further cemented that, as the band released two more albums — a live album, Live in San Francisco recorded over three nights at The Chapel and the second album, Weird Exit being the first entry of a planned series of albums.
One of the first singles off both Live in San Francisco and Weird Exit was “Gelatinous Cube,” a single that in prototypical Thee Oh Sees fashion managed to be a towering, buzzing barnburner of a song, complete with layers of scorching guitar pyrotechnics, a throbbing and propulsive rhythm section, Dywer’s growling falsetto and a primal, guttural fury — all while possessing an unusual song structure and an almost surf rock-like hook that reminded me a bit of The Blind Shake.
The recently released animated video features some disturbing and wildly psychedelic imagery that for most of the song’s length could very well be a warning n the evil’s of exploitative capitalism until the video’s protagonist becomes one with the song’s gelatinous cube — and by then, the video becomes even more surreal than the first few minutes.
Comprised of Lou Nutting (guitar, harmonica, vocals) and Ben Brock Wilkes (drums, vocals), the up-and-coming Virginia-born, Brooklyn-based duo Winstons can actually trace their origins to when the duo met while working at Williamsburg hotspot Baby’s All Right. With the release of two EPs Turpentine and Black Dust back in 2015, the Brooklyn-based duo received attention for a soulful, garage, blues rock that owes an equal debt to The Black Keys, Screamin’ Jay Hawkins and , complete with a visceral and forceful earnestness, and for making a point of recording live to tape with no touch-ups, no overdubs, no retakes; first thought, best thought. And as you’ll hear on the duo’s latest single “Without You,” off their forthcoming “Without You”/”Enough” 7 inch, the result is a song that possesses a forceful immediacy and heartache.
New Video: Introducing the Classic Country and Early Rock-Inspired Sound of Laura Jean Anderson
Laura Jean Anderson is an Olympia, WA-born, Los Angeles, CA-based singer/songwriter and guitarist who has started to receive attention for a sound and aesthetic that draws from classic country, 40s-50s blues and garage rock but with a subtly modern take, serving as a gentle reminder that earnest and personal songwriting may be more necessary than ever in the dark days that seem to be ahead of us. Anderson’s latest single “Won’t Give Up” features the Los Angeles, CA-based singer/songwriter’s gorgeous and expressive Patsy Cline/June Carter Cash-like vocals paired in a relatively simple arrangement of Anderson’s gently strummed electric guitar, and the addition of a gently propulsive rhythm section, which enters for the song’s anthemic and soaring hook. And although the song sounds as though it could have been released in 1956 or so, the Olympia, WA-born, Los Angeles-based singer/songwriter explains in press notes, a “response to what’s going on in the political and social climate.” She goes on to say that she wanted to release the song “as fuel to the belief that you can’t give up on other people, just because they give up on you. It’s a deeply personal song, but I believe more than ever that the personal is political!”
Certainly, the song should remind the listener of the cliched adage that “no man is an island” and that most importantly, in these strange times, the universe can create some rather strange bedfellows. We’re going to have to rely on each other more than ever. So don’t give up; the fight is going to be long and tiring, but worthwhile in the end.
Arguably best known as the guitarist in Mikal Cronin‘s backing band and the bassist in Fuzz, Chad Ubovich is part of the larger Bay Area/Ty Segall/Thee Oh Sees universe and over the past couple of years, Ubovich has received attention for his own band Meatbodies, a band that features Ubovich, Patrick Nolan and Kevin Boog playing incredibly weird, scuzzy lo-fi rock. Now, if you had been frequenting this site last month, you’d recall that the trio’s forthcoming sophomore effort ALICE is reportedly a “heavy pop” concept album primarily focusing on war, sex, politics and religion — and has the band expanding upon their sound; in fact, the album’s first single “Creature Feature” was a shuffling, Bowie and Bolan-leaning take on psych rock.
However, ALICE’s latest single “Haunted History,” is a furious and buzzing take on psych rock, possessing an anthemic and mosh pit-friendly hook paired with propulsive and forceful drumming — and in some way the song sounds as though it draws from grunge rock, thanks in part to some guitar pyrotechnics.
With the release of the We’re Set EP, which featured standout singles “Wild” and “Surfer Girl,” the San Francisco, CA-based indie rock/garage rock quartet The Band Ice Cream, comprised of Kevin Fielding (vocals, guitar), Joe Sample (vocals guitar), Bryce Fernandez (bass) and Louie Rappoport (drums), quickly developed a national reputation for a fuzzy, scuzzy alt rock-leaning sound that draws from Nirvana, The Strokes, The White Stripes, The Orwells, Pavement and Link Wray — and for opening for the likes of Hinds, Night Beats, Adult Books, SWMRS, The Aquadolls and others. Adding to a growing profile, the band’s last EP caught the attention of legendary producer and sound engineer Bruce Botnick, who’s best known for his work with The Doors and The Beach Boys, and along with San Francisco underground rock legend Mike Carnahan worked with the band on their forthcoming full-length debut Classical Trained, slated for a March 10, 2017.
Classically Trained‘s latest single “Seventeen” manages to evoke the awkwardness and uncertainty of being a stupid teenage kid while looking back at it with a wistful nostalgia over that period’s seeming simplicity and deep friendships– and without as many devastating mistakes, poor choices, unending complications and uneasy compromises. And while the band has developed reputation for scuzzy garage rock, the band’s latest single manages to be clearly indebted to power pop, thanks to anthemic hooks and some guitar pyrotechnics; but in an expansive, and meandering song structure that possesses both a muscular insistence and a mischievous and ironic wit.
New Video: Watch Nashville Garage Punk Ron Gallo Take Over a Busy Intersection with Furious, Old-School Rock
Gallo’s forthcoming full-length effort Heavy Meta was primarily written while Gallo was in Philadelphia — and over the course of a lengthy romantic relationship with a woman, who had a number of personal and emotional troubles. When the relationship ended, Gallo relocated to Nashville to finish writing material in what may have been one of the most transformative periods of his life as he went through what he felt was a personal reawakening and musical rebirth. Interestingly, at the time Gallo wrote and then recorded songs in small batches — without the initial intention of making an album and without the support of a label. As Gallo explains “Coming out on the other side, i now look at my past as a hazy dream where I did not know myself or the world at all. I still don’t know anything, but I’m closer than before. There is so much to learn outside of your comfort zone.”
Slated for a February 3, 2017 release through New West Records, the material on Heavy Meta reportedly covers several themes including Gallo’s personal ideology on abstaining from drugs and alcohol, self-empowerment, domestication, dead love, not knowing yourself, mental illness and more while expressing an overall frustration with the human race and civilization, while balanced with an underlying hopefulness of an idealistic realist. As Gallo explains “this record comes from my frustration with humanity and myself, and from my wanting to shake us all. At my core, I’m compassionate for humanity and the sickness that we all live with, and from that comes something more constructive.” He ends by saying “Party is over — this is the beginning of true personal responsibility for ourselves and our world and so we must LIVE truth, be freaks, be fearless, be light, love and be our best selves.”
The album’s latest single “Please Yourself” is a fuzzy and aggressive garage rock song full of power chords, a propulsive back beat paired with Gallo’s howled vocals — and throughout the length of the song there’s a wild urgency and frustration within. As a result, the song feels as though the narrator is trying to violent shake everyone around him awake, while screaming “Pay attention, you goddamn idiots! Stop fucking around and do something to make it right!”
Directed by Joshua Shoemaker, the recently released video begins with Gallo delivering a fiery soliloquy on the hollowness, pretension of our digital world. It’s quickly followed by a lengthy one-take shot in which Gallo walking through downtown Nashville stops at intersection to wait for his band featuring Joe Bisirri (bass) and Dylan Sevey (drums) to drive up in a Ford F-150 truck loaded with a PA system and a makeshift stage — and then they promptly take over the streets with furious rock ‘n’ roll before quickly disappearing into the night.
New Video: Up-and-Coming London-based Band The Severed Limb’s New Single and Video Reveal a Decided Change in Sonic Direction
Building upon the buzz they’ve received, the sextet recorded their latest single “Bela Lugosi” on two-inch tape at the all analog Chuckalumba Studios in Dorset, UK, and interestingly their latest single is a decided change in sonic direction as the band which once used accordions, washboards and acoustic guitars have taken up a 60s garage rock-leaning sound, complete with a shuffling swagger as the band pair angular guitar chords, twisting and turning organ chords, and a propulsive backbeat. As the band explains in press notes about their evolution. “We didn’t want to associated with bands at festivals, who wear waistcoats, so you mutate and survive.”
The recently released music video features footage of the band playing in front of cool lighting displays and cuts in between with classic and found footage from classic horror movies — some including a few movies that featured Bela Lugosi, himself.
Comprised of Aaron Lloyd Barr (vocals, guitar), who doubles as a visual artist by day; Eric Arikian (bass), a member of Let’s Be Loveless and Ben Reynolds (drums), a member of Slang King, Del Caesar is a New York-based indie rock trio that specializes in a power chord riff and anthemic hook-driven, swaggering garage rock sound, adding themselves to a growing list of both locally and nationally known acts, including the likes of High Waisted, Raccoon Fighter, White Mystery and others. And while possessing the necessary swagger that the genre requires, the band’s material is rooted not in the rock ‘n’ roll lifestyle but in ordinary, everyday experiences — relationship problems, having big ambitions and dreams, the working for the man doldrums, etc. paired with gritty and grungy riffs, a driving backbeat and howled lyrics, recorded in mono and straight to tape, as you’ll hear on “Like They Always Say,” the first single off the band’s forthcoming EP, EP 2 slated for a November 11, 2016 release through the band’s own label Reheated Spaghetti Records.
What I personally love about the single is the fact that much like their contemporaries, their material sounds as though it could have been recorded and released in 1965, down to its “nah, nah, nah” hook. And while drawing from the same youthful exuberance and spirit, the single manages to evoke the very basics of what rock ‘n’ roll always has been about — a bunch of cats hanging around, stumbling onto something that sounds kind of cool and pairing them with lyrics based on their own frustrations and observations.
Initially featuring Eli Hansen, who has been a member of Cozy, Boys Club and Retainers (vocals, guitar); John Eggerman, who has been a member of Cozy, Private interests and Mystery Date (bass); James Blackfield, who has been a number of France Camp and Nice Purse (drums) Minneapolis, MN-based indie rock band Real Numbers developed a reputation for a DIY simplicity with the release of two 12 inch EPs through Three Dimensional Records, a single through Florida’s Dying and cassettes released through Forged Artifacts and No Problem. Wanting a much more layered sound, the band recruited Ian Nygaard, who’s been a member of Nice Purse and Howler (guitar) to further flesh out the band’s sound for the recording sessions that resulted in the band’s long-awaited full-length debut Wordless Wonder, an effort that renowned indie label Slumberland Records will be releasing on October 14, 2016.
Wordless Wonder‘s latest single “New Boy” consists of a much more layered, Wall of Sound like production, which is a departure from the live band-leaning sound of their previous releases. “We wanted something different than previous releases which had a very ‘live’ production,” the band’s Eli Hansen explains in press notes. This was largely accomplished by doubling most rhythm tracks, stacking lead tracks and on a few songs, the addition of a 12-string acoustic guitar, which has reportedly become Hansen’s new favorite instrument. And you’ll hear that new approach on the jangling and anthemic “New Boy,” a single that nods at 60s garage rock and The Smiths as the song swoons with an urgent and plaintive Romanticism.
Live Concert Photography: Field Trip with Alexander F., Monograms and Buffalo Rodeo at The Knitting Factory 8/31/16
Arguably best known for her Oscar nominated and Golden Globe nominated role in Martin Scorsese‘s 1991 remake of Cape Fear, and for her roles in a number of major motion pictures including What’s Eating Gilbert Grape, Natural Born Killers, Strange Days, The Evening Star, Kalifornia, From Dusk till Dawn and The Other Sister, Juliette Lewis initially launched a recording career in 2004 with her punk rock-leaning band Juliette and the Licks before going completely solo in 2009.
After an eight year hiatus from music and touring, 2016 has proven to be a very busy year as earlier this year, she released “Hello Hero,” a single cowritten and produced by Florence and the Machine‘s Isabella Summers before reuniting her backing band and embarking on successful and extensive tours of Europe and North America. Lewis’ second and latest single of this year “Any Way You Want” was co-written and produced by Cage the Elephant‘s Brad Shultz, Jared Champion and Matthan Minister, and the single according to Lewis is a “60s garage rock, hyped up, sexual banger inspired by The Animals, The Kinks and The Zombies,” complete with a larger-than-life cocksure, swaggering braggadocio and a ton of mischievous sexual innuendo and the open acknowledgement of the fact that the ladies want sex as much as the dudes and can seek it with a similar urgency. But perhaps most important it’s a fun and modern take on a beloved sound, led by a fearless, ass-kicking lady, who knows what she wants while also nodding at The Stooges‘ “I Wanna Be Your Dog” among others.
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Live Footage: The Mystery Lights Performing “What Happens When The Devil Turns You Down” on Daptone Records’ “Live From The House of Soul” Video Series
Daptone Records recently released some gorgeously cinematic, black and white shot footage of The Mystery Lights performing “What Happens When The Devil Turns You Down” as part of their “Live From The House Of Soul” video series. And the song is comprised of layers of guitar chords fed through reverb, an incredibly dexterous guitar solo reminiscent of Robby Krieger’s solo in “Light My Fire,” and propulsive yet subtly jazz-like drumming paired with Brandon’s falsetto singing lyrics about a surreal encounter with the devil.