Category: New Single

If you’ve been frequenting this site for the better part of the past 18 months or so, you’ve come across several posts about San Francisco-based psych rock/indie rock quartet Cool Ghouls — and with the release of last year’s A Swirling Fire Burning Through the Rye, the indie rock quartet quickly received attention across the blogosphere for a sound that’s heavily indebted to The ByrdsCrosby, Stills, and NashNeil YoungCreedence Clearwater Revival and classic psych rock as their material is generally comprised of jangling guitar chords, simple yet propulsive percussion and layered, multi-part harmonies. “Spectator,” the latest single off the band’s soon-to-be released third full-length effort Animal Races will, much like the album’s previous singles, further cement the band’s burgeoning reputation for jangling guitar pop that sounds as though it were were released sometime in 1966.



With the 2014 release of Midnight Passenger and its follow-up Cigarette Machine EP, Memphis, TN-based punk band Ex-Cult emerged into the national scene while becoming a JOVM mainstay artist for a raw, angry, bruising sound. And although a little bit of time has passed since we’ve heard from them, August 12, 2016 will mark the release of the “Summer of Fear”/”1906” 7 inch through Famous Class Records.

A couple of months ago, I wrote about “1906, ” a tense and furious cover of The West Coast Pop Art Experimental Band’s “1906”and as the band’s frontman Chris Shaw explained to the folks at Stereogum: “The West Coast Pop Art Experimental Band have an amazing catalog of California psych/folk rock, but’1906′ has this downer, post-apocalyptic vibe that none of other songs come close to duplicating. The lyrics match some of the negative vibes we channel and the guitar stabs on ‘1906’ are a lot like some of the riffs we crank out on our own. It seemed like a natural fit.”

Famous Class Records along with the band have released the A side single “Summer of Fear,” is a anxious and tense song consisting of abrasive and angular guitar stabs, off-kilter syncopation and Chris Shaw’s punchy shouts in a song that much like “1906,” will further cement the Memphis-based punk act’s growing reputation for angrily caustic, bilious punk rock that’s raw, primal and bruising while evoking the tense, fucked up times we live in.



Certainly, over the past few weeks, I’ve written quite a bit about Nashville, TN-based sibling duo JEFF The Brotherhood. Comprised of Jake and Jamin Orral, the sibling duo have developed a reputation for a sound and overall aesthetic that’s been influenced by jazz, black metal, hard rock, prog rock, stoner rock, the films of Werner Herzog, the choreography of Kate Bush and the rivers of their home state. Over the past decade the duo have played well over 1,000 shows across North America, New Zealand and elsewhere, touring to support 11 full-length albums, as well as creating a number of related zines, puppets and videos among other things. The Orral Brothers’ forthcoming effort Zone is an experimental rock-leaning album that was recorded and co-produced by the band and Collin Dupuis, and is the third album of a trilogy based roughly around spirituality that began with 2009’s Heavy Days and 2011’s critically applauded We Are The Champions.

Of course, over the past few weeks I’ve also mentioned how the renowned and now-defunct DIY venue Death By Audio had a special place in my heart, thanks in part to the fact that unlike most venues I’ve seen and covered shows in my hometown, there was a palpable sense of anything being possible and anything going. Personally, some of the most memorable shows and live music moments I’ve ever seen happened at the South Williamsburg DIY space. Now, as the venue was set to close at the end of 2014, its owners and bookers curate what turned out to be an epic final month featuring a number of currently renowned acts, who had either gotten their start there and returned to pay their proper dues or had some kind of intimate connection to the venue, including A Place to Bury Strangers, Thee Oh Sees, Protomartyr, Ty Segall, Future Islands, Lightning Bolt, Metz, the aforementioned JEFF The Brotherhood and others. Of course, what I bet that most people attending those shows didn’t know was that the venue recorded their last month of existence, with the end result being the the compilation Start Your Own Fucking Show Space, which features highlights of the past month in chronological order, slated for release this week through Famous Class Records — and the compilation is meant not as bittersweet nostalgia but as a forceful call to go out and do something fucking awesome, like start a show space and have your friends and others play there.

The third and latest single is a blistering live version of JEFF The Brotherhood’s “Heavy Damage” is a perfect example of the sound that caught the blogosphere’s attention — frenzied power chords, propulsive and thunderous drumming and howled vocals, which give the song a raw, primal feel; however, live the song feels completely unhinged and furious — as though it should inspire the audience to mosh and then riot.

Initially spending her professional career as a Berlin and Bristol, UK-based political journalist, Anika Henderson, best known under the mononym that she writes, records and performs under, Anika can trace the origins of her musical career to when she was introduced to Portishead’s Geoff Barrow while she was in Bristol. And as the story goes, Borrow was looking for a vocalist, who would work with his band Beak> for what would be a side project — and when Barrow and Henderson met, they immediately bonded over a mutual love of punk, dub and 60s girl groups. Within a week, Barrow, Henderson and the members of Beak> went into the studio to record the material which would eventually comprise Henderson’s 2010 self-titled full-length debut with Henderson and the members of Beak> recording live in the same room without overdubs.

Now, if you’ve been frequenting this site over the past three years or so in particular, you’d know that 2013 saw the release of Henderson’s self-titled EP, a collection of covers and remixes that included Henderson’s cover of Chromatics’ “In the City,” a cover, which paired Henderson’s icy deliver with a murky and tense, Portishead and The Velvet Underground and Nico-inspired production. A few years have passed since we have heard from her, but earlier this year, Geoff Barrow’s Invada Records, released an icy, lo-tech, analog synth, electro pop and dub-leaning cover of Nena’s “99 Red Balloons” by the mysterious Invada All Stars featuring Anika on vocals as part of that weekend’s Stop Trident National anti-nukes demonstration in London, a demonstration protesting the renewal of Britain’s nuclear weapons system.

Henderson’s latest musical project, Exploded View is something of a side project from her critically applauded solo work and in fact, the first single from the project’s soon-to-be released full-length debut, “No More Parties in the Attic,” revealed that the members of the project drew heavily from post-krautrock, krautrock, dub and industrial music as the band pairs electronic bloops and bleeps, industrial clang and clatter, buzzing and angular synth and guitar chords with Anika’s signature delivery to craft a sound that’s sleek and darkly seductive, while subtly evoking the sensation of desperately navigating a world that has gone madder than ever. The album’s latest single “Lost Illusions” has the band pairing jazz-like hi-hat-led syncopation with guitar and bass chords fed through layers upon layers of reverb with Henderson’s half reciting and half singing vocals with her icy delivery in a song that feels improvised, unguarded and vulnerable as it captures a narrator looking into void with an unsettling and unvarnished honesty.

If you reside in Europe or you happen to be lucky enough to be in Europe over the next couple of weeks, you might want to catch Exploded View live. Check out tour dates below.

Tour Dates

13th Aug – La Route Du Rock, Saint Malo, FR
18th Aug – Point FMR, Paris, FR
19th Aug – De Nieuwe Anita, Amsterdam, NL
20th Aug – Hope & Ruin, Brighton, UK
21st Aug – Green Man Festival, Wales, UK
21st Aug – The Exchange, Bristol, UK
23rd Aug – Shacklewell Arms, London, UK
24th Aug – Connges Annules Festival, Luxembourg, LU
25th Aug – Ex Haus Trier, DE
27th Aug – Het Bos, Antwerp, BE
28th Aug – Übel & Gefährich, Hamburg, DE
30th Aug – Skjul Fyra Sex, Gothenberg, SE
1st Sep – Loppen, Copenhagen, DK
2nd Sep – Pop Kultur Festival, Berlin, DE
3rd Sep – Big Next Festival, Gent, BE
4th Sep – Worm, Rotterdam, NL
6th Sep – Non Smoking, Strasbourg, CH
7th Sep – Le Bourg, Lausanne, CH
9th Sep – Conne Island, Leipzig, DE
10th Sep – ZISKOSTEL Prague, CZ

Perhaps best known as a member of New York-based indie rock act Blue and Gold, singer/songwriter and guitarist Chloe Raynes is set to embark on a solo career with her latest indie rock recording project, Halycine. And as Halycine, Raynes recorded her soon-to-be released debut EP In The Salt, which features GG Gonzalez (drums) and Derek Cabrera (bass) and was recorded at The End Studios in Brooklyn.

The EP’s latest single “Elixir” is a shimmering and swooning bit of 80s New Wave and post-punk-leaning guitar pop, complete with an anthemic hooks, a propulsive rhythm section and earnestly sung lyrics based around a devastating breakup, focusing on both the desperate longing for someone, the sense that time is quickly passing and that as you get older, it all gets more difficult and frustrating — and in a way the song possesses a bitter recognition of “well, what next” and “how do I move forward?” along with the idea that there’s always three sides to every side of a story: yours, mine and the truth.


Earlier this month, you may have come across a post about “Westside,” the latest single from the somewhat mysterious Los Angeles, CA-based electro pop duo Sibling, a single that built on the buzz that they’ve received with the release of their debut single “Easy,” as the duo paired a sparse production consisting of shimmering cascades of synths, an anthemic hook and pop belter vocals in a radio friendly song that swooned with a bittersweet longing. The duo’s latest single “Revolve” may arguably be the most dramatic and cinematic song they’ve released so far as they pair a production featuring twinkling piano keys, undulating synths and swirling electronics with sultry pop belter vocals in a song that is as much of a tell off as it is a song in which its narrator asserts her strength and resolve.





Earlier this month, you might recall that I wrote about “Punishment,” the first single off  Nashville, TN-based sibling duo JEFF The Brotherhood‘s forthcoming full-length Zone, an experimental rock album that was recorded and co-produced by Collin Dupuis in a converted warehouse dubbed Club Roar and is the last part of a spiritual trilogy of albums that began with 2009’s Heavy Days and 2011’s critically applauded We Are The Champions. And much like their previous work, which has been influenced by  jazz, black metal, hard rock, the films of Werner Herzog, the choreography of Kate Bush and the rivers of their home state, the album’s second and latest single “Idiot” will further the sibling duo’s reputation for crafting trippy, weed and beer inspired anthems full of enormous power chords, infectious and anthemic hooks — while meshing prog rock, power pop and metal.



Over the past few years renowned indie labels Slumberland Records and Fortuna POP! Records have collaborated on a number of releases — as Slumberland Records has released the work of Fortuna POP! artists across North America; and Fortuna POP! releasing the work of Slumberland Records’ artists elsewhere. And August 26, the two labels continue their fruitful collaboration with the release of the Continental Drift compilation, which features 8 songs from four of this year’s most buzz worthy indie rock/pop acts across both North America and Europe — and naturally, both labels believe the bands on the compilation are set to be breakout stars.

Comprised of members of Literature, Little Big League and Pet Milk, the members of Philadelphia, PA-based act Mercury Girls have received quite a bit of buzz with the release of “Arianna” for a jangling post-punk sound, complete with a soaring and anthemic hook and a gorgeous harmonies; and while, their latest single “Holly,” which is featured on the Continental Drift compilation will further cement their burgeoning reputation for shimmering and jangling post-punk that sounds deeply indebted to The Smiths — while also possibly reminding some listeners of the likes of Veronica Falls and several others.

The members of Mercury Girls will be hitting the road throughout October and November with Balance and Composure and Foxing and it includes a November stop at Warsaw. Check out tour dates below.

Tour Dates:
(All dates w/ Balance & Composure and Foxing)


Thu-Oct-13 – Richmond, VA – – Broadberry
Fri-Oct-14 – Chapel Hill, NC – Cat’s Cradle
Sat-Oct-15 – Atlanta, GA – Masquerade – Hell
Sun-Oct-16 – Jacksonville, FL – 1904 Music Hall
Tue-Oct-18 – Lake Park, FL – Kelsey Theatre
Wed-Oct-19 – Orlando, FL – The Social
Fri-Oct-21 – Houston, TX – White Oak Music Hall
Sat-Oct-22 – Austin, TX – Mohawk
Sun-Oct-23 – Dallas, TX – Club Dada (So What?! Music Festival)
Tue-Oct-25 – Phoenix, AZ – The Nile
Thu-Oct-27 – San Diego, CA – Observatory North Park
Fri-Oct-28 – Los Angeles, CA – Regent
Sat-Oct-29 – Santa Cruz, CA – The Catalyst Atrium
Sun-Oct-30 – San Francisco, CA – Great American Music Hall
Tue-Nov-01 – Portland, OR – Hawthorne Theatre
Wed-Nov-02 – Seattle, WA – Crocodile
Fri-Nov-04 – Salt Lake City, UT – Complex
Sat-Nov-05 – Denver, CO – Marquis
Sun-Nov-06 – Lawrence, KS – Granada
Thu-Nov-10 – Cleveland, OH – Beachland Ballroom
Fri-Nov-11 – Detroit, MI – St. Andrews
Sat-Nov-12 – Toronto, ON – Opera House
Mon-Nov-14 – Boston, MA – Royale
Tue-Nov-15 – Portland, ME – Port City Music Hall
Wed-Nov-16 – New Haven, CT – College Street Music Hall
Thu-Nov-17 – Brooklyn, NY – Warsaw
Fri-Nov-18 – Philadelphia, PA – Union Transfer
Sat-Nov-19 – Baltimore, MD – Baltimore Soundstage

New Audio: The Raveonettes Return with a Gorgeous and Bittersweet Addition to their Rave Sound of the Month Series

The previous Rave Sound of the Month single “Won’t You Leave Me Alone” was a bitter tell off from a jilted and exasperated lover, who’s sick of a partner, who just won’t get the hint that she’s had enough of their lover and their shit — and that it’s time for them to move on. Sonically, the song consisted of a towering and jagged soundscape of swirling and buzzing guitar chords, and thundering drumming that reminds me a little bit of The Jesus and Mary Chain; however, the series latest single “Where Are You Wild Horses” is a dreamy and atmospheric song that pairs with shimmering and subtly twangy guitar chords, breathily cooed vocals, a sinuous bass line, shuffling drumming and a dreamily forlorn melody. Lyrically, the song’s narrator has accepted the fact that their relationship is over, and that it’s time to move on and let it be part of the past and a result, it emphasizes a bittersweet reality of the majority of our relationships — that all too often, they end; but that they wind up being part of a intricate and messy life story.

If you’ve been frequenting this site over the past few months, you might recall coming across “Stronger,” the first single from  Los Angeles, CA-based guitarist and vocalist Cecilia Della Peruti’s solo project, Gothic Tropic. And although she’s perhaps best known as a touring and session guitarist for the likes of renowned pop acts such as Charli XCX and BØRNS, Peruti’s last project possesses a New Wave-leaning sound. While “Stronger” sounded as though it owed a debt to the Go-Gos The B52s and others, her latest single “How Life Goes” is an atmospheric, song in which lush and plaintive harmonies are paired with shimmering guitar chords played through reverb and delay pedal, a propulsive and driving rhythm section, gently buzzing synths and a bluesy guitar solo in a song that sounds and feels as though it simultaneously drew from Phil Spector’s famed “Wall of Sound,” 80s New Wave, shoegaze and power pop – thanks to an anthemic hook. Much like the sources which inspired it, the song focuses on heartbreak — in this particular instance, the song’s narrator is begging for forgiveness and understanding while simultaneously, telling her significant other that  she’s getting a bit of a bad rap in this relationship. And in many ways, it captures the ambivalence that romantic relationships can inspire, especially if they went bad quickly.