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.”
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.
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 (Alvvays, Wild 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.
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 SPIN, Beats Per Minute, Buzz Bands LA, KEXP, KCRW 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. —– For Asymmetry, Cuffed Up paired up with producer Brad Wood (Touché Amoré, Smashing Pumpkins, Liz 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 KEXP, NME, DIY, Bandcamp, 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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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 Lipson 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…
If they gave out awards for Most Brutally Honest Album of the Year, Lucy Dacus‘ Home Videowould 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.
In classic punk-fashion, but also in normal-human, I-have-no-idea-what-the-future-holds-because-it’s-a-pandemic fashion, Weak Signal, led by one of New York’s most sought-after guitarists Mike Bones, dropped their new album Bianca on Bandcamp out of nowhere in May of 2020 (it’s since been taken down). Although it was unmastered and flew mostly under the radar, it was reviewed by a fewspots, and Iggy Pop graciously featured the track “Drugs In My System” on his BBC radio show.
Now, thanks to Colonel Records, Bianca is seeing a proper digital and vinyl release on October 15th, and the band is celebrating today’s announcement with the single “Barely A Trace,” which comes paired with a new music video directed and edited by the band’s drummer Tran. Additional exciting news includes a release show at Brooklyn venue Union Pool on October 8th, followed by a two-week run opening for beloved psych-rockers Garcia Peoples.
“Barely A Trace is about feeling lingering presences around you, swirling confusion from sudden disappearances, like when you discover someone found your stash spot,” says Mike Bones. “Our drummer Tran made the video during the early days of the COVID lockdown in Vietnam, Spring 2020. The song and video are our attempts to affect an approximation of the perfect loneliness and separation present in the work of writers like Marguerite Duras or David Markson.”
Mike Bones has made deep and deeply loved solo albums as a singer and guitarist, and with ad hoc supergroup Soldiers of Fortune. The versatile instrumentalist has also played on albums by Cass McCombs, Endless Boogie and Run the Jewels. Weak Signal, the band he’s put together with Sasha Vine and Tran, is his hardest and leanest group to date, the quality of the songs and music on this album is matched by the supreme style of the band members.
Weak Signal represent a constant on the NYC underground… the trio’s dark cinematic pop evokes late summer nights, apathy and urgency, buzz guitars over garbage trucks. The range of Mike Bones’ guitar suggests he’s been lured by the sweet tone of Peter Green, as well as the metallic attack of Paul Reynolds. The rhythm section of Sasha and Tran – bass and drums – is the sound of summer thunder.
On their sophomore LP – Bianca– Weak Signal have amplified every aspect of their magnetism. The pop is lusher, the drums more bludgeoning and the guitar tone is nastier than ever. They’ve created a thick sonic morass that’s simultaneously tranquil and exhilarating. Weak Signal have truly found their stride with Bianca, and it’s a full-blown gallop
Keep your mind open.
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Formed in 2019, LA-based Cuffed Up were born out of a search for “self acceptance and self-realization”, drawing lines from across the globe to the burgeoning post-punk scene in the UK, while leaning into ‘90s indie rock and grunge, creating a loud and rhythmic rainbow of post-punk that is fluid and versatile. Today, the band are sharing their crushing and vital new single “Canaries,” a rip-roaring track about reckoning with one’s shame, alongside the news that they have signed with Toronto-based record label Royal Mountain Records, home to Alvvays, Wild Pink, METZ and more. WATCH: Cuffed Up’s “Canaries” on YouTube The band explains that ““Canaries'” is about going down a path that you know is wrong, yet you keep going because some form of shame is driving you. Sometimes, we become numb to the burdens we carry. “Carrying the weight of stones/with pins to his bones” reflects that and the need to be vulnerable with yourself and not accept fate as is.”“
Pairing up with producer Brad Wood (Touché Amoré, Smashing Pumpkins, Liz Phair), “Canaries” is soaring yet direct, a visceral statement of intent from the band that expands on their refreshing self-titled debut that saw love from the likes of KEXP, NME, DIY, Bandcamp, and The Line Of Best Fit, as well as radio play on BBC 6Music and BBCRadio 1 and a supporting run with Silversun Pickups.
With support already from KCRW in Los Angeles and Double J in Australia, “Canaries” sees Cuffed Up embarking on a full US tour as main support for The Joy Formidable, beginning in Seattle on 11/26 and making stops in Portland, San Francisco, Los Angeles, Chicago, Boston, New York, Philadelphia along the way and ending in Burlington on 12/18.
“Canaries” is out now on Royal Mountain Records. It is available here.
Tour Dates 11/26 – The Crocodile – Seattle, WA 11/27 – Doug Fir Lounge – Portland, OR 11/29 – The Independent – San Francisco, CA 11/30 – The Roxy Theatre – Los Angeles, CA 12/02 – Crescent Ballroom – Phoenix, AZ 12/04 – Bluebird Theater – Denver, CO 12/05 – The Riot Room – Kansas City, MO 12/07 – Turf Club – Minneapolis, MN 12/09 – Lincoln Hall – Chicago, IL 12/10 – A&R Music Hall – Columbus, OH 12/11 – Thunderbird Music Hall – Pittsburgh, PA 12/12 – 9:30 Club – Washington, DC 12/13 – The Sinclair – Boston, MA 12/14 – Bowery Ballroom – New York, NY 12/16 – Underground Arts – Philadelphia, PA 12/17 – Empire Underground – Albany, NY 12/18 – Higher Ground Showcase Lounge – Burlington, VT
Playing a home show still feels special for The Beths, who began playing shows in 2015 and quickly won over local audiences with a low-key approach that disguised their drive for excellence. Today, the band announces its first live recording and film, Auckland, New Zealand, 2020, out September 17th on Carpark Records. The announcement also comes on the three-year anniversary of the release of their debut album, Future Me Hates Me. Auckland, New Zealand, 2020 showcases the infectious energy The Beths bring to every performance. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans. “Watching the film for the first time brought back all the emotions of 2020 for us. Sports Team have done such an amazing job of capturing the mix of anxiety and simple joy that was touring music in NZ at the time. We are so grateful that it happened and grateful to have it documented with so much love and care,” says lead vocalist/guitarist Elizabeth Stokes.
“Future Me Hates Me” is a fan favorite, as both band and audience feed off the mutual energy in the room.
After building a loyal following through live performances and their 2016 EP Warm Blood, The Beths signed to Carpark Records and released the debut album, Future Me Hates Me, in 2018. Jump Rope Gazers, released in July 2020, was a slower, yearning follow-up that still fizzes and sparks with pop-punk sensibilities. Immediately seized on by both fans and music critics as a bright spot during an otherwise dark year, Jump Rope Gazers was named Album of the Year at New Zealand’s national Aotearoa Music Awards in 2020, and secured the band awards for Best Group and Best Alternative Artist for the second year running. The releases catapulted the band straight into lengthy international tours that saw them support legends like The Pixies and Death Cab For Cutie as well as headlining increasingly large shows of their own.
Auckland, New Zealand, 2020 has its genesis in an urge to share the now-rare experience of a live show as widely as possible. The accompanying film makes the deep bond Stokes, lead guitarist Jonathan Pearce, bassist Benjamin Sinclair, and drummer Tristan Deck clearer than ever: capturing the in-jokes they share with audiences during on-stage banter, and foregrounding their mutual preoccupations with the game of cricket and New Zealand’s native birds. It’s a collective exhalation, in one of the few countries where live music is still possible. They deliberately include the date and location, because “That’s the sensational part of what we actually did,” says Pearce. In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.
The band will follow up the release of Auckland, New Zealand, 2020 with a North American headline tour in 2022. “Our last North American tour was in summer of 2019, which feels like a century ago. There is no way to describe how much we have wanted to be over there playing music. Finally it is happening?! See you soon. xo,” says Liz. An artist pre-sale will begin on Wednesday, August 11 at 10am local time, with a Brooklyn Vegan pre-sale running on Thursday, August 12 at 10am local time. Tickets go on sale to the general public on Friday, August 13 at 10am local time. Tickets are available at thebeths.com. Fans can join the band’s new Patreon in the meantime.
Live Album Tracklist: 1. I’m Not Getting Excited 2. Great No One 3. Whatever 4. Mars, the God of War 5. Future Me Hates Me 6. introduction 7. Jump Rope Gazers 8. Uptown Girl
9. bird talk 10. Happy Unhappy 11. Out of Sight 12. thank you 13. Don’t Go Away 14. Little Death 15. Dying to Believe 16. River Run
Film Setlist: 1. I’m Not Getting Excited 2. Great No One 3. Whatever 4. Mars, the God of War
5. Future Me Hates Me 6. Jump Rope Gazers 7. Uptown Girl 8. Happy Unhappy 9. Out of Sight 10. Little Death 11. Dying To Believe 12. You Wouldn’t Like Me 13. River Run
Tour Dates: Fri. Sept. 17, 2021 – Auckland, NZ @ The Others Way Tue. Sept. 28, 2021 – Auckland, NZ @ Whammy Bar Wed. Sept. 29, 2021 – Auckland, NZ @ Whammy Bar Thu. Sept. 30, 2021 – Auckland, NZ @ Whammy Bar Fri. Oct. 1, 2021 – Auckland, NZ @ Whammy Bar Sat. Oct. 2, 2021 – Auckland, NZ @ Whammy Bar Fri. Oct. 22, 2021 – Tauranga, NZ @ Tauranga Arts Festival Sat. Oct. 23, 2021 – Hawke’s Bay, NZ @ Labour of Love Fri. Oct. 29, 2021 – Wellington, NZ @ San Fran Sat. Oct. 30, 2021 – Wellington, NZ @ College of Creative Arts, Massey University (AA show) Sun. Oct. 31, 2021 – Nelson, NZ @ Nelson Arts Festival Thu. Nov. 4 – Sydney, NSW @ Factory Theatre Fri. Nov. 5 – Brisbane, QLD @ The Zoo Sat. Nov. 6 – Melbourne, VIC @ The Night Cat Sat. Dec. 4 – Auckland, NZ @ The Outerfields
Thu. Jan. 20, 2022 – Washington, D.C. @ Black Cat Fri. Jan. 21, 2022 – Philadelphia, PA @ Underground Arts Sat. Jan. 22, 2022 – New York, NY @ Rough Trade (in-store signing) Sat. Jan. 22, 2022 – New York, NY @ Webster Hall Sun. Jan. 23, 2022 – Boston, MA @ The Sinclair Tue. Jan. 25, 2022 – Montreal, QC @ Bar Le Ritz Wed. Jan. 26, 2022 – Toronto, ON @ Lee’s Palace Fri. Jan. 28, 2022 – Chicago, IL @ Metro Wed. Feb. 2, 2022 – Calgary, AB @ Commonwealth Fri. Feb. 4, 2022 – Vancouver, BC @ Biltmore Cabaret Sat. Feb. 5, 2022 – Seattle, WA @ NeumosSun. Feb. 6, 2022 – Portland, OR @ Wonder Ballroom Tue. Feb. 8, 2022 – San Francisco, CA @ The Independent Thu. Feb. 10, 2022 – Los Angeles, CA @ Regent Theater Sat. Feb. 12, 2022 – Phoenix, AZ @ Valley Bar Tue. Feb. 15, 2022 – Austin, TX @ Parish Wed. Feb. 16, 2022 – Dallas, TX @ Club Dada Fri. Feb. 18, 2022 – Atlanta, GA @ Masquerade (Hall) Sat. Feb. 19, 2022 – Nashville, TN @ Mercy Lounge Sun. Mar. 27, 2022 – Southampton, UK @ The Loft Mon. Mar. 28, 2022 – Leeds, UK @ Brudenell Social Club Tue. Mar. 29, 2022 – Glasgow, UK @ St Luke’s Thu. Mar. 31, 2022 – Manchester, UK @ Club Academy Fri. Apr. 1, 2022 – Bristol, UK @ SWX Sat. Apr. 2, 2022 – Birmingham, UK @ The Castle and Falcon Mon. Apr. 4, 2022 – London, UK @ O2 Forum Kentish TownTue. Apr. 5, 2022 – Brighton, UK @ Concorde II Thu. Apr. 7, 2022 – Paris, FR @ Point Ephémère Fri. Apr. 8, 2022 – Lyon, FR @ Le Marché Gare Sat. Apr. 9, 2022 – Dudingen, CH @ Bad Bonn Sun. Apr. 10, 2022 – Lausanne, CH @ Le Romandie Tue. Apr. 12, 2022 – Milan, IT @ Biko Wed. Apr. 13, 2022 – Munich, DE @ Feierwerk Fri. Apr. 15, 2022 – Vienna, AT @ B72 Sat. Apr. 16, 2022 – Prague, CZ @ Underdogs’ Mon. Apr. 18, 2022 – Berlin, DE @ LidoTue. Apr. 19, 2022 – Copenhagen, DK @ VEGA Ideal Bar Wed. Apr. 20, 2022 – Hamburg, DE @ Molotow Thu. Apr. 21, 2022 – Cologne, DE @ Bumann & Sohn Fri. Apr. 22, 2022 – Brussels, BE @ Ancienne Belgique Sat. Apr. 23, 2022 – Amsterdam, NL @ Paradiso Sun. Apr. 24, 2022 – Esch-sur-Alzette, LU @ Kulturfabrik
It’s amazing how relevant Shonen Knife‘s 2016 album, Adventure, is to a world emerging from a pandemic in which we were shut in our homes. Shonen Knife have always been one of the most optimistic bands on the planet, and I’ve always believed it’s impossible to be sad if one of their songs is playing. That enthusiasm is everything everyone needs as we leave our cocoons and get back to baseball games, the Dairy Queen, and hugging each other.
The album opens with “Jump into the New World,” with Naoko‘s lead guitar and bouncy vocals encouraging us to “Feel a bright light, yeh, yeh, with a happy song in your heart.” and “Challenge yourself, yeh, yeh, with a happy song in your heart.” “Rock ‘n’ Roll T-shirt” (with guest background vocals by Naru) is an ode to band shirts, and it’s amazing no one else before Shonen Knife thought to write a song about them. Naoko proudly declares that she wears them to bed, at shows, and everywhere else. “Calabash” has a great bass walk from Atsuko, and a saucy solo from Naoko.
“Dog Fight” (with Ritsuko on guest bass) is a story of Naoko visiting a beach and walking into a scene with two dogs engaged in a brawl. The beat and rhythm are too peppy to be depressing. “Wasabi,” with Atsuko on lead vocals, is one of many Shonen Knife’s songs about food; and, like so many others, it shreds. Risa (who is an absolute beast behind a drum kit) puts down a wicked surf beat and, thanks to Atsuko, I’ve learned that wasabi is good with avocado. Risa takes the lead vocals on “Green Tangerine (Kabosu),” which, on its face, is about eating the fruit, but, below the surface, is about embracing an unknown future.
“ImI (emoji)” is a salute to the “devil horn” sign of metal (“They say that it was created by DIO a long time ago. Keeping us away from evil harm. Now! You’ve got the power.”), and it appropriately rocks. Naoko sings about her dream vacation on “Hawaii” – a song that blends psychedelic surf guitar with Risa’s beach cook-out drums. Naru picks up the bass on “Tasmanian Devil,” another fun Shonen Knife song about a cute, furry animal that can be quite vicious. The album ends with “Cotton Candy Clouds” (with Ritsuko on backing vocals) – a lovely track about wanting to eat clouds because they look like the delicious fair food.
It’s a fun record, as is par for the course with a Shonen Knife album. They continue to make fun music and live the high life. We should all be so lucky to have an adventure like that.
Mega Bog (the world-inhabiting moniker of song-animator Erin Birgy) presents a new single/video, “Weight of the Earth, on Paper,” off of her forthcoming album, Life, and Another, out July 23rd (vinyl out August 27th) on Paradise of Bachelors. Following “Station to Station,” “Weight of the Earth, on Paper,” stirs with lightly moving percussion, keys, and Birgy’s velvet voice. In the track, named after the collection of memoir tapes by the artist David Wojnarowicz, poppies sprout in Birgy’s shadow and scare her companion while harpies circle above Loch Ness. For the self-directed video, Birgy enlisted the help of friends, including Big Thief’s James Krivchenia (who co-produced the album), Adrianne Lenker, and more. “The video for ‘Weight of the Earth, on Paper’ came out more pure Mega Bog than I even expected,” says Birgy. “We are a community of deep friends and collaborators, who move through the world as scrappy little archeologists who love to play dress up. I’m so thrilled to have the friends I have show up and trust me over and over again, and I’ll always be there to do the same.”
Recorded over several sessions in various studios—the Unknown in Anacortes, Washington, Way Out in Woodinville, Washington, and Tropico Beauty in Glendale, California—Life, and Another features instrumental contributions from longtime and new collaborators, including Aaron Otheim, Zach Burba of iji, Will Segerstrom, Matt Bachmann, Andrew Dorset of Lake, James Krivchenia of Big Thief, Meg Duffy of Hand Habits, Jade Tcimpidis, Alex Liebman, and co-engineers Geoff Treager and Phil Hartunian. The album was written while Birgy cohabited with co-producer, engineer, and percussionist James Krivchenia in a small cabin near the Rio Grande. There, Birgy found herself often alone between their separate touring schedules. These isolations opened a familiar black hole of troubling projections, and any desire to remain positive continued to fold back into self-destructive thought and fear. Over time, a budding interest in mindfulness, attachment theory, Dialectical Behavior Therapy, and rage gave way to new productive brain processes. These creative juices followed Birgy on the road and into subsequent lonely bedrooms as the songs continued to flow.
Departing from the humid spider plant nursery of previous record Dolphine (2019), Life, and Another brings us back to our home planet, into the rarefied air pressure of a desert valley where its fourteen songs were written and scattered like stones in the landscape, each one a precious gem chiseled by Birgy. It stages a semi-fictionalized drama in the interior self, with scenes of collective longing at the bowling alley, disputes over a distended memory outside the bar, and solitary circling on the patio, looking out over the yard in stubborn awe. These memories, from both past and future, bubble up throughout the album. Life, and Another is another fantastical off-world transmission and her most sophisticated, exploratory, and accessible statement yet.
A limited-edition Life, and Another photo and song book, featuring images, songwriting and studio notes, collages and texts by Erin Birgy, and drawings by Zach Burba, designed by Joel Gregory, is available exclusively via Paradise of Bachelors.
In 2020, Protomartyr’s tour was cut short due to the pandemic. Today, they announce a fresh North American tour in support of Ultimate Success Today, their “eloquent, paranoid, and ultimately thrilling” (The FADER) album released last year on Domino. For this tour, they’ll be joined by Kelley Deal from the Breeders/R. Ring (some lucky fans got a sneak peek of this lineup prior to COVID lockdown). Additionally, Protomartyr are making their Ultimate Success Today visual album public. The visual album presents a video for each song, all made during quarantine except for “Processed By The Boys,” and edited together into a seamless short film. The filmmakers responsible for each song’s video are Dominic Ciccodicola, David Allen, Nathan Faustyn, Joseph Howard (with illustrations by drummer Alex Leonard), Trevor Naud, Ashley Armitage, Yoonha Park, and Jeremy Franchi. Tickets can be purchased here.
