Zipping over from their native Detroit (and sold-out shows there), Protomartyr came back to Kalamazoo, Michigan to make up for a cancelled show that was dropped due to, what else, the pandemic.
Opening for them were some other Michiganders, the punky trio of Erik Nervous, who might have the greatest kick drum head ever designed.
They played a fun batch of post-punk, full of weird guitar riffs, pogo-inducing beats, and snappy bass. They even got in a fun jab at Protomartyr, referring to them as “Joy Division 2.0.”
Erik Nervous showing no stage fright whatsoever.
Protomartyr (who lead singer Joe Casey claimed to be “Back in, well, not fighting shape. More like competitive eating shape.”) packed in a good crowd, and were soon flooring everyone with their mix of post-punk, prog rock, spoken word riffs, angry shouts, and spooky chants – most of those, by the way, were provided by the one and only Kelley Deal joining them onstage to sing and play guitar and synths.
Standouts included “Cowards Starve,” which came out like a sermon from the end of a bar, “Jumbo’s” – a song about a bar, the crowd-favorite “Michigan Hammers,” “Processed by the Boys,” and a new track – “Graft V.”
Protomartyr letting us know that frightened people go hungry.
It was a solid show, and Mr. Casey and Ms. Deal were a pleasure to meet afterwards. Catch them live if you can. Protomartyr sound like no one else – live or otherwise.
Keep your mind open.
Joe Casey kept pulling drinks out of his suit jacket like a stage magician.
Today, Manchester, UK-based trio Mandy, Indiana unveil the video for “Bottle Episode,” the lead single from their debut EP, ‘…’ out digitally November 19th via Fire Talk Records (physically out December 10th). “When I first heard ‘Bottle Episode,’ the driving drum beat immediately spawned dizzying, restless images.We created visuals that matched the track’s chaotic energy by physically putting a camera through torment,” says director Max McLachlan.
The band elaborates: “A key element of the track is movement and finding interesting ways for the camera to move was an idea we thought was worth exploring. The shoot was all very improvised with extras fighting over a camera, launching it in the air, smashing it on the ground, and attaching it to a drill. The camera becomes as much the subject of the video as the people and locations.” Watch Mandy, Indiana’s Video for “Bottle Episode”
Valentine Caulfield (vocals/lyrics) and Scott Fair (guitar/production) met a couple of years ago when their respective previous bands shared a bill. Caulfield was drawn to Fair’s aspirations to write beyond genre, while Fair was instantly taken with the singer’s magnetic stage presence and harsh, visceral vocals delivered in her native French. The pair also enlisted Liam Stewart (percussion), a touring musician who’s powerhouse rhythmic presence compliments the pair’s vision—emphasizing raw energy and emotion over meticulous composition to create a singular cathartic experience. The songs on ‘…’ EP were recorded in a variety of spaces, from rehearsal rooms and home studios to cavernous industrial mills. Including new remixes by Daniel Avery and Club Eat, as well as previously released singles “Alien 3” and “Nike of Samothrace,” the EP finds Mandy, Indiana bridging the worlds of post-punk, noise, and industrial dance music to create their brutal pop sound.
Mandy, Indiana will play their first shows in the US at SXSW 2022 as part of the official lineup. Pre-order ‘…’ EP
Mandy, Indiana Tour Dates Sat. Nov. 20 – Salford, UK @ White Hotel # Fri. Nov. 26 – Manchester, UK @ Albert Hall % Fri. Dec. 3 – London, UK @ Electric Ballroom % Sat. Feb. 26, 2022 – Leeds, UK @ Dark Arts Festival March 14 – 20, 2022 – Austin, TX @ SXSW
# = supporting Part Chimp % = supporting The Horrors
Century Egg is a band of escape artists with a focus on playing visceral punk rock. Today the Halifax, Nova Scotia-based quartet are sharing their new single, “Moving On” which makes up the first half of a double A-side single release, the second of which will follow next month. The new track, released via Forward Music Group, marks the return of the band following their Bandcamp Daily and Exclaim-tipped EP, Little Piece of Hair which was released earlier this year (watch the video for “Do You Want To Dance?” here)
Following previous spots opening for the likes of Lido Pimienta – a self-proclaimed fan of the band with Robert Drisdelle, guitarist in Century Egg producing a track on her Polaris Prize-winning album, La Papessa – Partner, Julie Doiron, and more, Century Egg will be performing at Toronto’s Handlebar on November 14 and La Sala Rosa as part of M for Montreal (Mothland’s stage) on November 19 to celebrate the release of these new tracks. This new single, “Moving On” further cements their inspirations taken from Asian pop and rock artists such as Faye Wong, Jun Togawa, Spitz, Cui Jain, Pu Shu, along with the driving post-punk rhythm section and blistering guitar work taken from The Stooges, Thin Lizzy, etc.
Speaking about the new single, Century Egg says: “This is a song about trying to detach yourself from your past and let go of the trauma that holds you back from finally feeling better.”
Century Egg is made up of singer, Shane Song (she/her), bassist/backing vocalist, Matty Grace (she/her/they/them), guitarist, Robert Drisdelle (he/him) and drummer, Megumi Yoshida (she/her). Away from Century Egg, Song works as a visual artist/video game artist, Grace plays in numerous bands including Cluttered (tipped by Laura Jane Grace of Against Me!), Drisdelle plays and arranges with Lido Pimienta (amongst other projects) and Yoshida performs in Bad Vibrations, Dog Day, Not You and more.
Keep your mind open.
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[Thanks to Gabriel at Clandestine Label Services.]
London-based band Dry Cleaning continues their incredible year with a spring 2022 North American tour. Their debut album, New Long Leg, out now via 4AD, is one of 2021’s most praised albums thus far, championed by The New York Times, Pitchfork, New Yorker, Entertainment Weekly, and more. Since its release, the band has completely sold out their US fall run, which starts this Wednesday at Los Angeles’ Teragram Ballroom. The spring 2022 leg will see the band visiting many US cities for the first-time ever. Tickets for these shows will go on sale Friday, Nov. 12th at 12pm EST, but will be sure to sell out quickly, so the band is offering a pre-sale to all subscribers of their mailing list, which will be live Wednesday, Nov. 10th at 10am EST.. A full list of dates can be found below.
DRY CLEANING TOUR DATES (new dates in bold) Wed. Nov. 10 – Los Angeles, CA @ Teragram Ballroom – SOLD OUT Thu. Nov. 11 – San Francisco, CA @ The Chapel – SOLD OUT Sat. Nov. 13 – Portland, OR @ Vitalidad Movement Arts Center – SOLD OUT Sun. Nov. 14 – Seattle, WA @ Neptune Theater – SOLD OUT Tue. Nov. 16 – Chicago, IL @ Empty Bottle – SOLD OUT Wed. Nov. 17 – Chicago, IL @ Empty Bottle – SOLD OUT Fri. Nov. 19 – Brooklyn, NY @ Market Hotel – SOLD OUT Sat. Nov. 20 – Brooklyn, NY @ Market Hotel – SOLD OUT Sat. Nov. 27 – Nottingham, UK @ Nottingham Arena ^ Tue. Nov. 30 – Cardiff, UK @ Tramshed ^ Wed. Dec. 1 – Hebden Bridge, UK @ Trades Club – SOLD OUT ^ Thu. Dec. 2 – Norwich, UK @ Norwich Arts Centre – SOLD OUT ^ Fri. Dec. 3 – Brighton, UK @ The Dome ^ Wed. Jan. 19, 2022 – Paris, FR @ La Maroquinerie * Thu. Jan. 20, 2022 – Lyon, FR @ Le Périscope * Fri. Jan. 21, 2022 – Milan, IT @ Circolo Magnolia * Sat. Jan. 22, 2022 – Bologna, IT @ Covo Club * Mon. Jan. 24, 2022 – Vienna, AT @ Chelsea * Tue. Jan. 25, 2022 – Prague, CZ @ Futurum * Wed. Jan. 26, 2022 Berlin, DE @ SO 36* Fri. Jan. 28, 2022 – Copenhagen, DK @ Loppen – SOLD OUT * Sat. Jan. 29, 2022 – Hamburg, DE @ Molotow * Mon. Jan. 31, 2022 – Nijmegen, NL @ Doornroosje * Tue. Feb. 1, 2022 – Brussels, BE @ Orangerie, Botanique * Wed. Feb. 2, 2022 – Amsterdam, NL @ Paradiso Noord – SOLD OUT * Fri. Feb. 4, 2022 – Rotterdam, NL @ Rotown – SOLD OUT * Sat. Feb. 5, 2022 – Tourcoing (Lille), FR @ Le Grand Mix * Mon. Feb. 14, 2022 – Liverpool, UK @ Arts Club Theatre % Tue. Feb. 15, 2022 – Dublin, IE @ The Button Factory – SOLD OUT % Wed. Feb. 16, 2022 – Belfast, IE @ Empire Music Hall % Fri. Feb. 18, 2022 – Edinburgh, UK @ Summerhall – SOLD OUT % Sat. Feb. 19, 2022 – Glasgow, UK @, Queen Margaret Union (Venue upgrade) % Sun. Feb. 20, 2022 – Leeds, UK @ Brudenell Social Club – SOLD OUT % Tue. Feb. 22, 2022 – Birmingham, UK @ The Mill % Wed. Feb. 23, 2022 – Bristol, UK @ Marble Factory % Fri. Feb. 25, 2022 – Manchester, UK @ Academy 2 – SOLD OUT % Sat. Feb. 26, 2022 – Sheffield, UK @ Leadmill % Sun. Feb. 27, 2022 – Nottingham, UK @ Rescue Rooms – SOLD OUT % Tue. March 1, 2022 – Portsmouth, UK @ Wedgewood Rooms % Wed. March 2, 2022 – Brighton, UK @ Concorde 2 – SOLD OUT % Thu. March 3, 2022 – London, UK @ O2 Forum Kentish Town % Wed. March 30 – Leicester, UK @ O2 Academy & Thu. March 31 – Cambridge, UK @ The Junction & Fri. April 1 – Manchester, UK @ Strage Waves @ The Ritz Sat. April 2 – Newcastle, UK @ Boiler Shop & Thu. May 12 – Toronto, ON @ Horseshoe Tavern Fri. May 13 – Montreal, QC @ Théâtre Fairmount Sun. May 15 – Somerville, MA @ Crystal Ballroom Tue. May 17 – Philadelphia, PA @ First Unitarian Church Wed. May 18 – New York, NY @ Webster Hall Thu. May 19 – Baltimore, MD @ Ottobar Fri. May 20 – Carrboro, NC @ Cat’s Cradle Sat. May 21 – Atlanta, GA @ Terminal West Mon. May 23 – Houston, TX @ Satellite Tue. May 24 – Dallas, TX @ Club Dada Wed. May 25 – Austin, TX @ Hotel Vegas Sat. May 28 – Mexico City, Mexico @ Palacio de los Deportes w/ Interpol
Released as a surprise to his fans and the world in general, Ty Segall‘s newest album, Harmonizer, has him embracing and exploring synthwave and krautrock after a forced-upon two-year hiatus (Screw you, pandemic!) from releasing new material – which, to the prolific Segall, must have felt like two decades.
Opening track “Learning” throws bright synths, processed beats, and 1980s keyboard blips together as an introduction to his new obsession. “Whisper” adds funky bass and scorching guitars to the mix as he sings about loss of identity through circumstances beyond one’s control (“Look into the mirror and see it. Who is it?”). The deep synths on “Erased” add even more menace to the dark lyrics about being drowned out in a sea of anger, rage, noise, and psycho-babble.
The title track blends the industrial synths and chainsaw guitars well and is another song about the complexities of language, communication, and the desire to be heard. It’s not hard to imagine this was how Segall was feeling during two years of not being able to tour or meet with his bandmates, let alone how a lot of us felt during the last election when fringe voices were given the forefront.
“Pictures” gets all sorts of synth-crazy for a while and then makes a right turn into synth-funk suitable for slow dances in a goth nightclub. Plus, the guitar solo on it is pretty damn cool. “Ride” introduces us to the character of Waxman, who is the subject of the following track and might be a frightening vision Segall had of his possible older years. It’s a heavy bass thumper that would probably melt wax if played at the right volume.
“All I want to do is play,” Segall sings at the beginning of “Play.” That probably sums up how he felt during self-isolation. It’s a neat cut to boot, flashing wild guitar and synth bass over a beat that hip hop DJs are probably stealing even now. “Feel Good” might be the most erotic track Segall’s ever written, and his wife Denée’s vocals on it are sexy yet distant. It’s a great post-punk track that sings of desire and lust but also tells you through its delivery that you might deserve neither. The album closes with the hopeful “Changing Contours” as Segall realizes that things might be turning around for him and the world (“And now it’s finally changing contours, and when I’m being, I am free. New perspectives seen. Now I’m breathing in all I see.”).
We shouldn’t be surprised that Segall recorded an album during lockdown, nor should we be surprised at how good Harmonizer is. The guy doesn’t seem to miss.
Keep your mind open.
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I don’t know if the title to Acid Dad‘s record, Take It from the Dead, refers to taking a physical object from the deceased or heeding their advice. It could be both.
The record, with its blend of psych-rock and post-punk, is a good time. The first track, “Searchin’,” lends some credence to the idea that the album’s title might be about imploring the dead for answers. “I’m lost, and I’m found. I’m still searchin’ for a sound,” sings co-guitarist Vaughn Hunt amid shiny synths and drum licks that are happily “stuck in the 70s.” “BBQ” brings in some heavy guns on the instruments and cool reverb on the vocals. It reminds me a bit of early Failure tracks.
“RC Driver” begins and ends with enough guitar for two albums. “She Only Eats Organic,” apart from having a fun title (and a not-so-hidden oral sex joke?), is a bit of a barn-burner with beats from Trevor Mustoe that barely rest for the entire track. Sean Fahey‘s vocals have a bit of a post-punk snarl to them on it. The psychedelic “Good Time” is as trippy as the album cover.
“Smile You’re on Camera” builds on a Peter Hook-like bass line and then drops in melting wax vocals. The cranked fuzz on “2 Face” boosts Hunt’s lyrics about wanting something more from a potential lover, but knowing he should tread lightly. The closing track, “Djembe,” with its Cure-influenced bass and Jesus and Mary Chain-influenced guitar, is a killer ending. It somehow oozes and shimmers at the same time, resulting in a space-rock guitars that blaze past you like a comet.
Take It from the Dead is one of those albums that will probably reveal more layers of itself every time you listen to it, which is a testament to its craftsmanship. We could use more bands making music this intriguing.
This was my first time seeing psych-rockers Acid Dad live, and even hearing a lot of their material, and my third time seeing Frankie and the Witch Fingersin as many months. Acid Dad were just in the first few dates of their tour, and Frankie and the Witch Fingers were nearing the end of theirs. Both bands came to play and to play hard at Ft. Wayne’s Brass Rail – a great dive bar venue downtown where any band playing there is practically in your lap.
Acid Dad
Acid Dad had the crowd jumping, and even moshing, before they were even halfway through their set. I liked their mix of psychedelic rock and post-punk and picked up their newest album afterwards.
Frankie and the Witch Fingers put on a killer performance as well, the best of the three I’ve seen. They upped the punk riffs in this one, and I’m starting to think it’s not an official show by them until their drummer is shirtless. They were also having a blast. They’re one of the most fun bands to see right now.
An official gig by Frankie and the Witch Fingers
Both bands will be playing at the Levitation Music Festivalin Austin, Texas on Halloween weekend, and both sets will be well worth your time. Check them out.
At times sounding like The Cure, other times like old Midnight Oil, and other times like something you can’t quite describe, Old Moon‘s new album, Altars, is a dark, gothic rocker full of all the haunting guitars, slithering bass, creepy synths, and crashing drums you’d want from an album such as this.
Multi-instrumentalist and vocalist Tom Weir comes out big in the opener, “Ephemera,” hitting us with sludgy bass and vocals echoing off the back of either his studio or perhaps a mausoleum. The guitars on “Chains of Sleep” instantly throw you into a world of dark nightclubs in crumbling old factory towns, and Weir’s vocals pay homage to Peter Murphy through it (and a lot of the album, to be sure).
“Past Lives” covers a required topic on any post-punk/ goth record – death, and “Anhedonia” starts with stadium rock drumming and then pulls you into a small performance space in the stadium’s basement. The switch from the big build-up to subdued tones is effective, and something that Weir pulls off well throughout the record. The hollow-sounding “Untouched” would fit in a horror film, post-apocalyptic action thriller, or a dystopian western.
“Drowse Down” has a slow, psychedelic feel to it that makes you feel like you’re walking in a fog after you’ve had a deep tissue massage. The closing track, “Laid to Waste,” isn’t as gloomy as the title would suggest. The guitars are a bit brighter, and the cymbals clash louder, to create a track for vampire hunters at dawn.
Altars is the first goth record I’ve heard in a long time that doesn’t sound like it’s trying too hard to be edgy or nihilistic. It’s a solid effort and worth a spin.
Keep your mind open.
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No, you didn’t miss three posts. I only attended day four of Chicago’s annual Riot Fest this year, and it was the first Riot Fest I’d attended. A friend scored some free tickets, and far be it from me to pass up a chance to see Devo and The Flaming Lipson the same bill.
This was the hottest music festival I’ve attended in a long while. There was little shade to be had, but sunscreen and taking frequent breaks between sets meant not suffering too much. A freshly made fruit smoothie from a vegan food vendor did me wonders.
The first set we caught was by The Gories, who opened one of the main stages. They sounded loud and dirty, and I’d love to see them in a small venue, but I’m glad I finally got to see these Detroit punk legends.
The Gories!
We walked around Douglas Park and discovered the festival was widely spread out. Food vendors were in one far corner, while a smaller fifth stage was seemingly a half-mile away in the opposite corner. You’d think they’d wheel out some portable light posts with all that room, but no.
Up next were HEALTH, and one of my friends fell in love with them upon hearing their industrial set under sun so bright that their bassist / synth player had to cover his keyboards with trash bags so he could read the digital displays on them.
The sun wasn’t healthy if you weren’t wearing sunscreen that day.
After a nice break under a tree, we trotted over to the smallest stage to see Chicago noise rockers Melkbelly, who played a fun set that included a cover of Pixies‘ “Gigantic” in an attempt to make up for Pixies cancelling their tour this summer. They were so out of practice with performing live shows due to the pandemic that they forgot their merchandise in their van.
Melkbelly playing to a lot of local fans.
I scored some chicken tenders that were average at best while my friends scored an elephant ear. Riot Fest has carnival rides on site, and I can only imagine how many drunk attendees regret getting on them over the course of the weekend.
We returned to the Rebel Stage to see Bleached perform their first set in two years (according to them, and a running theme for live shows everywhere this year), right after a guy walked by us peddling mushrooms to anyone who wanted them. They sounded great, and I would’ve liked to have stayed for the whole set, but Devo was calling…
Bleached having a fun time in the sun.
The stage was packed for Devo, complete with a mosh pit and crowd surfers. It was a fun set in which they played nearly the entire Freedom of Choice album. The whole crowd was happy and still buzzing afterwards. One guy was high-fiving people and telling them, “You just saw Devo!” It was the first time my friend, Amy, had seen them. She said she smiled so much during the set that her cheeks hurt afterwards. A delight for me and my friend (and Amy’s cousin), Brian, was getting to hear Devo’s cover of “Secret Agent Man” live for the first time. I wasn’t sure I’d ever get to hear it.
De-evolution is real!
Brian and I stuck around for the Flaming Lips‘ set. Brian hadn’t seen them before, and we couldn’t get close to the stage by they started – mainly due to them starting right after Devo’s set. It was still a good set, and nearly the same as when I saw them at Psycho Music Festival. Wayne Coyne encouraged everyone to take care of each other and stay healthy so live music can continue. Amen to that.
The Flaming Lips blowing sun-baked minds.
It was a good time (and Brian’s first music festival, no less), but would I go back? The short answer is, “I don’t know.” There were a lot of bad bands on the bill on day four, and I don’t think the other three days were much better. A lot of the bands playing the various stages sounded like Rage Against the Machine rip-offs, screamo nonsense, or pop-garbage. We got the hell out of there before Slipknot and Machine Gun Kelly started their sets and laughed as we passed a guy selling nitrous oxide balloons outside the park. I might return if the lineup gets better, and they’ve already announced another Misfits reunion for 2022, but Douglas Park-area residents won’t be happy about it…
Like the Cicadas of the previous Summer, the troupe of romping rock deviants, Godcaster, has reemerged from beneath the dirt to fill the atmosphere with unbridled cacophony. Saltergasp is a brief reintroduction to the shining sextet of David Mcfaul (keys), Von Kolk (flute, vox), Bruce Ebersole (guitar, bass), Sam Pickard (drums), Judson Kolk (vox, guitar), and their newest member, Jan Fontana (bass). It also acts as an unflinching demonstration of an ensemble doing away with frivolity—Godcaster is coming straight for your still-beating heart.
Today the new single “Hecky Skelters“ is streaming for your listening pleasure. Right out the gate, Godcaster blasts off with a tidal wave of cocophany. Mcfaul and Von Kolk’s dual vocals are both sinister and enchanting, satiating your skelters from start to finish. It’s a perfect return to form for the New York band, capturing the rambunctious energy of their live shows, which were sorely missed during the last year and a half of lockdown.
Saltergasp is a glimpse of something rarely captured—each track has been regularly performed and mastered during Godcaster’s ritualistic live-sets. In this manner, Saltergasp is both an extension of Godcaster’s first, immense collection, Long Haired Locusts, and a celebration of their euphoric public ceremonies that were impossible for far too long. The crisp drums and springy guitars on “Hecky Skelters” showcase the band’s innate talent for deliberate bombast. On the title track, the group conjures an instrumental suite that rips and toils between moments of anticipation and rapturous fury. “Tippy Hightailed It” is an equally funky and anxious tune that thrusts listeners into the center of growing auditory tension. Then “Tiger Surrogates Hunts the Praying Mantis” closes the EP with a lively, off-kilter incantation.
From start to finish, Saltergasp shines an otherworldly light on Godcaster’s Dionysian guitar frenzies. In just under ten minutes, the band reestablishes themselves as the leaders of an unstoppable sonic movement and begins to pen the next chapter in their dichotomous musical tale of shimmer and rot. Formidable and magnificent, Godcaster remains the masters of ferocity in our world and any other.
