Rock – Page 79 – 7th Level Music

Midnight Oil announces new album, “Resist,” and their final tour.

In 2017 Midnight Oil returned from a long hiatus with a sweat drenched pub gig at the legendary Sydney venue, Selina’s. In the middle of that special set, frontman Peter Garrett borrowed some famous lines, exhorting “rage, rage, against the dying of the light”. And that’s exactly what they’ve done ever since. They sold out 77 shows in 16 countries on their epic “Great Circle” tour. They toured Europe again, did a memorable gig in the outback, then returned to the studio for the first time in over 18 years and recorded 20 new songs. The first batch of that material, The Makarrata Project, debuted at #1 on the same weekend that longtime bass player Bones Hillman sadly died. Despite that profound blow, and a global pandemic, the band and their First Nations Collaborators still mounted their acclaimed “Makarrata Live” shows early this year – championing the Uluru Statement and highlighting ongoing injustices suffered by First Nations people.

Today Midnight Oil announced that this chapter of their career will come to a memorable close next year with the release of the other 12 new songs they recorded with Bones and a series of big gigs. Both are aptly titled Resist.

The band also announced that this will be their final concert tour while making it clear that this does not mean the end of the Oils. Each of the members will continue their own projects over the years ahead. They remain very open to recording new music together in future and supporting causes in which they believe but this will be their last tour.

Meanwhile Resist will be a fitting, forward looking, statement for a band whose clarion call has always been “it’s better to die on your feet than live on your knees”. The tour will see them performing classic Midnight Oil songs from across their repertoire while also showcasing some urgent new works. As the title makes abundantly clear, Resist engages with the issues of today and tomorrow – like the lead single “Rising Seas” which tackles the climate crisis in typically uncompromising fashion.

The album pre-order and Australasian tickets will go on-sale from next Tuesday 30 November. Dates, venues and all other info is listed at midnightoil.com/tour. A handful of international concerts is also being considered (subject to Covid restrictions).

Rob Hirst says: “If I look back, I see a blur of familiar names and faces: Jim, Pete, Martin, Bear and me, slamming loud prog-pop in a Chatswood garage; Giffo, magnificent, rocking back and forth at his first Royal Antler gig; Bonesy, headphones on, singing, lounging on the deck learning our catalogue.

I see our managers in their offices – Gary, Zev and John; our tour managers in their cars and buses – Constance, Neil, and Willie Mac; our producers in their studios, Keith, Lez, Glyn, Nick and Warne; and our crew on countless stages, Michael, Oysters, Ozzy, Doc, Nick, Jock, Gerry – and so many more.

I see our folks-in-the-engine-room that the outside world has never seen: Stephanie, Wayne, Diana, Arlene, Jonesy, Craig, Geoff H, Chris P, Peter T, and Mel C.

I see our wives and trusted friends, and the tiny faces of the ‘Baby Oils’, watching us from side of stage, from Sydney to Sao Paulo to Saskatoon.

But mostly, blinded by stage lights, I see the first two rows of a thousand gigs: Midnight Oil fans, pumping, jumping, singing louder than the band.

But I don’t look back.”

Peter Garrett says: “We all know time refuses to stand still for anyone but after many years together the band’s spirit is deep, the music and words are strong, and our ideas and actions as bold as we can make them. We’ve reached people in ways we never could have imagined. Our desire to create and speak out is undimmed. We hope everyone who hears this album and gets to one of the shows will come away charged up about the planet’s future, saying ‘why stop now?’. Having always tackled every tour like it’s the last – this time it actually will be.”

Jim Moginie says “We’ve played intensely physical gigs since our humble beginnings back in 1977 and we never want to take even the slightest risk of compromising that. A lot has happened over the last five years. Much has been achieved and with the passing of Bones much has been lost, so it now feels like we’re at the end of a cycle.

These will be sad and beautiful gigs but luckily we’re still capable of blowing the roof off any stage and that’s what we intend to do. You could call this a farewell tour, but Midnight Oil will still continue in some form or other as we’re brothers, family. We stand as one, dependent on each other and grateful in all the important ways that make great bands great.”

Martin Rotsey says: “A huge thank you to all our fans around the world. We’ve shared so much together from the swelter of Sydney pubs to magical nights under starry skies. Your energy took us further than we could ever have dreamed.

To those down the front in the maelstrom, those at the back of the room singing their hearts out, and all of those onstage, backstage, and back home who helped make everything possible, we send our thanks.”

Resist will be Midnight Oil’s 15th studio release since the band exploded out of the post-punk scene back in 1978, blazing a singular trail of blistering gigs through Australia’s pubs and clubs. In the four decades since they have created an unparalleled string of classic tracks including “I Don’t Wanna Be The One”, “Power & The Passion”, “US Forces”, “Best Of Both Worlds”, “The Dead Heart”, “Blue Sky Mine”, “Forgotten Years”, “Truganini”, “Redneck Wonderland”, “Say Your Prayers” and the 2020 APRA song of the year “Gadigal Land (feat. Dan Sultan, Joel Davison, Kaleena Briggs & Bunna Lawrie)”. Their Diesel & Dust LP topped the critics’ “100 Best Australian Albums Of All Time” and its worldwide hit “Beds Are Burning” is one of the “500 Songs That Shaped Rock’n’roll” according to the U.S. Rock’n’roll Hall Of Fame. The band’s performance of that song at the Sydney Olympics is etched in the memory of billions.

From the northern beaches of Sydney to the streets of Manhattan, they have stopped traffic, inflamed passions, inspired fans, challenged the concepts of “business as usual” and broken much new ground. Seeing Midnight Oil in full flight is to experience the kinetic power of live rock’n’roll. They leave you inspired to live life more passionately and to Resist.

Midnight Oil calls for governments to urgently take serious actions that reduce carbon pollution. This tour will embrace best practices for emission reductions and offsetting. A portion of proceeds will be set aside for organizations seeking to elevate the existential threat posed by the climate crisis.

Members of Midnight Oil’s mailing list will have exclusive first access to Australian tickets. Anyone who signs up by 5pm Monday November 29, will receive a dedicated email later that evening, containing the presale ticketing link and password which can be used to purchase up to 8 tickets per show. Presales are expected to sell out quickly so fans are strongly advised to make sure they are logged into the ticketing agency website prior to the onsale times. Members of the General Public, including anyone who missed out on the presale, will then have access to tickets from Wednesday December 1. See below for ticketing information, and visit midnightoil.com/tour for specific show dates and information.

In addition to these shows, the band has already announced special appearances in Tasmania for Mona Foma 2022 and at Byron Bay Bluesfest next Easter. Details about those festival events at monafoma.net.au and bluesfest.com.au

Keep your mind open.

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[Thanks to Eleven Music.]

Chicago’s Horsegirl release “Billy” and announce a spring tour.

Chicago’s Horsegirl, the trio of 17-19 year olds Penelope Lowenstein (she/her), Nora Cheng (she/her), and Gigi Reece (they/them), present “Billy,” their debut single/video via their new label, Matador. In conjunction, they announce a North American tour, during which they’ll make their SXSW debut and play their first show ever in many of these cities. Having only formed in 2019, Horsegirl’s first three singles captured the ears and attention of fans and critics worldwide, garnering early acclaim from the likes of Pitchfork, NPR, Stereogum, Sirius XMU, NME, BBC Music, and more. Following their appearance at the Pitchfork Music Festival this fall, where the trio performed for their biggest crowd yet, NYLONremarked “Horsegirl were welcome reminders of how rock music is better and more fun than it’s been in years.” Their new single “Billy” continues the band’s exciting early run and expands their already swelling wall of sound with three-part harmonies, overdriven guitars and unexpected tempo changes. Recorded at Chicago’s Electrical Audio and co-produced by the band and legendary producer John Agnello (Dinosaur Jr., Sonic Youth, Kurt Vile), “Billy” marks a significant evolution for the young band. The “Billy” 7”, out March 25 and available for pre-order today, features a cover of the Minutemen’s “History Lesson Part 2” on the b-side (available only on the 7”). Horsegirl discuss creating the song and video:

“There was a period of last year where the three of us spent every day together writing and recording. It was during this time, when we practically lived in Penelope’s basement, that ‘Billy’ was written. Penelope had recently read about Nick Drake’s alternate tunings prompting her to detune her guitar, while Nora overlaid a rhythmic vocal line detailing the life of a fictional character, Billy. At the time, we had been listening to a lot of New Zealand underground bands (80’s/90’s Flying Nun). With that scrappiness in mind, we worked the rest of the song out through improvising together, and ‘Billy’ quickly fell into place.

“‘Billy’ is our first release with a label, and it feels particularly special that it is with Matador, whom we have admired since we were young. After a year of hard work, we are very happy to finally share music, especially with those who have uplifted Horsegirl in the last year. We feel so thankful to have been able to record this song with John Agnello, whose work we adore, at Electrical Audio, a Chicago institution. Recording this song was a dream experience for us, and John has become a very trusted mentor.

“We shot the ‘Billy’ music video with our friends on a rainy Chicago day and feel particularly thankful for everyone who danced the twist with us, and those who gave us their apartment, camera equipment, film expertise, and feedback. This video is a love letter to our city and friends. The song is a love letter to past music scenes we wish we could have witnessed. Please listen to ‘Billy’ in your kitchen with a group of good friends and dance along– we can’t wait to share it with you.”

2022 will see much more from Horsegirl. Their tour will take place in the midst of Cheng and Reece wrapping up their freshmen years in college in New York City and Lowenstein nearing high school graduation in Chicago.
Watch Horsegirl’s Video for “Billy”

Pre-order “Billy” 7”1. Billy2. History Lesson Pt. 2 (Minutemen cover, available only on 7”)
Horsegirl Tour Dates
Wed. March 16 – Austin, TX @ SXSW
Thu. March 17 – Austin, TX @ SXSW
Sat. March 19 – Philadelphia, PA @ PhilaMOCA
Sun. March 20 – Washington, DC @ DC9
Tue. March 22 – New York, NY @ Market Hotel

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[Thanks to Jaycee at Pitch Perfect PR.]

Piel share “Custodian” from upcoming album due December 10th.

Los Angeles quintet Piel today released their single “Custodian,” the opening track from their upcoming debut release A.K.A. Ma out December 10 via Birs Recordings. The song was debuted live for NPR Music’s Tiny Desk Concert where hosts praised Piel as “a very talented band” (Bob Boilen), remarking that “the lead singer’s voice is great and there’s something about the guitar that I just loved right away” (Raina Douris) and was included in NPR Music’s “Best Tiny Desk Contest Entries We Saw” list.

A.K.A. Ma is a six-song album and is largely dedicated to Thelma Lewis, the mother of lead singer and Piel co-founder, Tiki Lewis. The elder Lewis passed away in 2019, hence “Ma.”

The making of what would become A.K.A. Ma was not a conventionally produced album, but resulted in a formidable final piece of work. Jonathan Burkes, who initially recorded the songs before Birs was in the picture, handed over the tracks to producer, Cisco DeLuna. DeLuna (who championed the group and sought the green light from label owner, Scott Anderson, to get the record made), took what Burkes had and added additional instruments to the recordings. DeLuna’s production gave the songs a commercial radio glow, but without drowning out the band’s sound in the mix. This resulted in an indie-style/modern rock record that can capture the imagination of mainstream listeners, yet appease those in indie rock circles.

Piel lists nature, turbulence, resilience, injustice, mantras, light and dark and beyond among its influences (alongside artists like Joy Division, Sade and Pink Floyd). Piel matches it with a danceable rock sound, grounded by singer Tiki Lewis’ smooth delivery. According to Lewis: “while the bulk of A.K.A. Ma was completed pre-pandemic, divine sources are what guided us through the process, as well as through the dark aftermath of 2020.”

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[Thanks to Cody at Clandestine PR.]

Review: Gustaf – Audio Drag for Ego Slobs

Formed somewhat on a whim, Gustaf (Lydia Gammill – lead vocals, Tine Hill – bass, Vram Kherlopian – guitar, Melissa Lucciola – drums, Tarra Thiessen – percussion and vocals) were playing packed gigs across the country in record stores, apartments, basements, pubs, and even SXSW festival stages before they even cut their debut album – Audio Drag for Ego Slobs. The result is an album created by a band who’d cut their teeth on the road and came into the studio with a power pack of post-punk poppers.

“You say that I’m much to old to be low-fi,” Gammill sings on the opening track, “Mine.” The groove of it is undeniable, rooted in Hill’s bass lick and the tippity-tap of Lucciola’s hi-hat. The song seems to about reclaiming dignity and an attitude of “I really don’t give a rat’s ass.”

“Book” has Gammill demanding proof of erroneous claims of her life being false. It keeps the dance grooves rolling and into “Best Behavior.” “I wanted you to know that I was good today,” Gammill sings, possibly letting her lover know that she wasn’t up to anything naughty…Well, perhaps a bit. “Dream” is a song about weird love, with Thiessen repeating “We love you.” while Gammill claims, “You’re doing great.” and then both of them stating, “It was only a dream.”

Kherlopian’s guitar takes on a bit of a yacht rock feel, which I love, on “Liquid Frown” – a song that seems to be about being under so much relationship stress that it makes you nauseous. Hill’s bass is in full funk mode on “The Motions,” and the backing vocals are warped (like they are on many tracks) to reflect Gammill’s perplexed state of mind at the world in general. “Common sense seems so pedestrian,” Gammill sings on “Cruel” – one of the wittiest tracks on the album with the band flipping off romance.

On the flipside, “Dog” is about someone Gammill didn’t really find attractive or think much about until she saw the guy’s dog. “It took a little effort to see. Hey, who’s that pulling the leash?” “Package” ups the anger a bit before the slightly psychedelic “Happy” comes in to close the album with Gammill saying, “I hope you’re happy getting what you want…I’m out here singing alone.”

As the kids would say, don’t sleep on this album. It’s one of the best post-punk records of the year.

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[Thanks to Tom at Hive Mind PR.]

Review: TV Priest – Uppers

The four members of London’s post-punk rockers TV Priest (Nic Bueth – bass and keyboards, Charlie Drinkwater – vocals, Ed Kelland – drums, Alex Sprogis – guitar) started making music when they were young lads, but they put their musical aspirations aside to get “real jobs” and do various adulting things. Luckily for us, the four of them got back together, with a bunch of “real life” experience under their belts, to create and release their solid full-length album Uppers.

The album is solid from beginning to end, full of bangers, heavy riffs, and witty, scathing lyrics. Bueth’s opening bass on “The Big Curve” alone is enough to shake you out of your cubicle chair and make you want to smash that damn copier / fax / scanner that always smears your papers. Kelland’s drums on “Press Gang” are like an anxious heartbeat of a sprinter before the starting gun (which is the sound of Bueth’s bass and Sprogis’ guitar).

“Leg Room” has krautrock synths and Drinkwater singing above, under, and around, Bueth’s bass stabs – which hit like Michael Myers’ knife. “Hey, buddy, normalize this,” Drinkwater sings / chants on “Journal of a Plague Year” – a song about dealing with you-know-what and how it altered all of us, for good or bad (“And the new normal sets in…”).

After the brief, instrumental “History Week,” “Decoration” comes in with its clever lyrics about everyone seeking their fifteen minutes of fame (“I’m through to the next round. Yes, I’m through.”). “Well, all I can do is talk. My God, I’ve never had an original thought!” Drinkwater claims on “Slideshow” – a rocker that skewers the emptiness of online culture.

“How you feelin’?” Drinkwater keeps asking while Sprogis’ guitar drones and squeaks like a robotic animal of some sort and Bueth and Kelland’s rhythms match the anxiety everyone’s been feeling since 2019. “Powers of Ten” fades into what sounds like radio or communications satellite static – a fitting image of everyone looking for something in the ether during the pandemic.

“This Island” brings in brighter synths to dance alongside the bold guitars as Drinkwater sings about creating a new reality, albeit a possible guarded one, out of life-altering events. The album ends with “Saintless” – the longest track on the album – which swells and swirls like a whirlpool of guitars and cymbal crashes amid Drinkwater’s steady, yet slightly nervous vocals.

To sum it up, Uppers is one of the best post-punk records of 2021.

Keep your mind open.

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Review: Weak Signal – Bianca

Bubbling up from NYC’s underground music scene, Weak Signal‘s new album, Bianca, roars with dark post-punk energy mixed with early 1990s alt-rock riffs.

“I’m the enemy of the world. Nothing ever really dies,” they sing on the album’s opener, “I’m a Fire,” putting down loud guitar riffs alongside their lyrics. The chugging bass on “Voice Inside My Head” is infectious.

“I don’t wanna go to work. Me and my friends were out all night…” opens the heavy, sludgy “Drugs in My System” – a song about dealing with party aftermaths. “Barely a Trace” sounds like a somewhat dusty, slightly warped record you’d hear playing on a jukebox at the back of a diner in a David Lynch film. “Come Back” is a simple, yet haunting track about regret and loss accentuated by rising synths and mantra-like guitar riffs.

“Zones” has this same kind of mantra sound before the bolder, faster “Don’t Turn Around,” which wouldn’t be out of place on a record from A Place to Bury Strangers. “Borderzone” is probably the mellowest track on the album, drifting in and out like smoke. “Devotion” brings back sharp-edged riffs that come into the track, rattle you a bit, and then meld back into the shadows.

“I’ll go where I want to go, and I’ll love who I want to love,” Mike Bones sings on “I’ll Stay,” a beautiful track about finding freedom through self-realization. “Sorry” is a nice companion to it. It’s still mellow, but a bit upbeat, and it’s a nice warm-up before the loud, weird finish of “Too Strong.”

It’s cool record, and perfect for certain moods (gray days, late nights).

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[Thanks to Jake at Ramp Global.]

Review: Jealous – Lover / What’s Your Damage?

What’s bold? Releasing your debut as not just an EP, but as a double EP. Berlin’s Jealous did exactly that with their Lover / What’s Your Damage? release for Oliver Ackermann‘s Dedstrange label. It’s a wild mix of shoegaze, synthwave, post-punk, art rock, and other things you can’t quite define.

Uri Rennert‘s heartbeat drums on “K-Hole II,” the opening track of the Lover EP, set up a dark tone for the entire record. Paz Bonfil‘s guitar is perfectly suitable for a spaghetti western villain’s theme music. Adi Kum‘s vocals spin around you like playful ghosts. Her bass on “Blackeye” is thick enough that it might give you one. “Debbie Downer” has, as you can imagine, a dark vibe, and the fast and furious “Fast Cars” isn’t a cover of the Buzzcocks rocker, but rather a fierce rocker of their own with Bonfil’s guitar sounding like he’s strangling it at some points. It builds to a wild pace, with Rennert almost dismantling his kit as he plays.

Kum’s somewhat grumpy bass starts off “Gravity,” the first song on the What’s Your Damage? EP. It builds to a heavy-hitting, pulsing track that grabs your attention and doesn’t let go for about four minutes. “Cowboy ‘Kelly’ Katastroph” is a straight-up post-punk bliss, as is “Sharp Bones / Broken Claws” – with Bonfil’s guitar riffs as sharp as its title. “Slaughterhouse 3000” ups the fuzz a bit and the playfully bratty vocals even more. The EP ends with “Thunder,” which highlights the dual vocals from Bonfil and Kum.

It’s good stuff, and many thanks for Dedstrange for bringing it to us.

Keep your mind open.

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Review: The Beths – Auckland, New Zealand, 2020

Matching with an accompanying concert film, The Beths‘ Auckland, New Zealand, 2020 captures the band’s performance at Auckland Town Hall during the middle of the COVID-19 pandemic in one of the few countries that took the pandemic seriously at the time and was still able to hold live music events. The band’s joy at performing in front of a home crowd, and after so long of not being able to do so, is heard in every note – as is the bliss of the crowd.

The cheers before the opener of “I’m Not Getting Excited” are infectious, as is the opening guitar riff from Jonathan Pearce as Elizabeth Stokes actually encourages the audience to get so excited that their heads might explode. “Great No One” rocks and rolls straight into “Whatever” – with the whole crowd yelling / singing the title (and pretty much everything else) along with the band. “It’s not just the dawn that breaks,” Stokes sings on the sizzling “Mars (The God of War)” – a song about wishing she could move beyond a bad break-up.

The live version of “Future Me Hates Me” is as bouncy and loud as you’d hope it would be. “Jump Rope Gazers” is just as lovely live as on the album of the same name, if not more so. “Uptown Girl” blasts by you with some of Tristan Deck‘s fiercest drumming. His beats on “Happy Unhappy” get you dancing.

“Out of Sight” makes the turn toward the final act of the show, with Stokes thanking everyone behind the scenes at the show afterwards. You can hear the emotion in Stokes’ voice as she thanks the crowd before the band launches into “Don’t Go Away.” Benjamin Sinclair‘s bass line on “Little Death” is like a hummingbird zipping around the room. “Dying to Believe” closes the show, with the entire crowd singing along, before the band comes back for an encore of “River Run” that fades into a blissful state.

Not only is this a joyful recording, it’s also a good-sounding one. Stokes points out at one point that the sound crew has to work in a large, echoing chamber – and they do it quite well.

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[Thanks to Patrick at Pitch Perfect PR.]

CHAI announce North American tour…which is already sold out in most locations.

Earlier this year, CHAI released WINK, their Sub Pop debut that “maintain[s] the unwavering commitment to self-love and community that makes their music so endearing” (Pitchfork). This embracement of community is often found in their electric live shows, and today, CHAI announce their WINK TOGETHER NORTH AMERICA TOUR, plus a sold-out west coast run supporting Mitski. For a preview of what to expect at one of CHAI’s fun, aesthetic driven shows, watch the tour trailer below.
WATCH CHAI’S TOUR TRAILER

WATCH/LISTEN/SHARE:
PURCHASE WINK
“DONUTS MIND IF I DO” VIDEO
“PLASTIC LOVE” VIDEO
“IN PINK” VIDEO
“ACTION” VIDEO
“NOBODY KNOWS WE’RE FUN” VIDEO
“MAYBE CHOCOLATE CHIPS” (FEAT. RIC WILSON) VIDEO
“miniskirt” VIDEO

CHAI TOUR DATES (NEW HEADLINE DATES)
Fri. Feb. 4 – Chicago, IL @ Lincoln Hall
Sat. Feb. 5 – Milwaukee, WI @ Cactus Club
Sun. Feb. 6 – Minneapolis, MN @ 7th Street Entry
Wed. Feb. 9 – Toronto, ON @ Lee’s Palace
Fri. Feb. 11 – Cambridge, MA @ The Sinclair
Sat. Feb. 12 – Philadelphia, PA @ The Foundry
Sun. Feb. 13 – Washington, DC @ Union Stage
Tue. Feb. 15 – Brooklyn NY @ Elsewhere
Thu. Feb. 17 – Asheville, NC @ The Orange Peel * – SOLD OUT
Fri. Feb. 18 – Raleigh, NC @ The Ritz * – SOLD OUT
Sat. Feb. 19 – Atlanta, GA @ The Eastern * – SOLD OUT
Mon. Feb. 21 – Birmingham, AL @ Iron City * – SOLD OUT
Tue. Feb. 22 – New Orleans, LA @ Civic Theatre * – SOLD OUT
Thu. Feb. 24 – Houston, TX @ White Oak Music Hall (Outside Lawn) * – SOLD OUT
Fri. Feb. 25 – Dallas, TX @ The Bomb Factory * – SOLD OUT
Sat. Feb. 26 – Austin, TX @ Austin City Limits Live at the Moody Theater * – SOLD OUT
Mon. Feb. 28 – Phoenix, AZ @ The Van Buren * – SOLD OUT
Wed. March 2 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Thu. March 3 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Fri. March 4 – Oakland, CA @ Fox Theater * – SOLD OUT
Sat. March 5 – Oakland, CA @ Fox Theater * – SOLD OUT
Mon. March 7 – Portland, OR @ Arlene Schnitzer Concert Hall * – SOLD OUT
Wed. March 9 – Seattle, WA @ Moore Theatre * – SOLD OUT
Thu. March 10 – Seattle, WA @ Moore Theatre * – SOLD OUT
Sat. March 12 – Seattle, WA @ The Crocodile
Sun. March 13 – Portland, OR @ Doug Fir Lounge
Tue. March 15 – San Francisco, CA @ Bimbo’s 365 Club
Thu. March 17 – Los Angeles, CA @ Teragram Ballroom
*= supporting Mitski

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[Thanks to Jacob at Pitch Perfect PR.]

BODEGA release “Doers” ahead of new album, “Broken Equipment,” is due in March 2022.

Brooklyn band BODEGA announces its long-awaited second album, Broken Equipment, out March 11th, 2022, on What’s Your Rupture?, and shares the infectious lead single/video, “Doers.” Inspired by self-help books and vlogs, it tackles the toxic side of forced productivity and slyly pokes fun at Daft Punk with its central mantra of “bitter, harder, fatter, stressed out.”

Of ‘Doers’, the band’s Ben Hozie offers: “Sometime on tour near the end of 2019 I found myself reading and watching a plethora of self-help books and Youtube vids. This started from a genuine desire for spiritual and physical improvement but I soon started noticing how advertisements everywhere were utilizing the language of self-help. I was being programmed. This ideology of constant productivity forces you to treat your own body, mind, time, and friends as products to mine. As a result the world becomes a smaller, duller place. All artists (all people) desire to be productive. Yet… If a photo is taken of you in the woods: for all millennia you’ll always be stuck in the woods.”

The accompanying video – directed by Ben alongside BODEGA co-founder Nikki Belfiglio, and drawing inspiration from Ryan Trecartin, Hype Williams and Slipknot – continues to take aim at the 21st century’s incessant productivity/positivity cycle.

Ben explains: “For the advertisement (music vid) for the track we teamed up with our old pal Joe Wakeman (who used to perform with me and Nikki in BODEGA BAY). We shot at the old abandoned IBM offices in Kingston, NY (where Nikki and Joe were born and raised) and a gym and a parking garage in Bushwick. The video stars Dr. DOER, a misunderstood monster who simply wants to issue directives and inspire his team of ghouls to #greatness.”

Watch BODEGA’s “Doers” Video

The follow-up to the band’s acclaimed debut album, Endless Scroll (2018), and 2019’s Shiny New Model EP, Broken Equipment was inspired by a book club. In the early months of 2020, the Brooklyn art-punk incendiaries gathered together with close friends to study the works of a wide range of philosophers. Passionate debates lasting long into the night became a regular occurrence, motivating the band to become as ideologically unified as the weighty tomes they were reading. Broken Equipment is BODEGA’s attempt to interrogate the external factors that make them who they are, propelling existential quandaries with tongue-in-cheek humour, highly personal lyrics, and irresistible grooves.

Since BODEGA’s formation in 2016, Ben and Nikki have experienced a rare meteoric rise. The duo double as filmmakers, earning acclaim for their 2020 erotic drama PVT Chat starring Peter Vack, Julia Fox, and other recognizable faces from the Safdie Brothers’ cinematic universe. When the pandemic forced them to hit pause, they used the opportunity to regroup with drummer/performance artist Tai Lee, bassist/book club leader Adam See, and lead guitarist Dan Ryan. Broken Equipment was produced by Ben himself with Bobby Lewis, BODEGA’s NYC live sound mixer. The record was mixed by Bryce Goggin, whom the band sought out for his work with Pavement, and Adam Sachs (WIVES).

The album’s 12 songs are set in present day New York City, packing in references to contemporary issues of algorithmic targeting, media gentrification, and the band itself.
Watch BODEGA’s “Doers” Video

Pre-order Broken Equipment

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[Thanks to Patrick at Pitch Perfect PR.]