Posts Tagged ‘fear and loathing’

Eureka California at Fear & Loathing

Eureka California’s Versus is the underground breakthrough album this decade has been waiting for. Clever and cunning in its deconstruction of personal ambition and self-destruction, a ringing distorted blast of cerebral rock smashes and scorches its way through dead-end jobs, insidious self-doubt, the dumbing down of our population, and bureaucratic hypocrisy we all endure every day as we watch our future slip away. Harmonious anarchy and chic songwriting stubbornly co-exist in a collection that plays like a “greatest hits” album of a legendary cult classic. Fortunately, every song is brand new on the third full length by this Athens, Georgia duo. The introverted punk-pop of Superchunk’s On the Mouth does a futuristic dance of death with earlyViolent Femmes. Over caffeinated self-awareness and Big Star style chord phrasing are amplified to the point of no return among the devious tempos of these short but bittersweet snap shots of the human condition. A huge wall of distorted guitar reigns supreme with tasty splashes of reverbed vocals and sleek single noted rhyme. “Sign My Name With An X”, “Sober Sister”, and “Cobwebs On the Wind” rock fearlessly with the jagged grace of Kryptonite-era Gaunt. The acoustic numbers, “Everybody Had A Hard Year” and “Fear and Loathing In The Classic City”, are unforgettable twisted reflections of disillusionment and solitude. The new Five Easy Pieces: Five out of five stars. The future is here and the time is right for getting blackout drunk in the street.(release date March 25, 2016) Keep scrolling to see their premiere video and read the interview we just did last week…

INTERVIEW WITH EUREKA CA’s Jake Ward and Marie A. Uhler:

What made you decide to go with the band name “Eureka California”?

J: It sounded like a good name and I had to call the band something. However, a lot of people get confused or assume that we’re from California… so, ya know, I’d probably rethink it if we were starting the band now.


Why do you think people feel so hopeless and isolated in 2016?

J: Trump is ahead in the polls. King of the Hill isn’t on Netflix. You can work a full time job (40 hours a week which is already ridiculous), have a degree and still just skate by above the poverty line. You’re only as good as your Instagram account. But it’s really easy to get hung up on the negative. Glass half full, glass half empty, glass is broken and water is everywhere.

M: You can work full time, not get benefits, have multiple degrees, and live below the poverty line. I love how social media can connect us, and I really love seeing photos of everyday life stuff from my friends and family I otherwise wouldn’t get to see, but it does make you compare yourself to people a lot of the time, unintentionally. I think people feel pressure to always put their best face forward, and when you never see people having a bad day, it can make you feel even more isolated if you’re having one. But everyone has bad days, everyone struggles with something. Those should be as acceptable to talk about as successes.

I’ve been listening to your latest record “Versus” non-stop, it feels more aggressive in its musical attack and lyrical content. How did the recording and writing of these songs come together?

J: The recording was like a dream. We recorded it at Suburban Home with MJ and it was such a pleasure to work with him. Honestly. I really can’t say enough great things about the experience. We recorded it in about 4 days after coming off a two week tour of the UK. It took a lot longer, obviously, to write the record. I think we started writing around the summer of 2014? I remember there were periods where it seemed like nothing was coming together and then we’d have days where something great would pop up out of nowhere. “Realizing Your Actuality” spontaneously came together during practice and the whole thing was written in about 30 minutes. But then things like “Sober Sister” took about 6 months to really get to where it is now. “Another Song About TV” is another one where it was written but it really changed after we started playing it live. I consider that an extension of writing. The songs don’t really reach their potential until we’ve played them in front of people.

M: This one was a bit weird because we had a deadline on when it had to be finished, and we only had a maximum of five days in the studio. We recorded it in Leeds and we going to the UK to play a festival, so the dates were set in stone for a long time. It was a big change from recording in whatever house one of us lived in where we could be loud. MJ was amazing and the nicest person to work with and spend time with and knew exactly what to do to make things sound the best way possible. He is so talented. While we were in Leeds and afterwards we couldn’t stop talking about how wonderfully dreamy the recording process was.

Is the slacker lifestyle an influence on your music and personal lives?

M: I don’t really identify with being a slacker, except maybe sometimes it’s hard to devote 100% of my attention and focus to what I’m working on in the moment, even if it’s music, or leisure time or something for fun. We both work multiple jobs and struggle to make ends meet. Usually at any given moment one or both of us is over-caffeinated and trying to do a million things at once.

J: I don’t consider myself a slacker but lately I’ve enjoyed being labeled ‘Slack Rock’ so go figure. We’re constantly working, whether be that on the band or at either of our multiple jobs. I personally don’t see anything slacker-ish about the band or our music.

What are the pros and cons of self-destruction in your opinion?

M: I guess the biggest pro of self-destruction could be an opportunity of re-birth.

What types of personalities bore you?

J: Opportunists, cynics, and Carolina Panthers fans.

The band writes some extremely catchy hooks that are super addictive, what influences your songwriting and is it usually a fast or slow process?

J: Really it’s influenced by everything – books, movies, television, other music, conversations, mishearing lyrics, etc. You kinda just take everything in and never know what it’s going to be that influences you. You just have to keep your eyes peeled. It really depends on the song with how fast it takes to write. “Cobwebs”, “Hard Year” and “Potomac” were all written in the same afternoon. However, “Fear and Loathing” took a while to write and rewrite. I spend a lot of time on the lyrics and pride myself on those. Still, the songs don’t really take life until we play them together. With the music, we take an economic, no-frills approach. We won’t repeat a part just for the sake of repeating it or making a song longer. I think self-editing is very important.

Do you get pissed off when people say things like “music is dead’ and “new music sucks”?

M: In Athens I don’t really hear that a lot, but I think people that say those things aren’t really listening to what’s around them. Now you can internet search any combination of genres or words and find multiple bands and artists that you’ve never heard of, that are making music now, or maybe made one album a few months ago and stopped, or maybe just put a song on Bandcamp every once in awhile…there are so many people doing so many things. You can walk down the street here or in any city with a music scene and see any kind of band any night of the week. Maybe it’s not all to your liking but every imaginable and unimaginable genre has never been more accessible for listeners or artists.

J: Not really. I think when people say things like that it’s just incredibly narrow-minded and it’s actually easier to just write those people off. It’s a huge, wide-sweeping, misinformed generalization and, ya know, who has the time to put up with that? Every generation has had people who are like “what is this shit? I’m telling you, music hasn’t been good since…(insert: George Gershwin, Elvis, The Beatles, The Supremes, The Smiths, Public Enemy, Led Zeppelin, Pink Floyd, The Spice Girls, Nicki Minaj, etc).” I don’t really pay it any attention. I work at a local music venue and at one show, a very drunk gentleman came up to me and was like,“This sucks!” All I could say was, “Why’d you pay to get in?”

“Fear and Loathing in the The Classic City” has some of the greatest lyrics I’ve heard in a long time. What’s the story behind this awesome song?

J: First off, thank you! That’s really nice of you to say. It started off with the “I’ve got no time for Eureka California” line which was all it was for a long time and that was just me trying to mimic Brand New. After a few weeks, a John Cale reference, a lot of coffee and some chord changes, I had the final version you hear on the record. I would work on it almost every night until I had all the words/chords exactly as I wanted them.

You have a ton of live gigs coming up in many different cities. What do you like about touring and what are the biggest problems you face when touring?

M: I love touring. I love playing a show every night, which you can’t really do in one place, so you have to tour to do that. Seeing new places and meeting new people is wonderful, and returning to the places that are good to you is wonderful too. I love seeing new bands every night and not knowing what to expect. It’s interesting to see which places start to feel like a second home after awhile.

J: I have a lot of fun touring. Getting to meet new people, travelling to different places every day, trying new food, going to museums, seeing the world. I can’t imagine being in a band and not touring.

M: Booking is hard and as a two-piece, being around one other person 24/7 can be challenging, no matter how well you get along. If it wasn’t worth it we wouldn’t keep doing it.

Any plans to hit Vegas (where I live) or the West Coast in the future.

M: We have only been out to the west coast twice and are trying to plan our next time. If you know anyone that puts shows on in Vegas we would love to play there.

What do you think about the retro 90s movement and did the music of that decade have an influence on you?

J: I grew up in Raleigh and got really into bands like Superchunk and Guided By Voices in my teens. Still that was in the early 2000s, but you get the idea. I was 12 in 1999 and wasn’t really into music at that point — or was just starting to get into it and then it was mostly Black Sabbath and Metallica. I’m definitely enjoying it though and I’m being exposed to artists that I definitely missed out on the first time around.

M: I’m really into it. I grew up in the 90s but I was a little too young to participate in a lot of aspects of the culture at the time — plus I lived in a very rural area with kind of strict parents. I wasn’t allowed to watch PG-13 movies or listen to the same music everyone at school did and I wore a lot of hand-me-downs. But I was really into The X-Files. It is fun to have an opportunity to participate in certain things that I wasn’t able to the first time. We had a Superchunk cover band for a hot minute and played in a 90s cover band with a couple of our friends called the Clinton Years. Post-90s I’ve really enjoyed listening to The Breeders, Superchunk, The Amps, Throwing Muses, Guided By Voices, and everything I had only heard of or missed or didn’t get enough into before.

Last question: What are your top three favorite albums of all time and why?

J: 1. The Who – Quadrophenia
It was 2001. I was 13 years old at a Turtle’s music. My dad held up this record and a Frank Zappa album. He said I could pick one. The record I chose was Quadrophenia and it started my absolute obsession with The Who. I remember, being bored in class, writing out the words to “Sea And Sand” all over my notebooks. I would blast “The Real Me” from the passenger seat. I remember riding the buses in college, with nowhere to go, and just listening to “I’ve Had Enough” on repeat. This was probably the first record I ever owned that had me completely captivated. In fact, Pete Townshend is one of the biggest reasons that I even play guitar. I’m 28 now and still fucking love this album.

2. Titus Andronicus – The Monitor
I slept on this record for a long time. It’s funny thinking about it now because when this finally clicked, I fell for this album hard. Initially I was put off by the name of the band. Then I remember finally listening to “A More Perfect Union” thinking it was good and then for whatever reason, I didn’t listen to the rest of the record. I would just listen to that song on repeat and then move on to something else. Finally I sat down, listened to it in it’s entirety and was blown away. The writing is top notch and I identified with this record on so many levels. Then Mike (at HHBTM records) got me The Monitor on vinyl and I fell in love all over again. I know for a fact that I drove Marie insane constantly playing this record on the road. In fact, “The Battle of Hampton Roads” was my go to anthem for the drive home after tour. I consider this one of the most uniquely ‘American’ records ever made along with Camper Van Beethoven’s Key Lime Pie.

3. The Damned – Machine Gun Etiquette
In my humble opinion this is the best ‘punk’ record of all time. What’s not to love?

M: I never have a running list of my favorite anythings at any given time so here are three that come to mind:

Sleater-Kinney – Dig Me Out
This was the first Sleater-Kinney record I ever heard and I felt kind of uncomfortable hearing it. But I couldn’t ever stop listening to it, and now it’s one of the most comforting things for me to hear, and that circle of how I feel about this record is reflective of how I felt and feel about a lot of other things…it was ideal timing for it to come into my life. There isn’t a time I don’t want to listen to this record. I’ve blasted it in the car, I’ve yelled the words, I’ve learned the drum parts, I’ve cried to it, I’ve shared it with anyone I could get to listen, I think it’s perfect.

Simon & Garfunkel’s Greatest Hits
I feel like this is a weird thing to have here but for a long time when I bought my van I only had two cassette tapes for it — this and Purple Rain (which I also love), which I found together at a thrift store that only had one tiny box of cassettes. So I’ve listened to it over and over and over again. It’s currently been on repeat in the van for over a month. It contains every feeling. I keep coming back to it. It’s a great album to listen to while driving around America.

Cowtown – Dudes Versus Bad Dudes
The first time I heard this record I was absolutely blown away. I couldn’t stop talking about how amazing it was while listening to it. I took it home and listened to it on repeat, and listened to it at work on repeat, and in the car, and while walking around town, for months and months. When I put it on it’s hard to take it off. I think all the songs on it are outstanding. And really good artwork. It’s so catchy and the drums are ridiculous. We kind of tried to cover one of the songs once and it was, um, a fun challenge for me.

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Great Lakes / Witching Waves at Fear & Loathing

Witching WavesCrystal Cafe (HHBTM Records)

Witching Waves bash the bleak mid-decade slump with raging pristine minimalism and slithery post-punk tunefulness on their latest creation Crystal Cafe. This album grabs you by the throat and doesn’t let go. The pounding tribal punk beats, chunky bass lines, and scratched fuzz guitar lay the foundation for the insanely catchy noise pop vocals of drummer Emma Wigham and guitarist Mark Jasper. Aggressive art punk and experimental garage noise collide, creating a new animal born of anger, despair, and frustration. The grungy symphonic grind of Pink Flag era Wire blends into the white-hot intensity of early no-wave and Vaselines grandeur on this 11 track full length of manic rock meditation.

Heavy with hooks and rawboned single noted phrasing, tracks such as “Twisted”, “Seeing Double”, and “Make It Up” deliver pleasantly eardrum-piercing candy. The intense and deliberate detachment in “Pitiless” and “Flowers” offers a somber detour into the band’s more introspective moods. The red-hot single off this collection is the irresistible and unnerving “The Threat” with its new-wave inspired melody and sophisticated dirty pop production. This is one of my favorite albums of the year so far and definitely a worthy addition to your vinyl or digital library. If the end of the world sounds this good, I hope that it comes tomorrow.

Great LakesWild Vision (Loose Trucks)

Ben Crum, with his latest incarnation of the long running Great Lakes, mischievously remodels Wilco’s Sky Blue Sky with the subtle abandon of Whiskeytown. The singer-songwriter sheds the psych-folk of earlier releases in favor of a darker roots rock approach sprinkled generously with whispered indie intensity. An uplifting melancholia guides the exposed mid-tempos and edgy alt-country ballads. “Swim to the River” and “Kin to the Mountain” demonstrate a firm grasp of mid-70s Neil Young and Rolling Stones country tinged laments. “Bird Flying” and “Blood on My Tooth” are notable standout tracks, extended harmonies fueled by decadent chord changes and brooding percussion.

“Wild Again” perfectly captures the essence of this record with its hallucinogenic slow burn and sweet but bitter psychedelic country choruses. Vibrant but low-key female harmonies accentuate Crum’s unique understated vocal delivery throughout this collection of song, adding to the strength of the refrains and nuanced transitions. Wild Vision is a warm reinvention of Crum’s subliminal artistic vision, every song a crucial component in its soothing shadowy stroll.

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Animal Daydream at Fear and Loathing

I remember being a little kid, agitated and bored in the backseat of our family station wagon. I was young enough not to be in school but old enough to be aware of what was around me. I would have to ride along with my mom to pick my dad up from his job. It felt like it was always gray, always cold, and everything just stood still, nothing to look forward to in the near future. I just witnessed people looking miserable, doing their daily routines and it depressed the hell out of me. Why the fuck would I want to be an adult? What a drag! What a serious fucking drag. I would escape into my head while sitting restlessly in the car, listening to the softer rock featured on AM Radio at the time. I would dream of places that had nonstop sunshine, full moons every night, and people who talked to each other about exciting things.

The radio was a friend that gave this dreary atmosphere a mysterious soundtrack, made-for-television movies about teen runaways made me feel like I possibly had a chance to go somewhere else. Those last words from the lost souls of the lost late 1970s haunted me in the early 1980s. The luminous sullenness of Fleetwood Mac, Gary Wright, and America held a darker meaning. It was the sound of neighborhood couples having affairs, going to strange parties, and losing their way in an impromptu sexual revolution.

Animal Daydream’s Citrus EP takes the soft strains of dark feelings and polishes them with a charismatic college-rock blade. The opening track “Citrus” lifts off immediately, with a contagious cocaine fluidity. The abundant harmonies and vibrant strumming bring to mind the retro daze of Fleet Foxes. The Brian Wilson bliss of “Sun (Turn Around)” has a nice touch of psychedelic expansiveness that beams into the ultraviolet buzz. “All That You Can Give” keeps the blissful flow moving along with a slight detour into folk rock balladry. Closing out this four-track collection of retro softer rock eccentricity is the choice cut, “In My Room”. This track has a serene and wired aloofness that eerily echoes the vibes of the Love classic, Forever Changes. If you’re looking for something different, then look this way.

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Antlered Aunt Lord at Fear and Loathing

Video in motion, prisoners of our own electronic devices, the dull thud of a door closing, and the nervous shudder of one opening create unusual monsters in our imagination. There’s nothing more beautiful than a twenty-four hour establishment, reliable availability is so hard to find in an age of face-time dating and inconsistent suspicion. You can give into the constant state of panic, or just not give a fuck. I prefer the latter. Is it really worth wasting valuable moments of your life wondering if you have a safety net or back up plan? The neon laced violent dance of nature carves the tempo and twists reality into unrecognizable fashion statements constantly. The latest full length by Antlered Aunt Lord creates an alternate universe of apathetic gold for the unsuspecting masses. Impetuous hooks of melody and insomnia fueled chord changes forge a new wave of songwriting that is difficult to define but soothing in its syrupy uncertainty. This motherfucker of musical mayhem requires several listens to acquire a proper addiction, it shrieks and whispers like a fallen star staging a comeback with a live suicide for the final act.

Vocal commotion and overdriven amplified harmonies instigate a joyous paranoia of indie-glam-pop that hits hard and caresses with uncleanliness. If Frank Black covered the first two Squeeze albums and used Frank Zappa as his producer, it might come close to the opulent cacophony presented on Ostensibly Formerly Stunted (And on Fire). AAL consists of only one band member, the eccentric Jesse Stinnard (recording engineer and drummer of the infamous Tunabunny). This collection is a shortened showcase pulled from hundreds of songs that Stinnard has accumulated in an impressive short amount of time. Brigette of Tunabunny shot the video premiere (featured here) for “Throwback Bikes”. A very impressive debut that leaves you wanting more, but each listen opens up a fourth dimension that allows this body of songs to reshape and reinvent itself with repeated exposure.
Choice Cuts:
“Hi-Beam Hi-Priest”-“Pray for Glam”- “Questions from Our Publicist”-“Munsonfly”-“Sigil to Noise”

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Antlered Auntlord at Raised By Gypsies

One of the things which struck me about this sound right away, listening to it from the moment I pressed play, was that Antlered Aunt Lord reminds me a lot of the band Dynamite Hack.   I’m not sure whatever happened to Dynamite Hack and, no, I’m not going to look it up though I believe they’ve probably long since broke up after they got some recognition with that one rap song they covered.   I actually really enjoyed their entire album though and remember how back in the days of NCA I was able to get one of my friends in another state into a sold out Weezer show because Dynamite Hack was opening and I somehow got their press kit from a major label at the time.   But yes, that Dynamite Hack album has stayed with me all these years and while hearing it in here might be considered a bad thing to some I’m not going to be like, “Oh, they’re ripping off Dynamite Hack” because as far as I know (and am concerned) Dynamite Hack just had that one album and aren’t really in my *current* list but *past* list so to hear a current band that channels them is nothing but a plus.   (Watch, I’ll find out these two bands are linked somehow)

There are always these little ways that bands can impress me and win me over and it sometimes can seem odd, but just these little things sometimes do help.   Aside from thinking of Antlered Aunt Lord as “that band who sounds like Dynamite Hack”, I also began to relate them with one of their lyrics which gets stuck in my head.    On the song “Questions From Our Publicist”, which happens to be in the second slot, they sing about how they are going to send something to someone (I would assume their publicist) in unmarked packages.   Those two words- “unmarked packages”- are sung over and over and in such a way that it gets stuck in my head.    It’s somewhat easy to have words that rhyme get stuck in your head or something out of the normal song-writing experience, but for me having the words “unmarked packages” stuck in your head (because it’s not that they sing it but *how* they sing it) is quite the accomplishment in the way that you can hear people sing along phrases and lyrics that you just never thought they would ever sing along with because it doesn’t seem or feel catchy.    So taking those non-traditional words or phrases and turning them into pop in some way is something that I will always appreciate and it is not easy to do.

When you dive deeper into this record (because there are 19 tracks and I’ve thus far only really focused on the first two) you’ll hear music ranging from They Might Be Giants to twee to New Order, Depeche Mode, Marilyn Manson, Knight Rider, distorted thrash, whistling and even some Modest Mouse.    So it’s really not like listening to the same song over and over as there is a bit of diversity on here, but the songs still remain the same general rock genre so as not to stray too far away and feel like a compliation.    The song “Yr RIght” is the distorted thrash type of one and the title of it also serves as the only lyrics, put on repeat, and so that’s just one example of how these songs can vary.   In a lot of ways, in terms of album structure (but not really musically) it reminds me of something Local H would do because it’s not afraid to push any sort of boundaries but yet still stays connected.

Antlered Aunt Lord has created what began for me as an easy way to remember who they are (They sound like Dynamite Hack right off and have the song about “unmarked packages”), but throughout the record they show you why you should stick around and listen to the whole thing on repeat as many times as you can.   It’s almost as if Antlered Aunt Lord was able to plant this seed inside your head or a bug of some type which had you hooked from the start, so no matter how many times it takes you to get into this record you’re going to listen to it that many times and then some.    While I do believe musicians and computer programmers both share a love of math I don’t fully believe any of them have gotten together yet and discovered the way to code a song so that it would infect a listener as a virus would a computer, but the fact that Antlered Aunt Lord has done this on their own just makes it that much more worthy of you taking the time to be affected by it.

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Lunchbox at Fear and Loathing

Seattle’s Jigsaw Records has begun an onslaught of catchy and idiosyncratic 7″ vinyl and full-length releases. I just got hip to their stylish and wayward celebration of independent music. With an ethos similar to early indie upstarts Beserkley and Stiff Records, the label is crossing boundaries while bringing back focus and fun to the scattered independent music scene. The cool thing about indie in the Internet age is that it is more accessible than ever. There was a time when you would have to stay up late to catch your local college rock station’s prime hours on a Sunday night from 11:30 pm until 2:00 am. During that time, you would hear Minor Threat, Dinosaur Jr, theSmiths, and the Descendents all in one show. Now in place of having to record the proceedings on your boom box with a 90-minute cassette, we have blogs that filter and provide instant access. Gone are the days of waiting up for a midnight show or a monthly zine to show up at a record shop an hour away. I do miss the days of rummaging and hunting down mysterious band names you would read or hear about from a friend of a friend. At the same time, things change, move forward, and transform to fill the present void.

Lunchbox is like the pleasure-seeking orphan of the Weezer Blue Album, ditching the prom with their date to go hang out in the local graveyard, dancing on the burial sites of Nick Lowe and The Simpletones. Fusing the fuzziest nuances of pop with a careless and playful fever, while burying their own inhibitions, new sounds with familiar echoes are brought to life. The kids aren’t alright and the world’s a mess, ground zero for reckless summer fun. “Smash Hits” is 13 minutes of pure indie pop-punk bliss with the just the right amount of dirty ambiance to let the raw guitar and trashy drums highlight its five star tunefulness. The 7″ format fits this extended song collection perfectly. The packaging includes a nice homage to the 90s with its cool front cover, featuring a reel-to-reel recorder and the classic back cover “footwear” photo, not to mention the perfect “slacker” font style. Six look-sharp blasts on one small record, perfect brevity.

The record fizzes with a wild aloofness and briskly cruises into overdrive producing a saccharine concerto of noise-pop wizardry. The EP kicks off with “Heaven”, a sweetPhil Spector by way of the Ramones inspired number. It’s followed by the scorching “Paws of Destiny”, which is reminiscent of the great singles that Shredder Recordsused to assemble on its classic CD compilations. The tracks “Friends” and “Flatland” provide punchy anthems replete with Rich Kids guitar style and garage rock aplomb. If you have any doubts about the rock prowess of this band, check out the kick ass “(It’s Your) Lovesong”. “Most Unlikely to Succeed” ends this collection with its self-deprecating Beach Boys harmonies and Queers style chord progressions. An essential addition to your vinyl or digital collection, my only complaint is that this classy noise-bomb of trashy pop goes by too quick, leaving you wanting more. Actually, that’s a good thing, this band plays hard to get, just the way I like it.

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Blindness at Fear & Loathing

Wrapped in Plastic wraps its smooth electro legs around you with an impulsive sexual ferocity.  Like a mind blowing encounter with a mysterious woman you met a day ago that has to abruptly leave to catch her flight home. She obviously didn’t tell you her secret and you’re too caught up in the stranglehold-high to even care. Dark erotic melodies and grinding disco-dark waves drag you into a turbulent sea of lust, euphoria, and sultry contemplation on the latest full-length from the band known as BLiNDNESS. 
 
Hesitant sordid fragments of feedback and sonic six string scratches breathe heavy within these mood altering alterations of modern song. Kicking and playfully screaming from start to finish, the seductive and wary vocals of Beth Rettig pull you into the sweet ruptured noise. She hones a twisted tone that combines Sleeper andThe Stranglers into a steamy design of volatile unhinged harmony.
The band doesn’t relent in its heavy post-punk bashing, keeping the core beat focused on heady rock grooves that pound with a static drenched street intelligence. This collection of instant erotic vertigo will make itself a mainstay on your playlist if you let yourself shoot up the uncut forbidden fruit of its dark wave death swing.
With a delicate influence of Siouxsie Sioux and My Bloody Valentine, Beth Rettig, Emma Quick, and Debbie Smith( Echobelly, Curve ) have created a feverish nine-song sleepwalk into the darkest pleasures of an endless summer night.

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