Tag: Aron Kobayashi Ritch

Video by William Ruben Helms

New Video: Dear Boy Shares Madchester-like “The Address”

Los Angeles-based indie outfit Dear Boy — founding members Ben Grey (vocals, guitar) and Keith Cooper (drums) alongside Austin Hayman (lead guitar) and Lucy Lawrence (bass, vocals) — can trace their origins back to when its founding members Grey and Cooper were living in London during their mid-twenties. Hayman and Lawrence joined the band once its founding duo returned to the States.

Interestingly, despite their Stateside roots, the Los Angeles-based quartet’s work has drawn from ’80s and ’90s Brit pop and shoegaze — with the band citing Pulp, Oasis, Slowdive and The Jesus and Mary Chain as major influences, while also embracing the likes of Pixies and R.E.M. 

The band’s sophomore album sophomore album, the Aron Kobayashi Ritch-produced Celebrator is slated for an October 17, 2025 release through Last Gang Records. Following the success of their full-length debut, 2022’s Forever Sometimes, the band took a step back from perfectionist production practices and leaned into spontaneity. Written in 12 sessions and recorded live in under two weeks, the album’s material reportedly bristles with a palpable energy while showcasing the band’s musical and creative chemistry. “We made this album to remember why we do this in the first place,” the band says. “Because we love it. We adore each other. Joy. Connection. Heartbreak. Celebration. We’re not interested in anything other than that.”

Celebration will feature the previously released “After All,” feat. Rocket’s Alithea Tuttle, a bombastic anthem that brings 120 Minutes-era MTV and 90s Brit Pop to mind. The album’s latest single “The Address” continues the band’s Brit Pop-meets-shoegaze while featuring a Happy Mondays/Madchester-style breakbeat-driven drum groove and shoegazer textured guitar chug serving as a lush yet subtly dance floor friendly bed for Ben Grey’s plaintive and yearning delivery.

Much like its immediate predecessor, “The Address” showcases the band’s uncanny knack for paring catchy hooks and swaggering bombast with earnest, lived-in lyricism.

Fittingly, the video made by the band’s Ben Gray and Ryan Saunders, the accompanying video draws heavily from old school MTV visuals.

Video by William Ruben Helms

New Video: Los Angeles’ Dear Boy Teams Up with Rocket on Anthemic “After All”

Los Angeles-based indie outfit Dear Boy — founding members Ben Grey (vocals, guitar) and Keith Cooper (drums) alongside Austin Hayman (lead guitar) and Lucy Lawrence (bass, vocals) — can trace their origins back to when its founding members Grey and Cooper were living in London during their mid-twenties. The band’s Hayman and Lawrence joined once the duo returned to the States. Interestingly, despite their Stateside roots, the Los Angeles-based quartet’s work has drawn from ’80s and ’90s Brit pop and shoegaze — with the band citing Pulp, Oasis, Slowdive and The Jesus and Mary Chain as major influences, while also embracing the likes of Pixies and R.E.M.

The band’s sophomore album sophomore album, the Aron Kobayashi Ritch-produced Celebrator is slated for an October 17, 2025 release through Last Gang Records. Following the success of their full-length debut, 2022’s Forever Sometimes, the band took a step back from perfectionist production practices and leaned into spontaneity. Written in 12 sessions and recorded live in under two weeks, the album’s material reportedly bristles with a palpable energy while showcasing the band’s musical and creative chemistry. “We made this album to remember why we do this in the first place,” the band says. “Because we love it. We adore each other. Joy. Connection. Heartbreak. Celebration. We’re not interested in anything other than that.”

Celebrator‘s first single, “After All,” features Rocket’s Alithea Tuttle. Anchored around rousingly a rousingly anthemic hook and chorus, the new single immediately brings 120 Minutes-era MTV and 90s Brit Pop to mind while arguably being the most straightforward, bombastic rocker of their growing catalog to date. “It is crazy to have been a band for this long without contributing a primal-teenage-bedroom-rock riff. Happy to finally right a wrong,” the band’s frontman Ben Grey says.

The collaboration with Rocket can be traced to a deep and genuine friendship. “We first played with Rocket on New Year’s Eve a few years ago and became fast friends. We’re both from the Valley, went to the same pre-school, a tale as old as time,” Grey explains. “But truly, they’re an important band, and I think Alithea has one of the defining rock voices of this generation. We feel so honored she sang on ‘After All’. It’s the Catherine Wheel/Throwing Muses moment we’ve always dreamed of.”

Directed by the band’s Ben Grey, the accompanying video for “After All” is fittingly, a decidedly 120 Minutes-era MTV-like visual that’s a slick mix of old super 8-shot home videos of family gatherings and celebrations with footage of the band playing in a studio amidst a storm of confetti.

Video by William Ruben Helms

New Video: Smut Shares Bombastic Ripper “Syd Sweeney”

After spending years in the Cincinnati DIY scene, Smut — currently Tay Roebuck (vocals), Andie Min (guitar), John Steiner (bass), Sam Ruschman (guitar) and Aidan O’Connor (drums) — caught the attention of Bayonet Records, who signed the band and released their sophomore album, 2022’s critically applauded How the Light Felt. The album brought the band to Chicago, a city with more room for their growing sound.

But despite their early successes, they still faced the struggles of the modern working musician: instability, financial precarity, objectification and more. The band channeled a period of touring, personnel changes and personal upheavals into their third album, Tomorrow Comes Crashing.

Slated for a June 27, 2025 release through Bayonet Records, Tomorrow Comes Crashing marks the band’s first album with O’Connor and Steiner and reportedly sees the band re-energized and trained on the limitless potential that comes with making music with people you love.

The members of the band focused on capturing the big emotions that come with falling in love with music for the first time. The result is ten of arguably their most intense, bombastic and focused songs to date.

The Chicago-based band recorded the album’s material “as live as they could,” alongside Momma‘s Aron Kobayashi Ritch in a Red Hook, Brooklyn-based studio over a breakneck 10-day session. Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side.

“We have so much energy right now,” Smut’s Roebuck says. The recording sessions were a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends’ couches and floors, Roebuck completely blowing her voice by the end. Fittingly, the album is culmination of the band’s long-held DIY spirit — with the band creating a record that encompasses the intensity, moodiness and emotions of their journey so far.

Tomorrow Comes Crashing‘s latest single “Syd Sweeney,” is inspired by the actor and is anchored around big, Siamese Dream-like power chords, rolling and propulsive drumming and enormous, beer-raised-high-in-the-air, shout-along worthy hooks and choruses paired with Roebuck’s rock goddess-like delivery before ending with a thrash metal-like coda that would make Billy Corgan smile.

The song is about how profoundly strange it can be to be a woman, to be misunderstood by people, who don’t even know you — and probably will never know you. Roebuck says: “Women in entertainment are exceptionally talented, smart and beautiful, because they have to be. Sometimes they want to explore sexuality and vulnerability in their work. Then the pitchforks come out, how dare they be amazing AND sexual? You can only be one or the other! Why is talent and hard work seemingly erased once you’ve seen a woman naked?”

“It makes sense then to interpret it as a horror film, where we have the dividing tropes of final girls and sexy bimbos who die first for being too damn sexy,” Roebuck continues. “We put the sexy woman in the movie so we can see her be sexy and then kill her for it. It’s a lose-lose. Being a woman in art is to be objectified one way or the other. Success is the monster chasing you, waiting for you to be a little too sexy, knife ready.”