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Ovlov  

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Ovlov is not due to play near your location currently - but they are scheduled to play 3 concerts across 1 country in 2024-2025. View all concerts.

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Artists // Ovlov

Since 2009, Ovlov’s transmissions have been sporadic, but they’ve always been impactful. The band’s early run of EPs established the Connecticut four-piece as a modern update on a certain strain of northeastern indie-rock. By the time the band’s debut album Am was released in 2013, Ovlov was getting comparisons to Dinosaur Jr. and Sebadoh tossed in their direction, and while those elements were certainly present in their sound, Ovlov always let catchy pop hooks slip into the mix too. On their third album, Buds, those pop elements are more pronounced than they’ve ever been before.

“I would like to think that the songs on this album are all pop songs at the core,” says Steve Hartlett, the band’s songwriter, guitarist, and vocalist. On first blush, Buds won’t shock longtime Ovlov fans, but on repeat listens, those fuzzy, crushing guitars start to feel less like the central focus and more of a delivery system for Hartlett’s grander ambitions. “For the past few years, the number of rock bands I’ve been listening to has grown smaller and smaller,” says Hartlett. “Unfortunately, it’s the only genre and style I’ve ever really felt comfortable writing. That’s probably mostly because I write everything on a guitar. Don’t get me wrong, I love rock music—there’s nothing more satisfying than playing an E chord through a Big muff as loud as the amp will go—I just want to slowly progress into writing the most perfectly poppy of pop songs.”

Recorded with the same producer and engineer who has handled every Ovlov album, Michael John Thomas III at his Black Lodge Studio in Brooklyn, Buds is the latest document of Ovlov’s slow and sturdy evolution. But this time, the band’s become even more of a family affair. Though Steve’s long been riffing alongside guitarist Morgan Luzzi, the band was started with Steve’s younger brother Theo on drums. This time around, their older brother Jon joined them on bass—and their dad, Ted, even stops in to rip a sax solo on “Cheer Up, Chihiro!” Considering the Hartlett brothers learned how to play music together, it’s a full circle moment as they all come together in service of making Ovlov’s most fully realized statement yet.

Opening with “Baby Shea,” Hartlett lovingly reflecting on the bond’s formed at the beloved Brooklyn venue Shea Stadium, the album starts on a note of bittersweet appreciation. “Just as the majority of my songs are about the loss of either life or love, I think the majority of the songs on this album are as well,” says Hartlett. With a pounding backbeat and thick layers of guitar fuzz, Ovlov show they’ve lost none of their vigor in the years since TRU. But while loss permeates the record, there are moments of celebration, like “Cheer Up, Chihiro!” which sees Hartlett finally finishing the Spirited Away-inspired song he’s had kicking around since the Am days but could never get just right. “It’s always been one of my favorite songs that I’ve written, most likely because I can’t help but picture scenes from Spirited Away whenever I play or hear it.”

For Buds, Ovlov once again turned to Jordyn Blakely of Stove and Smile Machine to add additional vocals to the composition. But a couple chance meetings also brought a couple new voices to the fold. After meeting at Shea Stadium, Hartlett became close with Erin McGrath from Dig Nitty and invited her to sing on two of the album’s tracks, and a random Instagram message from Alex Gehring of shoegaze icons Ringo Deathstarr culminated in her contributing backing vocals to three songs as well. The result of this communal effort is a record that’s harmonious and powerful, as Ovlov work through a heavy few years with some heavy riffing and hearty hooks. Buds is dense and dark, but Hartlett’s assertion is dead-on: these are just big, bold pop songs. It’s still Ovlov, but a more assured version, one that isn’t so shy about putting their ambitions on full display.

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Ovlov’s Steve Hartlett on Christian rock, Broadway musicals, and Buds

Hear the beloved fuzz-rock band’s third album the day before its official release..

Steve Hartlett is going to Disney World. The singer-songwriter best known as the driving force behind Ovlov , Hartlett will not celebrate the release of the fuzz rock band’s third album Buds in a beer-stained basement with dedicated fans. Instead, he’ll be hanging out with Goofy, Elsa, and other beloved trademarks. We spoke over two days — once before he landed in Florida, once after — and on the second afternoon I could hear a decompression in his voice, as if he could taste the $20 hot dog in his near future.

It’s an unexpected itinerary, but Hartlett and Ovlov are nothing if not defiant. Ovlov has outlasted sonic trends to become one of indie rock’s most fervently adored groups with devotees far beyond the musicians entrenched in the Connecticut scene they sprung out of. The group formed in 2009, and their debut album Am , released in 2013, began their ascent to cult rock stardom. Hartlett tells me they were just trying to make an album that sounded like Blonder Tongue Audio Baton by Swirlies, but Ovlov’s post-shoegaze sound is warmer, its big blown-out guitars feeling like a warm embrace from a close friend even when Hartlett sings about gut-wrenching heartbreak and loss.

Despite the growing hype, Ovlov wasn’t easy to maintain. The band would play its last show before the pandemic in July 2019 in support of their second album Tru , with a planned extended hiatus to follow. However, lockdown and a series of personal struggles gave Hartlett new insight into what makes Ovlov special. “It forced me to think about, what am I doing with my life?” he says of the pandemic. “What is it I'm working towards and why? Even the years leading up to quarantine this was in the back of my mind, but [I was] never really forced to actually think about it.”

To create Buds , Hartlett brought in his brothers Jon and Theo on bass and drums, guitarist Morgan Luzzi, and the band’s longtime producer Michael John Thomas III. The new music is more consciously pop-oriented, less snaky than Tru and more polished than Am . This is a positive development: as a singer-songwriter, Hartlett has a knack for catchiness, and it’s edifying to hear him finally dive in. This new direction is something Hartlett has been eager to try for a long time, and so he dedicated himself to the writing and recording process like never before. “If we were going to [make another album],” Hartlett says, “we were going to go into it in many different ways from the previous two as far as our efforts in recording, our efforts in songwriting, the actual takes we get, just everything we wanted to try just a little bit harder.”

Hartlett is proud of the album, but it doesn’t stop the same feelings of anxiety he gets around every album release. “I don't know if people are going to like this, and then is it too different from the last stuff?” he says. Beyond his sheer talent, it’s this somewhat tragic quality that is key to the continued success of Ovlov and the strength of their new material. The guitar distortion is not simply buzzing static but the scream of raw nerves that hunger for connection and explode with ecstasy when it arrives. “With Ovlov,” Hartlett says from his hotel, “as hard as it's been to maintain over the years, it's been the most successful thing I've ever created in my life, and I don't even necessarily mean that by any financial means or Instagram followers. It just feels like this was the most real band I've ever been in, for so many reasons.”

Today, you can hear Ovlov’s album Buds in full, premiering a day before its official release. Listen to it below, followed by an interview with Steve covering the new album, his love of musicals, Switchfoot, and much more.

The FADER: There's a conciseness to Buds I feel that wasn't present in previous records. It's not that you're more focused, but it just feels more streamlined.

No, I would say that we were more focused, absolutely. For starters, this is the first time we recorded an album while I was entirely sober for a year. I started smoking weed again because I got my medical card here in Connecticut. But yeah, I've been sober otherwise without anything else. I think we were just trying harder in general. It would've been that way regardless of my substance use, because everyone else in the band was continuing to live their lives the way they always have.

”Cheer Up, Chichiro,” an older song you’ve performed live, gets a studio recording for this album. Why was now the right time to revisit it?

“Cheer Up” has definitely proven to be the longest it's taken me to officially release a song that I've written. I'm not sure why it was. I think I just genuinely really liked it so much that I wanted it to be released in its most perfect form and alongside songs that fit with it best and everything. I'm just constantly trying to write as many songs as I can all the time, and I would say that about 1% of them are the ones I actually truly love and want to finish the moment I start, from the day I started working on that. But that's rare. Usually, I'll just write a few riffs and melodies and that will just float around till I demo it. And usually, I won't write lyrics till I've demoed the instruments.

Have you always had this drive to just write as many songs as you can?

Yeah. I would say the day I started playing guitar, I was trying to write songs because I didn't really actually know how to play right away. Even before I started playing guitar, that was always what I wanted to do because I knew that my dad was a big songwriter.

He played and wrote Christian music, right?

Yeah. That was, not by choice, a huge part of my upbringing.

Is there any of that music from that world that still resonates with you?

Yeah, absolutely. I have this playlist on my Spotify of 600 songs that I consider to be songs I would never skip if they came on from my entire life. A lot of them are songs from middle school or even before that that I liked, which were pretty much only Christian rock bands. There are a couple Switchfoot songs in there.

”Dare You To Move?”

No, even earlier than that. My dad was really into them. They were his favorite post-’80s band. But yeah, there are tons of things I'll go back to every now and then. I mean, there's this one band that was I guess considered a Christian rock band because of the label they were on. But it never really showed in their lyrics too much that I noticed at least. Noggin Toboggan was their name. And that is something I could definitely put on right now and still enjoy just as much as I did in middle school. Just very MxPx pop-punk with Broadway melodies, in my opinion. It's probably not accurate, but that's why I like it.

It feels like, man, this is as successful as I could ever dream of being, just given people care enough about my music to make some fucking troll of a meme page.

Do you ever listen back to some of your music and hear that genre’s influence?

Oh yeah, totally. A lot of how I learned how to play guitar was learning how to play church songs and play in the church with my dad and brothers. And a lot of those songs' structures are mostly just very similar in that they're verse, chorus, verse, chorus, bridge, chorus, end. And this probably isn't accurate, but maybe 75% of all the pop songs in the world follow something close to that song structure. A lot of the first songs I learned from my guitar teacher that weren't Christian rock songs or Creedence Clearwater songs were the same chords and the same kind of structures. And Rancid then became my favorite band in high school and they also, most of their songs, follow that structure.

At what point did you decide that Buds was going to be more poppy than your other Ovlov albums?

I think it was pretty much the moment that we decided we wanted to do another album. I've always loved pop music. That's what I hope to be doing. I hope to one day in my life actually be writing like purely pop music, but I feel like I really need to work my way up to that.

I had a band in high school that was much more poppy. It was somewhere closer to Buds than anything else Ovlov did, but I miss it a lot and it feels like all the music I listen to is like that. I wanted people to think I was punk in my early twenties.

Maybe I was a little too self conscious to show just how much I loved Broadway and musicals through my writing. Growing up at most of my family parties that my dad's father was at, he would bring his accordion and play Broadway show tunes from his era. I guess that's like ‘50s, ‘60s, Broadway show tunes. So I'm more familiar with not even so much specific songs as I am just that style of writing as far as how the melodies go and just the theatrics of Broadway music. Have you seen [John Cameron Mitchell's 2011 musical film] Hedwig and The Angry Inch?

Maybe one of my favorite visual stories ever. I think it does a really good job of going from the Broadway musical to rock music, in a way, but it still very much appeals to the Broadway crowd. I've always been a huge South Park fan and I think Trey Parker is a brilliant songwriter.

Ovlov have a very rare place in independent music: a rock band with a fervent cult following. Based on your experience with the band, have you noticed anything unique compared to the experiences of other musicians?

Yes, absolutely. There's this dude I met years ago from Chicago named Peter Real. He made a Facebook page called "The Well by the Band Ovlov Gets Me Stoked Every Time.” It's just become this little community where people don't even necessarily talk about Ovlov. I've gone on there just to put my Nintendo Switch friend code to try and find people to play Mario Kart with.

I would consider Ovlov one of those bands, where it's like, the people that know them absolutely love them. They're not hugely known, but the amount that they're loved outweighs the numbers they are known by. It feels like, man, this is as successful as I could ever dream of being, just given people care enough about my music to make some fucking troll of a meme page. You know what I mean? It's a special kind of representation that you wouldn't get unless someone was truly a fan of your music.

new video "Just taking a while to blossom"

Voce femminile alla Karen O, melodie da canticchiare e intrecci pop, gli Ovlov si muovono sui binari di un treno dove basso e batteria sono il carbone e la voce e la chitarra sono ossigeno puro.

Si intitola Solo il secondo album degli Ovlov, il trio pop-wave bresciano composto da Luisa (Lu’) Pangrazio, Luigi Ancellotti e Simone Cavagnini.

In questo nuovo capitolo discografico c’è stato un altro grande protagonista: Andy Rourke, bassista dei leggendari The Smiths, direttore artistico e co-produttore insieme a Lorenzo Caperchi (Red Carpet).

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By Brian Coney

Exploding in Sound

November 29, 2021

Steve Hartlett isn’t known to get ahead of himself. Since 2009, the Ovlov main man has crafted blown-out indie rock with the present moment squarely in mind, while the group keeled between cult reverence, multiple breakups, and the promise of wider success. On the eve of the Connecticut band’s third album, Buds , the singer-guitarist (who also leads garage quartet Stove ) signalled he might finally be reckoning with the future. “I’m right in the middle of trying to figure out what I actually want to do with music,” he said recently. Buds tells its own tale—one that looks close to home to find a way forward.

Hartlett’s preoccupation with the present likely stems from knowing just how quickly things can come apart. While Ovlov’s 2013 debut am hit like a stoned paean to times past and places changed, 2018’s Tru bore the weight of addiction and the death of Hartlett’s best friend two years earlier. In the space of 25 minutes, Buds continues to navigate loss while sounding largely at peace with the world. With brothers Jon and Theo Hartlett on bass and drums and childhood friend Morgan Luzzi on guitar, Hartlett crafts Ovlov’s breeziest record yet. It’s still wooly and doused in fuzz, but the band sounds more lucid than ever before.

Ovlov’s knack for threading even the most amp-blown passage with an earworm sets them apart. “Cheer Up, Chihiro!” a make-believe letter to the Spirited Away protagonist, started life as a demo for the band’s debut. It was judged “too poppy” for earlier albums, but it finds a home here flipping between spidery arpeggios, punishing low-end, and vocal counterpoint by Ringo Deathstarr’s Alex Gehring. Evoking early Crumb , it’s a masterclass in how to offset heft, in part thanks to a ripping sax solo by the Hartlett brothers’ dad, Ted.

Gratitude—for life, for familiar faces, for one’s history—defines Buds . On the album’s breakneck opener, “Baby Shea,” Hartlett recalls the band’s early years at the now-shuttered Brooklyn DIY venue Shea Stadium. There, we’re told, he “felt more through” his friends. “Land of Steve-O” stretches the sentiment even further: Written and demoed before Tru , it’s an instant Ovlov classic about an “extremely important” sixth-grade friend with whom he shared a mutual love of Papa Roach. “We’ll talk about the way we try to spend our days,” Hartlett sings, his refrain cloaked in a plume of scuzz. Here, and on the likes of “Moron Pt. 2,” he finds comfort in good company. The hooky directness is hard to resist.

For all their slacker-rock credentials, Ovlov could rarely be described as loose. On Buds , dynamics are tauter than ever. Muscular but never overpowering, Jon and Theo Hartlett’s interplay on “Eat More” opens space for their brother’s sorcerous solo. Conjuring My Bloody Valentine fed through Dinosaur Jr. ’s wah-soaked “Little Fury Things,” it sounds like a tear in the fabric of the universe. “Feel the Pain,” meanwhile, isn’t just an in-joke about a band to which Ovlov are often compared: The first line is Hartlett’s direct reproach of J Mascis . “You could not feel the pain,” Hartlett gently intones, defending a friend, Dino Jr. drummer Murph, against Mascis’ reportedly poor treatment. For Hartlett, conscience and personal relationships trump lingering hero worship.

As “Feel the Pain” crests in a surge of tremolo chords and double bass drums, there’s a sense that Ovlov know they haven’t got it all figured out. But accepting the unknown can provide its own solace. Buds feels like a cause for gratitude in itself: Following a “final” show in July 2019, Ovlov had planned to take an extended hiatus, only for Hartlett to glean new insight about his priorities mid-pandemic. When you’re truly thankful for life, even 25 minutes feels like a gift.

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Ovlov, 'land of steve-o'.

Danielle Chelosky

A comfortable and familiar aura surrounds Ovlov's fuzzy, shoegaze-tinged indie rock, like meeting someone for the first time and feeling like you've known them your whole life. This sense of security is a bit ironic, considering the Connecticut crew led by Steve Harlett is known for constantly breaking up and getting back together. "Land of Steve-O," the first single from the group's forthcoming record Buds , marks the group's return; the title alone invokes the aforementioned divine déjà vu with the reintroduction of the endearing character Steve-O, who last appeared in 2017's Greatest Hits, Vol. II with "Strand of Steve-O."

"Land of Steve-O" utilizes one of the band's usual song formulas: steady verses followed by an explosive chorus with staticky riffs and Harlett's inviting intone: "Don't feel crazy / When you walk around your town / Just call your friend Steve-O," he sings. Intensifying at the end, the track transcends into an unhinged, euphoric catharsis before fading and forcing us back into reality.

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Since 2009, Ovlov’s transmissions have been sporadic, but they’ve always been impactful. The band’s early run of EPs established the Connecticut four-piece as a modern update on a certain strain of northeastern indie-rock. By the time the band’s debut album Am was released in 2013, Ovlov was getting comparisons to Dinosaur Jr. and Sebadoh tossed in their direction, and while those elements were certainly present in their sound, Ovlov always let catchy pop hooks slip into the mix too. On their third album, Buds, those pop elements are more pronounced than they’ve ever been before.

Floatie is a four piece music band from Chicago. They’ve achieved the highest honors in musicianship and have been awarded many fine gems, golds, and silvers. But more than gold and silver, they have been awarded friendship.

Zurich, Switzerland’s Disco Doom craft songs that are heavily influenced by the twisted melodies, off-kilter guitars, and rule-breaking song construction of ’90s indie rock of groups like Sonic Youth, 18th Dye, and Pavement.

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Ovlov are a rock band from Connecticut, USA. They began in 2009, releasing 2 EPs in the space of 3 years. They debuted their first full-length album more...

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Past Events

Here are the most recent UK tour dates we had listed for Ovlov. Were you there?

• Mar 23 Sat Bristol, Various Venues Ritual Union 2024 Dream Wife, Liz Lawrence, Do Nothing, Widowspeak, Sam Akpro…
• Mar 22 Fri London, MOTH Club Ovlov Cende
• Mar 21 Thu London, 100 Club Ovlov
• Mar 20 Wed London, Colours Ovlov
• Mar 19 Tue Leeds, Brudenell Social Club Ovlov Thank