L7 – 7th Level Music

L7’s Donita Sparks teams up with Dick Dale for “Rhythm Surfer” on Dark Brown’s upcoming “American Instrument” album.

L.A. based composer/musician Bryan Lee Brown shares the first single today from his forthcoming album under the Dark Brown moniker, American Instrument. The track, “Rhythm Surfer” features one of the last recordings of guitar icon Dick Dale — lending his legendary and oft-imitated “Machine Gun Staccato” style to the track, alongside L7 guitarist/vocalist Donita Sparks on the entrancing tune. Hear/share “Rhythm Surfer” on all DSPs HERE and Bandcamp HERE.

Brown has assembled a short series of mini-documentaries about the sessions for the album, with the first episodes covering the “Rhythm Surfer” sessions at Dave Catching‘s fabled Rancho De La Luna. Watch/share Dick Dale‘s fight club (HERE), Donita Sparks on Dick Dale fandom (HERE). Official video HERE. More to come soon.

American Instrument is conceptually just as expansive and ambitious as the lush soundscapes within. An 18-song album featuring an array of legendary guest musicians, its theme likewise embodies a profound meditation on selfhood and the Other.

Dark Brown is the creation of Los Angeles composer and musician Bryan Lee Brown. American Instrument is the fifth album under that pseudonym, but Brown has an extensive life-long career in music: Scoring Dave Grohl’s HBO series Sonic Highways (2014) and documentary film What Drives Us (2021) as well as countless other films, TV shows and commercials, drumming for Dick Dale, as well as numerous stints as a session musician.

The album was recorded over a 12-year period at 7 different studios. It features guest appearances by surf guitar innovator Dick Dale, John Stanier (Battles, Helmet), Brad Wilk (Rage Against The Machine, Audioslave), Alfredo Ortiz (Los Lobos ,Beastie Boys), Eric McFadden, Jon Theodore (QOTSA), Donita Sparks (L7), marching percussionist Marcus Joyner, Dave Catching (Desert Sessions), Jose Medeles (The Breeders, Author) and more.

The predominantly drummer-heavy line up is another element of the album’s exploration into Brown’s relationship with drumming, both musically and socially. Brown has a personal connection to almost everyone who played on the album. In a way, the album unites many common threads (personal and philosophical) throughout the musician’s life.

Slated for release in Fall 2024, American Instrument combines abstract minimalism with melodic psychedelia to create a vast ranch of soundscapes. Brown’s now signature sounds of melodic percussion, droning guitars, tremolo and propulsive rhythms permeate the tracks, with each guest musician’s personality leading the songs in many directions with each of their unique personalities shining through. Case in point, Dick Dale’s unmistakable guitar pyrotechnics on 2 album tracks, recorded in 2013 at Rancho De La Luna in Joshua Tree, bring all of his larger-than-life sonic imprint into a completely new world where the surf guitar meets counterpoint rhythms, post-rock ethereality and anthemic hooks. “Spacetime (feat. Brad Wilk)” finds the Rage Against The Machine drummer’s powerful backbeat driving a psychedelic haze of Hendrix-style guitar warped through haunting sounding tubular bells. “Miami Rute (feat. Jon Theodore and Alfredo Ortiz)” juxtaposes Latin percussion with soaring Pink Floyd-ian drones and ominous vocal chants. Throughout, a wide variety of sounds and musical styles explore the very meaning of rhythm and impact of the uniquely American instrument, the drum set, and its place in the course of human history.

American Instrument will be available digitally via Memory Bulldozer Records on September 10, 2024. Pre-order/pre-save HERE.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

L7 announces tour dates in the U.S., Australia, and New Zealand.

L7 have announced two upcoming tours that will include shows in small venues.

Seeing L7 live is always a good choice, and seeing them in a small venue is a no-brainer. If you’re on the other side of the planet, check out this tour in December.

As you can see, the last two shows of that tour in Melbourne, Australia are already sold out. Bricks Are Heavy is a great album, and hearing all of it live would be a blast.

They’ve also announced a new single will be released soon, so keep your ears open for it.

Keep your mind open.

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[Thanks to L7!]

Top 20 singles of 2019: #’s 20 – 16

As always, there are a lot of good singles out there every year and picking just twenty to highlight is difficult, but here goes.

#20 – Andre Bratten – “HS”

https://www.youtube.com/watch?v=iEAh11-Ff0o

Good heavens, the opening bass on this cut from Pax Americana is alone worth the purchase price. It’s one of the hottest house music singles I’ve heard in years.

#19 – BODEGA – “Shiny New Model”

“You will be replaced by a shiny new model” is the first lyric in this sharp single, and on the album of the same name, by these NYC post-punkers who remind us that not only are we replaceable, but we often encourage others to forget us and don’t even realize we’re doing it.

#18 – Durand Jones and the Indications – “Morning in America”

Speaking of songs that throw a heavy punch at modern times, this soul cut is beautiful and brutal. “It’s morning in America, but I can’t see the dawn” might be the hardest-hitting lyric of the year on the most soulful record of the year.

#17 – CHAI – “Fashionista”

It’s difficult to pick a favorite part of this post-punk jam from Japan. Is it the fun vocals? The fat bass? The sizzling high hat? The message to be yourself and not care what others think of you? It’s probably all of it.

#16 – L7 – “Stadium West”

This song was a triumphant return for L7, who blessed us all with their first new album in 20 years – Scatter the Rats. The track is a solid rocker that keeps their snark and shreds.

Who’s in the top 15? Come back later today to learn!

Keep your mind open.

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Review: L7 – Scatter the Rats

Back with their first album in far too long (20 years), L7 make a much-needed and much-requested return in a time of “alternate truths,” “pink taxes,” xenophobia, and Orwellian bliss with Scatter the Rats. The name of the album is, I suspect, a call to action. The rats are everywhere and we need to make them run.

The opening guitar riff on “Burn Baby” slaps you awake and soon guitarist Donita Sparks is singing about how “…you think I’m a fraud, and I know you’re a fake, but when it’s all said and done we all burn at the stake.” It also sounds like they mix guitar chords with kazoo blasts, which is great. “Fighting the Crave” puts aside the tongue-in-cheek humor for gunslinging bass from Jennifer Garner and some of drummer Dee Plakas‘ most dangerous chops as Sparks sings about trying to resist a hot lover. It’s a track Motley Crue wishes they could’ve written.

“Proto Prototype” has co-guitarist Suzy Gardner on lead vocals, and she sounds like a were-tiger casting a 7th level conjuring spell. The song is that dangerous. “Stadium West” is currently one of my top ten singles of the year. It’s a fun, fast rocker that I can’t wait to hear live. “Murky Water Cafe” has Gardner’s vocals almost taking on a southern rock edge as she sings about a New Orleans dive bar and the weird, murky things that happened (still happen?) to her there. Also, her solo on it is sharp as a switchblade.

I’m willing to bet “Ouija Board Lies” has a great backstory. Is Sparks singing about getting turned on by a ghost? Or is she angry with the ghost about it not being what she expected? Hell, I’m not even sure it’s about a ghost at all. I do know that her riffs and Gardner’s riffs are a great one-two punch throughout the track, however. “Garbage Truck” is a tune about running into a screwed up relationship (“My love’s like a garbage truck. Get wasted and I’ll pick you up.”).

Plakas’ beats on “Holding Pattern” are a clinic on how to ground a rock song and how sometimes subtle power is best. I’m intrigued with the title of “Uppin’ the Ice.” “Hit the ground, take in the sights, all bow down ’cause we’re uppin’ the ice,” Sparks sings. It’s a call for women to get cold. Revenge is best served that way, after all. Gardner turns up the collar on her leather jacket and slips on a pair of brass knuckles on “Cool About Easy.” Don’t screw with her. She will jack you up and leave you whimpering.

The title track closes the album and has Sparks and Gardner sharing vocals about cleaning out rats, pigeons, and other vermin polluting and corrupting all of us. Their sights are set on Washington D.C., in case you weren’t aware. The dirty blues touches on the guitar solos are great, and Finch’s bass pretty much dares you to stand in front of it.

It’s great to have L7 back with not only all four original members, but also with a solid record. They are touring all over right now, so don’t miss your chance to see them.

Keep your mind open.

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L7’s new single, “Stadium West,” is some seriously dangerous rock.

L7’s highly anticipated and long-awaited new album, Scatter the Rats, will hit us like a boot to the face on May 3rd. They’ve already announced a U.S. tour for this summer, and now they’ve released another single to make us hungrier for the full album – “Stadium West.” It’s a solid cut covered in menace and danger. You can check out the video here.

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L7 unleash new single, “I Came Back to Bitch,” and U.S. spring tour dates.

L7, as usual, aren’t screwing around. Case in point, their new single, “I Came Back to Bitch.” This will soon be your new favorite song and is already sure to be one of my top ten singles of 2018.

They’ve also announced some spring U.S. tour dates. Don’t miss them. They were great when I saw them in Chicago a couple years ago. They haven’t lost an inch.

04/11 – Boston, MA @ Paradise
04/13 – Philadelphia, PA @ Trocadero
04/15 – Cleveland, OH @ Beachland Ballroom
04/16 – Milwaukee, WI @ Eagles Club
04/18 – Indianapolis, IN @ Vogue
04/19 – Minneapolis, MN @ First Avenue

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L7 – Detroit (live)

There aren’t many better ways to start a new year than a release from L7, and it’s ever better when it’s a recording of a crazy 1990 live show in Detroit. Detroit begins with the band apologizing for arriving late, co-lead vocalist and guitarist Donita Sparks making fun of a drunk guy in the crowd, and then having issues with guitarist / co-lead vocalist Suzi Gardner‘s microphone before unleashing a sonic assault with “Fast and Frightening.” Thankfully, Gardner’s microphone works just fine for “(Right on) Thru” as she belts out the vocals like a professional boxer.

“Scrap” chugs along like a monster truck. “Broomstick” is a forgotten metal classic. “Packin’ a Rod” seems to fly by at 100mph (and ends with more great banter of Sparks taking down the rude drunk). The inclusion of one of their earliest hits, “Cat-O’-Nine-Tails” is a welcome one, and the first time I’ve heard it live. It’s crazier (and better) than I’d hoped it would be. “Deathwish” is like a saw slicing through a log while the lumber mill is being swarmed by killer bees. It ends with more fun banter like Sparks promising she’ll learn how to play guitar before their next tour.

“Till the Wheels Fall Off” has drummer Dee Plakas going bonkers through the whole track and probably terrifying most of the men in the crowd. Gardner’s vocals on “Shove” are, as always, more like a hockey check than a push. They end on “Bloodstains” before coming back for a fiery encore. They initially offer to take requests, but that quickly devolves into drunken chaos in the crowd and Sparks dealing with tuner problems. Bassist Jennifer Finch briefly teases playing some Black Sabbath before they announce “This is really going to suck, but we’re gonna do it anyway,” and launch into “Shitlist.” This was when “Shitlist” hadn’t reached its levels of popularity that it has today. This is the first time I’ve heard reverb effects on Sparks’ vocals (as she dedicates the song to her broken tuner), and they push her voice to the back wall of the venue.

Detroit is a welcome edition to L7‘s catalogue, and a nice time capsule of raw 1990’s rock. By the way, they haven’t lost a thing. They still hit as hard almost thirty years later.

Keep your mind open.

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My top 25 live shows of 2016 – #’s 10-6

We’re in the top ten of the my favorite live shows of 2016.

#10 – The Flaming Lips at Middle Waves Fest in Ft. Wayne, Indiana September 17th

It was a triumphant return to Fort Wayne after nearly 30 years for them. The show was big, bright, and full of love. It was in the middle of the election season and just what we all needed at the time.

#9 – Earthless at the Empty Bottle in Chicago December 2nd

Earthless is easily one of the best live acts out there right now, and this was my first time seeing them in a small venue. I don’t know how the Empty Bottle was still standing by the time they were done because it was among the loudest and heaviest sets I’ve seen there.

#8 – John Carpenter at the Masonic Temple Theatre in Detroit July 15th

“I got a movie and a concert,” my wife said after seeing a screening of Escape from New York and then John Carpenter, his son, his godson, and the rest of his band play a fantastic retrospective of his film score music. It was also in a huge gothic structure, so that made it all the better.

#7 – Screaming Females at the Brass Rail in Ft. Wayne, Indiana June 26th

I’d wanted to see them for a couple years, and seeing them an hour’s drive away with my best friend in a venue not much bigger than the bottom floor of my house was one of my favorite memories of 2016. They were even kind enough to let me interview in their tour van. They crushed it, leaving most of the crowd dumbstruck.

#6 – L7 at the Metro in Chicago August 6th

Another band I’d waited years, even decades, to see was L7 and their sold-out reunion tour show in Chicago was one of the best performances I’d seen from any band in years. They hadn’t lost a thing and showed pretenders how it’s done.

Good grief! If these shows were so good, who’s in the top five? Come back tomorrow and see!

Keep your mind open.

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Rewind Review: L7 – Smell the Magic (1991)

I’m a big fan of L7, so you’d think I’d already owned their second album, Smell the Magic, for years. It turns out I didn’t, but I thought I did because I own so many of the songs on it in other forms. It’s an early 1990’s classic, and needs to be in your collection if you’re any fan of any kind of rock.

Opener “Shove” (which I already owned on the Tank Girl soundtrack) is a fist-pumping anthem as Suzi Gardner (guitar, vocals) rants about bill collectors, the mailman, the neighbors, smog, and the political landscape of 1991. Dee Plakas’ (drums) beginning to “Fast and Frightening” (which I have on at least one other recording somewhere) are like a Gatling gun and Donita Sparks’ (guitar, vocals) vocals are as rabid as the song’s title. It also has one of the most punk rock lyrics of all time, “Got so much clit she don’t need no balls.” Play this if you ever need to start a mosh pit.

“(Right on) Thru” has some of the best guitar work from Gardner and Sparks, and I love how Plakas’ drums keep you guessing if the song’s going to take off or stop short. “Deathwish” (which I had as a live cut on another record) is a personal favorite. Jennifer Finch (bass, vocals) puts down one of her heaviest riffs that drives the song like a Sherman tank across a battlefield. The song isn’t particularly fast, but it grinds along with unrelenting power.

“’Till the Wheels Fall Off” is appropriately titled, because it tears through at breakneck speed. “Broomstick” is a Blondie tune if Blondie decided to be a punk band instead of a post-punk band. “Packin’ a Rod” is more angry punk. Hell, the first line is “All fucked up and I’m mad as hell, violate your daughter and your son as well.” Sparks is carrying a gun just for you, so you might want to steer clear of her. I love the crunchy, yet shredding guitar solo on “Just Like Me.”

The record closes with “American Society,” a cover of the song by the great underground band Eddie and the Subtitles that’s all about being sick of television, the rat race, the homogenization of radio airwaves, and the lure of materialism and quick riches. It was a perfect song to start the 1990’s, because everyone was sick of this stuff…and we still are.

Smell the Magic still shreds and is still relevant. Give it a whiff.

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Live: L7 and Radkey – August 06, 2016 – Chicago, IL

The closest I came to seeing L7 in their first heyday was when they were on the 1994 when they were on the Lollapalooza tour. We got to what was then known as Deer Creek Music Center (and is now know as Klipsch Music Center) in Noblesville, Indian a bit late and we could hear L7 wrapping up their set with “Pretend We’re Dead” from the parking lot.

I wouldn’t have the chance to see them again for another 22 years. They played a sold out show at Chicago’s Metro (one of my top favorite venues in the city) on August 06, 2016, and it was definitely worth the wait.

Punk trio Radkey opened the show with a damn fine (and prompt – 8pm sharp) set that sounded like a combination of the Damned and the Misfits. The crowd was appreciative and they got everyone geared up for more heavy rock.

L7 came out to a packed house of punks, Gen X’ers, MILFs, DILFs, gays, straights, and at least one woman in her 70’s I saw heading up to the balcony to watch the show. They opened with “Deathwish,” and immediately proved they haven’t lost a thing since that Lollapalooza gig.

“Deathwish” – Charles Bronson would’ve been proud.

Donita Sparks belted out the “Deathwish” lyrics and everyone in the packed, hot crowd was in the band’s hands within seconds. Suzi Gardner then bellowed “Andres” and Jennifer Finch knocked out “Everglade.” They came out swinging with three hard rockers and everyone was on their heels with joy and dizziness.

“Monster” (with Dee Plakas‘ much-beloved cowbell in full effect) and “Scrap” had everyone grinning. “Fuel My Fire” had everyone jumping, and it’s easy to forget how heavy “One More Thing,” “I Need,” and “Slide” are until you hear them live.

There’s no mistaking “Crackpot Baby” for anything but a fist to the face, especially with Sparks singing so loud that I’m sure people in the SmartBar downstairs could hear her. Two cuts from The Beauty Process: Triple Platinum followed – “Must Have More” and the always-excellent “Drama.”

The rest of the crowd and I were happy to chant and pump our fists to “Shove,” and “Freak Magnet” was a nice lead-in to my favorite surprise of the night – Finch (rocking age 50 and a Misfits-logo bass) and crew performing her song “Shirley” (a great tune off Hungry for Stink about NHRA drag racing champ Shirley “Cha-Cha” Muldowney).

Don’t you dare pinch her ass. Suzi Gardner knocking out “Shove.”

They closed with, of course, “Shitlist,” which had everyone completely batshit by this point.

The encore was “American Society” (another great rare cut), “Pretend We’re Dead,” and the (finally!) mosh pit-inducing “Fast and Frightening” (which, if you didn’t know, has perhaps the most rock lyric of all time).

It was a great show with a great crowd. The Metro blasted Dee-Lite’s “Groove Is in the Heart” after the encore and nearly everyone was dancing on top of crushed plastic cups and spilled beer (myself included).

Thanks, L7, for reuniting and giving us these shows. We needed them, and I hope it won’t take me another two decades to see you again.

Keep your mind open.

[Thanks to Robert Fagan for getting me a press pass to the show, the lady working the press table at the Metro for being so helpful, and to Hannah – my +1 for the night. I’m glad to have met you and that you had a good time.]

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