Tag: Sub Pop Records

Live Footage: Beach House Performs “Superstar” on “Late Show with Stephen Colbert”

Baltimore-based JOVM mainstays Beach House — lead vocalist and multi-instrumentalist Victoria Legrand and multi-instrumentalist Alex Scally — formed back in 2004. And in their nearly two decades together, have released eight albums, including their critically applauded, most commercially successful album to date, the 18-song, double LP Once Twice Melody, which was released through Sub Pop Records earlier this year. (Since I mentioned that the album is their most commercially successful to date, Once Twice Melody recently peaked at #1 on Billboard‘s Album Sales Chart, the duo’s first-ever album to do so. It also debuted at #1 on the Top Alternative Albums, Top Rock Albums, Tastemaker Albums and Top Current Album Sales Charts. And the album also spent six weeks at #1 on the NACC 200 College Charts.)

Primarily written between 2018 and last July, Once Twice Melody also features a handful of songs that date back at least a decade earlier. The album was mostly recorded at Baltimore’s Apple Orchard Studio and produced by the band — a first for the band. Much like 7, Once Twice Melody features live drumming by the band’s longtime touring drummer James Barone, recorded at Pachyderm Studio in Minnesota and United Recording in Los Angeles. The album also features a string ensemble, performing arrangements by David Campbell.

Across Once Twice Melody‘s 18 songs, the JOVM mainstays have written material that features several different styles, song structures and spirits: Listeners will hear songs without drums, songs centered around acoustic guitar, electronic songs without guitar, songs with wandering melodies, songs with repetitive melodies and songs built around string arrangements. And while the album sees the band expanding upon and playing with their sound, the duo haven’t completely eschewed the arrangements and sounds that have won them acclaim across their previous seven albums.

Last night, the Baltimore-based JOVM mainstays were on The Late Show with Stephen Colbert, where they performed the glittering and wistful “Superstar,” a song that looks back at a romantic relationship and compares it to a shooting star that quickly flashes, burns out and reappears somewhere else.

The live footage will give you a great taste of what to expect of the duo’s live show, just before they continue their extensive, headlining international tour to support Once Twice Melody. The tour has been extended through November 2022 with a handful of newly added dates including several stops across the global festival circuit: Omaha, NE’s Maha Festival (July 29th-30th), Portugal’s Paredes De Coura  (Aug. 17th-20th), Salt Lake City, UT’s Ogden Twilight (August 25th), Pasadena, CA’s This Ain’t No Picnic (Aug. 28th), Las Vegas, NV’s Life Is Beautiful (Sep. 16th-18th), Bentonville, AR’s Format Festival (Sep. 23rd-25th), and Primavera Sound Editions in Brazil, (Sao Paulo, Nov. 5th), Chile (Santiago, Nov. 11th), and Argentina (Buenos Aires, Nov. 13th).

For my fellow New Yorkers, the JOVM will be playing two dates at the breathtakingly beautiful Kings Theatre: July 19, 2022 and July 20, 2022.

New Video: Weird Nightmare Returns with the Feel Good Power Pop Anthem “Lusitania”

Alex Edkins has developed and honed a reputation for being a master craftsman of sweaty, mosh pit friendly rippers as the frontman of Toronto-based JOVM mainstays METZ.  Interestingly, Edkins’ new side project Weird Nightmare sees the METZ frontman showcasing […]

New Video: METZ’s Alex Edkins’ New Project Weird Nightmare Shares Surreal Animated Visual for Debut Single

Alex Edkins has developed an honed a reputation for being a master craftsman of sweaty, mosh pit friendly rippers as the frontman of Toronto-based JOVM mainstays METZ.

Edkins’ new side project Weird Nightmare sees the METZ frontman showcasing a new side of his long-established songwriting featuring enormous power chords and mosh pit friendly hooks and choruses he’s best known for — but with a sugary, distorted power pop touch.

Weird Nightmare’s debut single “Searching For You” is a fun, straightforward power pop banger featuring shout-along-with-upraised-beer-in-the-mosh-pit choruses, swooningly earnest lyricism, the enormous power chords Edkins is best known for but with an accessible, old-timey inspired craftsmanship that makes the song incredibly radio friendly — as though it Edkins and his METZ bandmates were covering Cheap Trick or Big Star.

“It’s a fun, no nonsense rock ‘n’ roll song,” Edkins explains. “It’s about searching for meaning and inspiration all around us. In my mind, the ‘you’ in the chorus refers to something bigger than companionship or love, it’s that intangible thing we all look for but never find.”  

Directed by Ryan Thompson and animated by Jordan “Dr. Cool” Minkoff, the accompanying visual for “Searching For You” is fittingly a trip into a weird nightmare that follows a pizza delivery person racing against the clock to deliver a pizza before it becomes free.

New Video: Preservation Hall Jazz Band’s Charlie Gabriel to Release Debut Album As Bandleader, Shares Intimate, Behind-The-Scenes Visual for “I’m Confessin'”

88 year-old Charlie Gabriel is a New Orleans-born and-based saxophonist, clarinetist and vocalist, who has had an incredibly lengthy music career: Gabriel’s first professional gig was back in 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager, he relocated to Detroit, where he played with Lionel Hampton, whose band at the time included a young Charles Mingus. Gabriel then spent nine years with a group led by Cab Calloway drummer J.C. Heard.

For a period of time, Gabriel fronted a bebop group. He has also played with or toured with Ella Fitzgerald, Tony Bennett, Aretha Franklin and a lengthy list of others before joining the legendary New Orleans jazz ensemble Preservation Hall Jazz Band in 2006. Since then, Gabriel, the most senior member of the group has developed a tight musical relationship with creative director, bassist and tuba player, Ben Jaffe, the son of the group’s co-founders Allan and Sandra Jaffe.

Gabriel signed to Sub Pop Records, who will be releasing the jazz legend’s full-length debut as a bandleader 89, which is slated for digital release on February 25, 2022 and a July 1, 2022 physical copy — CD/LP, etc. — release, a few days before his 89th birthday.

Although he’s faced plenty of challenges over the course of his almost eight decade music career, none likely rank with the death of his brother and last living sibling Leonard to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn yet understandable despondency broken now and then by regular chess matches in the studio kitchen of Pres Hall leader Ben Jaffe, who was working overtime to bring his friend and bandmate some light.

One of those afternoons also included guitarist Joshua Starkman, who was sitting off in a corner playing his guitar and half-watching Jaffe and Gabriel play chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”

“We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Gabriel adds, further musing, “Musical conversations cancel out complications.”

Interestingly, that day wound up being the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly in the kitchen by Matt Aguiluz. Charlie Gabriel plays tenor sax and clarinet on the album, Starkman plays guitar and Jaffe plays bass, drums and keys throughout the album.

The album’s material includes six standards, including “Stardust,” “I’m Confessin'” and “Three Little Words,” which the New Orleans legend describes as “standard material that every musician, if they’re an older musician like myself, will have played throughout their career. Every time I play one of these tunes the interpretation is a little bit different.” The album also includes two originals written by Gabriel, “Yellow Moon” and “The Darker It Gets” — and while being Gabriel’s debut, it also marks a return to his first instrument, clarinet on many of the album’s tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.” 

89‘s first single sees Gabriel and his bandmates play a gorgeous and utterly charming rendition of the old standard “I’m Confessin.'” Centered around a subtle re-arrangement for jazz guitar, clarinet, saxophone and bass, Gabriel’s version to my ears manages to meet Peggy Lee and Louis Armstrong somewhere in the middle, while being roomy enough for Gabriel’s vocals, which balance a wizened raspiness with an sweet tenderness. Simply put, it’s the sort of vulnerable and endearingly honest love song that we just don’t get anymore — and that’s just one why I love it so much.

Directed by Alex Hennen Payne, the recently released video for “I’m Confessin'” is shot in a gorgeous and cinematic black and white and captures the 89 sessions with a warm and loving intimacy.

Corridor is an acclaimed Montreal-based indie rock JOVM mainstay outfit that has a long-held reputation for being earnest DIY enthusiasts: they design their own merch and create mind-bending animated videos for their incredibly catchy material.

If you’ve been frequenting this site over the past couple of years, you probably have picked up on the fact that I’ve had an obsession with French indie rock, French hip-hop and French pop that has been sparked into overdrive after spending time in Montreal for M for Montreal. During that same period I’ve managed to spill copious amounts of virtual ink covering the Montreal-based JOVM mainstays.

With the release of their sophomore album 2017’s Supermercado, the band exploded into the international scene with the album receiving rapturous praise from NPR and from Vice, who wrote that 2017’s sophomore album  Supermercado was “the best French record of 2017, 2018, 2018, 2019, 2020 2021 and even 2022 .  . . ” Building upon a rapidly growing profile, the Francophone indie rockers spent the following year supporting the album with touring across Europe with stops at  London Calling Festival and La Villete Sonique Festival, before making their Stateside debut with stops at SXSW and Northside Festival. They capped off a busy year or so, with a sold-out Stateside tour with Crumb.

Corridor caught the attention of Sub Pop Records, who signed the band, making them the first Francophone act on the label. Their third album, and first for Sub Pop, 2019’s Emmanuel Ethier-produced Junior is fueled by a special sort of je ne sais quoi? that comes from self-imposed restraints: Although at the time, the band had just signed to the label, they had a firm commitment to releasing a new album every two years — and they had every intention on going through with it.

When the band informed Sub Pop of their intentions, the label gently informed the band that if they wanted to release new material that fall, they would have to send the label a finished album in early May. With the ink barely dried on the contract, and a deadline looming, the band — Jonathan Robert (vocals, guitar), Dominic Berthiaume (bass, vocals), Julian Perreault (guitar), and Julien Bakvis (drums) — went into the studio, furiously writing and recording material, never stopping to second guess themselves.

Six of he album’s 10 songs were conceived in a single weekend, with the album closer “Bang” written the night before they were going to start recording. Because of the quick nature of the Junior sessions, the album features fewer expansive jams and less reliance on overdubs.  “Part of the beauty of the thing is that we didn’t have time to think about it,” the band’s Dominic Berthiaume says of the Junior recording sessions. 

Sonically, the album is intimate yet immediate while revealing a band with a mischievously genre-defying approach: the material draws from post-punk, Komische Musik, jangle pop, dream pop and indie rock while being completely their own.

Junior was released to widespread critical acclaim from the likes of BrooklynVegan, Clash, Paste, Stereogum, Exclaim! and a long list of others. The band supported the album with tours across Europe and North America that impressed fans and the cognoscenti, helping to establish the Québécois act as one of genre’s newest must-see acts. The tour and its shows went so well that they decided to make Samuel Gougoux, a live collaborator for the Junior tour, a full-time member.

The JOVM mainstays have returned with a new single “Et Hop,” their first bit of new material since Junior‘s release. Originally written during the Supermercado sessions, “Et Hop” was gathering dust in the band’s musical vault. Interestingly, when CISM, the student-run radio station at the University of Montreal asked if they wanted to release a song to celebrate the station’s 30th anniversary, the members of the band gave them “Et Hop,” a bit of old-timey jangle pop centered around the band’s unerring knack for gorgeous melodies paired with razor sharp hooks. But pay close attention! There are subtle nods to 60s psych rock and post punk throughout that should serve as a reminder that they never do anything in a straightforward fashion.

Corridor will be capping off the year with two previously announced shows in Montreal and Toronto in November. They’ve also added a handful of headlining Stateside dates in Spring 2022 that includes a March 31, 2022 stop at The Sultan Room. Check out the tour dates below.

Fall 2021
Fri. Nov. 19 – Montreal, QC – Fairmount Theatre
Fri. Nov. 26 – Toronto, ON – The Garrison
Spring 2022
Thu. Mar. 31 – Brooklyn, NY – Sultan Room
Fri. Apr. 01 – Philadelphia, PA – Milk Boy
Sun. Apr. 03 – Chicago, IL – Schubas Tavern
Fri. Apr. 08 – Grand Rapids, MI – Pyramid Scheme

Live Footage: METZ Performs “Pulse” Live at Toronto’s Opera House

Throughout the course of this site’s 11 year history, I’ve spilled copious amount of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. The JOVM mainstays’ fourth album, last year’s Atlas Vending found the band setting a goal for themselves and for the album before they set to work on it: they wanted 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 Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album sees the band attempting to intentionally craft music for the long haul, with the hopes that their work could serve as a constant as they — and their fans — navigated through life’s trials, tribulations and victories.

Sonically, Atlas Vending sees the band retaining the massive sound that has won them attention and fans across the world — but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album touches upon disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-inducing paranoia and the restless urge to stop everything and just say “Fuck this!” and leave it all behind. Much like its immediate predecessor, Altas Vending offers a snapshot of the the modern condition as they see it. However, what makes Atlas Vending different is that each of its ten songs were written to form musical and narrative whole with the album’s songs following a cradle-to-grave trajectory.

As a result, the album’s material emotionally runs through a gamut of emotions — from the most rudimentary and simple of adulthood to the increasingly nuanced and turbulent peaks and valleys of adulthood. So in some way, the album finds the band tackling what’s inevitable for all of us: getting older, especially in an industry suspended in perpetual 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.”

METZ have developed and furthered a reputation as purveyors of abrasive melodicism and one of the planet’s most bombastic, contemporary live acts through relentless touring across the globe throughout both this site’s history and their history. Determined to connect with their fans and to find a way within the confines of the pandemic to create a live experience as dynamic as Atlas Vending, the members of the Canadian JOVM mainstays took the stage at Toronto’s Opera House in October 2020 to livestream their latest album in its entirety. Today, the band announced the official release of the live show, Live at the Opera House recorded by longtime collaborator Graham Walsh and mixed by Seth Manchester through all the digital service providers with bundles at Bandcamp and Sub Pop’s Mega Mart that include the full concert film, directed by the band’s longtime video collaborator Scott Cudmore.

There’s also a pre-order for a limited 1,000 piece vinyl pressing on tricolor (Black/White/Oxblood), which also includes a download of the full concert film. The LP can be ordered through megamart.subpop.com, METZ’s merch store, and Bandcamp, and will be available November 5th in select independent retailers in North America.

Now, as may remember I wrote about Live at the Opera House single “A Boat to Drown In,” which was also coincidentally, Atlas Vending’s first official single. While continuing the band’s long-held reputation for crafting enormous, aural assaults centered around layers of distortion pedaled power chords, thunderous drumming mosh pit friendly hooks and chorus, and Eadkins’ howled vocals, “A Boat to Drown In” also finds the trio subtly moving away from their grunge influences with the song possessing an oceanic heft.

“Pulse” is a seething and furious roar, full of the anxious and uncertain dread and that has become a part of our daily lives since the Trump Administration — and has continued through a deadly pandemic that has put most of our lives in disarray. The live footage finds the band delivering a blistering and forceful performance that’s shot with an intimate yet cinematic aplomb.

Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer Ernest Greene is creative mastermind behind the acclaimed synth pop/chillwave, JOVM mainstay act Washed Out. Started in earnest in 2009, Greene posted material on MySpace, which caught the attention of a nubmer of influential blogs who championed him, while comparing his work to JOVM mainstay Neon Indian and Memory Tapes.

Building upon a rapidly growing profile, Greene released his first two Washed Out EP in August and September 2009. The Perry-born, Athens-based JOVM mainstay supported his early efforts with his first New York area show at the now, long shuttered Santos Party House. He continued upon that momentum with a set at 2010’s Pitchfork Music Festival. And  “Feel It All Around” was chosen for the acclaimed, smash-hit TV series Portlanadia.

In early 2011, Greene signed with Sub Pop Records, who released his critically applauded and commercially successful full-length Within and Without: the album peaked at #26 on Billboard 200 and #89 on the UK Albums Chart. 2013’s sophomore album Paracosm was a radical change in sonic direction that featured a warmer, tropical-inspired sound — but while retaining the ethereal quality of his previously released material. 2017’s third album, the  Cole M.G.N. co-produced Mister Mellow was released through Stone’s Throw Records, and featured a beatmaker-inspired aesthetic.

Greene’s fourth Washed Out album, last year’s Purple Noon was written and recorded by the JOVM mainstay with production following a brief stint of writing with other artists — mostly notable with Sudan Archives on her debut Athena. Those collaborations found their way into Purple Noon‘s material with the album sonically drawing from R&B and modern pop. While arguably being among the brightest and more robust sounding material he’s released to date, the album is also a big leap forward: Greene’s vocals are placed front and center of the entire mix with the production featuring harder hitting beats.

Deriving its name from Rene Clement’s 1960 film Purple Noon, which was based on Patricia Highsmith’s novel The Talented Mister Ripley, Greene’s fourth Washed Out album is inspired by the Mediterranean coastline — with Greene paying tribute to the region’s island-based cultures, elegance and old-world charm. The surroundings serve as a gorgeous backdrop to stories of passion, love, loss and longing. Purple Noon‘s first single “Too Late” can be descried as a bit of a return to form: it’s swooning synth pop featuring skittering beats, glistening bass synth arpeggios, Greene’s lush vocals, a rousingly anthemic hook and a decidedly Caribbean/Mediterranean Island meets Quiet Storm air. Just under the hook-driven, breezy surface, the song is full of desperately aching longing.

Earlier this month, Green released a remix of “Too Late” by Puerto Rican pop duo Buscabulla. Buscabulla ‘s remix retains Greene’s achingly plaintive and lush vocals and pairs them with a funky and blissed out, New Jack Swing-inspired production featuring a strutting bass line, skittering beats and squiggling synths.

Along with the remix, Greene announced that he’ll finally be hitting the road to support Purple Noon during Winter 2022. The tour includes a February 7, 2022 stop at Brooklyn Bowl. The rest of the tour dates are below. And you can check out the following — https://washedout.net/tour for ticket information and more.
Mon. Jan. 10 – Asheville, NC  – Orange Peel
Tue. Jan. 11 – Nashville, TN – Brooklyn Bowl           
Thu. Jan. 13 – Houston, TX – Stereo Live
Fri. Jan. 14 – Austin, TX – Empire
Sat. Jan. 15 – Dallas,  TX – The Granada Theatre
Mon. Jan. 17 – Phoenix, AZ – The Van Buren
Tue. Jan. 18 – San Diego, CA – The Observatory               
Thu. Jan. 20 – Los Angeles,  CA – The Wiltern Theatre
Fri. Jan. 21 – Santa Ana, CA – The Observatory
Sat. Jan. 22 – San Francisco, CA – The Regency                 
Mon. Jan. 24 – Portland, OR – Wonder Ballroom
Tue. Jan. 25 – Seattle, WA – Showbox at the Market 
Fri. Jan. 28 – Salt Lake City, UT – Metro Gallery
Sat. Jan. 29 – Denver, CO – The Gothic Theatre      
Mon. Jan. 31 – Minneapolis, MN – USA – Fine Line
Tue. Feb. 01 – Chicago, IL – Metro    
Thu. Feb. 03 – Toronto, ON – The Danforth Theatre
Fri. Feb. 04 – Montreal, QC – L’Astral
Sat. Feb. 05 – Boston, MA – Paradise                        
Mon. Feb. 07 – Brooklyn, NY  – Brooklyn Steel                                 
Wed. Feb. 09 – Washington, DC – 9:30 Club
Thu. Feb. 10 – Philadelphia, PA – Underground Arts
Fri. Feb. 11 –  Chapel Hill, NC  – Cat’s Cradle
Sat. Feb. 12 – Atlanta GA – The Eastern

New Video: Low Releases a Gorgeous and Intimate Visual for Yearning “Days Like These”

n 1993, the acclaimed Duluth-based indie act  Low — currently founding members and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) with Steve Garrington (bass) — are considered pioneers of slowcore, an indie rock sub-genre featuring slowed down tempos and minimalist-leaning arrangements. Despite the fact that the acclaimed indie act has gone through series of lineup changes throughout their history, they’ve consistently disapproved of the slowcore term, eventually shrugging off its strictures altogether while continuing to cement their reputation for a magnetic and powerful stage show centered around Sparhawk’s and Parker’s harmonies and heartbreakingly gorgeous material.

ne of the most uncompromisingly defiant, brazenly abrasive, challenging yet stunning albums of their expansive catalog. The trio worked with Burton on 2015’s Ones and Sixes and as the story goes, they wanted to go further with Burton and his aesthetic, to see what someone who as Sparhawk has described as “a hip-hop guy” could do to push their music in a radically new directions. Instead of obsessively writing, revising and rehearsing in Duluth before heading to the studio, the band went to Eau Claire, WI with rough ideas and sketches for one of the most collaborative writing sessions they’ve ever had with a producer.

During those sessions, they’d build pieces up, break them down and build up them up again until each individual song found its purpose and force. Over the two year writing and recording sessions, the outside world slide deeper into madness and instability — and Double Negative may be a document of our peculiar moment: the material is at times loud, contentious, chaotic and jarring. Sparhawk’s and Parker’s vocals sometimes seem to be desperately fighting against the noise and chaos, other times hidden with it.

The acclaimed Duluth-based act’s 13th album HEY WHAT is slated for a September 10, 2021 release through their longtime label home Sub Pop Records. Continuing their ongoing collaboration with producer BJ Burton for the third time, HEY WHAT reportedly finds the trio focusing on their craft, staying out of the fray and holding fast to their faith to find new ways to express the discord and delight of being a living human being, to turn the duality of our existence into hymns we can share. The album’s ten songs are individually built by their own undeniable hooks — and are turbocharged by the vivid textures surrounding them.

HEY WHAT’s first single “Days Like These” is a perfect example of what we should expect from the album’s overall sound and aesthetic: Disorientating and hushed passages with strummed guitar fight for space between layers of noise and distortion that accrete, build up and fall apart. The messiness is all held together by Sparhawk’s and Parker’s gorgeous yet slightly AutoTuned harmonies, seemingly serving as a lifeline from the shore, thrown to the poor soul drowning in the breakers. But at its core, the song is a yearning plea for meaning and peace in a world that’s completely mad and rarely makes much sense.

Directed by the band’s longtime friend and collaborator, director Karlos Rene Ayala, the recently released video for “Days Like These” is a stylish yet intimate look into the daily life of an older Black man in an extremely White place. While he may be lonely, this gentleman has his dignity, humanity and faith — seen with a Cadillac plastered with Biblical passages and time at a local church.

New Video: Mudhoney Releases “New” Visual for “Ounce of Deception”

Sub Pop Records will be releasing a remastered, 30th anniversary deluxe edition of Mudhoney’s classic second album Every Good Boy Deserves Fudge on July 23, 2021. The expanded release will include the original album in its entirety, a 15-track bonus LP and a CD of additional material with seven previously unreleased songs. The album also includes liner notes from MOJO journalist and Mudhoney biographer (Mudhoney: The Sound and the Fury from Seattle) Keith Cameron, new album cover art, archival band photos and a full-color fold-out poster. And for those record collectors out there, the first run of LPs will be on colored vinyl.

To celebrate the remastered, 30th anniversary deluxe edition of Every Good Boy Deserves Fudge, Sub Pop and the band — currently founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums) — released a new video for mosh pit friendly ripper “Ounce of Deception,” which was previously released as a B-side to 1991’s “Let It Slide” seven inch — and was also included on 2000’s 52-track compilation of Mudhoney smash hits and rarities March to Fuzz (which is currently only available on CD).

Directed by Duncan Sharp, the recently released video features vintage footage of the band playing life — and it reminds me of the boisterous, chaotic energy of shows that I miss so very much. But soon, right?