Lighter, the new album by Belgian rockers Tangled Horns, was written and recorded during the pandemic – a time when the band, like most of us, were separated from each other and looking for ways to cope with confusion, misinformation, loneliness, empty toilet paper shelves, and impermanence. It turns out that Light would be, according to the band’s Bandcamp page for the album, “their most personal and introspective work—a coping album born from the unique circumstances.”
One of their coping mechanisms was, and I’m guessing still is, brain-shredding rock. The album opens with Tim Van de Plas telling us “I fell into a deep slumber in the dark and when I woke up I felt lighter.”, and then they launch into “April Fire” – a song chock-full of hard-hitting guitar riffs and a bass line from Raf Vorsselmans that gets your attention right away. “I’m tired of dragging my feet,” Van de Plas sings. Good heavens, weren’t we all in 2021?
“Pig” takes a swing, and connects hard, at rich elitists taking and not giving, or at least not replenishing what they’ve taken from neighborhoods and the Earth. The roaring, squealing guitars from Stef Kustermans and Dennis Van Der Auwera are like buzzing hornets you can’t escape. “Sleeping Dogs” has a bit of a proto-metal sound to it, and a good chunk of menace.
Kris Martens‘ drums on “Suspended Animation” remind me of early Genesis stuff by Phil Collins, and the rest of the song has a neat mix of prog and punk. Van de Plas’ vocals on it have some Bad Religion-like stylings, and his opening wail on “No More Mistakes” is raw fury backed with rough garage-blues guitars. The song builds to a wild frenzy that’s a bit jolting. “Mug,” I’m sure, causes a mosh pit to erupt whenever and wherever it’s played…so be careful where you blast it, or just blast it anywhere and enjoy the chaos.
“Here’s to us and all the rest. I guess we did our best,” Van de Plas sings on the heavy-hitting drinking song “Pissing in the Wind.” “Tick” is a wild, fast ride that’s just under two minutes and packs the power of a song four times longer into it. “Nothing Everything” closes the album with heavy psych riffs, suitable for journeys through deserts or infinite space.
Lighter is as heavy as they come, but it’s designed to elevate us all.
“Being in a band is like being in a marriage: sometimes it’s magical, sometimes it’s unbearably challenging.”
That’s from the notes on Deap Vally‘s Bandcamp page for their third, and what appears to be final album – Marriage. It was a prophetic statement in 2021 because Deap Vally are now on their farewell tour, having decided to call it quits and focus on other projects and their respective families. No worries, everyone, it’s an amicable split – judging from everything I’ve read, photos I’ve seen, and their extensive tour dates (including, it was recently announced, Levitation France in May 2024).
Marriage saw the band not only continuing their power-duo sound, but also branching out to work with other musicians and producers (as they’d done with The Flaming Lips) to stretch out the sounds they could create.
The album opens with their signature sound of roaring guitars, Julie Edwards‘ frenetic drumming, and snarling dual vocals on “Perfuction.” It has great lyrics that only Deap Vally seem to be able to write about balancing a sex life with work life, family life, and just…well, life, such as “Dirty dishes, clothes on the floor. I haven’t showered in days, and I sleep till four. Try to keep it together, but fuck it, whatever. I’m a mess, but I’m clever. So, fuck it, whatever.”
“Billions” punches rich elitists square in the mouth. “Magic Medicine” has some of Lindsey Troy‘s hottest solos on the record. “I Like Crime” brings in Jennie Vee (of Eagles of Death Metal) on bass and assisting vocals, giving the song extra thump and mysterious sensuality. “Nothing’s gonna stop me,” Troy sings on “Phoenix,” an upbeat song with a fiery edge about not letting that life-grind destroy you. “Give Me a Sign” has Deap Vally calling out for clarity. “Give me a sign to make up my mind,” they sing in perhaps the most obvious portent of their future dissolution of the band.
Troy lets her lover know he’d better be careful on “Better Run,” as she might overwhelm him. This seems like an even stronger warning when you consider the next track is titled “I’m the Master.” Edwards’ driving rhythms on it are top-notch. “High Horse” has K.T. Tunstall and Peaches joining forces with Troy and Edwards in a floor-stomper complete with Peaches putting down a rap verse. “Where Do We Go” could be another harbinger of their decision to close the Deap Vally book. “Tsunami” is a crunchy, fiery rocker (“I won’t stop till I get what’s mine!”) that I’m sure slays live. The final Deap Vally album closes with “Look Away” (with jennylee of Warpaint) and the band singing about visions of peace, relaxation, and love (“In your arms, it’s a holiday.”).
The signs were there, and now we have one last chance to see them live. I wish them all the best. They gave us three fine records, which is more than many other bands have done. Marriage is a good way to go out.
Filth Is Eternal‘s Find Out is one of the grungiest, rawest, grimiest punk albums I’ve heard in years. All that’s missing from it are the words “Fuck Around and…” in front of the title, because FIE will flatten you at the first opportunity.
The album opens with ten times the rage Nirvana was playing on Bleach on the track “Half Wrong.” The soft, almost gentle hi-hat work at the beginning of “Crawl Space” is a fake. Don’t fall for it, because the heavy punch of the song is right behind it – knocking you against the ropes in the blink of an eye. “Magnetic Point” and “Cherish” have this great heavy groove to them, and the drums on “Roll Critical” are nuts. You keep thinking, “Is that just one person making all that racket?”
“Curious Thing” is, I think, a love song hidden inside a punk rager. By the time we get to “Into the Curve,” the halfway point of the album, you’re barely able to breathe…and there are still seven more tracks to go before you can rest. The second half of the record puts more emphasis and clarity on the vocals and includes some straight-up garage rock grooves. “Body Void” takes on a bit of a psychedelic touch with the drumming, and “The Gate” continues this groove into almost King Gizzard-like psych-metal. “Signal Decay,” like many songs on the album speaks to issues of gender, body acceptance, sexual attraction, the confusing world of love, and how there are many others in the same boat seeking acceptance (“I’m not alone in this lonely place.”).
“All Mother” stomps the gas (and drum) pedal and drives down the middle of the highway. “Last Exit” practically tears through a construction zone to jump an unfinished bridge over a rubble-strewn ravine. The album closes with “Loveless,” which isn’t a My Bloody Valentine cover, but is a sludgy, crushing track that leaves nothing on the table.
Seriously, this is a stunning record. Everything on it works – the growling / howling vocals, the wicked guitar riffs, the menacing bass, the explosive drums…it all works. Do not fuck around with FIE. You will find out.
Praise be to the good folks at the Reverberation Appreciation Society for conjuring up another excellent Levitation Sessionslive performance recording. Their track record on these sessions is exemplary, and this latest one, featuring Swedish psych-mystics GOAT, is no exception.
The opening track, “Tarot Will Teach You,” pretty much lets you know what you’re in for if you’ve never heard a GOAT record. Jangling, shaking, slithering hand percussion, Mellotron chords, tribal drums, guitars that sound like they’re coming from inside a temple carved into a cliff…It lets you float into a nice space before “Golden Dawn” drops fast funk and one of the singers is asking, “Are you ready to go?” She doesn’t care what your answer is, really, because she and the rest of the band are taking off and will leave you behind if necessary. “Under No Nation” is a great cut with a top-notch guitar solo about how easy it is to forget we are all citizens of the world, not just these little enclaves in which we find ourselves, and that global and local conflicts are worthless endeavors.
“Behind the Plank” is over seven minutes of psych-jazz jamming with killer saxophone work and percussion throughout it. “Do the Dance” makes you want to do exactly that with its pulse-raising beats and power guitar chords played at just the right time. “Fill My Mouth” is the naughtiest song GOAT has released so far, and this live version is raw and funky, and of course there’s a lot of flute in it.
“Lorcan” is nearly seven minutes of krautrock synths and hand percussion. “Queen of the Underground” is vintage GOAT, with heavy riffs, sultry double female vocals, slinky bass, and trance-inducing percussion. “Let It Burn” moves like a fire in a hidden forest clearing, or perhaps atop of cold mountain, with people dancing around it well into the night. The album ends with a tidbit of “Midnight Madness,” which, in the original streamed version of the session, is over seven minutes long. The two-and-a-half minute slice here is a great tease of psych-synth music, leaving all of us wanting more.
It’s always great to hear new stuff from GOAT, who can and have disappeared at will for long stretches of time, only to come back like they never left. Time isn’t linear for them, and their perception of space is probably beyond the senses of many. This live session might help you get there, too.
Keep your mind open.
[Levitate over to the subscription box while you’re here.]
Lisbon trio MAQUINA. (‘Machine’) are today announcing album ‘PRATA’ (‘Silver’), due out April 5th on Fuzz Club, and sharing the first single ‘denial’. In support of the release, MAQUINA. will head out on a European tour withA Place To Bury Strangers, followed by festival appearances at Primavera Porto, Sonic Blast and Fuzz Club 2024.
Drawing from minimal krautrock repetition, pounding industrial techno and EBM, MAQUINA. explore the boundaries of these genres with force, carving out an adrenaline-fuelled sound that’s equally suited to dark, sweaty back rooms and the dance floor. On the new single, MAQUINA. write: “denial is about an inner turmoil and restless contemplation. The raw, haunting lyrics explore the struggle to find solace within oneself, amidst a sea of conflicting emotions. The plea to ‘shut me down’ echoes the yearning for respite in the face of overwhelming darkness.”
Though their sound might have the club in its sights – ‘PRATA’ follows their aptly-titled 2023 debut EP ‘DIRTY TRACKS FOR CLUBBING’ – this is an organic dance music that’s equally punk and psychedelic, played by a guitar-drums-bass power trio formation firing on all cylinders, without a synthesiser in sight. Having already amassed a notorious reputation in Portugal for the all-out energy of their live shows (as evidenced in this live video broadcast by Canal180), it’s no mean feat to replicate that in the studio but on ‘PRATA’ they have managed exactly that – owing to a creative approach largely rooted in improvisation, both on stage and in the studio.
Describing ‘PRATA’, recorded and co-produced by Carlos de Jesus (Sunflowers) at Arda Recorders, they write: “This album was composed spontaneously in the studio throughout the year 2023. It’s music of colour, delving into depths and dimensions that resonate with scale and contrast. Pushing sounds together to make noise and pushing noise together to make sounds. Emphasising textures that evoke feelings and soundscapes rather than relying solely on textual narratives. The music breathes life into auditory canvases, painting sonic panoramas pushing into a world of tactile sensation and immersive experiences.”
MAQUINA. tour dates: 06/04 – Köln, DE @ Club Volta* 07/04 – Karlsruhe, DE @ P8* 09/04 – Milan, IT @ Arci Bellezza* 10/04 – Bologna, IT @ Covo Club* 11/04 – Rome, IT @ Monk* 15/04 – Zurich, CH @ Bogen F* 17/04 – Marseille, FR @ La Makeda* 18/04 – Toulouse, FR @ Le Rex* 20/04 – Madrid, ES @ El Sol* 21/04 – San Sebastián, ES @ Dabadaba* 04/05 – Eindhoven, NL @ Fuzz Club 2024 07/06 – Porto, PT @ Primavera Sound 8-10/08 – Âncora, PT @ Sonic Blast 24 * with A Place To Bury Strangers
Keep your mind open.
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I’m not sure if calling Melody Fields‘ 1991 album a “companion piece” to their 1901 album is correct. It feels more link a continuation of 1901, or perhaps a better world is a transformation of it, not unlike the flower on 1991‘s cover opening to reveal things previously hidden.
1991 also has plenty of guest collaborators, whereas 1901 was all Melody Fields all of the time. The opening track, “Hallelujah,” (a remix / re-edit / re-imagining of “Jesus” from 1901) is a spaced out team-up with Snake Bunker. “Blasphemy” is a wall of My Bloody Valentine-inspired sound – beautiful, loud, and somewhat intimidating. Psych-DJ Al Lover teams up with Melody Fields on “Jesus Lover,” bringing up the drum beats and bass to turn “Jesus” into a dance track.
“Dandelion” rolls along like a cool van painted with some kind of wild ancient warrior artwork on the side. You can envision warm wind whipping through your hair, perhaps with a dandelion tucked behind one ear, as you drive out to a coastal music festival. Human Language joins Melody Fields, appropriately on “Talking with Jesus.” They slow down “Jesus” almost to a crawl, turning it into a dark wave track that beckons you from behind a curtain at the back of a weird store is some forgotten rust belt town.
The bold guitars on “Diary of a Young Man” bring images of dusty ghost towns to mind…and then it suddenly hits you with vocals that could be from an actual ghost for all I know. Get your incense ready for “Bhagavana Najika Cha,” because it might lift you off the ground, and the closer, “Son of Man” (guest-starring fellow Swedish psych-giants GOAT), keeps you afloat until after the album is done.
It’s a neat record that shows off Melody Fields’ different music influences, loves, and talents. Where else are you going to hear a record that blends psychedelia, dark wave, and dance grooves?
Melbourne band Beans have just released their latest single; a groovy psychedelic track titled ‘Calling’. ‘Calling’ marks the third song the five-piece band have released from their upcoming album Boots N Cats (following ‘Groove’ and ‘Haunted’), which is set to be released on March 1st, via Fuzz Club Records. Taking a slower, more strutting pace than the former two singles, ‘Calling’ is characterised by an almost seductive groove, all while maintaining the fuzzy kaleidoscopic glow that audiences have come to know and love from Beans.
Heavy with drawling vocals and beautifully defined percussion at the forefront of the tune, the result is a tantalising songscape sure to leave listeners enchanted by its sound. Thematically, though, this new single speaks not to the cool and breezy feelings that one might assume from its sonic qualities, but rather to the grim feelings of hypersensitivity and disconnectedness which emerged during the pandemic, according to frontman Matt Blach:
“Calling is about that period of Covid time where everyone, including myself, felt like they were going insane. When people were being really sensitive and reactive, calling people out over pure boredom – obviously sometimes worthy, sometimes far-fetched.” Matt Blach, Beans Listen to “Calling” on YouTube here: https://youtu.be/f-OfTr9zxUA Listen via other streaming services:beansband.lnk.to/calling
Serving up eleven tracks of rhythmic garage-psych goodness, ‘Boots N Cats’ is the third full-length from Melbourne outfit Beans and the first of two albums set for release in 2024. The long-awaited follow-up to 2018’s ‘Babble’ and 2020’s ‘All Together Now’, it’s a record that finds Beans frontman (and The Murlocs drummer) Matt Blach putting percussion at centre-stage. “I’ve always wanted to make a drum-based album, dedicated around the beat first and then everything else follows”, Blach says, explaining his desire to explore “different production approaches, like hip-hop and crunched drums, and show an admiration and appreciation for the likes of The Meters, Wu-Tang and James Brown” as much as the acid-soaked 60s/70s rock you’d expect.
What emerges from the beat-first approach on ‘Boots N Cats’ charts mutant garage-rock boogies and festival tent psychedelia, by way of blissed-out funk instrumentals. The line is constantly skirted between a loose, carefree vibe and interesting, meticulous musicianship – never falling into the trap of taking itself too seriously. It’s a sunny kaleidoscope of chugging guitars, driving bass-lines, soaring organs and warm, echo-soaked vocals – driven always by the tightly-wound rhythms and grooves that Blach has been in pursuit of since he was a kid: “The title of the album comes from me learning drums from my dad. He had a background of German heritage and during lessons would jokingly say ‘nein, boot’n’cats’n’ like a simple 1,2,3,4.”
The songs themselves, Blach says, are “mostly based on a state of mind or place of consciousness, intended to be open to the audience’s own interpretation as well as for my own self-release.” Hence, “life’s ups and downs” are placed under the microscope on tracks like the aptly-titled opener ‘Groove’ (based on not wanting to let loose/be yourself and dance in a crowd) and lead single ‘Haunted’ (about that near-universal sense of being ‘Haunted by the fear of failure’).
‘Dreaming Daisy’ is a song for the devil on your shoulder, tackling addiction/alcoholism and “people wanting to live their life to prove right to others rather than themselves”. Elsewhere, songs like ‘Calling’ take on the paranoia of the times they were made in. It’s a suitably wonky soundtrack to “that period of Covid time where everyone, including myself, felt like they were going insane. When people were being really sensitive and reactive, calling people out over pure boredom – obviously sometimes worthy, sometimes far-fetched.”
Beyond its drum focus, ‘Boots N Cats’ also marks another first for Beans, in that it was entirely written and recorded by Blach himself. Setting up a DIY studio in the garage of his North Melbourne home over the pandemic, Blach began working on the record in lieu of the full band (Jack Kong, Lachlan McKiernan, Vincent Clemenston and Mitch Rice) that he’d been jamming and tearing up Melbourne stages with under a number of different monikers since they were all 16.
“We didn’t get to see each other as a band AT ALL”, Blach recalls of that time: “This is why the album came to fruition as it kept me sane and feeling productive to still be writing/recording and achieving something. Having this opportunity and time and space really got my tires turning so I basically recorded every part and engineered the entire thing myself. Not that we wanted it to be this way, but we couldn’t collaborate together during this time so it was a case of adapting.”
Making the most of the enforced isolation to venture down new creative roads, Blach came out the other side of the pandemic with two new Beans records in the bag (“Just you wait for the next one, we will go much more folky and chill on lockdown session 2…”). Mixed and mastered by John Lee (“a master from Melbourne who actually became a true friend”), those recordings are now ready to start seeing the light of day. ‘Boots N Cats’, the first of those two records, will be released March 1st 2024 via London-based label Fuzz Club.
The cover of Dion Lunadon‘s new album, Systems Edge, shows him holding a chain above a guitar. My guess is that he was just about to flog that guitar within an inch of its life with it, because that kind of (yes, Stooges-influenced) raw power is all over the record.
Opening track “Secrets” has him already pounding out raggedy, roaring chords with it, and on “Nikki” it sounds like the bellows of a robotic lion. The thick bass notes punch up the rock even more. It’s a song about a fling that ends in tragedy for at least one person involved, and maybe pleasure for another. “Diamond Sea” has a groovy surf-rock line that runs through it.
“I Walk Away” is, somehow, heavier and darker than everything before it, and Lunadon’s vocals are like a werewolf belting out a tune during transformation. “Rocks On” reminds me of “Mongoloid-era” Devo tracks where you have all kinds of fuzz and some sort of something that feels like it can erupt into full-blown chaos at any moment.
The bass and drums on “Shockwave” hit you like the song’s namesake. “Grind Me Down” has a New York Dolls feel to it with its swagger and garage rock guitars. After the brief instrumental of “Straight Down the Middle,” we get the great dis track, “I Don’t Mind,” in which Lunadon writes off an ex-lover / friend because they only bring him bad luck and headaches. The album closes with the near-doom heavy-psych of “Room with No View,” which sounds like Lunadon is playing his guitar with a lit sparkler he got at a dusty roadside fireworks stand.
For me, the coolest thing about Systems Edge is that Lunadon made a pure rock record. It’s heavy garage rock, to be certain, but it’s nice to hear a rock record that embraces and flaunts the power of distorted, fuzzed, dangerous rock. We don’t have enough rock records that feel at least a bit threatening. Thankfully, Lunadon is here to snarl and growl and shake up the room.
Since 2008, Ty Segall has played out his hunger to be free through a dozen solo LPs, a variety of collaborative projects, and a rippling eclecticism of songs, sounds and production, all conversing from album to album in a mad diversity of voices. This search continues with Ty’s newest album, Three Bells, a fifteen song journey to the center of the self with Ty pushing the limits in his writing and performance, casting light on his inner psyche. Today, leading into the album’s January 26th release via Drag City, Ty welcomes the new year with “My Best Friend,” a new single and video and the final song to be released prior to the full unveiling of Three Bells. It follows the previously released Three Bells’ numbers: “Void,” “Eggman,” and “My Room.”
The quest for freedom looks different for everyone, but sometimes it looks like spending time with our non-human companions, an idea Ty explores on “My Best Friend.” Ty’s falsetto vocals and a driving, electric arrangement are the backbone of “My Best Friend,” with guitars cutting synchronous lines and a cowbell fortifying the chorus. In the solo section, the resonant rhythm/leads are fanned in a dizzying stereo effect. Filmed and directed by Ty, the song’s video finds his loyal companions, Fanny and Herman, as their tails wag with unbridled enthusiasm at the dawn of a new day. A sweet treat, friendly sniff and spirited encounters at the beach mirror the song’s rhythms.
Following select California shows in February, including two nights at the Great American Music Hall in San Francisco and a record release show at The Wiltern in Los Angeles, Ty will tour throughout North America in the spring before heading to Europe in June. Tickets are now on sale.
Ty Segall Tour Dates: (new dates in bold) Tue. Feb. 20 – San Francisco, CA @ Great American Music Hall Wed. Feb. 21 – San Francisco, CA @ Great American Music Hall Fri. Feb. 23 – Los Angeles, CA @ The Wiltern* Sat. Feb. 24 – Solana Beach, CA @ Belly Up Fri. Apr. 19 – Tucson, AZ @ 191 Toole Sat. Apr. 20 – Albuquerque, NM @ Sister Bar Mon. Apr. 22 – Austin, TX @ Mohawk (Outside) Tue. Apr. 23 – Jackson, MS @ Duling Hall Wed. Apr. 24 – Nashville, TN @ Brooklyn Bowl Fri. Apr. 26 – Asheville, NC @ The Orange Peel Sat. Apr. 27 – Washington DC @ Lincoln Theatre Sun. Apr. 28 – Philadelphia, PA @ Union Transfer Mon. Apr. 29 – New York, NY @ Webster Hall Wed. May 1 – Boston, MA @ Royale Thu. May 2 – Montreal, QC @ Club Soda Fri. May 3 – Toronto, ON @ Danforth Music Hall Sun. May 5 – Cleveland, OH @ Beachland Ballroom Mon. May 6 – Chicago, IL @ Thalia Hall Tue. May 7 – Omaha, NE @ The Waiting Room Thu. May 9 – Englewood, CO @ Gothic Theatre Fri. May 10 – May 12 – Salt Lake City, UT @ Kilby Block Party Sat. May 11 – Sacramento, CA @ HarlowʼsMon. June 17 – Prague, CZ @ Roxy Tue. June 18 – Zürich, CH @ Mascotte Thu. June 20 – Vitoria-Gasteiz, ES @ Azkena Rock Festival Sat. June 22 – Paris, FR @ Elysée Montmartre Mon. June 24 – Manchester, UK @ New Century Tue. June 25 – Dublin, IRE @ Button Factory Thu. June 27 – Glasgow, UK @ Queen Margaret Union (QMU) Fri. June 28 – London, UK @ Roundhouse Sun. June 30 – Bristol, UK @ Bristol Sounds 2024 Tue. July 2 – Lille, FR @ L’Aéronef Wed. July 3 – Berlin, DE @ Festsaal Kreuzberg Thu. July 4 – Vilanova i la Geltrú, ES @ Vida Festival 2024 Sun. July 7 – Beuningen, NL @ Down The Rabbit Hole
And here we are with my favorite concerts of 2023.
#5: Be Your Own Pet – Headliners, Louisville, KY, Otober 29th
It’s so good to have them back, and it was so good to finally see them live. Their reputation as a wild live band is not lightly given. They tore up this stage, moving from one song to the next with no written set list, playing audience requests, and blowing the minds of the small crowd at Headliners. Shame on you if you were in Louisville and didn’t go to this show.
#4: Les Claypool’s Fearless Flying Frog Brigade – Kemba Live!, Columbus, OH – May 31st
Another surprise reunion. I figured the days of Les Claypool’s Fearless Flying Frog Brigade touring the nation were long gone and we would have to be content with the one live album released many years ago. Nope. He brought in Sean Lennon, who can tear up a lead guitar, and some other pals and put on a cool show – playing Pink Floyd‘s Animals in its entirety in the middle of the set.
#3: Viagra Boys – Salt Shed, Chicago, IL – February 24th
This show was either a sell-out or very close to it. The band claimed it was the biggest show they’d played in the U.S. so far, and I believe it. The Salt Shed was jammed, sweaty, and jumping. You easily forgot that snow and ice were coating the landscape outside. The whole crowd was buzzing throughout the set, and Viagra Boys further cemented their reputation of being one of the best bands out there right now.
#2: Pigs PigsPigsPigsPigsPigsPigs– Sleeping Village, Chicago, IL – March 28th
I almost didn’t go to this show due to other plans I had that week, but I knew I had to be there when I learned it was not only Pigs PigsPigsPigsPigsPigsPigs‘ first show in Chicago, it was also their first U.S. tour. It turned out to be another one of those “Shame on you if you missed it.” shows, because the porcine quintet pretty much flattened Sleeping Village and still had time to chat with anyone who wanted to chat after the gig. They’re now on my “I’ll see them any chance I get.” list of bands – and I already have a ticket to see them in Chicago again at Lincoln Hall in February.
#1: Love and Rockets – Riviera, Chicago, IL – June 06th
I figured I was never going to see Love and Rockets live. I’d seen David J perform an acoustic set, and thought, “Well, that’s the closest I’ll get.” Lo and behold, they surprised everyone with a reunion tour and they sounded great. They were in full rock star mode and everyone in the crowd was jubilant to see and hear them. It was a dream-come-true show for me and gave everyone hope of a new record soon.
