Elephant Stone have been on tour for seemingly all of 2017, and now they’ve added more tour dates throughout Europe and North America that go into the winter. They’re playing gigs with the likes of the Black Angels, A Place to Bury Strangers, and the Dream Syndicate. Any of these shows would be well worth your time and money. Here are the dates:
Ty Segall is so prolific that I’m surprised it took him until 2015 to release a live album. He seems to put out a new record every month, so it feels like he should have three live albums by now.
The psych-fuzz whiz kid opens his live set with, oddly enough, “Wave Goodbye.” It starts out with low bass and then kicks into squealing high gear that has the small crowd cheering in joy. It sounds like something Tom Petty wishes he could release on his new record, but fears it would alienate his long-time fans. “Slaughterhouse” (from the album of the same name) is pure freak-out punk rock with a little Nirvana vocals sprinkled on top for good measure. “Death” mixes stoner rock with punk so fast it might give your ears friction burns. It’s one of the best cuts on the record.
“I Bought My Eyes” is one of Segall’s biggest hits, and he lets it rip on this live album. The guitars seem to come at you from all sides while Segall’s vocals are somehow gentle in the din. “Feel” borders on arena rock territory at first, but the sleeveless denim jacket riffs cut it off at the front door (which is a good thing).
“The Hill” follows the band’s friend, Julie, telling a joke, and next up is “Thank God for the Sinners,” which sounds like something Buzzcocks cooked up at their second jam session. Segall claims “Standing at the Station” “is about the cow trade.” I don’t know if that’s true, but I do know that it’s a swaggering, wild blues-influenced tidal wave coming out of your speakers.
The album ends with another of Segall’s hits – “What’s Inside Your Heart.” I’m sure the fans at this gig told him how their hearts were full of palpitations from being shaken by so much rock. It’s a strong ending to a strong record.
I know this entire review has essentially been me saying this record is non-stop blaring madness, but that’s the best way I describe it. You’ll understand once you hear it. Ty Segall is making crazy records, and we should all be grateful to him for doing it. The world needs more live records, and live performers, like this.
Keep your mind open.
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TY SEGALL RELEASES NEW “FRIED SHALLOTS” EP VIA BANDCAMP!
ALL PROCEEDS GO DIRECTLY TO THE ACLU
In order to survive this long, hot season of discontent, you gotta have something new to turn up and tune into! It’s vital to chew down on stuff that’s not just all negativity, you know? If you wanna stay positive, throw Ty Segall’s “Fried Shallots” into your brain pan and flame on for a quick snack.
“Fried Shallots” is a handful of numbers from different times and places over the past few years that all work together in a weird way. That’s something we should all be striving for: all working together in a weird way. For Ty, that requires rock with the gears shifting and stripping, tempos and tropes mashing up; a primal outburst, a quick-and-fuzzy soundtrack of rock, folk, r’n’b and pure power pop, to give us a chance to chill and do the new century twist for just a minute. That’s good, for in twist we trust!
“Fried Shallots” isn’t simply just good fun. The profits from this release will be donated to the American Civil Liberties Union, whose defense of our rights is badly needed now – especially in the face of the government pigs who don’t care about the constitution and are determined to thin our herd so that they and their corporate sugar-daddies can grow ever fatter off the deprivations of the common man-clan! Don’t you let ’em do it! Organizations like the ACLU help secure freedoms that allow individuals to stay individual in the face of the choking tides of oppression. Ty Segall’s “Fried Shallots” is here to help us surf those tides and not be swept under.
“Fried Shallots” is available for digital purchase exclusively on Bandcamp and a physical release will follow on August 25th!
“Fried Shallots” EP Tracklist:
1. Big Man
2. Dust
3. When The Gulls Turn To Ravens
4. Is It Real
5. Another Hustle
6. Talkin’Purchase “Fried Shallots” Digitally — https://tysegall.bandcamp.com/album/fried-shallots
Ty Segall & The Freedom Band Tour Dates: 8/2/17 at The Capitol Theater in Olympia , WA, USA 8/3/17 at The Vogue Theatre in Vancouver, British Columbia, Canada 8/5/17- 8/6/17 at Pickathon in Happy Valley, OR, USA 8/17/17 at Pukkelpop Festival in Hasselt, Belgium 8/18/17 at Lowlands Festival in Biddinghuizen, Netherlands 8/19/17 at Festival Paredes de Coura in Paredes de Coura, Portugal 8/20/17 at La Route du Rock Festival in Saint Malo, France 8/23/17 at Den Graa Hal in Copenhagan, Denmark 8/24/17 at Astra Kulturhaus in Berlin, Germany 8/25/17 at Le Cabaret Vert in Charleville Mezieres, France 8/26/17 at Nox Orae Festival in La Tour de Peliz, Switzerland 8/27/17 at Rock En Seine in Paris, France 8/29/17 at Atabal in Biarritz, France 8/30/17 at Le Bikini (Bikini Fest) in Toulouse, France 8/31/17 at Ebrovision Festival in Miranda De Ebro , Spain 9/1/17 at The Coronet in London, United Kingdom 9/2/17 at End Of The Road Festival in Larmer Tree Gardens, Dorset, United Kingdom 10/5/17 at 191 Toole in Tuscon, AZ, USA 10/6/17 at Meow Wolf in Santa Fe, NM, USA 10/7/17 at Summit Music Hall in Denver, CO, USA 10/8/17 at The Fox Theatre in Boulder, CO, USA 10/10/17 at The Bunkhouse Saloon in Las Vegas, NV, USA
I’d heard and read that Blue Cheer (Dick Peterson – bass and vocals, Leigh Stephens – guitar, Paul Whaley – drums) were among the loudest bands of all time. Eric Clapton mentioned this in an interview I read once when he was talking about the psychedelic / stoner rock scene in late 1960’s. Other musicians seemed to whisper about Blue Cheer like speaking too loudly of them might unleash a sonic boom at any moment. So, I figured I should buy their debut album Vincebus Eruptum (which is Latin for “blue cheer,” by the way).
The album opens with what is widely considered to be the first heavy metal song ever released – their cover of “Summertime Blues.” It immediately pours on the distortion and drumming that sounds an army of Orcs is playing it. My favorite part of the cover is how they don’t bother singing the parts when the boss or the congressman in the song speak. They just play a quick bass, drum, or guitar solo instead. “Rock Me Baby” is a blues standard, showing that Blue Cheer could groove as well as blow out your eardrums.
“Doctor Please” is the first track on the album written by Peterson, and it’s almost eight minutes of howling vocals backed by wailing guitar, heavy drums, and angry dog-growl bass. “Out of Focus” almost starts that way with its funky, weird bass groove, but soon Whaley’s drum licks bring everything into a (somewhat fuzzy) focus.
“Parchment Farm” has guitar work that you can hear influenced bands like Earthless, Sleep, Kadavar, and Wolfmother. Stephens melted the first faces in 1968, and some people still haven’t recovered. Listening to “Second Time Around” is like hearing the first cries of Baby Stoner Rock. It’s a wild, bluesy, psychedelic trip with a crazy drum solo from Whaley. The band is allegedly named for a type of LSD, after all.
As wild as it is to hear Vincebus Eruptum now, it must’ve been mind-blowing in 1968. No one had done anything like this before, and many are still trying to do it now. From now on when people ask me, “What should I listen to if I want to get into stoner rock?” I’ll tell them to start with this.
Elmhurt, Illinois’ the Orwells (Grant Binner – bass, Henry Binner – drums, Dominic Corso – guitar, Mario Cuomo – vocals, Matt O’Keefe – guitar) have this neat blend of Chicagoland grit, snotty punk, psychedelia, and Midwestern garage rock that is riff heavy and really catchy. Their newest album, Terrible Human Beings, is a great example of it.
The opener, and first single, “They Put the Body in the Bayou,” is a powerhouse of a tune and one of the best rock singles of 2017. It starts out slow at first, but then bursts out with psychedelic reverb and funky bass. The song is about the pitfalls of the music industry (“All right, make it quick. Good songs make you rich.”) and our culture’s love of sharing others’ misery with our friends (“I came by to see. I just had to know who put the body in the bayou.”).
“Fry” has sizzling guitar throughout it as Cuomo sings about people addiction to television and frying their minds on empty pop culture. “Creatures” depicts us as people “fading, creating, losing all control. Spinning and grinning, looking for a soul. Rollin’ and flowin’, tryin’ to find a role. Before you know it, you’re livin’ in a hole.” A “Vacation” should be a good time, but the Orwells know that often you need a vacation from your vacation.
I’m not sure if “Black Francis” is a takedown on the Pixies’ lead singer, or a what the Orwells think the Pixies (who do seem to be an influence) would think of them: “Have you heard that band? / Yeah, I think they’re shit. / And the way they dress? / Yeah, they think they’re hip. / And the things they say? / Yeah, it’s all a bluff. / And where they’re from? / Yeah, it ain’t that rough. / Black Franky’s got my world in his hands.” It’s really catchy and I’d love to know the story behind it. “M.A.D.” has a nice surf sound to it. The sharp bass of “Buddy” is some of Grant Binner’s best work on the record, and I like how the guitars soar around it at all times. “Hippie Soldier” and “Heavy Head” have great rock hooks throughout them. Both sing about different generations and the faults of each, with “Heavy Head” (a takedown of their own Millennial generation) being the most searing.
The guitars on “Ring Pop” shred as Cuomo sings about things in plain sight being “not quite right.” “Last Call (Go Home)” is a salute to barflies seeking romance. “Double Feature” has Cuomo singing about how he could’ve had any other career than a rock singer, but he “came from the wrong side of the tracks” and was doomed to a rock and roll life. It becomes a wild, cosmic freak-out by the end.
The running theme of Terrible Human Beings is that we are our own worst enemy. We constantly put limits on ourselves or continue behaviors we know are detrimental. We like to point the finger at anyone else, but we forget about all the other fingers pointing back at us. The Orwells’ new album is an examination of conscience, a Zen story, a therapy session, hidden in a smart, sharp rock record.
Keep your mind open.
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Every now and then (okay, more than that), an album slips through the cracks and years go by before I pick it up and wonder, “What took me so long?” Such an album is Magic Potion by the Black Keys (Dan Auerbach – guitar and vocals, Patrick Carney -drums). I’m a big fan of their work (especially the first half of their discography), and Magic Potion has been on my “must buy” list for a long time.
The opening chords of “Just Got to Be” exemplify what I love about the band – chugging guitar, rock drumming that borders on being sloppy, and sweaty blues-style vocals. “Your Touch” is one of their biggest hits thanks to its slick groove and sexy subject matter. “You’re the One” is a bit psychedelic as Auerbach sings a sweet song about his mother teaching him about love and how he later carried those lessons to his girlfriend.
“Just a Little Heat” reveals the band’s love for Led Zeppelin, who also loved the blues. Just listen to the opening licks and tell me they don’t remind you of Zeppelin’s “Heartbreaker.” “Give Your Heart Away” is a great “So long, baby” type of blues song about Auerbach walking away from a woman who treated him like a doormat. “Strange Desire” again brings in some psychedelic guitar work before it becomes a catchy song about dangerous love. “I don’t wanna go to hell, but if I do it’ll be because of you,” Auerbach sings, pulling no punches in the process. “Modern Times” only amplifies the dirty, floor-stomping feel of the record.
“The Flame” has some of Auerbach’s best guitar work on the record as it moves from blues to psych-rock to some Marc Bolan-like riffs. “The times are changin’, and the people need rearrangin’,” Auerbach sings on “Goodbye Babylon” in a sweaty, loud ode to the world of 2006. “Black Door” could be the follow-up to the Rolling Stones’ “Paint It Black,” with Auerbach and Carney painting all of Keith Richards and Charlie Watts’ red doors, as Auerbach unleashes a ton of skronky, reverbed guitar that Richards would enjoy and Carney puts down a wicked beat behind him that Watts would love. The album ends with “Elevator,” a song that has Auerbach getting freaky with several different women in one building. The guitar goes from smooth groove in the verses to wall-flattening in the choruses. It must be deafening live.
Don’t wait a long time to pick up this record. It’s solid from beginning to end. This Magic Potion is probably just what you need right now.
Keep your mind open.
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The Black Angels‘ 2014 EP, Clear Lake Forest, is a fine dose of psychedelia and was a great way to get your summer freak on when it was released that year (and still is).
“Sunday Evening” hits you right away with reverb and the lyric “What if I told you that everything you know isn’t even really true?” Christian Bland’s guitar work on it ranges from skronky to trippy, and the song has probably the hottest tambourine work you’ve heard in a long while.
“Tired Eyes” opens with Stephanie Bailey’s always-dependable thunderous drumming and soon spins into a wild track with lead singer Alex Maas and Christian Bland sharing the vocals about someone who seems tired of living in illusion. I may be wrong. The song is so groovy that it seems to pour incense smoke from your speakers, so I may be hallucinating any meaning I’ve assigned to it.
“Diamond Eyes” is downright lovely. Maas’ reverberated vocals, Bland’s spaghetti western guitar, Jake Garcia’s soothing rhythm guitar, Kyle Hunt’s soaring synths, and Bailey’s military-precision beats all gel to become one of the Black Angels’ best tracks.
“The Flop” was the first single off Clear Lake Forest, and it’s easy to understand why. Hunt’s keyboards sound like he’s streaming them from the Doors’ “Soul Kitchen” outtakes. Bailey’s drums hit so hard they may take your lunch money. The bridge plunges you straight down the rabbit hole and doesn’t let you out. “An Occurrence at 4507 South Third Street” is the Black Angels’ second “address” song (the first being “Haunting at 1300 McKinley” from Phosphene Dream). It has a bit of a honky-tonk feel to it (thanks to the snappy beat) and I can’t help but wonder if it’s about another haunting or a murder or suicide that led to the haunting. “The Executioner” is certainly about death (a common theme on Black Angels records). Maas’ lyrics are the clearest on this track (before the freak-out of a bridge, at least). It’s an interesting twist. Maas wants you to know that sin may feel good, but death waits so you’d better get things straight before you meet it.
The closer, “Linda’s Gone,” follows the life of a woman who wants and seeks something beyond her boring life and even the boredom of the illusion around her (and all of us, really). It has all the stuff you like from the Black Angels: tribal drumming, metaphysical lyrics, trance-inducing synths, spacey vocals, and guitar licks that seem to fold in on themselves and then back out into different shapes.
Clear Lake Forest was a solid EP and a great follow-up to their full-length album, Indigo Meadow. Treat yourself to it.
Keep your mind open.
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Damaged Bug is another side project of Oh Seesfounder John Dwyer. He’s put out a few solo albums (2014’s Hubba Bubba and 2015’s Cold Hot Plumbs) under this moniker by now, and his latest, Bunker Funk, is another solid effort.
The opening din of “Bog Dash” is like an alarm clock waking you up from a great dream in your fourth REM cycle of the night. The guitars sound like someone played them while drunk and stumbling up a stairway, and the drumbeat is crisp as fresh popcorn. The tune, as you can expect from Dwyer, heads straight into psychedelia and “The Cryptologist” follows this path. Dwyer’s lyrics are almost a whispered chant luring us into some dark tomb or hidden city.
“Slay the Priest” is full of throbbing synths mixed with clanging percussion while Dwyer sings about (I think) ritual combat between him and a druid. “Ugly Gamma” reminds me of Flaming Lips tracks with its weird synthesizer sounds and creepy vocals. It’s one of the coolest tracks on the record. I have no idea what a “jummy” is in “Rick’s Jummy.” I don’t even know if “jummy” is a noun or adjective. I do know that the song is a nice, trippy piece of psychedelia. “Our love keeps us alive, everyone else has died,” Dwyer sings. I suppose he’s right, in the grand scheme of things.
“Gimme Tamanthum” is another weird, chant-like track with soaring guitar chords throughout it. “No One Notice the Fly” has a great flute riff throughout it that makes it sound like a 1970’s action TV show theme. The album’s title track is equally funky, especially in the drumbeats and cymbal crashes. “Mood Slime” almost sounds like a warped record as Dwyer sings about a garden spider and a lovely woman who might be leaving him. “Liquid Desert” is appropriately weird for its title and blends rock drums with keyboards that sound like Gary Wilson played them while in a bad mood. “Unmanned Scanner” is the closest Dwyer comes to replicating his work with Thee Oh Sees, as it’s full of loud, jangly, almost chaotic guitars. “The Night Shopper” sends the album out on a mellow note, complete with a long fade out of silence.
This is an intriguing, weird, and trippy record, but you’d expect no less from Mr. Dwyer. I suppose you could funk out to it in a bunker, but I wouldn’t if you were locked in there for a long time. It might freak you out too much.
Keep your mind open.
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The 2017 Desert Daze music festival in Joshua Tree, California is boasting one of the best festival lineups of 2017. This four-day festival of psychedelic and stoner rock is well worth the trip if you don’t live close to the west coast.
OH SEES SHARE “ANIMATED VIOLENCE” OFF UPCOMING ALBUM ORC
CASTLE FACE AUCTIONS OFF HAND-PAINTED TEST PRESSINGS FOR DOWNTOWN WOMEN’S CENTER
ORC OUT AUGUST 25TH ON CASTLE FACE
Today, Oh Sees share one of their heaviest songs yet, the punishing “Animated Violence.” It comes to us off their forthcoming album (their 19th album is 20 years!), Orc, out 8/25 on Castle Face.
Also, Castle Face has listed 14 Dwyer-hand-painted test pressings for auction on eBay, with all the proceeds going to the Downtown Women’s Center in Los Angeles. Castle Face’s co-captain Matt Jones:
We here at Castle Face are committed to making positive change in our community, and the homelessness epidemic in downtown Los Angeles is a tragic and complex issue. Homeless women in particular are an especially vulnerable population and we are happy to help out in any way that we can to assist in permanent solutions for them and our community. This auction features test pressings of the last smattering of John Dwyer’s projects with the label – Coachwhips, Oh Sees, and Damaged Bug are all represented – and feature one of a kind artwork on the jackets by the man himself, rendered in black and glow in the dark ink. BID ON HAND-PAINTED TEST PRESSINGS http://ebay.to/2uOB6Ik
Finally, the band has announced a second show at Warsaw in Brooklyn. Don’t miss to see the greatest live band of the decade as it enters its third decade of existence! LYRICS TO “ANIMATED VIOLENCE”
OLD IS WARRIOR
DRINK THE POISON
I AM WARRIOR
CRUSH YOUR HEAD IN
WHO IS AT THE DOOR
BLASTING LIFE AWAY?
I AM WARRIOR
FEAST ON FAMILY
WHY IS WARRIOR
SWINGING BLUDGEON?
HOW DOES WARRIOR
SWALLOW DYNASTY?
AND WOE IS WARRIOR
CRACKING ARMOR
SWOLLEN BELLY UP
ON DISMAL VISTA
OH SEES TOUR DATES Sat. July 22 – Sun. July 23 – Los Angeles, CA @ FYF Sun. Aug. 6 – Katowice, PL @ OFF Festival Tue. Aug. 8 – Hamburg, DE @ Molotow Thu. Aug. 10 – Oslo, NO @ Oya Festival Fri. Aug. 11 – Gothenburg, DW @ Way Out West Festival Sat. Aug. 12 – Copenhagen, DK @ Pumpehuset Fri. Aug. 18 – Saint Malo, FR @ La Route du Rock Sat. Aug. 19 – Brecon Beacons, UK @ Green Man Festival Fri. Sept. 1 – Phoenix, AZ @ The Crescent Ballroom Sat. Sept. 2 – Albuquerque, NM @ Sister Bar Mon. Sept. 4 – Austin, TX @ Hotel Vegas Outside Tue. Sept. 5 – New Orleans, LA @ One Eyed Jack’s Wed. Sept. 6 – Atlanta, GA @ Variety Playhouse Fri. Sept. 8 – Philadelphia, PA @ Trocadero Theater Sa. Sept. 9 – Brooklyn, NY @ Warsaw Sun. Sept. 10 – Brooklyn, NY @ Warsaw Wed. Sept. 13 – Cambridge, MA @ The Sinclair Thu. Sept. 14 – Montreal, QC @ La Tulipe I Le National Fri. Sept. 15 – Toronto, ON @ Danforth Theater Sat. Sept. 16 – Cleveland, OH @ Beachland Ballroom Sun. Sept. 17 – Chicago, IL @ Thalia Hall Tue. Sept. 19 – Milwaukee, WI @ Turner Hall Fri. Sept. 22 – Missoula, MT @ Monk’s Sat. Sept. 23 – Seattle, WA @ Neumo’s Sun. Sept. 24 – Vancouver, BC @ Commodore Ballroom Mon. Sept. 25 – Portland, OR @ Crystal Ballroom Wed. Sept. 27 – San Francisco, CA @ Great American Music Hall Thur. Sept. 28 – San Francisco, CA @ Great American Music Hall
