TV On The Radio perform “Wolf Like Me” on “Jimmy Kimmel Live.”
Tag: indie rock
New Video: Always You Share Woozy, Bittersweet “1994”
Los Angeles-based duo Always You — twin brothers Christoph and Anton Hochheim — have managed to forge their own path while working alongside a hive mind-like collection of musician friends, including Beach Fossils, Wild Nothing, The Pains of Being Pure At Heart, MGMT, Jerry Paper, The Depreciation Guild and a lengthy list of others, which has helped shaped the siblings sonic identity along the way. Formerly known as Ablebody, the Hochheim Brothers have spent their careers exploring lo fi hypnagogic laptop pop, sophisticated synth pop informed by 80s UK and Japanese New Wave, as well as kitsch-en sink lounge ballads inspired by the great chansons.
The Los Angeles-based duo’s third album, the Jack Tatum-produced Against The World is slated for a November 13, 2026 release through Hit The North Records. With Jack Tatum at helm guiding production and mixing, he tirelessly broke down and then reconstructed all the elements of the material with the twins, pushing the album’s overall sonics to the absolute breaking point while still retaining their signature sophtisipop sheen. Throughout the album’s run time, heavy guitars and bending sheets of white noise clash over frenzied hi-hats and The Prodigy-like sub bass. Abrupt starts and stops seemingly crash down with the weight of the world. Drum ‘n’ bass and house beats thump over soaring melodies and chopped up vocal samples. The ballads seemingly sparkle with more heart and tension than anything in their previously released work.
Thematically speaking, Against The World is a statement for and against the times: a manic manifesto drawing a line in the sand, pointing out that love is the only resistance against the forces manufacturing distance and endless dissent between us. It’s a rallying cry pushing for something better, a staunch refusal of the status quo, fueled by the belief that we all deserve much better. The album’s material is rooted in the deep sense of longing for something, hell, anything else than this — a different reality, an alternate timeline, anything. Increasingly divorced from the world around us, the false promises of a new lover, a new leader, a quick and seemingly effortless salutation or a new savior become impossible to resist. That fantasy leads us further and further underground, leaving miles of rubble in its wake and keeping us all just out of reach.
Against The World’s second and latest single “1994” is a bittersweet meditation on time’s inexorable march forward, aging, lost youth and lost opportunities and the rose-tinted glasses of nostalgia pushing us to dream of a simpler world that never really existed. But when the world is seemingly running down, there’s a strange comfort in looking backwards isn’t there? Sonically and thematically, “1994” seemingly channels Smashing Pumpkins’ “1979” sounding as though it could have been released in — well, 1994 while underpinned by some old school craftsmanship.
“‘1994’ is a song about clinging to specific times and seeking refuge in them, often to moments that never really existed,” the Los Angeles-based sibling duo explain. “We live in a world that deals nostalgia as currency, where the past is constantly viewed through rose tinted lenses, with our youth put on a pedestal and the continual quest to return to that version of ourselves always just out of reach. We long to return to the simpler times before life pulled us from each other and ourselves, before our hardships and tragedies calloused us to the world, back to a time that only ever existed in our minds.”
Directed by Otium, the accompanying video for “1994” is a woozy and panoramic visual that touches on the song’s overall themes of rose-tinted nostalgia for at time before everything seemingly went bonkers — even if it was kind of bullshit to begin with.
New Video: Full Flower Moon Band Shares Uneasy, Brooding “Endless Summer”
Led by its creative mastermind, Aussie singer/songwriter and guitarist Kate “Babyshakes” Dillon, rock outfit Full Flower Moon Band initially started out as a bedroom project. Since expanding to a formidable, full-fledged band, Full Flower Moon Band has become one of Oz’s fastest growing bands. Anhocred around Dillon’s songwriting and singular stage presence, the project blends heavy riffle, psych rock/desert rock swagger with sharp, often darkly comic lyricism.
2024’s third album, Megaflower was their breakthrough effort: Megaflower debuted at #1 on the ARIA Australian Album Charts and #6 on the ARIA Vinyl Charts, selling out its initial vinyl pressing in a week. “Roadie” and “Illegal Things” received airplay on Iggy Pop’s BBC radio show. “Man Hands” appeared in Made In Chelsea. “Trainspotting’ was featured in the Netflix series, Heartbreak High. The album also landed at #66 on KEXP‘s album chart. And a collection of performance clips went viral, amassing millions of views while receiving attention from Fred Durst, Jack Black, Cage The Elephant, and Daniel Johns.
Adding to a growing wave of momentum surrounding the Aussie band, they’ll be opening for Foo Fighters on two dates of that band’s Aussie tour — November 5, 2026 at Brisbane’s Suncorp Stadium and November 7, 2026 at Townsville’s Queensland County Bank Stadium. And hot on the heels of that announcement, “Endless Summer” is their first bit of new music of 2026. Anchored around a snarling dessert rock-meets-doom metal guitar line, “Endless Summer” to my ears sounds a bit like a swaggering, blend of Songs For The Deaf-era Queens of the Stone Age and Stories From the City, Stories from the Sea-era PJ Harvey. But just underneath the sunny and optimist dream of never-ending summer, the song i underpinned by the shaky conviction of a manic episode, giving the song an uneasily desperate undertone.
The new single was written by Dillion during a month-long stint in New York, after receiving the Grant McLennan Fellowship, experience that pushed her outside the familiarity of Brisbane — and into a period of intense writing, isolation and creative uncertainty.
“A much darker anthem than the title suggests — ‘Endless Summer’ is the voice of a manic episode. This hopeless, frantic optimism is summarised in the chorus lyric, ‘you can have an endless summer, anytime the sun comes out’. What began as a simple instrumental track is now an unnerving battle cry,” Dillon explains.
The accompanying video for “Endless Summer” is split between stylishly shot performance footage, homemade footage of Dillon as a child playing air guitar and of brooding and serious Dillon in New York — on the subway and in several different locations in town. The video manages to capture the creeping unease at the core of the song.
New Video: Julia Jacklin Shares Introspective “If I Had The Hand of God”
Acclaimed Melbourne-based singer/songwriter and musician Julia Jacklin will be releasing her highly-anticipated fourth album, the Robert Muiños and Jacklin co-produced, 10-song album The Gem through 4AD Records digitally and on CD, cassette and vinyl on September 25, 2026. Exclusive color vinyl editions with retailers will include turquoise, green opal, ruby and rose quartz. Pre-order information can be found here.
The album will include the previously released “Get Away From Me (I Think I’ll Love You),” the album’s closing track ” “I Wish” feat, Aussie folk sibling duo The Maes, “The Hardest Thing,” and the album’s latest single “If I Had The Hand of God,” a jangling that’s one-part song-as-story bit of country and one-part indie rock anthem. Written about a surreal trip to Nashville, “If I Had The Hand of God” is a lived-in, introspective meditation on the life of a touring musician and the importance — or unimportance — of legacy that’s both earnest and drenched in a bit of irony.
Directed by Nick Mcck, the accompanying video for “If I Had The Hand of God” begins with Jacklin making a call in a hotel room, before allowing the acclaimed Aussie wandering around Las Vegas with equal parts awe, exhaustion, bemusement and confusion. Oh and there’s a feathered showgirl hat at some point that looks incredibly heavy.
Throwback: Happy 40th Birthday, Faris Badwan!
JOVM’s William Ruben Helms celebrates The Horrors frontman Faris Badwan’s 40th birthday.
New Audio: Baltimore’s Little Lungs Share Gorgeous, Introspective “Strangest Thing”
Baltimore-based indie rock outfit Little Lungs — Leena Rhodes (vocals, electric guitar, acoustic guitar, piano, synth), Brendan Russell (bass). Ricky Schwarzenberg (guitar) and Eli Simms (drums) — combine intimate and sincere lyricism with intricate guitar melodies and pulsating rhythms to create a sound that blends elements of folk and indie rock. Never shying away from vulnerability, the Baltimore-based quintet’s work dives into the obscure, difficult to explain emotions, like the innate feeling of absence, the flux of infatuation, the beauty of intoxication.
Recorded at Charm City’s The Watermelon Room last spring, the Ricky Schwarzenberg-produced sophomore album The Heat was released earlier this year. Arguably, their most cathartic effort to date, The Heat examines the love, loss and rebirth left in the wake of a tumultuous and volatile relationship — with vivid imagery and decisive storytelling.
“Strangest Thing,” The Heat‘s latest single is a breathtakingly gorgeous and soulful blend of folk, country and dream pop built around strummed acoustic guitar, jangling electric guitar and bursts of shimmering pedal steel with Rhodes’ introspective lyricism, big hooks and choruses and Rhodes’ equally gorgeous delivery.
The song is full of small, novelistic details and observations, which gives the song a deeply lived-in feel, while the narrator confesses a seemingly undying devotion to their lover.
New Audio: Soccer Mommy Shares Yearning “Rings of Saturn”
Nashville-based singer/songwriter and musician Sophie Allison, the creative mastermind behind the acclaimed project Soccer Mommy, has made a name for herself over the past decade as one of indie rock’s most beloved and distinct voices. Her latest single, the Eliott Kozel-produced “Rings of Saturn” is the first bit of new material from the JOVM mainstay since 2024’s Evergreen. and it comes on the heels of the Allison opening for her heroes Liz Phair and Sleater-Kinney on their tour.
Featuring an introduction that has Allison accompanying her yearning vocal with strummed acoustic guitar that serves as the backbone of the song. the song quickly showcases her penchant for rousingly anthemic choruses featuring glitchy boom bap breakbeats and fuzzy guitars and twinkling keys. But at its core is a relatable narrator, who’s lost and desperately looking for hope from anywhere. They’re trying to hold on but they don’t know if they could hold on — or for how long.
“This song is about feeling lost and looking for hope from anywhere,” Allison explains. “I wrote it during a difficult time when I would often take my telescope out into the yard to look at the moon or at planets. There’s something about feeling small that can kind of take the weight off.”
New Audio: Verse Metrics Shares Rousingly Anthemic “Big Dirty”
Formed back in 2019, Scottish indie rock outfit Verse Metrics have firmly established a unique sound that sees them blending math rock-like precision with cinematic post rock, soaring melodies and intricate dynamics. The result is material that’s emotionally charged and meticulously crafted simultaneously while thematically exploring memory, isolation and connection.
The band has received press from a number of internationally known outlets, including Kerrang!, Clash Magazine, The Scotsman, Prog Magazine, GoldFlakePaint and a list of others. And adding to a growing regional and international profile, the band has earned a reputation as a formidable live act, sharing stages with Delta Sleep. TTNG, The Appleseed Cast and VUKOVI.
Released earlier this year, the Scottish outfit’s full-length debut, Descents captures a sharper, heavier and more resonant evolution of their sound and approach. Descents‘ latest single “Big Dirty” will further cement their reputation for material that sounds a bit like a seamless blend of Interpol and She Wants Revenge-like post-punk and punchy math rock while showcasing their ability to craft rousingly anthemic hooks and choruses paired with earnest lyricism and arena rock bombast.
New Video: Bodywash Shares Dreamy, 90s Alt-Rock Inspired “Lapsang”
Montréal-based JOVM mainstays Bodywash — Chris Steward and Rosie Long Decter — will be releasing their third album, Laughing at Noise on November 20, 2026 through Light Organ. The album reportedly finds the duo taking stock of the ambivalent feelings that have gathered behind them over the past decade of their professional music careers: Steward and Long Decter, who started playing together in a dorm room practice space while at university are now in their early 30s. And in that time, the city that nurtured their creative expressive has become a decidedly harsher place. Rents rise as abounded properties known locally as brownfields are transformed into new developments and pricey real estate; DIY spaces wither in structural shadow; summer is hazier and heavier.
Laughing at Noise doesn’t indulge in nostalgia or cynicism — rather, it sees the duo sorting through what it means to grow older and keep on with both wariness and wisdom 2023’s I Held The Shape While I Could was swirling, elegant and elastic, but as they began writing new material, the duo found themselves pulled towards a more stripped-back approach. Steward was enamored with acoustic guitar and Long Decor was writing on guitar and bass rather than on keys.
The songs that would eventually comprise their third album are much more playful and worn-in, and the overall sound of the album follows. It’s a bit rougher around the edges, seeing the JOVM mainstays trading an adherence to fidelity for a looser, nosier sound that gradually developed over months of experimentation.
The duo produced the album over the course of a year at Autoland Audio in Montréal’s Parc-Ex neighborhood and enlisted Asher Gould-Murtagh for mixing duties. Sonically, the album further cements their unique blend of shoegaze and dream pop but with a scrappier 80s indie rock sensibility in tone and point of view, seemingly nodding at the likes of Elliott Smith and Kim Gordon, complete with a dialing up of distortion and fuzziness.
But the album is rooted in a Montréal perspective — a point of view, along with its melodic sensibilities that buoys it all from being overly world-weary. Long Decter says that she might call Laughing at Noise, the band’s “Montréal album.” The album embodies the perceptive on home that can only come with time. Steward adds, ” “The longer you stay somewhere, the more you become the yardstick against which everything is measured.”
Laughing at Noise’s first single “Lapsang” is a seamless — and downright effortless — blend of dream pop, indie folk and 90s alt rock featuring swirling synths, strummed acoustic, glitchy feedback beneath Steward’s dreamy delivery and their uncanny melodic and harmonic sensibility. At one point Steward sings “I took the bus down the bike lane” — a snow globe-like image of the city’s uniquely charming and unruly frustrations — before reflecting “I’ve lived around here for a long time.”
Steward explainss, “‘Lapsang’ is an ode to Montreal’s Little Italy neighborhood and the years I spent there, waiting for the 55 bus. It’s named after my favourite, impossibly smokey blend of tea, which has the most sing-song of names: Lapsang Souchong. The riff and verse were written during an ice storm, where the resulting power outage forced me to write most of the song without a computer. The frozen tree tendrils looked a lot like the leaves of the tea I was brewing, prompting a working title that would never be changed. Later, Rosie and I would record separate melodies for the chorus in the studio, only to realise they could be woven together seamlessly.”
Directed by Evangelos Desborough, the accompanying video for “Lapsung” follows an Elvis impersonator as he amps himself for a gig at a community center/VFW. But throughout the gig, he seems woefully out of place with the guests not paying much attention to him. We then see the Elvis impersonator on the Montréal Métro, walking home and lost in his own melancholy. Some of the locations are familiar, including one that looks like Rue Sherbrooke near I think Rue St. Denis.
New Video: GIFT Shares Rousingly Anthemic, Arena Rock Friendly “Hand To The Flame”
Brooklyn-based JOVM mainstays GIFT — TJ Freda (vocals, guitar, production), Jessica Gurewitz (synths, vocals, guitar), Kallan Campbell (bass), Justin Hrabovsky (synths, guitar) and Gabe Camarano (drums) — will be releasing their third album, the TJ Freda and Teddy Mars co-produced Frenzy For The Thill on January 15, 2027 through Captured Tracks.
The JOVM mainstays began in earnest during the pandemic with the band’s Freda holed up in Brooklyn building the lush layers of what would become the band’s 2022 full-length debut, Momentary Presence. Both Momentary Presence and it’s follow-up, 2024’s Illuminator saw the band blending various strains of psychedelic music — krautrock, New Wave, electronic music and shoegaze — while cataloging Freda’s ongoing battles with panic attacks, frequently seeking to counter anxiety with transcendence. However, before the creation of GIFT’s third album, TJ Freda found that particular metaphorical drug wasn’t working.
The tours to support Illuminator had left Freda ragged and burned out. When a friend offered to let him stay at their Los Angeles home for two months, it seemed — at the time — to be a perfect way to decompress, to take time and write songs for other artists, and to put GIFT to the side for a bit. However, Freda arrived in Los Angeles as firefighters put out the final fires of early last year, to a house full of ash and not much else than the instruments he brought him. Moved by the renewal and resilience he saw in Angelenos coming together in the wake of the wildfires, the GIFT frontman suddenly felt a creative outpouring.
New GIFT songs arrived much more angst-ridden than in the past, yet not within their own sense of release. For the GIFT frontman, the songs were vehicles to ask the big, existential questions: Now, in his 30s, had watched friends settle down, but he found he was not doing searching. “Making Frenzy For The Thrill was partially about exploring the balance of living as an artist without disappearing into it,” Freda explains. From despondence, Freda emerged with a revitalized sense of creative purpose and direction.
Freda found himself gravitation towards grittier, angstier inspirations including 90s alt-rock, grunge and brasher iterations of electronic music. Combined with the band having become a tight, deeply connected unit honed by rigorous touring. Freda wanted to create something more visceral and collaborative. And as a result, Frenzy For The Thrill may arguably be the most-band orientated album of their catalog to date, anchored around the sound of five musicians diving into the madness together with an “one-for-all, all-for-one” sort of approach.
While adopting much of the ethos and structure of dance music, the album reportedly harnesses the energy the immediate energy the band cultivated onstage, while also incorporating more of their individual personalities and instincts in the overall arrangements and songwriting, Frenzy For The Thrill is anchored in far-seeing melodies and synth textures the band has become known for, while paired with what may be the most muscular performances to date.
Lessons are learned by the end of the album, including a soft of hard-won self-acceptance on the other side of the album’s violence, a healthier, more balanced life after staring into the void. “We’re always looking for resolutions, but life isn’t like that,” Freda concludes. “Frenzy For The Thrill is about still being in love with the chase knowing we might not find answers on the other side. This is the sound of us crashing headlong into the unknown.”
Frenzy For The Thrill’s first single “Hand To The Flame'” is a seamless blend of fuzzy grunge and shoegaze-inspired riffs, dance punk and post-punk-like four-on-the-floor and glistening synth arpeggios paired with rousingly anthemic hooks and choruses. Seemingly nodding at Mellon Collie and The Infinite Sadness-era Smashing Pumpkins, “Hand To The Flame” may arguably be the JOVM mainstay outfit’s most ambitious, most arena rock friendly songs they’ve written and released to date.
Taking some inspiration from the hubris parable of the story of Icarus, fire became a crucial organizing image for the GIFT frontman as he considered the border between ambition and ego, the pitfalls of obsession and the idea of cleansing one’s past by letting it all go up in smoke. “‘Hand To The Flame’ is holding onto passion, and what makes us human while the world falls apart. Desperately chasing passion in a passionless world,” Freda explains. “Like charging full speed towards something you know will eventually hurt you. Repeatedly putting your hand in the flame with the same outcome, knowing it will always be the same outcome but hoping it will be different. There’s romance in the chase, regardless of whether or not its going to hurt when you get to the end.”
Directed by Sydney VillacortaBuer, the accompanying video for “Hand To The Flame” is decidedly 90s inspired — and perhaps takes cues from Hole’s Celebrity Skin album art: The video is split between the band wandering around the smokey embers of a smoldering fire and dancing around an enormous bonfire, conjuring something ancient and primitive.
New Audio: My Morning Jacket and Preservation Hall Jazz Band Team Up to Tackle Neil Young’s “Like A Hurricane”
Cinema Music Group and Killphonic Records recently announced that they’ll be releasing Heart of Gold: The Songs of Neil Young, Vol. 2 — Out of the Blue and Vol. 3 — Into the Black on November 6, 2026. Featuring contributions from King Princess, Draco Rosa, Lucinda Williams. Ann Wilson, Peter Frampton, LP, MJ Lendermann, Ben Gibbard, Cold War Kids, Kurt Vile and The Violators, Los Lobos and a lengthy and impressive list of others. these new volumes beautifully blend cherished classics with innovative interpretations that honor Neil Young‘s enduring and towering musical legacy.
Proceeds from the albums will benefit The Bridge School. Founded in 1986 by Neil and Pegi Young, The Bridge School to serve individuals with severe speech and physical impairments, much like their son Ben. The organization was built on a simple but powerful belief” every individual deserves the opportunity to communicate. Over the past 40 years, The Bridge School has helped transform the lives of thousands of individuals with complex communication and physical disabilities while helping shape the fields of augmentative and alternative communication (AAC) and assistive technology (AT) through innovative education, research and professional development.
The Bridge School’s impact extends far beyond its campus. Its education model, professional training. and outreach and research programs have reached professionals, families and individuals around the globe. Through their Bridge to Life program, the organization now provides direct services, consultation, and training for individuals with communication and/or physical disabilities from infancy through adulthood. ensuring that people of all ages have access to th tools and support they need — and deserve — to communicate, participate, and thrive.
As the organization celebrates its 40th anniversary, it continues to advance the belief that communication is a fundaamental human right — and that every voice deserves to be heard.
And to support the international release of the complications. Cinema Music Group and Killiphonic Records partnered with City Slang, who will oversee physical distortion and marketing across the UK, Europe, Australia and New Zealand, expanding the reach of the Heart of Gold project while brining all three volumes to fans through its established retail and distribution networks.
Vol 2. — Out of The Blue’s latest single features My Morning Jacket teaming up with the iconic Preservation Hall Jazz Band to tackle “Like A Hurricane.” The My Morning Jacket and Preservation Hall Jazz Band cover, lovingly retains the drunken, wistful sway and aching longing of the original while adding some subtle NOLA soulfulness to the proceedings, before building up to a passionate frenzy for the song’s coda.
“We were so honored to get to be at several of the Bridge School Benefit concerts in the past, and are so honored to once again be a part of raising funds for this amazing school, with these amazing songs of Neil Young,” My Morning Jacket’s Jim James says. “We felt like teaming up with Preservation Hall Jazz Band would add some magic to this track, so we all got together with producer Ross Hogarth down in New Orleans and recorded it live at Marigny Studios. We hope you enjoy listening to it as much as we enjoyed playing it!”
New Video: Toronto’s Wine Lips Shares Punchy “If You Don’t Know”
Over the past decade, the Toronto-based psych punk outfit Wine Lips — currently Cam Hilborn (vocals, guitar), Aurora Evans (drums), Jordan Sosensky (guitar) and Charlie Weare (bass) — have quietly become one of their homeland’s most successful indie acts: They’ve amassed over 50 million Spotify streams, while receiving praise from Iggy Pop on BBC Radio and landing material on film, television and video games. Adding to a growing globally recognized profile, the Toronto-based quartet have relentlessly toured a sweat-soaked, high energy live show across North America, the European Union, the UK, Hong Kong and China while sharing stages with the likes of Frankie and the Witch Fingers and Death From Above 1979. Throughout their history, the Canadian punk rockers have carved their own lane, where fuzz pedals, frantic energy and razor-sharp songwriting coexist in a perfect balance.
Wine Lips’ fifth album, TV Dinner was released last Friday through Stomp Records. Drawing from an The Hives, Osees, Frankie and the Witch Fingers, Bad Nerves and the melodic punch of Nirvana at their most immediate, the new album may arguably be their most observant, strangely relatable and complete statement to date while still rooted in their signature blend of garage punk, blown-out psychedelia and fuzzy rock.
TV Dinner superficially features 13 adrenaline-fueled, loud, hook-driven rock songs. But if you deeper, the album offers a snapshot of what it feels like to live right now in our dystopian, late-stage capitalist hellscape: Everyone and their mom and cousin are selling shortcuts. Everyone is an expert. Your phone constantly pings with updates. Your rent and grocery bills rocket skyward while the apartments somehow get smaller. Dopamine arrives in short bursts through nicotine, sugar, social media feeds, alcohol, dreams of escaping the rat race and whatever else gets you through another day. Somewhere between the doomscroll, another trip to the doctor, another dead-end job, and another microwaved meal, Cam Hilborn found thirteen songs hiding in plain sight. The songs are written from the perspective from someone who’s neck deep int the shit, like everyone else, desperately trying to make sense of a mad, mad, mad world.
Recorded at London Ontario‘s The Sugar Shack with longtime collaborator Simon Larochette, the new album captures the band trusting instinct over perfection. Mistake sand happy accidents stayed. So did strange noises. They left the edges and roughness because they believe that’s where the life lives. The album also sees the band’s Aurora Evens taking up lead vocal duties on album track “Projector.”
The album’s latest single “If You Don’t Know” is a punchy and anthemic blend of garage punk, glam rock and pub rock, showcasing the band’s unerring knack for crafting catchy hooks paired with fuzzy power chord-driven. shout- along-with-an upraised-beer-in-hand choruses. Arguably the most direct, in-your-face ripper the band has released to date, the song features a narrator wrestling with something familiar to me — and to most of y’all — growing older. Yes, there’s the tacit realization that time races by, but it’s rooted in something far deeper — that age is supposed to come with some earned wisdom, some sort of forward progression and a shit ton of nostalgia. But what if there isn’t much wisdom and no real forward progression? Is the dream of being a rock god childish? Who the fuck really knows?
The accompanying video follows a man-child living out his fantasy of being a superhero in a very real world, including his seemingly real super powers, which help him save lives and do good.
The band are currently in the middle of a rather extensive European tour. They’ll tour across North America to close out 2026 and their North American tour includes a December 4, 2026 stop at Warsaw. Check out the tour dates below.
New Video: Total Wife Teams Up with Full Body 2 on a Muscular and Noisy Interpretation of “make it last”
Over the past decade, the experimental Nashville-based duo Total Wife — Luna Kupper and Ash Richter — have firmly cemented as fixtures of both the Nashville and East Coast DIY scenes. Last year’s ten-song come back down, an immersive blend of breakbeats, techno influence, recycled homemade samples and cascading riffs, that pushed the boundaries of shoegaze wide open — while receiving praise from Stereogum, Nashville Scene, Paste Magazine, Vice, Consequence and a lengthy list of others.
The duo’s newest effort, come.back.down.x.recovery EP is slated for an October 9, 2026 release through Julia’s War Recordings. The EP sees the duo passing along lost album file demos to their peers to rework, reinterpret, and make something beautiful — and interesting — out of a mistakenly broken hard drive.
“Within the weeks leading up to come back down’s release, my hard drive got fried. The whole album was lost, along with half the one we’re currently working on and many other projects/bands I was recording,” Total Wife’s Luna Kupper explains. “We brought it to a data recovery service only to get back a flash drive with 25,000 unnamed WAV files. Almost every file was a rotted screaming mass of different sounds and tracks digi-melted together as if the hard drive did a harsh noise remix of itself. Any sort of remix would’ve been impossible until I discovered a dusty old drive containing half-finished versions of some come back down songs. 4 of them were recoverable and brought so beautifully back to life by some of our favorite artists of all time, something I couldn’t have imagined back when recording these songs. I am beyond grateful and now know I should be better at backing up my files.”
come.back.down.x.recovery EP’s first single “make.it,last.x.full.body.2.recovery” is a collaboration with Philadelphia’s Full Body 2 that retains the woozy guitar churn of the original album single but with an explosive coda that’s one-part industrial music, one part eardrum shattering noise. before closing out with a quick fadeout.