Review: Dry Cleaning – New Long Leg

British post-bunkers Dry Cleaning have a way of combining angular, jagged, rollicking chords, riffs, and drum fills with spoken word vocals that is difficult to describe and even more difficult for anyone to attempt to emulate. Front woman Florence Shaw is one of the wittiest and most enigmatic lyricists out there right now, and her bandmates (Nick Buxton – drums, Tom Dowse – guitar, and Lewis Maynard – bass) are wild craftsmen in their own right. Their first full-length album, New Long Leg, is a cool record that’s a little tighter than their previous EPs, made so by having plenty of time to tweak tracks and explore new sounds thanks to the COVID-19 pandemic cancelling their 2020 tour, but no less intriguing.

Maynard’s bass is something the Delta 5 would love on the opening track, “Scratchcard Lanyard,” while Shaw tells us, “It’s okay, I just need to be weird and hide for a bit and eat an old sandwich from my bag.” Haven’t we all felt like that at some point since March 2020? “Unsmart Lady” starts with a wild cacophony and then settles into a solid rock groove from Dowse that reminds me of good Foreigner tracks. Shaw also lets you know how to find a girlfriend: “If you like a girl, be nice. It’s not rocket science.”

My favorite lyric of Shaw’s on “Strong Feelings” is “That seems like a lot of garlic.” It comes out of nowhere among Buxton’s tight, yet slippery beats. “Leafy” seems to be about a break-up with Shaw singing about cleaning out a house (“What about all the uneaten sausages?”) while her bandmates seem to be playing a different song in another room. This is the kind of song Dry Cleaning does so well. Shaw seems to be doing her own thing while Buxton, Dowse, and Maynard are jamming on their own, but both elements somehow perfectly combine.

It will be a crime if Dry Cleaning doesn’t produce merchandise that reads “More espresso, less depresso.” – a great lyric from the jangly, yet smooth “Her Hippo.” The title track, with its stabbing guitar riffs, has Shaw musing over the idea of going on a cruise while she’s stuck at home due to every travel plan getting cancelled last year. “If you’re an Aries, then I’m an Aries,” Shaw says, perhaps flirtatiously, on “John Wick” – which has nothing to do with an Uber-assassin and more to do with old men griping about things that don’t matter. Dowse’s guitar on it is almost the sound of these men bitching about Antiques Roadshow and the trash truck running late.

Shaw’s vocals sound slightly electronic / robotic on “More Big Birds,” almost turning her into a computer voice. It’s a slight touch, but instantly intriguing. I’d love to know the story behind “ALC” because it starts with Shaw telling someone, “You can’t just come into my garden in your football kit and start asking questions about who lives here. Who’s asking?”

The closer, “Every Day Carry,” is a wild, psychedelic trip that has Dowse, Maynard, and Buxton playing a cool psych-jazz / post-punk blend in a dark club in the back of a former clock factory while Shaw sings / speaks about topics ranging from chocolate chips cookies and imminent domain construction to cab drivers and geese. There’s a great breakdown about halfway through when the band dissolves into a noise rock jam and then kicks back into gear with swirling sounds and Shaw’s voice and lyrics being the eye of their hurricane. It ends like a power outage.

New Long Leg is setting the bar high for other post-punk bands (or any other genre, really) to follow in 2021. Dry Cleaning’s forced vacation did wonders for their creative energy and focus, and for our ears.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Review: Open Hand – Weirdo

Ten years in the making, Open Hand‘s newest album, Weirdo, has plenty of appropriately weird stuff, psychedelic fuzz, vintage synths, and seriously cool chops. The album opens with someone saying, “I’ve got a message for you, and you’re not going to like it.” Okay, Open Hand. You have my attention.

“The People’s Temple” has guitarist / vocalists Justin Isham encouraging us to leave because he’s feeling much better. It’s an interesting suggestion after a decade, and even more so as Isham sings that he’s considering running away from something (Stardom? A relationship? People in general?). It’s difficult to take him too seriously, however, because the opening track bumps and jams with funky keys by Kyle Hammond and damn funky drumming by Gil Sharone.

Mike Longworth‘s rapid bass chords open the danceable “It Takes Me,” which reminds me of the dance-funk stylings of !!!. Isham and Ryan Castanga‘s guitars shimmer on the fuzz-heavy “Again?”, showing off the band’s deftness at switching from dance-funk to shoegaze and doing both genres well. They go back to dance-funk on “Like I Do,” and Hammond gets another chance to strut his stuff with formidable synth bleeps, bloops, and beats.

“Return” (with guest drums from Mike Levine and guest vocals from Lisa Loeb) is a neat, spacey track, and “In My Way” gets us firmly back into shoegaze territory, reminding one of Hum and Failure cuts. Sharone puts down some of his fiercest beats on the track. Seriously, some of his fills will knock you back in your chair. Isham, Longworth, and Castanga crank up the fuzz on “I Think So,” and it mixes well with Sharone’s rocket fuel drums and Hammond’s sunshine synths.

“Loved,” with guest co-vocals from Brittany Snow, has a bit of a prog-rock feel to it that changes things up a bit. Bill Gaal takes over on bass on “Chances,” and proceeds to get his money’s worth by thudding us with glorious fuzz and low end as the rest of Open Hand unleash a track that Josh Homme would envy. “Draw the Line” ends the album with some space rock and, I think, samples from the weird John Carpenter horror film, The Prince of Darkness.

I don’t know why Open Hand took a decade off from releasing new material, but I’m glad they’re back in 2021. Everyone needs good music nowadays, and stuff as good as Weirdo is more than welcome.

Keep your mind open.

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Review: Holy Monitor – Southern Lights

Hailing from Athens, Greece, Holy Monitor (Alex Bolpasis – bass, Dimitris Doumouliakas – drums, Stefanos Mitsis – guitar, Vangelis Mitsis – keyboards, and George Nikas – vocals and guitar) combines psych-rock, kraut rock, stoner rock, space rock, and even ambient music on their new album Southern Lights.

Opening track “River” has fuzzy guitars, psychedelic organ chords, and heavy drums telling a lovely tale of the night sky reflected in moving waters. “Naked in the Rain” has a great 1960s garage-psych groove to it as Holy Monitor calls for us to “shine on” through tough times.

“Blue Whale” is a tale of a mystical creature or woman (perhaps one and the same) that exists in the mind of Nikas. The title track lays on the reverb, both on the guitars and the vocals, creating a hypnotizing brew. “The Sky Is Falling Down” seems to be a reaction to a large portion of the world going for each other’s throats in the middle of a pandemic (“It sounds like madness, but I know you’re feeling lonely. It sounds like madness, but we’re falling in a state of slumber.”). The song starts chaotic, then drifts into a neat dream-space before it fades out…and then rockets forth again with some of Doumouliakas’ biggest cymbal crashes and Vangelis Mitsis’ heaviest synth-stabs.

“Hourglass” is a nice, synth-based, instrumental palate cleanser before the heavy psych of “Ocean Trail” (with Stefanos Mitsis and Nikas upping the fuzz on their guitars even more). The album ends with another water-themed track, “Under the Sea.” It’s a nice slice of cosmic rock that, like “The Sky Is Falling Down,” talks about the COVID-19 pandemic, but with hope instead of concern. “One summer night, a stranger approached me, like people did before they got sick. He touched my hand and told me his story. I always had a curiosity,” Nikas sings. We all dream of returning to times when we could at least have the chance to engage in a meaningful conversation with a stranger.

We all dream of drifting away and leaving COVID-19 behind us, and albums like Southern Lights make the waiting easier.

Keep your mind open.

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[Thanks to Stratos Psilos.]

Review: Bantha Rider – Binary Sunset Massacre

I’m not sure if you’re aware of this, but Star Wars-themed stoner / cosmic metal is a thing. I don’t know how much of a thing it is, but apparently it’s a thing in Warsaw, Poland – home of Bantha Rider. The name lets you know that the members envision themselves as Tusken Raiders on the desolate desert wastes of Tattooine. Their newest album, Binary Sunset Massacre, is as fierce as the album’s cover and subjects appear.

The title track is a brief instrumental introduction (the album is entirely instrumentals) that unleashes the power of “De Wanna Wanga” (a phrase known to Star Wars: Return of the Jedi fans) like a horde of charging Sand People attacking a surprised Storm Trooper outpost near the Sarlac pit. The bass alone on “The Gammorean” (the horned “boar-men” of Star Wars) hits as heavy as an axe sharpened on the bones of its enemies.

The guitar solo on “Boonta Eve” is positively cosmic, and the song starts with what sounds like spacecraft revving up for travel. “Sagittarius” is also pure cosmic rock. “Rancor’s Delight” starts with sounds of the massive beast’s footfalls and roar before it erupts into heavy, heavy riffs that channel the sense of dread Luke Skywalker felt upon being dropped into a pit containing the monster.

I love the way the bass and drums seem to stumble around a bit at the beginning of “March of the Banthas.” Banthas are huge, horned, furry beasts who take their time across the desert, and the song takes its time with chugging riffs and hefty beats. The album ends with “Pazuzu” – a psychedelic trip enshrouded in dark mystery (it is named after the Mesopotamian king of demons, after all) that lasts over thirteen head-trippy minutes.

It’s a wild ride, and enjoyable for Star Wars and stoner metal fans. It’s a win-win if you like both.

Keep your mind open.

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Review: Slift – Ummon

There are times when YouTube’s algorithms make a good call. Ummon, the latest album from Slift, is a good example for me. I kept seeing this record and live performances by the Toulouse, France cosmic rockers in lists of suggested videos. I finally gave Ummon a listen several months after it was released and was about knocked over by how damn heavy it is. The cover image of a naked man dragging a massive sword across what looks like a hot asteroid sums up the heft of this album pretty well.

The title track opens the record with guitars and drums sounding like ancient warriors taking armor off racks and strapping it on before charging over a drawbridge to repel invading ogres…on Titan. The lyrics about an army emerging from the Earth’s core (“Set the controls for the Earth’s surface. From the night we have waited. Bring the fire to your sleeping brothers.”). How much more metal can you get? “It’s Coming…” is a bright, shining epic tale of a white city in heavens that rushes to greet us. Is it a song about death? Probably, but it’s lets us know that death is a cosmic journey we will all find fascinating…and loud and crazy if the song’s end is any indication.

“Thousand Helmets of Gold” has Slift leaving the Earth for better times in space (“We’ve left this world of violence. Stars aren’t that far at all.”), propelled there by the power of rock riffs. What lies there in space? Well, according to “Citadel on a Satellite,” it’s a “calm and serene vista of wonders” where “time signifies nothing.” I can’t argue with that, or with the psychedelic guitar solo that weaves throughout the song. The way it softly drifts out and then slaps you awake with “Hyperion” is stunning. The song is about either an ancient warrior or an elder god – or both – and epic enough for either.

“Altitude Lake” is a psychedelic tale of a warrior seeking a mystic sword in a forsaken land of mist and mystery. The track moves back and forth between hypnotic jams and epic shredding. “Sonar” is a cool instrumental suitable for your next video game session or late night drag race with a UFO. “Dark Was Space, Cold Were the Stars” is a tale of death told by a groovy bass line, spacey synths, lock-tight drumming, and booster rocket guitars. “Aurore aux Confins” (“Dawn at the Edge”) is another wild, trippy instrumental that sounds like a laser refracted through a lava lamp.

“Son Dông’s Cavern” is a short, trippy affair that leads into the Oh Sees-like “Lions, Tigers and Bears,” which clocks in at thirteen minutes and eighteen seconds – and it’s worth every moment of that running time with its massive riffs, guttural vocals, and wild drums as they sing about a cosmic race of lion-pulled chariots across the cosmos to usher in a glorious age throughout the universe.

Ummon is an impressive piece of work, and one of those albums that makes you say, “How are three people putting out this much sound?” I don’t know the answer. My guess is that they tapped into some sort of cosmic energy well while meditating in a cave full of ancient crystals placed there by aliens. You’ll understand this when you hear it.

Keep your mind open.

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Review: King Gizzard and the Lizard Wizard – Live in San Francisco ’16

Recorded barely a month after King Gizzard and the Lizard Wizard released their breakthrough album, Nonagon Infinity, Live in San Francisco ’16 chronicles the band playing a small club before they would soon be filling large concert halls and curating their own music festival. The power of a KGATLW show is on full display, and it’s great to hear them still with a raw edge and eager to promote Nonagon Infinity to the world.

A good chunk of Nonagon Infinity is here for us, including the opener “Robot Stop,” which is a pleaser to the eager, appreciative crowd. KGATLW come out like a flame thrower unleashed on an audience made up of hungry fire elementals. “Hot Water,” with its happy flute solos, keeps everyone bouncing. There’s barely time to breathe by the time we get to “Big Fig Wasp,” which has great double-teaming of guitars and drums that must’ve blown the audience’s minds as good as it sounds on this.

As wild as that is, “Gamma Knife” is somehow crazier – launching the show, audience, and venue like a cannonball across the California salt flats. There’s a brief pause as they build into “People Vultures” to let the audience cheer and hydrate for a moment before thunder rolls over them.

By the time lead singer Stu MacKenzie asks, “What’s goin’ on?” before “Trapdoor,” I imagine some of the answers he got included, “I can’t feel my face!” and “I feel like I’ve run a marathon!” “Trapdoor” slows things down a bit, but not by much as its groove is made for dancing. The double-shot of “I’m in Your Mind” and “I’m Not in Your Mind” makes for a wild trip. “Cellophane” moves back and forth between psychedelic grooves and flat-out punk rock screams. Everyone agrees that “I’m in Your Mind Fuzz” pretty much sums up how the audience feels by this point – fuzzed-out and tripping. Someone in the audience has lost their glasses by this point, but thankfully the band finds and returns them to the owner.

“Yeah! Fuck yeah!” a woman yells at the beginning of “The River.” I agree with her, as it’s a great live rendition of the happy psychedelic tune that last almost eleven minutes. The song drifts into space now and then, leaving the audience thinking the song is over before coming back to further hypnotize them. They follow it with “Evil Death Roll” to kick out the jams once again and blast the paint off the back walls. They close the show with over twenty-two minutes of “Head On Pill,” which lulls the audience into premature cheering multiple times as it winds across a desert dune like a sidewinder that’s just eaten a psychedelic mushroom.

It’s one of the best of multiple live albums KGATLW have put out in the last couple years, and a great addition to any collection of psych-rock or live music.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 10 – 6

We’ve reached the “David Letterman” moment – the top 10 albums of records I’ve reviewed in the last five years. Shall we begin?

#10: Priests – The Seduction of Kansas (2019)

This post-punk album is as sharp as a straight razor and as sexy as a femme fatale wielding that razor. Priests call out toxic masculinity, the changed political climate that arose from the Trump administration, and rich elitism with a mixture of snark, shredding, and, yes, seduction. Priests amicably split up after this. I hope they’ll put out new material someday, but they went out on a high note if not.

#9: The Besnard Lakes – A Coliseum Complex Museum (2016)

Easily the lushest album on this list, A Coliseum Complex Museum is full of soaring psychedelic riffs and vocals and songs about hope, strength, and the cosmos. It’s an uplifting record that preceded four years in which most people were trying to put each other down. It reminded us that we’re better than that, and always have the potential to move ourselves and others forward.

#8: Automatic – Signal (2020)

Good heavens, this is a stunning debut of post-punk and synthwave gems. Automatic threw down a gauntlet with this record after slapping all of us across the face with it – and looking fabulous while doing it. Signal arrives sounding like these three women have been making albums together for a decade and is perfect for dance floors, bedroom romps, and action scenes filmed in neon-lit nightclubs.

#7: A Tribe Called Quest – We Got It from Here…Thank You 4 Your Service (2016)

The final album with A Tribe Called Quest made with founding member Phife Dawg before his death, We Got It from Here…Thank You 4 Your Service is a powerful record that reminded the world of many things: ATCQ still had the hip-hop chops that many still envied, Phife was an amazing MC, and that hip-hop (and music in general) can be a powerful tool of change and resistance.

#6: King Gizzard and the Lizard Wizard – Nonagon Infinity (2016)

King Gizzard and the Lizard Wizard could’ve appeared multiple times on my top 40 list due to their prolific output alone, but Nonagon Infinity was the surefire winner of everything they released in the last five years. The album is masterfully engineered as one long track that, when looped, plays infinitely without any noticeable bumps. This was the album that propelled them to massive popularity and is a wild ride from never-beginning start to never-ending finish.

What albums made the top five? Post-punk makes another appearance, as does more doom metal, powerful rock, electro, and an album by a legend.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 15 – 11

We’re more than halfway through this list now, and we have a welcome comeback album, a live album, an improvised album, a double album, and an EP. What are they? Read on to find out.

#15: Yardsss – Cultus (2020)

You could almost call this an EP, since it’s only three tracks, but two of those tracks are each over twenty minutes long. Cultus is the improvised album I mentioned. It’s a stunning soundscape of shoegaze, psychedelia, synthwave, and jazz that the band created out of thin air with no plan at all. It’s a testament to their talent and an amazing listen.

#14: LCD Soundsystem – American Dream (2017)

Here we have the welcome comeback. LCD Soundsystem returned after a hiatus to bring all of us the dance punk we desperately needed as the country was beginning to tear at each other’s throats in fear and ignorance. Tracks like “Emotional Haircut” skewered hipsters and “Call the Police” addressed xenophobia – all the while making us dance.

#13: Windhand – Levitation Sessions (2020)

My wife and I watched a few live-streamed concerts in 2020, and all of them were good. This one, however, was the only one to give me chills. Windhand always brings power and spooky vibes to their brand of doom metal, and the Reverb Appreciation Society’s sound gurus did a great job of capturing Windhand’s wizardry in this live session. The hairs on my arm stood during “Forest Clouds.” I wanted to run through the streets yelling, “Wear a damn mask and wash your hands!” to everyone in sight to increase the likelihood we could all see Windhand live again soon.

#12: Thee Oh Sees – Facestabber (2019)

It was a bit difficult to choose which Oh Sees record to include in my top 40 list, because they put out a lot of material during the last five years – especially in 2020 when John Dwyer and his crew had nothing else to do but make more music and released multiple albums, EPs, and singles. The double-album of Face Stabber, however, was the album that I kept coming back to and giving to friends as a 2019 Christmas gift. It blends psychedelia with Zappa-like jazzy jams (with the stunning twenty-plus-minute “Henchlock” taking up one side of the double album) and took their music to a different level, which was pretty high already.

#11: WALL – (self-titled EP) (2016)

Holy cow. This post-punk EP from Brooklyn’s WALL burst onto the scene like Kool-Aid Man hitting a brick wall keeping him separated from kids dying of dehydration. “Cuban Cigars” was played all over England’s BBC 6 Music (where I first heard it) and they were the talk of SXSW and the east coast’s post-punk scene. They put together an untitled full album after this, but broke up before it was released. Fortunately, the lead singer and the guitarist went on to form Public Practice. This EP, however, relit my passion for post-punk into a three-alarm fire.

The top 10 begins tomorrow. It includes more post-punk, a rap album, Canadian psychedelia, and an Australian album that never ends.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 20 – 16

We’re halfway through the list, and the decision of what to include gets tougher with each post. This one includes two shoegaze surprises and a legend.

#20: Cosmonauts – A-OK! (2016)

I don’t remember where I first heard Cosmonauts, but I do remember being floored by the sound of this record. The sunny, southern California shoegaze riffs and power these lads put out was nothing short of stunning. The themes of boredom, lost love and youth, and growing tired of hipsters were deftly handled and backed with a trippy sound that’s not easy to make.

#19: Hum – Inlet (2020)

Easily the best surprise of 2020, these Chicagoland shoegaze giants dropped Inlet on an unsuspecting, but wildly grateful, public and immediately became the talk of the music industry – again. It proved that they never lost anything – chops, power, influence, mystery. Let’s hope they get to tour in 2021, because they deserve sell-out shows.

#18: All Them Witches – Sleeping Through the War (2017)

Speaking of power, All Them Witches are brimming with it, and this album was like chugging psychedelic tea mixed with Red Bull. At times blistering with fury and other times a bluesy, swampy mind trip, Sleeping Through the War deals with disconnection, celebrity worship, invasive technology, and, as always with ATW, mysticism.

#17: The Duke Spirit – Kin (2016)

Kin was another surprise release. It wasn’t a surprise that The Duke Spirit put out a new record. The surprise was that, instead of their heavy, sexy, blues-influenced rock, the band put out one of the best shoegaze records of 2016. They metamorphosed like a caterpillar and emerged into something new that somehow thrilled me more than they already had done.

#16: Gary Numan – Savage (Songs from a Broken World) (2017)

The legend I mentioned at the beginning of this post? It’s Gary Numan, and Savage (Songs from a Broken World) was a great return for him. This album brims with power as hard as the post-apocalyptic landscape portrayed on the cover and in the lyrics. Numan wasn’t messing around (nor does he ever) with this record, tackling climate change, fascism, mania, despair, and dread with massive synth riffs, knock-down drums, and pure force. I was lucky to catch him at the Chicago stop on this tour and it was one of the best shows I’d seen in a while.

Next up we have dance-punk, live doom metal, stunning psychedelic jams, an EP from a band that broke up just as they were becoming popular, and an improvised instrumental record.

Keep your mind open.

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Top 40 albums of 2016 – 2020: #’s 25 – 21

This latest batch of my top albums of the last five years includes a lot of excellent shoegaze and psych-rock. Which made the cut? Read on…

#25: Slowdive – (self-titled) (2017)

Slowdive returned with this gorgeous shoegaze record sounding like they never took a twenty-two-year pause. It’s lush, luxurious, and sometimes loud, and it reminded everyone how much they missed the band and how much everyone needed a warm hug.

#24: Moon Duo – Stars Are the Light (2019)

The cover of Stars Are the Light sums up the album pretty well – psychedelic disco from another planet. It was a welcome return for Moon Duo and a bit of a surprise direction for them, but one much needed and appreciated as we were about to get walloped with a pandemic. This record would become a respite from COVID blues whenever you needed it.

#23: A Place to Bury Strangers – Pinned (2018)

Pinned is the first APTBS album featuring Lia Braswell on drums and backing (and sometimes lead) vocals, and the energy she brings to the band is palpable from the outset. The band somehow gains even more power than they had before and takes on a new sound that bodes well for future endeavors.

#22: Frankie and the Witch Fingers – Monsters Eating People Eating Monsters… (2020)

This double album is chock full of epic riffs, psychedelic freak-outs, and jaw-dropping grooves. It sounds like they went into the studio and unloaded every frustration and desire they’ve had since 2016. It blends Stooges‘ power with Zappa jams, Thin Lizzy funk, and Oh Sees trips.

#21: Here Lies Man – You Will Know Nothing (2018)

I discovered Here Lies Man with this album after their label sent it to me with the question, “What if Black Sabbath played Afrobeat?” You have my attention. HLM‘s second record knocked me out of my shoes, and I immediately began telling everyone about them. The Afrobeat rhythms combined with fuzzy bass, synths, and guitars were intoxicating and thrilling. Add to that the band’s philosophy that every album is meant to be thought of as a film / story, and it’s a film you’ll want on 4K Blu-Ray to play through your giant home entertainment system to the annoyance (or love) of your neighbors.

As we reach the top 20 albums of the last five years, we’ll see more shoegaze and psychedelia and the return of a legend.

Keep your mind open.

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