Category: Video

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.

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.

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: Two Lush and Soulful Tunes from Zurich’s Okvsho

Zurich-based sibling duo Okvsho — Georg and Christoph Kiss — will be releasing their fourth album Frozen Flashes on September 18, 2026 through Current Moves. Recorded between Zurich and London, Frozen Flashes reportedly find the […]

New Video: London’s Black Doldrums Shares Broodingly Atmospheric “Repetition”

London-based post punk trio Black Doldrums founding duo Sophie Landers (vocals, drums) and Kevin Gibbard (vocals, guitar) with newest member Matt Holt (bass) — will be releasing their third studio album Repetition Compulsion on November 13, 2026 through Fuzz Club. Deriving its title from a psychological concept first explored and named by Freud, the recently announced album is the final part of the London-based band’s State of Mind Trilogy, a three-album exploration of the psychological forces that shape identity, memory and human connection which began with their debut, 2022’s Dead Awake and 2024’s In Limerence. At the heart of all of their work is the creative and personal relationship between the band’s founding duo of Gibbard and Landers, whose relationship forms the emotional foundation for the forthcoming album — and the lens through which its themes are explored. As Gibbard explains, “These songs are either about Sophie, for Sophie, or inspired by her.”

Thematically, the 11-song album reportedly sees the London-based trio exploring how repetitive patterns and behaviors shape intimate relationships, collective memory, politics and wellbeing in a way that’s both deeply personal and quietly universal. Through evocative songwriting and cinematic production, Gibbard says “the album invites listeners to confront the echoes of the past while questioning whether those patterns can ever truly be broken.”

Inspired by 80s gothic post punk, synth pop, darkwave and the film scores of John Carpenter and Vangelis, Black Doldrums build on the emotional and sonic foundations of these influences to create something cinematic, modern and completely their own. Each of Repetition Compulsion‘s 11-songs has been crafted with intention, with the band balancing darkness with beauty to create a sod that’s melodic, broodingly atmospheric and with emotional depth. Listeners should expect to hear layers of analog synths, chorus pedal-soaked guitar and driving rhythms paired with an expansive production that gives each arrangement a sense of massive, cinematic scale. Rather than relying on nostalgia, the album presents post-punk as a living, ever-evolving form, with the band embracing atmosphere without sacrificing melody, introspection without loss of momentum and darkness without abandoning hope.

Repetition Compulsion‘s first single “Repetition” is a brooding dirge-like tune built around swirling, atmospheric synths, a slashing riff and a relentless motorik pulse beneath Gabbard’s icy baritone and Landers’ yearning backing vocal. While sonically nodding at Joy Division, Molchat Doma and PLOHO, the song as Gibbard explains that the song “. . . came from an idea to challenge ourselves to write something around one riff and something dirge-like. It also fit the theme of the album and the topic of repetition by literally experimenting with repetition in the musical sense. The opening line  – ‘is your mind split in two‘ – is something taken from our conversations on our many long walks around London where Sophie was talking about the psychological term splitting. It seemed to fit the feel of the song and theme of the album so much so it now opens up both the album and our live shows. I consider it very much Sophie’s song because she was the source of inspiration and that’s why we have her backing vocals fairly prominent to create a dual vocal effect. I also had the after-thought to have Sophie mime the first line in the video which is actually her line anyway.”

Directed by the band’s founding duo, the accompanying video for “Repetition” is a sleek, cinematic and brooding visual that touches upon the song’s themes of psychological — and at points, physical — splitting.