RVG – the Melbourne post-punk band of lyricist/frontwoman Romy Vager, guitarist Rueben Bloxham, drummer Marc Nolte, and bassist Isabele Wallace –share new single “Squid” from their forthcoming album Brain Worms, out June 2nd on Fire Records. Following lead single “Nothing Really Changes,” which debuted in the top 3 of the Published Top 10 singles chart at specialty radio in the U.S., “Squid” powers through the walls of realism and out the other side, imagining what might happen if we were to go back in time, step on something, and … become a squid. “I didn’t intend to be // Some hideous turquoise thing // Some hideous third thing,” Vager sings, bringing an earnestness and desperation so real that feelings suddenly cut through the song’s absurdity.
All throughout Brain Worms, it’s apparent that RVG is in very fine form. Named for the recognizable experience of each day bearing witness to a world of private obsessions being aired out in the infinite, Brain Worms may not be wholly new territory for the Melbourne post-punk band, but this time around, there’s a newfound radical acceptance glistening overtop everything. Recorded in London at Snap Studios with James Trevascus (Billy Nomates, Nick Cave & Warren Ellis, The Goon Sax), all ten Brain Worms tracks surge with lush sounds and clear intentions. RVG have moved past their influences, pushed themselves, and tried new things. And they made a record they can call their best.
After a momentous first five years — finding critical acclaim for their 2017 debut A Quality of Mercy, landing on countless end-of-year Best Of lists, and playing alongside some of the world’s biggest acts — RVG released their second album Feral as the world was locking down in 2020. Feral was hailed by Rolling Stone Australia as “the record of a lifetime,” but between the four bandmates, Brain Worms is the most confident they’ve ever felt in RVG. “If we could only make one more album, it would be this one,” says Vager.
Today, Detroit post-punk band Protomartyr announce their new album, Formal Growth In The Desert, out June 2nd on Domino, and present its lead single/video, “Make Way.” Additionally, they announce 2023 North American and EU tour dates. Composed of vocalist Joe Casey, guitarist Greg Ahee, drummer Alex Leonard, and bassist Scott Davidson, Protomartyr have become synonymous with caustic, impressionistic assemblages of politics and poetry, the literal and oblique. Casey describes the underlying theme of Formal Growth In The Desert as a 12-song testament to “getting on with life,” even when it feels impossibly hard.
The moody lead single/video, “Make Way,” doubles as Formal Growth In The Desert’s opening track, with Casey beginning the record by facing tragedy head-on: “Welcome to the haunted earth // The living after life // Where we chose to forget // the years of the Hungry Knife.” The accompanying video, directed by Trevor Naud, is a striking cinematic feat. Of the video, Naud says: “There’s a deliberate through-line between the videos for ‘Make Way’ and 2020’s ‘Worm In Heaven.’ The two songs feel partnered with each other, so I wanted the videos to feel like they exist in the same world. There are layers of experiments happening–all within a closed environment. We don’t know what’s happened to the world outside, but there’s an undertone that things maybe aren’t quite right.”
Since their 2012 debut, No Passion All Technique, Protomartyr have mastered the art of evoking place: the grinding Midwest humility of their hometown, as well as the x-rayed elucidation of America that comes with their vantage. Though Casey did have a humbling experience staring at awe-inspiring Sonoran rock formations and reckoning with his own smallness in the scheme of things, the group’s sixth album is not necessarily a nod to the sandy expanses of the Southwest. Formal Growth In The Desert, recorded at Sonic Ranch in Tornillo, Texas, proves Detroit, too, is like a desert. “The desert is more of a metaphor or symbol” Casey says, “of emotional deserts, or a place or time that seems to lack life.”
On Formal Growth In The Desert, the desert brings an existential awareness that is ultimately internal. The “growth”came from a period of colossal transition for Casey, including the death of his mother, who struggled with Alzheimer’s for a decade and a half. Now 45, Casey had lived in the family home in northwest Detroit all his life. Immortalized in Protomartyr’s essential SPIN cover story, the neighborhood informed many of Protomartyr’s acclaimed albums, serving as a base through the band’s growth from scrappy punks to ones capable of touring the globe or bringing in the Breeder’s Kelley Deal as a touring member in 2020. In 2021, though, a rash of repeated break-ins signaled that it was time to finally move out.
Protomartyr’s music — more spacious and dynamic than ever — helped pull Casey up. “The band still being viable was very important to me,” Casey adds, “and it definitely lifted my spirits.” Having long served as Protomartyr’s unofficial musical director, guitarist Greg Ahee co-produced Formal Growth In The Desert alongside Jake Aron (Snail Mail, L’Rain). Ahee knew what Casey was going through and the challenges he’d been processing, and as Ahee was conceptualizing the music, he thought about how to make it all “like a narrative film.” Ahee explains, “I started to write at home on a piano and on a keyboard and then play along to short films, and watch how you can affect and heighten moods as you play.” The filmic sensibility is manifest in Casey’s storytelling, too, whether he’s critiquing ominous techno-capitalism or processing aging, the future, and the possibility of love.
In some sense, Formal Growth In The Desert is a testament to conflicting realities — the inevitability of loss, the necessity of finding joy through it and persisting — that come with living longer and continuing to create. It begins with pain but endures through it, cracking itself open into a gently-sweeping torrent of sound that is, for Protomartyr, totally new.
PROTOMARTYR TOUR DATES (new dates in bold) Sat. Mar. 11 – Columbus, OH @ Soupfest Sun. Mar. 12 – Chattanooga, TN @ JJ’s Bohemia Mon. Mar. 13 – New Orleans, LA @ Gasa Gasa Wed. Mar. 15 – Austin, TX @ SXSW- Laneway Official Showcase – Lucille Thu. Mar. 16 – Austin, TX @ SXSW – Levitation Showcase – Hotel Vegas Thu. Mar. 16 – Austin, TX @ SXSW – Brooklyn Vegan Showcase – Empire Fri. Mar. 17 – Austin, TX @ SXSW – Third Man Showcase – 13th Floor Sat. Mar. 18 – Dallas, TX @ Texas Theater Mon. Mar. 20 – Phoenix, AZ @ Rebel Tue. Mar. 21 – San Diego, CA @ Casbah Wed. Mar. 22 – Los Angeles, CA @ Teragram Fri. Mar. 24 – Bakersfield, CA @ Temblor Brewing Sat. Mar. 25 – Reno, NV @ Holland Project Sun. Mar. 26 – Boise, ID @ Treefort Tue. Mar. 28 – Denver, CO @ Hi-Dive Wed. Mar. 29 – Omaha, NE @ Slowdown Thu. Mar. 30 – Davenport, IA @ Raccoon Motel Fri. Mar. 31 – Grand Rapids, MI @ Pyramid Scheme Tue. June 13 – Toronto, ON @ Horseshoe Tavern Wed. June 14 – Montreal, QC @ Fairmount Fri. June 16 – New York, NY @ Bowery Ballroom Sat. June 17 – Philadelphia, PA @ Johnny Brenda’s Tue. June 20 – Washington, DC @ Black Cat Wed. June 21 – Carrboro, NC @ Cat’s Cradle Thu. June 22 – Atlanta, GA @ Terminal West Fri. June 23 – Nashville, TN @ Blue Room Sat. June 24 – St. Louis, MO @ Off Broadway Mon. June 26 – Oklahoma City, OK @ 89th Street Tue. June 28 – Tucson, AZ @ 191 Toole Wed. June 29 – Santa Ana, CA @ Constellation Room Sat. July 1 – San Francisco, CA @ The Chapel Sun. July 2 – Santa Cruz, CA @ Moe’s Alley Wed. July 5 – Portland, OR @ Wonder Ballroom Thu. July 6 – Vancouver, BC @ Cobalt Fri. July 7 – Seattle, WA @ Crocodile Sat. July 8 – Spokane, WA @ Lucky You Tue. July 11 – St. Paul, MN @ Turf Club Wed. July 12 – Madison, WI @ High Noon Thu. July 13 – Chicago, IL @ Thalia Hall Sun. Aug. 6 – Frankfurt, DE @ Zoom Mon. Aug. 7 – Amsterdam, NL @ Paradiso Wed. Aug. 9 – Brighton, UK @ Concorde 2 Thu. Aug. 10 – Nottingham, UK @ Rescue Rooms Fri. Aug. 11 – Cardiff, UK @ Clwb lfor Bach Sat. Aug. 12 – Leeds, UK @ Brudenell Social Club Mon. Aug. 14 – Eindhoven, NL @ Effenaar Tue. Aug. 15 – Hannover, DE @ Indiego Glocksee Thu. Aug. 17 – Copenhagen, DK @ Loppen Fri. Aug. 18 – Bodo, NO @ Parkenfestivalen Sat. Aug. 19 – Trondheim, NE @ Pstereo Thu. Oct. 26 – London, UK @ Electric Ballroom
Mandy, Indiana “excel at making an impression” (FADER). Today, the Manchester-bred quartet announce their debut album, i’ve seen a way, out May 19th on Fire Talk Records. Recorded in caves, crypts and shopping malls, i’ve seen a way is everything at once: an exquisitely rendered debut, expertly twisting genre to channel the chaos of everyday life. Mandy, Indiana draw on a broad sonic palette of experimental noise and industrial electronics, with frontwoman Valentine Caulfield’s lyrics of fury and fairytales completing the band’s soundworld.
Lead single “Pinking Shears” is all rude swagger and rhythms that strut on metal legs, with Caulfield expressing (in her native French) frustration at the state of the world. She runs through the myriad of inequalities, everyday aggressions, and grievances that plague our existence in late stage capitalism.
Mandy, Indiana thrive in the unexpected, and their live sets have become a vehicle to explore the boundaries of tension and release. The accompanying “Pinking Shears” video, recorded in Manchester, captures their thrilling live performance. The band will make their long-awaited US live debut at SXSW.
Mandy, Indiana’s music is made from their place within the world, having formed out of the fertile Manchester scene and arriving fully-realized. The group initially came to fruition after Caulfield and guitarist/producer Scott Fair met sharing a bill with their former projects. Joined by Simon Catling (synth) and Alex Macdougall (drums), Mandy, Indiana have generated a sound that is once chaotic and precisely tuned. The “Berghain-ready” (them) early single “Injury Detail” was released to a wealth of critical praise from the likes of FADER (deeming the track a “Song You Need”), Stereogum (previously naming Mandy one of 2021’s “Best New Bands”) and Pitchfork, who hailed: “Mandy, Indiana have mastered the sound of mechanized violence.”
Their first recordings emerged around 2019, with a smattering of early singles released not long after, culminating in 2021’s acclaimed “…” EP, released via Fire Talk, which saw the band draw early cosigns including a Daniel Avery remix and support slots from Squid and Gilla Band. The latter’s Daniel Fox mixed several of the tracks on i’ve seen a way, alongside Robin Stewart of Giant Swan. Produced by the band’s own Fair, the album was mastered by indie stalwart Heba Kadry.
Unlikely off-site recording locations with novel acoustics were crucial to achieving i’ve seen a way’s unique sound, from recording screaming vocals in a Bristol mall to live drums in a West Country cave — the latter’s session cut short by literal spelunkers. Other sessions happened in Gothic crypts, where Mandy, Indiana’s physical bass frequencies and experiments with volume competed with underground roadworks in upsetting a yoga class above. i’ve seen a way is a manifesto for these moments of openness and disruption.
i’ve seen a way manipulates chance recording operations into percussive geometries, one where gnarled guitars sit in thickets of distortion and vocals spin knots of lyrical repetitions. Fair explains, “We wanted to alter textures, create clashes, and craft those moments when what you’re expecting to happen never comes.”
i’ve seen a way Tracklist 1. Love Theme (4K VHS) 2. Drag [Crashed] 3. Pinking Shears 4. Injury Detail 5. Mosaick 6. The Driving Rain (18) 7. 2 Stripe 8. Iron Maiden 9. Peach Fuzz 10. (ノ>ω<)ノ :。・:*:・゚’★,。・:*:♪・゚’☆ (Crystal Aura Redux) 11. Sensitivity Training
Mandy, Indiana Tour Dates Wed. Mar. 1 – Manchester, UK @ Soup Wed. Mar. 15 – Sun. Mar. 19 – Austin, TX @ SXSW Mon. May 22 – Utrecht, NL @ Freaky Dancing Fri. June 16 – Mannheim, DE @ Maifeld Derby Sat. July 8 – Trencin, SK @ Pohoda Sat. July 22 – Standon, UK @ Standon Calling Sat. Aug. 5 – Katowice, PL @ OFF Fri. Oct. 27 – Manchester, UK @ The White Hotel * Sat. Oct. 28 – Glasgow, UK @ Hug & Print * Sun. Oct. 29 – Newcastle, UK @ Zerox * Wed. Nov. 1 – Bristol, UK @ Dareshack * Thu. Nov. 2 – Brighton, UK @ Green Door Store * Fri. Nov. 3 – London, UK @ Corsica Studios * Sat. Nov. 4 – Nottingham, UK @ Bodega *
My friend and I arrived at Chicago’s Salt Shed (the former Morton’s Salt factory) too late to catch The Steens, mainly due to chilly weather and heavy traffic, but we made it in plenty of time to see Viagra Boys. The venue is pretty damn big, and they packed the place in a near sold-out show that lead singer Sebastian Murphy said might’ve been their biggest show in the United States.
They certainly brought the energy to back that claim, opening with a pounding version of “I Ain’t No Thief” that had beer cans and water cups flying everywhere over the large main crowd floor. Following that with “Ain’t Nice” was like pouring gasoline on a fire.
The crowd was jumping, yelling, singing and even sometimes dumbfounded as Viagra Boys ripped through old and new tracks and sometimes wandered into weird psychedelia, including a Captain Beefheart-like saxophone solo by Oscar Carls.
Other highlights included the crowd favorites “Sports” and “Troglodyte” (which had everyone chanting), the graphic deep cut “Liquids” (which Murphy admitted, on stage, is “a song about getting peed on.”), a trippy version of “Creepy Crawlers,” and a long, wild version of “Shrimp Shack” to close out the main set. It was also cool to hear “Worms” during the encore, as it’s a sharp song about impermanence but almost a relaxing tonic before “Research Chemicals” hits you in the face.
They set a high bar for bands the rest of the year. Enjoy the chaos with them if you get a chance.
Dry Cleaning, photographed in Max Miechowski’s studio in Tottenham, London, on 09/27/2022.
Stumpwork, the sophomore LP from Dry Cleaning, “vibrantly expand[ed] Dry Cleaning’s core sound” (Pitchfork), and became one of last year’s most acclaimed releases, garnering year-end praise from Rolling Stone, Sound Opinions, Uproxx, and many more. Following their performance on The Tonight Show Starring Jimmy Fallon, the UK outfit announce Swampy, a new EP composed of two previously unreleased tracks from the Stumpwork sessions, remixes and a demo, out March 1st on 4AD, and unveil two bonus tracks, “Swampy” and “Sombre Two.” Of the additions, the band says: “These two songs (‘Swampy’ and ‘Sombre Two’) were recorded in the Stumpwork sessions and they feel like good companions to us. They share a dusty, desolate and spacey atmosphere. On the eve of this release we have been touring through the southwest US, where these songs feel at home in the arid, Mars-like landscape of the Arizona desert.”
Also featured on Swampy are remixes from Charlotte Adigéry and Bolis Pupul, recently featured in Pitchfork’s “25 New and Rising Artists Shaping the Future of Music in 2023,” and Nourished By Time, who supported Dry Cleaning on their recently-wrapped North American tour. Swampy will be released digitally and as a limited edition cassette (band store only). Tonight, Dry Cleaning will begin the UK/EU leg of their Stumpwork tour, with full dates listed below. Tickets are on sale now.
DRY CLEANING TOUR DATES Tue. Feb. 21 – Nottingham, UK @ Rock City Wed Feb. 22 – Sheffield, UK @ The Foundry Fri. Feb. 24 – Manchester, UK @ Albert Hall Sat. Feb. 25 – Birmingham, UK @ O2 Institute Sun. Feb. 26 – Bristol, UK @ O2 Academy Tue. Feb. 28 – Cardiff, UK @ Tramshed Wed. March 1 – Brighton, UK @ Chalk – SOLD OUT Fri. March 3 – London, UK @ Roundhouse Mon. Mar. 13 – Copenhagen, DK @ VEGA Wed. Mar. 15 – Stockholm, SE @ Debaser Strand Thu. Mar. 16 – Oslo, NO @ Parkteatret Sat. Mar. 18 – Hamburg, DE @ Knust Sun. Mar. 19 – Groningen, NL @ Vera – SOLD OUT Mon. Mar. 20 – Amsterdam, NL @ Paradiso Tue. March 22 – Offenbach, DE @ Hafen2 Thu. Mar. 23 – Munich, DE @ Strom Fri. Mar. 24 – Vienna, AT @ Flex Sat. Mar. 25 – Prague, CZ @ Futurum Mon. Mar. 27 – Warsaw, PL @ Hybrydy Tue. Mar. 28- Leipzig, DE @ UT Connewitz Wed. Mar. 29 – Berlin, DE @ Festsaal Kreuzberg Fri. Mar. 31 – Rotterdam, NL @ Maassilo Sat. Apr. 1 – Antwerp, BE @ Trix Sat. Aug. 26 – Domaine National de Saint-Cloud, FR @ Rock En Seine
Chicago trio FACS have been perfecting their brand of intense, cathartic art rock over the course of four ever-evolving albums. Beginning with 2018’s Negative Houses thru 2021’s landmark Present Tense, the trio digs deep into the gaping maw of a black hole and pulls back whatever debris they can grasp onto. Their newest LP Still Life In Decay, which arrives April 7th, comes as an addendum to their last album— a “post-event review,” if you will.
When the guitar punctures the lock-step swing of first album single “When You Say,” it hits like a hammer. Case utilizes his lyrics like a person suffering from anterograde amnesia, repeating phrases and holding onto old memories in a desperate attempt to avoid the slide into oblivion. Freeform poetic missives touch on themes of resignation, cynicism, class warfare, and a search for identity and meaning in a crumbling society; A primal desire to hold onto anything in a post-pandemic barrage of sensory overload.
While FACS are a heavy band, they don’t necessarily feel like one— Case’s fluttering, melodic guitar lines are buoyed by the insistent, underlying pulse of an expert rhythm section. Bassist Alianna Kalaba, who stepped in for founding member Jonathan Van Herik in 2018, makes her amicable last stand here with the group. Alongside drummer Noah Leger, they dance and twist around each other like a double helix, forming the DNA of what makes FACS sospecial. Collectively they approach rhythm from outside the groove as opposed to inside it, creating a lattice where Case weaves guitar lines like creeping vines, making the moments on Still Life In Decay where the band locks in even more powerful.
FACS have never been more solidified as a unit, and Still Life In Decay is a decidedly focused effort. The apocalyptic chaos that defined their previous album is waved away in favor of an examination of events with cumbrous clarity. Recorded by Sanford Parker at Chicago’s esteemed Electrical Audio, Still Life In Decay will be available April 7, 2023 from Trouble In Mind Records. Pre-order the record here and see FACS on tour throughout the year. More singles and news coming soon.
FACS, on tour:
April 6 Milwaukee, WI @ Cactus Club
April 7 Chicago, IL @ Empty Bottle
April 8 Chicago, IL @ Empty Bottle
May 15 Pittsburgh, PA @ Government Center
May 16 Washington, DC @ DC9
May 17 Philadelphia, PA @ PhilaMOCA
May 19 Providence, RI @ Fete Lounge
May 20 Montreal, QC @ La Sotterenea
May 21 Toronto, ON @ The Garrison
July 28 Indianapolis, IN @ Post. Festival
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Today, shame — the UK-based quintet led by frontman Charlie Steen — unveil “Six-Pack,” the newsingle/video from Food for Worms, their new album out February 24th on Dead Oceans. Quickly becoming a fan favorite during the band’s recent live sets, “Six-Pack” is shame at their punchiest and most pulsating. Following lead single “Fingers Of Steel,” “Six-Pack” sees shame enter a new, surreal landscape, as reflected in Food for Worms’ cover artwork designed by acclaimed artist Marcel Dzama. It’s suggestive of what is left unsaid, what lies beneath the surface, the farcical and fantastical everyday that we are living in, a society where both everything and nothing is possible.
On “Six-Pack,” Steen adds: “‘Six-Pack’ is essentially the opposite of a Room 101; instead it’s a room where all your wildest desires can come true and will be showered upon you. Be it commodities, self-obsession, foods and B-lister celebrities, it’ll all be there if you want it to. You’ve done time behind bars and now you’re making time in-front of them. It’s time to make up for anything you’ve lost or wasted, it’s time to get it all.”
“Six-Pack” arrives alongside a video directed by Gilbert Bannerman and animated by Cyrus Hayley, featuring a warped reinvention of Napoleon befitting of New Year’s resolution season. Bannerman explains: “The idea was to make a parody of a middle aged bloke thinking he’s a king for going to the gym once. I read a lot about Napoleon and thought it would be a laugh to make it about him. The style comes from trying to make my youth spent playing PS1 not entirely wasted.”
On one hand, shame’s new album Food for Worms calls to mind a certain morbidity, but on the other, it’s a celebration of life; the way that, in the end, we need each other. Food for Worms is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together — and grown so close, against all odds — can share.
It’s through this, and defiance, that shame have continually moved forward together; finding light in uncomfortable contradictions and playing their vulnerabilities as strengths: the near breakdowns, identity crises, Steen routinely ripping his shirt off on-stage as a way of tackling his body weight insecurities. Everything is thrown into their live show, and the best shows of their lives are happening now.
Now they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be “the Lamborghini of shame records.”
shame Tour Dates (New Dates in Bold) Tue. Feb. 28 – Dublin, IE @ Button Factory Wed. Mar. 1 – Dublin, IE @ Button Factory Fri. Mar. 3 – Glasgow, UK @ SWG3 Sat. Mar. 4 – Newcastle, UK @ Boiler Shop Sun. Mar. 5 – Leeds, UK @ Stylus Tue. Mar. 7 – Sheffield, UK @ Leadmill Wed. Mar. 8 – Liverpool, UK @ Invisible Wind Factory Thu. Mar. 9 – Bristol, UK @ SWX Sat. Mar. 11 – Manchester, UK @ New Century Hall Sun. Mar. 12 – Cardiff, UK @ Tramshed Tue. Mar. 14 – Nantes, FR @ Stereolux Wed. Mar. 15 – Paris, FR @ Cabaret Sauvage Thu. Mar. 16 – Bordeaux, FR @ Rock School Barbey Sat. Mar. 18 – Lisbon, PT @ LAV Sun. Mar. 19 – Madrid, ES @ Nazca Mon. Mar. 20 – Barcelona, ES @ La 2 de Apolo Wed. Mar. 22 – Nimes, FR @ Paloma Thu. Mar. 23 – Milan, IT @ Magnolia Fri. Mar. 24 – Zurich, CH @ Plaza Sun. Mar. 26 – Munich, DE @ Technikum Mon. Mar. 27 – Berlin, DE @ Astra Tue. Mar. 28 – Hamburg, DE @ Markthalle Thu. Mar. 30 – Oslo, NO @ Vulkan Fri. Mar. 31 – Stockholm, SE @ Debaser Sat. Apr. 1 – Copenhagen, DK @ VEGA Tue. Apr. 4 – Cologne, DE @ Floria Wed. Apr. 5 – Brussels, BE @ AB Thu. Apr. 6 – Amsterdam, NL @ Melkweg Fri. Apr. 28 – London, UK @ Brixton Academy Sat. May 6 – Atlanta, GA @ Shaky Knees Festival Sun. May 7 – Nashville, TN @ Basement East * Tue. May 9 – Asheville, NC @ The Grey Eagle * Wed. May 10 – Durham, NC @ Motorco Music Hall * Fri. May 12 – Baltimore, MD @ Ottobar * Sat. May 13 – Philadelphia, PA @ Union Transfer * Sun. May 14 – Brooklyn, NY @ Warsaw * Tue. May 16 – Boston, MA @ The Sinclair * Thu. May 18 – Montréal, QC @ Foufounes Électriques Fri. May 19 – Ottawa, ON @ Club SAW Sat. May 20 – Toronto, ON @ Lee’s Palace Mon. May 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe * Wed. May 24 – Chicago, IL @ Thalia Hall * Fri. May 26 – St. Louis, MO @ Off Broadway * Sat. May 27 – Lawrence, KS @ The Bottleneck * Sun. May 28 – Fayetteville, AR @ George’s Majestic Lounge * Tue. May 30 – Dallas,TX @ Granada Theater * Fri. Jun. 2 – Austin, TX @ The Scoot Inn * Sat. Jun. 3 – Houston, TX @ White Oak Music Hall * Sun. Jun. 4 – New Orleans, LA @ Toulouse Theatre *
* w/ Been Stellar
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I’d been trying to see Dry Cleaning in concert for a couple years. I was always missing their Chicago sets due to work, and then they had to cancel their appearance at the 2022 Levitation France festival. Now, they and I were finally going to be in Chicago on the same day, so I wasn’t going to miss the show. I’m glad I bought my ticket early, because it was a sold-out performance. I didn’t arrive in time to see Nourished By Time, but Dry Cleaning came out and wasted no time in engaging with their passionate fans.
Starting with “Kwenchy Kups” and then rolling straight into their ode to a lost tortoise (“Gary Ashby”), Dry Cleaning put on a fascinating set. Lead singer Florence Shaw isn’t the most dynamic front woman out there, but that’s kind of the point. She’s the calm in the storm whipped up by her bandmates. Her low tones aren’t without passion, but she’s more of a storyteller than a singer. “Scratchcard Lanyard” and “Viking Hair” are hits not only for Tom Dowse‘s screeching guitar licks (which sound like Andy Gill riffs live), but also for Shaw’s tales of strange things that are so weird that they have to be at least partially true.
There were moments in the show, like in the above image, when Shaw, dressed in her sweatshirt and baggy jeans, and with her straight long hair and perfect fingernails, looked like a wraith in the lights and smoke on stage. This, combined with her smoky voice, and Lewis Maynard‘s thumping bass, was a cool effect – especially during tracks like “Don’t Press Me” and “Conservative Hell.”
Nick Buxton keeps the whole thing from devolving into a spooky haunted house ride by putting down post-punk precision drumming (“Magic of Meghan” being a prime example). The encore included a song Dry Cleaning doesn’t play often, as it’s still fairly new, “Liberty Log.” It was a special treat for all of us.
The whole show was a special treat for their fans. Plenty were dancing, cheering, shouting lyrics, and going wild with every buzzsaw solo Dowse played. It was a good start to my 2023 concert season.
Here we are at the top five albums I reviewed in 2022. It was a great year for music, and these are what stood out for me among all the good stuff out there.
As I’ve mentioned before, 2022 was a great year for electronic music, and this EP from Jacques Greene topped my list of that kind of music. It mixes house, drum and bass, ambient, and a bit of synth wave into a luscious brew.
This reissue of classic gospel funk tracks by The Staples Jr. Singers is stunning. The amount of groove and friskiness in these songs is almost overwhelming. The instrumentation and harmonizing are outstanding, and there’s enough soul for two churches.
This is the best post-punk album I heard all year. Everything on it is razor sharp: the wit, the guitar angles, the grooves, the drum sounds, and the slightly snarled tongue-in-cheek vocals.
The Black Angels‘ new album was a great return for them. It explores the stress of modern times through walls of distorted guitars, reverb-laden vocals, powerful drums, and mind-warping sound. The Black Angels have yet to put out a bad record, but this one somehow set the bar even higher for psych-bands to follow.
#1: A Place to Bury Strangers – See Through You
A Place to Bury Strangers came back with a new lineup and some of Oliver Ackermann‘s most revealing lyrics about the end of friendships, loneliness, grief, over-reliance on technology, and the overall anxiety everyone’s been feeling since 2019. Ackermann put it all out there and walloped us with more honesty and distortion that you can almost stand.
Wild, weird, and wonderful, Gustaf put on a fun late afternoon set under the Angers sun. You could tell they were having a great time. I spoke with Lydia Gammill after the set and she told me they still couldn’t quite believe they’d just played a set in France.
This was the second time I’d seen Death Valley Girls in the same year, with the first being at Levitation France just two months prior. This set was more up close and personal (which is every show at Chicago’s Empty Bottle) and a bit more dangerous to boot. Lead singer Bonnie Bloomgarden delighted in walking out into the crowd to sing and mingle with fans.
Speaking of dangerous shows, Warm Drag‘s set at Levitation Austin was sexy and deadly, not unlike a panther. Blending dark electro with sultry vocals, the set had a lot of people grooving and trembling at the same time.
This was the second time I saw Automatic last year. Yes, the first time was in France in June. The trio had only improved in that short time, and they wowed the Austin crowd. The number of Automatic band shirts and tote bags we saw after their set was extensive.
This short set from Welsh power trio The Joy Formidable packed more wallop than most sets I saw from other bands that were twice as long. They were so fierce that lead singer / guitarist Ritzy Bryan headbutted bassist Rhydian Daffyd in the chest twice during the set.
Who’s in the top 15? Well, you’ll have to come back tomorrow to find out!
