Creating buzz in the music scene since their inception, Manchester’s Witch Fever are not long away from their debut EP Reincarnate which will be released digitally on 29th October and physical 12” on 3rd December, via Sony’s Music For Nations. Pre-order HERE.
Following title track ‘Reincarnate’ (here), and the lyrical mash up ‘In The Resurrect’ (here), today they share new single ‘In Birth’. It’s lyrics are semi-autobiographical from singer Amy and deal with the consequences of being born into a Charismatic Christian church where patriarchal structures and predatory behaviour were rife.
“‘In Birth’ has been kicking around for a little while now, so it’s nice to finally exorcise it into the world.”, says Amy. “Whilst the theme of a lot of our songs is reclamation, empowerment and catharsis, it’s definitely far more vulnerable. It felt right to juxtapose this with big chuggy riffs and noisy, cymbal heavy drums. The power that Alisha, Alex and Annabelle create on this track accompanies the anger in my lyrics perfectly.”
She continues, “We created and directed the video with Sam O’Leary and it’s a tongue in cheek way of presenting the narrative. We wanted something camp and fun, but still powerful and angry. Plus, everything’s better with a bucket of fake blood!”
Witch Fever also announce an in-store performance and signing at the legendary Rough Trade East for 4th December 2021. Free with vinyl purchase at Rough Trade, or tickets on sale.
Keep your mind open.
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Portland, OR band Blackwater Holylightannounce their forthcoming third album Silence/Motion on RidingEasy Records today, sharing the lead single “Around You.” Hear & share “Around You” via YouTube, Spotify and Bandcamp.)
The band also announce tour dates with former RidingEasy labelmates Monolord in Europe in November-December, followed by North American shows with All Them Witches. Please see all dates below.
Empty surrounds all of me. It’s a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There’s a theme of processing vast personal trauma throughout Silence/Motion that eloquently — both lyrically and musically — and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation.
“There was so much grief both in the world and interpersonally during the process of creating Silence/Motion,” says vocalist/bassist Allison “Sunny” Faris. “The four of us gave one another more space to be ourselves, to experiment with each other’s ideas and to be gentle with one another more than we ever have before.So, we knew this tenderness would manifest in extremely honest arrangements, and I think that you can hear that throughout the record.”
Curiously, considering the dark times in which it was created, this is the band’s most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once. And, Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There’s a new confidence to the band in how seamlessly they wield their stylistic amalgam.
“Writing this album was extraordinarily difficult emotionally, however it did come to fruition fairly quickly,” Faris says. “In the past, the theme of vulnerability has always been a big player and it definitely showed up full force while writing this album.” Blackwater Holylight recorded the album as a four piece: Faris on vocals and guitar (on “Silence/Motion”, “MDIII”, “Around You” and “Every Corner”) and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. New second guitarist Erika Osterhout will perform the songs with them live. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White — who also helmed their previous album Veils of Winter (2019) — at Odessa Recording Studio in Portland, OR. Guest vocals on album opener “Delusional” are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer “Every Corner.”
Silence/Motion opens softly with interwoven folky single note guitars over an ominous sounding drone for the first minute, akin to moments from Pink Floyd’s Echoes. Suddenly an irresistibly head-nodding, groovy droptuned riff kicks in with the drums and it’s a full on blackened rocker with soaring synths and Funck’s witchy whispers over the top. “Who The Hell,” the track quoted above, takes proceedings into a Krautrock direction, centered around McKenna’s arpeggiated synth loop and Dorsay’s tom-tom triplets, while 16-note guitar strums add tension as Faris wearily sings, “So tell me who the hell would want to live this way — so afraid/ To feel this void, to dwell in it… I can’t describe this pain I wear/ It suffocates and you left it here.” It’s an incredibly powerful 6 minutes. The title track delivers the 1-2-3 punch of the album’s brilliant opening trilogy. It starts with lightly plucked acoustic guitar, plaintive piano chords and Faris’ voice gliding so softly it sounds more like a Mellotron. The song builds slowly toward crescendo, led by a swinging tom pattern, that abruptly switches back to a heavier version of the opening melody.“Silence/Motion” is about digesting and healing from sexual assault. As Faris explains, “It is an ode to the juxtaposition of feeling paralyzingly blank and and like your entire life is moving through you simultaneously.” Elsewhere, Black Metal guitars collide with dreamlike melodies. “Around You” brandishes a hopeful, hummable synth melody and shimmering shoegaze guitars like throwing down a gauntlet. In the end, it becomes undeniably clear just how completely into their own Blackwater Holylight has come.
“The analogy is that with our first record (Blackwater Holylight, 2018) we were getting into to the car and buckling up,” Faris says. “The second (Veils of Winter, 2019) we were turning the car on, and with this third we have kicked into drive toward our destination. Our destination is a bit mysterious and has the ability to change from day to day, but we’re on our way.”
Silence/Motion will be available on LP, CD and download on October 22nd, 2021 via RidingEasy Records.
BLACKWATER HOLYLIGHT LIVE 2021 – 2022: 11.18 – Oberhausen (DE) – Kulttempel / *11.19 – Utrecht (NL) – DB’s / *11.20 – Nijmegen (NL) – Doornroosje / *11.21 – Antwerp (BE) – Zappa / *11.22 – Bristol (UK) – Exchange / *11.23 – Glasgow (UK) – Stereo / *11.24 – London (UK) – Underworld / *11.25 – Manchester (UK) – The Bread Shed / *11.26 – Dunkerque (FR) – 4 Ecluses / *11.27 – Paris (FR) – Petit Bain / *11.28 – Toulouse (FR) – Rex/ *11.30 – Madrid (SP) – Caracol / *12.01 – Barcelona (SP) – Boveda / *12.02 – Annecy (FR) – Brise Glace / *12.03 – Aarau (CH) – Kiff / *12.04 – Vienna (AT) – Arena / *12.05 – Dresden (DE) – Chemiefabrik / *12.06 – Berlin (DE) – Zukunft am Ostkreuz / *12.07 – Hamburg (DE) – Bahnhof St. Pauli / *12.08 – Copenhagen (DK) – Stengade / *12.09 – Gothenburg (SE) – Pustervik / *12.10 – Stockholm (SE) – Debaser Strand / *12.11 – Malmö (SE) – Babel / *12.12 – Oslo (NO) – Youngs * * w/ Monolord 01.21 – Dallas, TX – Trees # / 01.22 – Austin, TX – Mohawk # / 01.23 – San Antonio, TX – Paper Tiger # / 01.24 – Phoenix, NV – Crescent Ballroom # / 01.27 – San Diego, CA – Belly Up Tavern # / 01.28 – Los Angeles, CA – The Regent Theater # / 01.29 – San Francisco, CA – The Fillmore # / 01.31 – Portland, OR – Wonder Ballroom # / 02.01 – Vancouver, BC – Commodore Ballroom # / 02.02 – Seattle, WA – The Showbox # / 02.04 – Salt Lake City, UT – Kilby Court / 02.05 – Denver, CO – Gothic Theater # / 02.06 – Fort Collins, CO – Aggie Theater # # w/ All Them Witches
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A Place To Bury Strangers announce a 2022 North American headline tour, and share the new video for single “In My Hive,” from their new EP, Hologram, out now on Dedstrange. The new dates follow a headline show at Bowery Ballroom in New York City on September 15th, a run with Future Islands, and a stop at Levitation Festival in Austin, TX. Tickets for 2022 are on-sale here.
The “In My Hive” video, directed by and starring Manon Aulon Elphick, Niicolé and Dedstrange labelmates Data Animal, is a ghoulish grindhouse tale of revenge served raw. Filmed in gritty wide-angle closeups, this claustrophobic tale of murder, magic, and mayhem is a gothic five-finger-filet deathmatch for the senses. Preparing for a fight, pondering the potential in the sharpness of a knife, glazed over eyes, molten metal poured into the mouths of to-be zombie bandmates, overwhelming flashing lights, all seen through a close-up psychedelic lense.
“‘In My Hive’ is about how I’ve let myself get taken advantage of by other people because I just didn’t care at the time, but it definitely has come back to haunt me,” says A Place To Bury Strangers’ Oliver Ackermann. “It can be tiring to deal with these emotions but it’s best to think about what is going on and work through it.” Watch: “In My Hive” video “I Might Have” video “End Of The Night” video
Tour Dates: Wed. September 15 – New York, NY @ Bowery Ballroom $ Mon. October 11 – New Orleans, LA @ Civic Theatre * Tue. October 12 – Atlanta, GA @ Buckhead Theatre * Wed. October 13 – Raleigh, NC @ Ritz * Thur. October 14 – Washington, DC @ Anthem * Fri. October 29 – Austin, TX @ Levitation Festival Tue. February 1 – Philadelphia, PA @ Johnny Brenda’s # Wed. February 2 – Montreal, QC @ Bar Le Ritz #Fri. February 4 – Toronto, ON @ Lee’s Palace # Sat. February 5 – Detroit, MI @ El Club # Sun. February 6 – Chicago, IL @ Empty Bottle Mon. February 7 – Milwaukee, WI @ Cactus Club # Tue. February 8 – Minneapolis, MN @ First Ave. 7th Street Entry # Fri. February 11 – Seattle, WA @ Neumos % Sat. February 12 – Portland, OR @ Mississippi Studios %Sun. February 13 – Vancouver, BC @ Rickshaw Theatre % Tue. February 15 – San Francisco, CA @ The Chapel % Wed. February 16 – Los Angeles, CA @ Teragram Ballroom % Fri. February 18 – San Diego, CA @ Soda Bar % Sat. February 19 – Tucson, AZ @ Hotel Congress % Tue. February 22 – Denver, CO @ Larimer Lounge % Wed. February 23 – Lawrence, KS @ The Bottleneck % Fri. February 25 – Nashville, TN @ The High Watt % Wed. March 9 – Hamburg, DE @ HafenklangThu. March 10 – Dresden, DE @ Beatpol Fri. March 11 – Warsaw, PL @ Klub Poglos Sat. March 12 – Prague, CZ @ Futurum Sun. March 13 – Bratislava, SK @ Randal Club Mon. March 14 – Budapest, HU @ Durer Kert Wed. March 16 – Bucharest, RO @ Control Club Thu. March 17 – Sofia, BG @ Mixtape5 Fri. March 18 – Thessaloniki, GR @ Eightball Sat. March 19 – Athens, GR @ Temple Mon. March 21 – Skopje, MK @ 25th of May Hall Tue. March 22 – Belgrade, RS @ Club Drugstore Thu. March 24 – Zagreb, HR @ Mochvara Fri. March 25 – Bologna, IT @ Freakout Club Sat. March 26 – Rome, IT @ Largo Sun. March 27 – Milan, IT @ Legend Club Tue. March 29 – Zurich, CH @ Bogen F Wed. March 30 – Munich, DE @ Backstage Thu. March 31 – Martigny, CH @ Caves Du MemoirFri. April 1 – Paris, FR @ La Trabendo Sat. April 2 – London, UK @ Lafayette Mon. April 4 – Antwerp, BE @ Kavka Tue. April 5 – Munster, DE @ Gleis 22 Wed. April 6 – Amsterdam, NL @ Melkweg Thu. April 7 – Groningen, NL @ Vera Sat. April 9 – Stockholm, SE @ Hus 7Sun. April 10 – Oslo, NO @ John Dee Mon. April 11 – Copenhagen, DK @ Pumpehuset Tue. April 12 – Berlin, DE @ Hole 44 Wed. April 13 – Cologne, DE @ MTC
* with Future Islands $ with Maxband & Wah Together # with Glove % with TV Priest
In classic punk-fashion, but also in normal-human, I-have-no-idea-what-the-future-holds-because-it’s-a-pandemic fashion, Weak Signal, led by one of New York’s most sought-after guitarists Mike Bones, dropped their new album Bianca on Bandcamp out of nowhere in May of 2020 (it’s since been taken down). Although it was unmastered and flew mostly under the radar, it was reviewed by a fewspots, and Iggy Pop graciously featured the track “Drugs In My System” on his BBC radio show.
Now, thanks to Colonel Records, Bianca is seeing a proper digital and vinyl release on October 15th, and the band is celebrating today’s announcement with the single “Barely A Trace,” which comes paired with a new music video directed and edited by the band’s drummer Tran. Additional exciting news includes a release show at Brooklyn venue Union Pool on October 8th, followed by a two-week run opening for beloved psych-rockers Garcia Peoples.
“Barely A Trace is about feeling lingering presences around you, swirling confusion from sudden disappearances, like when you discover someone found your stash spot,” says Mike Bones. “Our drummer Tran made the video during the early days of the COVID lockdown in Vietnam, Spring 2020. The song and video are our attempts to affect an approximation of the perfect loneliness and separation present in the work of writers like Marguerite Duras or David Markson.”
Mike Bones has made deep and deeply loved solo albums as a singer and guitarist, and with ad hoc supergroup Soldiers of Fortune. The versatile instrumentalist has also played on albums by Cass McCombs, Endless Boogie and Run the Jewels. Weak Signal, the band he’s put together with Sasha Vine and Tran, is his hardest and leanest group to date, the quality of the songs and music on this album is matched by the supreme style of the band members.
Weak Signal represent a constant on the NYC underground… the trio’s dark cinematic pop evokes late summer nights, apathy and urgency, buzz guitars over garbage trucks. The range of Mike Bones’ guitar suggests he’s been lured by the sweet tone of Peter Green, as well as the metallic attack of Paul Reynolds. The rhythm section of Sasha and Tran – bass and drums – is the sound of summer thunder.
On their sophomore LP – Bianca– Weak Signal have amplified every aspect of their magnetism. The pop is lusher, the drums more bludgeoning and the guitar tone is nastier than ever. They’ve created a thick sonic morass that’s simultaneously tranquil and exhilarating. Weak Signal have truly found their stride with Bianca, and it’s a full-blown gallop
Keep your mind open.
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In June, Hubert Lenoir returned to announce his second album, with a track called “SECRET” that featured drums from Mac DeMarco and contributions from Kirin J Callinan, and arrived alongside a feature on the exciting Quebecois artist in The FADER. Today, Lenoir is sharing a second preview from the album in the form of the single “DIMANCHE SOIR,” which involves Future producer High Klassified, and coincides with the formal announce of the album’s September 15th release date and a new change to its title, which is now PICTURA DE IPSE : Musique directe.
WATCH: the video for Hubert Lenoir’s “DIMANCHE SOIR” video on YouTube
“Coming from a conservative background and going to school in the countryside of Quebec, a lot of my parents’ friends or partners thought I was this weirdo queer artsy no good loser and once I achieved success with my art in the last 2-3 years the whole vibe started to change,” says Lenoir of the track. “I remember being so confused by it. The song talks about social pressure coming from your family circle and materialism. How weirdly your social status and wealth can switch the opinion people have on you.”
Formed in 2018, Brooklyn’s Gustaf have built a kind of buzz that feels like it comes from a different era. The art punk 5 piece rapidly established a reputation as one of New York’s “hardest working…and most reliably fun bands” (BrooklynVegan), and early excitement about their danceable, ESG-inspired post punk expanded outside of their city with remarkable effect despite having released no recorded music and barely having an online presence. As a result of their magnetic live show the band found unlikely early champions, catching the attention of luminaries like Beck – who had the band open for him at a secret loft party he played around the release of his latest album – the New York no wave legend James Chance, and shared stages with buzzing indie acts like Omni, Tropical Fuck Storm, Dehd and Bodega, while word of mouth led to sell out shows when they played their first LA headline dates in late 2019. They finally released recorded music in the form of their debut 7 inch at the end of 2020, which only furthered the growth of their reputation, earning them comparisons to acts like Television, Talking Heads, The B-52s and LCD Soundsystem from NPR (who made them a Slingshot artist for 2021), Paste, DIY, Under The Radar, BrooklynVegan and NME among many others.
Today, the band are announcing their debut LP, the magnificently titled Audio Drag For Ego Slobs, which will be out on October 1st on Toronto’s Royal Mountain Records (Wild Pink, Alvvays, Mac DeMarco), and sharing their new single “Book.”
“‘Book’ is a song about the fallacy and fight of getting ahead vs being a head. It is seeking validation in the wrong places and from the wrong people,” singer Lydia Gammil explains. “The hook, “I got ahead, I got a head” is a fun little taunt that we find either being thrown in our face or coming out our mouth. Everyone gets their moment up on the pedestal and everyone gets their turn falling off of it. Whether it’s up or down, ‘Book’ is about accepting whatever level you’re on.“
To coincide with the announce Gustaf are announcing an extensive itinerary of touring in the US, UK and Europe that will see them playing with IDLES and Pillow Queens. Full details can be found below.
Gustaf’s Audio Drag for Ego Slobs will be released on October 1st on Royal Mountain Records. It is available for preorder here.
Tour Dates 10/1 – Charlotte, NC – Snug Harbor 10/2 – Knoxville, TN – Mill and Mine 10/3 – Cincinatti, OH – MOTR Pub 10/4 – Cleveland, OH – Beachland Tavern 10/6 – Milwaukee, WI – Cactus Club 10/7 – Saint Paul, MN – Palace Theatre # 10/8 – Chicago, IL – Riviera Theatre # 10/9 – Detroit, MI – Saint Andrew’s Hall # 10/10 – Columbus, OH – Newport Music Hall # 10/12 – Boston, MA – House of Blues # 10/13 – Philadelphia, PA – The Fillmore # 10/15 – New York, NY – Terminal 5 # 10/16 – New York, NY – Terminal 5 # 10/17 – Washington, DC – 9:30 Club # 10/18 – Washington, DC – 9:30 Club # 10/20 – Asheville, NC – The Orange Peel # 10/21 – Nashville, TN – Cannery Ballroom # 10/22 – Atlanta, GA – Masquerade – Heaven Stage # 10/25 – Austin, TX – Stubb’s # 10/26 – Dallas, TX – Granada Theater # 10/27 – San Antonio, TX – Paper Tiger # 11/2 – Birmingham, UK – The Sunflower Lounge $ 11/3 – Bristol, UK – Rough Trade Bristol $ 11/4 – London, UK – The Dome $ 11/6 – Brighton, UK – Mutations Festival @ The Green Door Store 11/8 – Leeds, UK – Hyde Park Book Club $ 11/9 – Manchester, UK – YES (Pink Room) $ 11/10 – Liverpool, UK – Arts Club Loft $ 11/11 – London, UK – The Windmill, Brixton 11/13 – Utrecht, NL – Le Guess Who Festival 11/14 – Kortrijk, BE – Sonic City Festival 11/14 – Brussels, BE – Witloof Bar 11/16 – Berlin, DE – Cassiopeia 11/17 – Haldern, DE – Haldern Pop Bar 11/18 – Paris, FR – Les Femmes S’en Melent @ Petit Bain 11/19 – Lille, FR – The Black Lab 11/20 – Luxembourg City, LU – Rotondes Klub 12/09 – Portland, OR – Bunk Bar (headline)
If your band’s name is Shred Flintstone and your album is titled Unlimited Power, you need to have the chops to back up those things. Otherwise, you’ll be dismissed as a “joke band.” Shred Flintstone need not worry. They have enough chops to power a car-crushing monster truck.
Album opener “All My Friends Are Bread” starts us off with post-punk bass riffs Ed Weisgerber and guitar chords from Dan Barrecchia that sound like frantic radio transmissions from a military base being attacked by a giant monster. The whole thing turns into a wild assault on the senses in just a few moments. Wesigerber’s fury continues on the title track while his rhythm section mate, Joey Giambara, locks in everything with crisp chops. “Shred Durst” shreds harder than anything Fred Durst has released in years.
Barrecchia’s guitar work on “Red Dawn” reminds me of early Nirvana tracks. “Friend of a Friend of the Devil” is, dare I say it, a bit psychedelic as Barrecchia sings about trying to run from his fate / sins and then learning to accept it / them. The three of them go nuts on “Big Gun” – a New Bomb Turks-like punk track with the vocal reverb turned up to eleven. “Escape from New Jersey” (the band’s home state) turns the vocal effects up to twelve and drops riffs and drum fills heavier than a dump truck full of broken concrete. “Dirty Boi” comes at you like Leatherface with its heavy buzz and frantic pounding. The album’s closer, “Always,” wraps things up with surf and even a bit of 1950s love ballad crooning.
So, yes, Shred Flintstone have the chops to back up their name and album’s title, as well as knock the speakers off your shelves or walls. If you’re thinking of installing solar panels to power your house, you could just plug this album into your fuse box and save a ton of money.
Keep your mind open.
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Dry Cleaningis “one of the most exciting bands in rock” (Rolling Stone). Earlier this spring, they released their debut album New Long Leg via 4AD, which has already become one of the best records of 2021 thus far. Following praise from The New York Times, Pitchfork, Entertainment Weekly, The FADER, Esquire, and more, and preceding their completely sold out fall US tour, they today present a special one-off double A-side single, “Bug Eggs” b/w “Tony Speaks!” Recorded at Rockfield Studios in July and August 2020 during the same session for New Long Leg, “Bug Eggs” and “Tony Speaks!” were previously only available in an expanded Japanese edition of the album. Explaining the two tracks Florence Shaw says, “’Bug Eggs’ is about the confidence that comes with age, fragility and sexual desire. The lyrics to ‘Tony Speaks!’ were written days after the Conservative party won the December 2019 UK election. I was thinking about climate change, environmental catastrophes and political campaigning.”
Born from the combined creative talents of Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals), Dry Cleaning’s debut album New Long Leg was produced by John Parish at Rockfield Studios and features the singles “Scratchcard Lanyard,” “Strong Feelings” and “Unsmart Lady.” Intertwining Shaw’s spoken vocals tightly with the band’s restless instrumentals they extract the meaning from the most trivial things; little witty asides about supermarkets, cupboards, beauty products and body parts add up to sonic landscapes that teem with the strange magic of ordinary life.
The 2021 LevitationFrance full lineup has been announced, and it’s a great one.
The show will be at an outdoor venue this year to be a bit safer during the tail end of the pandemic. The Friday night shows include sets by The Limiñanas and Mars Red Sky, while Saturday night has sets by Shame, SLIFT, Zombie Zombie, Anika, and Wild Fox.
I’d be at this festival were it not for a nephew’s wedding that same weekend, but you should go in my stead.
The career of the Toronto band Little Kid, the long-running project of songwriter Kenny Boothby, has taken a path as unlikely and idiosyncratic as their gorgeous, and intricately arranged songs. Formed in 2011, the band spent most of a decade accruing a cult audience as a DIY band, self-releasing 5 albums and numerous unusual releases (perhaps most memorably a run of made to order cassettes on which Boothby recorded songs chosen by the purchaser), before signing to Solitaire Recordings for their 2020 album Transfiguration Highway. The album was a massive success for the band, precipitating an explosion of critical appreciation that included earning comparisons to Damien Jurardo, Sufjan Stevens, Neil Young, Alex G, and Bon Iver in a Stereogum Album of The Week piece and high praise from outlets like NPR, The AV Club, Paste, DIY, Secret Meeting, Exclaim, World Cafe, Loud & Quiet, No Depression, and The Line of Best Fit among many others. Today the band are sharing their first new music since the LP, a single entitled “John Arnott” to celebrate ten years as a band and to mark the release of the Solitaire Recordings reissue the band’s fan favorite 2017 LP Sun Milk.
LISTEN: to Little Kid’s “John Arnott” on YouTube (Lyrics can be found here)
In keeping with the Christian themes that are often central to Boothby’s songs, “John Arnott” is a song about Pastor John Arnott, a central figure in a ’90s charismatic Christian revival centered around the Toronto Airport Vineyard Church known as the Toronto Blessing, as Boothby explains.
“The song is inspired by Pastor John Arnott, who started the Toronto Airport Christian Fellowship in Toronto, the site of the so-called Toronto Blessing – a charismatic Christian revival in the 90s and early 00s,” says Boothby. “I actually traveled up from Petrolia with my family to attend a service there, and later learned my partner was attending at the same time (though we didn’t meet until about 15 years later). Most of the churches I attended in my teens and early adulthood were led by pastors inspired by the movement that started at TACF: focused on performing miracles, receiving the Gifts of the Spirit, having direct spiritual experiences with God – frankly, they were all a bit ‘out there.‘”
