Tag: Record Store Day

Founded back in 2010, Parisian psych pop act and longtime JOVM mainstays  La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — managed to completely hoodwink the French music industry by lining up a DIY Stateside tour as a then unknown band, with only $3,000 Euros and their debut EP, that year’s Le Podium #1

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.” 

2013’s critically applauded and commercially successful full-length debut Psycho Tropical Berlin found the Parisian JOVM mainstays making a wild, creative and sonic left turn incorporating krautrock and synths to the mix. The album eventually earned a Victoires de la Musique Award. Building upon a rapidly growing national and international profile, La Femme’s sophomore album, 2016’s Mystére to praise by Sound Opinions, The Line of Best FitThe GuardianAllMusic, BrooklynVegan and a lengthy list of others. 

The French JOVM mainstays long-awaited, third album Paradigmes was released last year through the band’s own Disque Pointu and distributed through IDOL. And over the course of Iast year, I managed to write about five of the album’s nine previously released singles: 

  • Cool Colorado,” a coolly bombastic single that seemed indebted to Scott Walker and Ennio Morricone soundtracks while being an “ode to the San Francisco of the 70s — and to Colorado, the first American state to legalize cannabis. 
  • Disconnexion,” a surreal what-the-fuck fever dream centered around pulsating Giorgio Moroder-like motorik grooves, a fiery banjo solo, atmospheric electronics, twinkling synth arpeggios, a philosophic soliloquy delivered in a dry, academic French and operatic caterwauling. 
  • Foutre le Bordel,” a breakneck freak out that meshed Freedom of Choice-era DEVO and Giorgio Moroder with ’77 punk rock nihilism. 
  • Le Jardin,” an achingly sad lullaby written and sung in Spanish — the band’s first song in Spanish. Inspired by a trip to Spain that the band took a few years ago, the song as the band explains is a kind of an old-school slow dance, which underlines how fragile and random fate is. 
  • Pasadena,” a slow-burning, woozy ballad that sounds — and feels — like a narcotic-induced haze. Written as an informal response and continuation of the story told in “Septembre,” off the band’s sophomore album, “Pasadena” features the main character of “Septembre” as a teenager. And as a result, the song is about budding romances — primarily their seemingly carefree nature at the time, their eventual difficulties and confusions, and the weight of peer pressure. 

April was extremely busy for the Paris-based JOVM mainstays: In early April, the members of La Femme released Paradigmes: Le Film, a full-length film co-directed by the band’s Sacha Got and Marlon Magnée and Aymeric Bergada du Cadet that’s centered around the album’s material, and highlights their humor and creativity. You can watch it here: https://www.youtube.com/watch?v=N8Wnil2ipf0

The JOVM mainstays will be releasing an exclusive, vinyl, Record Store Day edition of ParadigmesParadigmes: suppléments, a deluxe edition of their critically applauded third album. You can purchase it here: https://recordstoreday.com/SpecialRelease/14923

Along with the Record Store Day exclusive vinyl release of Paradigmes: suppléments, the band released yet another single off Paradigmes, the album closing track “Tu T’en Lasses,” a slow-burning and atmospheric fever dream, centered around skittering beats, glistening synths and a distorted yet mournful horn solo paired with dreamily delivered vocals. 

To celebrate the one-year anniversary of Paradigmes, La Femme has also announced the release of a limited collection of NFTs which are made up of the original frames used for the animated video of their motorik punk party anthem “Foutre le Bordel.” The NFTs will be released by Ballad(r), an NFT launchpad for artists and institutions in the music industry. These unique digital works of art will include a unique audio track made from stems of the original song and will also unlock exclusive content and numerous real-life perks for each lucky NFT holder. More information on these La Femme NFTs can be found via Ballad(r): https://www.balladr.xyz/collection/lafemme

Just ahead of the JOVM’s North American tour, the band shared a new single “Sacate La.” Inspired by the band’s trips across South American and Southern Spain, “Sacate La” is a bright and breezy Tropicalia-inspired psych pop song with shuffling Latin rhythms and lyrics sung in Spanish paired with an infectious vocal-led hook.

The French JOVM mainstays are currently on tour and will be embarking on a North American leg throughout June that includes a June 5, 2022 stop at Brooklyn Steel. As always, tour dates are below. 

North American Tour Dates

06/03/22 – Washington DC – The Black Cat
06/04/22 – Philadelphia, PA – The Foundry At The Fillmore Philadelphia
06/05/22 – Brooklyn, NY – Brooklyn Steel
06/07/22 – Boston, MA – Brighton Music Hall
06/09/22 – Quebec, QC – Impérial Bell
06/10/22 – Montreal, QC – Les Francos de Montréal
06/11/22 – Toronto, ON – Lee’s Palace
06/14/22 – Chicago, IL – Thalia Hall
06/15/22 – Saint Paul, MN – Turf Club
06/18/22 – Seattle, WA – The Crocodile
06/19/22 – Vancouver, BC – Rickshaw Theatre
06/20/22 – Portland, OR – Wonder Ballroom
06/22/22 – San Francisco, CA – Regency Ballroom
06/24/22 – Los Angeles, CA – The Belasco
06/25/22 – Pioneertown, CA – Pappy & Harriet’s
09/19/22 – Amsterdam – Paradiso

New Video: JOVM Mainstays La Femme Share Hazy and Hallucinogenic Visual For Atmospheric “Tu T’en Lasses”

Founded back in 2010, Parisian psych pop act and longtime JOVM mainstays  La Femme — currently, founding members Sacha Got and Marlon Magnée, along with Sam Lefévre, Noé Delmas, Cleémence Quélennec, Clara Luiciani, Jane Peynot, Marilou Chollet and Lucas Nunez Ritter — managed to completely hoodwink the French music industry by lining up a DIY Stateside tour as a then unknown band, with only $3,000 Euros and their debut EP, that year’s Le Podium #1.

After playing 20 gigs across the States, the members of La Femme returned to their native France with immense interest from the Parisian music scene. “The industry was like, ‘What the fuck? They have an EP out and they are touring in the US and we don’t know them?” Marlon Magnée told The Guardian. “So the buzz began to start. When we came back to France, it was red carpet. Fucking DIY.” 

2013’s critically applauded and commercially successful full-length debut Psycho Tropical Berlin found the Parisian JOVM mainstays making a wild, creative and sonic left turn incorporating krautrock and synths to the mix. The album eventually earned a Victoires de la Musique Award. Building upon a rapidly growing national and international profile, La Femme’s sophomore album, 2016’s Mystére to praise by Sound Opinions, The Line of Best FitThe GuardianAllMusic, BrooklynVegan and a lengthy list of others. 

The French JOVM mainstays long-awaited, third album Paradigmes was released last year through the band’s own Disque Pointu and distributed through IDOL. And over the course of that year, I managed to write about five of the album’s nine previously released singles:

  • Cool Colorado,” a coolly bombastic single that seemed indebted to Scott Walker and Ennio Morricone soundtracks while being an “ode to the San Francisco of the 70s — and to Colorado, the first American state to legalize cannabis. 
  • Disconnexion,” a surreal what-the-fuck fever dream centered around pulsating Giorgio Moroder-like motorik grooves, a fiery banjo solo, atmospheric electronics, twinkling synth arpeggios, a philosophic soliloquy delivered in a dry, academic French and operatic caterwauling. 
  • Foutre le Bordel,” a breakneck freak out that meshed Freedom of Choice-era DEVO and Giorgio Moroder with ’77 punk rock nihilism. 
  • Le Jardin,” an achingly sad lullaby written and sung in Spanish — the band’s first song in Spanish. Inspired by a trip to Spain that the band took a few years ago, the song as the band explains is a kind of an old-school slow dance, which underlines how fragile and random fate is.
  • Pasadena,” a slow-burning, woozy ballad that sounds — and feels — like a narcotic-induced haze. Written as an informal response and continuation of the story told in “Septembre,” off the band’s sophomore album, “Pasadena” features the main character of “Septembre” as a teenager. And as a result, the song is about budding romances — primarily their seemingly carefree nature at the time, their eventual difficulties and confusions, and the weight of peer pressure.

April has been very busy for the JOVM mainstays. Earlier this month, they released Paradigmes: Le Film, a full-length film co-directed by the band’s Sacha Got and Marlon Magnée and Aymeric Bergada du Cadet that’s centered around the album’s material, and highlights their humor and creativity. You can watch it here: https://www.youtube.com/watch?v=N8Wnil2ipf0

The JOVM mainstays will be releasing an exclusive, vinyl, Record Store Day edition of Paradigmes, Paradigmes: suppléments, a deluxe edition of their critically applauded third album. You can purchase it here: https://recordstoreday.com/SpecialRelease/14923

And along with the Record Store Day exclusive vinyl release of Paradigmes: suppléments, the band released yet another single off Paradigmes, the album closing track “Tu T’en Lasses,” a slow-burning and atmospheric fever dream, centered around skittering beats, glistening synths and a distorted yet mournful horn solo paired with dreamily delivered vocals.

The accompanying video for “Tu T’en Lasses” continues a run of hazy, feverish visuals: The members of La Femme are house band at a local dance, playing the slow dance song for the couples out there — including a Sid and Nancy-like couple. Is it an achingly nostalgic memory of a lost love and a time since passed — or a drug and booze-fueled hallucination? Or perhaps both? That’s up to you to decide.

New Video: JOVM Mainstays METZ Releases an Explosive Meditation on Life. Loneliness, Delusion, and Death

Throughout the bulk of this site’s 10 year history, I’ve spilled quite a bit of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. With the release of their third album, 2017’s Strange Peace, the trio — Alex Eadkins (vocals, guitar), Chris Slorach (bass) and Hayden Menzies (drums) —  pushed their songwriting in a new direction, as they crafted some of their most personal and politically charged work with the material capturing the anxiety, uncertainty, fear and outrage of the 2016 election cycle. 

Last year, the JOVM mainstays released Automat, a collection of METZ’s non-album singles, B-sides and rarities dating back to 2009 on vinyl for the first time — including, the band’s long out-of-print (pre-Sub Pop) recordings. Essentially, the album was designed as chronological trip of the acclaimed Canadian act’s lesser-known material that included a bonus 7 inch single, which featured three covers: a cover of Sparklehorse’s “Pig” off a very limited 2012 Record Store Day split single, originally released by Toronto-based record store, Sonic Boom; a cover of The Urinals‘ “I’m a Bug” originally released on YouTube in 2014; and lastly, a previously unreleased, explosive  cover of Gary Numan’s “M.E.” 

The JOVM mainstays fourth album Atlas Vending is slated for an October 9, 2020 release through their longtime label home Sub Pop Records. Their previously released material found the band thriving on an abrasive relentlessness but before they set to work on Atlas Vending’s material, the Canadian punk trio set a goal for themselves and for the album — that they were going to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating mosh-pit friendly bludgeonings. Co-produced by Uniform’s Ben Greennberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album finds the band crafting music for the long haul, with the hopes that their work could serve as a constant as they navigated life’s trials and tribulations. 

The end result is an album that reportedly retains the massive sound that has won them attention and hearts across the world — but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album covers disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-induced paranoia and the restless urge to just say “Fuck this!” and leave it all behind.  Much like its predecessor, Altas Vending offers a snapshot of the the modern condition as they see it; however, each of the album’s ten songs were written to form a musical and narrative whole with the album’s song sequencing following a cradle-to-grave trajectory. And as a result, the album’s material runs through the gamut of emotions — from the most rudimentary and simple of childhood to the increasingly nuanced and turbulent peaks and valleys of adulthood. So in some way, the album find the band tackling what’s inevitable for all of us — getting older, especially in an industry seemingly suspended in youth. “Change is inevitable if you’re lucky,” METZ’s Alex Eadkins says of the band’s fourth album Atlas Vending. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” 

Interestingly, Atlas Vending closing track “A Boat to Drown In” is the album’s first single and while continuing the band’s long-held reputation for crafting enormous, aural assaults centered around layers of distortion fueled powered chords, thunderous drumming, a mosh pit friendly hook and Eadkins urgent and howled vocals. But unlike their previously released material, “A Boat to Drown In” finds the band moving away from their grunge influences with their most expansive track to date, a track that finds them at their most oceanic. According to Eadkins, “A Boat to Drown in.” is “. . . about leaving a bad situation behind. About overcoming obstacles that once held you back, rising above and looking to a better future. The title refers to immersing yourself fully into what you love and using it as a sanctuary from negativity and a catalyst for change.”

Directed by Tony Wolski, the incredibly cinematic visual for “A Boat to Drown In” follows a painfully lonely and isolated young woman’s slow-burning descent into delusion, — including a passionate affair  with an enormous (and frisky) teddy bear that we discover never existed. Eventually we pull out and see this woman turn from being emotionally broken to numb and devoid of feeling,. “The song has a beautiful, crushing numbness to it that we wanted to mirror in the visual,” Tony Wolski explains. “So we chose to romanticize our main character’s descent into her delusions of love and togetherness. At a time when everyone’s simultaneously coping with some sort of isolation, a story about loneliness—and the mania that comes with it—seems appropriate to tell.” 
 

New Video: JOVM Mainstays High Waisted Return with a Mischievous and Brightly Colored Visual for Achingly Vulnerable “Modern Love”

Founded back in 2014 by co-founder  Jessica Louise Dye (vocals, guitar) and Jono Bernstein (drums),  New York-based JOVM mainstays High Waisted have received attention across the blogosphere and elsewhere for a sound that draws from surf rock, garage rock, dream pop, Riot Grrl punk and punk rock, for a high-energy live show and their popular DIY concert showcase/booze cruise High Waisted at Sea.

The band’s Bryan Pugh-produced full-length debut On Ludlow further cemented their reputation for scuzzy, party ’til you drop rock — but just under the surface, the material revealed vulnerability and ache.  The JOVM mainstays spent most of 2016 and 2017 on a relentless tour schedule across the country opening for the likes of Brazilian Girls, Shannon and the Clams, Titus Andronicus, The Donkeys, Har Mar Superstar, JOVM mainstays The Coathangers, Jessica Hernandez, La Sera, Diarrhea Planet and La Luz, as well Riot Fest in both Chicago and Denver.

The JOVM mainstays have received praise from the likes of Consequence of Sound, Noisey, Paste, NME, who named them a “Buzz Band to Watch”  GQ, who declared them “The Ultimate Party Band” and they were named one of the buzziest bands of SXSW in 2018 and 2019 — all of which have helped to firmly cement their long-held reputation for being a non-stop party machine, while going through a series of lineup changes.

Since the release of On Ludlow, the the band contributed “Firebomb,” a scuzzy, ass-kicking, power chord-driven Lita Ford and Motley Crüe-like single to a split single with The Coax, which they supported with further relentless touring with Hundred Hounds, Beechwood and others.

Despite being badly injured in a car accident while biking in NYC last summer, Dye, Bernstein and company have remaining rather busy: they appeared in a NYLON feature, contributed to a Record Store Day release compilation with Bikini Kill, Lenny Kaye, and Atmosphere, wrote a song for NPR’s More Perfect and were featured on their podcast, played a headline show at Las Vegas’ Hard Rock Hotel and wrapped up their successful  High Waisted at Sea booze cruise and showcase, released four music videos on Left Bank Magazine  — and completed work on their highly anticipated sophomore album Sick of Being Sorry.

Slated for a May 22, 2020 release, the JOVM mainstay’s sophomore album continues their ongoing collaboration with Tad Kubler — and thematically, the album focuses on finding hope in hopeless situations and having the strength to get up after being knocked down and having the world scream at you to stay down. Now, as you may recall, earlier this month, I wrote about album opener “Boys Can’t Dance,” a rousing, party anthem centered around a plucky, heart-on-your-sleeve earnestness while further establishing the sound that has won them attention across the blogosphere and elsewhere: a seamless hook-driven mix of surf rock, Riot Grrl punk, dream pop, garage rock and 60s pop. 

“Modern Love” Sick of Being Sorry’s latest single features a surf pop-like arrangement of shimmering and reverb-drenched guitars, a strutting bass line and propulsive drumming   — and while continuing in a similar sonic vein as its immediate predecessor, the song may arguably be one of the most achingly vulnerable and tender songs in their growing catalog. Much like all love songs, “Modern Love” is centered around longing that familiar desperate longing for that object of affection but with the recognition that love in any and all forms is a sort of surrender to something other than yourself. But there’s an underlying irony to the song: love ain’t easy, because it’s full of contradictions and often makes very little sense. And as a result, you have to figure out a way to be protect yourself while figuring out how to remaining vulnerable and true to yourself. 

Directed by Jenni Lang and Logan Seaman, the recently released video for “Modern Love” is a mischievous mix of live action and brightly colored and lysergic animation and imagery as we follow the band’s Jessica Louise Dye through a fantastic adventure. “Jenni found a quote that says ‘to love is to destroy and to be loved is to be destroyed.’ That really inspired us to write a story about love and power. Jess would be the heroine in the story, not only because she looks badass on the stage, but because she represents many modern women. As her character lives a happy and love-filled life, she encounters situations where she needs to step out of her comfort zone in order to protect her love. It’s a metaphor for modern love. You can’t just live happily ever after like in the movies. There are moments in which we struggle. It’s a journey of learning to be yourself, and most importantly to be brave.”

New Video: Join High Waisted on a Wild and Hilarious Party

Founded back in 2014 by Jessica Louise Dye (vocals, guitar) and Jono Bernstein (drums),  New York-based JOVM mainstays High Waisted have received attention across the blogosphere and elsewhere for a sound that draws from surf rock, garage rock, dream pop, Riot Grrl punk and punk rock, for a high-energy live show and their popular DIY concert showcase/booze cruise High Waisted at Sea.

The band’s Bryan Pugh-produced full-length debut On Ludlow further cemented their reputation for scuzzy, party ’til you drop rock — but just under the surface, the material revealed vulnerability and ache.  The JOVM mainstays spent most of 2016 and 2017 on a relentless tour schedule across the country opening for the likes of Brazilian Girls, Shannon and the Clams, Titus Andronicus, The Donkeys, Har Mar Superstar, JOVM mainstays The Coathangers, Jessica Hernandez, La Sera, Diarrhea Planet and La Luz, as well Riot Fest in both Chicago and Denver. 

The JOVM mainstays have received praise from the likes of Consequence of Sound, Noisey, Paste, NME, who named them a “Buzz Band to Watch”  GQ, who declared them “The Ultimate Party Band” and they were named one of the buzziest bands of SXSW in 2018 and 2019 — all of which have helped to firmly cement their long-held reputation for being a non-stop party machine, while going through a series of lineup changes.

Since the release of On Ludlow, the the band contributed “Firebomb,” a scuzzy, ass-kicking, power chord-driven Lita Ford and Motley Crüe-like single to a split single with The Coax, which they supported with further relentless touring with Hundred Hounds, Beechwood and others. 

Despite being badly injured in a car accident while biking in NYC last summer, Dye, Bernstein and company have remaining rather busy: they appeared in a NYLON feature, contributed to a Record Store Day release compilation with Bikini Kill, Lenny Kaye, and Atmosphere, wrote a song for NPR’s More Perfect and were featured on their podcast, played a headline show at Las Vegas’ Hard Rock Hotel and wrapped up their successful  High Waisted at Sea booze cruise and showcase, released four music videos on Left Bank Magazine  — and completed work on their highly anticipated sophomore album Sick of Being Sorry. 

Slated for a May 22, 2020 release, the JOVM mainstay’s sophomore album continues their ongoing collaboration with Tad Kubler — and thematically, the album focuses on finding hope in hopeless situations and having the strength to get up after being knocked down and having the world scream at you to stay down. Interestingly, the album’s latest single, album opener “Boys Can’t Dance” is a rousing party anthem that further establishes the sound that has won them attention across the blogosphere and elsewhere — a seamless and hook-driven mix of surf rock, Riot Grrl punk, dream pop, garage rock and 60s pop delivered with a swaggering self-assurance. And while displaying a slick and polished studio production, the track is centered around a plucky, heart-on-your-sleeve earnestness. 

“I had been cooped up for a long week of work and was really itching for a proper night out with my girlfriends,” High Waisted’s Jessica Louise Dye explains in press notes. “This song was ripped directly from my inner monologue; wanting to let my hair down, eager for the weekend and ready to do something I might regret. It’s an anthem for letting yourself have some much-deserved fun. That weekend, I remember noticing the dance floor was shared mostly by ladies, as the guys lined the perimeter. And I thought, ‘oh, these boys can’t dance because they have their hands in their pockets!’ There’s nothin more freeing than getting lost in your favorite song and letting your body wiggle, shake and twist, void of worry or insecurities in the middle of a crowded room. Everyone deserves to dance.” 

Directed by Zachary Wright, the recently released video follows a down-and-out working stiff protagonist (Paddy Connor), who returns home from a long and exhausting day at an office job for a depressing dinner of cold cereal. His roommate (High Waisted’s Jono Bernstein) heads out on a date with a stunningly gorgeous woman. And while we may initially think that our poor, downtrodden protagonist may wind up spending his night alone, we see him as he pumps himself up, rocks out to his favorite song and heads out to a bachelorette party for a bride-to-be (High Waisted’s Jessica Louise Dye). When he arrives, he’s understandably nervous and the bachelorette party is — well full of shock and ridicule. But our hero quickly builds up the courage to be completely uninhibited, which wins over the party. As the video suggests, we often have fun when we lose our inhibitions and dance the pain and sorrow away. 

 

Fold is a Leeds-based collective currently centered around its core quartet Seth Mowshowitz (beats, keys), Kane Rattray (drums), Ben Walsh (bass) and Sam Hutchinson (guitar) with contributions from collaborators like Emma Johnson (saxophones), Simon Dennis (trumpet), Rosie Nicholl (trombone) and Kieran O’Malley (violins). The act’s sound is informed and influenced by hip-hop, trip-hop, downtempo, soul, Brazilian and funk and others — and as a result, they employ as many organic instruments as possible, avoiding the use of click tracks or pre-sequenced material in any context.

The act explores different ways in which narrative and poetry can be interwoven into music — with the aim of honestly reflecting out contemporary world, to speak truth clearly and to represent diverse perspectives across space and time, encouraging a sense of empowerment, understanding and unity among listeners. Focusing on diverse voices and perspectives has allowed the rising British collective an opportunity to collaborate with an eclectic array of emcees, poets, vocalists and historical figures. Since their formation, the act has quickly developed a reputation as a rising act in England: BBC 6 Music‘s Lauren Laverne chose the collective to represent Leeds and the region for a special Record Store Day eve broadcast at Huddersfield‘s Vinyl Tap Records

Fold’s forthcoming album is a concept album that pays tribute to Civil Rights activist and acclaimed playwright Lorraine Hansberry. Hansberry is best known as the author of A Raisin in the Sun — and as the first Black woman to have her work performed on Broadway. As a result, Hansberry’s voice and ideas is the heart and core of the album’s material. Featuring some old-school turntabilism and scratching, a sinuous bass line, stuttering boom bap-like drumming, soulful horns played through delay and reverb, the  track is centered around Hansberry’s husky voice imploring the listener to use their cognitive gifts to steer themselves towards the light. But perhaps more important, as the band notes, Hansberry reminds us that in order to progress — hell, even to survive at this point — that we must always be adaptable. Sonically, the track reminds me a bit of Makaya McCraven‘s bold reimagining of Gil Scott-Heron‘s We’re New Here but with a J. Dilla-like swagger. Both efforts put each visionary’s voice and work in a new and very different context but while reminding contemporaries that their work is even more vital and necessary than they could have ever imagined.

 

 

 

 

 

 

 

 

 

 

 

New Video: METZ Releases an Explosive Take on a Gary Numan Classic

I’ve written quite a bit about the Toronto-based punk trio and JOVM mainstays METZ over the years and if you’ve been frequenting this during that same period, you may recall that their third album, 2017’s Strange Peace found the band pushing their songwriting in new directions with their most personal and politically charged work to date — and while retaining the furious and blistering energy of their live sets, the material managed to capture the anxiety, uncertainty, fear and outrage that many of have felt over the past couple of years. 

Earlier this year, Sub Pop Records released Automat, a collection of METZ’s non-album singles, B-sides and rarities dating back to 2009 on vinyl for the first time — including, the band’s long out-of-print (pre-Sub Pop) recordings. Essentially, the album is designed as a chronological trip through the acclaimed Canadian JOVM mainstays lesser-known material. Interestingly, the vinyl version of Automat included a bonus 7′ single of the band covering three very diverse songs, which will offer fans and listeners a glimpse into their wide-ranging tastes — a cover of Sparklehorse’s “Pig” off a very limited 2012 Record Store Day split single, originally released by Toronto-based record store, Sonic Boom; a cover of The Urinals’ “I’m a Bug” originally released on YouTube in 2014′; and lastly, a previously unreleased cover of Gary Numan’s “M.E.” Today, the three bonus tracks were made available to all digital services. So with that in mind, check out METZ’s explosive, feedback-driven take on Gary Numan’s classic “M.E.” 

Featuring a three-headed Pleasure Principle hydra illustrated by Kirin Booth and animation by Martin MacPherson, the recently released video for “M.E.” is a mesmerizing and hallucinogenic romp.

New Video: Watch Acclaimed Indie Rock Act Night Beats Take on The Sonics

Deriving its name from Sam Cooke’s Night Beat album, the Seattle, WA-based psych rock/garage rock act Night Beats was formed by its Dallas, TX-born, Seattle, WA-based founding member and creative mastermind Danny “Lee Blackwell” Rajan Billingsley back in 2009 when Billingsley relocated to Seattle to study comparative religion at the University of Washington. That same year, Billingsley self-recorded the Night Beats debut EP, Street (Atomic), which was released through Holy Twist Records. 

After trying out a couple of different lineups, Billingsley recruited his high school friend and former B.B. Mercy drummer James Traeger to join the band. Traeger relocated from Austin, TX, where he was studying at the time to join Billingsley. The band played for a while as a duo before recruiting Tacoma, WA-born Tarek Wegner (bass), who once played with The Drug Purse and Paris Spleen to join the band. Early in their history, the band toured across North America extensively — and within weeks of releasing the H-Bomb EP the band was signed by Chicago-based label Trouble in Mind Records, who re-released the album in the fall of 2010. The re-released EP wound up topping several college radio while helping the band develop a reputation for a sound that incorporates elements of early R&B, psych rock, blues rock, funk and soul. (Unsurprisingly, the band has toured with the likes of The Black Angels, Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, Black Rebel Motorcycle Club and The Growlers.) 

The following year, the band released a split EP with The UFO Club through Austin-based label The Reverberation Appreciation Society, which they followed up with their self-titled debut album. They also released a 2012 split single with TRMRS, which was released through Volcom Vinyl Club. 2013 saw the release of their sophomore album Sonic Bloom through The Reverberation Appreciation Society. The band supported the album with touring across North America, Europe, Israel, South Africa and Australia. 

2014 saw the band go through the first of a series of lineup changes. Tarek Wegner left the band and eventually released an EP What Colors Last, as well as a full-length effort Soul Fuckers, which was supported by a West Coast tour with Tomorrow’s Tulips. Meanwhile, Night Beats signed to London-based label Heavenly Recordings, who released the band’s acclaimed Robert Levon Been co-produced third album Who Sold My Generation in 2016. The album also featured Been, who’s best known for his work with Black Rebel Motorcycle Club contributing bass. Jakob Bowden was recruited to tour in support of the album. 

The last half of 2016 saw the band go on an UK and European Union tour without James Traeger. Throughout 2017, Evan Synder toured with the band. During a 2018 US tour opening for Black Rebel Motorcycle Club, Jonah Swilley sat in on drums with the band. Last May saw the band touring Spain with Evan Synder playing drums. Bowden wasn’t with the band either. 

This year has been a rather busy year for Billingsley. Night Beats’ Dan Auerbach-produced Myth Of A Man was released in January — and the album found the band’s founder playing with a backing band of session musicians, who had worked with the likes of Elvis Presley and Aretha Franklin. Perhaps as a way of explaining Traeger’s and Bowden’s absence from the album, the official press release simply said that the album was “written during a particularly destructive period of the band.” Additionally, Billingsley along with an all-star backing cast featuring The Mystery Lights’ Mike Brandon, Black Lips’ Cole Alexander and Warbly Jets’ Julien O’neil recorded and released a Record Store Day album, Night Beats Perform The Sonics’ Boom, an exact track-by-track over of The Sonics classic (and beloved) 1966 album Boom. 

Night Beats Perform The Sonics’ Boom finds Billingsley and an indie rock All-Star backing band treading a line between faithful cover meant to keep the legacy of The Sonics’ classic album alive for contemporary listeners while imbuing the material with a fuzzy  and soulful take. Album single “Let The Good Times Roll” manages to sound almost like it were released sometime between 1966-1968 but with a gritty, mod rock vibe reminiscent of The Who Sings My Generation-era The Who. 

Directed, shot, and edited by James Oswald on what looks like grainy Super 8mm film, the recently released video follows Billingsley and his backing band on tour, split between the yellow and white lines of endless blacktop, the band playing sweaty and passionate  shows in front of rapturous fans, and intimate backstage footage featuring the band getting themselves together before playing. As someone, who has covered and seen thousands of shows, the video captures the spirit and soul of a show in a way that feels warmly familiar.