The Stooges, who would become known for their fierce punk garage rock, could’ve been one of the greatest psychedelic rock bands of all time if they had chosen to go down that road.
Take the opening track (“1969”) of their debut album, for example. It’s loaded with psych-fuzz guitar from Ron Asheton that sounds like he just walked in from San Francisco instead of Detroit, and Iggy Pop‘s vocals are almost spoken word poetry rambled from a dingy coffee house. “I Wanna Be Your Dog” almost induces bad acid trip panic.
The third track, “We Will Fall,” is over ten minutes of floating down a lazy river while monks wearing saffron-colored robes chant and play hand percussion instruments along the banks. “No Fun” brings back the grungy fuzz with Dave Alexander‘s distorted bass leading the romp. “Real Cool Time” has Asheton jamming like a damn sawmill of sound tearing through your house.
Pop’s vocals on “Ann” blend right into Asheton’s guitar squalls while Alexander and Scott Asheton lay down a hypnotic rhythm to further trip you out of your headspace. “Not Right” has Pop feeling frisky, but his lady friend isn’t “feeling right,” so he’s stuck again frustrated, and then even more so when she’s finally in the mood and he isn’t. “It’s always this way,” he moans while the rest of the Stooges proceed to melt our faces. The album closes with “Little Doll” and its swirling, scratchy, savage guitars fading the album, and us, into oblivion.
Everyone knows how important The Stooges are to music, but their debut album is a forgotten psychedelic rock classic.
The news regarding Doctor Explosion’s first release after an extensive recording break was made over the Summer with the announcement of their forthcoming album Superioridad Moral. Now, a new single off the album, along with the tour dates coinciding with the record’s release, is the latest update from the garage maniac sons of Asturias!
January 10th, 2016, was the passing date of David Bowie. For some people, it’s a day when they remember where they were upon learning the news. Superioridad Moral’sthird single, “El Día Que David Bowie Murió” has Jorge Explosion recalling that day seven years later with the below quote.
January 10, 2016 – Circo Perrotti Studios, Gijón (ES) “David Bowie died a few hours ago, and three musicians decided to express their surprise and admiration. Thus was born “The Day David Bowie Died,” an ode to artistic immortality. In an improvised session full of sound savagery and Pop spontaneity, Doctor Explosión reflect on their own daily insignificance in the face of death with their atypical and personal Garage de Autor. Fuzz’s raging guitars and delicious vocal harmonies combine in this energetic hit that is already playing across the Atlantic, at number three of Bill Kelly’s Top 10 for Little Steven’s Underground Garage.”. – (Jorge Explosion: 2022)
“
El Día Que David Bowie Murió” is the latest single premiering off Superioridad Moral with videos for “Insatisfacción” and “Vestir De Mujer” already available and charting on Spotify.
With a new album, the band sports a new look. Expanding from their traditional trio into a quartet, the band is anchored by Jorge Explosion (vocals/guitar), César Crespo (guitar), and ex-Cooper players Conrado Martin (drums) and Dani Montero (bass). Six years in the making, Superioridad Moralis the first offering by Doctor Explosion since 2010’s Hablaban Con Frases Hechas. Writing and recording began at Jorge’s Estudios Circo Perrotti in Gijón, where Jorge has produced groups such as The Jackets, The Fleshtones, Messer Chups, Holly Golightly, and many others. For mastering, Jorge enlists the assistance of notable Abbey Road mastering engineer Frank Arkwright whose production credits include New Order, The Smiths, Joy Division, Oasis, and Arcade Fire, among others.
Superioridad Moral will be available on vinyl, CD, and all digital platforms on November 4th via Slovenly Recordings. Pre-orders for each format can be found here.
Superioridad Moral Tracklisting
1. “Insatisfacción” 2. “Vestir De Mujer” 3. “El Día Que David Bowie Murió” 4. “La Gente No Sabe Gastar” 5. “Grises” 6. “Apego Evitativo” 7. “La Polilla” 8. “Acidez” 9. “Mi Lista De Cosas Que Hacer” 10.”Paleto (They Call Me Country)”
For the last 9 years, Porto-based band Solar Corona have been carving their name in the psychedelic rock scene of Southern Europe. Now, they turn their minimal rock into an expansive, ever-churning psychedelic voyage with their newest offering, ‘PACE’, set for release on November 11th on Porto-based record label Lovers and Lollypops.
Along with the announcement today, the band share six-minute juggernaut ‘Parker SP’, where bouncing bass mingles with propelling drums and meandering spaced-out guitars. A relentlessly grooving trip of a track. The band comment: “A satellite lost grooving amidst light sparks and space debris. Parker S.P. is our take on a fly-by boogie and the first glimpse into the world of psychedelia that makes up PACE, our new album.”
The band’s fifth release, ‘PACE’, shifts gears with Lorr No (Nuno Loureiro) hitching a ride as a dubmechanic, pulling in the sound of Solar Corona’s core trio—Rodrigo Carvalho (Guitar/synths), Peter Carvalho (drums) and José Roberto Gomes (bass)—into an off-road expanse. The stripped-back songwriting reaches a new directness and power through its simplicity.
The raw ideas of each track were jammed out in Alpendurada, a town deep in the Douro Valley. After a two-year distillation process the riffs and sonic materials have reached a concentration not unlike the alchemical moonshine native to Solar Corona’s Portuguese North. Simple principles and steadfast mechanics become channeled into perennial journeys where speed & pace remain distinct.
Each track celebrates a specific element in its own way. The introductory ‘Heavy Metal Salts’ establishes the pulsing impulse of ‘PACE’, with sparkling electroacoustic details bringing a lysergic dose to the climactic structure. The title-track ‘Pace’ mellows out Solar Corona’s soundscape, and stands out as a space-mantra without riffs, solos, or the need to headbang. Guitar-led tracks such as ‘Thrust’ and ‘AU’ return to the in-the-red rock-n-roll that is a constant pulse in the veins of the band, before being injected by their new, more ethereal, sonic. ‘Alpendurada’ closes the album in epic proportions as the band weaves in and out of knob-twisting psychedelia and instantly earwormed guitar melodies anchored by a propulsive bass.
Solar Corona’s last two releases, ‘Lightning One’ & ‘Saint-Jean-De-Luz’ (released together in 2019), were as a four-piece with Julius Gabriel’s electroacoustic sax brought along for the journey. Gabriel’s departure from the band in 2020, left a seat open for Lorr No (Fugly, Favela Discos) to bring his own patterned twist to the band’s progressive stonerism. Solar Corona’s ‘PACE’ takes its listener on different and ambitious journey.
‘PACE’ track list: 1. HEAVY METAL SALTS 2. PACE 3. THRUST 4. AU 5. PARKER SP 6. ALPENDURADA
It was the end of the first leg of Earthless‘ U.S. tour, and it turned out to be guitarist Isaiah Mitchell‘s birthday. It also turned out to be another stunning performance by them.
My friend and I go to the venue too late to see the first opening band, Ancient Days, but we did catch The Heavy Company (otherwise known as THC) play a blues-infused rock set that impressed the enthusiastic crowd.
The Heavy Company
Earthless played for a little over an hour, and that set was three songs. If you’re new to Earthless, you need to know that two of those songs were over twenty minutes long, and the third was nearly fifteen minutes long. They don’t skimp anything during a show. They give all every time. I yelled, “I can’t feel my face.” after the end of the second track.
L-R: Isaiah Mitchell, Mario Rubalcaba, Mike Eginton
It’s difficult to describe how much heavy power they unleash. I was reminded during their performance of an analogy my wife heard once about a full jar. Take a large, earthenware jar and fill it with rocks. Is the jar full? No. It may seem like it is, but you could fill the space between the rocks with water. Full now? No, because you could slowly add sand to the jar to absorb the water and take up all the remaining space. Now the jar is so heavy you’d need Hulk-like strength to lift it.
Now change the venue to a music venue that holds about 200 people and change the rocks to Isaiah Mitchell’s bass riffs, the water to Mario Rubalcaba’s drum fills, and the sand to Mike Eginton’s heavy bass riffs and you’ll get the idea.
Today, Australia’s prolific atom-splitting polymaths King Gizzard & The Lizard Wizard exceed even the most hyperbolic projections and announce the upcoming release of THREE new albums, all set for flight during the month of October via their own KGLW label. The first to drop will be the Ice, Death, Planets, Lungs, Mushrooms And Lava, out October 7th. Following that will be Laminated Denim,dropping somewhat unconventionally on October 12th, a Wednesday. Finally, on October 28th the band will release Changes, their 5th album of the year. Additionally, they have shared a video for one of the songs off the first of this album triumvirat, “Ice V.” This will all be happening during the height of Gizz’s North American Takeover, as the band traverses across the continent playing their largest venues yet, including three shows at Red Rocks Amphitheater (2 of which are sold out) and New York’s Forest Hills Stadium (where Dylan went electric, no less). As a special treat to those who come and see the band live at some of their biggest shows, limited stock of Ice, Death, Planets, Lungs, Mushrooms And Lava will be available at their Greek Theater show in Berkeley, copies of Laminated Denim will be available at Red Rocks, and Changes can be obtained at the Orpheum in New Orleans. Additionally, bundles of all three albums can be pre-ordered here.
Things move fast in the Gizzverse, and before Stu Mackenzie and his bandmates had even completed work on their recent mammoth double album Omnium Gatherum, they’d started sketching out this next record. Their Omnium Gatherum single “The Dripping Tap” had begun life as a handful of ideas and riffs that had arisen at pre-pandemic soundchecks and demos recorded through lockdown. For this new album, however, the group wouldn’t be bringing in any pre-written songs or ideas; instead, they planned to cook up all the music together in the studio, on the spot. “All we had prepared as we walked into the studio were these seven song titles,” says Mackenzie. “I have a list on my phone of hundreds of possible song titles. I’ll never use most of them, but they’re words and phrases I feel could be digested into King Gizzard-world.” Mackenzie selected seven titles from his list that he felt “had a vibe,” and then attached a beats-per-minute value to each one. Each song would also follow one of the seven modes of the major scale: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.
Over seven days, the group recorded hours and hours of jams, dedicating a day to each mode and BPM. “Naturally, each day’s jams had a different flavor, because each day was in a different scale and a different BPM,” Mackenzie says. “We’d walk into the studio, set everything up, get a rough tempo going and just jam. No preconceived ideas at all, no concepts, no songs. We’d jam for maybe 45 minutes, and then all swap instruments and start again.” The group ended each day with four-to-five hours of new jams in the can. Mackenzie auditioned those jams after the sessions were done, stitching them together into the songs that feature on the 21st studio album by King Gizzard & The Lizard Wizard, Ice, Death, Planets, Lungs, Mushrooms And Lava (the initials of the title, IDPLMAL, spell out a mnemonic for the modes). Having assembled full working instrumentals from these jams, Mackenzie and his bandmates began overdubbing flute, organ, percussion and extra guitar over the top. The lyrics, meanwhile, were a group effort. “We had an editable Google Sheet that we were all working on,” says Mackenzie. “Most of the guys in the band wrote a lot of the lyrics, and it was my job to arrange it all and piece it together.”
The result of this radical, experimental creative process is one of the densest, most unpredictable statements from a band whose work always rockets in from unexpected angles accompanied by a wealth of subtext and theorems. But you don’t even need even a passing understanding of those Ancient Greek musical modes to appreciate this adventurous new music.
TRACKLISTING 1. Mycelium (7:36) 2. Ice V (10:16) 3. Magma (9:07) 4. Lava (6:41) 5. Hell’s Itch (13:28) 6. Iron Lung (9:05) 7. Gliese 710 (7:49)
“Laminated Denim is an anagram of Made In Timeland” – Stu Mackenzie
TRACKLISTING 1. The Land Before Timeland (15:00) 2. Hypertension (15:00)
For half a decade, the sextet has been haunted by one elusive conceptual project that had bested their every attempt (of which there had been several). They first conceived the album back in 2017, a busy year for the group. Within a mere twelve months, they recorded and released five albums of new material, but the band had intended to see out the year with a different album. That album was called Changes, and it’s finally arriving now. “I think of Changes as a song-cycle,” says band-member Stu Mackenzie. “Every song is built around this one chord progression – every track is like a variation on a theme. But I don’t know if we had the musical vocabulary yet to complete the idea at that time. We recorded some of it then, including the version of “Exploding Suns” that’s on the finished album. But when the sessions were over, it just never felt done. It was like this idea that was in our heads, but we just couldn’t reach. We just didn’t know yet how to do what we wanted to do.”
The group abandoned Changes and instead prepared the beguiling Gumboot Soup(the last of five albums the band released in 2017), and were then quickly ensnared by about eight other outlandish ideas that sent them in infinite new directions. But the concept of Changes did not go gently into that good night. “We really have been tinkering with it since then,” Mackenzie adds.
“It’s not necessarily our most complex record, but every little piece and each sound you hear has been thought about a lot,” Mackenzie adds. Indeed, the album has gestated over a fitfully inventive five years. Originally imagined as the group’s fifth album of 2017, it has ended up the fifth album King Gizzard will release in 2022. Coincidences like this, Mackenzie says, wake up the latent numerologist within him. But the album has taught him that projects operate to their own schedules and are ready when they’re ready.
Good things come to those who wait, and the magnificent Changes is worth every one of the 2,628,000 minutes King Gizzard & The Lizard Wizard invested in it. Soaked in the warm sonics of 70s R’n’B and guided by simple chord-changes that contain multitudes and rounding out another remarkable year for the group, Changes is a luminous, soft-pop marvel. Come lose yourself in its slow-cooked brilliance.
TRACKLISTING 1. Change (13:04) 2. Hate Dancin’ (3:16) 3. Astroturf (7:34) 4. No Body (3:42) 5. Gondii (4:57) 6. Exploding Suns (4:41) 7. Short Change (2:51)
TOUR DATES Fri. Sept. 30 – Perris, CA @ Desert Daze 2022 Sun. Oct. 2 – Berkeley, CA @ Greek Theatre * SOLD OUT Tue. Oct. 4 – Portland, OR @ Roseland Theater * SOLD OUT Wed. Oct. 5 – Vancouver, BC @ PNE Forum * Thu. Oct. 6 – Seattle, WA @ Paramount Theatre * SOLD OUT Mon. Oct. 10 – Morrison, CO @ Red Rocks Amphitheatre * SOLD OUT Tue. Oct. 11 – Morrison, CO @ Red Rocks Amphitheatre * SOLD OUT Fri. Oct. 14 – St Paul, MN @ The Palace Theatre * SOLD OUT Sat. Oct. 15 – Chicago, IL @ RADIUS * SOLD OUT Sun. Oct. 16 – Detroit, MI @ Masonic Temple * Tue. Oct. 18 – Toronto, ON @ History * SOLD OUT Wed. Oct. 19 – Montreal, QC @ L’Olympia * SOLD OUT Fri. Oct. 21 – Forest Hills, NY @ Forest Hills Stadium % Sat. Oct. 22 – Philadelphia, PA @ Franklin Music Hall * SOLD OUT Sun. Oct. 23 – Washington, DC @ The Anthem * SOLD OUT Mon. Oct. 24 – Asheville, NC @ Rabbit Rabbit * SOLD OUT Wed. Oct. 26 – Atlanta, GA @ The Eastern * SOLD OUT Thu. Oct. 27 – New Orleans, LA @ Orpheum Theater * Fri. Oct. 28 – Austin, TX @ Levitation – Stubb’s * Sat. Oct. 29 – Austin, TX @ Levitation – Stubb’s $ Mon. Oct. 31 – Oklahoma City, OK @ The Criterion # Wed. Nov. 2nd – Morrison, CO @ Red Rocks Amphitheatre # Thu. Dec. 29 – Tauranga, NZ @ Wharepai Domain Sat. Dec. 31 – Wanaka, NZ @ Rhythm & Alps Wed. Jan. 4 – Auckland, NZ @ The Matakana Country Park Thu. Apr. 6 – Byron Bay, AUS @ Byron Bay Bluesfest Fri. Apr. 7 – Byron Bay, AUS @ Byron Bay Bluesfest Sat. Apr. 8 – Byron Bay, AUS @ Byron Bay Bluesfest Sun. Apr. 9 – Byron Bay, AUS @ Byron Bay Bluesfest Mon. Apr. 10 – Byron Bay, AUS @ Byron Bay Bluesfest
* w/ Leah Senior % w/ black midi, Leah Senior $ w/ Tropical Fuck Storm, The Murlocs # w/ The Murlocs, Leah Senior
Just in time for its thirteenth anniversary, A Place to Bury Strangers will release a deluxe two-disc reissue of their excellent album Exploding Head on October 21, 2022.
The original album is fully remastered and will be available on limited edition transparent vinyl 2LP, transparent red 1LP and deluxe 2CD. The 2LP version is available exclusively via A Place To Bury Strangers merch stores and features second disc of rarities and remixes.
Watch the new video for previously unreleased ‘Take It All’ here:
The band will also be touring Spain and Asia this November!
Austin trio Rickshaw Billie’s Burger Patrol share the official video for the single “Heel” from their forthcoming album Doom Wop today via Revolver Magazine. Watch and share the fun-loving chaos HERE. (Direct YouTube.)
Invisible Oranges recently launched lead single “Shoo In” HERE. (Direct Bandcamp.)
RBBP kick off tour dates supporting King Buffalo in late September, followed by headlining shows across the US in October. Please see current dates below.
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, “Doom Wop” is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record. “Doom Wop” will be available everywhere September 23rd.
Doom Wop will be available on CD and download on September 23rd, 2022. Vinyl LP release date TBD. Pre-orders are available HERE.
Death Valley Girls‘ third album has an interesting title – Darkness Rains. It’s not“Darkness Reigns,” as you might think if someone told you the name of the album. After all, DVG are known to be explorers of oddities, the unexplained, and things the prowl in shadows, but they chose “Rains” instead. Does it convey an image of environmental disaster, a heavy thunderstorm overpowering a bright summer sky, or impending death?
My guess is on the last one, as the album starts with the hard-hitting “More Dead” and flows right into the heavy fuzz of “(One Less Thing) Before I Die.” The latter reminds me that I need to keep de-cluttering my house and the trend of “Swedish death cleaning” that grows more popular each year. Why burden ourselves and our descendants with our crap? Why live a life unfulfilled? If you’ve seen DVG live or had the pleasure of meeting them, you’d know they were living in a way that would produce no regrets. They encourage us to do the same before darkness rains upon us, like we know it will but try to forget that it will.
“Disaster (Is What We’re After)” is great Stooges-style skronk meant to shake things up wherever you are, and “Unzip Your Forehead” is 60’s horror-psychedelia that makes me imagine Frankenstein’s monster opening the stitches on his square head and literally opening his mind. “Wear Black” could be the dress code for a DVG show. It also has these cool organ chords throughout it that make it hypnotizing (as does Larry Schemel‘s echoing guitar work).
“Abre Camino” is one of DVG’s biggest hits, and often the opener for their live sets. Each listen seems to unveil more layers you hadn’t heard before then, much like finding a book with strange scribbles and arcane symbols that reveal power messages to you after falling asleep. Laura Harris‘ drums hit hard on “Born Again and Again,” driving you to a near panic at one point. “Street Justice” is almost a punk rager with some of Bonnie Bloomgarden‘s most frantic vocals.
“Occupation: Ghost Writer” makes me want to write at least a short story based on the title. It has a dreamy quality to it, like a spirit floating around you while writing a blog post. “We’ll be together, somewhere forever,” they sing on “TV in Jail on Mars” – another song title that deserves an entire short story. The vocals repeat and echo like a trippy mantra or a broadcast from the red planet sent by things living deep within the canals there. It’s the sound of darkness raining down in a slow shower rather than a pounding torrent.
Darkness rains all over this record, but there are moments of sunlight that peek through the clouds to remind us that what lies beyond the veil is something we can’t comprehend, but shouldn’t fear.
Los Angeles-based project Drugdealer officially announce their forthcoming album Hiding In Plain Sight, due on October 28th via Mexican Summer. The album features Tim Presley (White Fence), Kate Bollinger, Bambina, Sasha Winn, Sean Nicholas Savage, Video Age, and John Carroll Kirby amongst others.
Alongside the announcement, Drugdealer shares new single “Someoneto Love“ along with a video directed by James Manson and Drugdealer’s own Michael Collins. The new track marks their second musical offering of the year following the June single “Madison.” Led by frontman and primary songwriter Michael Collins, Drugdealer expands on their 1960s and 70s-inspired sonics with the new single while the visuals see Collins on a night drive through the city and dancing around a neon-lit club as he performs the track.
Speaking about the new song, Collins says:
“‘Someone to Love’ came out of an impromptu extended jam that my band and I developed show by show on the last full US tour. Then when we got home and I started working on this new stuff I realized it was one of the best moments of us naturally playing. I turned it into a fully fleshed out song about wanting to be truly loved unconditionally, and pretty instantly became my favorite thing I had written and pretty much still sits there. The recorded version is really boosted by contributing performances from John Carroll Kirby and Video Age, who help give this track a unique feel. It definitely breaks out of a certain sound or form that I have been using in this project, and went more faithfully into a real soul tribute that I never thought I’d be able to represent as a lead vocalist.”
Drugdealer are set to embark upon a US tour, tickets on sales this Friday at noon local time. Support from Reverend Baron, aka Danny Garcia.
10/31 – The Chapel – San Francisco, CA 11/2 – Sacramento, CA – Harlow’s 11/4 – The Aladdin – Portland, OR 11/5 – The Crocodile – Seattle, WA 11/6 – Vancouver, BC – The Fox 11/9 – Marquis Theatre – Denver, CO 11/11 – UW Madison – Madison, WI 11/12 – Thalia Hall – Chicago, IL 11/13 – The Magic Bag – Detroit, MI 11/15 – Horseshoe Tavern – Toronto, ON 11/16 – Theatre Fairmount – Montreal, QC 11/17 – Crystal Ballroom – Boston, MA 11/18 – Columbus Theatre – Providence, RI 11/19 – Bowery Ballroom – New York, NY 11/21 – Underground Arts – Philadelphia, PA 11/23 – Union Stage – Washington, D.C. 11/25 – MotorCo Theatre – Durham, NC 11/26 – Aisle 5 – Atlanta, GA 11/27 – Third Man Records – Nashville, TN 11/28 – Hi Tone Café – Memphis, TN 11/30 – Tulips – Fort Worth, TX 12/2 – Far Out Lounge – Austin, TX 12/6 – Soda Bar – San Diego, CA 12/9 – Lodge Room – Los Angeles, CA
It had been two months to the day that I’d seen Death Valley Girls live, and that was at the Levitation France festival in Angers. They had recently returned from a tour of Europe and the United Kingdom and were now approaching the halfway point of a U.S. tour that would wrap up with appearances at this year’s Psycho Music Festival and Levitation Austin. They played The Empty Bottle with local garage-psych rockers Waltzer and Detroit 60s psych-pop trio Shadow Show.
Waltzer played a fun, solid rock set with a band who, if I heard the lead singer, Sophie, correctly had only been playing together for a short time and was made of members of many other cool Chicago bands. You wouldn’t have guessed they haven’t been together long, because everyone was in synch and had the audience moving. “They sound like Caroline Rose fronting L7, but with more psychedelia,” I thought at one point during their set.
Sophie of Waltzer
I was happy to hear from Shadow Show that they’re working on a new album, and equally delighted to hear their lovely psych-pop covered in lots of groovy fuzz in a live setting. They hadn’t played in Chicago since before the pandemic, so they were glad to be back on the road and playing a fun set. Afterward, I was stunned to learn that the father of bassist Kate Derringer was one of the driving forces behind the 7th Level music club I attended in Ft. Wayne, Indiana back in my high school days – and the inspiration for the name of this blog. Her father had seen my review of Shadow Show’s Silhouettes and asked her, “Who’s this guy who knows about the Level?” She’d read the review and was now just as floored to meet me in a weird “small world” moment.
Shadow Show (L-R: Ava East, Kerrigan Pearce, Kate Derringer)
Death Valley Girls came out and immediately got started with guitarist Larry Schemel and drummer Rikki Styxx creating a witch’s brew of beats and fuzz while lead singer / guitarist / keyboardist Bonnie Bloomgarden and bassist Sammy Westervelt shared a pre-set hug / meditation…and Ms. Westervelt rocked shoes that would make KISS envious.
Bonnie Bloomgarden (left) in Chuck Taylors, Sammy Westervelt (right) in shoes she might’ve stolen from Boots Collins or the David Bowie estate.
The creepy sounds soon transformed in “Abre Camino,” which only seems to get heavier every time I hear it live. They flowed right into “Street Justice” and stomped the gas pedal to the floor after that. Bonnie Bloomgarden was going into near-trances when she’d play keyboards by the time they got to “Disco.” New song “Magic Powers,” with Sammy Wetervelt on lead vocals, sounds better every time I hear it. Bloomgarden was prowling through and hugging many in the crowd as she sang “Disaster (Is What We’re After),” and they came back from the bottom of the stage stairs to play “Seis Seis Seis” as a sort-of encore.
They also hung out and chatted with anyone who wanted to chat after the show. Larry Schemel told me that this is the first tour in a long while for them for which they’ve been able to hand-pick their opening bands, so seeing them live right now gives you an insight into bands they also love.
Keep your mind open.
Death Valley Girls putting together spell components.
