Tag: Live Footage

Throwback: Happy 79th Birthday, Jimi Hendrix!

JOVM celebrates what would have been Jimi Hendrix’s 79th birthday.

Live Footage: Bulgarian Composer and Multi-instrumentalist Maria Karakusheva Performs “Lagrange Points”

Maria Karakusheva is a Bulgarian-born, classically trained pianist, multi-instrumentalist and composer, who completed her musical education at the Bulgarian National Academy — with a full scholarship. Karakusheva has won first prize at several international piano competitions including UFAM International, Bellaria Festival, Montigny le Bretonnuex and Claude Cannes.

Karakusheva has composed and recorded four albums of her own original compositions, which she has supported with six, self-produced live shows for them. And she has played over 100 solo concerts, including shows at Bulgaria Hall and Paris’ Gaveau Hall.

In her native Bulgaria, Karakusheva has composed the scores for several films, including 2018’s A butterfly landed on a shoulder, 2021’s Beaujolais and Speculators, which is slated for a release next fall. And adding to a growing profile, the Bulgarian pianist and composer has been profiled by a handful of publications nationally and elsewhere — and has made a number of appearances on Bulgarian national television.

Admittedly, I’m not as versed in classical music as I feel I should be — but when I came across Karakusheva’s latest composition off her first contemporary classical solo album Hearteclipse,the expansive “Lagrange Points,” I was immediately transfixed. Centered around Karakusheva’s delicate and dexterous playing and soaring strings, “Lagrange Points” manages to possess a lush, cinematic quality while nodding at Tales of Us era Goldfrapp and The North Borders era Bonobo.

“We all have our points of balance and it’s our own mission in life to get to know them and use them as we should. Only then we become ourselves. Lagrange points is a composition based on who I am, what I can and should be,” the rising Bulgarian-born composer and multi-instrumentalist says. “Music, family, love, the stage – these are the things that shape me.”

The rising Bulgarian-born composer released some gorgeous shot footage of “Lagrange Points” in which she’s accompanied by a full string section.

Live Footage: JAWNY Performs “Take It Back” on Vevo DSCVR

Initially known as Johnny Utah, the rising Bay Area-born, Los Angeles-based self-taught bedroom pop producer, singer/songwriter and multi-instrumentalist JAWNY has begun to win over the blogosphere through restless reinvention: Since the release of “Honeypie,” JAWNY has released material, in which at one moment, he might be playing a funky pop banger and in another, a distortion-fueled ripper born of an instinct-driven creative process he describes as “very scatterbrained and manic and all-over-the-place,” that’s equally inspired by Luther Vandross and STRFKR.

Vevo, one of the world’s biggest music video networks recently released their complete list for their DSCVR Artists to Watch 2022 campaign: Vevo received over 500 submissions from a variety of acts across the globe — and Vevo selected 21 of them, who the video network believes will break through into the mainstream. Those 21 acts will film two performances in visually unique settings. Appearing on the Artists to Watch list help the artists and bands on it receive critical exposure and promotion that help propel their careers to the next step: All 21 ATW artists and bands will be marketed and featured on Vevo’s expertly curated music video programming — through playlists and editorial features across Vevo’s network. including YouTube and connected TV platforms like Pluto TVSamsung TV Plus, and Apple TV. Rapidly rising Isle of Man-based duo Wet Leg was one of those 21 acts selected for Vevo’s DSCVR Artists to Watch 2022 campaign.

The latest artist on that list is the aforementioned Bay Area-born, Los Angeles-based multi-hyphenate artist. And for his live session, JAWNY performs the Local H-like “Take It Back.” Centered around a classic grunge rock song structure — quiet-ish verses, rousingly anthemic, power chord-driven choruses, thunderous drumming, “Take It Back” is a mosh pit friendly ripper, featuring a fed-up, lovelorn narrator tired of being played around. We’ve all been there and the song’s universality will likely lead to countless kids shouting along to the chorus in sweaty mosh pits around the country.

“Since taking the internet by storm with ‘Honeypie,’ JAWNY has held our attention by propelling himself into project after project where in one instance, he may be grooving through a funky pop banger and in another he’s shredding on a distortion-heavy, lovelorn track,” James Mecker, Vevo’s Manger/Music Programming, shares. “It’s hard not to be reminded of Beck’s constant reinventions, this time through the voice of a 25-year-old who has experienced global events and personal heartbreak in the span of two tumultuous years. With his first tour since the pandemic currently underway, we’re excited to watch the next chapter of the artist formerly known as Johnny Utah get written in front of our very own eyes.”

Live Footage: Amyl and The Sniffers on KEXP, from Soundpark Studios, Melbourne, Australia

Acclaimed Melbourne-based punk act and JOVM mainstays Amyl and The Sniffers — Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar) — formed back in 2016, and shortly after their formation, they wrote and self-recorded their debut EP Giddy Up. The following year, saw the release of the Big Attractions EP, which was packaged as a double 12 inch EP with Giddy Up released through Homeless Records in Australia and Damaged Goods in the UK.

The band exploded into the international scene with a set at The Great Escape Festival, a series of sold out London area shows and a Stateside tour opening for JOVM mainstays King Gizzard and the Lizard Wizard. They added to a busy year with a headlining tours across both the UK and US before signing to King Gizzard and the Lizard Wizard’s Flightless Records for distribution across Australia and New Zealand and Rough Trade for the rest of the world. The year was capped off with a Q Awards nomination for Best New Act and won the $30,000 Levis Prize.

Building upon a rapidly growing profile, the Aussie punk quartet took 2019’s SXSW by storm. And then the band promptly released their self-tiled, full-length debut to critical applause globally while further cementing a feral and anarchic take on ’77 era punk. Adding to a breakthrough year, Amyl and the Sniffers won an ARIA Award for Best Rock Album. 

Comfort To Me, the Aussie punk quartet’s highly-anticipated Don Luscombe-co-produced sophomore album was released earlier this year through ATO Records.  Written during a long year of pandemic quarantining, in which the members of the band lived in the same house, the album’s material sonically draws from a heavier set of references and influences including AC/DC, Rose TattooMötorhead,  Wendy O. WilliamsWarthogPower Trip, Coloured Balls and Cosmic Psychos. Taylor’s lyrics and delivery were also inspired by her long live of hip-hop and garage rock. 

“All four of us spent most of 2020 enclosed by pandemic authority in a 3-bedroom rental in our home city of Melbourne, Australia. We’re like a family: we love each other and feel nothing at the same time,” Amyl and the Sniffers’ Amy Taylor says in a lengthy statement on the album. “We had just come off two years of touring, being stuck in a van together eight hours a day, and then we’re trapped together for months in this house with sick green walls. It sucked but it was also nice. We spent heaps of time in the backyard listening to music, thrashing around in shorts, eating hot chips. The boys had a hard time being away from the pub and their mates, but it meant we had a lot of time to work on this record. Most of the songs were really intuitive. Main thing, we just wanted it to be us. In the small windows we had in between lockdowns, we went to our rehearsal space, which is a storage locker down the road at National Storage Northcote. We punched all the songs into shape at Nasho and for the first time ever we wrote more songs than we needed. We had the luxury of cutting out the songs that were shit and focusing on the ones we loved. 

“We were all better musicians, as well, because that’s what happens when you go on tour for two years, you get really good at playing. We were a better band and we had heaps of songs, so we were just different. The nihilistic, live in the moment, positivity and panel beater rock-meets-shed show punk was still there, but it was better. The whole thing was less spontaneous and more darkly considered. The lyrics I wrote for the album are better too, I think. The amount of time and thought I put into the lyrics for this album is completely different from the EPs, and even the first record. Half of the lyrics were written during the Australian Bushfire season, when we were already wearing masks to protect ourselves from the smoke in the air. And then when the pandemic hit, our options were the same as everyone: go find a day job and work in intense conditions or sit at home and drown in introspection. I fell into the latter category. I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain. 

“My brain evolved and warped and my way of thinking about the world completely changed. Having to deal with a lot of authority during 2020 and realising my lack of power made me feel both more self destructive and more self disciplined, more nihilistic and more depressed and more resentful, which ultimately fuelled me with a kind of relentless motivation. I became a temporary monster. I partied more, but I also exercised heaps, read books and ate veggies. I was like an egg going into boiling water when this started, gooey and weak but with a hard surface. I came out even harder. I’m still soft on the inside, but in a different way. All of this time, I was working on the lyrics. I pushed myself heaps and heaps, because there were things that I needed to say. The lyrics draw a lot from rap phrasing, because that’s what I’m into. I just wanted to be a weird bitch and celebrate how weird life and humans are. 

“The whole thing is a fight between by my desire to evolve and the fact that somehow I always end up sounding like a dumb cunt. So anyway, that’s where this album comes from. People will use other bands as a sonic reference to make it more digestible and journalists will make it seem more pretentious and considered than it really is, but in the end this album is just us — raw self expression, defiant energy, unapologetic vulnerability. It was written by four self-taught musicians who are all just trying to get by and have a good time. 

“If you have to explain what this record is like, I reckon it’s like watching an episode of The Nanny but the setting is an Australian car show and the Nanny cares about social issues and she’s read a couple of books, and Mr Sheffield is drinking beer in the sun. It’s a Mitsubishi Lancer going slightly over the speed limit in a school zone. It’s realising how good it is to wear track pants in bed. It’s having someone who wants to cook you dinner when you’re really shattered. It’s me shadow-boxing on stage, covered in sweat, instead of sitting quietly in the corner.”

In the lead up to the album’s release earlier this year, I managed to write about three of the album’s released singles:

  • Guided by Angels,” a riotous, mosh pit friendly ripper centered around Taylor’s frenetic energy and punchily delivered vocals, buzzing power chords and a pub friendly, shout along with a raised beer in your hand hook. But underneath all of that, “Guided by Angels” is fueled by a defiant and unapologetic vulnerability and a rare, unshakeable faith in possibility and overall goodness; that there actually are good angels right over your shoulder to guide you and sustain you when you need them the most. 
  • Security,” a Highway to Hell-era AC/DC-like anthem full of swaggering braggadocio, boozy power chords, thunderous drumming, shout along worthy hooks and Taylor’s feral delivery. Much like its immediate predecessor, the song is fueled by its narrator boldly and unapologetically declaring that they need and are looking for love — right now! “
  • Hertz,” an AC/DC-ike ripper fueled by the frenetic energy of the bored, lonely and trapped within their heads and those desperately desiring something — hell, anything — different than the four walls that they’ve gotten sick of. Interestingly, “Hertz” captures a feeling that I’ve personally struggled with during the pandemic, and I’m sure you have too. And it does so with a urgency and vulnerability that’s devastating.

Since its release last month, Comfort to Me has been a commercial and critical success: The album hit #1 on Billboard‘s Alternative New Albums Chart, #2 on both the Heatseekers and Top New Artist Albums Charts, #4 on the Independent Albums Chart, #7 on the Rock Albums Chart, #9 on the Alternative Albums Chart and it landed on the Top 20 on the Albums Sales Chart. In the UK, the album was named BBC 6 Music‘s Album of the Day, and chartered at #21 on the UK charts. And in the band’s native Australia, the album was named Triple J’s Featured Albums of the Week while charting at #2.

Australia had one of the world’s longest lockdowns — and shortly after their homeland opened up, the acclaimed Aussie punk rock outfit announced their long-awaited return to the States: the tour includes their previously announced, sold out Music Hall of Williamsburg show on December 6, 2021, which sold out in less than a day — and a 15 date North American tour that includes a May 19. 2022 Brooklyn Steel stop.

Last month, the Aussie punk rock outfit recorded a live session at Soundpark Studios in Melbourne, Australia for KEXP. Directed by Mark Bakaitis, recorded by Andrew “Idle” Hehir and mixed by Comfort to Me‘s co-producer Dan Luscombe, the KEXP set features a blistering version of “Some Mutts (Can’t Be Muzzled)” off their self-titled debut — but primarily centered around Comfort to Me tracks. including the aforementioned “Guided by Angels” and “Security.”

Live Footage: Wet Leg Performs “Wet Dream” on Vevo DSCVR

Enigmatic Isle of Wight, UK-based duo Wet Leg — Rhian Teasdale and Hester Chambers — emerged into the national and international scenes in June with the release of their debut single “Chaise Lounge,” which has amassed over 3,000,000 streams through DSPs and 1,000,000 views. The song managed to win the praise of Paramore‘s Hayley Williams, Florence and the Machine’s Florence Welch, and the legendary Iggy Pop. With the rising buzz surrounding them, the Isle of Wight-based duo recently signed to Domino Recording Co.

Clocking in at a little over 2:30, the British duo’s latest single “Wet Dream” is a hook-driven guitar pop confection that’s one-part Elastica-era Brit Pop, one-part Phil Spector girl pop, and one-part neurotic post punk delivered with a self-assured and stylish panache. “‘Wet Dream’ is a breakup song; it came about when one of my ex’s went through a stage of texting me after we’d broken up telling me that ‘he had a dream about me,’” Wet Leg’s Rhian Teasdale explains. 

Vevo, one of the world’s biggest music video networks recently released their complete list for their DSCVR Artists to Watch 2022 campaign: Vevo received over 500 submissions from a variety of acts across the globe — and Vevo selected 21 of them, who the video network believes will break through into the mainstream. Those 21 acts will film two performances in visually unique settings. Appearing on the Artists to Watch list help the artists and bands on it receive critical exposure and promotion that help propel their careers to the next step: All 21 ATW artists and bands will be marketed and featured on Vevo’s expertly curated music video programming — through playlists and editorial features across Vevo’s network. including YouTube and connected TV platforms like Pluto TV, Samsung TV Plus, and Apple TV.

Rapidly rising Isle of Wight-based act Wet Leg are one of those 21 acts selected for Vevo DSCVR’s Artists to Watch 2022 list. For their session, they did a live version of “Wet Dream,” which has been burning up the blogosphere lately — and even with the live footage, you can see why.  “We’re super stoked to have been selected by Vevo to be a part of their DSCVR Artists To Watch campaign,” the rising Isle of Wight-based act say. “We had A LOT of fun shooting this and are so excited to share it with you!”

“Wet Leg are one of the best bands I’ve come across in a long while. From the moment I heard their excellent debut single ‘Chaise Longue’ I was hooked!” Alex Morley, Vevo’s Music and Talent Manager adds. ” Their energetic guitar hits come with a wry sense of humour and addictive melodies that leave you wanting more. Their partnership with Domino feels like a match made in heaven and we’ve no doubt that 2022 is going to be a huge year for Wet Leg. It was a joy capturing these performances and we can’t wait to hear what’s next from the Isle of Wight’s finest export!”