7th Level Music

Review: Alex Maas – Levitation Sessions

Essentially a live version of Alex Maas’ (of The Black Angels, MIEN, and other projects) first solo album, Luca, Levitation Sessions is, as he puts it in the notes on his Bandcamp page, “…a glimpse into what a tour on this record would look like had we not been in a pandemic.”

It’s a shame he wasn’t able to tour behind it, because this live session shows how good those shows would’ve been. The songs aren’t as loud or face-melting as many Black Angels songs, but they are no less haunting, hypnotizing, and mood-altering. “Shines Like the Sun” opens the album with Maas singing to his family about their changing, blessed dynamic. “Special” fades in and out like incense smoke curling out of a temple or efficiency apartment window. Maas’ voice has always sounded like it was made with built-in reverb, and “All Day” is a great example of this. The dub flavor of it is outstanding.

The thumping bass of “Elastic” gets under your skin as much as Maas’ lyrics like, “We don’t want you to die. We just want you to suffer the rest of your life.” You get the feeling that the “we” he’s referencing are forces perhaps out of our control or even understanding. “Leather in the Foreground” has a slinky, kinky groove to it – which is absolutely appropriate for a song with a title like that.

“The city makes you feel so small…Sometimes love seems so damn far away,” Maas sings on “500 Dreams,” one of the loveliest tracks on the album and written to his child as he hopes for the best for him in a world that seems determined to bring all of us down to the lowest level.

“Keep Your Balance” induces dreams of faraway lands and exotic, somewhat dangerous fantasies amid hand percussion, Middle Eastern strings, and vocals that almost becomes mantras. “Too Much Hate” was written before the last election, and, unfortunately, its message still holds true. “Slip Into”…what, exactly? Judging from the sound and feel of the song, it could be anything from sleep or a warm bath to eternal sleep or a cold shower.

The slow, country ballad sound of “Paint You in the Sunshine” is a pleasant surprise, and certainly highlights one of many of Maas’ Texas regional music influences. “The Light That Will End Us” covers one of Maas’ favorite songwriting topics – death. His voice, slightly altered by reverb effects, becomes a ghostly call from a bright light that embraces shadow rather than cast it. “American Conquest” covers another base that Maas likes to write about – war. The opening bass and guitars on it grab you by the collar and demand you listen – almost talking the forefront from his vocals.

“You should’ve been struggling like all of the rest,” Maas sings on “Shoulda Been Struggling” – a song full of uplifting guitar riffs and messages to close the album. There are people out there who want you to share their misery, and cannot fathom why you won’t. They want you to mourn how they mourn, protest what they protest, dislike what they dislike, shun what they shun…but you know in your heart that such endeavors are wastes of time and energy.

This album isn’t. It’s a beautiful record from a gifted musician and writer that will make you view things in a different light.

Keep your mind open.

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Review: Acid Dad – Take It from the Dead

I don’t know if the title to Acid Dad‘s record, Take It from the Dead, refers to taking a physical object from the deceased or heeding their advice. It could be both.

The record, with its blend of psych-rock and post-punk, is a good time. The first track, “Searchin’,” lends some credence to the idea that the album’s title might be about imploring the dead for answers. “I’m lost, and I’m found. I’m still searchin’ for a sound,” sings co-guitarist Vaughn Hunt amid shiny synths and drum licks that are happily “stuck in the 70s.” “BBQ” brings in some heavy guns on the instruments and cool reverb on the vocals. It reminds me a bit of early Failure tracks.

“RC Driver” begins and ends with enough guitar for two albums. “She Only Eats Organic,” apart from having a fun title (and a not-so-hidden oral sex joke?), is a bit of a barn-burner with beats from Trevor Mustoe that barely rest for the entire track. Sean Fahey‘s vocals have a bit of a post-punk snarl to them on it. The psychedelic “Good Time” is as trippy as the album cover.

“Smile You’re on Camera” builds on a Peter Hook-like bass line and then drops in melting wax vocals. The cranked fuzz on “2 Face” boosts Hunt’s lyrics about wanting something more from a potential lover, but knowing he should tread lightly. The closing track, “Djembe,” with its Cure-influenced bass and Jesus and Mary Chain-influenced guitar, is a killer ending. It somehow oozes and shimmers at the same time, resulting in a space-rock guitars that blaze past you like a comet.

Take It from the Dead is one of those albums that will probably reveal more layers of itself every time you listen to it, which is a testament to its craftsmanship. We could use more bands making music this intriguing.

Keep your mind open.

[I’m searchin’ for your subscription.]

Live: Frankie and the Witch Fingers and Acid Dad – The Brass Rail – Ft. Wayne, IN – October 08, 2021

This was my first time seeing psych-rockers Acid Dad live, and even hearing a lot of their material, and my third time seeing Frankie and the Witch Fingers in as many months. Acid Dad were just in the first few dates of their tour, and Frankie and the Witch Fingers were nearing the end of theirs. Both bands came to play and to play hard at Ft. Wayne’s Brass Rail – a great dive bar venue downtown where any band playing there is practically in your lap.

Acid Dad had the crowd jumping, and even moshing, before they were even halfway through their set. I liked their mix of psychedelic rock and post-punk and picked up their newest album afterwards.

Frankie and the Witch Fingers put on a killer performance as well, the best of the three I’ve seen. They upped the punk riffs in this one, and I’m starting to think it’s not an official show by them until their drummer is shirtless. They were also having a blast. They’re one of the most fun bands to see right now.

An official gig by Frankie and the Witch Fingers

Both bands will be playing at the Levitation Music Festival in Austin, Texas on Halloween weekend, and both sets will be well worth your time. Check them out.

Keep your mind open.

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Wrecka Stow: Wooden Nickel Records & Tapes Budget and Collectors – Ft. Wayne, Indiana

The “Budget and Collectors” location of Wooden Nickel Records & Tapes in Ft. Wayne, Indiana (3422 N. Anthony) is one of the first record stores I went to way back in high school when I finally had access to a car. I bought many records there and hadn’t been there in decades. It was nice to see the place still in business and still offering a lot of good stuff.

They pack a lot of stuff into the space, and one thing that hadn’t changed was them offering a lot of good stuff at low prices – new and used.

The collector and limited edition stuff is still there. There are plenty of box sets, rare records, and, yes, tapes – cassettes and eight-tracks.

They sell records, of course. They have a whole section of 45 records, all kinds of LPs, and even some picture discs on hand.

Check it out if you’re in town. There’s a lot there and you can get a good amount of it for cheap. I scored a live Buzzcocks album and Donald Fagen‘s classic The Nightfly for barely over ten bucks.

Keep your mind open.

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Rewind Review: King Buffalo – Orion (2015)

Orion, the first album from Rochester, New York’s psych-space-doom trio King Buffalo is a stunning debut. The album covers a lot of ground…in outer space, along misty mountain paths, and across desert plains.

The title track opens the album with David Gilmour-like guitar from Sean McVay and builds to a thundering echo rolling down from a lost Greek temple high on a hilltop. McVay’s guitar becomes the Silver Surfer racing across the cosmos while Dan Reynolds‘ bass and Scott Donaldson‘s drums are the engines of Galactus’ ship behind him.

“Monolith” adds some Velvet Underground guitar styling to their repertoire while McVay sings about cosmic things that cause more fascination than fear. It drifts (melts?) right into “Sleeps on a Vine,” a song about a mysterious woman who may or may not be real. Donaldson’s beats almost take the forefront through the whole track, becoming the heartbeat of the man intrigued by the woman (mirage?). It becomes a heavy jam not unlike some All Them Witches tracks, which is no surprise as the bands are friends and ATW is even thanked in the liner notes of the album.

Reynolds’ bass gets “Kerosene” off to a groovy start, and McVay’s guitar sounds like a distant calling vulture at some points in it. Other times, it sounds like a nest of yellowjackets. “Down from Sky” has a countrified sound, complete with slide guitar, setting up the mammoth sounds of the next two tracks – “Goliath” (parts one, the instrumental track, and two, the mind-blowing rocker that opens your eyes and melts your face).

Reynolds and Donaldson hit their instruments so fiercely in spots during “Orion Subsiding” that it sounds like they might break. The album ends with the mind-expanding “Drinking from the River Rising.”

It’s a powerful debut, making you want to track down everything else they have out there. Cosmic rock like this is always fascinating, and King Buffalo do it well.

Keep your mind open.

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Rewind Review: Wanda Jackson – First Lady of Rockabilly (2012)

Spanning several years in a little over two hours, the First Lady of Rockabilly collection of Wanda Jackson‘s material is a great compilation of her work and further cements her place in rock and music history as one of the premier voices to ever play the game.

Jackson’s influence on rock and country is massive, counting Jack White, The Cramps, and two Elvises – Presley and Costello – among her many devotees. Presley was also her paramour until he split to make movies in 1957.

The collection contains so many hits that I don’t envy whomever had to choose what to put in and what to leave out. “Let’s Have a Party,” her first big hit, was a no-brainer for inclusion, of course. “Fujiyama Mama” is a wild one about how much of a bad ass she is. “Funnel of Love” is another one of her biggest hits, and includes wild elements of exotica and monster surf rock. “Riot in Cell Block Number 9” is, if you ask me, a better tune than “Jailhouse Rock.”

“You Can’t Have My Love” is the first straight-up country track on the compilation (and her first single, which cracked the country charts Top 10 list in 1954), with Jackson strutting her stuff and shooting down a potential suitor who offers her silk and satin, but is soon frustrated by her ignoring him. “I Gotta Know” keeps up the country swing flair. “In the Middle of a Heartache,” a song she co-wrote, proves she had the vocal chops to compete with Patsy Cline when she wasn’t belting out risqué rockers.

“Right or Wrong (I’ll Be with You)” is another Jackson-penned country ballad. Jackson’s voice is so strong and fun that it’s sometimes easy to overlook how good of a songwriter she is. The compilation is loaded with songs she wrote or co-wrote, such as the not-so-subtly naughty “Savin’ My Love,” the sexy growler “Mean, Mean Man,” the swinging, floor-filler “Baby Loves Him,” the witty “Who Shot Sam?”, the solid hit “Rocky Your Baby,” and the slick as Bryl-Creem “Cool Love.”

“Hard-Headed Woman” includes a solo from legendary country performer / guitarist Roy Clark that will make your head spin. Her cover of Billy Crudup / Elvis Presley’s “My Baby Left Me” has extra bite to it considering Jackson’s relationship with the King of Rock and Roll. The drum beats on “Sticks and Stones” are hot as a griddle. Her covers of Neil Sedaka‘s “Fallin'” and “Stupid Cupid” are fun, hip-swaying rockers.

“There’s a Party Goin’ On” starts off the second half of the set with a great, rollicking floor stomper. “Hot Dog! That Made Him Mad” is a groovy story about Jackson having dalliances with other lovers to make her man appreciate him more – a story about FemDom when such a topic was taboo. Jackson’s vocals on “Cryin’ Thru the Night” would give Hank Williams a run for his money.

“It Doesn’t Matter Anymore” and “I’d Rather Have You” are lovely country ballads, and “Tears at the Grand Ole Opry” is a barely disguised tale of sexism at the iconic music venue. “Long Tall Sally” brings everyone to the dance floor and the collection closes with the appropriately titled “Man, We Had a Party.”

The whole collection is fun, and it works well as an introduction to Jackson’s work or as an addition to anyone’s collection of her records.

Keep your mind open.

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Review: Morly – ‘Til I Start Speaking

Every track on this album is lovely.

That’s the best way I can describe Morly‘s ‘Til I Start Speaking. On it, Katy Morley explores themes of self-empowerment, love, and introspection. None of it is maudlin. It’s all gorgeous ballads and sultry beats.

The title track (parts 1 and 2) opens the record, beginning with softly rising synths and subdued vocal sounds that build into a sexy jam. The subtle piano chords of “Dance to You” melt like a candle next to a warm, luxurious bathtub as Morley sings lyrics like “I can’t stop listening to this tape you played me the night you took my hand and whispered, come on let’s pretend we’re in love.”

That torch song piano returns on “Sleeping in My Own Bed,” a song about Morley missing her lover (“Only dreams to keep me warm.”), but knowing she’ll be happy and comfortable sleeping at her own place and enjoying the good time she had. The gospel-influenced backing vocals on “Wasted” are a great touch in a song that almost could be a praise of the Lord Almighty as much as a lover.

“Twain Harte” starts with breathy, nearly acapella vocals from Morley until they’re joined by simple, soft piano key strokes and some more gospel touches (organ, backing hums). The guitar on “Up Above” is like something out of a dreamy, classic country bar that only seems to exist in fun roadtrip movies. “I don’t know what I’ve been doing lately,” Morley sings n the opening of “Jazz Angel (Bill).” It’s the kind of song that makes you pause and take a look around at what’s happening – something we all need to do now and then.

“Savior Mind Tattoo” has both an intriguing title and an intriguing sound, mixing what sounds like vibraphone with a brush-stroked snare drum and that soft piano that mixes so well with Morley’s voice. “Where were you the night when I wasn’t sleeping?”, Morley asks on “Superlunar” – a song about longing and what comes after that longing is quenched. The closing track, “Eilogy,” adds some trip hop beats to the mix for good measure as Morley sings about heartbreak and making amends.

The whole album is like a caress from a lover you think about making a life with, but you’re not sure if doing such a thing would screw up what you have. You feel like you’ll both be okay with the few moments you have, but, still, like Morley, you wonder…

Keep your mind open

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Old Moon – Altars

At times sounding like The Cure, other times like old Midnight Oil, and other times like something you can’t quite describe, Old Moon‘s new album, Altars, is a dark, gothic rocker full of all the haunting guitars, slithering bass, creepy synths, and crashing drums you’d want from an album such as this.

Multi-instrumentalist and vocalist Tom Weir comes out big in the opener, “Ephemera,” hitting us with sludgy bass and vocals echoing off the back of either his studio or perhaps a mausoleum. The guitars on “Chains of Sleep” instantly throw you into a world of dark nightclubs in crumbling old factory towns, and Weir’s vocals pay homage to Peter Murphy through it (and a lot of the album, to be sure).

“Past Lives” covers a required topic on any post-punk/ goth record – death, and “Anhedonia” starts with stadium rock drumming and then pulls you into a small performance space in the stadium’s basement. The switch from the big build-up to subdued tones is effective, and something that Weir pulls off well throughout the record. The hollow-sounding “Untouched” would fit in a horror film, post-apocalyptic action thriller, or a dystopian western.

“Drowse Down” has a slow, psychedelic feel to it that makes you feel like you’re walking in a fog after you’ve had a deep tissue massage. The closing track, “Laid to Waste,” isn’t as gloomy as the title would suggest. The guitars are a bit brighter, and the cymbals clash louder, to create a track for vampire hunters at dawn.

Altars is the first goth record I’ve heard in a long time that doesn’t sound like it’s trying too hard to be edgy or nihilistic. It’s a solid effort and worth a spin.

Keep your mind open.

[Move on over to the subscription box while you’re here.]

[Thanks to Dave at US / THEM Group.]

Live: Clutch, Stöner, King Buffalo – Piere’s – Ft. Wayne, IN – September 29, 2021

It’s always good to see Clutch. They never disappoint and always sound great live, so seeing them at a small venue just over an hour’s drive from my house was an easy decision. They’re on their thirtieth year as a band, which is quite impressive.

Opening for them were two other bands I was keen on catching, and the first was King Buffalo, who opened the night with a fine set of space / psych doom rock that was just what I needed after a weird day at work. There weren’t many in the crowd who’d heard of them before, but their merch table was packed immediately after their set. They won over a lot of fans. It would be great to see them on their own.

Up next were desert / stoner rock power trio Stöner, who were equally impressive with heavy bass, garage-psych drums, and cosmic fuzz guitar work. My wife was happy to hear them and understand their lyrics (topics ranging from ghosts to Evel Knievel). They also won over many fans in Ft. Wayne.

Stöner pummeling the crowd with heavy rock.

Clutch came out to a crowd that was, by now, fired up from seeing two bands that were alone worth the price of admission. They launched into a wild set, showing no rust at thirty years of age as a band. Among the highlights of the set were them playing “Far Country” from their first 7″ single back in 1991 and “Passive Restraints” (another early track). Another treat was a new single, the name of which I still can’t find, that has lyrics involving witchcraft, the Mayflower, and Nosferatu.

Clutch hitting it hard after almost two years off.

We overheard a guy on the way out telling his friend that he’d seen Clutch “twenty times” and “that’s probably in the top five” of shows he’d seen. It was a good one. All three bands were hungry for the stage and the energy gained from a live crowd. I certainly needed it, and I got it in spades.

Keep your mind open.

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Parquet Courts creeps up on us with new single, “Black Widow Spider.”

Today, Parquet Courts share a new single/video, “Black Widow Spider,” from their forthcoming album, Sympathy For Life, out October 22nd on Rough Trade Records. In conjunction, they announce extensive touring plans for 2022, starting with a run of North American shows in the spring. Following their highly-praised lead single “Walking at a Downtown Pace,” “Black Widow Spider” kicks off with scorching guitar. In A Savage’s words, “I told [producer] Rodaidh McDonald that I wanted to find a sound that was equal parts Can, Canned Heat and This Heat. He was really into that and probably took some glee in having such a bizarre challenge.” It’s one of the many songs on the new album that began with the band improvising onto tape, after which they started editing and cutting up, leading to the verse.

The accompanying video, directed and animated by Shayne Ehman, is simply great. “We were inspired by the claymation master Art Clokey,” says Ehmman. “I wanted the video to feel like it was shot in the 1950’s and so I used very old lenses. One was a brass projection lens from the 1860’s and another was radioactive.”

WATCH PARQUET COURTS’ VIDEO FOR “BLACK WIDOW SPIDER”

Alongside the release of their first single last month, the band also announced the Power of Eleven – eleven global happenings that will occur around the release of the album. The first of these took place in Manhattan with the Gay & Lesbian Big Apple Corp marching band debuting “Walking At A Downtown Pace”. The second of these is happening in Tokyo in conjunction with Big Love Records, with an extremely limited “Black Widow Spider” 7” and t-shirt. More info for this event and the others has been revealed on the band’s website. Sign up to their mailing list for updates.

Sympathy For Life was built largely from improvised jams and produced in league with Rodaidh McDonald (The xx, Hot Chip, David Byrne) and John Parish (PJ Harvey, Aldous Harding, Dry Cleaning). Unlike its globally adored predecessor, 2018’s Wide Awake!, the focus fell on grooves rather than rhythm.

“Most of the songs were created by taking long improvisations and moulding them through our own editing,” explains Austin Brown. “The biggest asset we have as artists is the band. After 10 years together, our greatest instrument is each other. The purest expression of Parquet Courts is when we are improvising.” In a very real sense, the band sampled themselves, molding and chopping their rhythmic and melodic jams to create these songs, to manifest something new.

On Sympathy For Life, Parquet Courts’ thought-provoking rock is dancing to a new tune. The album finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psychedelic storytelling into fresh territory, yet maintaining their unique identity.

PARQUET COURTS TOUR DATES (TICKETS)

Thu. Oct. 28 – Saxapahaw, NC @ Haw River Ballroom ^
Fri. Oct. 29 – Richmond, VA @ The National ^
Sat. Oct. 30 – Baltimore, MD @ Ottobar ^
Sun. Oct. 31 – Lancaster, PA @ Tellus360 ^
Wed. Nov. 03 – Burlington, VT @ Higher Ground !
Thu. Nov. 04 – Portland, ME @ State Theatre !
Fri. Nov. 05 – Holyoke, MA @ Gateway City Arts !
Sat. Nov. 06 – Asbury Park, NJ @ The Stone Pony !
Mon. Nov. 15 – Dallas, TX @ Studio at the Factory
Wed. Nov. 17 – Houston, TX @ White Oak Music Hall
Fri. Nov. 19 – Austin, TX @ Stubb’s Waller Creek Amphitheatre
Sun. Nov. 21 – Mexico City, MX @ Corona Capital Music Festival
Sun. Feb. 27 – Asheville, NC @ The Orange Peel *
Mon. Feb. 28 – Athens, GA @ Georgia Theatre *
Wed. March 2 – Atlanta, GA @ Variety Playhouse *
Thu. March 3 – Birmingham, AL @ Saturn *
Fri. March 4 – Nashville, TN @ Cannery Ballroom *
Sat. March 5 – St. Louis, MO @ The Pageant *
Mon. March 7 – Lawrence, KS @ Liberty Hall *
Tue. March 8 – Omaha, NE @ The Waiting Room *
Thu. March 10 – Minneapolis, MN @ First Avenue *
Fri. March 11 – Milwaukee, WI @ Turner Hall *
Sat. March 12 – Chicago, IL @ The Riviera Theatre *
Sun. March 13 – Detroit, MI @ MOCAD *
Tue. Mar. 15, 2022 – Millvale, PA @ Mr. Smalls Theatre *
Wed. Mar. 16, 2022 – Cleveland, OH @ Agora Theatre *
Thu. March 17 – Toronto, ON @ Queen Elizabeth Theatre *
Fri. March 18 – Montreal, QC @ Corona Theatre *
Thu. March 31 – Boston, MA @ Royale #
Fri. April 1 – Brooklyn, NY @ Brooklyn Steel $
Sat. April 2 – Brooklyn, NY @ Brooklyn Steel #
Mon. April 4 – Washington, DC @ 9:30 Club #
Tue. April 5 – Philadelphia, PA @ The Fillmore %
Fri. April 22 – Seattle, WA @ Showbox at the Market
Sat. April 23 – Vancouver, BC @ The Imperial
Mon. April 25 – Portland, OR @ Crystal Ballroom
Wed. April 27 – Oakland, CA @ Fox Theater
Thu. April 28 – Los Angeles, CA @ The Wiltern Theatre
Fri. April 29 – Pomona, CA @ The Glass House
Sat. April 30 – San Diego, CA @ The Observatory North Park
Sat. May 21 – Paris, FR @ La Trianon
Sun. May 22 – Antwerp, BE @ Trix
Tue. May 24 – Cologne, DE @ Stollwerck
Wed. May 25 – Berlin, DE @ Heimathafen Neukölln
Fri. May 27 – Hamburg, DE @ Uebel & Gefährlich
Sat. May 28 – Nijmegen, NL @ Doornroosje
Mon. May 30 – Amsterdam, NL @ Paradiso
Tue. May 31 – Lille, FR @ Le Grand Mix
Wed. June 1 – Lyon, FR @ Epicerie Moderne
Fri. June 3 – Barcelona, ES @ Primavera Sound
Wed. June 8 – Brighton, UK @ Chalk
Thu. June 9 – London, UK @ Brixton O2 Academy
Sat. June 11 – Dublin, IE @ Helix
Sun. June 12 – Manchester, UK @ Albert Hall
Mon. June 13 – Leeds, UK @ Stylus
Wed. June 15 – Glasgow, UK @ The Barrowland Ballroom
Thu. June 16 – Birmingham, UK @ O2 Institute

& supporting Portugal. The Man
^ w/ P.E.
! w/ Public Practice
* w/ Mdou Moctar
# w/ Hailu Mergia
% w/ Sun Ra Arkestra$ w/ Yu Su

Keep your mind open.

[Creep on over to the subscription box while you’re here.]

[Thanks to Jacob at Pitch Perfect PR.]