Tag: covers

Video by William Ruben Helms

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.

Video by William Ruben Helms

Throwback: Happy 66th Birthday, Joan Jett!

JOVM’s William Ruben Helms celebrates Joan Jett’s 66th birthday.

Video by William Ruben Helms

New Video: JOVM Mainstay Elisapie Tackles Sheryl Crow’s Smash-Hit “If It Makes You Happy”

Acclaimed Montréal-based singer/songwriter, musician, actor and activist Elisapie was born and raised in Salluit, a small village in Nunavik, Québec’s northernmost region. In this extremely remote community, accessible only by plane, she was raised by an extended, yet slightly dysfunctional adoptive family. Growing up in Salluit, she lived through the loss of cousins who ended their lives, experienced young love, danced the night away at the village’s community center and witnessed first hand, the effects of colonialism — i.e., poverty, hopelessness, alcoholism, suicide, and more. 

Much like countless bright and ambitious young people across the world, the Salluit-born artist moved to the big city — in this case, Montréal to study and, ultimately, pursue a career in music. Since then, her work whether within the confines of a band or as a solo artist constantly displays her unconditional attachment to her native territory, its people, and to her language, Inuktitut. Spoken for millennia, Inuktitut embodies the harshness of its environment and the wild yet breathtaking beauty of the Inuit territory. Thematically, her work frequently pairs Inuit themes and concerns with modern rock music, mixing tradition with modernity in a deft, seamless fashion. 

She won her first Juno Award as a member of Taima, and since stepping out into the spotlight as a solo artist, her work has received rapturous critical acclaim: 2018’s The Ballad of the Runaway Girl was shortlisted for the Polaris Music Prize, and earned her a number of Association du disque, de l’industrie du spectacle Québeécois (ADISQ) Felix Awards and a Juno Award nod. She followed up with a performance with the Orchestre Métropolitain de Montréal — at the invitation of Grammy Award-winning maestro Yannick Nézet Séguin — at Central Park SummerStage, a NPR Tiny Desk Session and headlining or festival sets both locally and internationally. 

In her native Canada, she is also known as an actor, starring in the TV series Motel Paradis and C.S. Roy’s experimental indie film VFC, which was released last year. She has also graced the cover of a number of magazines including Châtelaine, Elle Québec and a long list of others. And as a devoted activist, she created and produced the first nation-wide broadcast TV show to celebrate National Indigenous People’s Day. 

Her fourth solo album, last year’s Inuktitut features inventive re-imaginings of songs by Led Zeppelin, Pink Floyd, Blondie, Fleetwood Mac, Metallica and more. Each of the acts and artists covered have warmly given their blessing to receive the acclaimed Canadian artist’s unique treatment. Fittingly, each song is imbued with depth and purpose, as the album’s material is an act of cultural re-appropriation that reinvigorates the poetry of these beloved songs by placing them within Inuit traditions. 

Through the album’s 10 songs, the acclaimed Inuk tells her story and offers these songs as a loving gift to her community, making her language and culture resonate well beyond the borders of the Inuit territory. But the album is also a testament to the power and remarkable universality of pop music, a reminder of the universality of human life, and fittingly an ode to the experiences, memories, places and people, who have shaped us.

Almost a year since the release of Inuktitut, the JOVM mainstay returns with “Quviasukkuvit (If It Makes You Happy),” her take on the Sheryl Crow smash-hit that also took over the Nunavik radio airwaves when the Inuk artist was still a teen. Produced by close collaborator, singer/songwriter and multi-instrumentalist Joe Grass and translated into Inuktitut, Elisapie’s turns the twangy power ballad into a meditative and dreamily atmospheric tune anchored around some shoegazer-like textures and broodingly cinematic arrangements. The Inuk artist’s smoky and achingly tender delivery ethereally floats over the arrangement, expressing a nostalgic yearning for a time, a place and people that you can’t get back.

Much like the songs on Inuktitut, “Quviasukkuvit (If It Makes You Happy)” is inspired by one of Elisapie’s childhood memories: 

“An image that always comes to mind, no matter where I travel or live, is of the people dancing at the magical and dramatic Ikkarivvik Bar in Kuujjuaq,” the acclaimed Inuk artist says. “In my mind’s eye, it is always Friday night, and the moon is full. Most people are either a little drunk or very drunk. The bar and the dancefloor are an escape, and people dance to forget and escape. I recognize so many faces and I can see their smiles and closed eyes as they dance.

‘If It Makes You Happy’ was so popular in the North, and it reminds me so much of when I was a teenager. It played on TV and radio, and we listened to it at home. Those lines made us want to scream along with Sheryl. Her song liberates my people in the North, giving them the words to shout about being sad without feeling ashamed.”

When I perform this song, it has Sheryl Crow’s enthusiasm, but my Inuit sensibility slows it down, echoing the rhythm of the land.”

Video by William Ruben Helms

New Video: JOVM Mainstays Spaceface Share Woozy Cover of “Bittersweet Symphony”

Spaceface — co-founders Jake Ignalls and Eric Martin, along with touring members Marina Aguirre (bass) and Garet Powell (drums) — formed back in 2012. And since their formation, the self-professed “retro-futuristic dream rock outfit” have […]

Single Review by William Ruben Helms

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.”

Video by William Ruben Helms

New Video: Automatic Channels Lou Reed as They Cover “New Sensations”

Los Angeles-based post punk outfit Automatic — Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals) and Halle Saxon (bass, vocals) — can trace their origins to their hometown’s DIY scene: When the trio met, they each individually […]

Video by William Ruben Helms

New Video: London’s Remember Summer Share Dream Pop-like Cover of “Wrecking Ball”

Remember Summer — Northern Irish-born, London-based Paddy Conn, a member of Swimming Tapes and English-born vocalist Angelina Dove — can trace their origins back to 2016 when the duo worked at a Forest Gate, London-based cafe. The duo started making up songs to pass the days toiling in a hot kitchen. “Summer of ‘16 became the year of collaboration for Paddy and I. We started swapping ideas at work,” Dove recalls. “It all started as a bit of fun really, sort of a distraction to stem boredom but when the cafe went bust the following year and we both got fired we realised that we’d started something we missed more than frying eggs. Since we live 5 minutes away from each other we’ve kept it up.”

Bonding over a mutual indulgence for worlds gone by, the London-based duo pair dusty synths and wistful poetry to create nostalgia-drenched take on dream pop.

The London-based duo’s latest single sees them tackling Miley Cyrus‘ 2013 hit “Wrecking Ball.” Dove and Conn pairing the original’s cathartic and rousingly anthemic hooks and choruses with a brooding and dusty soundscape of strummed, reverb-soaked guitar, glistening and atmospheric synths serving as lush bed for Dove’s pop star wailing (whci is also doused in a bit of reverb). The end result is a Still Corners-meets-Stevie Nicks-like take on a familiar song, creating a vintage hue to a modern pop anthem.

“Metaphorically spot on; I think I’m an ‘exploding doormat’ personality type. A really long fuse, but once it’s lit…Wrecking Ball resonated with me, I feel like I’ve been there,” Remember Summer’s Angelina Dove says of the cover. “The explosions, the disappointment, indifference even.”

Edited by Baby Dove, the accompanying video for Remember Summer’s “Wrecking Ball” features clips from 1967’s Bonnie & Clyde superimposed over some gorgeously shot footage of Dove in a gorgeous white dress in the desert.

Single Review by William Ruben Helms

New Audio: Los Angeles’ Swerve Reimagines The Stone Roses’ “I Wanna Be Adored”

With the release of their Adam Lasus-produced full-length debut, 2021’s Ruin Your Day, the Los Angeles-based rock outfit Swerve, led by Greg Mahdesian and Ryan Berti was released to critically acclaim and received consistent airplay nationally — perhaps a result of the album featuring ripping, catchy, dark and politically-minded love songs.

Locally, the album produced three #1 hits on KROQ‘s Locals Only Chart — “Escape,” album title track “Ruin Your Day,” and “Ebbs and Flows” — and the station listed the band as one of the top ten bands in Los Angeles. Adding to a growing profile, they became an official Vox Amplifier artist, and they were praised by Alice Cooper and Matt Pinfield, who also played them on their respective radio shows.

Although momentum was building, they paused so Mahdesian could focus on spending time with his newborn daughter. Despite his newfound commitments, the band fit in an orchestral, cinematic rendition of “Ebbs and Flows,” and they played a sold-out get-out-the-vote show in 2022. When the band reconvened, their sound evolved into something leaner and more focused sound, which led to their Adam Lasus and Jessica Rotter-produced The Darkroom EP.

Slated for a June 21, 2024 release, the EP thematically sees the band looking back on their wilder years, and delves into the darkness of failing relationships, endless nights and the need to be adored, which quite fittingly led to their cover of the classic Stone Roses tune “I Wanna Be Adored.”

While retaining the yearning nature of the song and the beloved melody, the Los Angeles-based rock outfit’s cover turns the song into a buzzing and slithering Queens of the Stone Age/Desert Sessions-like ripper.

“The Stone Roses made one of my favorite records (I’ve actually purposefully never listened to Second Coming) and ‘I Wanna Be Adored’ is their most iconic track,” Swerve’s Greg Mahdesian says. “It’s also a genuinely weird song that has minimalist lyrics and psychedelic/rave/rock production, and I’ve never heard a cover of it before. We’ve done plenty of covers live, from the Replacements to Black Sabbath, but really wanted to record one and take it in a new direction. When you’re writing your own song you can get locked into a style or idea of what your music sounds like. When the song is already written for you, all the creative energy can be put into the arrangement, and we went left-field with this one. Ryan used a baritone guitar, we got inspired by Desert Sessions and Queens of the Stone Age, and I sang the vocals in the dark—why not, ya know? Brandon Duncan, who plays bass and mixes our records, was given free rein and turned in a really creative mix. This is already opening up our sound and approach for the next batch of songs we’re working on.”

women who kick ass by William Ruben Helms

New Audio: Italian Outfit Cut Cut Shares a Genre-Defying Cover of Muse’s “Supermassive Black Hole”

Formed back in 2020 Cut Cut is a genre-defying, experimental, Italian outfit. Since their formation, they’ve released a handful of singles.

Their latest single is a swaggering, club and mosh pit friendly take on Muse‘s “Supermassive Black Hole” that sees the Italian outfit meshing elements of industrial electronica, electro rock and techno house while retaining the bonkers arena rock bombast of the original.

Video by William Ruben Helms

Throwback: Happy 74th Birthday, George Thorogood!

JOVM’s William Ruben Helms celebrates George Thorogood’s 74th birthday.

Single Review by William Ruben Helms

Moscow-based instrumental funk outfit The Diasonics — Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (guitar) and Kamil Gzizov (keys) — formed back in 2019 and quickly developed a sound that they’ve dubbed “hussar funk,” a blend of elements of hip-hop rhythms, 60s and 70s psychedelia and Eastern European flavor paired with cinematic-leaning arrangements. And with their unique sound and approach, the Russian funk quartet have managed amass a cult following within the international funk and soul scenes.

Since 2019, The Diasonics have been remarkably prolific: They’ve released ten highly-celebrated singles and various in-demand 45s through indie funk labels like Funk Night Records and Mocambo Records. Their full-length debut, 2022’s Origins of Forms was released through acclaimed Italian funk and soul purveyors, Record Kicks. 

Recorded on an Otari MX-5050 MK III at Moscow’s Magnetone Studio and mixed by The Cactus Channel‘s and Karate Boogaloo‘s Henry Jenkins in Melbourne, Origins of Forms‘ saw the Russian outfit firmly cementing their overall sound and aesthetic.

 The Diasonics’ latest single, the Henry Jenkins produced and mixed “Beggin'” is an instrumental rendition of a Bob Gaudio and Peggy Farina penned tune that was recorded by Frankie Valli and The Four Seasons in 1967. “Beggin'” became a British, Northern Soul scene classic in the late 1970s — and since then has been covered numerous times over the years, including most recently by Italian rock group Måneskin. The Diasonics rendition retains the dance floor friendliness of the original but with a bit more of an emphasis on wah-wah guitar-driven, soaring and glistening keys and a ridiculously supple and funky bass line, making it a must-have for those looking for deep grooves.

“Beggin'” is available on all digital stream platforms, but it also will be releasing on a limited edition 45 vinyl on March 8. Pre-order here.

singer/songwriters by William Ruben Helms

New Audio: TEKE::TEKE and Mirah Tackle The Clash For The Clash Tribute Album “Hearts & Minds & Crooked Beats”

As of last September, more than 114 million people globally have been forced to flee their homes as a result of conflict persecution and human rights violations. By the end of this year, that number is expected to reach 130 million people across the globe. Benefiting the International Rescue Committee (https://www.rescue.org) and their work with refugees, The Clash compilation tribute album Hearts & Minds & Crooked Beats invites artists, bands and visual artists to create work inspired by the legendary punk band The Clash — and to celebrate their music and human rights messages.

Slated for digital and vinyl release on International Clash Day, February 7, 2024, Hearts & Minds & Crooked Beats was mastered by Ted Jensen, known for his work with The Rolling Stones, Green Day, Norah Jones, Madonna, Alice In Chains and a lengthy list of others, the album will feature contributions from The Dandy Warhols, Smokey Brights, Seán Barna, Warren Dunes‘ Julia Massey, The Gotobeds, Big League, Labasheeda, The Rust & The Fury, acclaimed Montréal-based JOVM mainstays TEKE :: TEKE and Brooklyn-based singer/songwriter Mirah. (Track listing is available below.)

Hearts & Minds & Crooked Beats Tracklist
1. The Dandy Warhols – Straight To Hell 
2. TEKE::TEKE – Bankrobber
3. Mirah – I’m Not Down
4. The Rust and The Fury – Guns of Brixton
5. Labasheeda – Deny 
6. Smokey Brights – Train In Vain (Stand By Me
7. Seán Barna – Hitsville U.K.
8. The Gotobeds – I’m So Bored with the USA
9. Julia Massey (Warren Dunes) – Rock The Casbah
10. Big League – Lost In The Supermarket
 

International Clash Day was established back in 2013 by KEXP DJ John Richards. The holiday marks a global, annual celebration of The Clash’s influential and important message and legacy. To celebrate the 11th International Clash Day, KEXP DJs Kevin Cole and Kid Hops will transition the station’s all-day International Clash Day programming on-air to the Gathering Space for International Clash Day Live, where Smokey Brights will play a live set of Clash covers and originals. Tickets and more information are available here. 

Mirah, Seán Barna and TEKE: TEKE will play a special album release show on February 2, 2024 at Brooklyn Made. Tickets and more information are available here.

Proceeds from album sales will go to the International Rescue Committee’s global fund, supporting their vital work in responding to humanitarian crises and helping impacted individuals rebuild their lives.

Today Mirah and TEKE:: TEKE shared their contributions to Hearts & Minds & Crooked Beats.

TEKE:: TEKE’s “Bankrobber” is a restrained mind-bending interpretation that’s part Spaghetti Western and partially inspired by a sound and approach that was developing in Japan during the 70s, n parallel to the UK’s punk scene with avant-garde outfits like Tokyo Kid Brothers and JA Seazer, which inspired them to sing the bulk of the song’s lyrics in Japanese. The result is something that’s familiar but somewhat alien, yet still deeply human and universal.

TEKE :: TEKE’s Maya Kuroki felt an immediate connection to “Bankrobber,” upon hearing the same words that her late father used to jokingly say “someday I’ll become a bank robber.” She wanted to represent the meaning of the lyrics as the voice of the “community” striving to counter the increasingly widening wealth gap. I envision a modern day Robin Hood, stealing from rich, greedy capitalists and giving their ill-gotten gains to the poor and needy.

The band’s Sei Nakauchi Pelletier adds, “‘Bankrobber’ was the first ever song I heard from The Clash, it was on a compilation tape a dear friend of mine had made for me in my early 20’s. The Clash went on to become one of my favorite and most-inspiring rock bands of all-time, way beyond their musical genius but also for their political stances and DIY approach.” Pelletier’s dear friend, Malcolm Baud, was enlisted to take part on the TEKE:: TEKE cover singing verses in English — a profound collaboration and full circle moment.

Brooklyn-based artist’s Mirah recruited Erica Freas and Karl Blau for a slow-burning, sultry yet deeply sweet take on “I’m Not Down” that maintains the original’s guitar-driven heart and kookiness while seemingly drawing from The Shangri-Las. “One of the best things about being asked to work on a project like this is the opportunity it gave me to play a bunch of Clash albums all at once and to pay close attention as I was listening,” the Brooklyn-based artist explains. “I wanted to pick one that felt right for my voice, with words which reflected something about me and my own experiences. Like a lot of people, I began having some run-ins with anxiety and depression during the pandemic. I wasn’t playing shows or making much music and I was spending nearly every waking hour with a tiny person who I’d given birth to 15 months before the pandemic started. ‘I’m Not Down’ was written as a sort of F you to hard times and depression, and that felt, and feels, pretty relevant.” 

Video by William Ruben Helms

New Video: Uma E. Shares an Atmospheric Cover of 80s Synth Pop Hit

Ulriqa Fernqvist is a Swedish multi-disciplinary artist, who strongest forms of expression have always been dance, theater and singing. Over the course of two-plus decade career, she has worked on an experimental, improvisational concerts, musical installations, theater and dance performances. Along with producer and collaborator Don Gog, she runs the performing arts company Art of Spectra, a company that has been invited to perform at numerous festivals, theaters and art centers around Europe.

As a pop artist, Fernqvist is the creative mastermind behind solo recording project Uma E. Her latest single, sees Fernqvist and her longtime producer and collaborator tackling a-ha‘s 1985 song “The Sun Always Shines On TV.” The original begins with a dramatic introduction featuring twinkling keys and atmospheric synths before quickly morphing into a hook-driven, prog rock-like anthem reminiscent of Yes‘ “Owner of a Lonely Heart” and Duran Duran. Clocking in at a little under six minutes, the Uma E. rendition sees the Swedish collaborators stripping the song down to the bare bones, transforming the song into a brooding and uneasy, Portishead and Massive Attack-like bit of trip hop built around thumping kick drum beats, gently twinkling synth arpeggios, grainy bass synths and atmospheric electronics paired with Uma E.’s ethereal and plaintive delivery.

“I worked in the theatre play TOUCH by Falk Richter in Germany at Münchner Kammerspiele during the pandemic. I was asked to perform the A-ha song, ‘The Sun Always Shines on TV’ and it started off quite close to the original,” Fernqvist says. “I realised after a while I wanted to express the song in a different way to make it feel right. I got very attached to this song and the lyrics as it was a song I heard a lot growing up. I felt that I wanted to express it more like a poem – slower and more intimate.” 

Changing the style of the song was planted in the Swedish artist’s mind, and came to fruition later that summer, when she returned to Sweden. “Me and my producer Don Gog started to experiment with what that change  could be. It developed to what we came to call ‘a techno prayer’ and we started building this track with the idea that it was to be performed in this play. Later we reworked that version to make it more like a track without the theatrical context – even though those memories still live in the track. The challenging thing with the vocals was to keep it very fragile and honest even if we wanted the music to have this constant rise. It was also very interesting to blend the electronica with elements from techno. 

Directed by Fofo Altinell, the accompanying video for “The Sun Always Shines On TV” is a hazy fever dream, following the Swedish artist in the countryside during golden hour.

women who kick ass by William Ruben Helms

New Audio: Enitu and Yul Tackle a Beloved and Iconic 70’s French Hit

Enitu and Yul is an emerging French electro pop duo that features two accomplished artists:

Enitu is a vocalist, who grew up in a musical home. Her father was a musician. With his encouragement, she began singing before she could speak. When she turned 11, she began studying at the conservatory and joined her first choir. By the time she turned 13, she joined her high school choir. She went on to study at Sorbonne Université, where she performed with he choir and orchestra, with which performed classical music in France and in Abu Dhabi.

Around the same time, she began to regular attend open mics across Paris and played with several bands, including one with her father. Last year, she began collaborating with French musician, sound designer and DJ Yul — and she’s working on her Yul-produced full-length, solo debut.

Yul is a musician, sound designer and DJ, who has created music for movies, theater and art installations. Back in 2004, he founded Résiste, which produces radio dramas, sound post-production, creates websites and manages artists. But in 2016, the company began releasing original material –including under his own name and with Toxiq, an act that saw him collaborating with Claire Deligny and Manuel Roland.

The pair’s latest single, sees them tackling France Gall‘s beloved and iconic, 1977 hit song “Si Maman Si.” The original is built around a Burt Bacharach-meets-70s Elton John-like arrangement of twinkling piano and soaring strings paired with Gall’s plaintive delivery. The Enitu and Yul cover subtly modernizes the song while retaining the original’s feel and spirit: Piano and strings are replaced with twinkling synths and thumping beats, while Enitu’s melody manages to bear an uncanny resemblance to Gall’s. It’s French chanson — but for those heartbroken souls crying in the corner of the club, desperate to go home.