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Wednesday 20 March 2024

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2- 4 Hoxton Square N1 6NU London, UK www.colourshoxton.com/

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Doors open: 19:30

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Ovlov and Power Plant

Mar 21, 2024  ·  100 Club, London

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Century House, 100 Oxford St, London W1D 1LL, UK

the100club.co.uk

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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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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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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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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).

Ovlov Tue 19 Mar 2024 - 19:30

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Taylor Swift fans in the UK have been scammed out of $1.2 million, bank says

• UK Taylor Swift fans have lost over $1.2 million to Eras Tour ticket scams, Lloyds Bank says.
• The bank issued an urgent warning after it said 600 of its customers fell victim to the scam.
• Most of the ticket scams targeted 25- 34-year-olds through fake ads on Facebook.

It looks like it's heating up to be a Cruel Summer — at least for Swifties in the United Kingdom seeking Eras Tour tickets.

Fans of Taylor Swift have already been scammed out of over $1.2 million trying to purchase concert tickets, mostly through Facebook, according to Lloyds Bank .

This prompted the bank, which is among the United Kingdom's largest, to issue an "urgent warning." The warning said that at least 600 of its customers had been victimized by a ticket scam, losing anywhere from £332 to over £1,000.

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Outside of its own banking system, Lloyds estimated some 3,000 more Brits may have fallen prey to the scams, losing as much as £1 million, or over $1.2 million, in total nationwide.

Most of the scams appeared to target 25- to 34-year-olds using fake ads on Facebook, the bank said.

"For her legion of dedicated Swifties, the excitement is building ahead of Taylor's Eras Tour finally touching down in the UK this summer. However cruel fraudsters have wasted no time in targeting her most loyal fans as they rush to pick up tickets for her must-see concerts," fraud prevention director Liz Ziegler said.

The popularity of Swift's Eras Tour has caused all manner of problems for its ticket-seeking fans.

Many Swift fans in the United States were forced to purchase resale tickets after Ticketmaster botched the 2022 release of tickets, prompting a congressional inquiry the following year. Swifties stateside told Business Insider they had to do serious sleuthing to confirm they weren't being scammed when they paid for resale tickets.

In July 2023, the San Francisco Better Business Bureau warned Swift fans that scammers were running ticket scams as her "Eras Tour" date approached in the city, according to ABC .

Alma Galvan, BBB regional communications manager, told the outlet that scammers will sometimes pretend to be friends on social media and sell fans fake tickets for a large price.

The BBB recommends only purchasing tickets from reputable vendors and using a credit card before a debit card, cash transfer app, or cash, the report said.

One Swift fan who spent more than $1,500 on tickets on Facebook Marketplace told BI that she insisted on using Paypal Goods and Services for the transaction because it helps users get a refund if their concert tickets never arrive.

Watch: The Taylor Swift effect: How a pop star created her own economy

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