Reviews – Page 88 – 7th Level Music

Live – Tom Petty and the Heartbreakers and Joe Walsh – St. Louis, MO – May 12, 2017

My wife and I honeymooned in St. Louis twenty years ago, and we ended up back there for our twentieth anniversary. It was great timing because not only were we going to see the Cubs play the Cardinals (Cardinals win 5-3), but we also had tickets to see rock legends Tom Petty and the Heartbreakers and Joe Walsh. Tom Petty has been high on my wife’s bucket list for years. She’s also a big fan of the Eagles, so the addition of Joe Walsh was a win-win.

Mr. Walsh came out with nine people in his band behind him, including four back-up singers and two drummers. He quickly got to work with “Meadows” and then dialed up “Ordinary Average Guy.” You could tell he was having fun by then. He threw down “The Bomber” by the James Gang (“Was part of that from Bolero?” My wife asked. Answer: “Yes.”) and made my wife cry when he played “Take It to the Limit” and dedicated it to Glenn Frey. “In the City” hits harder live than you expect it will, and people went nuts for “Life’s Been Good.”

I was yelling “Golden throat!” by this point, and sure enough he ended with “Rocky Mountain Way.” It’s easy to forget how good a guitarist Walsh is. He can still shred and the golden throat effects on this track are still fun after all these years.

Tom Petty and the Heartbreakers started their set with the first song off their first album – “Rockin’ Around (with You).” They unleashed “Mary Jane’s Last Dance” next and played it so well and with such fervor that it could’ve been the encore. “I could go home right now,” my wife said as we sat there with our mouths hanging open in stunned appreciation.

Tom Petty and the Heartbreakers playing “Mary Jane’s Last Dance.”

They tore through many of their biggest hits, including “You Don’t Know How It Feels,” “I Won’t Back Down,” and “Freefallin'” (a big crowd favorite). Two surprises were “It’s Good to Be King” and the lovely, acoustic “Wildflowers.”

“Wildflowers” – a lovely part of the set.

“Refugee” slayed the place, and the band was firing on all cylinders by this point. “Runnin’ Down a Dream” was almost a full-on psychedelic mind trip with its accompanying visuals.

Tom Petty and the Heartbreakers getting trippy.

There was a nice salute to hometown hero Chuck Berry when they played “Carol,” and they ended, no surprise, with “American Girl,” which had everyone jumping. It was a great end to a wonderful set. It’s hard to believe Petty and his band are on a 40th anniversary tour, because many of his songs still sound so fresh.

Keep your mind open.

[Don’t be a refugee from updates. Subscribe today!]

Live – The Black Angels and A Place to Bury Strangers – Chicago, IL – May 11, 2017

I will see The Black Angels or A Place to Bury Strangers at any opportunity, so having them both on the same bill is a win-win and a must-see for me. Seeing them in Chicago’s Thalia Hall was an added bonus because the acoustics there are outstanding and there isn’t a bad place to stand or sit in the joint.

A Place to Bury Strangers were prompt, starting the show at 9:00pm sharp (which seems to be a trend in Chicago venues as of late). They came out as they always do – loud and heavy. They opened with “We’ve Come So Far” from Transfixiation and it was off to the races. The addition of Lia Braswell on drums is a great one, as she practically beat her kit into the floor. Her backing vocals bring a new dimension to many APTBS tracks, and I hope this trend continues on some new material. Guitarist and lead singer Oliver Ackermann was on fire for their whole set.

Every APTBS show looks like a scene from a John Carpenter film.

They ended their set with a wild sequencer / synth / bass / light show that I’d seen them do before in Detroit. They moved into the crowd and were soon casting laser lights and weird, warping synths beats and Dion Lunadon’s growling bass licks throughout the whole hall.

APTBS blowing minds and retinas in Thalia Hall.

As if that weren’t trippy enough, the Black Angels started their set with this image.

“Take your acid now,” said a friend of mine upon seeing this. The Black Angels opened up with “Currency,” the first single off their new album – Death Song (review coming soon). “Bad Vibrations” (always a favorite) followed, and it again wowed the crowd.

The Black Angels dropping “Currency” from their new album.

This was the sixth time I’ve seen the Black Angels (and the third I’ve seen APTBS), and this might’ve been the heaviest set I’ve seen by them. My wife (who’s seen them five of the six times with me) noticed this, too. The version of “You On the Run” they played was certainly the heaviest I’d heard. It bordered on stoner metal. Christian Bland’s guitar seemed cranked to 11 in terms of volume and distortion for the entire show. Stephanie Bailey further cemented her prowess as one of the best rock drummers of our time. I say this every time I see the Black Angels live: Stephanie Bailey is their secret weapon. I later realized this was the first show I’d seen in a while in which both bands had powerful drummers.

They played many tracks from the new record. “Half Believing,” “Comanche Moon,” “I Dreamt,” “Medicine,” “Grab As Much As You Can,” and “Death March” all sounded great. They closed with “Young Men Dead,” which made one man behind me so happy that he rushed ahead of me to head-bang and share his one-hitter with the strangers to his left and right.

The Black Angels performing “Young Men Dead” during their encore.

This made six good shows in a row from the Black Angels and three straight for APTBS in my experience. This tour is selling out across the country, so you’d better get your tickets soon if you want to catch it. I also must give a salute to the two men who make up the Mustachio Light Show. They provided all the wild and stunning visuals during the Black Angels’ set. It’s a great addition to this tour.

Thanks to Oliver Ackermann, Steven Matrick, and Burgers Rana for getting me a press pass to this show. I’ll have an interview with Oliver Ackermann posted soon as well.

Keep your mind open.

[Don’t forget to subscribe to us before you go.]

Rewind Review: MC 900 Foot Jesus – Live in Vienna – A.D. MCMXCII (2015)

MC 900 Foot Jesus (Mark Griffin) was one of the most innovative experimental and hip-hop musicians in the 1990’s. His 1990 album Hell with the Lid Off album shattered conceptions of hip-hop and was a weird, manic masterpiece chronicling madmen, drunks, schizophrenics, and the notion that “Truth is out of style.” He put out a couple more records after that, 1991’s Welcome to My Dream and 1994’s One Step Ahead of the Spider. He retired before releasing a fourth album, citing frustrations with the music industry, but has since come out of retirement and is again playing shows and working on that fourth record.

He’s released, for free, Live in Vienna 1992. It’s a radio station’s recording of a live show there, and it’s outstanding. Griffin and his longtime collaborator, DJ Zero (Patrick Rollins), throw down stunning beats and rhymes of tracks from the first two records.

The album begins with a brief interview with Griffin, in which he says he tries “to put you inside someone’s head who really sees the world in a bizarre way” with his music. This approach is evident throughout all of his songs, which feature bizarre characters and people who believe their worldview is the truth.

“Falling Elevators” opens the set, and the slightly evil bass, beats, and saxophone set the scene right away. “Adventures in Failure” lets DJ Zero cut loose (as does the saxophonist, who sounds like he or she is going for broke), and MC 900 Foot Jesus raps a story about a man so sick of his job and wife that he fakes a kidnapping scheme after he skips work and wrecks his car. DJ Zero scratching the sound of a car screeching to a halt is a stunning lesson to anyone wishing to work the wheels of steel.

“I’m Going Straight to Heaven” again has DJ Zero slinging scratches like a fastball pitcher closing out the ninth inning. Griffin raps through what sounds like a bullhorn microphone. Griffin and his band slow down a bit on “The City Sleeps,” a song about a serial arsonist. There’s more excellent saxophone work throughout it. “Truth Is Out of Style,” Griffin’s first big hit, follows, and DJ Zero’s turntable work is even more impressive on it live. The only blip on the track is when the Austrian recorders cut out a mention of Shirley MacLaine in the lyrics, probably thinking they’d get sued if they didn’t.

The beats on “Killer Inside Me” are killer indeed. MC 900 Foot Jesus raps about a man who pretends to be a simpleton but who is actually a psychopathic killer who strikes after luring his victims into believing he’s harmless. DJ Zero also gets to stretch his scratching muscles more than on the recorded version of the track. He’ll leave you gobsmacked with admiration. “O-Zone” is almost a weird dream with its warped saxophone and droning synths.

The performance ends with “Spaceman,” a suitably trippy song about a bum who gets drunk and high to the point where he sees himself floating away from the Earth. Is he dead? Are aliens kidnapping him? Is he suddenly free of gravity? I don’t know. It’s Griffin’s reality, not ours. Each reality is one’s own truth, and the truth is this live album is worth finding. I got my copy through MC 900 Foot Jesus’ Facebook page, so go there and grab it while you can.

Keep your mind open.

[The updates in your e-mail inbox will be killer if you subscribe.]

Jake Xerxes Fussell – What in the Natural World

One of the nice things about this blog is that it sometimes takes me to music I probably wouldn’t have discovered without it. One such artist is Jake Xerxes Fussell, whose label sent me a press release about his new album – What in the Natural World. The album cover shows a lone man in rowing a canoe on a glass-smooth river while large circular objects loom around and behind him. They could be hills or cogs in a giant machine, but the result is the same. One man rows away from things bearing down on him, preferring to find his own path and his own was to solace.

“Jump for Joy” starts the album and immediately showcases Fussell’s guitar-picking skills. His voice is both relaxed and sharp at the same time as he sings about making it to the pearly gates (“Step right in, give [St.] Pete some skin, and jump for joy.”) and leaving behind a life of toil.

Fussell asks, “Have You Ever Seen Peaches Growing on a Sweet Potato Vine?” I haven’t, but Fussell seems to have knowledge of such a rarity. His guitar is amped up a bit, and the drums by Nathan Bowles will get your toes tapping whle Fussell sings about an illicit affair with a married woman.

Fussell gets back to his theme of escape from burdens and desire on “Pinnacle Mountain Silver Mine.” It’s the story of a miner, one of many, who seeks a treasure rumored to be in a mountain but has never been found. Fussell climbs rocky hills and crosses raging rivers to work the mine, “but its secret I will never know.” It’s a lovely ode to those who work hard all their lives for little, if any, reward in this world.

“Furniture Man” is one of the saddest and yet prettiest songs on the record. Fussell’s guitar work is a crisp as an origami fold on it as he sings about a man being broke and having everything he owns repossessed on a Sunday morning, including items that evoke memories of his dead wife. All he can do is ask the furniture man to take his time so he can hold onto the memories just a bit longer.

“Bells of Rhymney” is a bit funky, actually, with a nice bass walk by Casey Toll and a bit of country swing in Fussell’s guitar. His vocals get agile on “Billy Button,” as he sings about a man happy to be “bound for the happy land of Canaan.”

“Canyoneers” is a tribute to men who live, work, eat, sleep, and die in canyons and the many would only fly over in a tourist trap helicopter ride that costs nothing after you sit through a timeshare sales pitch. “What’s in a man to make him thirst for the kind life he knows is cursed? He’ll die a lonely a river rat foolhardy canyoneer.”

“St. Brendan’s Isle” brings in some Gaelic flavor as Fussell sings about brave sailors facing rough seas and literal demons trying to drag them to Davey Jones’ locker. Holy saints and angels preserve them until they not only meet St. Brendan, but even travel the world on the back of a giant fish in celebration. Could this celebration be one of realization? Are the sailors long dead and actually experiencing the joy of the afterlife? Judging by the prominent themes on What in the Natural World, the answer is probably “Yes.”

“Lowe Bonnie” closes the album. It’s another excellent display of Fussell’s guitar prowess, and his vocals remind me of Warren Zevon’s as he sings about a man slain by his angry lover who instantly regrets the decision to stab him.

Another man leaves behind a world of toil for something he at least hopes is better. The album’s title has no question mark. It’s a statement. There is nothing in the natural world that can compare with what comes beyond it. There is no toil. There is no suffering. There is joy unlike anything here.

Mr. Fussell wants us (and perhaps himself) to remember this, and he’s crafted one of the best records of the year to help us do it.

Keep your mind open.

Live – Ritesh and Rajnish Mishra – University of Notre Dame – April 27, 2017

My wife let me know about a performance of classic Indian music taking place at the University of Notre Dame for free on April 27th. I love classical Indian music, so I was willing to stay up a bit late even though I had to work early Friday morning to catch this show.

The performers were a pair of brothers named Ritesh and Rajnish Mishra. They’re classically trained and singing duets in classical Indian music isn’t easy since you have to harmonize and be able to improvise at any moment. The brothers put on a nice show, and their enthusiasm was contagious as they laughed and cheered not only each other but also their backing musicians.

Tabla player Hindole Majumdar put down great beats and harmonium player Anirban Chakrabarty created a hypnotic drone and bass. The four men performed for almost two hours with only ten minutes intermission. This was also the third time the Mishra brothers had performed at UND, and they certainly deserved a larger audience than the couple dozen of us who were there.

The ragas they performed were spiritual at first and then playful by the end. They also explained the beat structure of each before performing it. I love that about classical Indian music shows. The performers almost always give you a little music composition lesson at the beginning.

It was a nice way to spend the evening, and the lack of sleep was worth it.

L-R: Hindol Majumdar, Ritesh Mishra, Rajnish Mishra, Anirban Chakrabarti

Keep your mind open.

[Don’t forget to subscribe before you go.]

Rewind Review: Fuzz – self-titled (2013)

Not one to rest on his laurels, Ty Segall has more side projects than a street hustler. Fuzz is one of his loudest and best. Along with Roland Cosio (bass) and Charlie Moothart (guitar), Segall (on vocals and drums instead of his usual guitar) and his pals created an album of metal distortion that was hard to match in 2013 and is still hard to match today.

The band is appropriately named, as the opener, “Earthen Gate,” starts like a bluesy heavy metal ballad but transforms into a heavy chugging fuzzed-out battle hymn. “Sleigh Ride” has, as far as I can tell, nothing to do with Christmas and jingle bells, but everything to do with the band’s love of Cream and Black Sabbath. This love of 1960’s metal bands continues on “What’s in My Head?”, in which Fuzz drifts back and forth between psychedelia and stoner metal.

“HazeMaze” hits hard right out of the gate. It’s like the soundtrack to a battle between giant robots. Seriously, someone needs to put this in the next Pacific Rim movie. “Loose Sutures” is excellent stoner metal. It’s full of reverbed vocals, heavy guitars, and pounding drums that sound like Segall decided to skip a day at the gym and made up for it on his kit.

“Preacher” is Cream mixed with Blue Cheer. “Raise” is Cream if Clapton, Bruce, and Baker said, “Screw it, turn up full volume on everything.” when recording (which, actually, I’m sure they did now and then). The rhythm grooves in it are superb. The album ends with “One,” the longest track on the album at just over six minutes (Fuzz doesn’t mess around.). It’s glorious, hard-hitting controlled instrumental chaos. The mosh pit this must induce is probably batshit crazy.

This record would’ve been in my top 10 of 2013 had I been keeping lists back then. They’ve put out a second record by now, II, so I need to seek it out pronto. You should, too. Seek out both. Get fuzzy.

Keep your mind open.

[I don’t know what’s in your head, but updates are in your e-mail inbox if you subscribe to us.]

Elephant Stone – Live at the Verge

Elephant Stone (Rishi Dhir – lead vocals, bass, sitar, Miles Dupire – drums, vocals, Gabriel Lambert – guitar, vocals, Stephen Venkatarangam – keyboards, synths) never disappoint live. I’ve seen them three times in three different settings: A music festival attended by thousands (the main stage Levitation Austin at the Carson Creek Ranch), a mid-sized indoor / outdoor venue with a couple hundred people there (at the Mohawk in downtown Austin), and at a tiny pub with barely anyone there (Howler’s in Pittsburgh). Each show has been good and their first live EP, Live at the Verge, is a nice release that puts me in the mood to see them again.

The EP is five tracks from their latest record, Ship of Fools, starting with “The Devil’s Shelter” and plunging you straight down a rabbit hole of psychedelia. Venkatarangam’s pulsing synths meet Dhir’s echoing vocals and Joy Division-influenced bass while Dupire knocks out a beat so precise that you could knife fight to it.

Dhir breaks out the sitar on “Silence Can Say So Much.” It’s one of the loveliest songs on Ship of Fools, and the recording of it here is outstanding. Lambert plays some stadium-level riffs on “See the Light,” and the rest of the band cooks alongside him. His guitar lifts you into orbit on “Andromeda” and is something out of a groovy 1960’s sci-fi / Euro-spy film you’ve never seen.

The EP ends with “Manipulator,” which sounds even better live than you hope it will. Elephant Stone puts down a serious groove and each launch into the chorus pumps you up more. The bridge will leave you slack-jawed.

The whole EP is impressive, and I hope they release a full-length live album sometime in the future. Whoever recorded Live at the Verge deserves special credit, because it sounds fantastic. It’s only a digital release, so snag it while you can.

Keep your mind open.

[See updates in your inbox when you subscribe.]

Live – The Damned and Bleached – Chicago, IL – April 23, 2017

Spoils of moshing: A Damned 40th anniversary U.S. tour poster, a signed Bleached t-shirt, and a broken watch band.

I’ve wanted to see the Damned for a long while and was bummed that I missed them when they played Chicago’s Riot Fest a couple years ago. Lo and behold, they came to the U.S. again for a 40th anniversary tour, and this time I was able to catch them with Bleached opening for them. That’s a win-win.

I saw Bleached in October of last year in Cleveland. They put on a good show, so I figured they’d be solid again. I did not know that they would be even better in just six months’ time. It was quickly evident (within two songs when they were absolutely gunning on “Trying to Lose Myself Again” from Welcome the Worms) that Bleached has seriously upped their game in just half a year. They powered through many cuts off their excellent new EP Can You Deal? and even one I hadn’t heard before (“Electric Chair”). I was gobsmacked by the end of their set. I caught up with sisters Jennifer and Jessie Clavin at their merch table between the first and second encores of the Damned. I told them their set was a home run and how much they’d improved since Cleveland.

“Being on this tour has been really good for us,” Jennifer Clavin told me. “Playing in front of a lot of people who don’t know us has really made us work on our stage presence.”

“It’s only been six months!” Jessie Clavin said.

“I know,” I said. “That’s what make it more impressive.”

Speaking of impressive, the Damned were just that.

“We’re back from the mists of time,” said lead guitarist Captain Sensible, “to save the world from shitty music like Mumford and Sons!”

The band tore into literal floor-shaking classics like “Generals,” “Disco Man,” and “I Just Can’t Be Happy Today” before a mosh pit finally broke out during “Love Song.” The first of two beers went flying through the air during this. For the record, I’ve been in some wild, fun crowds at the House of Blues. I’ve never seen cups of beer, hats, shoes, and jackets thrown into the air during a show there until I saw the Damned play there.

I stayed in the pit for “Love Song” and “Street of Dreams.” The Damned continued a great set (and Captain Sensible kept decrying Mumford and Sons – as well as Kurt Vile, whom he called a “pillock,” Duran Duran, KISS, and Billy Idol) that included such fine tracks as “Eloise,” “Wait for the Blackout,” and “The History of the World (Part 1).”

Of course, the crowd (and I) went berserk during “Neat Neat Neat” and “New Rose.” Moshing to those punk classics was a dream come true for me. Truth to tell, I wasn’t sure I’d ever hear “Neat Neat Neat” live, so being in the middle of a friendly mosh pit ten feet from David Vanian as he sung it was great.

As I mentioned earlier, they played two encores. The first included “Jet Boy Jet Girl,” sung by the Captain, “Noise Noise Noise,” and “Smash It Up.” The last track especially showed off keyboardist Monty Oxymoron’s skill. The second encore included “Nasty” (the first Damned song I ever heard thanks to them performing it on The Young Ones) and “Antipope.” A guy near me had been yelling for “Antipope” for the last third of the show, so I was happy for him (and all of us) that they played it. He went bananas.

It was a fun show. They haven’t lost anything. Sensible is still a great guitarist and Vanian (“the Vincent Price of rock,” as Capt. Sensible called him) still commands a stage like few can. The Damned are touring extensively throughout the U.S. before they head to Europe. Catch them if you’re near you.

By the way, here’s the list of things I found on the floor during and after the mosh pit: A button labeled “GW,” a spiked bracelet (belonging to a guy in a Misfits jacket behind me), a nickel, an opened (but thankfully unused) condom, a peacock keychain and attached house key (belonging to a young woman I found after the final encore), a hat (owner unknown), and a sweater (owner unknown). A guy next to me in the pit found a cell phone. I don’t know if he ever found the owner.

Keep your mind open.

The New Pornographers – Whiteout Conditions

The New Pornographers (Kathryn Calder – vocals, keyboards, guitar, Neko Case – vocals, John Collins – bass, Todd Fancey – lead guitar, Carl Newman – vocals, guitar, Joe Seiders – drums, vocals, Blaine Thurier – keyboards, synthesizers) hail from Canada, so that might explain the title of their new album – Whiteout Conditions. Such things are frequent there in the winters. I can’t help but think, however, that the title is a tongue-in-cheek reference to the result of the 2016 U.S. Presidential election and the voter base that led to that result. Carl Newman and Neko Case are openly critical of President Trump on their respective Twitter feeds, so it’s not too much of a stretch.

Judging by the bright, uplifting feel of this record, the band assures us that everything will be all right. The opener, “Play Money,” is full of brilliant keyboards even as Ms. Case sings lyrics like “…just when I thought we beat the system, I knew a gentleman of leisure. He loved to talk about his treasure and how he got it for a song.”

The title track is a tale of some depression Newman’s admitted he was feeling at the time he wrote it (Shock at the result of the 2016 election?) “Flying and flat on the ceiling, I’m barely dealing…I wasn’t hoping for a win, I was hoping for freedom,” he sings, disguising the song as a tale of a man who’s sick of his job with pulsing synths and almost New Order beats. The first single, “High Ticket Attractions,” amps up the synths and witty lyrics (“You can’t imagine all the factions that form around high ticket attractions.”) even more, but now they’re backed with solid rock drumming by Seiders.

“This Is the World of the Theatre” pretty much wears its meaning on its sleeve. Like many of the tracks off their last album, Brill Bruisers, it sounds like an ELO track. “Darling Shade” has some of the funkiest bass on the record as Newman and his niece, Calder, sing, “When you give your mind to your voices, you accept the terms of your sentence.” “Second Sleep” is about insomnia (Due to stress?) as Peter Hook-style bass drives the track. “Colosseums” sprinkles in a bit of psychedelia as Newman sings about being overcome by, and warning against the distractions of, grand spectacle (“Colosseums, colosseums of the mind. Right on time, celebration in the ruin. Elation is moving in a wave. I avert my eyes, but I still see the lions.”). I love the percussion on this. It reminds me of Oingo Boingo songs, actually.

“We’ve Been Here Before” doesn’t sprinkle in psychedelia, it lays it on like a sweet strawberry jam. Just listen to those synths and vocals and you’ll hear it. Newman and Case assure us that we’ll get out of these times of “gods of bad parties.”

“Juke” is electro-psych with Newman singing about shattered crystal balls and people diverging on many paths after chaos explodes around them. The much-appreciated dive into psych-rock continues on “Clockwise.” It’s something you wouldn’t be surprised to hear on a Besnard Lakes album. The closer is “Avalanche Alley.” It opens with keyboards reminiscent of Pete Townshend’s “Let My Love Open the Door,” and then breaks into a great clickety-clack beat. I love that they chose to end an album about post-election blues with such a peppy, upbeat track.

As usual, the New Pornographers have crafted a great record. They’ve yet to swing and miss. Whiteout Conditions let us know that everything will be all right. Winter always gives way to spring. Whiteouts always clear sooner or later.

Keep your mind open.

[No whiteouts of blog posts when you subscribe!]

Bleached – Can You Deal?

Coming off their highly acclaimed full-length album Welcome the Worms, Bleached (Jennifer Calvin – guitar and lead vocals, Jessica Calvin – vocals and lead guitar, Micayla Grace – bass and vocals, Nick Pillot – drums) found not only more fame, but also more headaches from a music business dominated by men and, at best, dismissive towards women.

These attitudes, and the current political climate, inspired the four-song EP Can You Deal?. It’s a brilliant title. Can you deal with Bleached carving out a name for themselves in the music industry? Can you deal with them being a rock band instead of a female rock band? Can you deal with them not putting up with sexism or giving a shit about what you think?

The title track is all those questions and more amid shimmering punk-pop and a go-for-broke guitar solo by Jessica Calvin. “Flipside” is a lovely ode to a guy who rolls his eyes at the idea of being in a relationship because he’s too hip for the room. It’s undeniably catchy and, in a proper universe, would launch Bleached to the moon in terms of record sales. Seriously, it’s one of the prettiest singles of 2017.

“Turn to Rage” has Bleached showing off their rock chops (particularly the hammering drums by Pillot) while Jennifer Calvin warns a potential suitor not to fuck with her or he might end up “fishin’ for compliments from the grave.” The rock crunch continues on the final track, “Dear Trouble.” “Poor, Jennifer, I’ll be crazy all my life,” Calvin sings as she yearns for a relationship free of drama.

This is a solid EP and another booming step forward for Bleached on their way to being Next Big Things. They are currently touring with the Damned, so that alone should earn your respect if this EP doesn’t (but it will).

Keep your mind open.

[Catch us in your e-mail inbox when you subscribe to us.]