Storming out of LA come Frankie and the Witch Fingers, a band that have been making some of the most exciting and creative music in the psych genre of late. Rotating around core creators and multi-instrumentalists Dylan Sizemore and Josh Menashe. After putting in the hard yards on stage they are now joined by Nicole “Nikki Pickle” Smith on bass, and Nick Aguilar on drums to complete the line up for this, their seventh studio release.
Here’s what the band have to say about the genesis of Data Doom.
“Wiping away the haze of stoned-ape psychedelics that permeated their opus Monsters Eating People Eating Monsters… the band favours an asphalt assault of rock, riff, and amphetamine rhythm. As they’ve wound out of the last phase, their sound, over a series of singles, has begun to thicken and throb.”
“It’s coalesced into a darker strain that ingests the explosive impulses of gas-crisis-era proto-punk, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They’ve welded their arsenal of influences to a chassis of nail-bitten bombast that drives Data Doom into the midst of the maelstrom.”
Wow, I don’t know about you but I really need to listen to this album. Right Now!! Let’s drop the needle and dive in.
The album starts with the blistering and furious ‘Empire’ that unleashes sheer raw aggression from the outset. The warped and fuzzy guitar riff just rips through the speakers, along with a pounding drum beat and a thundering bass line. The addition of horns into the mix adds a prog rock flair to the sound. Man, this is an intense and utterly satisfying listen. Lyrically the track appears to be about the destructive power of data and how it can corrupt and consume everything. What a way to open an album.
Next up is ‘Burn Me Down’ another blistering and furious track that just explodes into life. Theres some textures of saxophone adding some nuance to the bottom end. Listen to how the bass and drums are in perfect unison calling the time and driving the whole song forward. This then allows space for the guitars to go wild. And that they do.
The pace isn’t letting up as we head into ‘Electricide’. The punk rock shock of the stabbing guitar riffing is mirrored in the vocal melody. It’s when the guitars are let loose to solo that this song soars into orbit. This is exhilarating to listen to, I can only imagine the sheer energy of this being played live. ‘
Up next is ‘Syster System’. The drums dial back the pace whilst remaining urgent and insistent. The guitars bring a bit of funk to proceedings. This is only lulling us into a false sense of sedateness. Halfway in and it all kicks off. A garage rock opus follows at breakneck speed. I think my ears may have whiplash.
‘Weird Dog’ lives up to its name. Built off a slick guitar hook and pulsing saxophone stabs. It runs amok in your head. Jumping across the channels from left to right and back again. It also contains some of the most intricate harmony guitar soloing on the album. An absolute peach of track.
Sliding back into the funk pool comes ‘Doom Boom’. An absolute stellar monster of a track. This is one major jam workout; the guitars even sound sweaty at one point. Great use of dynamics throughout meaning that when the song truly erupts you really feel it.
Talking of sweaty. ‘Futurephobic’ sounds like its being performed in CBGB’s in the 25th century. That punk rock chorus is utterly compelling. I guarantee the line “System has no way to connect” will be etched in your memory for weeks after hearing this song for the first time. Man, this track barrels along at a lightspeed. It’s like a force of nature, in song form.
The band introduce ‘Mild Davis’ by saying it’s “inspired by Miles Davis’s early-70s electric work, the track’s dizzying 7/4-meter winds through chunky riffs, commanding vocals and proggy synths before crash-landing in a minefield of angular guitar harmonies.”
I can totally get behind that. This is a musical voyage through a few different genres, jazz rock melds into funk into garage rock and round and round it goes. On paper it shouldn’t work but, by God, it does and how,
‘Political Cannibalism’ is the final track of the album, and it’s a heavy and powerful number with a massive and intense guitar riff that dominates the sound, along with a deep and thundering bass line, and some direct and angry vocals that add a defiant and rebellious touch. To me the track sounds like it’s about the corruption of politics and the exploitation of people. It’s a fitting end to such a politically charged album.
Data Doom is a masterpiece of psychedelic rock that really demonstrates just where this band are at. They have a captivating sound that combines elements of garage rock, post-punk, and prog rock, creating a diverse and dynamic sonic palette. Meanwhile lyrically they are exploring big ideas like digital dystopia, artificial intelligence, and human creativity. It’s just mind boggling. Since receiving this album, I just can’t stop playing it. Each spin revealing something new to my ears. Maybe it’s time I shut up and let you enjoy this musical experience all for yourself.
Data Doom is out now on Levitation and is available on a multitude of coloured vinyl pressings as well as CD.
You can follow Frankie and the Witch Fingers on social media here…
Photo Credit
James Duran
Lance Bangs
Travis Trautt
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