Category: garage punk

Video by William Ruben Helms

New Video: Jon Spencer Shares Swaggering “Knock ‘Em Out”

For the better part of the past four decades, Jon Spencer has been both an innovative force and stalwart in the independent music scene. He has an amassed a dizzying and disruptive discography as the frontman of bands like Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash and Jon Spencer & the HITmakers, as well as stints as a member of Boss Hog, The Honeymoon Killers, Gibson Bros. and Taxidermy Girls.

Spencer has also been a highly sought-after collaborator, who has worked with an eclectic array of artists including Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D., Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Moby, Money Mark, The Muffs, North Mississippi Allstars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams and the late, great Bernie Worell among others.

As a producer, he has produced material by Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees and the Grammy-nominated Samantha Fish and Jesse Dayton album, Death Wish Blues.

Spencer’s newest album, Songs of Personal Loss and Protest is slated for a June 12, 2026 release — both physical and digital — through Shove Records here in the States. The album, which features Spencer (vocals, guitar, synth, organ and percussion) and a backing band of Kendall Wind (bass, vocals. guitar, piano and organ) and Macky “Spider” Bowman (drums, vocals and percussion), best known for being members of The Bobby Lees, and was produced by Spencer and was recorded by Chris Bittner at Woodstock, NY‘s Applehead Recording in a one-day session last July, with the exception of “Vermin Attack!” and “Mr. Lion” which were recorded by Felipe Ruz and Perrosky at Santiago, Chile‘s Estudio Algorecords last April.

Thematically, Songs of Personal Loss and Protest asks a simple question: Can rock ‘n’ roll save the world? Spencer would answer emphatically, “YES.”

“I’m in a time of spiritual reckoning,” Spencer says. “These past few years there has been a lot of emotional conflict and personal loss — the passing of time takes its toll.  Losing friends, losing family, and all of this set against a world gone topsy turvy where it feels like we are losing basic freedoms… I’m trying to balance a lot of things, but the answer is always rock’n’roll.”

The 12-song album sees Spencer tearing his heart singing songs informed and inspired by the front page and beyond. The songs are futuristic power blues and garage punk explosions about the nausea, unease and paranoia delivered by a reality show president, and the power and resilience it takes to rebel. It may all be deeply personal — the fight to create and live, and push back against dark forces — but while never losing sight that we’re all in this together, for better or for worse.

“Rock’n’roll is America’s true gift to the world — the sound of revolution! It came out of the sky, a screaming, chrome-plated flying saucer, like an outer space monster, landed here on Earth so the freaks could have their say,” Spencer says. “It  is the hip-shaking sound of rebellion. The blues is my bible, rock’n’roll is our battle cry!”

“Knock ‘Em Out,” is a swaggering and rousingly anthemic tune that’s one-part rollicking battle cry, one-part sweaty old-school blues-tinged pub rocker, anchored by tight, funky groove. Rock should always be loud and bombastic — but it can also be about something bigger and important, too. We only have us, y’all. So let’s get to work before it’s too late.

The accompanying video is by Andrew Hooper and features studio photos by Skyler Smith, live concert photos by Masashi Yukimoto and live footage of Spencer and company rocking out.

Video by William Ruben Helms

Live Footage: DVTR “Live on the Big Rusty Ferry”

Montréal-based JOVM mainstays DVTR —  Le Couleur‘s Laurence G-Do a.k.a. Demi Lune and Gazoline‘s,  Kandle‘s Xavier Caféine‘s and Gab Bouchard‘s JC Tellier, a.k.a. Jean Divorce — have exploded into the Canadian indie scene with the release of their debut EP, 2023’s BONJOUR. The EP earned a plethora of rapturous reviews, landed on a number of Best of 2023 lists and earned the duo the first batch of a growing number of Québec-based music industry awards.

Building upon 2023’s momentum, the duo released an expanded edition of their debut EP, 2024’s BONJOUR (BIS), which featured a couple of bonus tracks.

The Montrealers supported the original and expanded editions of BONJOUR EP with a frenetic and whirlwind world tour that saw the band playing sets across the international club and festival circuit in Asia, Mexico, Germany, Québec and France. During this remarkably busy period,. the duo released a live album on VHS — yes, VHS! — and added a few more awards to their already crowded mantle, including the 2025 Breakout Artist of the Year at the GAMIQ Gala early last year. And they also managed to release new material, including “Né pour flâner (Born to loiter),” and “Couleur peau (Your Next Token Asian Friend).”

The duo along with their live backing band of masked minions/henchmen filmed a blistering and unhinged 17-minute live session on a big rusting ferry on the St. Lawrence River. Live on the Big Rusty Ferry features live version of BONJOUR tracks “Anu Cuni,” “Les flics,” “Vasectomia,” “Rhum cokeMD” and “Sound $ex Change,” and “DVTR,” as well as last year’s standalone “Né pour flâner,” and accurately captures the wild and frenetic energy that has helped the act win fans at clubs and festivals across the globe.

Video by William Ruben Helms

Throwback: Happy Belated 51st Birthday, Nick Zinner!

JOVM’s William Ruben Helms belatedly celebrates Yeah Yean Yeahs guitarist Nick Zinner’s 51st birthday.

Video by William Ruben Helms

New Video: Dreamwave Shares Mosh Pit Friendly “Moon Buggy”

Bristol, UK-based rock outfit Dreamwave — Benjamin Symons (vocals, guitar, synths), Hester Battin (vocals, keys, synths), Grant Cameron Organ (bass), and Alex Andrews (drums, percussion) — have quickly established themselves as one of the most exciting, up-and-coming bands in the UK psych scene. And with a growing presence across the European Union, the British quartet seem to be gaining momentum.

Dreamwave’s third EP is slated for release through Stolen Body Records, and the announcement of the forthcoming EP coincides with the unveiling of a new physical passing, which will feature this year’s Moon Dogs EP on Side A and the soon-to-be released Drifter EP on Side B. But in the meantime, the forthcoming third EP’s first single “Moon Buggy” is a sweaty and tense mosh pit friendly ripper, anchored around punchily delivered hooks and choruses that brings OSees and JOVM mainstays Frankie and the Witch Fingers to mind.

The new single originated as an improvised jam session during their live shows, gradually evolving over the course of two years into a fully fleshed out, polished song that found its way into their sets. The EP version was recorded in three takes and accurately showcases the band’s bruising live energy.

The self-directed and accompanying video for “Moon Buggy” was filmed at Mendips Raceway, a dirt-track in southwest UK. The chaotic and downright fun imagery of battered cars colliding in clouds of dust just feels perfect.

Single Review by William Ruben Helms

New Audio: Frankie and the Witch Fingers Return with a Grimy, Blistering Ripper

Slated for a June 6, 2025 release through Greenway Records and The Reverberation Appreciation Society, Frankie and the Witch Fingers‘ eighth album, the Maryam Qudus-produced Trash Classic reportedly sees the JOVM mainstay happily plunging into a sewer-slick fusion of proto punk venom, fractured New Wave and industrial grime. Sonically brimming with wiry synths, angular melodies and squirming and biting grooves, the material is delivered with a sly, playful balance between smirk and sneer. The band layers playful unease while exploring themes of escapism, decay and overindulgence. 

The songs were born in the grime of Vernon, Los Angeles — a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the alchemy happed during recording sessions at Oakland‘s Tiny Telephone Studio, where producer Maryam Qudus helped transmute the tracks into the final forms with unhinged tones, unconventional recording experiments and wild sonic detours. 

Each day of the recording sessions began with cartoons blaring at full volume — a Looney Tunes ritual that turned the madness of the recording process into something childlike. Late night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness. The end result is a raw, twisted monument to rot and excess — and to toxic glamour and nihilistic salvation.

So far I’ve written about three of the album’s previously released singles: 

  • “Economy,” which offered a glimpse of what to expect from the album: grimy synth pulse right at the front, alongside angular guitar fuzz and muscular yet mathematically precise drumming paired with punchily delivered vocals and mosh pit friendly hooks and choruses. Sonically, the result is a scuzzier and grimier take on Freedom of Choice-era DEVO — with a similar, tongue-in-cheek sensibility. 

  • “Total Reset,” a sweaty ripper that sees the band pairing angular guitar fuzz with squiggling synth pulse, mathematically precise drumming and Sizemore’s punchy delivery with the band’s penchant for mosh pit friendly hooks and choruses. Sonically, “Total Reset” strikes me as a being a synthesis of King Gizzard and Devo — but with a mischievous sense of menace and unease. 

  • “Dead Silence,” a track continues a run of grimy and mischievous DEVO-meets-garage rock rippers, anchored around the band’s unerring knack for rousing, mosh pit friendly hooks paired with Sizemore’s punchy delivery singing lyrics about existential dread and death. Oh, how fitting for our fucked up, dire time! 

“Gutter Priestess,” Trash Classic‘s fourth and latest single sees the band continuing with the addition of a DEVO-like sheen to the punchy, garage punk aesthetic that has won them acclaim globally. And while arguably being the grimiest, nastiest song on the album to date, “Gutter Priestess” may also be the most danceable.

“‘Gutter Priestess’ felt filthy from the get,” the band’s Dylan Sizemore says. “I was hooked up to Burroughs and his junk-sick energy, romanticizing my own bad decisions and dark thoughts, cutting up lyrics, letting meaning rearrange itself. The whole thing turned into a brown, sharded nightmare but with a seductive dancey pulse.

When we went to record it, everyone leaned into the crust. The parts feel barbed and sharp – like they crawled out of a drainpipe with glass in their gums. Hopefully the lighter synth lines in the chorus add a sugary sweetness to all the rot and decay.”

Instead of a music video, the JOVM mainstays partnered with FolksPatMedia to release a fully-playable “Gutter Priestess” video. The creators of the free-to-play browser game have contributed to beloved games like Alien: Rogue Incursion, Creed: Rise to Glory VR, Dead by Daylight, Lord of the Rings: War in the North, and more. You can check it out here.

Video by William Ruben Helms

New Video: Frankie and the Witch Fingers Shares Punchy and Grimy “Dead Silence”

Acclaimed Los Angeles-based psych punk outfit and JOVM mainstays Frankie and the Witch Fingers — currently founding duo Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), along with Death Valley Girls‘ Nikki “Pickle” Smith (bass) and Mike Watt’s Nick Aguilar (drums) — have spent the past decade restlessly mutating their sound into bold, electrifying new forms with every new release. 

Slated for a June 6, 2025 release through Greenway Records and The Reverberation Appreciation Society, the Los Angeles-based JOVM mainstay’s eighth album, the Maryam Qudus-produced Trash Classic reportedly sees the band plunging into a sewer-slick fusion of proto punk venom, fractured New Wave and industrial grime. Sonically brimming with wiry synths, angular melodies and squirming and biting grooves, the material is delivered with a sly, playful balance between smirk and sneer. The band layers playful unease while exploring themes of escapism, decay and overindulgence. 

The songs were born in the grime of Vernon, Los Angeles — a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the alchemy happed during recording sessions at Oakland‘s Tiny Telephone Studio, where producer Maryam Qudus helped transmute the tracks into the final forms with unhinged tones, unconventional recording experiments and wild sonic detours. 

Each day of the recording sessions began with cartoons blaring at full volume — a Looney Tunes ritual that turned the madness of the recording process into something childlike. Late night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness. The end result is a raw, twisted monument to rot and excess — and to toxic glamour and nihilistic salvation.

So far I’ve written about two of the album’s singles:

  • “Economy,” which offered a glimpse of what to expect from the album: grimy synth pulse right at the front, alongside angular guitar fuzz and muscular yet mathematically precise drumming paired with punchily delivered vocals and mosh pit friendly hooks and choruses. Sonically, the result is a scuzzier and grimier take on Freedom of Choice-era DEVO — with a similar, tongue-in-cheek sensibility. 

  • “Total Reset,” a sweaty ripper that sees the band pairing angular guitar fuzz with squiggling synth pulse, mathematically precise drumming and Sizemore’s punchy delivery with the band’s penchant for mosh pit friendly hooks and choruses. Sonically, “Total Reset” strikes me as a being a synthesis of King Gizzard and Devo — but with a mischievous sense of menace and unease. 

Trash Classic‘s third and latest single “Dead Silence” continues a run of grimy and mischievous DEVO-meets-garage rock rippers, anchored around the band’s unerring knack for rousing, mosh pit friendly hooks paired with Sizemore’s punchy delivery singing lyrics about existential dread and death. Oh, how fitting for our fucked up, dire time!

“This one’s got a nice little origin story,” the band explains. ““We played a festival in Boise with Spacemoth, Maryam Qudus’ brainchild, and met her for the first time there. Cut to a year later, and she’s deep in the guts of this record – producing, engineering, twisting knobs, and arranging sounds with us.

“On the flight home from that Boise show, Josh threw on the Spacemoth album for the first time and got his brain microwaved. He also recorded the plane taking off, just on a whim. That roar ended up in the bridge of ‘Dead Silence’. It’s a nice crusty texture, but it also weirdly bookmarks the start of it all.

Maryam’s all over this record. She sings, plays, distorts, haunts – leaving smudges on everything in the best way. She rules, and we were happy to accidentally mark the occasion sonically with a little jet-engine weirdness.”

The accompanying video is a mischievous and menacing psilocybin trip featuring cartoonishly bright, analog fuzz and crude, hand-drawn animation, and graffiti that pulses and undulates with the song.

Single Review by William Ruben Helms

New Audio: Crocodiles Side Project Psychic Pigs Share a Noisy and Gritty Ripper

San Diego-based singer/songwriter and musician Brandon Welchez is best known for being one-half of the grade psych pop duo Crocodiles. Over the past two decades, Welchez’s work has gravitated to the mid fi and melodic end of the sonic spectrum.

However, Welchez’s latest project Psychic Pigs shows a much different side of his work and sound, revealing that the raw and bleeding hardcore punk and power pop bands on the Killed by Death compilations have influenced his work as much as The Jesus and Mary Chain has been on him. The project can trace its origins to when Welchez started writing music he knew was too discordant for Crocodiles’ pop-leaning sound.

Slated for a May 23, 2025 release through Slovenly Recordings, Psychic Pigs’ self-titled, full-length debut was recorded last April in London over a breakneck four day recording session with Fucked Up‘s and Career Suicide‘s Jonah Falco handling production and drums. Once they were finished recording the album’s material, Welchez returned to the states with the goal of forming a live band that could replicate the aggressive, live-to-record sound capture on the recordings.

Connections made throughout Welchez’s two-plus decade music career proved fruitful with the band’s live lineup featuring members of Fake Fruits, Surfbort and Choir Boy, including Welchez (vocals, guitar), Bee Wright (lead guitar), Jeff Kleinman (bass) and John Hodge (drums).

The project will make its live debut on March 19, 2025 at Los Angeles‘ The Escondite and they’ll play their record release show at Permanent Records Roadhouse in late May. And from my understanding more live dates are to come. But in the meantime, the self-titled album’s first single and album title track “Psychic Pigs” is a breakneck and noisy ripper featuring scorching riffage, thunderous drumming paired with Welchez’s adopting an old school punk sneer. Of course, because Welchez has spent the past two decades as one-half of Crocodiles, “Psychic Pigs” will remind some fans of Crimes of Passion-era Crocodiles — think of a song like “Cockroach” — but with a gritty beer and sweat soaked vibe.

Single Review by William Ruben Helms

New Audio: Frankie and the Witch Fingers Shares Blistering “Economy”

Acclaimed Los Angeles-based psych punk outfit and JOVM mainstays Frankie and the Witch Fingers — currently founding duo Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), along with Death Valley Girls‘ Nikki “Pickle” Smith (bass) and Mike Watt’s Nick Aguilar (drums) — have spent the past decade restlessly mutating their sound into bold, electrifying new form with every new release.

Slated for a June 6, 2025 release through Greenway Records and The Reverberation Appreciation Society, the Los Angeles-based JOVM mainstay’s eighth album, the Maryam Qudus-produced Trash Classic reportedly sees the band plunging into a sewer-slick fusion of proto punk venom, fractured New Wave and industrial grime. Sonically brimming with wiry synths, angular melodies and squirming and biting grooves, the material is delivered with a sly, playful balance between smirk and sneer. The band layers playful unease while exploring themes of escapism, decay and overindulgence.

The songs were born in the grime of Vernon, Los Angeles — a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the alchemy happed during recording sessions at Oakland‘s Tiny Telephone Studio, where producer Maryam Qudus helped transmute the tracks into the final forms with unhinged tones, unconventional recording experiments and wild sonic detours.

Each day of the recording sessions began with cartoons blaring at full volume — a Looney Tunes ritual that turned the madness of the recording process into something childlike. Late night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness. The end result is a raw, twisted moment to rot and excess — and to toxic glamour and nihilistic salvation.

“Economy,” Trash Classic‘s first single is the first glimpse of the band’s refined sound: grimy synth pulse is placed in the front, alongside angular guitar fuzz and muscular yet mathematically precise drumming paired with punchily delivered vocals and mosh pit friendly hooks and choruses. Sonically the result is a scuzzier, grimier take on Freedom of Choice-era DEVO — with a similar, tongue-in-cheek sensibility.

Video by William Ruben Helms

New Video: France’s The Flying Bones Shares a Bruising Ripper

The Flying Bones — Fabien Joffard (drums, vocals) and Thibault Talmont (guitar, vocals) — are a St. Malo, France-based garage rock duo, whose work draws from and seamlessly meshes several influences including Thee Oh Sees, Pneu and Francky Goes To Pointe-à-Pitre among others.

Equipped with just drums, guitar, some effects pedals, guitar and bass amps and two microphones for vocals, the duo pairs the wildness of garage punk with live looping of guitar and other instruments when necessary to create a sound that can easily vacillating between fast and fierce to trance-inducing and contemplative within a musical phrase.

The French duo spent several years refining their live show and they recently managed to compile the best tracks from their garage punk and math fuzz periods into a collection of nine muscular and abrasive tracks — the pair’s forthcoming album Who Are The Flying Bones.

Who Are The Flying Bones‘ latest single “Muscles” is a bruising and forceful ripper that brings DEVO, Frankie and the Witch Fingers, The Oh Sees and even Cinemechanica to mind while displaying the duo’s remarkable musicianship and penchants for motorik-lke groove paired with punchily delivered vocals.

Directed by Thibault Talmont, the accompanying video follows Arthur Boury, a nerdy and nebbishy sort of guy, desperate to turn into a muscle man through weights, exercise, powders and the like — until his dopplegänger shows up to wreck havoc.

Video by William Ruben Helms

Throwback: Happy 50th Birthday, Nick Zinner!

JOVM’s William Ruben Helms celebrates Nick Zinner’s 50th birthday.

Single Review by William Ruben Helms

New Audio: Pittsburgh’s Sunny Daze and the Weathermen Share Blistering Ripper “Wax Lips”

Pittsburgh-based outfit Sunny Daze & the Weathermen formed back in the summer of 2022. And since then, the band has been hard at work sculpting what they’ve dubbed “flower punk,” which combines elements of garage rock, psych rock and post-punk.

The Pittsburgh-based outfit released their full-length debut, Sunny Daze for President earlier this year. They close out the year with “Wax Lips,” a blistering, mosh pit friendly ripper with a wild organ solo, fuzzy power chords, thunderous drumming and shouted vocals that sounds like a synthesis of Question Mark and the Mysterians, The Mummies and Miranda and the Beat with Thee Oh Sees.

The band explains that the track is about their personal experiences of the simplicity of youth — and that it’s the first of a batch of singles to build up buzz for their sophomore album, which is slated for release late next year.

Single Review by William Ruben Helms

New Audio: Iggy Pop Shares Live Version of “The Passenger” Recorded at Montreux Jazz Festival 2023

Last July, the legendary Iggy Pop returned to Montreux Jazz Festival backed by a seven-piece band and thrilled an at-capacity Stravinski Auditorium crowd with a career-spanning set that featured material from his time with The Stooges, solo albums like The Idiot, Lust for Life and New Values, leading up to the release of his most recent album, last year’s Every Loser.

The Montreux Jazz Festival set marked the legend’s third appearance at the festival and it was recorded and filmed by the festival team. The resulting live album Iggy Pop Live at Montreux Jazz Festival 2023 is an essential Iggy Pop live album that celebrates a legendary career and catalog that remains as vital, forceful and inventive as ever while featuring beloved classics like “I Wanna Be Your Dog,” “T.V. Eye,” “Lust for Life,” and “Nightclubbing,” as well as newer songs like “Modern Day Ripoff” and “Frenzy.” “Stravinsky Hall is special, like Carnegie or the Garden or Sydney Opera. I’ve dived in them all,”
says Iggy Pop.

Iggy Pop Live at Montreux Jazz Festival‘s second and latest single, is swaggering and roaring, live rendition of one of Iggy Pop’s most iconic and most streamed songs, “The Passenger.” The addition of a horn arrangement manages to add a muscular, ska-like coloring to the proceedings while retaining the familiar, chugging lurch of the recoded version.

The concert will be available as a Blu-ray + CD Digipak, 2LP gatefold and digital download on January 24, 2025 globally through earMusic.

Single Review by William Ruben Helms

New Audio: Melbourne’s Delivery Shares Punchy “Only A Fool”

Formed back in 2020 by romantic partners and collaborators Rebecca Allan (lead and backing vocals, bass) and James Lynch (lead and backing vocals, guitar, synths), rising Melbourne-based garage punk outfit Delivery initially featured members of several local bands including The Vacant Smiles, Gutter Girls and Blonde Revolver.

2021 saw the release of the Aussie outfit’s debut EP Yes We Do. Building upon a growing profile, the band released their full-length debut, 2022’s Forever Giving Handshakes, which featured singles “Baader Meinhof” and “The Complex” to critical applause from the likes of NME, who called the album “a lively record full of guitar interplay and sociopolitical critique” and Tone Deaf, who wrote that the album was “an exercise in controlled chaos, songs threatening to fall apart at any moment, but it all coolly remains together . . . ” The album also landed on Rolling Stone Australia‘s Top 10 albums list of 2022 while receiving airplay on Henry Rollins’ KCRW show.

The band’s current lineup Allan and Lynch, along with Jordan Oakley (guitar, backing vocals), Scarlett Maloney (guitar, backing and lead vocals) and Liam Kenny (drums) will be releasing their highly-anticipated sophomore album Force Majeure on January 17, 2025 through Heavenly Recordings. The 12-song album reportedly builds upon the promise that their full-length debut showed while featuring material that’s concise, direct yet forceful.

Force Majeure‘s third and latest single “Only A Fool” is a punchy, hook-driven post-punk stomp that quickly settles into a steady, chugging “Psycho Killer” groove paired with a languid yet forceful guitar solo, and an insouciant, bratty and too-cool-for-school vocal, before concluding with a loose jammy coda.

“‘Only A Fool’ might just be the most uninhibited moment in capturing this album’s all-in dynamic at full steam,” the band explains. “Lisa brought in the guitar chords, vocal line and lyrics, and then gave everyone free rein to do their thing which means everyone’s individual flare gets a moment across the track. Also might explain why this song features Delivery’s only ever jam-out ending.”

Single Review by William Ruben Helms

New Audio: Frankie and the Witch Fingers Return with a Dystopian, DEVO-like Ripper

Since initially forming in Bloomington, IN over a decade ago, the acclaimed Los Angeles-based psych rock outfit and JOVM mainstays Frankie and the Witch Fingers — currently founding duo Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), along with Death Valley Girls‘ Nikki “Pickle” Smith (bass) and Mike Watt’s Nick Aguilar (drums) — have a long-held reputation for restless experimentation rooted in the multiple permutations of their lineups, and for a high-powered, scuzzy, garage and thrash punk take on psych rock paired with absurdist lyrics frequently fueled by dreams, hallucinations, paranoia and lust. The result is material that can shift between mischievousness and menace. 

Last year’s Data Doom was primarily built around the cerebral yet visceral songwriting of the band’s co-founders while marking the first batch of written and recorded material featuring the band’s Smith and Aguilar. While crafting what may arguably be their most rhythmically complex work to date, the band drew influence from each member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming, an art form she first discovered through her music instructor parents. Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen.

Self-produced by the proudly DIY-minded band and recorded direct to tape by the band’s Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A.-based rehearsal space, with the band allowing themselves unlimited time to explore their gloriously strange impulses. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” Frankie and the Witch’s Dylan Sizemore says in press notes. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”

Last month, I wrote about “Bonehead,” a scuzzy, mosh pit friendly ripper that begins with a menacing opening groove that quickly drops into a distorted, double-time cacophony of blistering power chords, thunderous drums, bursts of quivering synths paire with rousingly anthemic hooks and punchily delivered vocals. 

“’Bonehead’ is a primitive, buzzy thumper, raw and stripped down,” the band says. “In a world where it’s easy to add more, we had a blast cooking out the junk and keeping it potent and pure. We wanted to capture the chaotic energy of those unfiltered live moments. Recorded the basics in one take, warts and all.

Thrashing around with a crowd of free spirits reminds us we can push back against the parasitic noise trying to keep us controlled—this is a little slice of that in recorded form.”

“i-Candy,” is the double AA side single to the previously released “Bonehead.” Beginning with a bleep and bloop-driven synth groove and propulsive drumming, “i-Candy” quickly turns into a bombastic, churning Devo-meets-King Gizz-like ripper. It’s nerdy — but goddamn it, it’s also blood thirsty.

“Bleeps and bloops tightly wound around a precise dystopian punk nodder, these were the magic digits we needed to punch in to bring ‘i-Candy’ to life,” the band explains. “This was one of the first songs to emerge from the incubator of recent demos. ‘i-Candy’ is a female sex robot, she isn’t programmed for any man’s need; she’s out to clean up the streets and settle the score in blood.”