Standout favourites of Riding Easy Records’ Brown Acid compilation series (curated by Permanent’s owner, Lance Barresi), White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band TheLitter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on “Thunderbolts of Fuzz”.
The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.
Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take centre stage as lead singer of the expanded line-up. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. For more facts and information visit thelitter-lightning.com.
“Lo and behold, The Fifteenth Trip is upon us, and it’s another mind-melting dose of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the ’60s-’70s. Our crate-digging mining expeditions, and growing network of the original artists keeps on giving with more and more incredible discoveries every time we go back for more. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make yourself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock ’n’ roll of yesteryear.”
The Zoo’s“444” is a 1969 single out of Michigan that’s exactly the brand of rolling, grooving MC5/Stooges/Bob Seger System made famous in the Motor City. And this anthem slams as hard as the best of those well worn classics, which begs the question — whither The Zoo’s day in the limelight? We can only imagine that these animals were too wild to tame in the studio.
As usual, this Trip opens strong, as “Take The Time” swaggers along with switchblade stabs of guitar twang and frantic drumming that sounds like Nick Cave’s 80s post-punk barbarians The Birthday Party on this 1969 single from the mysterious Boston area band The Looking Glass (not to be confused with the 70s soft-rock one-hit-wonders of “Brandy [You’re a FineGirl]” fame.) But, as one might expect of a band this ahead of their time, the Looking Glass were soon to disappear down the rabbit hole.
Black Hawk was a trio out of Long Beach, CA who frequently played the SoCal club scene. Their lone 1971 single “Little Suzie Looker” features stomping pop hooks driven by some mean soundin’ Leslie West style guitar riffing. Originally named SMG for the members’ initials Sam/McCoy/Giles, the new name assigned by their management failed to take wing, and this Black Hawk was down permanently.
Truth & Janey might be familiar to you from their 45-only “Midnight Horseman” single heard way back on the Sixth Trip, and/or their incredible 1976 LP “No Rest For The Wicked“. But their super-driven soul leaning cover of “Under My Thumb” gives the track more of a “lean in” to the descending riff than the original, which adds to its power. It’s almost like The Who had penned the track, with relentless drums, jackhammer rhythm guitar and near-falsetto vocals.
Negative Space toil in the dark web of The Seeds, and dwell in the mystic haze of working class suburbs in Camden, NJ circa 1970. Their angry, nasty guitar sounds and frustration-bogged frontman Rob Russen ensure that the aggro fueled “ForbiddenFruit” — in which he confesses his love for his sister-in-law — will hit you right in the face. Russen self-financed and hand-stamped the otherwise plain white sleeves of their sole LP, proving that DIY aggression predates punk rock by several years.
Scrapiron, out of Carteret, NJ provided history with only this 1971 lone single, “Roxanne” backed with “Poopsie.” The quartet’s over-the-top wailing vocals and warbling sounding guitars and organ give the sexually-charged paean a hint of (Crazy World of) Arthur Brown’s mania, mixed with early Deep Purple’s free-flowing style.
White Lightning returns to the series here, last heard on The Twelfth Trip, and their blazing theatrical drumming, sizzling melodic riffs and Jim Dandy howls of “Under Screaming Double Eagle” perfectly sums up the raison d’être of this series. The Minneapolis band formed by guitarist Tom “Zippy” Caplan after he left garage psych heroes The Litter, later shortened its name to Lightning. The group only issued one proper album before disbanding in 1971. However, with the late 1990’s reissues and revival of The Litter, Lightning’s bevy of unreleased recordings also surfaced as a self-titled LP and “Strikes Twice 1986-1969” CD compilation.
Crazy Louie remains to this day a celebrated novelty rock act in their Rapid City, South Dakota home, reuniting from time to time to ensure that the insanity defense remains intact in the band’s psych ward files. “My Pants” is a chugging bit of tongue-in-cheek bravado that would do Bonn Scott proud. The release date of this B-side to “What The People Say” is unknown, but predates their “Intro Into Craziness” album from 1982.
We’re not sure if they chose their name after the popular British cider or otherwise, but Strongbow’s “Change” is an ultra-slick and tight tune, anchored around a shimmering Hammond B-3 organ riff reminiscent of The Edgar Winter Group’s “Frankenstein” meets Ted Nugent’s “Stranglehold.” The 1975 B-side to the single “If You’re Goin’ To The City” is a fun dose of throw-everything-at-the-wall prog rock outta Columbus, OH.
Closing out this wild psych sesh is the hooky, heavy funk groove of Detroit’s Robert Stark. Fully credited to Robert Starks & The Geniuses this dose of lysergic Hendrix worship is summed up nicely by its title, “Space Traveling (Part 2).” The lo-fi recording adds to the haunted vibe of this deep Mississippi swamp blues jam, replete with Exuma-esque drum breakdowns. We recommend listening to “Space Traveling (Part 2)” not necessarily stoned, but… beautiful.
Jack White shared some sage wisdom with a live video of “A Tip From You To Me”. Recorded on the singer/guitarist’s Supply Chain Issues Tour, the track appears on “Entering Heaven Alive”, one of two albums White has released this year.
This footage of “A Tip From Me To You” is especially exciting considering phones are not allowed at White’s concerts. The sparing videos the former White Stripes bandleader has posted himself comprise the only fleeting footage readily available.
The snapshot shows White, fittingly bathed in blue light, performing the track at several different concerts as his outfit changes throughout. The clip edited by Brad Holland, weaves together footage from numerous stops on the Supply Chain Issues Tour where “A Tip From Me To You” is apparently in heavy rotation.
Watch Jack White perform “A Tip From You To Me” from the Supply Chain Issues Tour
The footage arrives as White gears up for an international leg of the ongoing tour, making stops in South Korea, Vietnam, Thailand, New Zealand, and more in November.
Indie-rock unit Yo La Tengo announced its first full-length studio album in five years. The follow-up to 2018’s “There’s a Riot Going On“, the forthcoming collection has been dubbed “This Stupid World” and is slated to be released on February 10th via Matador Records. As a preview of what’s to come, the ensemble delivered the first listen by sharing the single, “Fallout,.”
The group’s self-produced sixteenth album is a set of reflective songs which embrace a collective feel through the tracking and instrumentation of the new material. In a press release describing the impending LP, author and journalist Marc Master wrote: “At the base of nearly every track is a trio playing all at once, giving everything a right-now feel.”
Honing in on a live sound captured in a studio setting, Yo La Tengo’s Ira Kaplan, Georgia Hubley and James McNew deliver an indistinguishable intimacy that permeates the tracking list and comes through on their single, “Fallout.”.
Apart from new music, Yo La Tengo will partake in their annual Hanukkah run in December. Then, after a month off the stage, the band will return to the road for an extensive U.S. and European tour.
London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen ‘O’ Williams and George ‘GN’ Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al).
“Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before.
The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo – there’s no point in resisting.
“Dead Meat” is released on CD, cassette & LP (a limited “British Steel” silver vinyl version is available while supplies last) on January 13th, 2023.
Frankie Cosmos, the project led by Greta Kline, released their fifth studio album, “Inner World Peace”, last Friday via Sub Pop.
“For me, ‘F.O.O.F’ is about creating random boundaries and schedules for yourself in an attempt to feel in control,” Greta Kline says. “Feeling time passing at varying speeds and time traveling with music. I love Cole [Montminy]’s art, and we were all so excited and grateful they were on board to make this video. I’ve struggled with feelings of isolation as a result of the pandemic, combined with escalated use of technology.
In a press release Kline says the song “is about wishing for inner peace, and conversely: spiraling. It’s about self-control and the fear of unlocking myself and overflowing. It’s also about finding joy in small moments – walking in circles, hoping to see the neighbor’s dog. I’m so happy we got to work with Sophia Bennett Holmes again for this music video (I last worked with her in 2014 on the ‘Art School’ video). I love the concept Sophia came up with—it tells its own story that fits in with the story of the song, but also takes it somewhere else. To me, the video is about blossoming because of a chill perspective (once I stop trying to jump into flight, I lift off the ground with ease); and then letting go of the need to be perceived, and instead disappearing and floating into the sunset. It perfectly captures the way meditation works—that once you stop focusing and trying too hard, it comes naturally.”
When “Inner World Peace”was announced the band shared the single “One Year Stand.” They later shared the album’s “Aftershook.” Then the band shared “F.O.O.F.”
This video embodies that, and the ending provides a sense of relief and freedom from those feelings. We could all stand to smash our computers and go touch some grass.” It’s from their new album “Inner World Peace“
“F.O.O.F.” by Frankie Cosmos from the album, ‘Inner World Peace,’ out October 21st, 2022 on Sub Pop Records.
Last week, Caroline Rose shared a new single, the sweeping “Love / Lover / Friend.” She has also announced a North American tour for 2023. Tickets are on sale now.
In a press release, Rose states: “I feel like I’ve really grown up in the last few years. I’ve learned, and am learning still, so much about life and love and all its many forms. When I first wrote this song it felt like the perfect jumping off place to tell a story about love… Not just love for another person but also for myself.”
When I first wrote this song it felt like the perfect jumping off place to tell a story about love…Not just love for another person but also for myself. I had reconnected with the pure joy of sitting down with an instrument and exploring all it has to offer. At the time I had no motivation to produce or even make anything. I didn’t want to be anywhere near a computer, but this song arrived and I knew what I wanted it to be pretty immediately.
There are, to me, some pretty obvious vocal references and some not so obvious ones. For a while I was almost exclusively listening to vocal arrangements and discovering the myriad of powerful ways people use their voices. I was also listening to a lot of soundtracks, classical compositions, and ambient music using tape and modular…Both of which I ended up really nerding out on. The past few years have been both a fun and emotional time to experiment.
I hope you enjoy.
cr
Rose released her latest album, “Superstar“, in 2020.
The WAEVE—a new project consisting of Rose Elinor Dougall and Blur guitarist Graham Coxon are to release their self-titled debut album February 3rd, 2023 via Transgressive Records. They have shared the album’s second single, the atmospheric and epic slow-burner “Drowning.” The opening brings to mind Sing Sing (Emma Anderson’s post-Lush band), before there are hints of early Doves and then it settles into simply sounding like The WAEVE.
The band collectively had this to say about the song in a press statement: “Drowning’ is one of the more meandering, cinematic songs on the album. The song touches on themes of allowing oneself to be subsumed by forces you can’t deny, whether that be romantically or life in general, of giving into the delicious risk of total failure and oblivion, despite one’s better judgment… Lyrically it comes from two different perspectives, with Rose’s vocal beginning as an intimate half secret, which then expands into soaring strings. By the end we hear Graham’s refrain, acquiescing to the rising tides of intensity and acceptance of a shared fate – ‘Hold on to me as the waters rise. Drowning again…’”
Previously The WAEVE shared the album’s first single, “Can I Call You,” via a video for it.
James Ford (Arctic Monkeys, Florence & The Machine, Foals, HAIM) produced The WAEVE, which was recorded earlier this year. Dougall and Coxon started trading messages during lockdown, around Christmas 2020, and the project grew from there.any of the tracks feature Coxon on saxophone, one of the first instruments he picked up when he initially became a musician. Reference points for the album in the press release include: Sandy Denny, John and Beverly Martyn, Kevin Ayers, and Van der Graaf Generator.
A previous press release describes the band’s sound in more detail: “A liquid meeting of musical minds and talents. A powerful elixir of cinematic British folk-rock, post-punk, organic song writing and freefall jamming. The WAEVE strikes that magical English folk-rock alchemy of earth and ether. Heaviness and weightlessness. Darkness and light.”
The project was announced in April and in May they shared their debut single, “Something Pretty,” but actually isn’t featured on the album. Previously they also shared a trailer for the band.
Dougall released her last solo album, “A New Illusion”, in April 2019 via Vermillion, Coxon’s last solo album was 2012’s “A+E“, but he’s kept busy with soundtrack work, including releasing two albums of songs and score from the acclaimed TV show The End of the F***ing World and his 2021 score to the comic book Superstate.
Levitation 2022 starts tomorrow! Pass pickup starts tomorrow. Due to a fire at Parish on Monday (no one was hurt, thankfully), we have had to move some shows around.
Originally founded in 2008 as Austin Psych Fest by members of The Black Angels and friends, the annual festival (rechristened Levitation in honor of The 13th Floor Elevators in 2015) now encompasses four days of performances in venues throughout Austin’s Red River District and East Side, including Stubb’s, Mohawk, Scoot Inn, and Antone’s. While a rumored appearance of Bernie Sanders introducing King Gizzard never materialized, there was no shortage of epic moments over Halloween weekend, with packed crowds taking in sets from The Jesus and Mary Chain, L7, Automatic, Os Mutantes, Hunx & His Punx, A Giant Dog, Imarham, Osees, and many more.
“Jesus fucking Christ,” sighed Jim Reid towards the end of his legendarily noisy band’s glitch-riddled set. His defeated, depressive apology was once again subordinated to the yowling clamor of his brother William “struggling” with an apparently “kaput” guitar pedal. Jim again: “It’s just one of those nights isn’t it?” Is it? Referencing a friend who’s seen the Scottish shoegaze progenitors several times across their four decades, his description of a standard JAMC show
Saturday with a damn near perfect Heartless Bastards set, the one performance that lingered for me was Australia’s own Psychedelic Porn Crumpets. Having heard of their live prowess in advance of the show, I knew it was one performance that was not to be missed. Luckily for all attendees, (and unluckily for any photogs as it is a brutal place to cover) Mohawk was the chosen venue. The intimacy of the venue paired with Psychedelic Porn Crumpets colossal, unapologetic in-your-face shredding was the absolute pinnacle in a weekend of highlights.
Hunx and His Punx, Pale Dian, and Blushing. It’s always fun to see Hunx, and seeing Shannon out there enjoying herself onstage was really nice to see; I maybe could have asked for stronger sound, but not sure who that falls on. The shoegaze/dreampop due of Pale Dian and Blushing just brought noise and melody, and reminded me that although they might not carry the hype and adoration of the local scene, that doesn’t mean they’re not two extremely powerful forces in their craft.
Honestly, this festival continues to be a highlight. Every year, they grab from all different areas under the psychedelic umbrella, and we’re always getting the reward. The current format does make it harder to see all the bands on a budget, but definitely rewarding for the show you do hit up. Also, the Austin scene came strong. Pale Dian, Grivo, Troller, Black Angels, Blushing…not a single one of those bands didn’t punch above their weight class.
Insane kudos are due to the staff at Levitation. It is safe to say that the event is rapidly becoming one of the most superbly curated festivals in the world these days. Every act on stage this week, bar none, perfectly melded into a stiff Reverberation Appreciation Society cocktail.
THURSDAY, OCTOBER 27th
THE JESUS AND MARY CHAIN
OS MUTANTES • W.I.T.C.H. • SUPERORGANISM • PROTOMARTYR
top bands from Thursday night. Hey, they were sick to be fair.
W.I.T.C.H. Was pleasantly surprised by this set at Empire where sound can sometimes be an issue. Easily the happiest band to be playing live again after years of lay off. African Jazz vibes.W.I.T.C.H. played their Black Sabbath and James Brown-inspired funky stoner classics, including “Living in the Past,” “Chifundo,” “Waile,” “It’s Alright,” and “Lazy Bones.” All energy, grace, and joy, Chanda said: “We take nothing for granted. Thank you for being here.”
Automatic Super heavy bass lines with the best drummer of the night holding it down.
ProtomartyrDetroit’s finest are always heavy while staying tight throughout the set. Lead singer Joe Casey still has one of the best growls in the business. Joe Casey – a poet of everyday desperation – rang out nearly as strong as his band’s impossibly muscular riffage. (Looking the part, Casey earned comparison to a high school gym teacher from somebody near me, though I’d argue State Farm salesman.) Though Protomartyr’s sombre, gray-toned industrial churn was likely some of the least outwardly psychedelic music of the weekend, the singer cast a dissociative spell with ghostly, effect-riddled backing vocals from Breeders sister Kelley Deal. Shuttling in place, spitting his words with nihilistic venom, and at one point manically hollering during a heart stopping “Up In The Tower” – Casey’s apocalyptic declamations held Stubb’s in a vice.
FRIDAY, OCTOBER 28th
KING GIZZARD & THE LIZARD WIZARD
GODSPEED YOU! BLACK EMPEROR • VIAGRA BOYS • SHAME
PSYCHEDELIC PORN CRUMPETS • THE LEGENDARY PINK DOTS
DESIRE • ACID DAD • GLÜME • CLUB INTL • MOTHERMARY
KILLS BIRDS • WARM DRAG • LEAH SENIOR
Too weird for college rock, too muscular for electronicats, and too psychedelic for the goths that first celebrated them, the Legendary Pink Dots define a cult band. Nonetheless, the Netherlands-based act persists into its fourth decade. Still led by singer Edward Ka-Spel (as co-founder Phil Knight retired from the road), the Dots have only honed their potent mix of pulsing rhythm throbs, strident synth noise, and crunch guitar. Built for studio work, the band compels live with minimalist lights, complementing the rhythm pulse, and the deadpan Ka-Spel reveling in his darkly romantic tales of madness and obsession. The group’s latest “The Museum of Human Happiness” contributed highlights “Postcards From Home” and the wild-eyed “This Is the Museum” on Friday night,
SATURDAY, OCTOBER 29th
KING GIZZARD & THE LIZARD WIZARD
SHAME • VIAGRA BOYS • OFF! • HEARTLESS BASTARDS
HUNX & HIS PUNX • THE MURLOCS • SUNFLOWER BEAN
SHE PAST AWAY • LEBANON HANOVER • TROPICAL FUCK STORM
DEATH VALLEY GIRLS • A GIANT DOG • ALEX MAAS • TEMPERS • BLK JKS
And just like that, Levitation 2022 has come and gone as fast and powerful as aSliftguitar interlude. With absolutely no remorse for ear drums, the entire billing unconditionally brought their fucking A game. Earsplitting, breakneck, and with style points in spades, this years fest was one for the record books. 2 nights of Gizz, 4 nights of the Osees, La FemmeandBlack Angelsclosingthings out, what is not to like? If you were following along, your ATH crew enlisted amongst the thronged masses in the Red River Cultural District this weekend to get a massive dose of culture. We spread out as much as possible over the weekend and below are our major takeaways and favorite shows you should be listening to and seeing live if you get the chance. Until next time, hit the jump.
