JOVM’s William Ruben Helms celebrates Pearl Jam bassist Jeff Ament’s 63rd birthday.
Tag: Pearl Jam Vitalogy
Seattle-based grunge legends Pearl Jam — Eddie Vedder (vocals), Jeff Ament (bass), Stone Gossard (rhythm guitar), Mike McCready (lead guitar) and Matt Cameron drums) — will be releasing their twelfth studio album, the Andrew Watt-produced Dark Matter through Monkeywrench Records/Republic Records on April 19, 2024. Dark Matter is the band’s first batch of material since 2020’s critically acclaimed Gigaton.
Last year, the grunge legends retreated to Malibu‘s Shangri-La Studios, where they simply plugged their instruments in and played with producer Andrew Watt at the helm. Writing and recording in a frenzied and passionate burst of inspiration, with the musicians facing one another in the same space, communicating sonically and musically at the highest level, with the album being completed in three weeks.
The album channels the shared spirit of a group of lifelong collaborators and creative brothers in one room, playing as if their lives depended on it. For the band, all of the blood, sweet, tears and energy of a storied and legendary career felt renewed and poured into the album’s material.
“I’m getting chills, because I have good memories. We’re still looking for ways to communicate,” Pearl Jam’s Eddie Vedder says. “We’re at this time in our lives when you could do it or you could not do it, but we still care about putting something out there that is meaningful and we hopefully think is our best work. No hyperbole, I think this is our best work.”
“What Ed said about getting us in a room at this point, we felt like we were about to make a really important record. A lot of that had to do with the atmosphere Andrew set up,” the band’s Jeff Ament says. “He has encyclopedic knowledge of our history, not only as a band and how we wrote songs, but as players. He could pinpoint things we did on old songs to the point where I was like, ‘What the fuck is he talking about?’ His excitement was contagious. He’s a force. I just want to say thanks for keeping us on track. I couldn’t be prouder of us as a band. I feel so grateful for the fans, but mostly for my brothers and these people I’ve made music with.”
Dark Matter‘s first single, the swaggering album title track “Dark Matter” is built around a bombastic and forceful power chord riff, thunderous boom bap-inspired drumming, enormous arena rock friendly hooks and choruses paired with Vedder’s imitable, impassioned delivery. “Dark Matter” seems to pay tribute to the band’s legacy with the song at points bringing back memories of their legendary first three albums — 1991’s Ten, 1993’s Vs. and 1994’s Vitalogy — but with a modern take that reveals a band constantly and willing to push their sound in bold new directions while continuing to be impassioned and unflaggingly earnest in everything they do. Simply put, they may be older — hell all of us are getting older — but this song rips as much as their beloved, classic period.
Dark Matter features cover art by light painting artist Alexandr Gnezdilov. Light painting is an artistic form of photography, where images are created by adjusting a camera’s exposure for an extended period and using a light source, such as a flashlight to “paint” in the dark. The album cover art was crafted using a large, self-made kaleidoscope. Each letter visible on the cover was individually captured and handwritten midair with a specially designed flashlight to create the pearlescent effect.
The band will celebrate indie record stores with the release of a special edition of Dark Matter on Record Store Day, April 20, 2024. You can find that special edition only at participating stores. To get more information and find participating store, check out Record Store Day’s website: https://www.recordstoreday.com.
Last but definitely not least, Pearl Jam will be supporting Dark Matter with an extensive world tour — the first time, the band has announced a new album and tour, with full tour dates simultaneously.
The world tour will see the band playing 25 cities in nine countries and will see them playing much of North America, including a two night run at Madison Square Garden, September 3, 2024 and September 4, 2024, as well as stops at Wrigley Field, Fenway Park and their first hometown shows in six years at Seattle’s Climate Pledge Arena. The North American tour will feature support from Deep Sea Diver (leg 1) and Glen Hansard (leg 2).
The UK and European run includes their first show at London‘s brand new Tottenham Hotspur Stadium. For that run of the tour, The Murder Capital will be support for much of the UK and EU dates; however, the great Richard Ashcroft will be support for Dublin and London.
The tour also sees the band’s first New Zealand and Australian dates in over a decade. Pixies will serve as support for those dates.
Tickets will be available two ways:
1. A Ten Club members-only presale will be held through Ticketmaster Request for eligible members. Only paid Ten Club members active as of Monday, February 12 are eligible to participate in this presale. More info at pearljam.com
2. Fans can register for a chance to participate in the Dark Matter World Tour 2024 registration sale at shops.ticketmasterpartners.com/pearl-jam by Sunday, February 18 at 11:59 PM local time for Europe, UK, Australia and New Zealand shows and by Sunday, February 18 at 11:59 pm PT for North America shows. This will be the only way for fans to participate in the onsale. Registration does not guarantee access to the sale.
The tour will use all-in pricing across all North America, Europe and UK shows to ensure the ticket price listed is the full out-of-pocket price inclusive of fees.
For fans in North America who can’t use their tickets, Pearl Jam and Ticketmaster will offer a Fan-to-Fan Face Value Ticket Exchange beginning at a later date to give fans the best chance to buy tickets at face value. To help protect the Exchange, Pearl Jam has also chosen to make tickets for this tour mobile only and restricted from transfer. This applies to all shows except those in Illinois and New York where non-transferability is prohibited by law. You must have a valid bank account or debit card within the country of the event(s) in order to sell through the Fan-to-Fan Face Value Ticket Exchange.
All tour dates are below.
Dark Matter World Tour Dates:
Date City Venue
May 04 Vancouver, BC Rogers Arena
May 06 Vancouver, BC Rogers Arena
May 10 Portland, OR Moda Center
May 13 Sacramento, CA Golden 1 Center
May 16 Las Vegas, NV MGM Grand Garden Arena
May 18 Las Vegas, NV MGM Grand Garden Arena
May 21 Los Angeles, CA Kia Forum
May 22 Los Angeles, CA Kia Forum
May 25** Napa Valley, CA BottleRock Festival
May 28 Seattle, WA Climate Pledge Arena
May 30 Seattle, WA Climate Pledge Arena
Jun 22 Dublin, IE Marlay Park
Jun 25 Manchester, UK Manchester Co-Op Live
Jun 29 London, UK Tottenham Hotspur Stadium
Jul 02 Berlin, DE Waldbühne
Jul 03 Berlin, DE Waldbühne
Jul 06 Barcelona, ES Palau Sant Jordi
Jul 08 Barcelona, ES Palau Sant Jordi
Jul 11** Madrid, SE Mad Cool Festival
Jul 13** Lisbon, PT NOS Alive Festival
Aug 22 Missoula, MT Washington-Grizzly Stadium
Aug 26* Indianapolis, IN Ruoff Music Center
Aug 29 Chicago, IL Wrigley Field
Aug 31 Chicago, IL Wrigley Field
Sep 03 New York, NY Madison Square Garden
Sep 04 New York, NY Madison Square Garden
Sep 07 Philadelphia, PA Wells Fargo Center
Sep 09 Philadelphia, PA Wells Fargo Center
Sep 12 Baltimore, MD CFG Bank Arena
Sep 15 Boston, MA Fenway Park
Sep 17 Boston, MA Fenway Park
Nov 08 Auckland, NZ Go Media Stadium Mt Smart
Nov 13 Gold Coast, AU Heritage Bank Stadium
Nov 16 Melbourne, AU Marvel Stadium
Nov 21 Sydney, AU Giants Stadium
* Rescheduled date from 2022
** Festival dates are already on sale
Currently comprised of founding members and primary songwriters Chuck Cleaver (vocals, guitar), known for being a member of Ass Ponys and Lisa Walker (vocals, guitar), along with Mark Messerly (bass, keys), John Erhardt (pedal steel, guitar), and Joe Klug (drums), the Cincinnati, OH-based shoegaze quintet Wussy can trace their origins back to 2001 when its founding duo began playing together as a dare during a brief run of solo Cleaver shows. The first show they played together while being largely unplanned went without incident, so they agreed that they should continue as a fully fleshed band. Cleaver and Walker recruited Dawn Burman (drums) and Messerly in 2002 And as a quartet, Wussy released three full-length albums and a critically applauded EP that received praise from a number of major media outlets including Rolling Stone, SPIN, Village Voice, NPR, The Washington Post, Uncut and the legendary Robert Christgau, who placed the Cincinnati act’s first two efforts Funeral Dress and Left for Dead on his best of the decade list and their third, self-titled release on his best of 2009 list.
After receiving critical success, the band went through a series of lineup changes, as Burman left the band and was replaced with Cincinnati music scene Joe Klug joined the band for Attica! and Forever Sounds. The band’s newest member John Erhardt has helped evolve the band’s sound, adding a twangy psychedelic vibe as they’ve expanded their profile with recorded sessions for BBC 6 Music and KEXP, appearances at SXSW and CMJ, touring with the likes of The Afghan Whigs, and have shared stages with Yo La Tengo, The Breeders, Best Coast, Mudhoney, Okkervil River, The Mekons, COME, Wreckless Eric and Jeffrey Lewis.
Wussy’s forthcoming seventh studio What Heaven Is Like is slated for May 18, 2018 release through Damnably Records in Europe and Shake It! Records in the States, and the album’s latest single “Gloria” is reportedly inspired by the protagonist of Fargo‘s Season 3, Gloria Burgle, played by Carrie Coon — but in a much larger sense, the song is meant to paint a portrait of an inscrutable everywoman, who dares to stand up to an omnipresent, almost supernatural, villain. As the band’s Lisa Walker explains in press notes, “This season of Fargo was so bleak and unrelenting. The V.M. Varga character seemed like an undefeatable entity, something between a robber baron and whoever’s secretly watching you from the other side of your screen in real-time. Gloria’s purity of heart made her this bright shining light.. the only person actually impervious to the enemy. But even beyond that, I was very inspired this year by several women who dared to put everything on the line, even their own lives, to stand up for what is right. I tried to show my respect for this great courage in the re-telling of Gloria’s story.” Interestingly, the band pairs this narrative story within a song that manages to be cinematic yet intimate while nodding at Americana and early 90s Pearl Jam — i.e., “Tremor Christ,” off Vitalogy and so on.
After 2014’s full-length effort, Voir Dire, the Chicago, IL-born and-based members of Minor Characters, a trio of long-time friends and schoolmates Andrew Pelletier (guitar, vocals), Shelby Pollard (guitar) and Thomas Benko (drums) felt a collective sense profound angst and confusion that almost broke the band up. “Getting that out was such a stressful moment in all of our lives that I think the band kind of imploded and deflated because of it,” the band’s Andrew Pelletier recalls in press notes. “We weren’t playing anymore and we decided to take a number of months off. In that interim, I did a little bit of traveling.”
Pelletier’s traveling took place primarily during 2016, arguably one of the most politically contentious years in at least 50 years of American history, and naturally those trips criss-crossing the States (and eventually to Asia) wound up influencing the Chicago-based band’s frontman, who eventually wrote a series of deeply personal vignettes focusing on his observations on the sociopolitical moment paired with sardonic reflections on the band’s health; but reportedly underneath it all, is a desire that many of us have felt — a desire to pack up your shit and leave for a while, despite the fact that American culture is inescapable.
With a few hours to kill before I could check into my hotel room in Dordrecht, The Netherlands, I once sat in a cafe in Amsterdam, scribbling thoughts in a beaten up journal, while listening to a Dutch waitress sing along to Aretha Franklin’s “(You Make Me Feel Like) A Natural Woman.” Although the radio station was also in Dutch, the format was familiar — American style morning drive, FM radio. Another time, while sitting in a hotel room in Bad Soden, Germany, I randomly caught part of an early episode of Law & Order dubbed in what I think was Italian. Adding to the surreal sense of confusion and frustration, there’s literally a McDonald’s, Burger King or a Starbucks on every single corner.
As Pelletier says in press notes, “The insanity of the current government would be…I wouldn’t call it a source of inspiration, but certainly a source of disillusionment turned into inspiration. There are many things in my life that I put off,” the band’s frontman adds on a more personal note, “one of them being travel, especially to Asia because I’ve always wanted to go to Asia, and then also being in a relationship I put off for many, may years.” After his travels, Pelletier reconvened with his bandmates Pollard and Benko, along with Joe Meland (piano, string arrangements) and a series of collaborators at SHIRK Studios, where instead of a breakneck recording sessions, the band allowed the songs to morph with every recorded iteration, giving each individual version a unique life. As the band’s Pollard says, “We’re doing string arrangements on this record, horn arrangements, there’s organ. There’s all of these components that, because we gave ourselves such unlimited amount of time to focus on, ‘Is this song ready?’ we were really able to figure out what each track needed individually and then it just so happens that it fits together.”The end result is the band’s forthcoming album We Can’t Be Wrong, which is slated for an April 6, 2018 release — and while the album’s latest single “Pimps of Freedom (Whores of D.C.)” will remind some listeners of The Bends-era Radiohead and JOVM mainstays Husky, possesses a breathless and bristling sense of outrage, as the song thematically focuses on the crony capitalists in DC deregulating then dismantling the government and handing it over to make money.
The album’s latest single is the shimmering, arena rock friendly “Nola,” a song inspired by Pelletier’s experience of heading down to New Orleans, as a wide-eyed, college kid to help in hurricane assistance relief post-Hurricane Katrina. As Pelletier explained to the folks at Glide Magazine “When I arrived, I was shocked to be met with such death and destruction, yet a city undyingly full of hope. I fell head over heels for the place, it’s people, the Eden of American music. When I got home from the trip I wanted to go back immediately, so I wrote a song about it. I actually did go back, like three times in the next two years. Nola was originally a Nick Drake-ian folk tune but my bandmates wanted it to be roaring and bombastic and lead off the album.” Sonically speaking, the rousingly arena rock hook song continues in a similar vein of its predecessor, as it owes a debt to 90s alt rock — i.e., The Bends-era Radiohead and Vitalogy-era Pearl Jam; but at its core the song thematically focuses on the need for hope and redemption, in the face of the horrors of death, destruction and even political instability. Ultimately, the song suggests that sometimes clinging to hope of hope may be the only thing you have to sustain you.
Last month, I wrote about the indie rock All-Star act Lo Tom, an indie rock act, which features some incredibly accomplished musicians and artists, with more than 125 combined years of playing, writing, recording and touring as professional musicians. And interestingly enough, the band, which is currently comprised of David Bazan, best known for his work in Pedro the Lion; Trey Many, a member of Velour 100 and Starfinder 59; TW Walsh, a bandmate of Bazan’s in Pedro the Lion, a member of The Soft Drugs and a well-regarded solo artist; and Jason Martin, a bandmate of Trey Many in Starfinder 59 are long-time friends, who used to mess around and jam together, missed playing together and decided that they should spend some time writing and recording together.
The quartet’s self-tiled debut is slated for a July 14, 2014 release through Barsuk Records and was written and recorded during a rare period of free time that each member of the quartet could spare. And the sessions consisted of the longtime friends meeting up with some loose riffs and beats and seeing where things would go, while Bazan, who wrote most of the album’s lyrics would make up something quickly and on the spot, before eventually refining them. Interestingly enough, the album’s first single “Overboard” possessed the looseness of four, friends and old pros getting together and jamming, and as soon as someone starts off with a idea, the other bandmates know where to go and how to flesh it out. The band manages to find a comfortable balance a free-flowing, jam session within a band that also manages to seamlessly mesh elements of the work of each individual member; in fact, the single features the soaring hooks and power chords of the alt rock and power pop that have clearly influenced it, and each member’s own work.
The album’s second and latest single “Covered Wagon” will further cement each member’s individual reputation for crafting hook-laden, anthemic, power chord-based indie rock. But interestingly enough, the song to my ear reminds me of Steve Wynn and the Miracle 3‘s excellent Northern Aggression, Vs. and Vitalogy-era Pearl Jam, as it may arguably be one of the more straightforward and forceful rock songs off the new album — and one of my favorites of the entire summer so far.
Last month, the band announced their first live dates together, and as you may recall, the tour includes an August 12, 2017 stop at Rough Trade. Check out the tour dates below.
TOUR DATES:
08/11 Boston, MA – Brighton Music Hall (tickets / info)
08/12 Brooklyn, NY – Rough Trade (tickets / info)
08/17 Santa Ana, CA – Constellation Room (tickets / info)
08/18 Los Angeles, CA – Bootleg Theater (tickets / info)
08/19 Seattle, WA – Tractor Tavern (tickets / info)
Led by its founding member, composer and bassist Ezra Gale and featuring Rick Parker (trombone), Alex Asher (trombone), Jon Lipscomb (guitar) and Madhu Siddappa, the Brooklyn-based trombone-led dub quintet Super Hi-Fi can trace their origins to a rather unlikely beginning. Gale, who was a founding member of acclaimed San Francisco-based Afrobeat act Aphrodisia, an act that once played at Fela Kuti‘s famed Lagos, Nigeria-based night club The Shrine, had relocated to Brooklyn and was collaborating with Quoc Pham in Sound Liberation Front when Gale was asked to get a band together for Pham and Gale’s then-monthly Afro-Dub Sessions parties in Williamsburg. Much like DJ Turmix’s Boogaloo Party, the Afro-Dub Sessions Party would pair the live band fronted by Gale with the dub’s top-flight producers and DJs including Victor Rice, Prince Polo, Subatomic Sound System, the Beverley Road All-Stars and others.
When Gale founded Super Hi-Fi, the project was initially intended to translate the improvisatory mixing process of dub to the live show; however, with the 2012 release of their critically applauded debut effort Dub to the Bone, a busy touring schedule in which they opened for nationally known acts like Rubblebucket, Beats Antique and John Brown’s Body, followed by the release of their Yule Analog Vol. 1 and Vol. 2, the project began to cement its growing reputation for crafting a unique and expansive take on dub and reggae.
With the recent release of Super Hi-Fi Plays Nirvana, the Brooklyn-based dub quintet push the boundaries of reggae and dub by paying tribute to Nirvana. And in typical Super Hi-Fi fashion, the members of the band manage to create their own take on the iconic Seattle-based trio’s material with renowned dub producers, Sao Paulo, Brazil‘s Victor Rice; Venice, Italy‘s Doctor Sub; and Brooklyn’s Prince Polo — all of whom are frequent collaborators with the band — assisting to further bend and morph the band’s sound in trippy and psychedelic ways, which help take fairly familiar songs into bold, new territory.
Adding to the uniqueness of the release, Very Special Recordings, a small, boutique Brooklyn-based label founded by Super Hi-Fi’s Ezra Gale, that specializes in releases cassettes that showcase the diverse of their borough’s and city’s music scene. Interestingly, while we all live in a world of Spotify playlists and streamable music that one never really owns, cassettes have seen something of a renaissance of late with several artists and labels releasing cassette only releases — and in some way, it’s a response against not just streaming services but against the trend towards technophilia for the sake of technophilia. While being relatively cheap to make and sell, a cassette tape does require a bit of effort — you’d have to go to a physical record store to purchase your favorite band’s new record and then bring it home to play; have a label or friend mail or give you a tape; and at the very least, you’ll probably listen to the whole tape, if not an entire side once. Plus, let’s not forget, that unless your favorite song is the first song or last song of a side, finding it can be a frustrating and time-consuming experience. And yet, if you remember buying cassettes at your local record store, as I do, it’s an experience that frankly I sometimes miss very dearly.
I recently spoke to Super Hi-Fi’s Ezra Gale about Super Hi Fi Plays Nirvana, how the arranging and re-arranging process differs from Gale’s normal songwriting process, the band’s upcoming releases and more. Check it out below.
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WRH: In the Q&As for The Joy of Violent Movement, we almost always begin with some fairly introductory stuff for readers. So let’s begin, shall we?
WRH: How did the members of the band meet?
Ezra Gale: I had an idea for a two trombone band and placed a Craigslist ad for trombone players which got exactly two responses, from Alex Asher and Ryan Snow, who became our first two trombone players. Everybody else I just met through other musicians.
WRH: How would you describe your sound?
EG: It’s dub, but I don’t know if it’s reggae.
WRH: Who are you listening to right now?
EG: The last album I bought was Bowie‘s last album, Blackstar, which is just incredible.
WRH: Seminal albums like Nirvana’s Nevermind, U2’s Achtung Baby, A Tribe Called Quest’s The Low End Theory and Midnight Marauders, R.E.M.’s Automatic For The People, Soundgarden’s Badmotorfinger, Superunknown and Down On The Upside, Pearl Jam’s Ten, Vs. and Vitalogy and others reaching important milestone anniversaries, it’s a bit surprising to me that to my knowledge more bands haven’t seriously begun to tackle them with more covers and more tribute albums, especially if you consider how many Led Zeppelin, Pink Floyd, and Beatles tribute albums have been released over the years. Why haven’t there been more Pearl Jam, U2, R.E.M. tributes and covers? And how did you come upon paying tribute to Nirvana?
EG: I really don’t know about those other bands, for us we started playing a version of “Something In the Way” a couple years ago, and we all sort of got the idea that maybe a whole album of Nirvana tunes could be interesting.
WRH: Much like your fantastic Christmas albums, Super Hi-Fi Plays Nirvana features a couple of very well-known songs such as In Utereo’s “Heart Shaped Box,” and their famous Unplugged cover of “Where Did You Sleep Last Night?” as well as some rather deeper cuts such as “Verse Chorus Verse,” their Incesticide cover of “Love Buzz” Nevermind’s “Something In The Way” and “Polly.” What inspired you to choose those songs to tackle instead of something more tried and true?
EG: Well, initially I wanted to do all really obscure ones. Nirvana is a band whose famous songs have been played to death and I don’t know if anyone really needs to hear another version of “Smells Like Teen Spirit”, for example. But I know them from when Bleach came out and they were just this really great, intense band from Seattle that not many people knew- my college band even opened for them then, randomly. So I wanted to spotlight some of those lesser-known songs of theirs. But then, I think i was riding my bike and I suddenly started hearing “Heart Shaped Box” in this really slow, weird way, so we ended up doing that one. Ultimately it’s just about giving each song a different treatment and finding something new to do with it, no matter how many times you’ve heard it before.
WRH: How do you go about re-arranging material that’s fairly familiar in a way that adds your particular spin to it — while maintaining something familiar? And how does the process of re-arranging material differ from your normal songwriting process?
EG: It is different than a normal songwriting process. This album was very similar to our two Christmas albums (“Yule Analog” Vols. I and II), in that the goal was to take familiar material and make it sound different. And like in arranging those Christmas songs, I made some rules for myself doing it, which were that the melody line had to be the same, but everything else around it could change. So the rhythms are obviously very different, but also, Nirvana was a band with only one singer and we have two trombones, so in a lot of these versions the second trombone part is made up- like in “Verse Chorus Verse”, “Heart Shaped Box” and “Where Did You Sleep” especially. And also the chords are quite different in some of these, “Polly” and “Where Did You Sleep” especially are pretty different chord changes than the Nirvana versions.
My attitude towards cover versions is just that there’s no point in doing them if all you’re doing is to play it like the original version. No matter how great the original song is, I don’t ever want to regurgitate what someone else has done- go listen to the original if you want that. At the same time, I think it should be recognizable as the original song, somehow. So the challenge of taking material and sort of shaping it into something different that still has echoes of the original song is something I really enjoy doing.
WRH: While doing a little research for this interview, I learned that you’re currently working on your sophomore full-length effort, as well as Beatles/Police 45 for Record Store Day. Could you tell us a little bit about those projects?
EG: Yes, we are about 80% done with the mixing for the new full-length album, which is going to be called “The Blue and White” and it will be our second LP of all-original music. It’s quite different I think, there are lots of vocals and different sounds for us. It was recorded and mixed all onto tape too, which has been a real pain in some ways (!) but is so, so worth it- it sounds amazing I think. It will be out in the springtime sometime I think, on vinyl, somehow or other, we haven’t figured out yet.
And then the single is done and will be released on Electric Cowbell Records for Record Store Day in April, it’s the Beatles’ “I’m Only Sleeping,” which was actually recorded for our “Dub to the Bone” album but left off it, and a version of The Police‘s “Hole In My Life” which we recorded for the new album, both extremely whacked-out and different versions, I can’t wait to play it for people.
WRH What’s next for the band?
EG: We haven’t been playing live that much the last few months because I’ve been so focused on finishing these albums, so once we’re done completely with the new LP I’m looking forward to playing a lot more in the new year.
New Video: Avers Returns with an Anthemic, Garage Rock New Single Paired with Mischievous Yet Ironic Visuals
Omega/Whatever’s latest single “Vampire” much like the album’s previous single is deeply indebted to 90s alt rock –in particular, I’m reminded of Vs. and Vitalogy-era Pearl Jam but with a wry sense of humor, as the song’s narrator is desperately pleaded for an easy-going, less stressful life to a propulsive, anthemic hook that pairs ethereal synths with twangy and crunchy guitars fed through effects pedals.
The recently released video follows the adventures of a motorcycle helmet wearing, jorts wearing protagonist, who brings a goofy amount of joy to all that crosses his path; but the video manages to evoke a bitter irony at its core — the sort of easy-going life the narrator is pleading for may not be possible; and in fact, the joy that the protagonist brings to everyone, has him passing out exhausted and alone.
New Audio: Arbor Labor Union’s Moody and Metaphysical-Leaning, New Single
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New Audio: Athens, GA-based Quartet Returns After a Name Change With More Raw, Furious Rock
If you had been following JOVM over the course of 2015, you might recall coming across a couple of posts on the Athens, GA-based quartet Pinecones. And although at the time, they were a relatively […]
New Audio: PWR BTTM’s Latest Single “1994” Brings Back Memories of the 90s
If you’ve been following JOVM for a while, you know that the site has gone through a massive re-design over the past month and a half, and with a new CMS, it means adjusting to […]