There’s something wonderfully self-assured about Love Descends, the new album from Oxford’s Jody and the Jerms. It’s the sound of a band who’ve found their rhythm and decided to lean right into it. While some acts chase trends, Jody and co. have doubled down on classic songwriting, lush production, and a voice that feels both ageless and human — part Stevie Nicks, part Kirsty MacColl, with that warm Oxford melancholy humming beneath it all.
The album opens with Hooch and Happiness, and it’s a belter. Bright-eyed and bittersweet, it sets the tone perfectly — jangly guitars, a pulsing bass hook, and Jody Jeger’s voice gliding between joy and regret like its second nature. It’s infectious.
Some Day and Divine shimmer in all the right ways, airy but anchored by proper melodies and choruses that sneak up on you later. Seen It All Before, produced by Ride’s Mark Gardener, adds just the right amount of edge — the guitars bite a little harder, and there’s a confident sense of space in the mix. You can tell they’ve worked with someone who knows how to make a record breathe.
By the time you reach Unraveling, things start to stretch their legs — brass sections swagger in, and the band dips into something richer, almost cinematic. The Lights (2025 rework) is a standout too, pulling the band into dreamier, moodier territory. It’s proof that they can evolve without losing their identity.
A Different Place and Liberation (My Personal favourite) crank things up a notch, both tracks showcasing that balance between melody and muscle. Liberation especially — again with Gardener’s touch — is a fuzz-rock highlight that gives the record its grit. This is where the Stevie Nicks comparison really lands: a band that can be ethereal and tough when it wants to be.
Given Up Trying slows things down, and it’s gorgeous — a late-night, head-against-the-window sort of tune that shows Jody’s knack for emotional restraint. I Don’t Wanna and Severance keep the momentum steady, polished but never sterile, before Winter Heart closes things out in style. Featuring guest violin from Erica Nockalls, (The Wonder Stuff) it’s the perfect ending.
Production-wise, the mix is spot-on. Every guitar, vocal, and shimmer of reverb sits right where it should. It’s a rare modern indie record that actually sounds like a record — balanced, warm, and finished with care.
Jody and the Jerms aren’t reinventing the wheel — they’re spinning it better than most. Love Descends feels like the work of a band completely comfortable in their own skin, crafting songs that sound instantly familiar yet quietly fresh. It’s accomplished, heartfelt, and shimmering with late-night soul, Nice one!
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