Pressing Concerns: Supreme Joy, Tony Jay, The Moment of Nightfall, TTTTURBO

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The Tuesday Pressing Concerns is back (for this week, at least)! We have new albums from Supreme Joy, Tony Jay, The Moment of Nightfall, and TTTTURBO below. If you missed yesterday’s blog post (featuring P.G. Six, Friend’s House / MyVeronica, DÄÄCHT, and Awkward Ghosts), check that one out too.

If you’re looking for more new music, you can visit the site directory to see what else we’ve written about lately. If you’d like to support Rosy Overdrive, you can share this (or another) post, or donate here.

Supreme Joy – 410,757,864,530 Dead Carps

Release date: July 11th
Record label: VOD
Genre: Garage rock, noise rock, experimental rock, post-rock
Formats: Vinyl, digital
Pull Track: Ottawa 

I wrote about Supreme Joy way back in the year 2021, when Ryan Wong (fresh off a move to Denver from San Francisco, where he played in the band Cool Ghouls) released the project’s first album, Joy. It was a really nice and loose listen, a lo-fi/basement record clearly made by a devoted garage rocker but with bits of acoustic psychedelia and really intriguing explorations of family and heritage hidden within as well. Wong made a solo country record in 2023 (appropriately titled The New Country Sounds of Ryan Wong), but he wasn’t done with Supreme Joy, as the incredibly-titled 410,757,864,530 Dead Carps demonstrates. In fact, 410,757,864,530 Dead Carps goes places that Joy hadn’t even hinted towards; Supreme Joy appear to be a four-piece band now (at least, their photo seems to have four people in it), and they’ve taken the opportunity of a bigger and louder sophomore album to become a straight-up wild noisy experimental rock group. Every person who’s written about 410,757,864,530 Dead Carps has compared it to Sonic Youth, and I’m not going to break that streak, but its New York art rock moves are filtered through the lens of a West Coast punk rocker (and his associates).

Somehow 410,757,864,530 Dead Carps is only twenty-six minutes long, but it feels like a long, arduous, and exhilarating journey nonetheless. The cacophonous instrumental clang of the opening title track should be a good indication that Supreme Joy have something strange in mind from the get-go, and while the fuzzed-out “Into the Mirror” is at the very least a “rock” song, the breakneck punk tempo and attitude means we aren’t slowing down yet. “Ottawa” is probably the closest thing to a “single” on 410,757,864,530 Dead Carps; it’s kind of catchy garage rock in a Ty Segall vein, injecting the same shaggy 60s/70s pop rock energy into its core (assuming one ignores the increasingly frequent noise bursts appearing alongside this part of the song). Songs in the second half of 410,757,864,530 Dead Carps both loud (“Dead Mice”, “No Peace”) and weird (“Nebula”, “Novum Stomp”) seem to shorten themselves to make way for the nine-minute freakout of “Does It Explode?”–and explode it does, combusting into white heat in its first half and floating aimlessly and hauntedly in its second. As much as I enjoyed Joy, I really didn’t see this coming from Supreme Joy–it’s nice to be really surprised by a band like this. (Bandcamp link)

Tony Jay / The Moment of Nightfall – Faithless / Memories Disappear in Echoes

Release date: June 13th / July 18th
Record label: Self-released/Paisley Shirt
Genre: Dream pop, slowcore, indie pop, jangle pop
Formats: Cassette, digital
Pull Track: Pray for Light / Blue Moon

I’ve written about a bunch of albums by San Francisco’s Tony Jay (aka Michael Ramos), including Winter Dream, a late 2024 LP that Ramos recorded as a collaboration with Tokyo band The Moment of Nightfall. The two acts made a lovely collection of slowcore-ish dream pop together, and while I expected a follow-up release from the prolific Tony Jay not too long after Winter Dream’s release, I was also pleased to learn that The Moment of Nightfall, who were previously unknown to me, also work quickly on their music. And so we find ourselves in summer 2025, with both a new self-released Tony Jay cassette (which was initially released as a Japanese tour tape and features the current five-piece Tony Jay band lineup) and a new Moment of Nightfall album (released on San Francisco label Paisley Shirt Records, who’ve put out plenty of Tony Jay records in the past). I’m covering both Faithless and Memories Disappear in Echoes in the same blog post entry because these two remain a great match, even when apart, and I feel absolutely confident that if you like one of these albums, you’ll find the other one enjoyable too (I’m also doing this because I’ve been having less time to write lately–I’d devote more words to each of these if I could!). 

I’ll start with the more familiar one: Faithless may feature a new lineup, but the Tony Jay band (made up of two frequent Ramos collaborators in Kelsey Faber and Cameron Baker, Katsy Pline’s Evie Brown, and new face Ida Belisle) make Ramos’ molasses-slow indie pop compositions feel like a natural progression from his other recent solo records. It’s more grounded in a full-band “indie rock” setup than, say, Knife Is But a Dream or Perfect Worlds, but Faithless has its share of full-on spaciness and quiet ambience. Memories Disappear in Echoes is the one with the broader instrumental palette, but that doesn’t always equate to the “louder” album–the sweeping keys and synths of “Over the Rain” only end up being an accent to the subtle core of the track, while “Everyday Rehome” takes the extra instruments and turns a quiet indie pop song into a sustained drone piece. The Moment of Nightfall remain a bit harder to pin down than Tony Jay (I’ve had less chances to try thus far, anyway), but any band that can jump from slow-twee indie-folk pop like “Taking Tiger Mountain” (a fascinating Brian Eno reinterpretation) to ringing, jangly guitar pop like “Blue Moon” fits in with both Tony Jay and Rosy Overdrive. (Bandcamp link 1) (Bandcamp link 2)

TTTTURBO – Modern Music 

Release date: August 4th
Record label: It’s Eleven
Genre: Synthpunk, garage punk, power pop, egg punk, lo-fi punk
Formats: Cassette, digital
Pull Track: My Heart

German lo-fi rock group TTTTURBO (or TTT-Turbo; whichever you prefer, I suppose) appears to be the project of one Jannes Elkner, or at least I think so: their record label, It’s Eleven, merely refers to them as being from Leipzig, and the biography for Modern Music (written by Australian garage rocker Billiam) paints them as extraterrestrials beaming down DIY synth punk to us mere Earthlings. In any case, TTTTURBO put out two self-released cassettes in 2023 before partnering with It’s Eleven (Ambulanz, Mantarochen, Fotokiller) for what ought to be their breakout release: an eight-track, sixteen-minute tape called Modern Music. It’s a bit of a departure from It’s Eleven’s more typical muscular-sounding, goth-tinged post-punk, but it’s abundantly clear from this brief, murky record that Elkner’s operating with a cohesive vision in mind. Specifically, TTTTURBO exist in a realm where nervous egg punk, lo-fi, drum machine one-man-band synthpunk, and muddled but gripping hooks all get equal playing time. It reminds me a bit of those Power Pants cassettes, although it’s an even more sonically fucked up take on this type of music.

If you like your pop music to be shrill, tinny, and sounding like absolute shit, then Modern Music is the punk record for you. The hits start coming right at the beginning with “Modern Sound”, a garage rock stomp with a gargantuan synth hook, and the parade continues with the garbled guitar pop of “Motorbike” (which kind of sounds like if The Cleaners from Venus were “egg punk”) and “My Heart” (a surprisingly full-sounding power pop/punk rock song that only needs about forty-five seconds to do everything it needs to do). “Lassie Shirt” and “Words, Notes, Songs” might be a little weirder than the opening tracks, but they’re still catchy in their own ways, and they’re sandwiched by a few more go-ahead lo-fi pop-punk jolts in “Dear God” and “Chainmailed Dreams”. Sixteen minutes may seem short for squares like you and me, but to TTTTURBO it’s a fully-fleshed-out LP–they even take sixty seconds at the end to mess around with something called “Rock Outro” (ironically one of the less “rocking” songs on the cassette, but I can’t fault those bass runs). If this sounds like a grand statement to you, then you may be able to understand TTTTURBO. (Bandcamp link)

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