JOVM’s William Ruben Helms celebrates Paul SImonon’s 69th birthday.
Category: punk rock
Throwback: Happy 75th Birthday, Tom Verlaine!
JOVM’s William Ruben Helms celebrates the 75th anniversary of the birth of Television’s Tom Verlaine.
New Audio: Iggy Pop Shares Live Version of “The Passenger” Recorded at Montreux Jazz Festival 2023
Last July, the legendary Iggy Pop returned to Montreux Jazz Festival backed by a seven-piece band and thrilled an at-capacity Stravinski Auditorium crowd with a career-spanning set that featured material from his time with The Stooges, solo albums like The Idiot, Lust for Life and New Values, leading up to the release of his most recent album, last year’s Every Loser.
The Montreux Jazz Festival set marked the legend’s third appearance at the festival and it was recorded and filmed by the festival team. The resulting live album Iggy Pop Live at Montreux Jazz Festival 2023 is an essential Iggy Pop live album that celebrates a legendary career and catalog that remains as vital, forceful and inventive as ever while featuring beloved classics like “I Wanna Be Your Dog,” “T.V. Eye,” “Lust for Life,” and “Nightclubbing,” as well as newer songs like “Modern Day Ripoff” and “Frenzy.” “Stravinsky Hall is special, like Carnegie or the Garden or Sydney Opera. I’ve dived in them all,”
says Iggy Pop.
Iggy Pop Live at Montreux Jazz Festival‘s second and latest single, is swaggering and roaring, live rendition of one of Iggy Pop’s most iconic and most streamed songs, “The Passenger.” The addition of a horn arrangement manages to add a muscular, ska-like coloring to the proceedings while retaining the familiar, chugging lurch of the recoded version.
The concert will be available as a Blu-ray + CD Digipak, 2LP gatefold and digital download on January 24, 2025 globally through earMusic.
New Video: Brooklyn’s TVOD Shares Punchy “Car Wreck”
Brooklyn-based post punks TVOD (Television Overdose) can trace their origins back to 2019 when its founder Tyler Wright recorded a high-energy cassette of punk songs on a Tascam 4-track tape recorder in the abasement of the DIY space he was living in at the time. Since then, the band went on to independently release two EPs, 2020’s Daisy and 2021’s Garden along with standalone singles “Alien,” “Mantis,” “Goldfish” and “Poppies,” and two limited run 45s.
Influenced by post-punk, krautrock and egg punk, the Brooklyn-based post punk outfit quickly established a sound and approach that sees them pairing emotional, sometimes juvenile lyrics with driving, hook-driven arrangements that get crowds moving and moshing. Thematically, the material draws from personal and external inspirations like the nightlife/music scene, heartache, World War II, the untimely death of a beloved pet fish and more while telling a gritty, often tongue-in-cheek picture of being a DIY artist grinding it out in New York, complete with tales about the degenerate lifestyle and all the good and bad that comes with it.
Wright then recruited a standout lineup of freaks from the Brooklyn scene that includes Mem Pahl (drums), Micki Piccirillo (bass), Jenna Mark (synths), Serge Zbritzher (guitar) and Denim Casimir (guitar), who now join I’m both live and in the studio. Now, as a sextet, the rising, Brooklyn-based sextet have quickly developed a reputation for raw, unpredictable and explosive live shows, which they’ve taken across the North American and global festival circuit, making stops at SXSW, Hopscotch, Sled Island, Concrete Jungle and FME among others. They’ve also shared stages with the likes of Warmduscher, Snõõper, Gustaf, Civic, Soul Glo, Balkans and Iguana Death Cult.
The rising Brooklyn outfit went up to Montréal-based Gamma Recording Studio with producers Félix Bélisle and Samuel Gemme to record their Mothland debut, “Car Wreck” features a krautrock-like baseline, a steady backbeat, fuzzy and squiggling guitar lines, woozy synth bursts and the band’s penchant for catchy, shout-along worthy hooks serving as a propulsive bed for Wright’s punchy delivery singing lyrics about being reckless and happily embracing it.
Based on an illustration by TVOD’s Tyler Wright, the animated visual by Scott Palazzo features a Batmobile-like car speeding through a New York street.
Throwback: Happy 69th Birthday, Billy Idol!
JOVM’s William Ruben Helms celebrates Billy Idol’s 69th birthday.
Throwback: Happy 46th Birthday, Karen O!
JOVM’s William Ruben Helms celebrates Yeah Yeah Yeah’s Karen O’s 46th birthday.
New Audio: French Punks Seesters Share a Politically-Charged Ripper
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.
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.
