Video by William Ruben Helms

New Video: Cincinnati’s Sungaze Shares soaring “I’m No Longer Afraid of Heights”

Through the release of their first three albums, 2019’s Light in All of It, 2021’s This Dream and 2024’s self-titled effort, Cincinnati-based indie sextet Sungaze — Ivory Snow (vocals), Ian Hilvert (lead guitar, vocals), Snow’s sister Angela Colvin (bass), Charlie Hausfield (rhythm guitar) and Zach Starkie (rhythm guitar) and Tyler Collier (drums) — have established a sound that draws from the atmospherics of shoegaze and the nostalgic pull of Midwest emo, blending lush, textured guitars with clear vocals and poetic lyricism.

Slated for a May 22, 2026 release through Candlepin Records and Softseed Music, the Cincinnati-based sextet’s fourth album I’m No Longer Afraid of Heights reportedly marks a turning point for the band. Thematically, the material is an excavation of personal history reframed through the present, where survival, ambition and grief coexist. Most of the album sits in — and captures — the tension between past and present, capturing the feeling of trying to move forward while carrying the weight of where you’ve been and how you’ve gotten there. Simultaneously looking within and without, the album traces the cost of staying, the fear of leaving, and the moments in our lives that force change.

I’m No Longer Afraid of Heights‘ latest single, album title track “I’m No Longer Afraid of Heights” opens with a gorgeous intro meant to evoke childhood memories of hot, hazy summers playing with your friends and/or siblings; and of times that seem deceptively simple and carefree, before morphing to a stormy and brooding section that evokes the bitterness of an unfulfilled stagnant life of drudgery and frustration punctuated by grief and heartache. Throughout, Ivory Snow’s ethereal vocal expresses a mix of heartache and resignation, followed by newfound sense of defiance and inspired action, seemingly informed by the recognition that it’s better to have tried and fallen on your face than to never attempt to live your dream.

The accompanying video draws from a real memory while simultaneously being intentionally symbolic. Set in a small Ohio town along the banks of the Little Miami River, the video contrasts warm childhood imagery with the bleakness and starkness of grown-up routine and loss, employing water, movement and live performance as parallel paths towards release. The video’s dual ending cuts between Snow in work attire, floating serenely in a childhood river bathing spot and Snow in a white lace dress, crowd surfing at a Sungaze show.

“It was important to us to film the video in the real life settings that inspired it. We filmed over the course of three days. Day one was mostly spent working with our kid actors, and filming the office-attire scenes,” Sungaze’s Ivory Snow explains. “Day two was filming the outdoor performance and narrator scenes which involved sneaking into a gravel pit yard and walking the streets of the small town where I grew up. The corner store in the video is the very same that is mentioned in the first verse. The third day was the live show, which was shot at Madison Live in Covington, KY, across the river from Cincinnati. To get the slow motion effect, we had to perform the song at 2x speed, which made for a humorous experience. I think we were all thankful that we play relatively slow music.”

To prepare the live concert audience for their scene on the third day of filming, a last minute showing of the video was arranged. Snow continues, “Before filming kicked off, we set up a projector and screened a preview of the video for the audience, ending with the river scene right before the first live show shot. The room was dead silent for a few seconds after the preview ended, before erupting into applause. A few people were wiping their eyes.
Screening the video in that way felt a bit more vulnerable than expected and it was gratifying to see it received so well.”

Video by William Ruben Helms

Lyric Video: Fightmaster Shares Woozy “All Or Nothing”

Queer actor, singer/songwriter and producer E.R. Fightmaster (they/them) first came into the public eye for their roles in Grey’s Anatomy and Shrill. They built a home studio that replicated a particularly fertile creative space from a previous apartment: a cozy closet. They also learned to use Logic and sharpened their engineering techniques. “It felt like leveling up in a creative way,” Fightmaster explains. “I never have wanted to do the technical part of things, but when you’re trying to be creative, you have to set up a space that does beyond what a loop station can do.”

They emerged as a solo artist with their recording project, the aptly named FIGHTMASTER with their debut EP, 2023’s Violence and 2024’s sophomore EP Bloodshed Baby. Building upon a growing profile, Fightmaster will be releasing their full-length debut, Tolerance on June 5, 2026.

Tolerance is dominated by raw, unvarnished lyrics that reflect the complexities and messiness of emotional growth, and attempts to find equilibrium. When Fightmaster started writing the album’s material, they drew from their own life experience, analyzing them through the lens of hindsight and perspective. “Every song that I write is in some way a personal experience, but here I was mining a broader understanding of patterns throughout a lifetime: patterns of loving different people, patterns of watching my friends love each other,” they explain. “All of us do a relatively graceless job, but all the patterns are the same, which is endearing to me.”

“Tolerance is the most deliberate thing I’ve ever done,” they add. “I wanted to break through more personally on this album. I really waned to give people a part of myself . . . I would decided that a song felt good if it hurt a little bit. There had to be this real truth to it. And that requires a lack of wall between self and the audience.”

Fightmaster also wanted to work with more producers than they did in the past. On the album, they worked with Riley Geare, who produced both the Violence and Bloodshed Baby EP‘s; Casey Kalmensen, the creative mastermind of Little Monarch, who also plays keys for Gracie Abrams; and Gabe Goodman, who produced Del Water Gap‘s “Ode to A Conversation Stuck In Your Throat.“

The result is an album that exhibits artistic clarity and is a reflection of Fightmaster’s own self-awareness about their place in the world, musical and otherwise. “I have to have such a clear understanding of self all the time because I’m a public figure in a very queer way, and I’ve always taken that responsibility seriously,” Fightmaster says. “I don’t feel comfortable being reckless anymore . . . Nonbinary people and trans people have so few elders — I’m not an elder yet; I haven’t earned it — but I have taken on an understanding that’s the path that I’m on.”

Of course, none of this means that Fightmaster has completely figured it all out. No one really has it figured out. But in fact, Tolerance‘s songs brim with empathy — both for the narrators and others. “I want people to know that there’s still cracks in the pavement; I want them to feel safe with me,” they say. “I’ve always thought of myself as so tough, but in the last couple of years I had to realize that I get my feelings hurt every day… When I realized how much kid-heartbreak is still in there, even though I’ve been to all the therapy and I’m on the perfect amount of medication, I was able to write these songs with more kindness for myself than I ever had.”

Tolerance’s first single “All Or Nothing” is a shimmering and propulsive tune anchored around a taught groove and skittering, off-kilter percussion that evokes the wooziness and self-delusion of a newfound love/fling/situationship. Throughout the song, the narrator is full of bluster, challenging their romantic partner to dare to imagine the future they’d have together. But it’s mischievously ambiguous: The listener has no idea what the other person feels or thinks about the relationship or if the narrator just expressing wishful thinking. While informed by personal experience, the song tackles something that’s deeply universal: Many of us have been both the delusional, lovelorn narrator — and the unseen subject of the song.

“It’s such a dramatic bluff,” Fightmaster says. “When I wrote it, I wanted this bravado attack. Like, here’s the fucking synth, here’s the beat. I love this one because we really went hard.”

Video by William Ruben Helms

New Video: Lip Critic Shares Tense and Bruising “Talon”

With the release of 2024’s Partisan Records debut, Hex Dealer, NYC-based hardcore outfit Lip Critic –Bret Kaser (vocals, synths, mixing), Connor Kleitz (synths, vocals), Danny Eberle (drums) and Ilan Natter (drums, mixing) — firmly established the act as a ferocious, standout creative force, earning praise from international renowned outlets like Pitchfork, Rolling Stone, NME and Paste.

Building upon a growing profile, the quartet continued a relentless touring schedule while releasing standalone singles “Mirror Match” and “Second Life.” Their reach expanded with a remix of an IDLES track that was featured in Darren Aronofsky’s 2025 film, Caught Stealing.

Their highly-anticipated third album, Theft World is slated for a May 1, 2026 release through Partisan Records. While touring to support their debut album, Lip Critic’s frontman Bret Kaser discovered his identity had been stolen, with someone using his information to make hundreds of purchases, including the band’s entire discography. When Kaser eventually tracked this person down, he found a young fan, who believed he uncovered a hidden puzzle embedded in Lip Critic’s music and had effectively “won” some larger, cryptic game. That encounter became the foundation for Theft World, a concept album that sees the band channeling themes of digital obsession, misinterpretation and fractured identity into something chaotic but sharply intentional. Theft is explored as a political, digital and emotional condition.

Produced by the band’s Kaser and Connor Kleitz, the album reportedly sees the band refining Hex Dealer‘s chaos into a focused, fully locked-in statement. Driven by the forceful rhythmic assault of two drummers, a lightning-struck sampler and Kaser’s paranoid-preacher-like delivery, the album features colliding club rhythms and hardcore breakdowns into a sound continually torn apart and resold.

“Talon,” Theft World‘s penultimate pre-release single is a woozy, nauseating lurching churn evoking the relentlessly unceasing and seemingly inevitable horror and brutality of a world in which you’re constantly connected to banal, mind-rotting entertainment and soul-numbing atrocities. Scroll past the influencers, memes, dances and challenges to images of fights at a McDonald’s, senseless murder, genocide and others crimes against humanity and then back — every single day. “Talon” captures the paralysis and Kafkaesque hell of overexposure and what it all does to our hearts and souls.

“‘Talon’ is a song about scrolling through hell,” the band explains. “Traversing an absurd and violent world at 1000 mph in a go-kart your friend’s dad modded based off a YouTube video.”

Directed by Colter Fellows, the accompanying video for “Talon” is a mix of digital glitch and slick, hyper modern editing and camera work and drones that captures the lurching paranoia, unease and violence of our moment.

Video by William Ruben Helms

Live Footage: The Limiñanas Perform “One Blood Circle” at Because Beaubourg

Founded back in 2009, acclaimed Cablestany, France-based duo The Limiñanas — Lionel Limiñana (guitar) and Marie Limiñana (drums) — have firmly established a sound that meshes French yéyé with contemporary garage and psych rock with lyrics sung in French and English.

Through their collaborations with a diverse array of artists, the French duo have a unique ability to distill the cachet of a nostalgic, highly cinematic era while revisiting it with through a modern lens. They’ve built up an international profile through collaborations with The Brian Jonestown Massacre‘s Anton Newcombe and New Order‘s Peter Hook.

During their early years, their material was released through labels here in the States; for a while, they had a much bigger profile Stateside than their native France. And adding to a growing international profile, they have high-profile admirers ranging from Primal Scream and Franz Ferdinand to Iggy Pop, who regularly plays them on his BBC 6 Music show.

After a 2015 collaborative album with Pascal Comeleade, the duo signed to French label Because Music, who re-issued their catalog in Europe. And since then they’ve continued to captivate audiences and critics globally through extensive touring across Europe, the UK and Australia.

The duo celebrate their extensive catalog with the release of their first live album, Live at Beaubourg, which is slated for a June 19, 2026 release through Because Music. Recoded during an exceptional weekend at Centre Pompidou, Live at Beaubourg brings the psych rock sounds of the acclaimed French duo with the visuals of contemporary artist SMITH.

The collaboration between The Limiñanas and Smith goes back to Normandie Impressionniste 2024. Festival director Philippe Platel thought it would be a great idea to bring both artists together. “I had already been listening to The Limiñanas for a long time, so I was delighted,” he says. At the time, the duo were working on their most recent effort, Faded, an album dedicated to Golden Era Hollywood actresses, who are no longer with us. This resonated with SMITH’s work, which often employs the use of thermal cameras. “What the camera sees is not the body but the heat it gives off, a kind of aura left behind before it disappears,” Smith says. That’s exactly what Faded is about: bringing these ghosts back through music.

Conceived to match the architecture and energy of Because Beaubourg, where the label turns the museum into a playground where performances, carte blanche events and even DJ sets from the likes of Thomas Bangalter and Fred Again.. , Live at Beaubourg serves as the only recording from that weekend and was envisioned as a documentary of the event, rather than a simple live “best of” album.

SMITH and the acclaimed French duo had imagined a collaborative show that would take place October 24, 2025 during Because Beaubourg at Centre Pompidou. The album captures the hypnotic eight-song performance in a continuous flow, featuring a backing band of five musicians and their longtime collaborator Pascal Comeleade playing songs across their catalog. That’s right, no interruptions. “What I love about live shows is achieving a kind of trance naturally through the performance. We had agreed there would be no interruption in the sound, with a ceremonial aspect as well, since we were closing Beaubourg before renovations,” Lionel Limiñana says.

Along with the album announcement, the duo will be embarking on their first-ever North American tour. The tour includes an October 24, 2026 stop at Le Poisson Rouge. And of course, the rest of the tour dates are below. But in the meantime, the acclaimed French duo shared a live version of broodingly cinematic “One Blood Circle,” featuring their longtime collaborator Pascal Comeleade. Anchored around a persistent and relentless pulse, “One Blood Circle” evokes the unease, dread and brutality of our late-stage capitalist, fascistic hellscape. And fittingly, SMITH’s visuals are haunting yet profoundly gorgeous.

Video by William Ruben Helms

New Video: POND Returns with Anthemic, Post Punk-Like “Two Hands”

Perth-based JOVM mainstays POND — currently, Nicholas Allbrook (lead vocals, guitar, keys, bass, flute, slide guitar and drums); singer/songwriter and producer Jay Watson (vocals, guitar, keys, drums, synths and bass), who’s also the creative mastermind of acclaimed JOVM mainstay outfit GUM and a touring member of acclaimed, Grammy Award-nominated JOVM mainstays Tame Impala; Joe Ryan (vocals, guitar, bass, 12 string guitar, slide guitar); Jamie Terry (keys, bass, synths, organs, guitar); and Jamie Ireland (drums, keys) — will be releasing their 11th album Terrestrials on June 19, 2026 through their newly-minted Mangovision/Secretly Distribution.

The writing and recording process for Terrestrials was subject to a simple set of rules: No fuzz pedal. No ballads. No “Pink Floyd shit.” Conceived from a place of deep reverence for a particular potent era of Oz rock, the JOVM mainstays’ 11th album reportedly mines the sound of open sky melancholia, heat haze sizzling on the plains and jangly pub backrooms that will hit an eternally poignant nerve for those familiar with the sound, time and place. And from there, the album evolved with the idea of “Goths at the pub” becoming the record’s stylistic north star — with 80s Australiana being acid-washed with the post-punk of Sisters Of Mercy, Magazine and the like. Throughout the album’s creative and recording process, they’d ask themselves “Would Goths like it? Could you have a beer to this?” If the answers were yes, it was thrust into the mix.

Like much of their catalog, Terrestrials is a record of people and place, of exploring the identity of each, as well as where and how they intersect and interact. Thematically, the album touches upon extractive capitalism, power dynamics., inequality, Indigenous incarceration, eccentric outcasts, fire and water, diesel and dust, unity and division, blood and bauxite, unborn tomorrows and dead yesterdays. And as a result, the album’s material twitches with the desperation of people and their planet on the brink, but while betting on the beauty of both to prevail.

The album will feature the recently released, album title track “Terrestrials” and its second and latest single, “Two Hands.” The Sisters of Mercy-meets-Diesel and Dust-era Midnight Oil-like “Two Hands” is slick, shimmering and downright anthemic tune, but it throbs and twitches with anger familiar anger and despair over a society that values money above all — including this planet and our lives.

“This song is about when mining company Rio Tinto blew up Juukun Gorge in the Hammersley Range in Western Australia. They destroyed sacred rock shelters that were of the highest archaeological, cultural and spiritual significance,” POND’s Nicholas Allbrook explains. “The rock shelters contained a cultural sequence spanning 46,000 years that had been taken care of by the local Indigenous communities. I was wondering how the commentators around this country would’ve reacted if the shoe was on the other foot and someone had demolished the Vatican or Notre Dame or St. Paul’s because it was in the way of their corporate expansion. Anyway, its a little word of encouragement that you’ve got every right to be very fucking angry about this injustice.”

Directed by Sam Kristofski and the JOVM mainstays, the accompanying video will remind Americans of The Dukes of Hazard but set in a post-apocalyptic hellscape that nods at Mad Max. Allbrook continues, “The video was made by us and Sam Kristofski (with heaps of help from Tess Thompson, Kate Green and Christian Dillon). We filmed it in York and the Beverley Offroad Motorsports Association on one of the hottest days of the summer. Az was tough enough to wear full leathers the whole time. Endless thanks to him and Ry for fully embodying the soul of this video with their enduring passion for dust, rust, black cans, circlework and fucked up old motorcars.”

Video by William Ruben Helms

Throwback: Happy 62nd Birthday, Biz Markie!

JOVM’s William Ruben Helms celebrates the 62nd anniversary of the birth of Biz Markie.

Video by William Ruben Helms

New Video: Jon Spencer Shares Swaggering “Knock ‘Em Out”

For the better part of the past four decades, Jon Spencer has been both an innovative force and stalwart in the independent music scene. He has an amassed a dizzying and disruptive discography as the frontman of bands like Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash and Jon Spencer & the HITmakers, as well as stints as a member of Boss Hog, The Honeymoon Killers, Gibson Bros. and Taxidermy Girls.

Spencer has also been a highly sought-after collaborator, who has worked with an eclectic array of artists including Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D., Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Moby, Money Mark, The Muffs, North Mississippi Allstars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams and the late, great Bernie Worell among others.

As a producer, he has produced material by Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees and the Grammy-nominated Samantha Fish and Jesse Dayton album, Death Wish Blues.

Spencer’s newest album, Songs of Personal Loss and Protest is slated for a June 12, 2026 release — both physical and digital — through Shove Records here in the States. The album, which features Spencer (vocals, guitar, synth, organ and percussion) and a backing band of Kendall Wind (bass, vocals. guitar, piano and organ) and Macky “Spider” Bowman (drums, vocals and percussion), best known for being members of The Bobby Lees, and was produced by Spencer and was recorded by Chris Bittner at Woodstock, NY‘s Applehead Recording in a one-day session last July, with the exception of “Vermin Attack!” and “Mr. Lion” which were recorded by Felipe Ruz and Perrosky at Santiago, Chile‘s Estudio Algorecords last April.

Thematically, Songs of Personal Loss and Protest asks a simple question: Can rock ‘n’ roll save the world? Spencer would answer emphatically, “YES.”

“I’m in a time of spiritual reckoning,” Spencer says. “These past few years there has been a lot of emotional conflict and personal loss — the passing of time takes its toll.  Losing friends, losing family, and all of this set against a world gone topsy turvy where it feels like we are losing basic freedoms… I’m trying to balance a lot of things, but the answer is always rock’n’roll.”

The 12-song album sees Spencer tearing his heart singing songs informed and inspired by the front page and beyond. The songs are futuristic power blues and garage punk explosions about the nausea, unease and paranoia delivered by a reality show president, and the power and resilience it takes to rebel. It may all be deeply personal — the fight to create and live, and push back against dark forces — but while never losing sight that we’re all in this together, for better or for worse.

“Rock’n’roll is America’s true gift to the world — the sound of revolution! It came out of the sky, a screaming, chrome-plated flying saucer, like an outer space monster, landed here on Earth so the freaks could have their say,” Spencer says. “It  is the hip-shaking sound of rebellion. The blues is my bible, rock’n’roll is our battle cry!”

“Knock ‘Em Out,” is a swaggering and rousingly anthemic tune that’s one-part rollicking battle cry, one-part sweaty old-school blues-tinged pub rocker, anchored by tight, funky groove. Rock should always be loud and bombastic — but it can also be about something bigger and important, too. We only have us, y’all. So let’s get to work before it’s too late.

The accompanying video is by Andrew Hooper and features studio photos by Skyler Smith, live concert photos by Masashi Yukimoto and live footage of Spencer and company rocking out.

Single Review by William Ruben Helms

New Audio: Parlor Greens Share a Mournful Ode to Dear, Departed Loved Ones

Organ trio Parlor Greens features a collection of grizzled veterans and incredibly accomplished musicians: 

The trio’s highly-anticipated sophomore album Emeralds is slated for a Friday release through Colemine Records. Emeralds reportedly sees the acclaimed trip upping the ante, while capturing the band in top form: tour tight and more confident than ever in who they are and where they’re going.  Though the results are stronger than ever, the overall mood of the recording sessions was much different. 

The first time the trio met in Colemine’s Loveland, OH-based Portage Lounge Studio, the meeting was marked by a certain sense of freshness: It was the first time they had all played together. Understandably, it was exciting and unknown territory. But the sessions were underlined by the heaviness each of the individual members were going through at the time. With each individual member dealing with personal tragedies in their own lives, the sessions serves as a genuine moment of joy. Just three talented musicians, writing and playing music, now as friends, in a familiar environment. 

Emeralds will feature the previously released, album opening “Eat Your Greens,” “Drop Top” and the final single, the Jimmy James written “Queen of My Heart.” “Queen of My Heart” may arguably be the most somber tune on the entire album, blending church funeral observance music and Booker T. organ-driven soul in a seamless, fashion. The most heartbreaking part of the entire song is towards the song’s coda: A man named Jabril and his mother Marie, express their love for one another. It’s a touching, very sweet moment seemingly punctuated by a sense of loss — and of memorializing someone who’s profoundly important to you.

“My mom is and always will be my Rock of Gibraltar, I came from her. She taught me many lessons in life, as well as character and integrity, and she didn’t only just mother me, but anyone she came across,” Parlor Greens’ Jimmy James explains. “I miss her with every fiber of my being, and she will always be the queen of my heart.”

Video by William Ruben Helms

Throwback: Happy 111th Birthday, Billie Holiday!

JOVM’s William Ruben Helms celebrates the 111th anniversary of the birth of Billie Holiday.

Video by William Ruben Helms

Throwback: Happy 79th Birthday, Florian Schneider!

JOVM’s William Ruben Helms celebrates the 79th anniversary of Florian Schneider’s birth.

Video by William Ruben Helms

New Video: Crocodiles Shares Noisy and Swaggering “Time Is Wasting Me”

Crocodiles‘ Brandon Welchez and Charles Rowell have had a nearly 30 year history together: After initially become acquainted at a local Anti-Racist Action meeting, Welchez and Rowell found their respective teenage bands booked on the same bill at a punk gig hosted by a local Mexican restaurant in their native San Diego.

As their mutual friend Russell Cash put it in a previous band bio, a young Welchez watched in awe as a teenage Rowell clambered up a confused family’s table and proceeded to bash the living hell out of his cheap guitar. When his set was through, Charlie melted into he crowd and found himself awestruck as the young Welchez took the stage and proceeded to shriek, croon, howl and spit his way through his own band’s allotted 20 minutes.

When the show ended, the pair found each other, expressed their mutual admiration, and over a shared Coke agreed to dissolve their respective bands and work together.

After a few false starts, the duo found their footing professionally with noise punk outfit The Plot To Blow Up The Eiffel Tower. They spent five years crisscrossing the country, playing every dump that would let them play, while building a cult following. They met and inspired other like-minded freaks — and occasionally, they’d get beaten up by feral rednecks. Eventually the band imploded in a crowd of poverty, frustration and addiction. But Welchez and Rowell kept their partnership going.

After several years experimenting with their songwriting and sound, and trying out various lineups and different names, they decided to kick out the half-assed, half-committed losers and jokers they ere working with at the time and replaced them with a beat-up, old drum machine. They then set out to work on the batch of songs that would become Crocodiles debut, 2009’s Summer of Hate.

18 years later, Welchez and Rowell have proven to be restlessly creative and endlessly shape-shifting bouncing between garage rock, psych punk, noise pop, art gaze and more. They’re relocated multiple times with stints residing in San Diego, New York, Paris, Mexico City, London, and Los Angeles. But a few a couple of things have remained: They’ve continued to tour incessantly, bringing their unique brand of rock to fans in almost every corner of the globe. And they’ve never wavered on their teenaged mission to help achieve other escape a life of drudgery, boredom and expectation through music, art, friendship, and of course, adventure.  

The duo’s forthcoming album ninth album, Greetings From Hell is slated for an April 24, 2026 release through Indianapolis and L.A.-based Invisible Hits. The album’s latest single, album opening track, the swaggering and noisy “Time Is Wasting Me” is pure, classic Crocodiles — forceful, crunchy riffs, the duo’s unerring knack for catchy, earworm-y hooks and choruses, thunderous drumming paired with Welchez’s punchy sneer. It’s a song meant to be played at ear drum shatteringly loud levels.

Directed by Sam Macon and edited by Eric Arsnow, the accompanying video is a deft mix of live concert photography, collage and animation that captures the swaggering and frenetic pulse at the core of the song.

The duo will be embarking on a short run of tour dates to support the new effort. Hopefully, they’ll be more dates soon. Perhaps an NYC date?

Single Review by William Ruben Helms

New Audio: MABLONDE Shares Dance Floor Friendly “1973”

French producer, multi-instrumentalist and songwriter MABLONDE‘s career started in earnest back in the 90s as a beatmaker. But since then, his work has gradually morphed to a sound that features elements of electro pop, electronica and synth wave and makes references to the styles and aesthetics of the 1980s and 1990s.

The French artist’s latest single “1973” is a sleek, hook-driven, club banger that’s one-part LCD Soundsystem, one-part indie sleaze, one-part 70s glam rock and one-part 1980s-era Giorgio Moroder.