JOVM’s William Ruben Helms celebrates Bill Berry’s 65th birthday.
JOVM’s William Ruben Helms celebrates Michael Stipe’s 63rd birthday.
JOVM’s William Ruben Helms belatedly celebrates the 52nd anniversary of DMX’s birth.
JOVM’s William Ruben Helms celebrates Peter Buck’s 66th birthday.
David Haynes Holding, Sr. (bass, guitar) has had a lengthy music career that includes playing in several different projects during the legendary late 70s-early 80s Athens, GA music scene, a scene made famous by R.E.M. and The B52s. As a member of Dorothy’s Dream, Holding, Sr. recorded and released two albums.
Inspired by his father, David Haynes Holding, Jr. (vocals. guitar) grew up in Atlanta with dreams of rock stardom. Back in 2006, a 16 year-old Holding, Jr. founded and fronted The Last Relapse. After a six-year run. a couple of hundred shows across the Southeastern US and their full-length debut Machine, the band went on an indefinite hiatus.
In 2020, Sr. and Jr. began working on music again — first separately and then collaborating on material together. The older Holding has been wildly busy and prolific: Since 2020, Sr. has released five solo albums that see him working in an eclectic variety of musical styles and genres. He has also released two albums under the moniker Soci3ty. The younger Holder has been busy writing and recording material with a couple of former members of The Last Relapse on a new project yet to be announced.
Interestingly. Jr. and Sr. collaborate together on a family musical project that they’ve dubbed The Holdings. The duo’s debut EP Father & Son was released earlier this year. The EP’s lead single, the slow-burning and trippy “Stay Home” is centered around swirling guitar textures and vocals that drift and soar over the song’s arrangement. While sonically bringing Strays-era Jane’s Addiction to mind — at least to my ears — the song thematically touches upon love, life and surviving this brave new world we’re currently in.
“It was really awesome collaborating with my Dad on this album,” the younger Holding says. “He got me interested in music from a young age and we’ve always had similar music taste so it was cool to work on some original music together for the first time.”
JOVM’s William Ruben Helms belated celebrates Bill Berry’s 64th birthday.
Throwback: Happy 62nd Birthday, Micheal Stipe!
Frank Rabeyrolles is a French singer/songwriter and guitarist, who has released material under a variety of different names and outfits — but throughout his career, the French artist has developed a reputation as an obsessive and frenzied craftsman, whose work has often been described as otherworldly: centered round reverb-drenched guitars, Rabeyrolles’ work thematically touches upon distant reminiscences, unfinished business, frustration and more.
Back in 2019, Rabeyrolles released one EP each season of that calendar year. The end result was four EPS of atmospheric pop and lo-fi written and recorded solo and/or with Sarah Lucide in a Bedroom Pop fashion. That March, the French singer/songwriter and guitarist came up with the idea of recording a song with a group of friends at La Paloma Studio in Nîmes, France, giving the song a different life. Rabeyrolles recruited a backing band of friends that included Drive Blind’s and My Tigerside’s Rémi Saboul, Marvin’s Gregoire Bredel, Carole Fauré, My Favorite Horses’ Jean Alvarez and Le Super Homard’s Laurent Elfassy. The end result is the live version of “Winter One,” a brooding and slow-burning bit of dream pop and shoegaze centered around shimmering guitars, Rabeyrolles’ plaintive vocals and an enormous hook. Sonically, the track — to my ears, at least — is a seamless synthesis of R.E.M. and The Verve.
The live footage was filmed by Naomi Heinrich and Damien Oliveres and catches Rabeyrolles and his collaborators in an intimate, blue-lit setting.
JOVM celebrates Patti Smith’s 74th birthday.
With the release of her first two albums — 2016’s Sirens and 2018’s Empty Sea — the rising Berlin-based singer/songwriter, guitarist and photographer Laura Carbone received attention across the European Union and elsewhere for a sound and approach that frequently draws comparisons to PJ Harvey, Shana Falana, Chelsea Wolfe, St. Vincent and others. Additionally,. Carbone published a limited-edition book of photography, also named The Empty Sea.
Carbone and her backing band have opened for The Jesus and Mary Chain and The Pains of Being Pure at Heart, developing a reputation for a self-assured and explosive live show, which she further cemented with a headlining tour across Europe last year. The Berlin-based singer/songwriter, guitarist and photographer then followed that up with a stop at SXSW Levitation Festival/Creem Magazine Showcase and a headlining North American tour with The Natvral that included a stop at Baby’s All Right.
Carbone and her backing band were slated to go into the studio in May to record her highly-anticipated third album — but as a result of pandemic-related restrictions, the rising Berlin-based artist’s plans were placed in an indefinite hiatus, much like countless other artists across the globe. Last year, the rising Berlin-based singer/songwriter and guitarist and her backing band performed on the famed German, live concert series Rockpalast — and for Carbone, who grew up in a small town in Southwestern Germany watching the show, appearing on the show was the accomplishment of a lifelong dream: Rockpalast has recorded and broadcasted a who’s who list of influential and important artists, playing some of their most memorable performances, including Siouxsie and The Banshees, Radiohead, Sonic Youth, Patti Smith, Sinead O’Connor, David Bowie, R.E.M., Echo and the Bunnymen, Screaming Trees, Lynyrd Skynyrd, Bob Marley and the Wailers and an amazing and very lengthy list of others.
As a result of pandemic-related shutdowns, an idea emerged with Carbone and her band: “What if Rockpalast would let us release that show as a live album?” Released yesterday, Laura Carbone — Live at Rockpalast is just that. Taken from her Rockpalast set at Harmonie Bonn last October, the live album features a career-spanning set, centered around her first two albums, and an unexpected cover, Hewing as closely as possible to their live sound, the album was mixed in Los Angeles by The Jesus and Mary Chain‘s Scott Van Ryper and mastered by Philipp Welsing at Hamburg‘s Original Mastering with no overdubs.
Last month, I wrote about the live album’s first single, “Who’s Gonna Save You.” The live rendition accurately captures Carbone and her band’s forceful live sound and Carbone’s irresistible stage presence, While the song itself finds the band balancing menace, power and sultriness, it should also serve as an introduction to an artist, who in my book is adding her name to a list of powerful rock goddesses.
To celebrate the release of the album, Carbone released the live album’s second single, “Cellophane Skin.” Performed as the first song of their encore, the live rendition finds the band taking the tension of the original and informing it with a feral and ferocious power, informed by dozens of shows across Europe and North America — and by the occasion. And as a result, the song finds its narrator — and perhaps the artist herself — turning into a seductive and vengeful force of nature, much like the sirens of the ancient myths. At its down core, the song finds its narrator forcefully tearing down the bonds of poisonous social norms that have imprisoned her while demanding that we — particularly men — examine ourselves. Of course, much like its immediate predecessor, the song captures a woman with mighty and fearsome roar.
Directed by Olga Dyer, the recently released video for “Cellophane Skin” is split between gorgeous and seductive footage of Carbone in a black gown being touched by a series of seemingly disembodied hands and black and white footage captured on stage.
“The feminine point of view has always been much more difficult to articulate,” Olga Dyer says in press notes. “And once articulated, alas, quite often it becomes a point of vulnerability, seen through the prism of sexual objectification, helpless stereotypes and indecency. It’s literally stripped of its actual meaning or even possible interpretations. To me, this is what ‘Cellophane Skin’ is about. People jump to conclusions, so quick to assume that they can see through someone. Personally it doesn’t offend me, I only find it banal and boring. I love creating beautiful and dark sequences, inspired by noir surrealism.”