Hana Vu’s new single is a “Keeper.”

Photo by Corinne Schiavone

Today, Los Angeles-based artist Hana Vu releases “Keeper,” the newest single from her upcoming album Public Storage, out November 5th on Ghostly International, following “Maker” and “Everybody’s Birthday.” “Keeper” is a pulsating new wave cut, replete with soaring dreamy synths and a cool-voiced narrator. The accompanying video, directed by Meagen Houang and choreographed by Jas Lin, sees Vu honing in on her artistic craft, both sonically and physically. It was shot in a single take on 16mm film by cinematographer Andrew Yuyi Truong and it’s a compelling exploration of feeling unnoticed. “Shooting ‘Keeper’ was really an intense experience,” says Vu. “We had a few choreography rehearsals leading in, and then on shoot day we rehearsed for about 9 hours and only shot in the last hour.

When I listened to ‘Keeper,’ I thought about how we’re all trapped by different societal expectations — whether it’s from work, family, friends or the devil inside ourselves,” says Houang. “I wanted to make a video that expressed the feeling of not being seen when all you really want to do is explode. By shooting the video in a single take we never let the audience off the hook. Just like Hana, we’re trapped in a cycle of being constantly ignored. I set the film in a family environment because as viewers we usually associate families with a sense of security and safety. The family environment created a contrast to Hana’s bursting performance and underscored the pain of not being visible, even sometimes by your own relatives.

Watch Hana Vu’s “Keeper” Video

Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Vu grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 21-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’

Public Storage builds on the sound of Vu’s early work, underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts. 

Listen To “Everybody’s Birthday”

Listen to “Maker”

Pre-order Public Storage

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[Thanks to Yuri at Pitch Perfect PR.]

Cuffed Up share “Bonnie” ahead of their “Asymmetry” EP due October 22nd.

Photo by Ana Karotkaya

Today, LA-based post-punk quartet Cuffed Up are sharing their driving and propulsive new single “Bonnie,” as well as well as announcing their new EP Asymmetry, out on October 22nd via Royal Mountain Records (AlvvaysWild Pink, METZ). “Bonnie” sees vocalists & guitarists Ralph Torrefranca and Sapphire Jewell trading vocals amidst a relentless onslaught of soaring guitars and crashing drums and bass via Joe Liptock and Victor Ordonez

WATCH: Cuffed Up’s “Bonnie” on YouTube

The band explains that ““Bonnie” is an anti-love anthem about the grief and pitfalls of a serious relationship crumbling due to lies and deceit. This is explored through the eyes of Bonnie (of Bonnie & Clyde fame), in an alternative universe where Clyde selfishly leaves Bonnie for dead. Bonnie is arrested and she decides to give Clyde up to the cops out of pure spite. Not because he left her in a dangerous situation — purely because of the end of their romantic, albeit toxic relationship.” With a video directed by Torrefranca (an award-winning filmmaker outside of Cuffed Up), it stars himself and Jewell in a role-reversal swapping Bonnie and Clyde.

Already seeing support for the EP from outlets like SPINBeats Per MinuteBuzz Bands LAKEXPKCRW in Los Angeles and Double J in Australia, Cuffed Up are heading out on a full US tour as main support for The Joy Formidable. Beginning in Seattle on 11/26, it will make stops in Portland, San Francisco, Los Angeles, Chicago, Boston, New York, Philadelphia along the way, ending in Burlington on 12/18. Full routing below.
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For Asymmetry, Cuffed Up paired up with producer Brad Wood (Touché AmoréSmashing PumpkinsLiz Phair) spending a week honing the songs through experimentation with sounds and ideas and the result is a collaborative effort that tackles one’s own mortality, abandonment in relationships and reckoning with shame. It expands on their refreshing self-titled debut that saw love from the likes of KEXPNMEDIYBandcamp, and The Line Of Best Fit, as well as Steve Lamacq (BBC Radio 6), Daniel P Carter (BBC Radio 1) and John Kennedy (Radio X) and a supporting run with Silversun Pickups.

Cohesive yet expansive, soaring yet direct, Asymmetry draws lines across the globe to the burgeoning post-punk scene in the UK, while also leaning into ‘90s indie rock and grunge, a loud and rhythmic rainbow of post-punk that is fluid and versatile. Whether it’s the aforementioned “Bonnie”, Torrefranca’s brutal reckoning with his own health struggles on “Terminal”, the inventive freeform of Jewell’s guitars in “Canaries” or Ordonez and Liptock’s fidgeting and dexterous rhythms in “One By One”, Asymmetry is a line in the sand for Cuffed Up, a declaration of intent from the young band who are poised to breakout from their West Coast home.

“Bonnie” is out now on Royal Mountain Records. It is available here. Asymmetry is out on October 22nd through Royal Mountain Records. You can pre-order it here.

Keep your mind open.

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[Thanks to Conor at Hive Mind PR.]

Riot Fest 2021 – Day Four

No, you didn’t miss three posts. I only attended day four of Chicago’s annual Riot Fest this year, and it was the first Riot Fest I’d attended. A friend scored some free tickets, and far be it from me to pass up a chance to see Devo and The Flaming Lips on the same bill.

This was the hottest music festival I’ve attended in a long while. There was little shade to be had, but sunscreen and taking frequent breaks between sets meant not suffering too much. A freshly made fruit smoothie from a vegan food vendor did me wonders.

The first set we caught was by The Gories, who opened one of the main stages. They sounded loud and dirty, and I’d love to see them in a small venue, but I’m glad I finally got to see these Detroit punk legends.

The Gories!

We walked around Douglas Park and discovered the festival was widely spread out. Food vendors were in one far corner, while a smaller fifth stage was seemingly a half-mile away in the opposite corner. You’d think they’d wheel out some portable light posts with all that room, but no.

Up next were HEALTH, and one of my friends fell in love with them upon hearing their industrial set under sun so bright that their bassist / synth player had to cover his keyboards with trash bags so he could read the digital displays on them.

The sun wasn’t healthy if you weren’t wearing sunscreen that day.

After a nice break under a tree, we trotted over to the smallest stage to see Chicago noise rockers Melkbelly, who played a fun set that included a cover of Pixies‘ “Gigantic” in an attempt to make up for Pixies cancelling their tour this summer. They were so out of practice with performing live shows due to the pandemic that they forgot their merchandise in their van.

Melkbelly playing to a lot of local fans.

I scored some chicken tenders that were average at best while my friends scored an elephant ear. Riot Fest has carnival rides on site, and I can only imagine how many drunk attendees regret getting on them over the course of the weekend.

We returned to the Rebel Stage to see Bleached perform their first set in two years (according to them, and a running theme for live shows everywhere this year), right after a guy walked by us peddling mushrooms to anyone who wanted them. They sounded great, and I would’ve liked to have stayed for the whole set, but Devo was calling…

Bleached having a fun time in the sun.

The stage was packed for Devo, complete with a mosh pit and crowd surfers. It was a fun set in which they played nearly the entire Freedom of Choice album. The whole crowd was happy and still buzzing afterwards. One guy was high-fiving people and telling them, “You just saw Devo!” It was the first time my friend, Amy, had seen them. She said she smiled so much during the set that her cheeks hurt afterwards. A delight for me and my friend (and Amy’s cousin), Brian, was getting to hear Devo’s cover of “Secret Agent Man” live for the first time. I wasn’t sure I’d ever get to hear it.

De-evolution is real!

Brian and I stuck around for the Flaming Lips‘ set. Brian hadn’t seen them before, and we couldn’t get close to the stage by they started – mainly due to them starting right after Devo’s set. It was still a good set, and nearly the same as when I saw them at Psycho Music Festival. Wayne Coyne encouraged everyone to take care of each other and stay healthy so live music can continue. Amen to that.

The Flaming Lips blowing sun-baked minds.

It was a good time (and Brian’s first music festival, no less), but would I go back? The short answer is, “I don’t know.” There were a lot of bad bands on the bill on day four, and I don’t think the other three days were much better. A lot of the bands playing the various stages sounded like Rage Against the Machine rip-offs, screamo nonsense, or pop-garbage. We got the hell out of there before Slipknot and Machine Gun Kelly started their sets and laughed as we passed a guy selling nitrous oxide balloons outside the park. I might return if the lineup gets better, and they’ve already announced another Misfits reunion for 2022, but Douglas Park-area residents won’t be happy about it…

Keep your mind open.

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Godcaster get wild with new single, “Hecky Skelters,” from their upcoming EP.

Photo by Riley Buttery

Like the Cicadas of the previous Summer, the troupe of romping rock deviants, Godcaster, has reemerged from beneath the dirt to fill the atmosphere with unbridled cacophony. Saltergasp is a brief reintroduction to the shining sextet of David Mcfaul (keys), Von Kolk (flute, vox), Bruce Ebersole (guitar, bass), Sam Pickard (drums), Judson Kolk (vox, guitar), and their newest member, Jan Fontana (bass). It also acts as an unflinching demonstration of an ensemble doing away with frivolity—Godcaster is coming straight for your still-beating heart.

Today the new single “Hecky Skelters is streaming for your listening pleasure. Right out the gate, Godcaster blasts off with a tidal wave of cocophany. Mcfaul and Von Kolk’s dual vocals are both sinister and enchanting, satiating your skelters from start to finish. It’s a perfect return to form for the New York band, capturing the rambunctious energy of their live shows, which were sorely missed during the last year and a half of lockdown.

Saltergasp is a glimpse of something rarely captured—each track has been regularly performed and mastered during Godcaster’s ritualistic live-sets. In this manner, Saltergasp is both an extension of Godcaster’s first, immense collection, Long Haired Locusts, and a celebration of their euphoric public ceremonies that were impossible for far too long. The crisp drums and springy guitars on “Hecky Skelters” showcase the band’s innate talent for deliberate bombast. On the title track, the group conjures an instrumental suite that rips and toils between moments of anticipation and rapturous fury. “Tippy Hightailed It” is an equally funky and anxious tune that thrusts listeners into the center of growing auditory tension. Then “Tiger Surrogates Hunts the Praying Mantis” closes the EP with a lively, off-kilter incantation.

From start to finish, Saltergasp shines an otherworldly light on Godcaster’s Dionysian guitar frenzies. In just under ten minutes, the band reestablishes themselves as the leaders of an unstoppable sonic movement and begins to pen the next chapter in their dichotomous musical tale of shimmer and rot. Formidable and magnificent, Godcaster remains the masters of ferocity in our world and any other.

Keep your mind open.

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[Thanks to Jake at Ramp Global.]

Sam Evian releases title track from upcoming album – “Time to Melt.”

Video still

Musician and producer Sam Evian releases “Time to Melt,” the title track from his forthcoming album, out October 29th on Fat Possum, alongside an accompanying video. Carried by its noodly guitar line and Sam’s honeyed vocals, “Time to Melt” emanates a fun darkness with an almost alien jazz feel. The song originally came together when Spencer Tweedy was interviewing Sam for Mirror Sound, a book that delves into the people and processes behind self-recorded music. He asked to see an example of Sam’s writing process, and after firing up a drum machine, Sam wrote the first bars of “Time to Melt.” Of the song, Sam explains “If you’re familiar with tarot, I think of it as pulling the death card in a positive way. It’s like facing the idea of death, which I think everyone thought about a lot this past year, maybe more than usual collectively.”

“It’s time to melt it’s what we do // If anything will comfort me // It’s knowing that we’ll be free”

The peculiar “Time to Melt” video, directed by John TerEick and filmed in the woods surrounding Sam’s home, elevates the song’s otherworldly vibe and offers a peek into Sam’s charm. Sam comments on the video: “I met a lonely alien in the woods and they taught me a jig. As the night went on they convinced me to try huffing some special kind of bug spray, which opened a wormhole vortex to another dimension.”

Watch Sam Evian’s Video for “Time to Melt”

Time to Melt is a glowing set of soulfully psychedelic pop gems and a testimonial to the life and wisdom to be found when you give yourself the mercy of space. Following a brief decampment to upstate New York to create his last album, You, Forever, Sam realized he could no longer resist the urge to escape the anxious city life. So he and his partner split from New York City to build their refuge and Sam’s studio, Flying Cloud Recordings, in the Catskills. That reflective, relaxing environment shaped Time to Melt, an album of sounds so pleasant and compelling that you put it on and follow the slipstream. There are songs of celebrations, like “Easy to Love,” and tracks that reckon with the weight of our time, even when it sounds largely weightless, like “Knock Knock.”

Next month, Sam will kick off his North American tour with a full band of  Brian Betancourt (bass), Michael Coleman (keys), Sean Mullins (drums), and Liam Kazar (guitar, synths), who will also open each show. Tickets are on sale now

Watch the “Easy To Love” Video

Watch the “Knock Knock” Video

Watch “Easy To Love” Performance

Watch “Knock Knock” Performance

Sam Evian Tour Dates
Fri. Oct. 29 – Hamden, CT @ Space Ballroom *
Sat. Oct. 30 – Woodstock, NY @ The Colony *
Wed. Nov. 3 – New York, NY @ Bowery Ballroom *
Thu. Nov. 4 – Boston, MA @ The Sinclair *
Fri. Nov. 5 – Asbury Park, NJ @ The Saint *
Sat. Nov. 6 – Washington, DC @ DC9 *
Wed. Nov. 10 – Philadelphia, PA @ Johnny Brendas *
Thu. Nov. 11 – Holyoke, MA @ Gateway City Arts *
Fri. Nov. 12 – Providence, RI @ Columbus Theatre *
Sat. Nov. 13 – Portland, ME @ Space Gallery *
Fri. Nov. 19 – Amagansett, NY @ Stephen Talkhouse
Sat. Nov. 20 – Troy, NY @ The Hangar *

* = with Liam Kazar

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

Mandy, Indiana release “Bottle Episode” ahead of debut EP due November 19th.

Photo by Holly Whitaker
Manchester, UK-based trio Mandy, Indiana (FKA Gary, Indiana) announce their debut EP, ‘’ out digitally November 19th via Fire Talk Records (physically out December 10th). Today, they unveil lead single, “Bottle Episode.” Including new remixes and previously released singles “Alien 3” and “Nike of Samothrace,” the EP finds Mandy, Indiana bridging the worlds of post-punk, noise, and dance music to create their brutal pop sound. Last month, the band shared Daniel Avery’s remix of “Alien 3,” transforming the track from “heavy hitting, feedback drenched no wave to a visceral, dance floor ready banger” (Resident Advisor).
 
Throughout the driving “Bottle Episode,” taut programmed beats meld perfectly with corrosive guitars inspired by the sound of a flood siren. “I wanted to build up on the military style of the track, but in a very slow crescendo, and not in a very obvious way. The lyrics talk of men waiting, moving forward; war is never mentioned, yet it is obvious that the men are waiting for death. The song ends with the men almost dancing as the bullets hit them,” says vocalist and lyricist Valentine Caulfield.
 Listen to Mandy, Indiana’s “Bottle Episode” 
Caulfield and Scott Fair (guitar/production) met a couple of years ago when their respective previous bands shared a bill in Manchester. Caulfield was drawn to Fair’s aspirations to write beyond genre, while Fair was instantly taken with the singer’s magnetic stage presence and harsh, visceral vocals delivered in her native French. The pair also enlisted Liam Stewart (percussion), a touring musician who’s powerhouse rhythmic presence compliments the pair’s vision—emphasizing raw energy and emotion over meticulous composition to create a singular cathartic experience.
 
The songs on  ‘’ EP were recorded in a variety of spaces, from rehearsal rooms and home studios to cavernous  industrial mills. You can hear it in the recordings: the clattering footsteps, muffled piano and chatter at the end of “Bottle Episode” were taken from the hall outside of one of their recording spaces. Other sounds like a buzzing fluorescent light and the rhythm of a passing train also found their way into the mix.
 
Mandy, Indiana’s influences are fluid and their lyrics are left intentionally open to interpretation, but the group acknowledge cinematic references alongside musical touchstones. The band’s self-made music videos, influenced by the macabre film-making of Gaspar Noe and Leos Carax, see them carefully stitching together found-footage montages. Every image feels intentional, providing a visual chaos that matches the music’s unpredictability. Mandy, Indiana’s debut EP documents where they’ve been, where they are now, and where they’re going.
Pre-order  EP
 
 EP Tracklist
1. Bottle Episode
2. Nike of Samothrace
3. Alien 3
4. Alien 3 (Daniel Avery Remix)
5. Nike Of Samothrace (Club Eat Remix)

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[Thanks to Ahmad at Pitch Perfect PR.]

Review: Lucy Dacus – Home Video

If they gave out awards for Most Brutally Honest Album of the Year, Lucy DacusHome Video would certainly win it in 2021.

The singer-songwriter’s new record is a deep dive into her upbringing, teen years, and even recent years. It’s a record about self-exploration, finding and losing love and friends, and always moving forward despite the past trying to put on the brakes.

“Hot & Heavy” opens with bold guitars and bolder lyrics by Dacus about fiery passion that fades but is never forgotten. “Christine” tells a story about Dacus and a dear friend riding along one night in the back of her friend’s boyfriend’s car…and Dacus knowing her friend is stuck in a relationship that will do nothing but hold back her friend from her true potential (“If you get married, I’ll just throw my shoe at the altar and lose your respect. I’d rather lose my dignity than lose you to someone who won’t make you happy.”).

“First Time” hides a tale of new love and new sex under its rock drums and guitar strums. “In the summer of ’07, I was sure I’d go to heaven,” Dacus sings in the beginning of “VBS” (Vacation Bible School), a song about teenage sexual and spiritual confusion that erupts into buzz saw guitar at one point. “Cartwheel” starts with the sound of a record or tape starting up from a dead stop and quickly becomes an acoustic ballad for someone who chose another over her.

As if the album wasn’t heartbreaking enough, “Thumbs” is a song about Dacus fantasizing and offering about killing her friend’s long-absent father when he comes to town for a visit and pretends nothing is wrong. “Going Going Gone” is another song about walking away from a relationship she knows with yield no further results.

Dacus’ use of Autotune on “Partner in Crime” is jarring at first, but makes sense when you consider it’s a song about duplicity. “Brando” is a tale of Dacus skipping school with a boy to watch movies, knowing that he’s Mr. Not Quite Right but going along anyway. “Please Stay” is a soft plead for Dacus’ lover not to leave just yet, and how seeing their items around her place is like walking through a museum of heartbreak. The album ends with “Triple Dog Dare,” a song / confession about Dacus exploring her sexuality and being nervous as hell the whole time. It’s a gorgeous coda to the whole record.

I’m tempted to write, “This record is not for the timid.” due to it’s raw honesty, but maybe it is. It’s a record for anyone feeling timid about who they are, who they love, or who they can become.

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

Review: Liam Kazar – Due North

“I hang my coat on any old hook, but I prefer the second from the left,” Liam Kazar sings on the opening track of his fun, funky, and solid debut album Due North. The album mixes a lot of influences, sometimes sounding like a Warren Zevon album, other times like a Lindsey Buckingham or Joe Jackson record, but most of the time like Kazar’s groovy self. It’s the kind of album that makes you want to hang out with him for a night just to hear his stories.

That opener, “So Long Tomorrow,” blends Kazar’s rock guitar with a groovy bass line and his witty lyrics as he tells himself, and the rest of us, to stay in the present. “Old Enough for You” bumps and bubbles like a witch’s brew created in a disco, with Kazar singing about trying to be hip and refined in order to impress a potential lover. The sassy, swinging “Shoes Too Tight” was one of my favorite singles of 2020. The whole thing grooves in a way that is hard to describe and impossible to ignore.

“Nothing to You” mixes some alt-country twang into the record while Kazar sings about pining from afar for someone who barely knows he exists. “On a Spanish Dune” starts off like a sad synthwave track and then transforms into a meditation on the self. “Everybody’s asking me what I’m going to be. I couldn’t tell you if I tried. I’m just a poem with an open line,” Kazar sings – and sums up presence and ennui in two sentences.

“The clouds are coming over, but I shouldn’t be surprised,” Kazar sings on “Frank Bacon” – a snappy, slick track with some smooth guitar work from him and plenty of lyrics about realizing you have to play the hand you’re dealt and make the best of it. “I’ve Been Where You Are” has synthwave touches while Kazar let’s us know that he’s been in the same boat of the blues as we’ve all journey on from time to time.

The slightly countrified “No Time for Eternity” has some of Kazar’s best vocal work (with help from Andrew Sa). He keeps it simple, which gives it more impact. “Give My World” takes on a bluesy feel with its lyrics and guitar work, but then becomes something dreamy with the use of bird calls and psychedelic synths. “It seems I haven’t changed, half as much as I’ve let you down,” Kazar sings in a brutally honest self-appraisal. The synths turn into church organs on the closer, “Something Tender” – a song about realizing that enabling and embracing illusions, especially those in relationships, ultimately leads to misery.

Due North is a stunning debut, and easily one of the best debuts I’ve heard in a while and one of the best albums of the year. There’s nothing here you won’t like.

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

Rewind Review: Hüsker Dü – Savage Young Dü (2017)

“Savage” is a mild way of putting it.

Savage Young Dü from Hüsker Dü is a four-LP / three-CD compilation by Numero Group of early tracks from the band, spanning 1979-1983. It’s jam-packed (69 tracks, 47 of which have never before been released, and there are scores more they could still put on another compilation – let’s hope so) with demos, live cuts, B-sides, and remastered cuts of their first singles and EPs. It’s essential for any fan of the band, or early 1980s punk rock, and completely bonkers. The booklet inside the set is a wealth of information, too, with interviews and stories from the band members (Grant Hart – drums and vocals, Greg Norton – bass, Bob Mould – guitar and vocals) and many of their friends and early engineers / producers.

The first track is a demo version of “Do You Remember?” and it’s an instant classic with Norton’s chugging bass and snotty, bratty vocals from Mould while Hart tries to knock down the walls of the record store basement where they recorded it. “Sore Eyes” could’ve been a Buzzcocks track, and it’s neat to hear the band trying different musical styles and exploring multiple influences in these early tracks before settling into their “go like hell and blow out the speakers” sound. “Can’t See You Anymore” has Hart telling a girl he can’t date her anymore because she’s wants to much sex.

By the time we get to “Do the Bee” a couple tracks later, the band is already going nuts and screaming from the basement floor (while writhing around on it, according to the story listed in the booklet). Their cover of The Heartbreakers‘ “Chinese Rocks” is delightfully sludgy. A “rehearsal” version of “Data Control” has Norton’s bass tuned so heavy it could sideline for a doom metal band.

The live version of the fun “Insects Rule the World” ends with Mould proclaiming, “We’re not the most professional band in the Twin Cities,” but Hüsker Dü would go on to become one of the big three powerhouses of that area (along with Prince and The Replacements). The live cut of “Sexual Economics” has a cool post-punk edge to the rusty knife sound of it, and Mould’s solo is great.

“Statues” and “Amusement” are two early classics. The venue where the live version of “Walk within the Wounded” was recorded can barely contain the song. “I’m Tired of Doing Things Your Way” sounds like a fist fight is going to break out at any second. It probably did during “All Tensed Up” – a blistering cut. “Don’t Try to Call” goes by so fast that you barely have time to breathe before “I’m Not Interested” starts. Mould screams, “Fuck you!” to the small crowd at the end of a live version of the furious “Let’s Go Die.”

Grant’s drumming on a live recording of “Private Hell” is somewhat Devo-like, and his drum work on the following track, “Diane,” sounds like it inspired Dave Grohl. “In a Free Land” is one of many politically charged Hüsker Dü tracks. “What Do I Want” has so much angst that it makes you want to smash a wall with a hammer. “M.I.C.”, on the other hand, makes you want to smash the whole damn house. “Afraid of Being Wrong” is like being at the wrong end of a dodge ball game and the message is still resonant today.

Their cover of Donovan‘s “Sunshine Superman” is a fun inclusion, with Hart’s vocals and drum work both a hoot. By the time we get to “Everything Falls Apart,” we can hear hints of the future sound of the band. The collection ends with six loud, raucous live tracks, including a somehow even faster version of “Do You Remember?”, a Norton-heavy version of “It’s Not Funny Anymore,” and a version of “It’s Not Fair” that sounds like a 747 taking off in a hailstorm and closes with a minute of bass and guitar feedback before someone at the club shuts off their amps and calls them “one of the greatest hardcore bands in the country.”

This thing is a treasure trove, and not for the timid. It might flatten the unwary. In other words, it’s amazing.

Keep your mind open.

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Live: Frankie and the Witch Fingers, Levitation Room, and Mouth Reader – The 5 Spot – Nashville, TN – September 10, 2021

My wife and I took a long weekend trip to Nashville, Tennessee a couple weeks ago. We got into town on September 10th and were looking for something to do that night. Lo and behold, I discovered a psychedelic rock show at a dive bar called The 5 Spot, and the lineup was irresistible: local act Mouth Reader, California psych-shoegazers Levitation Room, and, fresh from Psycho Music Festival, Frankie and the Witch Fingers.

Mouth Reader were up first, putting on a good and loud show to their hometown crowd that impressed some other local musicians who were seated near us.

Mouth Reader making our minds drip.

Levitation Room sound like Elephant Stone mixed with Beatles and Pink Floyd. They have a song about a polydactyl cat (“Mr. Polydactyl Cat”) that delighted my wife to no end.

Levitation Room lifting us off the floor.

I need to mention that the psychedelic light and projection effects were done by the Flooded Sun Liquid Light Show, who also have their own doom / stoner metal band called Red Feather. They did a great job, although they didn’t do projections for Frankie and the Witch Fingers for reasons unknown to us.

Frankie and the Witch Fingers played much of the same set that they threw down at the Psycho Music Festival, but hearing it in a smaller venue than the Mandalay Bay House of Blues was a treat. They were just as tight as when we saw them a month earlier and were delighted to be hitting the road after such a long hiatus.

You can tell it’s early in the set because the drummer, Shaughnessy Starr, is still wearing a shirt.

It was a good start to a fun weekend, and The 5 Spot is a cool venue far away from the downtown Nashville honky tonk tourist traps full of annoying drunks and bachelor / bachelorette parties.

Keep your mind open.

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