Tag: garage psych

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: 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.

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: 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.” 

Single Review by William Ruben Helms

New Audio: Frankie and the Witch Fingers Share a Scuzzy 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, […]

Video by William Ruben Helms

New Video: Wine Lips Share Breakneck Ripper “Stimulation”

Toronto-based outfit Wine Lips started back in 2015 as a part-time project between its founding members Cam Hilborn (vocals, guitar) and Aurora Evans (drums). But with the release of 2017’s self-titled debut, the band quickly amassed international attention, which resulted in tours across North America, followed by an unexpected tour of Hong Kong and China in 2018.

2019’s sophomore album Stressor was released to critical praise. Multiple album tracks charted on North American and European radio, with several being featured in broadcast and Netflix series. Building upon a growing profile, the Canadian outfit embarked on some rather relentless touring.

Much like everyone else, the COVID-19 pandemic threw a monkey wrench into the band’s plans and aspirations. The Canadian band used the enforced downtime to fully dedicate themselves to crating and writing their third album 2021’s Mushroom Death Sex Bummer Party, which was released to widespread critical praise across 35 countries. The album has amassed over 20 million streams on Spotify — and the vinyl release is currently in its seventh pressing with nine different color variants. The album’s lead track “Eyes” was licensed to a bevy of films, series and video games, including ABC’s The Rookie, Hockey Night in Canada (I guess stereotypes are true) Population 11 and a lengthy list of others. Much more relentless touring to support the album ensued, and the venues were the largest they ever played — and mostly sold-out.

The Toronto-based outfit’s latest album Super Mega Ultra was recorded by Simon Larochette at Ontario-based studio, The Sugar Shack. Super Mega Ultra is the band’s most ambitious album to date, and it sees the band exploring new thematic territory while firmly cementing a sound and approach that meshes psych rock, garage rock and punk rock.

“It’s tough writing a new record when you’re always on tour,” Wine Lips’ Cam Hilborn says in press notes. “The previous album seemed to be doing really well and at times I felt like I was hitting a wall creatively. Long story short, I think this album turned out great. Simon always brings a good vibe at the Sugar Shack and we were able to try some new ideas and capture the energy without straying too far from our roots. Excited to see where these songs take us in the future.” 

Super Mega Ultra‘s latest single is a breakneck ripper anchored around scorching riffage, enormous mosh pit friendly hooks and choruses paired with punchily delivered vocals. Play loud, headbang with your friends — or better yet, open up that pit, y’all!

“I started writing ‘Stimulation’ during our break in 2020,” the band’s Cam Hilborn explains..”I might have put it on the shelf for a bit but one day the chorus just poured out of me and the rest of the song started to make more sense and came more naturally. It was the first song I demoed for the new record and it kind of became the benchmark.”

Direted by Ciarán Downes, the accompanying video for “Stimulation” starts with the band desperately seeking out a tambourine player. The first few tambourine players just don’t seem to work out for the band. They initially dismiss the third one they meet, but when he turns into a mix of The Incredible Hulk and Firestarter, inspired by the rejection and mockery of his closest ones, the band relents, partially out of fear — and partially because that fire thing is pretty fucking cool.

Video by William Ruben Helms

New Video: Frankie and The Witch Fingers Share an Apocalyptic Ripper

Since initially forming in Bloomington, IN over a decade ago, the acclaimed Los Angeles-based psych rock outfit 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 and scuzzy, garage punk meets thrash punk take on psych rock paired with absurdist lyrics, frequently fueled by dreams, hallucinations, paranoia and lust. The result is material that can be simultaneously mischievous, menacing and dreamlike. 

Slated for a September 1, 2023 release through Greenway Records/The Reverberation Appreciation Society, the Los Angeles-based JOVM mainstays’ forthcoming seventh album, Data Doom is built around the cerebral yet visceral songwriting of the outfit’s co-founders, while marking the first written and recorded material featuring Smith and Aguilar.

In crafting what may arguably be their most rhythmically complex work to date, the band drew heavily 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.”

While showcasing the expansive and eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters . . ., Data Doom reportedly features nine high-wattage songs built with both dizzying intricacy and completely unfettered imagination. 

Earlier this year, I wrote about “Mild Davis,” an expansive, stream-of-consciousness-driven song that sees the acclaimed JOVM mainstays cycling through a whirlwind of rhythms and textures paired with dexterous guitar work, proggy synths and a series of mind-bending solos. Seemingly drawing from Q: Are We Not Men? A: We Are Devo-era DEVO, acid jazz freakouts, garage psych and space rock, while influenced by Miles Davis‘ early 70s electric period, “Mild Davis” may arguably be the wildest, face-melting ripper I’ve come across this year. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” the JOVM mainstay outfit’s Josh Menashe recalls.

Lyrically, the song sees Sizemore shifting between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote ‘Mild Davis’ in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”

“Empire,” Data Doom‘s final preview is seven minutes of scorching guitar riffs, thunderous drumming and intense, apocalyptic-laden lyrics. Play loud and open up that pit right now!

Directed by Kevin Fermini and featuring corrupted knight and ship design by Gage Lindsten, creature designs by Carlo Schievano and titles and matte paintings by Jordan Warren, the accompanying video for “Empire” is a trippy and nightmarish intergalactic romp with weird otherworldly creatures that bring Metroid to mind.

Video by William Ruben Helms

New Video: Frankie and the Witch Fingers Share Expansive, Face-Melting Ripper “Mild Davis”

Since initially forming in Bloomington, IN well over a decade ago, the acclaimed Los Angeles-based psych rock outfit 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 and scuzzy, garage punk meets thrash punk take on psych rock paired with absurdist lyrics, frequently fueled by dreams, hallucinations, paranoia and lust. And as a result, their material can be simultaneously mischievous, menacing and dreamlike.

Slated for a September 1, 2023 release through Greenway Records/The Reverberation Appreciation Society, the Los Angeles-based JOVM mainstays’ forthcoming seventh album, Data Doom is built around the cerebral yet viscerally songwriting of the outfit’s co-founders, while marking the first written and recorded material featuring Smith and Aguilar.

In crafting what may arguably be their most rhythmically complex work to date, the band drew heavily 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.”

While showcasing the expansive and eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters . . ., Data Doom reportedly features nine high-wattage songs built with both dizzying intricacy and completely unfettered imagination.

Data Doom‘s latest single “Mild Davis” is a expansive, stream of consciousness-driven song that sees the acclaimed JOVM mainstays cycling through a whirlwind of rhythms and textures paired with dexterous guitar work, proggy synths and a series of mind-bending solos. Seemingly drawing from Q: Are We Not Men? A: We Are Devo-era DEVO, acid jazz freakouts, garage psych and space rock, while influenced by Miles Davis‘ early 70s electric period, “Mild Davis” may arguably be the wildest, face-melting ripper I’ve come across this year. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” the JOVM mainstay outfit’s Josh Menashe recalls.

Lyrically, the song sees Sizemore shifting between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote ‘Mild Davis’ in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”

The song is accompanied with a fittingly mind-melting, animated video that places the band in a surrealistic hellscape of technology, fascism and destruction.