Nik Havert

Review: Pearl & the Oysters – Flowerland

“Delightful” is the word I’d use to sum up Pearl & The Oysters‘ new album, Flowerland. It’s a bright, lovely electro-pop record and the kid of music we all sorely need as we approach the latter half of 2021 with trepidation. Should we travel? Is the pandemic really over? Is it okay to make out and hug people again? Pearl & The Oysters might not have all the answers, but they do have warm, self-replicating optimism.

“Soft Science,” the album’s opener, is a song about taking time to enjoy life (“Hey, come to the beach. You studied all night long.”) and not being a slave to the self-imposed grind. Poppy, fun synths encourage us to step outside our comfortable homes and feel the sand between our toes again. The up-tempo “Bit Valley” is an ode to staring at a computer for so long that you dream about it later. The synths sound like happy, giddy birds throughout the whole track.

“Treasure Island” is perfect for lounging at the outdoor hotel pool, at the beach, or even on the plane ride back from vacation. It’s lazy, groovy, and lovely electro-lounge. “Radiant Radish” is psychedelic surf as Pearl & The Oysters encourage us to get away from bumper-to-bumper traffic and forget your troubles at the beach. The lazy beats and lazy, warped guitar riffs on “Crocodile” reflect the self-isolation lethargy so many of us faced (“Why am I still inside?”). On its surface, “Candy” is about a love of candy and indulging in one’s sweet tooth, but is actually about love, lust, and, I suspect, oral sex. It’s a sweet, funky jam anyway you cut it.

The title track is a dreamy fantasy of crashing on an alien world and discovering it’s a sunny paradise. “Evening Sun” is about being hungover, both on booze and on Netflix, home cooking, and staying indoors. The beats on it are crisp, and the addition of a flute is a lovely touch. “Baby” is their version of the Bossa nova classic, and it’s a welcome delight on an already delightful album.

“Wizzo” brings in sitar and robot-like vocals about the future coming early, as it always does. “Osteroid Asteroid” is so full of fat synth bass that it should probably have its blood sugar checked. On “Satellite,” Pearl and the Oysters sing about the law of (physical) attraction, to the point where it’s keeping her awake at night for fear of missing something delightful. “Rocket Show” has a bit of minstrel show / circus sound to it, with what I think is a harpsichord prancing throughout it. It’s a song of optimism and seems like it’s congratulating all of us for making it through 2020, but Flowerland was completed pre-pandemic. The album closes with the instrumental, trippy “Flamingo Sketches.”

It’s a lovely record all-around and one you’ll enjoy as you move from summer to autumn, and then listen to again in winter so you can remind yourself that summer will come.

Keep your mind open.

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[Thanks to Gabriel at Clandestine PR.]

Motörhead to release “Everything Louder Forever” compilation this October.

MOTÖRHEAD…a life force, an energy, an attitude and the loudest, meanest, dirtiest music to smash the 20^th and 21^st centuries. With a bastard sound comprising an unholy synergy of rock, punk and heavy metal, MOTÖRHEAD comes coated in relentless, ear-curdling power. They were life-changing for millions, carrying a spirit and approach to life and music which proudly said, “Honey, we’re hoo-oome and don’t bother cleaning because we’re here to enjoy ourselves!” The ‘off’ switch was never employed in the MOTÖRHEAD lust for life, and they became legends as a result.

Leading the charge for their entire 40 year career was the cultural icon Ian ‘Lemmy’ Kilmister, who swashbuckled around stages, streets and overseas like a glorious Mad Max pirate truthsayer, roaring for the good and screaming at the wankers. With his propulsive sound and lyrical might leading the charge, MOTÖRHEAD released 22 studio albums over those four decades, amassing chart topping records worldwide, a Grammy award and racking up around 20 million sales. Their hit song “Ace Of Spades” became MOTÖRHEAD’s anthem, perfectly capturing their attitude for millions, and punching giant holes in stereos worldwide to this day. Nothing was harder, nothing was faster, nothing packed more raw attitude and certainly nothing was louder, making MOTÖRHEAD a cultural elixir that was regularly imbibed across all genre lines. Don’t take our word for it, look around any heavy metal, punk or alternative gig, and you’ll see the indomitable warpig logo and MOTÖRHEAD gothic script on a t-shirt, a jacket, even an arm or leg or back (MOTÖRHEAD tattoos are everywhere), all sitting on the bodies of rockers, metalheads, punks, bikers, rebels, outcasts, freethinkers and even athletes all around the world. Yeah, that’s right, MOTÖRHEAD’s cultural reach remains virtually peerless to this very day (the one you’re living right now as you read this), and it continues to span fans young and old, igniting their adrenaline and giving them both entertainment and identity.

This collection is the definitive assembly of MOTÖRHEAD songs which have created this cultural phenomenon, and represents the first time all eras of the band’s recorded history have been represented in one place. And we feel that if in this mad, mad world we’re living in, some aliens decide to drop by your house for tea and demand an explanation as to, “what the fuck is this ‘MOTÖRHEAD’ that we keep hearing and feeling bits of in our extra-terrestrial houses millions of miles away,” you could happily play Everything Louder Forever and know that the question will be thoroughly answered. Buy two copies though, because you know they won’t leave without taking one themselves! Or something like that anyway…
Everything Louder Forever will be released October 29 via BMG Records. See below for full details of the Everything Louder Forever and be sure to visit www.iMotorhead.com for news and updates!

2CD & 4LP track listing:

Overkill
We Are Motörhead
Snaggletooth
Rock It
Orgasmatron
Brotherhood Of Man
In The Name Of Tragedy
Bomber
Sacrifice
The Thousand Names Of God
Love For Sale
Killed By Death
I’m So Bad (Baby I Don’t Care)
Smiling Like A Killer
Sharpshooter
Queen Of The Damned
Keys To The Kingdom
Cradle To The Grave
Lost Johnny
The Game

Ace Of Spades
Burner
Stone Dead Forever
Bad Woman
Just Cos You Got The Power
Stay Out Of Jail
No Class
I Am The Sword
The Chase Is Better Than The Catch
God Save The Queen
R.A.M.O.N.E.S.
Iron Fist
Rock Out
Dirty Love
Shine
Overnight Sensation
On Your Feet Or On Your Knees
I Ain’t No Nice Guy
Sucker
1916
Choking On Your Screams
Motörhead

Also available as 2CD, 2LP, 4LP, digital download, streaming and 360 Reality Audio.

Keep your mind open.

[Thanks to Maria at Adrenaline PR.]

Review: Deathchant – Waste

Imagine Thin Lizzy fronted by a guy who looks like a heftier Frank Zappa but with a voice like Lemmy Kilmister (T.J. Lemieux), and you’ll pretty much have the sound of Deathchant and their second album, Waste.

The seven-track album rips by you faster than a drag strip car, barely coming in over half an hour in length. These guys don’t fool around or waste time. The first track, “Rails,” sounds like the album is about to come off them after the first drum fill by Colin Fahrner. Deathchant’s melodic heavy metal instantly makes you want to customize a Dodge van and hit the road with a foxy lady dressed in bellbottom hip-huggers and an American flag bikini top…while you’re possibly being chased by a wizard. “Black Dirt” has you stomping the gas in that van in order to make it past a haunted mesa before dusk. “Holy Roller” is one of the album’s heaviest cuts. Lemieux and fellow guitarist / vocalist John Belino simply unload twin machine guns on it, and George Camacho‘s bass is like a sledgehammer taking out any survivors.

The whole band’s stunning ability to just jam is apparent on “Gallows.” The title track is over five minutes long, which seems like an epic poem from Deathchant, and it’s suitable for a heroic journey to a dark land to vanquish a monster and return with a mystical orb. The thing starts like squealing race car tires and then bursts from the starting line and never looks back.

“Plague” has neat guitar work balanced well between Lemieux and Belino while Belino sings of bodies lying in the streets. The album ends with “Maker,” a rocking track that features a friendly competition between Camacho and Fahrner – almost like they’re trying to see which of them might stumble first upon the driving rhythm of the track.

Waste is a solid rock record, and Deathchant seem to have had a blast making it – judging by how fun it is to hear.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

Psycho Las Vegas 2021 recap: Day Four

We’d originally planned to start the final day of the 2021 Psycho Music Festival in Las Vegas at noon to see Warish, but they cancelled their performance before the festival started. So, we had nothing to do but lounge at the pool and spa after breakfast until we headed to the House of Blues venue to see Frankie and the Witch Fingers for the first time. I’d been keen on seeing them, as their last album is outstanding, and clips I’ve seen of their shows looked wild.

They didn’t disappoint. They practically flattened the House of Blues in “their first show in about two thousand years.” A lot of people in the crowd seemed to not know who they were, but were ardent fans by the end. Later in the day, I overheard a guy talking about them to friends: “Frankie and the Witch Fingers! I walked in not knowing what to expect! Holy shit!” He was right. They put on one of the best sets of the entire weekend.

Franke and the Witch Fingers casting Audible Glammer.

We had time for lunch and then headed to the beach stage to see Dengue Fever – a band we’d both wanted to see for a while. They play a neat version of Cambodian funk and disco and had a lot of the crowd dancing in the sand and the wave pool. Their saxophonist is top-notch as well.

We headed back inside to catch to the Rock & Rhythm Lounge, where Black Joe Lewis and the Honeybears got on stage to bring some funky soul. Lewis is a sharp guitar player, and the crowd quickly picked up on what he was putting down.

Black Joe Lewis and the Honeybears piling on even more funk.

My wife was exhausted by this point, so she went back to the hotel room while I returned to the beach to see Osees pound out one of the loudest sets I’ve seen them play. Part of the volume could’ve been from their usual power bouncing off the water of the beach and up at everyone standing on the beach, and part of it could be from them playing in front of a live audience again after so long. It was a wild set, with people in the pool kicking and splashing water everywhere and the security guards being somewhat dumbfounded by what was happening. Drummer Paul Quattrone was especially on-point during the whole set.

Osees bowling us over with the power of rock.

I also managed to catch some partial sets from Howling Giant, Sasquatch, Mothership, and Black Sabbitch during the festival – all of whom had large, happy crowds in front of them.

The entire festival had a happy vibe to it. Everyone was happy to be seeing live music again and partying with friends again.

Plus, it was nice to lounge at an outdoor pool for a while.

Tickets for the 2022 festival are already on sa le, and they’ve announced some of the bands already confirmed, including metal giants like Mercyful Fate, Emperor, and Boris, as well as prog-metal heavyweights Year of No Light.

Keep your mind open.

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Psycho Las Vegas 2021 recap: Day Three

We only had four bands on our itinerary for day three of the Psycho Music Festival in Las Vegas. One was a must-see for us (especially for my wife) and another was someone I, for some reason, had never seen before this festival.

First up were shoegazers Flavor Crystals, who played the early afternoon at the Rock & Rhythm Lounge to a small crowd, but a small crowd full of shoegaze fans. They dropped a heavy sound bomb on the place, flooding the casino with fuzz.

Flavor Crystals melting faces and minds.

They also added to my set list collection from the festival.

We took a break for a few hours and then came back for three consecutive shows at the Michelob Ultra Arena, which is connected to Mandalay Bay. Meanwhile, Summer Slam was happening at the stadium across the street, which made for a weird mix of T-shirts seen in the casino. You saw everything from shirts for wrestlers like John Cena and Rey Mysterio, Jr. to bands like Dying Fetus and Cephalic Carnage.

The first band at the Michelob Ultra Arena certainly weren’t the death metal category, but were rather Thievery Corporation, who put on a fun show combining bhangra, reggae, dub, rap, and funk. It was my second time seeing them, and the first time I saw them was also in Las Vegas (at the Cosmopolitan Hotel Casino rooftop pool), so it was an interesting return for me. They put on a fun set.

Sitar, drums, congas, bass, synths, and vocals from Thievery Corporation.

Next were The Flaming Lips, who are one of the best live bands going right now and one of my wife’s favorite bands ever. It was, as always, a delightful, uplifting experience. The usual spray of confetti into the crowd was minimal, and there were no giant, confetti-filled balloons launched into the crowd due to COVID concerns, but there was still plenty of fun to be had. It was fun to stand next to a guy who’d never seen them before then, and he gave me a happy thumbs-up during the show.

My wife went back to the hotel room after the show, and I stayed to see Danzig. I’d somehow gone my entire punk teenage years, college years, and post-college years without seeing Danzig, Samhain, or any variation of The Misfits. Danzig started a little late, but Glenn Danzig and his band came out to an appreciative crowd and played the entire Danzig II: Lucifuge album and then some of their favorite hits. It was an impressive set, and the guitarist was especially talented. Glenn Danzig wasn’t too concerned about possible COVID infection, however, as he tossed multiple used water bottles and face towels into the crowd – half of whom left before his three-song encore, which baffled me.

One funny conversation I overhead as I was leaving the Danzig show was between two guys. One was checking the set times on his phone. His friend asked who was currently playing. “Cannibal Corpse,” said the man with the phone. His friend replied, “Yeah! Let’s fucking get brutal!”

I made it back to the room after wandering the casino a bit and being a bit overwhelmed by all the visual and aural stimulation, not to mention all the smoke of various kinds I’ve been around all day. We had an easy morning planned for the last day, and then a night of wild rock, Cambodian funk, soul funk, and metal lined up for Sunday.

Keep your mind open.

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Psycho Las Vegas 2021 recap: Day Two

We started off the second day of the Las Vegas Psycho Music Festival with what would become our morning ritual over the next three days – lounging by the Luxor Casino Hotel’s pool in the dry heat after picking up a breakfast sandwich at one of the somewhat-overpriced restaurants in the hotel. We’d relax for a couple hours, wash off the sweat, and then go see some bands. It was a great way to save money because we had little time to spend at the gambling tables and slot machines.

Our musical entertainment began with Foie Gras and her industrial-goth set at the Mandalay Bay House of Blues venue. She put on a good set to an early crowd, and my wife loved her combination of a T-shirt and flamenco dancer sleeves.

Foie Gras with her rockin’ sleeves and blood-painted knees.

Up next was something completely different – a set by Deathchant, who I can probably best describe as sounding like a fuzzier Thin Lizzy. The played the “Rock & Rhythm Lounge,” which is in near multiple restaurants in the casino, so you can get your eardrums blasted while enjoying your expensive wine and French cuisine – or while shoving money into video slot machines. Deathchant were loud and rough and a wild afternoon wakeup call.

Deathchant playing like every song was their finale.

We took a five-hour break, more than enough time to get a nap and dinner before coming back to the Lounge to see British stoner metal quartet Psychlona. It was their first gig win Las Vegas and only their second show of their U.S. tour. “We are so fucking stoked,” their lead singer said, and they certainly played like it. Afterward, their singer told me their set was better than the one they’d just played in San Diego the previous night.

Shoegaze quartet Highlands were up next and brought a welcome change of sound to the Lounge and the festival in general. I’m a big shoegaze fan, and they didn’t disappoint. There was a nice, reverb-laden wall of sound coming from the stage for their whole set.

We then zipped across the casino and back to the House of Blues to see one of my most anticipated sets of the festival – a Bossa nova set from Claude Fontaine. The set was lightly attended, and I couldn’t help but think many were there from a previous metal set or waiting for the next metal band to play after her. The crowd wasn’t sure what to make of her at first, as they’d been so used to metal that a soft set of Bossa nova tracks with dub influences seemed alien to them. Ms. Fontaine put on the loveliest set of the festival (her first time playing in Las Vegas) and the small crowd did come around to appreciating the hypnotizing, alluring music she gave.

Our night ended at the Mandalay Beach stage, which sits opposite a man-made beach on a wave pool, where we saw Ty Segall and his band shred the place with their loud psychedelia – their first gig in two years. Segall’s wife even sang lead on one track. They sounded great, and the volume of the band was amplified not only by electronics, but also the water bouncing it all over the place.

Ty Segall and his crew partying at the beach.

It was our busiest day of the festival for bands – six in one day – but there were plenty more to come.

Up next, more shoegaze at the Lounge and three arena shows ranging from dub to goth metal.

Keep your mind open.

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Psycho Las Vegas 2021 recap: Day One

I wasn’t sure what to expect at the 2021 Psycho Las Vegas music festival. I’d bought tickets to the 2020 festival, but that was, like everything else, cancelled due to the pandemic. I kept the tickets in hopes that most, if not all, of the bands would return. Most did, but there were some absences that were bummers (Windhand, Mephistofeles, and Boris in particular). There were also additions that were quite welcome (Osees, Frankie and the Witch Fingers, Thievery Corporation).

I also had no idea what to expect in terms of healthy safety measures and how I, my wife, and people in general were going to react to be at a music festival again, or even in a casino and among large groups of people again. Nonetheless, we took our vaccinated bodies to Sin City and were happy to discover that the airplane, airport, and all businesses in Nevada are under a mask mandate.

My guess is that 70% of festival crowd was masked nearly all the time. The only person I heard complaining about it was Glenn Danzig (more on that later). The biggest health hazard complaint I had was due to the stunning amount of smokers. I’ve been gone from festivals for so long that I’d forgotten how many people smoke at them, let alone in casinos. Plus, marijuana is legal in Nevada, so the stank of the sticky-icky was everywhere. It’s illegal to smoke it in public, but the odds of you getting cited for it are slim to none.

The festival opened on Thursday, August 19th, with the “Psycho Swim” kick-off party. The festival is held at the Mandalay Bay Casino Hotel, and the “Psycho Swim” is at their Daylight Beach Club – where the security didn’t allow you to bring in a wallet chain or even gum. The pool was full of metal fans, psych-weirdos, music nerds, and, yes, some sexy people.

Everyone is sinking in this pool because the festival was so metal-heavy.

No, we didn’t get into the pool. It was too crowded by the time we got there, and we were mainly there to see bands for the first time in almost two years. The first was Here Lies Man, who opened the entire festival with their groovy, Afro-doom riffs.

For the record, I was the only one in the crowd with a Here Lies Man shirt (which I picked up from them at the last Levitation Music Festival in Austin). I got to thank many of the HLM members after the show, and J.P., the bassist, was kind enough to give me his set list.

It was their first show in two years. This would be a repeated theme from nearly every band we saw over the weekend. All of them were excited to be playing a live show in front of a crowd again.

Up next were Blackwater Holylight, who started off their set by saying, “Okay, we’re going to play some depressing songs for you.” Their doom-psych was appreciated by the crowd, and their upcoming album should be pretty good – judging from the songs they played from it.

Blackwater Holylight were perhaps the only band all weekend who appropriately dressed for the desert heat.

We left for a little while to enjoy some air conditioning and lunch at an Irish pub in the shopping center that connects Mandalay Bay and the Luxor (where we stayed for about half the price of a room at Mandalay Bay). I recommend the turkey burger. We returned in time for Death Valley Girls‘ set, which was the best of the night. They played a wild set of mystical psychedelia. Lead singer Bonnie Bloomgarden, seeming to draw power from the moon, wore a red dress that made her look like a ghost from a Dario Argento movie and a belt that looked like she won it in a professional wrestling match with a cyborg from the year 2305 (and, for all I know, she did). There were a few times when I wasn’t sure if she was wiping sweat from her face or tears from being so happy that they were performing their “first show in about three hundred years,” as she put it. Guitarist Larry Schemel was on fire as well, unleashing some heavy riffs throughout the set. I chatted with him afterwards for a moment, and thanked him for coming out to the festival. He thanked me and said, “This feels weird. It’s our first show after so long…It’s bizarre.” He also gave me his set list, which was a surprise gift.

“Look at the moon!” – Bonnie Bloomgarden (in red dress) points out her cosmic guide for the evening.

It was a good start to the weekend. We had good music, good food, everyone was being cool about each other’s health (the resorts had plenty of hand sanitizer stations and free masks), and we had plenty of time to sleep in the next day.

Up next, dirty metal, psych-rock, stoner metal, electro-goth, shoe gaze, and…bossa nova?

Keep your mind open.

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Review: Mano Le Tough – At the Moment

Recorded in Zurich during the pandemic, Mano Le Tough‘s new album, At the Moment, is a chronicle of him dealing with lockdown while raising a family and adjusting to the reality of not touring, not seeing fans, and having to just be in the moment.

The first words on the album are “On stormy nights, if you start to pray…” The sample is from from a documentary on the remote Irish island of Aran – a place that knows and embraces isolation. “Man of Aran” swells with blips and bloops and has a peaceful quality to it, as does “Empty Room” with its lyrics about listening to bees and learning to be present instead of dwelling on how much we missed everyone in 2020.

The sparse “Snow on Bamboo” leads into the thumping, danceable “Aye Aye Mi Mi.” The smooth lyrics of of “Moment to Change” drift into the dance-synths and bright pop of “Fadó Fadó.” “Pompeii” bumps and thumps with dance floor bass and heavenly synths while the gospel handclaps elevate you higher.

I will never turn down good dub music, and “No Road without a Turn” certainly qualifies. The echoing beats, tinny synths, and heady, thick bass are a great combination. “New / Cycles” has goth touches (creepy synths and slightly industrialized beats) and lyrics like “You hollow me out and fill me in.”

“So Many So Silent” reminds me of Art of Noise tracks with its mixture of synths, warped vocals, bells and xylophones, and echoing dance beats. The acoustic guitar “Short Cuts” eventually dissolves into a dial tone, or perhaps the sound of an old modem…which nicely bridges into the futuristic dance track “Together” to close the album.

At the Moment is an interesting record. It’s difficult to categorize, but I think that’s the point. It’s something Mano Le Tough made in the moment and without much thought to fitting everything into one box. It’s an album made in the present for the present.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Live: ZZ Top – Elkhart County Fairgrounds – Elkhart, IN – July 24, 2021

I did not expect my first live concert experience post-pandemic to be a show by rock legends ZZ Top, nor did I expect it to be at a county fairgrounds not even an hour’s drive from my house, but the pandemic taught us to expect the unexpected – so I should probably just shut up and get on with reviewing the fun show.

We got to the fair in plenty of time before the show. Our seats were folding chairs on the dirt track where the annual demolition derby is held, as well as other events. There’s also grandstand seating that was probably less crowded and and not muddy – as it had rained earlier that day.

It also rained again, to the point where the show had to be delayed an hour due to the deluge that hit the fair. ZZ Top, minus Dusty Hill, who was home in Texas recovering from a hip injury, took the stage “on time.” Hill was replaced on bass by one of their long-serving guitar techs, Elwood Francis, and he did a fine job. They opened with “Under Pressure,” which is even fuzzier live, rivaling Billy Gibbons‘ epic beard.

It’s sometimes easy to forget how good of a guitarist Gibbons is. He can play anything from blues to psychedelic rock to garage rock. Frank Beard still chops behind a massive drum kit that had an impressive amount of customization on it.

Another impressive thing was the production sound and quality of the show. ZZ Top has a top-notch crew. Most, if not all, of Gibbons’ guitar effects were done remotely off-stage by the crew of with this weird-looking thing on stage left.

The show was a “greatest hits” set that also included a fun version of Merle Travis‘ “Sixteen Tons.” The tour is their 50th anniversary tour, and “Sharp Dressed Man” and “Legs” were, of course, big hits with the crowd. I’d hoped for “TV Dinners,” but alas, it wasn’t meant to be. They did break out the monster fur guitars, however.

It was a fun night, and Dusty Hill died just a few days later. Gibbons and Beard have stated they will continue touring and making music, as it was Hill’s wish that they would.

Keep your mind open.

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Wrecka Stow: Reckless Records – Chicago, IL

There are multiple Reckless Records locations in Chicago, Illinois. This one is at 929 West Belmont Avenue, and it’s a must-stop if you’re in that part of town and looking to do some music shopping.

Check out that album of Shel Silverstein poems – *A Light in the Attic*.

That Ray Charles Atlantic Records box set is well worth your money.

The place is full of bins and shelves jammed with stuff like this, and the store is deep.

Shirts, bargain bin DVDS, and plenty of vinyl for the record collectors.

I mean, just look at that small sample of soundtrack and lounge vinyl records. They have entire sections for Dean Martin, Ennio Morricone, John Carpenter, and Goblin. A copy of the Thank God It’s Friday score next to John Barry‘s for Thunderball is a win-win.

Are you looking for CDs or DVDs? No worries. They have you covered.

They even have two shelving units full of cassettes, for heaven’s sake.

I walked out of there with used CDs by Pat Dinizio, The Stooges, Chrome, The Who, and The Rolling Stones. The most expensive one was nine bucks. You can’t beat that. Go spend some cash and a few hours there.

Keep your mind open.

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