We Speak Music
G.H. Francis discusses coming-out while touring in a rock band with lavish, meaningful indie-pop single!
“As the track unfolds, we’re treated to airy, open-road ambience and Francis’ dynamic and anthemic harmonised vocals. Together, the uniquely arranged pop cut crafts a narrative from an intensely personable moment, catered to the ears of captivated listeners.”- WONDERLAND MAGAZINE
For some people, music isn’t a career choice: it’s a way to experience the world, to find your place and communicate with the rest of mankind. For Gregory Hoepffner, writing and producing music is as vital as water and air. His G.H. Francis project bloomed from a life journey of releasing records and touring all over the world, with multifaceted projects like Almeeva, Sure, Ghoster, Kid North, Time To Burn, Kabbel, and performing with Bernard Szajner, the laser-harp inventor.
Fully pop, urgent, G.H. Francis relies on the vitality and shape-shifting ability of an artist who intentionally places light and catchy music on top of deeply personal thoughts, somewhere between catharsis and auto biography. His new EP “Why Does Anyone?” is a collection of synthetic pop songs, showcasing a robust production that never overpowers the emotional content, where the hedonism and frivolity call out for a celebration of our fragile existence.
With the new record, G.H. Francis successfully revives the spontaneity of meaningful pop music, both accessible and profound. And eventually essential. Take for example new single “The Only Queer In The Van”, which is an effervescent guitar driven track, with buoyant hooks, that evokes a difficult coming-out while touring in a rock band. It’s a lavishly arranged and surprisingly ‘pop’ song with a video that beautifully conjures the feeling of being an outsider, with its stunning imagery.
In “You Never Do Shit,” Brooklyn’s Dead Tooth deliver a snarling, urgent post-punk single that distills their barbed energy into under four minutes of sharp-tongued wit and scuffed-up sonics. It’s a track that bristles with disdain—Zach Ellis’ vocal delivery is acidic, at times theatrical, and often more spoken than sung. There’s a punk rock immediacy here, but with the knowing wink of someone who’s watched the scene curdle and still wants to dance through the ashes.
The song began its life in a different medium—written for a fictional band on City on Fire—but the real-life iteration carries more weight. There’s a palpable satisfaction in Ellis’ decision to reclaim it, and that freedom seeps into every detail: the unkempt rhythm section, the jarring saxophone lines from John Stanesco, and the deliberate looseness that characterizes its structure.
Dead Tooth are at once participants and commentators in the culture they inhabit. Their songs are alive with noise, but also with intent—tracking the psychic hangover of nightlife, subcultural collapse, and underground scenes that burn bright and disappear too soon. Ellis’ lyrical observations land like tossed-off critiques, but underneath the smirk is something deeper, almost desperate: a desire for connection, even through chaos.
With their debut album looming, “You Never Do Shit” feels like a thesis statement. Not just of sound, but of ethos: reject slickness, embrace noise, tell the truth—even if it’s ugly. In a year when punk has mostly whispered or wandered, Dead Tooth has chosen to scream.
-
We Speak Music1 week agoShadows of a Silhouette deliver a rush of energy with razor-edged new garage-rock single, ‘No Matter Where I Go’
-
We Speak Music1 week agoAcclaimed US singer-songwriter Juliet Lloyd to tour the UK for the first time this summer
-
We Speak Entertainment2 days agoThe Unconventional Path of a Musician Without Boundaries
-
We Speak Music2 days agoLimahl ‘A Horse With No Name’ – A dusty classic, reborn with synths and swagger