“Please call us to your party. Riding on a bison’s back, singing Flying Jelly Attack. We’ll be there,” lead guitarist Naoko of Shonen Knifesings on the first track, “Party,” of their new album – Sweet Candy Power.
It’s a perfect opening for a fun record of power hooks, punk rock drumming, and good time grooves. Any Shonen Knife album is a breath of fresh air and a vacation from the blues and bad news of the world, and this one is no exception.
“Dizzy” is a garage rocker about not feeling well to the point of putting on your pajamas wrong, but it’s nothing that a good night’s sleep and a cup of coffee can’t cure. The title track is already a crowd favorite at their live shows, and it’s no surprise. It has a great shouting chorus and chugging riffs that get you moving like you just ate a handful of Pop Rocks.
“My Independent Country” encourages all of us to take care of ourselves and stand for our beliefs. It’s a heavy rocker with hits of British metal with Naoko singing lyrics like “There are no rules. I make laws by myself. I’m a ruler and loser. Everything is in my hands.” “Wave Rock” brings in some surf riffs, which makes you think it would be a song about the ocean but it’s actually a song about desert rock formations.
The band’s drummer, Risa, takes over lead vocals on “Ice Cream Cookie Sandwiches” – a song about her two favorite foods coming together to create the greatest culinary treat on Earth (to her at least). It’s as fun a song as the name implies. On “Never Never Land,” Naoko sings about losing her sunglasses on a Disney park ride. It has a bit of a Green Day vibe to it with its slow groove and synths.
“Peppermint Attack” has a wicked bass grove by Atsuko and her sister, Naoko, singing about being attacked by mosquitos and engaging in a “great battle” with them using peppermint spray, alcohol, and water. Atsuko sings lead on the bright, sunny “California Lemon Trees,” which I imagine was inspired by the trees in her backyard in Los Angeles. The final song on the album is “Match 3” – a salute to games like Candy Crush and Bejeweled, to which Naoko is hopelessly addicted (“Match 3 in my brain, Match 3 in my mind, Match 3 in a train, Match 3 in my bed.”).
There’s nothing to not like about this record. It’s fun from beginning to end and just what everyone needs right now.
Recorded across the span of three shows (July 15 – 17, 2015) at San Francisco’s Chapel, Thee Oh Sees’Live in San Francisco captures the band in full sweaty, raw power that threatens to blast you to smithereens.
Starting with the hard-charging “I Come from the Mountain,” the band (John Dwyer – guitar, vocals, synth, Tim Hellman – bass, Ryan Moutinho – drums, and Dan Rincon – drums) takes off like a rocket and barely gives you time to catch your breath between tracks. The “Whoa-oh!” chants of “The Dream” combined with Dwyer’s gasoline fire guitar work instantly invoke moshing (or at least the desire to do so) wherever you hear it. “Time Tunnel” sounds like that gasoline fire has spread across the rest of the stage and Hellman’s bass is dumping wood on the blaze. The song stops on a rough dime for a jarring effect.
The psychedelic surf swing of “Tidal Wave” is is a great example of the dual drumming of Moutinho and Rincon as they play different parts in different time signatures that match up at the best times to induce organized chaos. “Web” ramps up the reverb to send you into a calmer state, as does “Man in a Suitcase” (which is not a cover of the Police song, although I’m sure that would be outstanding) before that song’s wild guitar solos and heavy cymbal bashing smack you back into the present.
The happy, swelling grooves of “Toe Cutter Thumb Buster” practically make your speakers pogo. You’re almost exhausted by the time they get to the calm opening guitar chords of “Withered Hand,” but the song soon erupts like Old Faithful and dares you to keep up with it. “Sticky Hulks” gives you a little break with psychedelic fuzz to lull you into a warm place between mosh outbreaks.
The last two tracks, “Gelatinous Cube” and “Contraption” sound like riots. “Gelatinous Cube” has more precision drumming from Moutinho and Rincon while Dwyer’s guitar roars and soars all over the place and Hellman’s steady bass groove is like a gravitational pull keeping the rest of the band from blasting through the ceiling. “Contraption” brings in garage punk shredding and pounding and psychedelic freak-outs to powerwash off whatever’s left of your face by this point.
The vinyl edition of Live in San Francisco came with a DVD of the performances. This is widely available on YouTube as well. This recording is as close as you can come to being in the crowd at an Oh Sees show because it captures the incredible playing and the manic energy of one of their gigs so well. You owe it to yourself to get to one of their shows, but this album will hold you over in the meantime.
I’m still a bit stunned that I was able to conduct an e-mail interview with pop-punk legends Shonen Knife this week, especially with them finishing their North American tour and about to embark on their Australia / New Zealand tour. Many thanks to them for taking the time to answer this humble writer’s questions, and to Andrew Scott for setting up this treat.
7th Level Music: First, I want to say thanks for stopping by Chicago’s Subterranean during your “Sweet Candy Power” tour. It was a fun show. I read your blog posts about the tour and also wanted to thank you for writing about the Mitsuwa Market. I didn’t know about it until I read your blog. Do you always stop there when you play Chicago?
Naoko: Yes, we do. There are some Japanese supermarkets in the U.S. When we have time, we try to stop there and eat lunch and buy Japanese food. I love Japanese bakery. I often buy Japanese pastries there.
7LM: I also read how the night before the show at Subterranean that you played the stage at a Hardee’s restaurant parking lot in Springfield, Illinois. I saw photos from the show and it looked like you had a great time and there was a big crowd. Were you surprised by the size of the crowd?
Naoko: I was very surprised and glad for the big crowd. It is the only restaurant which has a stage in a big parking lot. People there made lots of effort to make a fun event. The audience was very positive. They came to the venue to have fun. The atmosphere was very peaceful and happy. It was a great event.
7LM: Were there any other shows during the tour that were especially fun or surprising?
Naoko: We had very good reaction in all cities in Canada. It was the first time after a few years to come to Canada. The audience seemed to be enjoying our show a lot and I was happy, too.
7LM: I know you’re off to Australia and New Zealand next. Do you have any favorite venues there?
Naoko: I love all venues but especially I like to play at music festivals. We’ll play at The Lost Lands festival this time. I’m looking forward to playing there. I also like to play in New Zealand. It will be a rare chance to play there for us. Our audience in Australia and New Zealand are very cheerful and friendly like people in North America.
7LM: The new Sweet Candy Power album is very good. The title track got a big cheer from the Chicago crowd, and I wondered if there are American candies that you love that you take back with you to Japan? Also, are there any Japanese candies you wish you could get while you tour the United States? I, for one, love Japanese green tea candy and buy it whenever I can find it.
Naoko: I bought Halls throat candies during the tour. “Candy” we say “amé” in Japanese means “hard candy” in Japan. We have various kind of hard candies in Japan. I don’t have any special brand but love natural mint candy which doesn’t use artificial sugar. Green tea candy is good, too.
7LM: One thing I noticed on the new album is that it has a lot of different rock influences – punk, pop, garage, British metal, and more. Did you decide to play the different styles before recording began or was it something that you explored as you worked on the record?
Naoko: I wrote all the songs in [the last] 10 years. I listen to various kinds of rock and am inspired. I especially like 1970’s and 60’s rock and R&B, funk, disco music. Everything began from when I write songs.
7LM: The Subterranean show was the second time I’ve seen you live. The first was in Tucson, Arizona during the Ramen Adventure tour in 2017. I remember Risa saying during that show it was only her second time in the U.S. I’ve never been able to learn how you met Risa. She is a beast behind the drum kit. How did all of you meet? Risa, how did you start drumming and who are some of your drumming influences. Do you have any thoughts on the passing of Ginger Baker?
Naoko: Risa plays the drums in her family band called Brinky. Her father plays the bass and her sister play the guitar and vocal. They covered Shonen Knife songs. Our manager and I found them playing our songs through YouTube. Risa was a high school student at that time. Then there was an opportunity that Brinky opened for our show. We got to know each other.
Risa: When I was 14 years old, I started to form a band with my friends. I was asked to be a drummer from my friends. Then I started to play the drums.
I was influenced by Atsuko because she is the original drummer of Shonen Knife because I’m a fan of Shonen Knife. I set cymbals and tom toms like her. Other than her, I like John Bonham, Taylor Howkins, and Chad Smith.
I was listening to Cream a lot when I was a child because my father liked them. I’ve never seen Ginger Baker’s drumming. If I go to heaven someday, I would like to see him playing the drums directly.
7LM: I know Atsuko makes your show outfits. Atsuko, do you design the tour shirts as well? You were all out of my size (medium) by the time you got to Chicago, but I’m glad you sold many of them.
Atsuko: I’m inspired by 60’s and 70’s fashion. Naoko designs some T-shirts in these days and for [our 2019] U.S. tour T-shirts, Miyoko from Good Charamel Records, which release our albums, designed it.
Naoko: I’m sorry that we had many sold out sizes. We will prepare enough next time.
7LM: I always like to ask bands this: Are there any bands back home that you think more people should know? Are there any other bands from Osaka or elsewhere in Japan you think your fans would like? I recently discovered High Rise and Bo Ningen in the last few years and think both are great.
Naoko: I like Extruders and Convex Level. Extruders is a very unique band. Their music is one and only, I think. From Osaka, Yellow Machinegun is cool. They are all female band of 3 pieces and play hardcore.
7LM: Lastly, outside of music (and candy and ice cream and capybaras), what else do you love to talk about or what other hobbies do you enjoy?
Naoko: I like to play tennis and watching men’s pro tennis matches. Atsuko also likes it and we have matches when she comes to Osaka or I go to Los Angeles where she lives.
Noise rock is a weird genre. The name itself is appropriate for some, oxymoronic for others. There are plenty of bands out there blending distortion and noise with unintelligible vocals, but few that do it in a way that intrigues the listener and doesn’t make them think, “What is that racket?”
Brooklyn’s Weeping Icon is such a band. Their self-titled debut is a fascinating mix of noise rock, punk, shoegaze, synthwave, and other things I can’t define. The cover image is a wild piece of art showing waves of…something (Sound? Images? Psychic projections? All three?) emanating from two skulls to form things that resemble cityscapes, forests, cemeteries, nuclear explosion test footage, and dust clouds in the hearts of galaxies.
The songs on the album sway back and forth between short, dystopian future instrumentals and full-length tracks with vocals. “Ankles” bursts at the seams with pounding riffs, drums from Lani Combier-Kapel that sound like they’re falling down a flight of stairs at one point (and I mean that in the best possible way – How does she produce those wild, weird fills?), and vocals on the verge of a nervous breakdown. The pedal-to-the-metal groove of “Be Anti” has singer / guitarist Sara Fantry wondering how to stand up against the establishment and whom to blame for her troubles (instead of looking in the mirror). The whole album explores concepts like this – lives lived online, addiction to technology, the fake self we project to hundreds (if not millions) of people we’ve never met.
“Ripe for Consumption” is a fine example of this, too. We make ourselves easy prey for Madison Avenue. Fantry’s guitar launches like a drag strip car and never stops through the whole track, an effect that really flows through the entire album with the instrumentals linking each track. “Natural Selection” is near goth perfection with its haunted house synths from Sarah Lutkenhaus, Bauhaus guitars, and often hissed vocals from Fantry about a corporate goon discussing how it’s not up to him to fix problems he didn’t create. “Power Trip” brings back punk anger and guitars that hit like hammers on anvils.
Sarah Reinhold‘s crispy yet creepy bass opens “Like Envy” – a witty song about a social media addict who learns too late that she’s lost her sense of self by giving away bits of herself every day at 11am and 3pm. The song builds to an eye-watering speed as Fantry chants, “Do you like my content?” The opening fuzz of “Control” sounds like some sort of rock crushing machinery that’s been set on fire. Fantry’s guitar comes in with stoner metal riffs to keep the fire at bay, however, and Combier-Kapel hits her cymbals so hard that I wouldn’t be surprised if she broke them and at least two sticks doing it.
Weeping Icon have become a must-see band for me thanks to this record. It’s a powerhouse of an album and a kidney punch to the expectations (self-imposed and from others) of modern social life.
Keep your mind open.
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I’ll admit I arrived late to the IDLES party, but theirs is a party you want to attend. Their newest record, Joy As an Act of Resistance, has possibly the best name of any album released in 2018 and is certainly one of the most furious, powerful records of last year. It mixes anger with the current political landscape (on both sides of the pond) with calls to embrace one’s inner power and to express compassion and love as the ultimate pushback against hate culture.
The opening track, “Colossus,” is aptly named because it grows into a monstrous behemoth that explores lead singer Joe Talbot‘s turbulent youth and his efforts to change from living a weekend that lasted two decades. Watch out for the breakdown in this one. It’s downright dangerous. “Never Fight a Man with a Perm” is a tale from Talbot’s past in which he brawls with a man he severely underestimates.
“I’m Scum” has Talbot singing about how he can’t / doesn’t / won’t fit in with popular anger culture. “This snowflake’s an avalanche,” he warns as a heavy bass line thuds behind him. “Danny Nedelko” is a salute to one of Talbot’s best friends (and the lead singer of Heavy Lungs to boot) and immigrants everywhere amid Brexit fears in IDLES’ homeland. “Fear leads to panic, panic leads to pain, pain leads to anger, anger leads to hate,” Talbot sings. That’s some truth right there.
“Love Song” brings along some heavy Public Image Ltd. vibes with its squealing guitars and Talbot’s wild John Lydon-like vocals about the banality of modern love (“Look at the car I bought! It says, ‘I love you.'”). “June” just touches on psychedelia and “Samaritans” chugs along with a relentless beat that gets your blood pumping as Talbot sings about toxic masculinity.
“Television” tears apart beauty standards set upon us by media. “If someone talked to you, the way you do to you, I’d put their teeth through,” Talbot sings, “Love yourself.” “Great” pounds away at you with a fury that almost knocks you over, and “Gram Rock” brings in snarky punk attitude with the first line, “I’m sorry your grandad’s dead.”
“Cry to Me” has a 1960’s swagger to it that mixes in Joy Division menace. The album ends with “Rottweiler” – a fast garage rocker that sends the album out like the final bell of a boxing match.
It’s an angry yet joyful record. Joy, compassion, and love are the new counterculture, and this album is a soundtrack for the mixed emotions everyone has as they realize this. This would’ve been in my top 20 of 2018 had I not found it so late.
This was a fun lineup that combined post-punk, queer core punk, and pop-punk in one show in a small venue in downtown Chicago. When I saw that Japan’s now-legendary Shonen Knifewere playing alongside Chicago’s Bev Rage and the Drinks, I knew this would be a show to see.
Opening the show was another Chicago band – Clickbait. I hadn’t heard them before, but they put on a fun set of no wave post-punk that combined slick bass lines, precision drumming, and quirky guitar riffs with plenty of snarky attitude (in the best possible sense). They were intriguing and are definitely a band to watch. I have a feeling they could be going places soon.
Clickbait
Following them were fellow Chicagoans Bev Rage and the Drinks, who I’ve wanted to catch since hearing their first full-length album, Cockeyed, last year. It was a fun set, complete with free snacks, that tore through a lot of material. The guitarist mentioned they were too old to play songs longer than two minutes, but I suspect the truth is that Ms. Rage and her band are having so much fun and bringing so much fury that they don’t care if the audience can’t keep up with them. They also put out a lot of sound – there were three guitars, bass, and drums all going at once on multiple tunes while Ms. Rage raged about her dating life. They’re a must-see band if they’re near you.
Bev Rage and the Drinks
I hadn’t seen Shonen Knife since I happened to be in Tucson the same night they were playing at 191 Toole. It was a blast to see them again. They came out shredding with “Konnichiwa” and then tore through new and classic material that covered some of their favorite subjects – candy, ice cream, furry animals, classic rock.
Shonen Knife were having a good time, as was the crowd. I’ve mentioned this many times to many people, but I believe it’s physically impossible to be blue when hearing a Shonen Knife song, and that’s certainly the case when seeing them live. They played at least four tracks from their new album, Sweet Candy Power (review coming soon), and all of them are good – especially the title track. Oh yeah, they played a Hardee’s in Springfield, Illinois the previous night and packed the parking lot and even scored free milkshakes after the show.
Sisters Atsuko (bass) and Naoko (guitar) always put out a stunning amount of power while singing songs about banana chips and capybaras, and their drummer Rosa is a powerhouse. It’s easy to get caught up in her adorable nature while she’s singing songs about cookie ice cream sandwiches, but she is a beast behind the kit.
Shredding Knife
They haven’t lost a step after so many tours and albums. Don’t miss them.
Keep your mind open.
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The greatest surviving British punk band, The Damned, are set to release their most comprehensive collection of songs yet, with a new greatest hits collection, Black Is the Night, via BMG on November 1st. Pre-order the album here.
[Taken from the album’s liner notes]: Black Is the Night is the first truly comprehensive Damned anthology, spanning their entire career. These tracks have been specifically chosen by the band themselves and every track and every Damned album tells a different story. They are a band that never repeats themselves, with every record charting new territory and breaking new ground.
Designer Phil Smee was chosen to create the gothic artwork. Smee has worked with the band numerous times throughout their long-lasting career, as well as creating legendary designs for Motörhead, Elton John and Madness, amongst many others. Smee commented: “I loved working with the band back in the 80’s and I like to think we came up with some iconic designs. Certainly, I see the many Damned logos I came up with still used on t-shirts to this day. I’ve not cut corners with this new album, even setting all the sleeve copy by hand, which took me back to ‘The Black Album’ which I hand-lettered with a shaky pen. The Damned are a totally unique band, I’ve always loved everything they’ve done. I still get excited about every design project that comes along, but I was particularly pleased to be asked to work on The Damned’s Black Is the Night album.”
The band play Madison Square Garden with Misfits and Rancid on October 19th.
TRACKLISTING: 1. Love Song 2. Wait For The Blackout 3. Generals 4. I Just Can’t Be Happy Today 5. Bad Time For Bonzo 6. Democracy? 7. White Rabbit 8. Anti-Pope 9. Ignite 10. Melody Lee 11. Smash It Up Pt 1 & 2 12. New Rose 13. Machine Gun Etiquette 14. Neat Neat Neat 15. Stretcher Case Baby (produced by Shel Talmy) 16. Sick Of Being Sick (produced by Shel Talmy) 17. Born To Kill 18. Rabid (Over You) 19. Problem Child 20. 1 Of The 2 21. So Messed Up 22. Disco Man 23. Fan Club 24. Suicide 25. Eloise 26. Plan 9 Channel 7 27. Grimly Fiendish 28. The Shadow Of Love 29. The History Of The World (Part 1) 30. Dr Jekyll and Mr Hyde 31. Streets Of Dreams 32. Curtain Call 33. Alone Again Or 34. Lively Arts 35. Standing On The Edge Of Tomorrow 36. Stranger On The Town Fun Factory (previously deleted feat. Robert Fripp) 38. Under The Floor Again 39. Black Is The Night (new song)
Follow The Damned at: www.officialdamned.com twitter.com/@damnedtwits
Warish‘s first full-length album, Down in Flames, is as fiery as its namesake. Their self-titled debut EP hit so hard that it was like going four rounds with a professional boxer. The image of a supersonic jet pilot on the cover of Down in Flames is not happenstance. It’s a reflection of how this album makes you feel – strap in and hold on.
The opening track, “Healter Skelter,” with its wild guitar licks and break-down-the-walls drumming is not unlike the angry Beatles track of the almost same name. “You’ll Abide” brings in thrash punk elements as Riley Hawk sings, “I don’t wanna be like them. I’ve got an evil mind. It was made for sin.” The drums somehow get bigger on “Big Time Spender” with Hawk dropping his vocal register and the bass dropping even more to turn the song into a Black Sabbath-like dirge.
“Bleed Me Free” pushes the speed back up to F-14 levels and has Hawk wailing like Kurt Cobain on rare Bleach-era cuts. “In a Hole” blasts by so quick that it seems like it clocks in at under a minute instead of just over twice that length.
The next four tracks, “Bones,” “Voices,” “Fight,” and “Shivers” are the four tracks from their self-titled debut EP and are each full of burning jet fuel power. They follow it with “Runnin’ Scared,” a fierce, wild track that layers distortion over Hawk’s vocals as well as the guitar and bass (which remind me of Motorhead arrangements). The album ends with the almost-peppy “Their Disguise,” in which I can’t determine which instrument is leading and who is trying to keep up with whom. I mean this in the best possible sense. Each of the band members burns up the last of their fuel reserves on it.
Down in Flames is heavy, fuzzy, angry, fast, and one of the hottest metal records so far this year. Their self-titled EP was just a warm-up. This is a full-on brawl.
Keep your mind open.
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Straight out of San Francisco, the Dead Kennedys became punk legends with a slew of classic singles, such as “Holiday in Cambodia” and “California Über Alles.” Any punk fan worth their salt, knows and loves these songs, but may not have heard these early, alternate versions.
Due Sept. 27th on Los Angeles-based Manifesto Records, the rare Iguana Studios Rehearsal Tape — San Francisco 1978, captures the band bashing out these classics in their earliest-known incarnations. The take on “Holiday in Cambodia” is a bit slower in tempo, more melodic, but no less fierce. “California Über Alles” takes on a more ominous tone in this lo-fi rendition. This release is the latest in a series from Manifesto marking the iconic punk band’s 40th anniversary.
The 13-song collection, which also includes such notable tracks as “I Kill Children” and the DK’s infamous cover of “Rawhide,” features the band’s original lineup of singer Jello Biafra, guitarists East Bay Ray and 6025, bassist Klaus Flouride, and drummer Ted, in its first year of existence. This set was recorded two years prior to the release of the band’s 1980 debut album, Fresh Fruit for Rotting Vegetables.
Previously available only as a bootleg and finally legitimately released on vinyl for Record Store Day in 2018, the Iguana Studios Rehearsal Tape – San Francisco 1978 makes its debut on CD for the first time due to overwhelming demand. As the title indicates, the recordings were captured on tape at the legendary Iguana Studios on Folsom Street, where such DK contemporaries as The Avengers also rehearsed.
Aside from the aforementioned songs, the Iguana Studios Rehearsal Tape features such rarities as the punky reggae “Dreadlocks of the Suburbs,” the aural assault known as “Cold Fish,” the captivating “Kidnap” and punk-prog rocker “Mutations of Today,” which make their first official release here. No DK’s collection is complete without this aural artifact. Take a journey back to Iguana Studios in 1978 and hear the band in their infancy, before they became the punk legends you know and love.
Iguana Studios Rehearsal Tape – San Francisco 1978 track listing: 1. Man With the Dogs 2. Kepone Kids 3. Forward to Death 4. Kill the Poor 5. Your Emotions 6. Dreadlocks of the Suburbs 7. I Kill Children 8. Cold Fish 9. Holiday in Cambodia 10. Kidnap 11. Mutations of Today 12. Rawhide 13. California Über Alles
Live shows: Oct 3 San Luis Obispo, CA Alex Madonna Expo Center Oct 4 Ventura, CA Majestic Ventura Theater Oct 5 San Pedro, CA So Cal Hoedown/Port of Los Angeles, Berth 46
Upon hearing Ezra Furman’s new album, Twelve Nudes, for the first time in its entirety, my first thought was, “That’s a scorcher.”
Furman himself has claimed this is his band’s “punk record” made in a time of furious anger at the current political landscape. It’s also an embrace / exploration of his sexuality. The album cover features someone peeling back their face / façade to reveal a mental image of a bevy of somewhat androgynous, nude figures having a languid moment on a rocky landscape. Furman’s mind, it seems, can be a rough place, but he’s learning to be at peace with it and to find his inner beauty.
The opening track, “Calm Down AKA I Should Not Be Alone,” has Furman barely able to contain his rage at what’s happening in the world around him (“I should not be alone, the way things are going.”). The bass line carries the whole tune while Furman shouts not just to the back of the recording studio, but also to the parking lot behind the building. “Evening Prayer AKA Justice” is a rallying call for his fellow oddballs and outcasts (“I wasted my twenties in submission. I thought I was outside the system. I was rollin’ over for wealthy power, as if they really cared about me. The kids are just getting started. They’ve only just learned how to howl, and most of them have thrown in the towel before they have turned twenty-three.”). Furman’s vocals throughout it are somehow fiercer than the previous track. Furman has mentioned how he sometimes had a sore throat after recording the tracks on this record, and I believe him.
“Nobody cares if you’re dying until you’re dead,” he sings on “Transition from Nowhere,” which reminds me of Dan Bejar songs in its sound and Furman’s vocal style. “Rated R Crusaders” is practically an early Devo cut with its rapid post-punk lyrics and wild, weird guitar riffs. “Trauma” is a hard-hitting, Lou Reed-like rocker (Furman has spoken of Reed’s songwriting influencing his.) about rich white dudes literally getting away with rape and murder.
“Thermometer” has Furman proclaiming his love for rock and roll and how it changed him forever. The 1950’s-flavored “I Want to Be Your Girlfriend” has Furman singing a love song to someone who isn’t interested in him (“Honey, I know I don’t have the body you want in a girlfriend. What I’m working with is not ideal, but maybe, baby, it’s not about what you thought that you wanted, it’s about what I can make you feel.”). It’s a pretty oasis in a middle of a sea of rage, which we’re right back at sea on with the loud, fuzzy, shredding “Blown” (which sounds like a lost Nirvana demo) and “My Teeth Hurt.”
“I’m alone in America,” Furman sings in “In America,” a song that both lambasts the country’s hatred and racism, but also praises what it can be if we’d put our differences aside and focus on our commonality. The album ends with sage advice on what to do when The Man is bringing you down – “What Can You Do but Rock ‘n’ Roll.” It’s a banger to send the album, and us, out on a high note.
Which is what Furman has been encouraging us to do all along – take the high road, even when that road leads to a rocky desert in your mind. You will find the high notes there. You will find beauty and love there.
Keep your mind open.
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