Category: New Video

Video by William Ruben Helms

New Video: Julia Jacklin Returns with Anthemic “The Hardest Thing”

Acclaimed Melbourne-based singer/songwriter and musician Julia Jacklin will be releasing her highly-anticipated fourth album, the Robert Muiños and Jacklin co-produced, 10-song album  The Gem through 4AD Records digitally and on CD, cassette and vinyl on September 25, 2026. Exclusive color vinyl editions with retailers will include turquoise, green opal, ruby and rose quartz. Pre-order information can be found here.

The album will include the previously released “Get Away From Me (I Think I’ll Love You),” the album’s closing track ” “I Wish” feat, Aussie folk sibling duo The Maes, and the album’s third single, “The Hardest Thing.” is a proudly heart-worn-on-sleeve anthemic ballad featuring a narrator, whose relationship on the brink, detailing a relationship at a crossroads — or about to peter out to an inevitable conclusion. Lyrically, the song is rooted in small, lived-in details that give the song a personal yet deeply universal touch.

Directed by Danny Cohen, the accompanying video was shot in one lengthy take and filmed from a helicopter winding through Melbourne’s skyline, gradually showcasing the acclaimed artist performing the song on top of skyscraper.

Video by William Ruben Helms

New Video: Sour Widows Share Hypnotic and Urgent “Lucky Star”

Bay Area-based duo Sour Widows — Maia Sinaiko and Susanna Thomson — will be releasing their highly-anticipated Melina Duterte-produced sophomore album Sigil on October 23, 2026 through Julia’s War Recordings.

Not long ago, Sour Widows’ Maia Sinaiko had a nightmare that morphed into an epiphany. While they slept, Sinaiko imagined that the world was ending, that the Earth itself was about to be swallowed by a black hole. From their perch in an old bedroom in a long-ago apartment, Sinaiko saw that physics itself was rupturing — water ran in reverse, doors locked and unlocked without a touch, traffic lights hung upside down. All traces of human civilization would soon be obliterated, our collective efforts lost forever; no one would ever know, Sinaiko realized in their nocturnal terror, about the films their sister had made. Sinaiko cried to their father, who responded to this looming end-of-everything scenario with an unexpected bit of sanguine wisdom: “But it could be amazing.” 

That dream is the premise of the album’s opener a title track “Sigil,” an album that derives its name from a dream that Susanna Thomson had about making an album called Sigil. The album’s material navigates a wasteland of human cruelty, brutality and loss to emerge with a defiant, hard-won hope. Throughout the album’s runtime, terrible things happen: A genocide leaves bodies rotting in the sun. Lovers subjugate their counterparts with empty promises, emotional abuse, and physical dominance. Parents are lost, leaving behind massive chasms emotionally and psychologically that continue to grow. And yet, the conflicts and crises described throughout the album’s songs alternately produce righteous rage, welcome solidarity and revelatory freedom. Thematically, the album touches on growth and persevering through hard shit — as we are right now — and as a result, the songs reportedly feel like deep, personal breakthroughs. In life, an end is always nearby. But what comes after can be fucking amazing.

Sonically, Sigil‘s material curves in unexpected directions and is anchored in a newfound immediacy that feels as though the duo have urgent findings and thoughts to share with the listener, making the album arguably the most magnetic they’ve written and recorded to date.

Sigil‘s latest single “Lucky Star” manages to be a hypnotic yet urgent, searing yet melodic tune that alternates between dreamily melodic verses and noisy, screeching electronics-driven hooks and anthemic, mosh pit friendly choruses — and it’s all underpinned by a shimmering, looping guitar line. The song twists, turns and morphs in odd, prismatic directions. “‘Lucky Star’ is a spell for achieving your dream. Sing the chorus to yourself before bed and maybe it’ll come true,” says Maia Sinaiko.

Directed by the band’s Maia Sinaiko and Susanna Thomson, the accompanying video for “Lucky Star” was shot on VHS tape — and accurately captures 120 Minutes-era MTV alt rock vibes.

Video by William Ruben Helms

New Video: Leon Bridges Shares Strutting and Buoyant “Talk It Over”

Atlanta-born, Fort Worth, TX-raised singer/songwriter and musician Leon Bridges quickly established himself as one of America’s most exciting new artists with 2015’s platinum-certified, Grammy Award-nominated debut Coming Home, which featured breakout singles “Coming Home” and “River.” Bridges followed up with 2018’s critically applauded Good Thing, which saw him expanding upon his sonic panic while earning a Grammy Award-nomination for Best R&B Album and a Grammy Award for Best Traditional R&B Performance for “Bet Ain’t Worth the Hand.”

2021’s Gold-Diggers Sound was the acclaimed Atlanta-born, Fort Worth-based artist’s most adventurous album to date, and the album received critical applause while earning another Grammy Award-nomination for Best R&B Album. His most recent album, 2024’s Lean is an introspective effort inspired by his Texan roots and his artistic evolution.

Along with his solo work. he has collaborated with equally acclaimed act Khraungbin on two albums — 2020’s Texas Sun and 2022’s Texas Moon. Bridges who has earned six Grammy Award-nominations — three for Best R&B Album — and a Grammy Award-win, has also collaborated with an eclectic array of artists, including John Mayer, Kacey Musgraves, Robert Glasper, Terrace Martin, Gunna, The Avanlanches, Gary Clark, Jr. and Shaboozey, all of which showcase a remarkably versatile artist.

Adding to a rapidly growing profile, Bridges has a long-held reputation as a captivating live performer, who has made a run of the global concert and festival circuit, playing an increasing number of the world’s major festivals while making appearances on Saturday Night Live, NPR’s Tiny Desk Concert and Austin City Limits.

Bridges fourth album, the J Lloyd-Watson and Lydia Kitto-produced fifth album, Happiness Anytime is slated for a September 25, 2026 release through Columbia Records. Happiness Anytime reportedly sees the acclaimed Atlanta-born, Fort Worth-based artist returning to the warmth of his 2015 debut but while seeing the members of Jungle and Bridges’ signature sensibilities blending to create something entirely new — an expansive, borderless sound and approach that pushes the Grammy Award-winning artist into band new territory. The material reportedly echoes Fela Kuti, Paul Simon’s 1990 effort The Rhythm of The Saints and Jorge Ben without feeling referential. At its core, the album is reportedly boundary pushing while remaining unmistakably Leon Bridges, rooted in his imitable vocal, effortless charisma and melodic sensibilities.

The album was written and recorded across three fast and furious sessions with Lloyd-Watson and Kitto, a collaboration that can trace its origins to the trio repeatedly crossing paths across the global festival circuit. The trio decided to attempt a low-pressure writing session at Los Angeles-based Chaplin Recording Studios. Four days later, they ha come up with six songs — half of the completed album. Pino Palladino contributed bass during the sessions. The end result is a timeless body work of that feels unfussy and breezy — that they all hope will make the listener feel happiness anytime they play it.

“For me, happiness is not a feeling that you chase,” Bridges says,“I want this album to be something that lingers with people and lingers in people’s bones. There’s this feeling that we have to fix the problems of the world; you feel inadequate or it can be debilitating. My role is to be light. I hope that comes across with this album.” With Happiness Anytime, Bridges actively sets out with a desire to not only find joy but to find movement again.

Early in his career, Bridges was out in front dancing — and that was something that has wanted recently. He wanted to get back to making music to dance to, music to excise the stresses and frustrations of modern life, and to feel grounded in the rhythms of the present. Interestingly, over the summer, he has been introducing audiences to the new album with sets in Paris, Cannes, Los Angeles, Montreux Jazz Festival, London, Chicago and Outside Lands. And as he has being playing the new material live, he has unveiled “Leon Bridges Presents Happiness Anytime,” a reimagined stage production featuring a vinyl DJ, a horn section, three backing vocalists and Bridges out in front dancing and singing. Partly inspired by the communal spirt of Jamaican dancehall culture, the live set mirrors the album’s emphasis on movement — and on dancing your stresses and frustrations away for a bit.

In the meantime, Bridges recently released the second of three, 4-song EPs that will comprise the entire album. The second EP features album title track “Happiness Anytime,” “All Day All Night” feat. Lydia Kitto, “Fly Baby,” and “Talk It Over.” Featuring a strutting and jubilant, dance at the function groove beneath Bridges’ effortless, old-school soul-inspired delivery, “Talk It Over” is an ode to working things out and trying to make it all work that seemingly channels a blend of Al Green’s “Let’s Stay Together,” and The Rhythm of the Saints while showcasing his unerring knack for catchy hooks.

Directed by D+Y and shot in Amsterdam, the accompanying video features Bridges and a multi-racial collection of beautiful dancers performing choreography by the Plue Agency. The video is centered around the album’s inspirations — movement, dancing and ebullient, infectious joy. And honestly, we could all use a lot more joy in our lives.

Video by William Ruben Helms

New Video: Rival Sons’ Scott Holiday Fuzzy and Trippy Solo Project HOL1D4Y Shares Hook-Driven “AUTONOMATIC”

Scott Holiday is a singer/songwriter and guitarist, best known for his work with rock outfit Rival Sons. For more than three decades, Holiday has built a career by following his instincts. Before the idea of […]

Video by William Ruben Helms

New Video: Brighton’s Split Dogs Shares Bruising and Anthemic “Suffer”

Deriving their name from the classic zombie film Return of the Living Dead, Brighton, UK-based punks Split Dogs — founding duo and romantic couple Harry Atkins (vocals) (they/them) and Mil Martinez (guitar) (he/him), along with Chris Hugall (drums) (he/him) and Suez Boyle (bass) (she/her) — can trace their origins back to 2015: The band’s founding members had the idea to start a band fueled by their frustration over music they saw as soulless and commodified product made to sell the listener and fans more useless shit.

As a youngster in South London, Mil Martinez would hear Status Quo, Bachman-Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home, he would invade his older brother’s record collection, which leaned towards punk and heavy metal. In the UK’s Black Country, Harry Atkins’ mother instilled a love of Northern Soul, Slade and rock ‘n roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”

Split Dogs officially appeared on the scene in 2022. Suez Boyle, a prominent figure in the queer punk scene, best known for her work with The Walking Abortions joined the band in 2023. Up until that point, Chris Hugall, an old friend of Martinez and a former member of ska punks Mouthwash, an act that was once signed on Rancid‘s Hellcat Records, helped design the band’s artwork. Hugall joined the band full-time last year, cementing the band’s current lineup. 

The quartet quickly won over Bristol’s accepting and tolerant punk scene, a scene that has always welcomed LGBQT+ folks and marginalized people, with raucous live shows featuring infectious lyrics. As word spread, the gigs increased and in short order, the Brighton-based punk outfit was playing sold-out rooms across the European Union, which caught the attention of British label Venn Records. 

The Brighton-based quartet released their Peter Miles-produced sophomore effort, Here to Destroy last year. Recorded over a breakneck three day session at Middle Farm Studios, the album, which featured album track “Lafayette” was laid straight to a 16-track reel-to-reel tape machine without autotune, effects pedals, and computers. Adding to the visceral authenticity of the recording, the album’s material was recored with Atkins singing along in a vocal booth. No cutting and pasting on a program. And it meant that everyone had to nail their takes. “It was a blast!” Split Dogs’ Martinez says. “We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection.” 

The quartet’s third album, Nice N’ Rough is slated for a September 25, 2026 release through Venn Records. Its predecessor, Here To Destroy was recorded while the band’s then-new lineup was still feeling their way while Mil and Harry were in the midst of early parenthood; however, Nice N’ Rough is a bolder, brassier, even more fun effort. The new ingredients are “confidence and time,” says the band’s Mil Martinez. “We’ve not lost what we were, but we’ve evolved and tightened the screws, cleaned it up, made it a little slicker. The songs are more thought-out and everyone’s had a hand in them.” The album’s lyrics are brutal and funny, continuing a long-held and beloved rock ‘n’ roll tradition.

“Rock’n’roll’s meant to be fun, isn’t it?” Mil says. “There aren’t enough bands doing that OTT [“over the top”], tongue-in-cheek thing. When I was younger, I wanted to seem cooler and tougher than I was. Now, I don’t care what people think of me, so I wear my heart on my sleeve. We’re quite shameless, really.” 

Nice N’ Rough’s latest single “Suffer” is a bruising, arena rock ripper that seemingly channels Highway to Hell-era AC/DC, Ace of Spades-era Motörhead, Joan Jett and JOVM mainstays Amyl and the Sniffers. But beneath the power chord driven riffs and the rousingly anthemic hooks and choruses is a lived-in emotional and psychological turmoil. The result is a song that showcases a band that can deftly pair old school OTT rock riffs and bombast with deeply heartfelt, earnest lyricism.

Fittingly the accompanying video for “Suffer” features some hilarious rock tropes: The lead guitarist playing his explosive riffs as lightning bolts explode around him. Skulls, skulls and more skulls. The band playing the song in an eerie graveyard and more. It’s a bit of goofy fun.

Video by William Ruben Helms

New Video: E. Lundquist Teams Up with JOVM Mainstay Kendra Morris on Upbeat “Wishing”

Los Angeles-based producer, composer and multi-instrumentalist Eric Borders is the creative mastermind behind E. Lundquist, a project that derives its name from a loving nod to his family lineage, bringing the focus back to his own story. With E. Lundquist, Borders specializes in a warmly cinematic sound rooted in Rhodes-driven soul jazz, funk, R&B, library records and live band groove and analog synth textures, reflecting a shift to an intimate, reflective and composer-led approach.

Borders’ forthcoming album Chasing My Reflections will touch upon themes of identity, resilience and self-reflection while featuring collaborations with Michael Damani, India Blue, Michael Edwards and JOVM mainstay Kendra Morris.

Chasing My Reflections‘ latest single “Wishing” features the Florida-born, New York-based JOVM mainstay’s effortlessly soulful croon over the sort of warm, buoyant, two-step-inducing neo-soul-like arrangement that would make the Soulquarians proud while being being a defiantly optimistic tune focused on the need to get back on your feet and get on with it, no matter how shitty everything seems.

“This song’s music had an overall upbeat, warm feel to it, so in writing it, I felt hopeful. . . .,” Kendra Morris says. “I’ve written plenty of sad songs, and it’s nice to just flip that sometimes. When Eric mentioned his inspiration behind the album and his working title at the time, ‘Reflections’, that got me thinking about my own perspective on life and struggling and how it’s great pushing forward and looking up rather than wallowing behind.”

Filmed and edited by Tony Delerme, the accompanying video for “Wishing” follows the JOVM mainstay walking down a brownstone-lined block rocking out to music on headphones, stopping to people watch before stopping at local bodega for snacks and hitting the subway. The video captures summertime in New York in a way that will bring a smile to New Yorkers faces.

Video by William Ruben Helms

New Video: Yoo Doo Right Shares Dreamy, Lysergic “Doldrums, Doldrums, Eviler Than the Devil”

Since their formation back in 2016, Montréal-based experiential rock outfit Yoo Doo Right — currently Justin Cober (guitar, bass, VI, synthesizer, piano, tape recordings and vocals) and John Talbot (drums, percussion) — have over the course of three full-length albums, three EPs, a handful of collaborations and singles and extensive touring across Europe, the UK and North America have firmly established a unique sound where “towering monoliths of roaring riffs crash against swarms of restless rhythms,” Pop Matters once wrote.

The Canadian duo’s fourth album, the Ky Brooks co-produced Build and Rest by the Shepherd’s Light is slated for a November 6, 2026 release through Mothland. The album’s material ranges from eardrum shatteringly loud forays into post-rock and krautock, highly-tempered, effects-landed pieces seemingly drawing from ambient, noise and drone, and more. Eschewing genre strictures and boundaries, the album sees the duo opting for a symbolic approach to creation, with each of its different pieces free to unfold in a myriad of ways upon each listen.

From its creators’ point of view, Build and Rest by the Shepherd’s Light chronicles the hardships of artistic resolve, acknowledging the daily grind required to keep the momentum while embracing the shared joy of the creative process. Throughout the album’s runtime, there’s an underlying tribute to the communities that foster art: “Industriestraße 9” pays homage to a defunct Luzerne squat where they used to play. Whereas symbolism seeps through song titles like Tortue”, “Sofort, Si fort,” and “To Be a Lambskin (Or to Be the Whole Flock)”, which offer enigmatic glimpses into creative vision. Co-producer Ky Brooks contributes a spoken word poem to album track “Neighbours Report Their Neighboours.” Timothy Aaron Brynan, who recently joined the duo on tour was invited to play bass on “Doldrums, Doldrums, Eviler Than the Devil,” a song that has quickly become a live set staple. Additionally Jessica Moss (violin) and Francis Leduc-Bélanger (trumpet, flugelhorn) make vital contributions to the album.

The Ky Brooks co-produced album was recorded at Montréal’s Hotel2Tango and Studio Error 403. Seth Manchester mixed the album at Providence’s Machine with Magnets. Amal Lal mixed the album at Oakland’s Macro Sound. The album’s cover art is a photo taken in Ovronanz, Switzerland by Julia Bender.

“There is a lot of joy and laughter in this album. For the first time in a while, we were feeling enriched and energized by what we were creating, the instruments we were using, and what was coming out,” the band says in a lengthy statement. “The record is us looking at our place in the world and deciding we were still committed to making music together. Boldly doing so with as much joy as we can drag out of the dried roots of modern day life. Rather than the anxiety-inducing white knuckle ‘when is it going to break’ energy we have worked with in the past, this record is optimistic but pensive. It holds onto the idea of transcendental musical themes and is deeply rooted in repetition and a clear momentum. A momentum we hope moves people, whether it is in thought or the physical.

“The title—Build and Rest by the Shepherd’s Light—highlights the main themes and motifs of the record as it stands. Rest and build, and rest and build, and rest and build… What else is there in our stories? Everyday is caring for ourselves and then doing everything in your power to care for those around us. A heroic journey is nothing but helping set camp up every night and making sure everyone is fed. A person’s ‘shepherd’ is defined by themselves, whether it’s music, their friends and families, their companion animals, or the very equipment they use to create! In each of our lives, we have the potential to draw strength and find rest in what is around us, build and rest by the shepherd’s light.

“Half the record came fully-formed, the other half was born of improvisational jamming. Originally made as pieces of music to help his partner sleep, Justin created ‘Industriestraße 9’ and ‘Neighbours Report Their Neighbours’ while isolated in a cabin over the Winter. ‘Doldrums, Doldrums, Eviler Than the Devil,’ ‘Tortue,’ and ‘Build and Rest by the Shepherd’s Light’ were us just having lots of fun in the studio, being excited by new ideas and sounds, challenging ourselves to dive deeply into new grooves and styles. The rest were either old ideas born anew or fully conceptualized pieces brought to life. While quite exploratory in its sonic landscape, we see the record as one cohesive story. A cinematic exercise that we hope people listen to in full.

We recorded with co-producer Ky Brooks. They are one of our favourite artists and a dear friend so the choice to have them hop on was an easy and exciting one. We booked studio time with no intention of finishing a record. The goal was to lay down some new ideas and get in the mindset of recording. Hotel2Tango is an incredibly warm and creatively conductive place for us. For four days straight, we put in 12-14 hour days and routinely got lost in the haze of creative fervor. Timothy joined us to record “Doldrums […]”. Jessica, Ezra, and Francis’ instruments, as well as Ky’s vocals, were recorded at Error 403. Having finished recording, we of course turned to Seth (mixing) at Machines with Magnets and Amar (mastering) at Macro Sound  to elevate the album.”

Clocking in a little over six minutes, Build and Rest by the Shepherd’s Light‘s first single “Doldrums, Doldrums Eviler Than the Devil” begins with a five-beat mantra-like guitar intro before subtly morphing into a four-beat motorik rhythm paired with the sort of intricately textured post rock and krautock arrangement the Montréal-based outfit is known for. Vocals delivered with a languid, narcoleptic-like drone dart in and out of the song’s arrangement — but the lyrics are up to the listener’s interpretation. The song manages to evoke a vivid yet hazily lysergic-tinged dream.

“I think I’ll spend my entire life circling the question: ‘What makes a film…a film?’ I also make narrative work, so part of what I’m circling with this film is whether meaning can exist without relying on narrative or literal representation. I think it’s important to explore the edges of what film can be, because that’s how I figure out what the centre of my practice is,” the video’s director Stacy Lee explains. “For me, the shape a film takes begins with intention. Why was this thing made? What are we trying to say? I always start here, and work outward. I don’t want to be boxed in by my own visual language, and blindly apply a visual style to a project. I want the visual language to come from the ideas already inside the work.

“It’s been a pleasure to continue being part of Yoo Doo Right’s world-building. Their music already has such a strong sense of atmosphere. It feels meditative and psychedelic to me, which gives me a door to enter. They’ve also given me the freedom and trust to explore without needing to know exactly where the process will lead. That space has allowed my practice, and each film we make together, to evolve naturally.

“Our previous video together, ‘Eager Glacier,‘ was the beginning of my cameraless exploration. At the time, I was still scared that the audience would lose interest if the work became completely abstract. I felt like I needed to give them something recognizable. Since then, I’ve had the chance to explore and develop my own techniques. In the same way that this album is a response to From the Heights of Our Pastureland, this film became a response to “Eager Glacier”. It comes out of the same world, but a bit further along the path. Brighter, bolder, and perhaps more beautiful. This time around, I felt more courageous.

The entire film is paint on film. There is no narrative, and there are no images that correlate to the song in a literal way. It’s carried by colour, texture, rhythm, and repetition alone. In the same way, the song builds its own meaning through repetition and accumulation. I wanted the film to respond in kind and take on a similar shape. It felt like the only form that honoured the intention of the work.”

Video by William Ruben Helms

New Video: EL Drez Shares Hook-Driven and Uplifting “Hosanna”

Marphus L. Drez Stewart, is a Buchanan, Liberia-born and-based Afro pop/R&B singer/songwriter, best known as EL Drez. Stewart can trace his passion for music and his music career to his upbringing: As a teenager, he was the choir director for his church. Since then, the emerging Liberian artist caught the attention of Relumae Liberia, who signed him and has released a handful of singles to date.

His latest single, the KrisBeatz-proudced “Hosanna” is a sleek, hook-riven blend of gospel, Afrobeats, pop, dancehall and hip-hop anchored in a deeply heartfelt message of faith, belief and resilience that’s a much-needed bit of uplift for anyone out there having a difficult time in a mad, mad, mad world.

Directed by longtime friend Parashoot, the accompanying video follows the Liberian artist through a day in his life, attempting to achieve his dream through a steadfast belief in his talent and faith in God.

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Video by William Ruben Helms

New Video: Black Marble Returns with Bouncy, New Order-like “It Always Comes To Me”

Singer/songwriter, multi-instrumentalist and Black Marble creative mastermind Chris Stewart will be releasing his fifth Black Marble album, Life in Small Spaces through Sacred Bones Records on Friday. The album, which is Stewart’s first full-length album since 2021’s Fast Idol, is an album of clear-eyed commentary and analysis of the music industry as a whole, a discussion of authenticity and a heartfelt letter to all the independent creatives out in the world.

“I always knew a lot of people in music struggled to make ends meet, but it surprised me to learn that the people you thought would be doing well often weren’t. For me, seeing the business from the inside like that changed how I looked at things,” Stewart says. “When I looked up to see a new artist on a billboard, I started to wonder, ‘will I one day have to pretend to be something I’m not, in order to succeed?’ The life of an artist goes on after your moment ends, you know? So who do you want to be in the end and how do you want to be seen by the people that know you? I made Life In Small Spaces while thinking about that, and for me, it serves as my own ideal for living an artistic life. I’m doing it as a vocation, not some last-ditch effort to escape to some other world. I made this record not only as a way of saying that, but as a way of saying it’s ok to feel that way. It’s ok for people to sacrifice some degree of creature comfort in order to live a life you believe in. And it doesn’t have to be an endless search for something just out of reach, it can be a permanent way of being and something that sustains you.”

Drawing from early American left-of-the-dial “college radio” staccato guitar lines and live drum samples, the album’s material sees Stewart eschewing his usual wall of synths-driven sound for a more live sound. 

The album will include the previously released “Jim Carol New Year,” and “Anything,” and its last pre-album release single “It Always Comes To Me,” “It Always Comes To Me” continues a run of decidedly upbeat, hook-driven tunes while arguably being the most New Order-like songs I’ve heard so far. The song’s narrator is a roguish sort. who seemingly can get away with things others can’t through a mix of charm and deceit. But whether or not, the narrator is having fun with it all or is complaining about how easy it all is or has even acknowledged that at some point everyone’s luck runs out is ultimately up to the listener. And on some level, the song asks the listener, “if you can get away with it, would you?”

Video by William Ruben Helms

New Video: Jet Black Berries Share Swaggering, Glam Rock-Inspired “RocketFire Sex66”

Back in the late 1970s, Rochester, NY — yes, Rochester — was the unlikely home to a busy and fiercely creative, underground punk and New Wave scene. Among the most vitals to emerge from the Rochester scene was New Math, a band that gradually evolved from wiry, high-energy power pop to darker cinematic post-punk that saw them stand apart from their peers.

Formed in 1976, New Math’s core lineup featured Kevin Patrick (vocals), Gary Trainer (bass), Chris Yokel (guitar), Roy Stein (drums) and Mark Schwartz (keys). “Kevin (Patrick) was trading records from London,” Gary Trainer recalls. ““Stuff like Sex Pistols and Eddie and the Hot Rods. Kevin was friends with Joey Ramone and Monty, who is their road manager. When Dee Dee left, they were trying out bass players. So I flew to New York, and I tried out. I did a whole set with Joey, but I didn’t get the gig. When Kevin and I put this band together, we wanted to be in the middle of this new wave of music that was happening.”

The original lineup officially only released one song “Die Trying.”

Although local clubs, like The Penny Arcade didn’t want wild punk bands as much as Foreigner over bands, the band played some memorable shows in the area, including a 1979 show opening for John Cale and The Now. After playing a show at The Penny Arcade in which the band’s Kevin Patrick got hit in the face with a raw egg, New Math never played the room again. However, they quickly found themselves opening for Ramones, The Damned, Human Switchboard and The Cramps at some of the city’s most renowned clubs at the time — The Triangle Theatre, The Orange Monkey, and Scourgie’s, Rochester’s version of Max’s Kansas City and CBGB’s. By the tail end of the 1970s. New Math lit a spark in a local scene that featured The Chesterfield Kings, Personal Effects and The Cliches.

At the start of the 1980s Patrick had become fascinated by The Cramps and The Psychedelic Furs. The band’s debut EP, 1981’s They Walk Among You saw the band’s sound shifting from power pop to primal, focused post-punk, and was part of a growing horror punk movement that included The Cramps, 45 Grave and Misfits, who would release their studio albums debut, Walk Among Us the following year. They Walk Among You EP was influenced by Invasion of the Body Snatchers, William S. Burroughs’ Nova Express. EP track “Garden of Delight” features lyrics that the band would take their new name from, Jet Black Berries. More on the band’s name change a bit later, because I don’t want to jump ahead too far, and there’s a story here. Let’s get back to it, right?

“Roky Erickson was writing all these songs about old horror movies,” says Trainer, “and I started thinking about songwriting in this different way. His album Evil One (1980) and songs like ‘I Think of Demons’ reminded me of subversive things like [Kenneth Anger’s short film] Invocation of My Demon Brother, which all felt dangerous. They Walk Among You is symbolic of being in a fascist place where your neighbors are turning on you.”

By 1984, New Math had honed a moodier style informed by American gothic imagery surrealism and haunted psychedelia. The band’s self-produced, eight-song full-length debut, Gardens was released through Brain Eater Records, and came off the heels of a tour opening for The Psychedelic Furs. The Aleister Crowley-inspired “Love Under Will” caught enough attention to be included on The Return of the Living Dead soundtrack — under the band’s new name, Jet Black Berries. Tragically, the album never got a chance: Just as the album was about to ship, the label folded. “Steve Pross was the president of Brain Eater Records,” Trainer recalls, “but he moved to California and started working for Enigma. He was in charge of putting out the Return to the Living Dead soundtrack, and he wanted us on it. So he took ‘Love Under Will’ and stuck it on the soundtrack. He loved us, and took us with him. We were on some Enigma compilations that were pretty popular as well.”

The band rebranded as Jet Black Berries, closing the door on the New Math era, informed by their moving beyond the limits of punk rock and New Wave. They developed a darker, stranger and more ambitious sound and approach drawing from country rock, rockabilly, Western balladry, psych punk and beat-inspired storytelling. And it also helped that as Trainer jokes, “We always hated the name [New Math].” He adds, “We’d gone down to New York to record some songs, trying to get a deal with Columbia. That didn’t happen. So we came back home kinda depressed, wanting to change direction. I had the idea for Sundown on Venus by this time. We just decided to come up with another name and record Sundown, and go in a different direction.”

Recorded during a breakneck two day session in August 1984, Sundown on Venus was released by Enigma/Pink Dust. The album and the band were often categorized in cowpunk movement and was also loosely associated with the 80s Paisley Underground psych scene, but the band constantly defied easy categorization. They were much darker, heavier and more raw than many of their roots rock peers. The album creates a desert noir world of dead planets, outlaw romance and post-punk pulse. “When we recorded Sundown with money from Enigma, we weren’t in control,” says Trainer. “It was a double-record release with lots of covers.”

Their sophomore album, 1986’s Desperate Fires saw the band continuing their unique blend of cowpunk, psychobilly and Paisley Underground, eventually earning a Best Album nomination at that year’s New York Music Awards.

1988’s Animal Necessity was arguably their most polished effort, and it turned out to be the last album of the band’s initial run together. Patrick was living in New York. The band continued to live and write in Rochester, with Trainer moving to guitar and vocal duties. They recruited their friend Wayne Naylor to take up bass duties. By this time, Patrick would contribute remotely while managing all of the band’s business dealings — eventually going on to a storied career in the music industry in A&R, radio promotion and artist management. The band split up and went off in their own directions.

“The breakup wasn’t acrimonious,” Roy Stein says. ““We all stayed in touch, and we’d do reunion shows here and there. We had a New Math reunion in 2009 where Johnny Cummings fronted the band. We had so much fun, I said to Johnny, ‘Why don’t we just go into the studio and cut some New Math songs?’ Gary and I wrote a couple new songs and made this studio album,”Postmodern Ghosts.”

2010’s Postmodern Ghosts saw the band revisiting their career. The Postmodern Ghosts rendition of “Love Under Will” is their most streamed song. “It was just a quick knock off, but I loved the sound of it,” says Stein. “The whole band was just cooking on the floor of the studio on that one.”

In 2022, the band began playing reunion shows in and around Rochester with their new frontman JDS’, The Shine and The Grievants‘ Derek Sapienza. “I played through the 2000s,” Sapienza says, “,“touring a lot, playing basements, art spaces and punk houses. The pop punk and hardcore scene didn’t appeal as much to me as the early punk days. That music was more foundational for me. I first heard New Math when I was 18. Our rock station WCMF put out this homegrown compilation with ‘Hot Sounds’ on it, and it was the best song on that record. I thought Rochester had this really big punk scene back then. When mybuddy Joe Masaro told me New Math was getting back together. I had him introduce me. I tried out, and ten days later I was in. I’ve been playing with them ever since.”

2023 saw Propeller Sound Recordings re-issuing New Math material, beginning with the 11-song Die Trying & Other Hot Sounds (1979-1983), a compilation of the band’s early singles and previously unreleased material. Feeling rejuvenated, the band went into the studio in early 2024 to record new material with their new frontman that included “I Can Tell” and “When I Was Young.”

Propeller Sound Recordings will be re-issuing the band’s 1985 effort Sundown On Venus [Definitive Edition]. The original album was released with complications: Enigma Records wanted additional material included with the album. The album was packaged with a 12-inch featuring extra tracks, including songs written for The Return of the Living Dead, some ill-selected cover songs and re-recordings of early New Math material. Many of those bonus tracks were put directly into the album song sequence, moving some of the songs intended for the original album song sequence to the bonus disc.

The inclusion of the non-album material blurred and obfuscated the band’s original vision of the album with the label opting for a sales-driven gimmick, when the band was actively trying to move beyond its original reception. “When Sundown On Venus originally came out,” says Stein,“I was stunned. It wasn’t what I expected. I didn’t expect it to be a double album with all these covers. This entire record was done in a day and a half, recorded and mixed. I didn’t think that a lot of the material we recorded in one or two takes was going to be included. . . “So when Jay [Coyle of Propeller Sound Recordings] talked about re-releasing the record, Gary and I were like, let’s release the record that we had thought about back in ‘85.”

The re-issued album’s material is now in the exact order the band originally intended Primarily written by the band’s Trainer, the non-linear story features outlaws, Venusian hideouts and mind-controlling monsters, heavily influenced by William S. Burrough’s The Red Night Trilogy and the work of Aleister Crowley. Each of the album’s songs was written a bit like a movie vignette that sees its characters, the gunslinger Bill Kelly, the “Masked Astronaut,” Jim Dawson, The Mindless Gang, Captain Mission and his crew of space pirates, a bitter priest and a banker who loves the sound of gunfire interacting with each other. What once slipped through the cracks of underground rock history now stands as a missing link between cowpunk, psych revival, rockabilly, punk-rooted Americana, and cinematic sci-fi storytelling.

To celebrate the reissues, the band shares a new single “Rocketfire Sex66,” as a companion piece to Sundown On Venus [Definite Edition]. “Rocketfire Sex66” is a swaggering glam punk tune that seemingly draws from and blends elements of Marc Bolan, Primal Scream, Social Distortion and The Rolling Stones — but while rooted in the sci-fi gunslinger in outer space vibe of Sundown on Venus. The result is something that’s gritty yet cinematic, new yet sounds as though it could have been a cut track from the album’s recording sessions.

“‘I’ve loved Mark Bolan since his earliest records,” says Stein.”I wanted to do something that was a bit of an homage to him, while still doing something lyrically that was Jet Black Berries. This sci-fi gunslinger and rockets thing. I wanted it to be sexual too, but tongue-in-cheek and fun.”

The accompanying video for “Roketfire Sex66” was made by Stein’s partner Sarah Davidson. The video features studio footage of the band recording the song cut with handmade, pounded metal cutouts of animated rockets, ray guns, stars and our sci-fi gunslinger protagonist meeting his sensual match after crash landing on a new planet.

Video by William Ruben Helms

New Video: Sweeping Promises Returns with Roaring “Rapture, Or . . . “

Lawrence, KS-based duo and JOVM mainstays Sweeping Promises — Lira Mondal (vocals, bass, production) and Caufield Schnug (guitar, drums, production) — just released their thorn album You Say I Romanticize through Sub Pop.

Recorded over an 18-month period, You Say I Romanticize is a tribute to the chaos of creation and collaboration under shifting circumstances. Mondal and Schung found and tested themselves in their combination tour house and recording studio annually working on dozens of albums by other bands, hosting tour stops, planning shows and the like. After an immersive process of tracking and whittling down YSIR demos and carving out an idiosyncratic chamber recording method for the album’s deliberate and international wall-of-sound approach, the duo brought in touring drummer Spenser Gralla to play the album’s material as the band would on stage. 

The album’s frenzied and passionate sound shines most in Modal’s vocal perforamnce. Where you might have heard a growl here and there on certain previously released Sweeping Promises trcks, the band’s frontwoman shouts, roars, hits tricky notes all over the place and shreds her throat throughout the album’s runtime. 

YSIR takes the art-by-any-means-necessary ethos that Mondal and Schung have firmly established throughout their careers and turns the prompt upside down, landing on a personality epidemic that manifests across the album’s ten songs. 

The JOVM mainstays’ third album includes the previously released “Cocoon,“Accent,” and it’s latest single “Rapture, Or . . .” “Rapture, Or. . . .” is a roaring and punchy apocalypse fantasy written with a defiant, plucky resolve that’s strangely sort of upbeat. It’s a song that’s perfectly suited for our contemporary hellscape fueled by greed, hatred and blood.

The duo explain, “‘Rapture, Or…’ we originally envisioned a sort of fallen monastic, mockingly devout, longing for a near-term judgment day (catch phrase: ‘I can’t wait for tomorrow’). The actual lyrics are scenario-adaptable, though, as apocalypse fantasies seemingly guide culture now, so you can’t blame us for finding a desire lane amid the ruins. It’s one of our poppier songs ever. We double-tracked Lira’s loud vocals in our tiled bathroom – our ‘cathedral’. A malfunctioning arp played the ascendant synth arpeggios, and the guitar on this one was improvised.” 

Directed by Shawn Brackbill, the accompanying DIY-styled video is split between features the duo performing the song in a small studio wth a brewing end-of-times-like phenomenon — one that seems like part-storm, part-eclipse, part-nuclear explosion.

Video by William Ruben Helms

New Video: Marigny Shares Brooding and Murky Visual for Bruising “The Still”

Brooklyn-based post punk/heavy goth rock outfit Marigny blends coldwave textures, heavy analog distortion and dark atmospheres to craft material that’s simultaneously intimate and volatile. Their sound is intentionally analog and physical — loud, low end, corroded textures, cassette tape-like saturation and tension that feels more like a live room recording than a clean, polished digital mix. Thematically, the band’s work explores grief, obsession, addiction, masculinity and spiritual decay through a modern Afro-gothic lens.

The Brooklyn-based outfit’s debut single “The Still” is a bruising and gritty blend of post-punk, industrial, drakwave, New Wave and goth that showcases their ability to craft a punchy, hook-driven and rousingly anthemic song that’s rooted in raw, soulful emotion.

“My whole life has been defined by the feeling that I’m missing something,” says Marigny. “For nearly a decade, this prevented me from making music that I believed in. But I’ve finally found the language I’ve needed to put that pain into art. ‘The Still’ was the first step, and I’m very excited for the future of this project.”

Directed by Kate Hautakoski, the recently released accompanying video for “The Still” features the mysterious Brooklyn-based artist performing the song in candlelight, further emphasizing the brooding and murky vibes of the single.

Video by William Ruben Helms

New Video: Berlin’s Lemongrab Shares Strutting and Insouciant “Yoko”

Originally founded in Montréal, Lemomgrab — currently founding duo Gaëlle Cordeau (vocals) and Léonie Dishaw (guitar, vocals), along with Fritz Ali Hansen (bass) and Joris Bo Monty (drums) –quickly established their unique brand of punk-tinged garage rock with 2016’s self-released The Ones with the Brooms EP, 2019’s self-released, full-length debut It Doesn’t Sound Good But It Feels Awesome. In their early days, they played house shows, now-defunct DIY spaces, deep dives across Canada and later touring the US with Broncho back in 2019. The duo relocated to Berlin in 2020.

Following their move to Germany, the duo self-released 2021’s six-song, The Wet Album, which saw them further embracing a punk ethos. Their sophomore full-length 2024’s I Spy with My Little Eye was released through German label U-Bac Records and received praise from Vancouver’s Range Magazine and others. Since relocating to Berlin, they do have sharpened their sound amidst the European underground circuit, making a quick yet lasting impression in the international punk scene. Adding to a growing international profile, the band has made a run of the international festival circuit, paying sets at Berlin’s Synästhesie Fest; Paris’ Supersonic Block Party; Friedland, Germany’s Jenseits von Millionen; Calgary’s Sled Island; and Pop Montréal. They’ve also shared stages with L.A. Witch, BODEGA, Meatbodies, Das Beat, Cumgirl8 and Shame. And while in Berlin, the band expanded from a duo to a quartet with the addition of Fritz Ali Hansen (bass) and Joris Bo Monty (drums).

The Berlin-based outfit’s new 7-inch, Another Kind of Freedom is slated for a September 11, 22026 release through Mothalnd and Chrüsimüsi Records. The new effort reportedly sees the German-based quartet further cementing a sound that draws from an eclectic array of influences including The Stooges, The Clean, Pylon and Bikini Kill while being a cranky yet uplifting patchwork of songs. While each song is stylistically diverse, the material questions belief systems rooted in existential angst and witty social commentary informed by our dystopian hellscape.

Another Kind of Freedom‘s latest single “Yoko” is built around a insouciant and downright nonchalant, strutting groove and squiggling burts of guitar. Sonically seeming to channel Talking Heads: 77 and More Songs About Building and Food-era Talking Heads, The Velvet Underground and The Jim Carroll Band‘s Catholic Boy, “Yoko” is one-part school punk, one-part mutant disco that pays homage to Yoko Ono while calling out misogyny and criticizing the superficiality of the male gaze. The song points out that Yoko Ono was not just misunderstood as an artist and person, but that she was has long been incorrectly blamed for The Beatles breakup.

“‘Yoko’ came from a discussion about how we repeatedly had this annoying conversation with men who hate Yoko Ono and say she’s just ruining everything, laughing about her ‘screaming’ over Chuck Berry, Lemongrab’s Cordeau and Dishaw explain. “‘Yoko’ is a song that decenters the male ego as the measure of experience and plays with the notion of who holds the narrative. It’s not anymore about if someone is Paul or John, but Yoko or John, putting them both on equal terms. Inspiration came from late 70s post-punk music like Delta 5 and Au Pairs and we riffed on this idea which all came together when Fritz found the perfect bass groove.”

Filmed by Gaëlle Cordeau and Léonie Dishaw, the accompanying video for “Yoko” follows the pair as they set out on an adventure to visit the grave of German singer/songwriter, actor and model Christa Päffgen, a.k.a. Nico.

The German-based outfit will be embarking on a European Union tour to close out 2026. Check out the tour dates below.

New Video by William Ruben Helms

New Video: Yasiin Bey Shares a Cognito-Filmed, Directed and Edited Visual for “Priority”

Originally released on Downtown Records back in 2009, a decade after his celebrated and beloved solo debut, Black on Both Sides, Yasiin Bey‘s sophomore album The Ecstatic was widely regarded as his strongest work in years. The album earned near-universal praise for its lyrical breath and eclectic production and received a Grammy Award nomination for Best Rap Album, anchored around a globe-spanning sound shaped by a collection of visionary producers including Madlib, J. Dilla, Oh No, Preservation, Mr. Flash, The Neptunes‘ Chad Hugo and Georgia Anne Muldrow. The album also featured guest spots from Slick Rick and Talib Kweli.

The acclaimed and beloved emcee recently teamed up with Rhymesayers Entertainment, who will release a re-issue of The Ecstatic on all physical formats on tomorrow, August 14, 2026. This reissue marks the first time Yasiin Bey’s landmark sophomore album has been made available for worldwide distribution in over 15 years. The reissue brings the album’s jazz, soul and Middle Eastern-inspired sound back to the analog format, allowing listeners to experience tracks like “Supermagic,” and the Grammy Award-nominated “Casa Bey” with the warmth and depth the production deserves.

Among the physical format variants of The Ecstatic is a deluxe package pressed on double LP 180-gram black vinyl, and a translucent red 7″ vinyl single featuring the previously unreleased bonus tracks “The Size” and “The Tournament.” The reissue package will also include a 120-page hardcover book, designed and laid out by Frolab featuring photos from legendary filmmaker and photographer Cognito, who documented a two-year span of Yasiin Bey creating and promoting the original 2009 release, along with lyric quotes and some of his handwritten notes from the era. And of course, all vinyl orders will receive instant digital downloads of the full album. Fans are also encouraged to visit CasaBey.com for news and special announcements from Yasiin Bey, as well as The Ecstatic apparel.

The album will also be available through exclusive streaming partner Quboz.

To celebrate the release of the reissue, the acclaimed and beloved emcee shared a new, Cognito-directed video for album track “Priority” featuring never before seen footage of Yasiin behind the scenes in the studio, on the road and more. I turned 30 that year, so looking at this footage of a young Yasiin Bey is very much like looking back into my entire 30s. “After culling images that would eventually make it into the deluxe edition photobook + vinyl, I created a music video for ‘Priority’ too,” Cognito says. ” I used clips pulled from over 70 hours of mini DV footage I captured during those years – from the first studio visit in LA when yasiin was recording the album, to press appearances for the initial release, to out on the road for The Ecstatic Tour across the US and all the way to South Africa.”

Video by William Ruben Helms

New Video: Dummy Shares Hypnotic and Mind-Bending “Full Spectrum Dominance”

Los Angeles-based outfit Dummy — Alex Ewell, Emma Maatman, Nathan O’Dell, Joe Trainor and Lance Umble — will be releasing their fourth studio album, do you love the color of the sky on October 16, […]