Tag: power pop

Single Review by William Ruben Helms

Slated for an April 5, 2019 release through Dirtnap Records, Love Keeps Kicking, the forthcoming, third, full-length album from County Durham, England-based punk rock outfit Martha reportedly is partially a breakup record in which the album’s material goes through the familiar spectrum of emotions associated with heartbreak but while reminding the listener that what hurts now, won’t hurt forever — and that the hurt they experience will be a vital part of their life story, informing who they are, who they will become and how they treat others.

Centered around enormous and rousingly anthemic hooks, big power chords, a motorik-like groove and boy-girl harmonies, Love Keeps Kicking‘s latest single “The Void” is an urgent and frenzied bit of power pop tinged punk — but thematically, the song as the band explains in press notes is “about the cosmic darkness that’s engulfing the planet and all life on it. Impending ecological catastrophe, nuclear Armageddon, ancient gods awakening, suicidal sedation . . . We’re staring into the void . . .”

The band are currently in the middle of a lengthy UK and European Union tour. Check out the tour dates below.

Tour dates

06 April – UK – Margate, Elsewhere

07 April – BEL – Antwerp, Trix

08 April – DE – Bochum, Rotunde

09 April – DE – Wiesbaden, Schlachthof

10 April – DE – Köln, Sonic Ballroom

11 April – DE – Jena, Kassablanca

12 April – CZ – Prague – Klub 007 Strahow

13 April – DE- Alte Mälzerei, Heimspiel Festival

16 April – UK – London – The Garage

20 April – UK – Manchester – Manchester Punk Fest

26 April – UK – Bristol – Exchange

27 April – UK – Brighton – West Hill Hall

28 April – UK -Birmingham – Hare & Hounds

3 May – UK – Glasgow – Mono

5 May – UK – Leicester – Handmade Festival

13th July – UK – Cheltenham – 2000 Trees Festival

28th July – UK – Steventon – Truck Festival

29 Aug-1 Sept – UK – Larmer Tree Gardens, End of the Road Festival

8 Nov – UK – London – Heaven

 

Video by William Ruben Helms

New Video: Follow Bad Sports’ Orville Neely on a Drunken and Lonely Spree in Video for “Don’t Deserve Love”

The Denton, TX/Austin, TX-based trio Bad Sports, comprised of Orville Neely III (guitar, vocals),  Aniel Fried (drums) and Gregory Rutherford (bass) featured some of their home state’s most accomplished musicians — Neely is the frontman of the acclaimed OBN IIIs, while Fried and Rutherford have played together in Video and Radioactivity. Now, as you may recall, the band released their fourth album Constant Stimulation through their longtime label home Dirtnap Records last October, and the album which marks the band’s tenth anniversary, also found the band pushing their sound and songwriting in a new, more mature direction. centered by a leaner, tense production meant to evoke a decided sense of frustration, tension, and world-weariness.

Constant Stimulation‘s first single “Don’t Deserve Love” further cements the trio’s reputation for crafting power chord-based punk but there’s a decided power pop bent, as the song reveals a deliberate and thoughtful attention to rousingly anthemic hooks and earnest emotion. Sonically, the song manages a contemporary take on a familiar sound without being soulless mimicry. But interestingly enough, the song may arguably be the most personal song they’ve written and released as it’s fueled the crippling self-doubt and insecurity of a vulnerable adult, who has openly and freely admitted that while life has made them a survivor, they’re lonely, desperate, broken, fucked up, confused, and afraid — of connecting with others and getting heartbroken and having to start again; of being a failure and a fraud; of a world that’s going up in flames and not caring or not knowing what to do. 

Directed by Z.W.Sprague and written by Orville Neely, the recently released video for “Don’t Deserve Love” stars Neely as a self-conscious, lonely, and somewhat awkward man, who acts in an out of control fashion — drinking way too much, doing way too much coke, smoking too many cigarettes and takes jokes way too far. And as a result, the video’s protagonist winds up frustrating and annoying everyone around him. After being discovered vomiting in a bar bathroom, Neely gets tossed out of the bar, stumbles off to a convenience store for more booze, vomits once again and ends the night drunkenly passed out, disappointed and alone. While being profoundly sad, the video illustrates a much bigger point — that for many of us, we’ve been that lonely, drunken slob, lost in their sadness, self-flagellation and inability to do anything about it. 

Video by William Ruben Helms

New Video: Introducing the Mischievous and Breakneck Power Pop of Coughy

Comprised of Ava Luna’s Julian Fader and Speedy Ortiz’s Andy Molholt, Coughy initially began as a late night recording experiment that the duo started while teaching at a performing arts summer camp. Eventually taking a life of its own in 2016, the project became a recurring obsession with Fader and Molhott challenging one another to write what they’ve referred to as “tiny songs” which pack as many logical twists and turns within the confines of about a minute whenever possible. After releasing some of those mini songs on a cassette tape back in 2017, Fader and Molhott went on to write their full-length debut Ocean Hug, which is slated for a March 29, 2019 release through Joyful Noise Recording. 

Clocking in at 56 seconds, Ocean Hug’s first single V is a breakneck bit of grungy, power pop centered around distortion and effect pedal-fueled power chords and thundering drumming. And despite its quick run time, the duo manages to throw in a rousingly anthemic hook within a classic 90s alt rock-like song structure — except everything is super truncated, as though the duo were double parked and were worried about getting a ticket. 

Directed by John Andrews, the recently released animated music video for “V” is a playful, squiggly line drawing-based take on The Three Little Pigs that features the three little pigs rocking out while the big bad wolf watches. 

Single Review by William Ruben Helms

Founded by the New Jersey-born, Seattle-based singer/songwriter Jay Louis, and currently featuring Joe Oakes (drums), Tom Moskal (bass) and Jackson Fahey (guitar), the Seattle-based indie rock act La Fille can trace their origins to when Louis relocated to Seattle in search of like-minded musicians to collaborate with. And upon his arrival in Seattle and inspired by his uprooting, Louis began writing the material that would eventually comprise the band’s full-length debut, Alright Already, which is slated for a March 15, 2019 release. As he writing material, Louis met Oakes through a Craigslist ad — and although, Oakes initially intended to start a punk band, he had hit it off with Louis and decided to start La Fille with him instead.

Shortly after forming La Fille, Louis and Oakes went to the studio to record the material that would become Alright Already with Telekinesis‘ Benjamin Lerner. Since then, Louis and Oakes recruited Moskal and Fahey to complete the band’s live lineup.

Alright Already‘s latest single “Everyday Feels Like I’m Getting Older” is 90s alt rock-inspired power pop tune centered around jangling power chords, plaintive vocals, a propulsive rhythm section and a rousingly anthemic hook — but underneath all of that, the song’s narrator is attempting to get their shit together, because time is flying and there’s no time to waste on childishness or bullshit.

Single Review by William Ruben Helms

 

In the very early days of this site, I wrote quite a bit about the Ottawa, Ontario, Canada-based Steve Adamyk Band, and although it’s been some time since I’ve personally written about them, they’ve remained one of Canada’s contemporary, premier power pop/punk acts. Throughout the past decade, the band has toured Japan, North America and Europe while releasing five full-length albums and a lengthy list of seven inch singles. Back in 2016, the band’s most consistent and longest-held lineup split up, and it would have been accepted and natural to call it a day and move on with something else; however, the band has managed to continue with the same relentless touring schedule — and a new lineup featuring the band’s only remaining original member Dave Williams (guitar, vocals), The Acorn’s Pat Johnson (drums) and Uranium Comeback’s Johnny O (bass).

The newly constituted trio’s forthcoming full-length album Paradise was recorded by Mike Bond at Wolf Lake Studios and mixed by Jesse Gander in Vancouver, and the album reportedly finds the band retaining some of the same vibe that fans and critics have come to know and love — but with a larger, beefed up sound. Clocking in at a breakneck 93 seconds, Paradise‘s first single is the scuzzy and anthemic power chord ripper “In Death.” Just listening to the song brings back warm memories of dark dive bars and sweaty, foul-smelling punk rock clubs in the Lower East Side with sweaty dudes in a mosh pit, shouting along to the song’s enormous raise-your-beer-aloft hook.

The members of The Steve Adamyk band will be on tour to support the new album. Sadly, there aren’t any NYC area tour dates (as of yet at least) but check out the dates below.

 

Tour Dates:
2/15 – Ottawa, ON @ Mavericks (with Teenage Head)
2/22 – Cincinnati, OH @ NorthSide Yacht Club (with Raging Nathans,
Vacation, Dopamines)
2/23 – Fort Wayne, IN @ Berry Street Recording (with Raging Nathans)
2/24 – Madison, WI @ Mickey’s Tavern (with Raging Nathans, Proud Parents)
2/26 – Minneapolis, MN @ First Street Entry (with Mike Krol)
2/27 – Milwaukee, WI @ Back Room at Collectivo (with Mike Krol)
2/28 – Chicago, IL @ Empty Bottle (with Mike Krol)
3/01 – Detroit, MI @ Deluxx Fluxx (with Mike Krol)
3/02 – Toronto, ON @ The Garrison (with Mike Krol)
3/23 – Ottawa, ON @ House of Targ
4/26 – Ottawa, ON @ The Dominion Tavern
5/09 – Quebec City, QC @ Scanner Bistro (with DeeCracks)
5/10 – Moncton, NB @ The Caveau (with DeeCracks, Chiller, Phone Jerks)
5/11 – Halifax, NS @ Gus’ Pub (with DeeCracks, Outtacontroller)
5/12 – Shawinigan, QC @ Brewery (with DeeCracks)
5/16 – Ottawa, ON @ Black Squirrel Books (with DeeCracks)

 

Single Review by William Ruben Helms

New Audio: Introducing the Urgent Power Pop of Norway’s Spielbergs

With the release of their urgent debut single “We Are All Going To Die,” the Oslo, Norway-based indie rock trio Spielbergs, comprised of Mads Baklien, Stian Brennskag and Christian Løvhaug, quickly established themselves as a band to watch as they received attention across the globe, eventually topping the Hype Machine charts as one of the most blogged about bands in the world and eventually receiving airplay on Steve Lamacq’s BBC Radio 6 program. Building upon a growing profile, the Norwegian trio released their debut EP Distant Star to critical applause — although after such immediate success, there was one question that frequently followed: “How do you follow that up?” Well, if you’re an up-and-coming band, much like Speilbergs you continue on the momentum of the previous year with the highly-anticipated release of your full-length debut; in the case of Spielbergs, their full-length debut This Is Not The End is slated for a February 1, 2019 release through By The Time It Gets Dark Records. 

This Is Not The End’s first single “4AM” is a breakneck and ardently urgent ripper, centered by big power chords, shout along worthy hooks and a heart-worn-on-the-sleeve immediacy that’s endearing and necessary within a world that’s inching towards its inevitable destruction. Interestingly, the song is underpinned by a power pop-like sense of melody that recalls Cheap Trick.  

Single Review by William Ruben Helms

Last month, I wrote about the Sudbury, Ontario, Canada-based punk act Tommy and the Commies, and as you may recall, the band, which is comprised of  Jeff Houle, best known as the creative master mind of Strange Attractor; Jeff’s brother Mitch, with whom he’s played in power pop act STATUES; and frontman Tommy Commy can trace their origins to when Commy dragged Jeff Houle into a punk rock venue bathroom stall to play an inaudible demo on his phone. And as the story goes. the Houles decided to collaborate with Commy, after being impressed by his vocals.

The trio’s full-length debut, Here Come .  .  . is slated for release later this month through Slovenly Records, and “Devices,” the album’s first single revealed a band that specializes in a furious and blistering mod punk that recalls power pop and  The Ramones on speed,  while centered by an incisive criticism of our addictive obsessions with our electronic devices. “Suckin’ In Your 20s” the Canadian trio’s latest single off their full-length debut continues in a similar vein as its predecessor as its an angular bit of breakneck power pop-influenced punk with enormous, rousing hooks that manages to be reminiscent of Q: Are We Not Men? A: We Are DEVO-era DEVO; in fact, the song seems underpinned by an anxious nihilism that evokes our socioeconomic moment.

 

 

Single Review by William Ruben Helms

Comprised of Orville Neely III (guitar, vocals),  Aniel Fried (drums) and Gregory Rutherford (bass), the Denton, TX/Austin, TX-based trio Bad Sports features some of their home state’s most accomplished musicians — Neely is the frontman of OBN IIIs, while Fried and Rutherford have played together in Video and Radioactivity. Interestingly, the trio’s fourth full-length album Constant Stimulation is slated for an October 29, 2018 release through their longtime label home Dirtnap Records, and the album, which finds the trio celebrating their tenth anniversary together, also reportedly finds the band pushing their sound and songwriting in a new, more mature direction, centered by a leaner, tense production meant to evoke a decided sense of frustration and world-weariness.

Constant Stimulation‘s first single “Don’t Deserve Love” continues in the power chord-based punk vein that won the trio attention across the blogosphere but there’s a decided power pop leaning with their deliberate and thoughtful attention to crafting crowd pleasing hooks — but where their previously released material was the sort of stuff you’d shotgun beers to in your favorite dive bar, there’s a subtle acknowledgement of the fact that a world and civilization inching towards its annihilation will force you to put down the childish concerns of one’s youth and grow up a bit, all while still knocking you on your ass. Interestingly, the track may be the most personal one they’ve written in quite some time, as its fueled by a crippling self-doubt and insecurity that hide an adult vulnerability; the sort of vulnerability in which you’d freely admit that life can make you a broken and fucked up person — but a survivor all the time.

 

 

 

Single Review by William Ruben Helms

Initially began as the solo recording project of the Seattle, WA-based multi-instrumentalist, singer/songwriter Peter Michel, Hibou quickly exploded into the national scene with his self-produced, home recorded, 2015 self-titled debut, which received praise from Pitchfork, Stereogum, Consequence of Sound and others for crafting shimmering yet introspective bedroom pop. And adding to a growing profile, Michel opened for the like son Metric, Phantogram and Unknown Mortal Orchestra.

Michel’s sophomore Hibou effort Something Familiar is slated for a March 2, 2018 release through Barsuk Records finds Michel embracing a number of changes. The Seattle, WA-based singer/songwriter, multi-instrumentalist and producer made a rather conscious choice to track the album’s material in a real studio — this time, Chris Walla‘s Hall of Justice Studios, with an outside producer, Dylan Wall, who has worked with Craft Spells, a band that Michel once played drums in. Adding to a string of changes to his creative and recording process, Something Familiar finds Michel recording with his touring band. “I toured for a long time with the band, and it was really interesting to see how the songs changed when there were four people playing them, as opposed to just me in my bedroom,” Michel explains in press notes.

Along with that, the material reflects a period marked by profound changes. “I was still a teenager when I was writing the first album,” Michel says. “All of the songs feel a little one-faced. They’re about relationships and love and summertime and things like that. On this upcoming album, I really challenged myself lyrically to get a little more personal, and talk about some of the darker parts of myself.” In fact, the material addresses Michel’s ongoing bouts with anxiety and depersonalization. (Depersonalization is a disorder generally distinguished by feeling disengaged from the mind and body. as if if the sufferer is an outsider looking in at their own self.) Naturally, while still retaining elements of the sound that first caught both national attention and the attention of the blogosphere — namely, lush keys, reverb soaked guitars and Michel’s dreamy crooning.   “It was strange to start consciously writing from a different stylistic standpoint, but I didn’t want to totally turn the page,” Michel notes. “There is still a fundamental Hibou sound in there. It just is drenched in a little more honesty.”

You might remember that “Junipero Love” was reportedly inspired by the Emmy Award-winning “San Junipero” episode of Black Mirror.  Interestingly, Michel found common ground with the episode’s protagonist Yorkie, who navigated two different realities and a burgeoning relationship.  “The contrast between the two worlds depicted in the episode hit very close to home for me,” Hibou’s creative mastermind says in press notes. “I often feel torn between a conscious state and losing a hold of my memories and who I am.”  And while the single will further cement Hibou’s reputation for crafting breezy and shimmering guitar pop, there’s a subtle expansion of his sound as you’ll hear a tight and funky groove throughout; but underneath the breeziness is a wistful and bittersweet tone that suggests that the song’s narrator isn’t quite sure if he’s dreaming or awake or if he’s experiencing is actually real.

Something Familiar‘s latest single “Malison” is a breezy bit of power pop that features enormous power chords, soaring synths and a rousingly anthemic hook paired with Michel’s dreamy yet deeply anxious vocals within a song that sounds indebted to 90s alt rock, complete with a radio friendly air; but underneath, the swaggering arena rock sound, the song is much darker with Michel admitting in press notes that the song is “the most honest song I’ve ever written. It confronts the attention that my anxiety demands and handicaps me into a spiral of routines that only end up making things worse. I can’t remember the last time I had a day where I felt comfortable in my own skin and felt like I wasn’t putting on an act of normality.”

 

Single Review by William Ruben Helms

With the release of their first two EPs, Gloomy Tunes and Crushed, the Portland, ME-based indie rock trio Weakened Friends, comprised of Sonia Sturino (vocals, guitar), Annie Hoffman (bass), and Cam Jones began receiving quite a bit of buzz for a sound that  clearly draws from power pop and 90s grunge rock. And in fact, over the past year or so the band has seen a growing profile as they played this year’s SXSW and have shared stages with the likes of CHVRCHES, Silversun Pickups, Beach Slang and Juliana Hatfield, essentially adding themselves to a growing list of contemporary fuzzy guitar pop-leaning acts that include JOVM mainstays Dead Stars and others.

“Hate Mail,” the trio’s latest single is a rousingly anthemic, mosh pit friendly “fuck off/don’t you come back here/you were the worst thing that ever happened to me/good riddance” song, perfect for anyone who’s gotten out of a miserable and toxic relationship — with some semblance of their dignity and sanity intact, and the sentiment is complimented (and emphasized) with a fuzzy power chords, thunderous drumming and howled, distorted vocals. While the song will further cement their growing reputation for crafting 90s grunge rock-inspired power pop, the song features the Maine-based trio collaborating with Dinosaur Jr.‘s J. Mascis, who contributes his imitable guitar sound to the proceedings.

 

Single Review by William Ruben Helms

Skyler Cocco is a Floral Park, NY-born, New York-based singer/songwriter, multi-instrumetanlist, producer and model, who began writing songs as a child, and by the time Cocco was 11, she learned to operate the eight track recorder in her late father’s studio, how to program drums and then taught herself bass, guitar and piano to accompany her songs. Her career started in earnest as a a pop artist, writing hooks and collaborating with rappers as a cowriter, usually by writing hooks or producing beats but while studying studio composition at SUNY Purchase’s Music Conservatory, she further fleshed out her sound, eventually transitioning to a hard rock-leaning pop sound that’s largely influenced by Nirvana, Grimes, Soundgarden and others.

Cocco’s full-length debut Reverie was co-produced by Zach Miller and is slated for release sometime this year and from the album’s latest single “Some Nerve,” the up-and-coming, Floral Park, NY-born, New York-based singer/songwriter, multi-instrumentalist, producer and model specializes in the sort of anthemic and radio friendly hard rock — er, hard pop? — that’s reminiscent of Paramore, if they had decided to cover A Perfect Circle/Tool; and in fact similar to the work of Holy Wars, Cocco’s latest single, as well as the rest of the material on the album focuses on learning to live in the face of profound grief and heartache.

 

Video by William Ruben Helms

New Video: The Mischievous Schoolhouse Rock-Influenced Animation and Live Action Visuals for White Reaper’s “The World’s Best American Band”

Now, if you’ve been frequenting this site for a while, you might recall that with the release of their self-titled EP and their critically applauded full-length debut White Reaper Does It Again, the Louisville, KY-based quartet White Reaper quickly became JOVM mainstays and received attention nationally and elsewhere. And after a busy touring schedule to support their full-length debut, the acclaimed band retreated and spent the past year writing and recording the material that would comprise their sophomore full-length effort The World’s Best American Band, which Polyvinyl Records released last month.

And from The World’s Best American Band’s first single, “Judy French,” which reminded me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush, the band has made decided change in sonic direction — and while retaining the power chords and sneering punk attitude, the material possesses a clean, studio sheen and anthemic hooks; in fact, the album’s second single, album title track “The World’s Best American Band” continues on the leaner, cleaner, meaner vein of its predecessor, nodding at Cheap Trick, revealing some ambitious yet incredibly accessible songwriting.
The recently released music video for “The World’s Best American Band” features a mischievous mix of Schoolhouse Rock-era animation and live action. Beginning with the typical pre-show/pre-set hijinks as the fans are waiting for their favorite band to get on the stage, we’re introduced to the animated dopplegangers of the band’s members — with lead singer Ryan picking up his bandmates and friends as they finish up some surreal situations, including a paying chess against an anthropomorphic hot dog. There’s also a dude who eats a psychedelic colored hot dog that makes him hallucinate that he’s turned into a different, anthropomorphic hot dog. And if there’s one thing to be certain of it’s this — don’t eat those concert hall hot dogs, man. They’ll fuck your shit up.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays White Reaper Return with an Arena Rock-Friendly Power Pop Anthem

With the release of their self-titled EP, their critically applauded full-length debut White Reaper Does It Again and a series of tours with nationally renowned acts like Deerhoof, Young Widows, Priests and others, the Louisville, KY-based quartet White Reaper quickly became JOVM mainstays and received attention nationally and elsewhere. After touring to support their White Reaper Does It Again, the band retreated to write and record the material that would comprise their long-awaited sophomore effort The World’s Best American Band, which is slated for an April 7, 2017 release through Polyvinyl Records.

Last month, I wrote about The World’s Best American Band’s first single “Judy French,” a single, which revealed that the band had gone through a decided change in sonic direction from scuzzy, power chord-based garage towards New Wave and prog rock and a bit of a studio sheen that reminded me a bit of The Cars “You Might Think” and Moving Pictures-era Rush while retaining a sneering punk attitude and rousingly anthemic hooks. Interestingly, the album’s second and latest single, album title track “The World’s Best American Band” continues on a somewhat similar cleaner, leaner vein as its preceding single while seemingly drawing to the anthemic power pop of Cheap Trick and others; and in fact, the single finds the band with the same sort of enormous sound you’d expect from the sorts of bands that have played arenas and stadiums.

New Audio by William Ruben Helms

Comprised of founding members Marvin Nygaard (bass) and Vidar Landa (guitar), along with Børild Haughom (vocals) and Espen Kvaløy (drums), the Oslo and Stavanger, Norway-based indie rock quartet Beachheads can trace their origins to when its founding members Nygaard and Landa were members of renowned heavy rock Norwegian band Kverlertak. As the story goes, Beachheads’ founding duo had dreamt of playing anthemic power pop based around fuzzy guitars and a strong sense of melody, along the lines of Husker Du, Teenage Fanclub and others; however, because of their primary project’s busy touring schedule, Beachheads endured as a dream reserved for their limited free time — and not their ideal situation.

Nygaard and Landa recruited the Stavanger, Norway-based duo of Espen Kvaløy, a local metal drummer and  Børild Haughom, a locally-based synth pop singer to record three tracks, which were playlisted by Norwegian and British national radio, much to the surprise of the band, who didn’t have immediate plans for the project, besides maybe recording an album sometime in the future; however, the members of the band discovered that Haughom had a drawer full of lyrics based around his own personal experiences, including the death of his father. And building upon the growing buzz that the Norwegian quartet had been receiving, they went into the studio to record the material, which would comprise their highly-awaited, self-titled, full-length debut, slated for a February 3, 2017 release.

 

“Your Highness,” the Norwegian quartet’s third and latest single off the album is a ragged and anthemic single in which Haughom’s plaintive and achingly earnest vocals are paired with jangling and fuzzy power chords and propulsive drumming — and while drawing from 80s power pop and 90s alt rock, the song lyrically focuses on a relationship that’s somewhat unrequited and full of highly charged, yet unfulfilling emotional games that has the song’s narrator spinning.

 

 

 

Single Review by William Ruben Helms
Comprised of Brennan Ross (vocals, guitar, and bass), Michael Thieven (drums), Carl Johnson (guitar, vocals), Michael Dawson (lyrics, keys), Amanda Scandrett (keys) and Paul Guthrell (saxophone), the Regina, Saskatchewan-based sextet Library Voices are a collective of childhood friends, who grew up going to basement shows and obsessed with sci-fi.

Several months of relentless and exhausting touring to support Summer of Lust came to a head in what the band describes as “one of the saddest hostels in Amsterdam.” The next day, during a tour stop in Paris, hundred of rats swarmed their tour van. Unsurprisingly, the rest of the tour quickly went south — and when the band returned to Regina, they all decided that they needed some time apart.

After a two year hiatus, the members of the Canadian sextet reconvened and began working on the material that would comprise their forthcoming effort Lovish, which is slated for a November 6 release through Nevado Music. And much like the band’s previous efforts, the album was recorded in an old funeral home and was mixed by Dave Plowman and Alex Bonenfant, who have worked with METZ, Crystal Castles, and July Talk.

Adding to a period of incredibly difficult luck, during the recording sessions for Lovish, the band’s frontman Carl Johnson was jumped, beaten unconscious by a random assailant.  Johnson suffered a severe concussion, a hematoma (blood pooling) in his brain, a loss of smell, and a very difficult and long road to recovery. For a few months, it remained uncertain if Johnson would be able to continue to write and perform music and it left the band and the album in a state of limbo, in which they all feared their work may never see the light of day.  Eventually Johsnon was able to contribute seven songs to the album while bandmate Brennan Ross contributed and took up vocal duties on the remaining four.

The band’s latest single “Zzyx” is actually inspired by an incredible, seemingly improbable yet true story. As legend has it, in 1944 a radio evangelist and self-proclaimed doctor started squatting in the middle of the Mojave Desert. He recruited a number of Skid Row bums to build a 60 room mineral spa, complete with a church, a radio station and an airstrip. He named the compound “Zzyx,” the last word in the English dictionary, referring to it as the “last word in health,” and he dubbed the airstrip, the Zyport.

Incredibly, the radio evangelist remained on the property selling phony medicinal remedies and potions and scamming gullible senior citizens for the better part of over 25 years — until the federal government evicted him from the land. And as the band notes in press notes, Lovish‘s latest single was written as an ode to a strange place, where people were desperate to believe in something and desperate to live forever.

Although in press notes, it says that the band’s sound has been described by some media outlets as having elements of surf rock to my ears that seems incredibly off, as their sound seems to sound as though it draws a bit more from glam rock, proto-punk, power pop and U2 as the song possesses an emotional immediacy and urgency around anthemic hooks, power chords, enormous blasts of horns, and earnest vocals. I’ve played this song a number of times, and every time I can picture a sweaty room of young people yelling along to the chorus, and feeling as though the song speaks deeply and passionately to them about their lives — and with a forceful honesty.

He chose the name Zzyzx with the intent that it would be the last word in the English language, referring to it as “the last word in health”. When you arrive to the location today it looks more like the DHARMA Initiative basecamp in the television show Lost. We all want to live forever. We are all dying to believe in something.