Emerging French garage psych/psych punks Seesters — The Parisians‘ and Crush of Souls‘ Stevan Dinet and Sam Kaperski — pair political lyrics with garage and psych inspired sounds. Their second single “Gash” is a noisy and forceful ripper that brings a synthesis of The MC5, The White Stripes and The Stooges.
Category: punk rock
New Video: Vancouver’s Night Court Shares a Breakneck Ripper
Vancouver-based punks Night Court — Emilior (drums, vocals), Dave-O (guitar, vocals) and Jiffy (bass and vocals) –are lifelong friends, who started emailing song ideas to each other during COVID-19 pandemic lockdowns. Those song ideas quickly morphed into their latest project, Night Court.
Initially released through Snappy Little Numbers and Debt Offensive Records, the Canadian punks’ debut Nervous Birds! cassette duology was later released a Greatest Hits compilation tape in Spain through Discos Peroquébien and will soon be pressed on vinyl for the first time through SNL, DOR and Drunk Dial Records.
The trio’s third album, last year’s HUMANS! was released through SNL, DOR and French label Idiotape, and paved the way for the Halloween-themed Frater Set EP released through Dromedary Records and the 90s Bay Area punk scene homage, Shit Split Part Duh split EP with Portland-based The Dumpies, which was released through Dromedary Records. The band closed out the year by landing on the cover of Fall 2023’s Razorcake Magazine.
The band’s fourth album, the 17-song $HIT MACHINE will be released Friday through Recess Recess Records. The trio have long been fans of the label and its label head Tony Congelliere. So, the Canadian punks didn’t think twice about sending Congelliere the demos of their material. And as it turned out, the material was a perfect fit for the label.
Clocking in at 114 seconds. $HIT MACHINE‘s latest single “D List” is a breakneck and punchy, old school punk ripper, anchored around a relentless rhythmic chug, remarkably melodic vocals and enormous hooks. It’s the sort of mosh pit friendly ripper that reminds me of catching cheap punk shows at The Continental and Coney Island — but at its core, the song evokes the nastiness, unease and weirdness of our moment.
The accompanying video features footage taken from The Internet Archive — and it emphasizes the furious urgency of now.
Vancouver-based punks Night Court — Emilior (drums, vocals), Dave-O (guitar, vocals) and Jiffy (bass and vocals) –are lifelong friends, who started emailing song ideas to each other during COVID-19 pandemic lockdowns. Those song ideas quickly morphed into their latest project, Night Court.
Initially released through Snappy Little Numbers and Debt Offensive Records, the Canadian punks’ debut Nervous Birds! cassette duology was later released a Greatest Hits compilation tape in Spain through Discos Peroquébien and will soon be pressed on vinyl for the first time through SNL, DOR and Drunk Dial Records.
The trio’s third album, last year’s HUMANS! was released through SNL, DOR and French label Idiotape, and paved the way for the Halloween-themed Frater Set EP released through Dromedary Records and the 90s Bay Area punk scene homage, Shit Split Part Duh split EP with Portland-based The Dumpies, which was released through Dromedary Records. The band closed out the year by landing on the cover of Fall 2023’s Razorcake Magazine.
The band’s fourth album, the 17-song $HIT MACHINE will be released Friday through Recess Records. The trio have long been fans of the label and its label head Tony Congelliere. So, the Canadian punks didn’t think twice about sending Congelliere the demos of their material. And as it turned out, the material was a perfect fit for the label.
Clocking in at 114 seconds. $HIT MACHINE‘s latest single “D List” is a breakneck and punchy, old school punk ripper, anchored around a relentless rhythmic chug, remarkably melodic vocals and enormous hooks. It’s the sort of mosh pit friendly ripper that reminds me of catching cheap punk shows at The Continental and Coney Island — but at its core, the song evokes the nastiness, unease and weirdness of our moment.
The accompanying video features footage taken from The Internet Archive — and it emphasizes the furious urgency of now.
New Audio: Melbourne’s Delivery Shares Punchy “Only A Fool”
Formed back in 2020 by romantic partners and collaborators Rebecca Allan (lead and backing vocals, bass) and James Lynch (lead and backing vocals, guitar, synths), rising Melbourne-based garage punk outfit Delivery initially featured members of several local bands including The Vacant Smiles, Gutter Girls and Blonde Revolver.
2021 saw the release of the Aussie outfit’s debut EP Yes We Do. Building upon a growing profile, the band released their full-length debut, 2022’s Forever Giving Handshakes, which featured singles “Baader Meinhof” and “The Complex” to critical applause from the likes of NME, who called the album “a lively record full of guitar interplay and sociopolitical critique” and Tone Deaf, who wrote that the album was “an exercise in controlled chaos, songs threatening to fall apart at any moment, but it all coolly remains together . . . ” The album also landed on Rolling Stone Australia‘s Top 10 albums list of 2022 while receiving airplay on Henry Rollins’ KCRW show.
The band’s current lineup Allan and Lynch, along with Jordan Oakley (guitar, backing vocals), Scarlett Maloney (guitar, backing and lead vocals) and Liam Kenny (drums) will be releasing their highly-anticipated sophomore album Force Majeure on January 17, 2025 through Heavenly Recordings. The 12-song album reportedly builds upon the promise that their full-length debut showed while featuring material that’s concise, direct yet forceful.
Force Majeure‘s third and latest single “Only A Fool” is a punchy, hook-driven post-punk stomp that quickly settles into a steady, chugging “Psycho Killer” groove paired with a languid yet forceful guitar solo, and an insouciant, bratty and too-cool-for-school vocal, before concluding with a loose jammy coda.
“‘Only A Fool’ might just be the most uninhibited moment in capturing this album’s all-in dynamic at full steam,” the band explains. “Lisa brought in the guitar chords, vocal line and lyrics, and then gave everyone free rein to do their thing which means everyone’s individual flare gets a moment across the track. Also might explain why this song features Delivery’s only ever jam-out ending.”
New Video: Amyl and The Sniffers Share Defiant and Punchy “Jerkin'”
Acclaimed Aussie punks Amyl and The Sniffers will be releasing their third album, the Nick Launay-produced Cartoon Darkness on Friday through B2B Records/Virgin Records. The album, which will feature BBC Radio 1 Hottest Record “Chewing Gum,” U Should Not Be Doing That,” BrooklynVegan‘s, Consquence‘s, Paper‘s, Paste Magazine‘s and Under the Radar‘s Song of the Week and a ton of other bangers that will showcase the band’s quantum progression and their boundless energy.
The band’s Amy Taylor explains, “Cartoon Darkness is about climate crisis, war, AI, tiptoeing on the eggshells of politics, and people feeling like they’re helping by having a voice online when we’re all just feeding the data beast of Big Tech, our modern-day god. It’s about the fact that our generation is spoon-fed information. We look like adults, but we’re children forever cocooned in a shell. We’re all passively gulping up distractions that don’t even cause pleasure, sensation or joy, they just cause numbness.”
“Cartoon Darkness is driving headfirst into the unknown, into this looming sketch of the future that feels terrible but doesn’t even exist yet. A childlike darkness. I don’t want to meet the devil half-way and mourn what we have right now. The future is cartoon, the prescription is dark, but it’s novelty. It’s just a joke. It’s fun.”
The album’s third and latest single “Jerkin'” is a straightforward, defiant and punchy ripper that further cements the acclaimed Aussies unique ability to convey righteous fury with a tongue-in-cheek bit of humor, all while being rousingly cathartic.
“It’s good to express your anger when someone’s been pissing you off and it’s good to have humor in life, especially as a woman, when you’re meant to just passively say ‘everything’s good’ to keep everyone else comfortable,” Amy Taylor says of the new single. “The best part about this song is that a squirter can be anybody’s genitals. I wanted to write a song to big-up ‘the self’ while putting down the ‘other’ because sometimes, even if it’s just for a small window, that’s the best way to laugh something off and empower yourself. World’s pissing me off and breaking my heart more than ever right now, might as well poke it back. It’s pointless but it’s cathartic.”
Directed by long-time collaborator, PHC Films‘ John Angus Stewart, the accompanying video for “Jerkin'” features an eclectic array of models, who strip naked, not to for titilation, but to show the remarkable diversity of the human body. Throughout each model shows a sense of pride and playfulness. Of course, because we live in a weird society, a censored version appears on streaming platforms — and just above the text of this post. A full, uncensored version is only available to watch on the band’s website: https://www.amylandthesniffers.com. You must be 18 and older to view the uncensored version.
“The level of offense that a vagina or penis can generate is absolutely bizarre. Once, Amy said to me, ‘If the world wasn’t so fucked up, I’d never wear clothes,'” John Angus Stewart says. “It’s the context we stamp onto our sex organs that makes them innately ‘offensive.’ This is why we wanted to strip away the artifice and examine the body in an open, conversational way. We approached the project as if it were a performance in itself. From concept to crewing to casting, we (the production) let the project evolve in the most natural way possible, allowing our subjects to dictate their level of input based on their comfort on the day. We were learning what it was as we were making it, which is basically the opposite approach I’m used to. But because this idea was driven by people’s personalities, it felt wrong to do it any other way. We just kept pulling things further and further back until we were left with just a white wall and the human body. I want to come out of everything I do with a different perspective. Just as one’s perspective changes with an Amyl song, I want to change in the same way. I think we all walked away from the shoot with an innate need to be less prudish and give less of a shit.”
New Video: DVTR Tackles a Québecois New Wave Classic
With the release of their debut EP, BONJOUR, the French Canadian JOVM mainstays DVTR — Le Couleur‘s Laurence G-Do and Gazoline‘s, Kandle‘s Xavier Caféine‘s and Gab Bouchard‘s JC Tellier — burnt up the Canadian indie scene: The EP amassed a plethora of rapturous reviews, landed on a number of Best of 2023 Lists and earned the duo a handful of awards in Québec.
Earlier this month, the duo released an expanded edition of their debut EP, BONJOUR (BIS), which featured “Les Olympiques,” a punchily breakneck ripper an anchored in scathing sociopolitical commentary — but while seeming to draw from The Hives, The Strokes and The White Stripes among others.
The expanded EP features a cover of Dolbie Stéréo’s 1982 Quebecois New Wave classic “Pied de poule,” which also appears in the musical of the same name. Anchored around a chugging synth-driven groove and punchily delivered shouts, Dolbie Stereo’s original is an in-your-face anthem. DVTR’s cover subtly modernizes the Quéecois New Wave classic while retaining the original’s in-your-face punchiness and irresistible groove.
The accompanying video features footage shot at a sweaty and bonkers DVTR show.
New Audio: Pythies Return with PJ Harvey-like “I Pythie You”
Emerging Paris-based punk outfit 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 solidified.
The trio’s debut EP Disillusion was released last month. The EP featured “Toy,” a track that saw the French outfit further cementing a sound 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.
Disillusion’s second and latest single “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. feral delivery. “I Pythie You” is the sort of song I can picture a crowd of sweaty young people bouncing around to in a dark and dank little club somewhere. As the band explains, the song is about a place in Paris, where people rot and become shadows of themselves.
New Audio: Miranda and the Beat Share Churning “Anxiety”
Formed back in 2018 here in NYC and now based in New Orleans, the rising rock outfit Miranda and the Beat — currently Miranda Zipse (vocals, guitar), Dylan Fernandez (Farfisa) and Alvin Jackson (bass) — have been renowned for their high-energy live shows and fearless punk approach.
After extensive touring to support last year’s self-titled full-length debut, the rising rock outfit will be releasing their highly-anticipated sophomore album Can’t Take it on October 25, 2024 through Ernest Jenning Record Co./Khannibalism across North America and Wild Honey in Europe.
Written and recorded in a five day burst at King Khan‘s Moon Studios Rock n Roll Vortex in a remote village on the German countryside, the album sees the band blending all the best flavors from pure punk anthems played at a eardrum shattering intensity, to grinding R&B, to hypnotic, edgy sci-fi alchemy and some heartbreaking balladry too. “If you need a soundtrack to an evening of Germs burns and mind-altering mayhem followed by warm heartfelt embraces and skid marks this is the band for you,” King Khan says. “The soundtrack to the real apocalypse has arrived and is waiting for you at your favorite record store. Real Rock n’ Roll is alive and well, the torches have been passed and the Molotov cocktails are being lit and thrown. Miranda and the Beat are the wild fire you have been waiting for to light under the collective asses to destroy patriarchies, topple kingdoms, smash colonies with a bold middle stink finger in place. Be forewarned…. And come find out what ‘Earthquake Water’ is, it may one day save your life.”
Last month, I wrote about “Manipulate Me,” a breakneck and bruising, mosh pit friendly ripper anchored around scorching riffs and Miranda Zipse’s take-no-shit delivery. It shouldn’t be surprising that the song brought back memories of sweaty, hardcore punk shows Coney Island High and The Continental.
“This song was probably the most fun to write for the album,” Miranda and the Beat’s Miranda Zipse says. “We were all in King Khan’s studio getting wine drunk and spitballing lines back and forth. We pretty much spent the whole time rolling on the floor dying of laughter, which ended up being very therapeutic and what we needed to do at the time. This song’s about some real shit and it felt really good to get it out of our system in the form of an absolute fuckin banger. Moral of the story: always be a weirdo but never be a manipulative creep.”
Can’t Take It‘s fourth and latest single “Anxiety” is a churning and chugging ripper that evokes the creeping dread, racing thoughts, racing heartbeat, sweaty palms, dry mouth and the lack of control of anxiety with an uncanny and seemingly lived in precision.
According to the band, these are the things that give them anxiety:
1. People who wear sandals on the subway
2. The accidental text on purpose
3. When Alvin can’t find Backwoods
4. Losing a tooth
“This song legit causes anxiety. This goddamn song has got me so stumped,” the band’s Miranda Zipse adds. “I shot two different ideas for music videos and pulled two all-nighters this past week at work trying to get them together between working this job and nothing was looking good enough to put out.”
Throwback: Happy 73rd Birthday, Sting!
JOVM’s William Ruben Helms celebrates Sting’s 73rd birthday.
New Audio: Frankie and the Witch Fingers Share a Scuzzy Ripper
Since initially forming in Bloomington, IN over a decade ago, the acclaimed Los Angeles-based psych rock outfit and JOVM mainstays Frankie and the Witch Fingers — currently founding duo Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, […]
New Video: Miranda and the Beat Shares Breakneck Ripper “Manipulate Me”
Formed back in 2018 here in NYC and now based in New Orleans, the rising rock outfit Miranda and the Beat — currently Miranda Zipse (vocals, guitar), Dylan Fernandez (Farfisa) and Alvin Jackson (bass) — have been renowned for their high-energy live shows and fearless punk approach.
After extensive touring to support last year’s self-titled full-length debut, the rising rock outfit will be releasing their highly-anticipated sophomore album Can’t Take it on October 25, 2024 through Ernest Jenning Record Co./Khannibalism across North America and Wild Honey in Europe.
Written and recorded in a five day burst at King Khan‘s Moon Studios Rock n Roll Vortex in a remote village on the German countryside, the album sees the band blending all the best flavors from pure punk anthems played at a eardrum shattering intensity, to grinding R&B, to hypnotic, edgy sci-fi alchemy and some heartbreaking balladry too. “If you need a soundtrack to an evening of Germs burns and mind-altering mayhem followed by warm heartfelt embraces and skid marks this is the band for you,” King Khan says. “The soundtrack to the real apocalypse has arrived and is waiting for you at your favorite record store. Real Rock n’ Roll is alive and well, the torches have been passed and the Molotov cocktails are being lit and thrown. Miranda and the Beat are the wild fire you have been waiting for to light under the collective asses to destroy patriarchies, topple kingdoms, smash colonies with a bold middle stink finger in place. Be forewarned…. And come find out what ‘Earthquake Water’ is, it may one day save your life.”
Can’t Take It’s third and latest single “Manipulate Me” is a breakneck and bruising, mosh pit friendly, punk rock ripper anchored around some scorching riffs. “Manipulate Me” brings back memories of sweaty, hardcore punk shows at Coney Island High and The Continental. So play as loud as humanly possible — and then open up that pit!
“This song was probably the most fun to write for the album,” Miranda and the Beat’s Miranda Zipse says. “We were all in King Khan’s studio getting wine drunk and spitballing lines back and forth. We pretty much spent the whole time rolling on the floor dying of laughter, which ended up being very therapeutic and what we needed to do at the time. This song’s about some real shit and it felt really good to get it out of our system in the form of an absolute fuckin banger. Moral of the story: always be a weirdo but never be a manipulative creep.”
Directed by Nazar Khamis and the band, the accompanying video was filmed by the band’s Dylan Fernandez and Nazar Khamis, and edited by the band’s Miranda Zipse and Dylan Fernandez. The video begins with the band hopping the turnstiles at the Morgan Avenue L train station, and following them being badasses around Bushwick.
Throwback: Happy 70th Birthday, Elvis Costello!
JOVM’s William Ruben Helms celebrates Elvis Costello’s 70th birthday.
New Audio: Two New Tracks from Aussie JOVM Mainstays RVG
Acclaimed and rising Aussie outfit and JOVM mainstays RVG — currently Romy Vager (vocals, guitar), Gregor’s and Hearing’s Reuben Bloxham (guitar), Rayon Moon‘s Marc Nolte (drums), and Isabelle Wallace (bass) — have released three critically applauded albums:
- 2017’s A Quality of Mercy, which was recorded live off the floor at Melbourne’s iconic rock ‘n’ roll pub, The Tote Hotel. Initially released to little fanfare, the album, much to their surprise received critical acclaim both nationally and internationally, landing on a number of end-of-year Best of Lists.
- 2020’s Victor Van Vugt-produced Feral was released by Fire Records globally, excluding Australia and New Zealand, where it was released by Our Golden Friend. The album received breathless praise nationally and internationally, with Rolling Stone Australia calling the album “the record of a lifetime.”
- Last year’s Brain Worms, which won the Soundmerch Australian Music Prize and the AIR Awards Independent Album of the Year.
Since the release of Brain Worms the band has been busy: they’ve made the rounds of the global festival circuit with stops at SXSW, The Great Escape, Golden Plains, Rising Festival, Dark Mofo and Splendour in the Grass. The album received applause from Rolling Stone, The Guardian, Uncut, NME, Clash Magazine, MOJO and The Fader. The album also airplay from KEXP, Apple Music 1 and countless other outlets across the globe.
Just before the Aussie JOVM mainstays are about to embark on a headlining UK and European Union tour, they shared a double A-side single “Don’t Take It Badly”/”Pet Sematary.” Recorded at Soundpark Studios with Andrew “Idge” Hehir and mixed by James Trevascus, “Don’t Take It Badly,” is a slow-burning bit of jangle pop anchored around the band’s uncanny knack for rousingly anthemic hooks paired with Vager’s heartbreakingly earnest delivery and lived-in lyrics. “Don’t Take It Badly is a song about how change isn’t always a romantic thing and can sometimes feel pretty ugly. It’s a winter song that I wrote in the summer,” Romy Vager explains.
The other A-side single is a jangling and breakneck, yet fairly straightforward cover of the Ramones’ “Pet Sematary.” “We all love the Ramones” Romy states “And started playing this in rehearsal and it instantly clicked. The lyrics are such an underrated part of Ramones’ songs, there’s a lot of imagery in this song that I love dearly.”
Throwback: Happy 72nd Birthday, Joe Strummer!
JOVM’s William Ruben Helms celebrates the 72nd anniversary of the birth of The Clash frontman Joe Strummer.
Throwback: Happy Belated 66th Birthday, Belinda Carlisle!
JOVM’s William Ruben Helms belatedly celebrates Belinda Carlisle’s 66th birthday.
