Recorded in just six days, Flat Worms‘ fourth album, Antarctica, is a loud, wild, angry, and yet hopeful record about where we’re going as a species. Are we heading for a barren wasteland of a future, a world of people who don’t want to come back out after COVID-19 is gone, or a world where people still have hope and work toward building a better tomorrow?
Those are the questions Flat Worms (Tim Hellman – bass, Will Ivy – guitar and vocals, and Justin Sullivan – drums) ask themselves and us, beginning with “The Aughts.” Remember them? The years 2000 – 2009 seem like more than a decade ago, don’t they? We’ve already forgotten the lessons learned during those years, which might explain why Ivy’s guitar sounds like its growling for the entire song and Sullivan sounds like he’s beating his snare drum to death at some points. “The aughts, the teens, the tens, only a means to an end,” Ivy sings.
Hellman’s bass is like facing a blitz of punches from a boxer on “Plaster Casts.” Up next is the dangerous “Market Forces,” which is currently my top single of 2020. It absolutely flattens anything that comes into contact with it. The lyrics skewer self-isolation via our phones and addicting entertainment long before a different kind of self-isolation became necessary. “I’m like a piece of the puzzle that’s lost in the living room. I’m looking for a catapult to escape the situation, but every time I thought I got out, I’m just stepping in quicksand again,” Ivy sings. Good grief, haven’t we all been there?
The title track starts with what almost sounds like hip hop beats from Sullivan, but then Hellman’s prowling panther bass enters the room and Ivy’s guitar flits around like a vampire bat. “Via” builds with a solid chug and then warps into post-punk madness. Ivy’s guitar on “The Mine” plunges into psychedelia while Hellman’s bass is the jagged rocks below and Sullivan’s drums move back and forth between garage rock and near-metal rolls.
“Ripper One” does indeed rip, reminding me of a high-powered engine that’s pushed to its limits. “There’s nothing to lose, nothing to offer,” they sing amid heavy cymbal crashes and power chords. A lot of us are stuck in that mode of being nowadays and we’re unsure of how to break the cycle. We know that moving into a “Condo Colony” (which sounds like an early Public Image Ltd. cut) won’t bring us much relief, if any. A gated community not only keeps people out, it tries to convince you that you shouldn’t leave. Ivy implores us with warnings like, “And as the towers grow, see the traffic swell. A phantom opera glove is behind the controls. It’s a condo colony! A condo colony! Step out.” and “If I could somehow escape outside of the wall, then I look over my shoulder and everywhere I go it just follows me.” Hot damn. He’s not playing.
“Signals” could refer back to those traffic jams controlled by unseen phantoms. It’s a short instrumental before “Wet Concrete,” which has bass that’s as thick as its namesake. The album ends with “Terms of Visitation,” which sounds like something you might run into on the Home Owners Association agreement you signed to moved into that condo colony. It’s a wild, chaotic tune about the delicate dances we do in romantic relationships. “These are the terms of visitation, fit for prisoners, fit for lovers just the same. It’s just the same.”
This is one of the best albums of 2020 so far. Flat Worms are bringing their A-game right now, and in this time of no professional sports we need serious players for serious times.
I’ve mentioned this before, but one of my favorite things about writing this blog and being a part-time radio DJ is getting correspondence from bands I’ve never heard, especially ones from outside the U.S.
One such band is L’appel Du Vide(The Call of the Void) from Chemnitz, Germany. Their new EP, Demo 2020, is a solid post-punk guitar assault mixed with krautrock precision drumming. The band is also a supergroup of sorts, consisting of members of Black Lagoon, Die Tunnel, Mvrmansk, and Out on a Limb.
The four-song EP is good from start to finish. Opener “Falle” (“Cases”) is post-punk to the core with its jagged guitar lines, sharp drumming, and wicked bass. “Schweineherz” (“Pig heart”) takes on a distinctly gothic tone and is downright relentless as it comes at you non-stop for about two and a half minutes.
“Einer von hier” (“One from here”) has probably my favorite bass line on the EP. It’s like a freight train roaring alongside you. The guitars are like police sirens blasting by as you’re walking along a rainy German city street. The closer, “Verschlungen” (“Devoured”), growls along with more precision drumming, popping bass, and wall-shattering guitars that pound like engine pistons.
A full-length album from this quartet would be one of the loudest, heaviest records of the year if Demo 2020 is any indication. These four tracks pack more power than many LP’s in the same genre. I’m keen to hear more.
Warp Records is pleased to announce their new signing, Brighton-based five-piece Squid – comprised of Louis Borlase (guitars/vocals), Ollie Judge (drums/vocals), Arthur Leadbetter (keyboards/strings/percussion), Laurie Nankivell (bass/brass) and Anton Pearson (guitars/vocals). In conjunction with the announcement, Squid present their richly percussive and sonically shifting new single, “Sludge,” which sees the band opening up their sound with the experimentation and playfulness that made them such an exciting prospect when they burst on the scene just over a year ago.
Thematically, Squid’s previous releases — “The Cleaner,” “Houseplants” and “Match Bet” — have been more character driven with Squid looking at the people around them, but on “Sludge” the band is in a more introspective state of mind; simultaneously seeking a wider commentary, but approaching it with an idiosyncratic precision and a lighthearted demeanor.
“Sludge” was initially conceived during a soundcheck while supporting seminal post-punk group Wire, a fitting way to begin this new chapter for a band who have built so much of their reputation on their incendiary live shows. The track sees the band team up again with Dan Carey, who was recently deemed “Producer of the Year” by the Music Producers Guild.
This wild and restless creativity points the way forward for more exciting things to come from Squid. As FADER commented, “Just when you think the British five-piece have settled into a groove and aligned themselves to a sound, they flip the script and hit you with something new.”
Squid Tour Dates: Tue. April 14 – Amsterdam, NL @ Amsterdam Arena with Foals Fri. April 17 – Rotterdam, NL @ Motel Mozaique Sat. May 16 – Leicester, UK @ Wide Eyed Sun. May 17 – Dublin, IE @ Eastbound Sun. May 24 – Paris, FR @ Villette Sonique Sat. May 30 – Neustelitz, DE @ Immergut Festival Wed. June 3 – Barcelona, ES @ Primavera Sound Fri. June 5 – London, UK @ Wide Awake Festival Fri. June 12 – Sun. June 14 – Bergen, NL @ Best Kept Secret Fri. June 12 – Sun. June 14 – Helsinki, FI @ Sideways Festival Wed. July 1 – Roskilde, DE @ Roskilde Festival Sat. July 4 – Belfort, FR @ Eurockeennes Wed. July 22 – London, UK @ Scala (RESCHEDULED) Thu. Aug 6 – Haldern Rees, DE @ Haldern Pop Mon. Aug 10 – Prague, CZ @ Underdogs Wed. Aug 12 – Hamburg, DE @ Molotow Skybar Fri. Aug 14 – Oya, SE @ Oya Festivalen Wed. Aug. 19 – Sun. Aug. 23 – Coura, PT @ Paredes de Coura Mon. Aug. 24 – Brighton, UK @ Chalk (RESCHEDULED) Tue. Sept. 1 – Bedford, UK @ Bedford Esquires (RESCHEDULED) Thu. Sept. 3 – Southampton, UK @ Joiners (RESCHEDULED) Thu. Sept. 3 – Sun. Sept. 6 – Salisbury, UK @ End of the Road Festival Tue. Sept. 8 – Birmingham, UK @ Castle and Falcon (RESCHEDULED) Wed. Sept. 9 – York, UK @ The Crescent (RESCHEDULED) Thu. Sept. 10 – Hebden Bridge, UK @ The Trades Club (RESCHEDULED) Sat. Sept. 12 – Manchester, UK @ The White Hotel (matinee) (RESCHEDULED) Sat. Sept. 12 – Manchester, UK @ The White Hotel (evening) (RESCHEDULED) Sun. Sept. 13 – Edinburgh, UK @ Summerhall (RESCHEDULED) Mon. Sept. 14 – Newcastle, UK @ The Cluny (RESCHEDULED) Wed. Sept. 16 – Norwich, UK @ Norwich Arts Centre (RESCHEDULED) Thu. Nov. 5 – Reykjavík, IS @ Iceland Airwaves
Keep your mind open.
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The cover of Chicago post-punks Deeper‘s new album, Auto-Pain, features an image of Northwestern Prentice Women’s Hospital in Chicago – a hospital known for its modern architectural style…that was demolished in 2015. Healing, death, illness, impermanence, and presence are themes weaved throughout the album.
It opens with “Esoteric,” as guitarists Mike Clawson and Nic Gohl (who also sings lead) lead us by the hand with catchy hooks while Gohl asks “Is it any wonder I feel so old?” He’s bogged down by the pressure of living under constant demands from all angles. The song breaks into bright synths and power riffs that bring Wire records to mind. “Run” has some guitars just as bright and shiny as before, and other with a lingering sense of anger behind them.
“This Heat” could be a tribute to the band of the same name (and the sharp guitars certainly are reminiscent of This Heat), but I suspect the song is about the heat of emotions and trying to tame them. “I’m so sick” Gohl repeats again and again, as well as “You’re crossing the line.” He’s ready to burst with rage as his temperature rises. “It’s all right” is repeated often on “Willing,” and you’re not sure if Gohl is trying to convince us, his bandmates, himself, or all three groups. I love the way the guitars sound like warped records, and Shiraz Bhatti‘s beats (influenced by sounds heard as a kid at pow wows he attended with his family) on it are wicked.
“What’s the point of living this life?” Gohl sings on “Lake Song.” A repeated line in the chorus is “I just want you to feel sick.” The lyrics take on heavier weight when you learn that Clawson killed himself after leaving the band during Auto-Pain‘s recording. He had battled depression for a long time. The band was stunned, as you can imagine, and “Lake Song,” with its dark synths and krautrock beats, feels like Gohl, Bhatti, and bassist Drew McBride working out their grief in the track.
The synths burst forth with new light and the guitars throw fits with new fire in “Spray Paint.” On “4U” the synths and guitars almost become manic, probably reflecting the stress building on the band at the time. McBride’s admiration of Peter Hook is on full display on “V.M.C.” and “Helena’s Flowers” – two tracks that deal with obsession and attachment.
“The Knife” brings to mind early stuff from The Cure as Gohl sings about feeling best when one realizes most of life is nonsense. It can be a depressing thought, and Gohl has admitted that depression is the main theme of the album and the recording of it was a healing process for he, McBride, and Bhatti. The closer, “Warm,” has Gohl’s guitar sounding like it’s stumbling across a desert landscape in search of a cool place to rest. “Is this the cure you believe in, or just another cast line?” Gohl sings. The last line of the song and thus the album is “Inside I close the door.” Does he mean inside the safety of his home or inside the domain of his mind? I’m not sure if it matters either way. He has found a way to shut out the noise, and wouldn’t we all be better off if we could do that?
The title, Auto-Pain, is a reference to Brave New World and a substance that lets you feel everything at once. Could we deal with such a wave of emotion? Would we end up enlightened if we did, or crushed? Sometimes the reward is worth the risk.
Keep your mind open.
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The fourth album by Public Image Ltd., This Is What You Want…This Is What You Get, came out in the Year of Orwell – 1984. The world was in the middle of the Cold War and people were wondering which side was going to first heat it up. It was the “me decade” here in the U.S. for Wall Street tycoons who were grabbing all the wealth they could while the rest of us were waiting on Trickle Down Economics to make our lives easier. Spoiler alert: We’re still waiting.
John Lydon and guitarist Keith Levene were working on the album and had an early mix, entitled Commercial Zone, completed. Levene took it to Virgin Records, but Lydon abandoned the project and re-recorded all of it to create This Is What You Want…This Is What You Get.
It starts with the buzzy “Bad Life,” which was the first single off the record. It mixes funky bass with cool horn blasts as Lydon sings, “This machine is on the move. Looking out for number one.” It’s a nice shove at 1980’s yuppies stepping on others to get what they want. The title of the album is repeated over electric drum beats toward the end of the track (and throughout the album).
“This Is Not a Love Song” was Lydon’s poke at people who kept asking him, “Why don’t you write a love song?” He write a brassy jam that mostly repeats the title and ended up being one of his biggest hits. “Happy to have and not to have not. Big business is very wise. I’m crossing over into the enterprise,” he sings, telling all of us that he could take the money and run if he wanted.
Louis Bernardi‘s bass on “Solitaire” is downright nasty. You could easily slap it onto a funk record and it wouldn’t sound out of place. “Tie Me to the Length of That” is a reference to Lydon’s birth, even referencing the doctor who slapped him when he was born. It crawls around the room like a creepy goblin. The horn section echoes from the background like some sort of distant warning.
“The Pardon” has Lydon calling people out for being resistant to change. The beat is a weird tribal jam that is hard to describe but one that sinks into your head. “Where Are You?” is barely controlled chaos as Lydon searches for…someone. I’m still not sure whom.
“1981” is a post-punk classic with Lydon ranting about everything he could see was going to go wrong in the decade and how he figured it might be best to leave England for a while. The drums are sharp, the baritone sax angry, the cymbals sizzling, and the lyrics biting: “I could be desperate. I could be brave…I want everything in 1981.”
The album’s title is repeated again at the beginning of the last track – “The Order of Death” – killer drum beats back dark piano chords. The guitar chords are like something out of a Ridley Scott film score. It’s a cool ending to a cool record, and somewhat of a forgotten post-punk classic.
On their debut full length, Gentle Grip, Public Practice reanimate the spirit of late ‘70s New York with their playfully angular yet thoughtful brand of no wave-meets-funk and dark disco.
Magnetic singer and lyricist Sam York and guitarist and principal sonic architect Vince McClelland (who previously played together as members of the meteoric yet short-lived NYC post-punk outfit WALL) come to the table with an anarchic perspective that aims to eradicate creative barriers by challenging the very idea of what a song can be. Paradoxically, Drew Citron, on bass/vocals/synth, and drummer/producer Scott Rosenthal (both previously of Brooklyn indie-pop favorites Beverly) are uncannily adept at working within the framework of classic pop structures. But instead of clashing, these contrasting styles challenge and complement one another, resulting in an album full of spiraling tensions and unexpected turns.
Lyrically, York explores the complexities and contradictions of modern life overtop dance-inducing rhythms and choruses that disarmingly open up the doors to self-reflection. “You don’t want to live a lie / But it’s easy” York sings on “Compromised,” the record’s brisk, gyrating lead single. As York puts it, “No one’s moral compass reads truth north at all times. We all want to be our best green recycling selves, but still want to buy the shiny new shoes — how do you emotionally navigate through that? How do you balance material desires with the desire to be seen as morally good?” Towards the slinkier end of the album’s aural spectrum, songs like the supremely danceable “My Head” — which is about tuning out the incessant influx of external noise and finding your own internal groove — are more personally political while still hearkening the last days of disco.
But whether they are poking holes in commonly held ideas centered around relationships, creativity, or capitalism, Public Practice never lose sight of the fact that they want to have fun, and they want you to have fun too. After all, who wants to stand on top of a soapbox when there’s a dark, sweaty dancefloor out there with room on it for all of us?
Keep your mind open.
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Flat Worms, the Los Angeles-based trio of Will Ivy (guitar), Tim Hellman (bass) and Justin Sullivan (drums), announce their new album, Antarctica, out April 10th on Drag City Imprint, GOD? Records, and share lead single, “Market Forces.” Antarctica is for people invested in the future, despite a world in flames, deserts in permafrost, and everyone in their own corners, looking down into their hands. It considers the chaotic, dysfunctional contemporary landscape and reflects a situation that’s dire, but not hopeless.
Since the release of their 2017 debut LP – even since last year’s “Into the Iris” mini-LP – Flat Worms’ sound has hardened, with the polarities of psych and post-punk smelted into a brutal cobalt alloy. No doubt they’re aided by the Steve Albini-engineered sound rendered at Electrical Audio, where the album was recorded and mixed (in collaboration with Albini and Ty Segall) in six days. The rest of the evolution is down to Flat Worms, whose world view and musical viewpoint pulse with a remorseless drive and a sense of collaborative unity. Ivy’s cortex-scorching guitar leads are in united space with the full-body rhythm of Hellman’s bass and Sullivan’s drums.
Flat Worms’ social comment, bleak, yet earnest, is leavened with bone dry humor (the title track’s isolation conundrums: “My dog is smiling as I drive her to the park / we sit together in the kitchen after dark / I ask her questions / She just barks”) and caustic pronouncements. Lead single “Market Forces” kicks the modern malaise of alienation from our over-commodified social media mirror image. As market forces drives feels to capitalize on later, Flat Worms ask: Are you really helpless in this dynamic?
Commitment. Intention. Collaboration. And a sense that we’re meant to enjoy what we’re doing. Even in the desert of Antarctica, Flat Worms are looking for the upside.
Flat Worms will play select shows throughout California and the UK this spring. All dates are listed below.
Antarctica Tracklist: 1. The Aughts 2. Plaster Casts 3. Market Forces 4. Antarctica 5. Via 6. The Mine 7. Ripper I 8. Condo Colony 9. Signals: 10. Wet Concrete 11. Terms of Visitation
Flat Worms Tour Dates: Thu. April 30 – Oakland, CA @ Crystal Cavern Fri. May 1 – Long Beach, CA @ Alex’s Bar Sun. May 3 – Tucson, AZ @ Hotel Congress Fri. May 8 – Los Angeles, CA @ Zebulon Thu. June 4 – Manchester, UK @ Pink Room @ Yes Fri. June 5 – Leeds, UK @ Brudenell Social Club Sat. June 6 – Newcastle, UK @ The Cluny Sun. June 7 – Glasgow, UK @ Broadcast Tue. June 9 – Birmingham, UK @ Hare & Hounds Wed. June 10 – Nottingham, UK @ Rescue Rooms Thu. June 11 – Bristol, UK @ Thekla Fri. June 12 – London, UK @ The Garage
The first record by Washington D.C. post-punks Priests, Bodies and Control and Money and Power, was a great kick in the junk in 2014 and is still hits hard now.
The opener, “Design with Reach,” has blaring guitar by G.L. Jaguar while vocalist / firebrand Katie Alice Greerreminds us all of our mortality and Taylor Multiz‘s bass is the rumble of a hearse and Daniele Daniele‘s drums are the footsteps of the Grim Reaper. “I’m not sure I should be talking to you,” Greer sings on “Doctor” – a witty tune about how words can quickly trip up a relationship (“You put your fingers in other people’s mouths all day. Don’t you, Doctor?”).
“New” is blaring punk rock that has some of Greer’s most dangerous vocals and riffs from Jaguar that almost clang like a skillet hitting you in the head. “Powertrip” is even faster. Mulitz’s bass runs all over the room and Daniele’s drums are pure punk bliss.
“Modern Love / No Weapon” dares you to tame it. It just comes at you like a four-headed hydra while you’re armed with a toothbrush. “I think about you all the time,” Greer sings / yells in a tone that’s more menacing than seductive. The groove on “Right Wing” (on which Jaguar and Multiz swap instruments) is great while Greer tells us to “Worship me, politely.” and that she’s “not trying to be anything.”
The album ends with the bonkers “And Breeding,” with Greer chastising all of us for spending most of our time “fucking and breeding” and “trying to understand” why we’re so attached to our cubicle mazes. “I know what we gotta do,” she says before she proceeds to verbally trash Elvis Presley, Madonna, and other icons to which we compare ourselves for no good reason whatsoever.
It’s seven songs of rage, riffs, and rock. What more could you want? Priests have, for the time being, amicably called it quits, but at least we have this and other fine records from them to appreciate.
It was a chilly Monday night, but not unbearable. It was downright balmy for a Chicago winter. Despite the cold and the early night of the week, Schuba’s had a good-sized crowd for the art-punk / no wave night of music featuring Chicago’s own Jungle Green and Brooklyn bands The Wantsand BODEGA.
Jungle Green took the stage first with a dizzying set of no wave bedroom rock that instantly reminded me of Gary Wilson tunes with their themes of love and romance and performance art strewn throughout the show. The lead singer spent the whole set in the crowd and the rest of the band swapped instruments so many times that I lost count of how many times who played what. In other words, it was a lot of fun.
One configuration of Jungle Green
The Wants played a stunning set of dark shoegaze that reminded me of a mix of Joy Division and The Fixx. Heather (bass and vocals), Madison (guitar and vocals), and Jason (drums) made jaws drop for their whole set and had everyone eager to hear their full-length album due next month.
The Wants
BODEGA (which includes The Wants’ Heather and Madison in its ranks) wrapped up the night with a wild, fun, fiery set peppered with brief, amusing discussions on Oscar Wilde, advertising, and film. I think the audience was secretly thankful for these funny chats lead singer Ben Hozie had with the audience because the talks gave us all time to breathe. BODEGA let up during these breaks from a pedal-to-the-metal set of post / art-punk and no wave bangers like “Name Escape” – which featured their friend / fellow Brooklynite / rapper Kaheim Rivera (who played Chicago’s Empty Bottle two nights later) doing two freestyle riffs during the song – and the always wall-flattening “Truth Is Not Punishment.”
BODEGA
It was a great way to spend a Monday night and worth the drive in the cold. Catch BODEGA if you can, and look for The Wants to tour the UK later this year.
Keep your mind open.
[Thanks to Patrick Tilley for setting me up with press credentials for the show.]
I recently chatted with Ben Hozie, guitarist, lead singer, and co-songwriter of Brooklyn art-punks BODEGA (who play at Schuba’s in Chicago tomorrow night) while he strolled along Park Avenue in New York City after having left a classical guitar lesson. Our conversation covered everything from the band’s attitude toward performance to the Zen of airports.
7th Level Music: I’m really looking forward to the Schuba’s show.
Ben Hozie: Yeah, that should be good.
7LM: I’m also really looking forward to seeing (guitarist) Madison [Velding-Vandam] and (bassist) Heather [Elle] with The Wants (who, along with Chicago’s Jungle Green, will open the Schuba’s show).
BH: Their band is super cool, super fun.
7LM: The first couple tracks I’ve heard are really good.
BH: They’re a really fun live band, too. It almost becomes a techno show. They have these super hard edge grooves.
7LM: I’ve been listening to the [BODEGA] albums again and again building up to the show, and I keep thinking that Heather might be your band’s secret weapon.
BH (laughing): Yeah.
7LM: Her bass grooves, every time I hear them I think, “Damn, she is laying that down!” Everybody in the band is just killer. I know that you and Madison and (original drummer) Montana [Simone] and (co-lead singer, percussionist, keyboardist, art director) Nikki [Belfiglio] and Heather all met through the art and music scene there in New York City, isn’t that right?
BH: Yeah, we all had a bunch of different bands at the time who all knew each other. We were also doing different kinds of things, making films together. Like any creative world, everybody is doing a little bit of something.
7LM: Is that how you also met (new drummer) Tai [Lee]?
BH: No. I actually met Tai because Tai came to one of our shows. She was kind of into the band, and Tai’s a super smart person so we were talking about philosophy and hanging out. I asked, “What do you do?” and she said, “I’m in this show STOMP.” She was a drummer and dancer. I think she came to another BODEGA show and we realized she was wanting to do something away from STOMP and it just so happened that was when Montana was wanting to focus more on her fine art. She does sculpture and paintings. So that was a very easy transition. It was like, “Why don’t you just quit STOMP and be in our band?”
7LM: Speaking of philosophy, that’s one of the things I love about your music – your approach to radical honesty and impermanence and presence. I’ve been writing a book about impermanence and presence and I reference “Truth Is Not Punishment” in the book. That’s such a powerful tune.
BH: Thank you.
7LM: On the new album, Shiny New Model, one of the first lines is, “Ben, what’s the deal with all these ATM’s?” I couldn’t help but think that came out of a real conversation.
BH: Of course. For whatever reasons, I’ve been obsessed with ATM’s. In our band before BODEGA, Bodega Bay, we even had two songs called “ATM.” I make films, too (Pretorius Pictures), and in almost all my films I make sure to have shots of ATM’s, not only because I like the way they look but I think they’re a potent metaphor. Somebody eventually got around to asking and I thought, “Well, I gotta answer them.”
7LM: By the way, I watched Little Labyrinth. Nicely done.
BH: Oh wow! That’s great. Madison and Nikki are in that one.
7LM: It was really nice. Another thing that song reminded me of is that I’ve been reading all this stuff and kind of obsessed lately with this idea of “non-places” like airports and hotels where people don’t really reside in them, and I’ve been seeing all this information on how everything’s becoming the same. How every coffee shop has to look like a Brooklyn coffee shop now and how our phones make every place into the same place, and I love this love-hate relationship with technology that you approach in your songs.
BH: I kind of romanticize those places. It’s one of my favorite things about tours, hanging out in airports and motels. There’s something really dreamy about all the glass. It’s kind of awful in some sense, but I kind of enjoy it. There’s something very Zen about being in those places. It’s like, “Nothing is happening here except for a bunch of transitory moments.”
7LM: I also love the way that you and Nikki and everybody else incorporate so much art and sexuality into the songs and the performances. I think a lot of that’s missing from a lot of live bands right now.
BH: Yeah, especially in the indie rock world. We’re still too much into that 90’s thing where you just wear your work clothes onstage and it’s not cool to try hard. Not only is it not fun, but that’s a privileged position. If somebody’s paid money to see you, you’d better entertain them.
7LM: Yes. I read a quote from Benny Goodman not long ago that pretty much says the same thing. If you’re gonna get up there, you gotta bring it.
BH: The sexuality of it, that can mean a lot of different things. One of the things that’s gotten so boring about rock and roll is that it’s not sexy. Obviously, it became sexy in a really gross way. We all know what that means, but sex is an essential part of what rock and roll is. The idea of a liberated sexuality. That was one of Nikki’s main ideas when we started the group, “We have to be sexy, but in a new way.” Whatever that means. We’re always experimenting. That’s always a loaded word, but I think you can smell what I mean.
7LM: Speaking of your music and art, I saw the clip of the [Paris] fashion show with “Name Escape.” That was perfect. Seeing all these dudes who look exactly the same coming out during that song, I thought, “This is one of the coolest things I’ve ever seen.”
BH (laughing): I gotta tell ya, that was one of the most surreal moments of my life. Sitting with all these high-fashion people and to hear a song we recorded in our practice space being blasted in front of all these people and to feel like, “How are we here? What ripple in the Matrix did we accidentally blip into?”
7LM: Speaking of Paris and Europe and that part of the world, I listen to BBC 6 Radio a lot and “Jack in Titanic” was all over that station. They loved that track.
BH: Yeah, thank God for BBC 6. They made it so we can tour Europe now.
7LM: I can’t remember, have you toured Europe already?
BH: Yeah, five or six times now. We tour there more than we do America because, for whatever reason, we have way more fans over there now.
7LM: Have you discovered countries where you’re popular and you wonder, “How did you hear of us?”
BH: Yeah, France is like that and to a certain extent the Netherlands is like that. It all started with the BBC 6 thing. I also think that maybe since Europe’s smaller, information travels faster. We have a lot of support in pockets of America, but for however long it takes us to get to Minneapolis or Nashville, everywhere in-between has not a fucking clue.
7LM: Getting back to your film work, I loved “I Am Not a Cinephile,” and when I found out you were a film maker, I loved it even more.
BH: That song came from me hanging out with academic film people. That’s kind of my background. I studied film history and film theory and film philosophy in college, and I do genuinely love that stuff but I remember having a dinner with a couple older guys who were so obnoxious in their cinephilia in a way that was not even aware of the joys of cinema. I just left that dinner thinking, “If that’s what cinephila is, I don’t like it.” There’s a good documentary called Cinemania, have you heard of it?
7LM: I’ve heard of it somewhere.
BH: It came out ten or fifteen years ago. It’s about this group of people in New York who go to every single repertory screening every day in New York City and they’re still doing it right now. If you go into a lot of art houses of New York, you’ll still see these characters. They have such an OCD regarding cinema, they’ll be like, “Okay, there’s a [Jean-Luc] Godard playing at eleven at MOMA, but if I take a cab I can make it to the one-thirty [Stanley] Kubrick over in the Bronx, and okay, there’s a thirty-five millimeter John Ford print showing…” and I don’t know how these people can afford it because they clearly don’t work. They just sit in the movies all day. The movie really shows you how these people are just addicted to the screen in a weird way. They have incredible taste in movies, obviously, but it’s like, “Haven’t you seen them already?” It’s really bizarre. Godard is kind of a hero of mine, and there was a month where they were showing every single Godard film at Lincoln Center in New York, even the TV stuff and the stuff that’s not available online. I did what those people do. I was there for every screening, five a day. It was amazing, but I kept seeing all these people and I would be like, “What’s wrong with these people? Are they such losers that they have nothing else to do with their lives?” But then I realized, “Oh my God! I’m one of them!” It’s a complicated song.
7LM: Do you have any favorite misheard versions of your lyrics?
BH: Yeah, I do. There are some pretty funny ones, but the best one is our song “Name Escape,” and some guy thought it was “Name a State.” He thought I was saying, “Name a state,” and he was like, “Delaware! New Jersey!” “Name a state!” “Alaska! Hawaii!” I was like, “That is an insane interpretation.” It was pretty stupid, but it was amazing. That’s what he heard. He even bought the record. He kept hearing it that way. I was like, “Are you not listening to the rest of the song?”
7LM: I know the name of Bodega Bay came from The Birds, do you have any other favorite [Alfred] Hitchcock films?
BH: Yeah, my favorite Hitchcock is The 39 Steps. I like British Hitchcock, like peak British Hitchcock. It’s really witty and it has all the charm. That movie feels miraculous to me in a way because it still feels super modern and abstract like his stuff got, but it feels a little more like it was off the cuff in a way. It feels somehow more beautiful to me because it feels like he was in the act of self-discovery when making that one, whereas at the end when he was in masterpiece mode through the Fifties and early Sixties, he knew what he was doing at that point.
7LM: Have you seen 1917?
BH: No. Nikki saw that last night. She said, “Do you want to go?” and I was like, “You know what, I don’t wanna go see that.” I really don’t like war movies. I haven’t seen it yet, but to me it looks like a theme park ride. Maybe I should because I’m sure it will win movie awards.
7LM: I haven’t seen it either, but the big thing about it is that it’s one long continuous shot.
BH: Like [Hitchcock’s] Rope.
7LM: Yeah, as a result of that, Rope‘s been getting a lot more attention lately.
BH: It’s (1917) not actually, just like Rope isn’t actually [one long shot]. There are several movies that are actual long shots with no stitches together, like [Aleksandr Sokurov’s] Russian Ark had no splicing or no dolly into darkness and then pull out again. Have you seen the Bi Gan films like Kaili Blues or Long Day’s Journey into Night?
7LM: No, not yet.
BH: They also have this Hail Mary long take. It’s way cooler in Kaili, because it’s kind of like what I was saying about The 39 Steps, “How did you pull this off with this cheap technology?” He’ll get on the back of a car and he’ll ride a mile or two, and then the camera will get off the car and follow the character into a house, and then it’ll strap onto a motorcycle and this camera literally has travelled probably ten kilometers. It crosses a river even, and there are no cuts. It’s kind of a dumb movie in some ways, and it’s clearly a young person’s movie. No one would think to do that if they were a tasteful film maker, which is why it’s awesome.
7LM: Yeah, you’ve got to push the envelope. On the new EP (Shiny New Model), I noticed how some of the grooves were tighter. I don’t know if that was a conscious decision to experiment with different grooves or song structures or not.
BH: Yeah, we wanted to change it up a bit. Make stuff that was maybe a little bit more melodic, the production’s a little lush. One funny difference is there’s a kick drum on the record, whereas there isn’t on [BODEGA’s first record] Endless Scroll. I think having the sub-frequency adds to the feeling of grooviness. It’s still a kick drum on its side, but even just hitting a kick drum with a mallet on its side gives it that oomph. That was the first time we actually recorded in a studio with a classic console. The first record was just on a tape deck in a practice space.
7LM: I read that. I thought that was pretty damn cool.
BH: No matter what’s going to happen with technology, there’s nothing like a live group playing to tape. It’s still always going to sound good.
7LM: I absolutely agree with you. There’s some stuff that’s so overproduced that I sometimes think, “Why not just come to the studio and rock out?”
BH: Well, if the toys are there they’re going to get used. That’s the thing about technology. That’s why you can’t make something like an atom bomb and not use it.
7LM: Outside of music and film, what else are you fascinated with or interested in?
BH: I’m interested in all kinds of things. Philosophy’s my biggest passion, not as big as film and music, but maybe on the same level. Me and Tai have a little philosophy group that gets together once a week and talk about any kind of theory. I love history. I love gambling. I’m very into cards.
7LM: Who are some of your favorite philosophers?
BH: Right now in the group we’re reading [Gilles] Deleuze, who’s probably not one of my favorites actually, but it’s fun to read. I’ve really been into [Martin] Heidegger recently. In terms of classical philosophers, I love [Immanuel] Kant. That was my big guy when I was younger. So almost anytime I read something, I’m like, “Oh, what would Kant say about this?” That’s just where my brain goes. It’s not like I would necessarily recommend Kant to anybody. He’s a little bit of a bore if you don’t take him in his historical context properly. I’m a big fan of [Søren] Kierkegaard, even though I’m not a Christian. I think of veganism, that’s something I’m really passionate about, as being a thing like Kierkegaard’s faith in an irrational god. Even rock and roll is like this, you choose this mode of being, this principle that you have, and then you just will yourself toward it, even if you can’t really justify it to anybody else. All you have to do is justify it to yourself. I’ve always thought that was really beautiful.
7LM: That’s a perfect way to wrap this up. That’s beautiful.
Keep your mind open.
[Don’t forget to subscribe before you split.]
[Thanks to Patrick Tilley for arranging my chat with Ben.]
