‘Workhorse‘ video also featured on Parasites and Sycophants.
‘Workhorse’ video featured on Jet Boy and Skip.
‘S/T’ album review on Chainsaw Fellatio.
‘Workhorse‘ video on Street Carnage blog. Check it out.
Gambit Weekly & Best of New Orleans music writer NBP gives Lovey Dovies’ “S/T” album #4 on his best local albums of 2010 list. Read the article.
On OMGVinyl.com, Bryan Funck from Thou put us in his Top 10.5 of 2010! Fuckin’ Metal! Clearly we got the coolest number.
Fuzzed-out, noisy rock in the realm of bands like Dinosaur Jr, Archers Of Loaf, and Pavement: walls of distortion, quieter, near-acoustic breaks, tuneful, and driving. In a just world, songs like “Comatose” would be on radios everywhere. Despite the crashing drums and guitars, there’s a forlorn feeling (a mood that repeats in songs like “I Like People”) pervading the whole song. It really pulls you in and changes the mood of the room. Really, this is the type of music that has a few layers going on, making for interesting repeat listens. There’s a particular feeling here that’s enticing, which had me going back to this many times, and allowing myself to get carried away by focusing on the bass lines, or the layers of guitar, or the delivery of the lyrics. The songs are arranged with a particular flow that carries you the whole way through. Well worth the effort to get this one. –Matt Average
Another review from Razorcake:
These guys are wedged in that space between late-’80s alt-rock and pre-Nirvana grunge. Thick, sludgy guitars, loud bass, and maimed mastodon tempos with enough pop sensibilities in evidence to keep it all from sounding like yet another bad Melvins rehash. –Jimmy Alvarado (LOVEY DOVIES)
excerpt From Antigravity Magazine Vol. 7 No. 9 July 2010
“…There exists an immediate warmth in their sound amidst the fuzzed-out maundering of the guitar, the bass-lines that ensure head nodding (and alternatively banging), and the drums that abuse the cymbals to wonderful effect and work with the bass to truly drive the music home. At a terse 29 minutes over the course of nine songs, the tracks fly by with ease, while managing to grab your attention straight off as well. Opener “Sheepskin and Stone” hits immediately with the undertones of the bass, only to open up to a head back, eyes-to-the-sky chorus of huge proportions. Put simply, these guys rock in a way that makes me envision myself in a car, windows down with buddies, doing 100mph on the highway, cigarette in hand, on my way to anywhere that may have me. While “Stained Sleeve” is my favorite cut at this point (that changes with almost every listen), there is not a single throwaway track on the album. The Lovey Dovies impress time and again on this debut album and lucky for us, they are in local touring mode right now. Go check them out, because they rule. –Dan Mitchell” Original Article.
From Gambit Weekly July 13th 2010 Issue / BestofNewOrleans.com:
Lovey Dovies “S/T” (Self-released) – If New Orleans bands often operate like slot machines — different combinations built from the same components — then singer/guitarist James Hayes, bassist Isidore Grisoli and drummer Dan Fox are the cherries, melon and lucky No. 7 of the local punk scene, popping up in various permutations over the years with every pull of the lever: Hatchback, Faeries, Red Beards, Big Baby. The trio hits pay dirt with this latest outfit, whose concise debut (nine songs spanning 29 minutes) offers the most cohesive, impacting and tuneful vehicle for their talents. Gambit’s “Ear to the Ground: New Orleans” LimeWire compilation already sampled the best of this band; “Sheepskin and Stone,” which leads off the album with grinding guitars and a triumphant, fist-pumping vocal hook by Hayes, earned it early but not unfounded sobriquets like “Dinosaur III.” There’s a certain amount of risk in leading off your first record with your finest song, but in Lovey Dovies’ case it’s a calculated one. The eight tracks that follow are frequently just as captivating, and a refreshing crapshoot — or as much as a high-gain, guitar/bass/drums setup can be. While J. Mascis and Lou Barlow’s group remains the most reliable touchstone — chugging centerpieces “Comatose” and “Never Ender” sound lifted straight off an ’80s alt-rock set list — the band also successfully feels out the angst-ridden, underground grunge of Elliott Smith’s Heatmiser origins (“Stained Sleeve”) and the heart-on-sleeve shouts of more modern, minimalist noisemakers like Despistado and Japandroids (“Workhorse,” “Wait Now”). A firm command of dynamics is key to this kind of music, and it’s on full display on “Uno,” a soft, simple guitar riff growing with every bar to a back-breaking denouement before the band mercifully calls off the dogs. You might even call it beautiful. Original Article.