Thursday, May 30, 2013

Sharkmuffin-She-Gods of Champagne Valley EP (2013)

Without getting enmired in cheap nostalgia for the '90s or some sort of "authentic" urban experience that has never existed, I'm still suspicious of recent cultural products coming from Brooklyn. Up until recently I associated Btown with the fiercer end of NYC hip-hop: Black Moon, for example. NOT garage, noise, and such. 1990s-era Brooklyn was a violent, squalid place by all accounts, but urban renewal could have benefited the original inhabitants instead of displacing them. Instead, Giuliani's stormtroopers paved the way for Bloomberg-era gentrification and the result is a tinseltown, suburbanized borough that doesn't even seem worth visiting. If you don't know what I'm talking about, check out Crown Heights or Red Hook or any other neighborhood mentioned by Biggie, Gang Starr, etc. etc.

That said, Sharkmuffin's second EP is good clean fun if you dissociate it from the gentrification it's inevitably a part of, if only in a tangential way. This is high-quality trash pop falling somewhere between Vivian Girls-style rave up and Piresian Beachesque scuzz. The retarded piss take of a guitar solo at the end of "Femebot" is glorious in and of itself. A minimal 4'4 beat, yowled vocals, and trashy guitars are the end all of Sharkmuffin's sound, and as I always say, simpler is better when it comes to rock 'n roll. This isn't music you think about, it's music you simply respond to. My favored reactions to it are: dancing, drinking, and fucking. All seem appropriate responses to SM's raunch garage, so get yr ass in gear and go have some fun.

You can listen to the EP, and should then buy it, here.

Wednesday, May 29, 2013

Silkies-"Walk at Midnight" (2013)

Silkies is a fun band, a good band. Partly 'cause I dig their music, partly 'cause they keep dropping single songs instead of albums. That spares your humble narrator from sitting through two sides' worth of music, giving him more time to leer at Florence's fashionistas while out for a tipple. Commendable, truly commendable.

"Walk at Midnight" finds Silkies straddling the line between garage and post-punk that Grass Widow successfully bridged. Silkies' singer sorta resembles GW's vocal section, too: she has the stoic holler of a ghost passing through yr favorite bar. Dirt-simple instrumentation, insistent and repetitive vocals: where can ya go wrong? Silkies ain't reinventing the wheel, but if you dig the Supremes as much as snide, gritty garage rock, this is up yr alley.

Silkies is playin' the NYC Popfest this Saturday, June 1st. Find a significant other, take him/her to the movies and for ice cream, then take 'em to Silkies and get yr makeout on to their tunes.

Check out their tunes here. They also do a mean pisstake on Andrea Carrol!

Wednesday, May 22, 2013

Punk Rock Could Be Your Life: An Interview with Robert Collins

If you know anything at all about recent hardcore punk, you've probably stumbled across and/or love some of Robert's bands: What Happens Next?, Artimus Pyle, No Statik, Conquest For Death, and the list goes on and on. He also runs the too-cool-for-skool Terminal Escape cassette blog. His work stands on its own, but he was also cool enough to answer some annoyingly long-winded questions I sent him via email. Check it out if you give a shit about punk, where it came from, and where it might be going:

Drug Punk [DP]:    Looking back from the media-saturated, completely connected world we live in currently, it’s hard to imagine what it was like growing up as a punk in the early 1990s, before the ‘80s HC revival of the early ‘00s and especially in a place as isolated as Oklahoma. How did you get into punk? What were some formative experiences growing up in the scene back then?
Robert [R]: I actually guffawed a little at the thought of a punk scene where I grew up. I don’t know if there actually were punks in Ponca City, Oklahoma when I was growing up because honestly I wouldn’t have even known what to look for. There were a handful of skaters, one of whom had a girlfriend who sometimes gave me a ride home from school and she played me MISFITS once, but she had only heard them because METALLICA covered them. There were a couple of dudes a grade ahead of me who jammed CIRCLE JERKS, and I bought SUICIDAL TENDENCIES’ first LP at the record store after their Miami Vice appearance, but there was no connection of these things to any greater scene.  The closest I came to knowledge of any kind of Oklahoma punk was a girl from Tulsa that I met at competitive drama functions around the state – we traded mix tapes and I heard NOTA, CONCEPT OF NONSENSE, BUNNIES OF DOOM (as well as CRASS, DESCENDENTS, and other starter bands),  but I had no way to find out about shows in Tulsa or Oklahoma City and couldn’t have gotten to them even if I had (I also probably would’ve been terrified) – and the only way I heard about new bands was in the pages of mainstream mags. The start of my descent was a visit from my step cousin in 1985 – she bought me Give Me Convenience or Give Me Death and that was a huge portal into underground punk. But it wasn’t until I had moved to Norman, started a band and gone on a couple of bizarrely organized tours before I grasped the real DIY scene – before that it was an amalgamation of new wave, well known punk bands, metal and grunge[.]

DP:    What was your local scene like in Oklahoma?: Most non-Okie natives reading this will have heard of NOTA and Brother Inferior, but are there other undeservedly forgotten Oklahoma punk/HC bands we should know about?
R: I was living in Norman before I played in bands (or even saw bands), and most of our scene was in bars and college clubs. My first band played more shows at the massive nightclub by campus that anything even approaching DIY venues, we just simply didn’t know anything else. We played house PARTIES, not house SHOWS, and it wasn’t until we toured in ’92 and ’93 that I started to get an idea that there was a DIY scene that connected cities across the country (the rest of the world didn’t come for a few more years).
Forgotten Oklahoma bands….?
DEATH PUPPY (Norman), FACE FIRST (Norman), ILLEGITIMATE SONS OF JACKIE O (Tulsa),  FYRCE MUONS (Oklahoma City), HOSTAGES (Oklahoma City), MEMLUKS (Oklahoma City), CONCEPT OF NONSENSE (pre-BROTHER INFERIOR, Tulsa), RANDYS (Oklahoma City)…there are actually tons, with many flirting in the weird art/punk world, even more impressive considering the cultural climate in Oklahoma.

DP:   WHN? Toured Brazil in the early ‘00s, correct? What was that like?  And how does it compare with CFD’s trip there in 2011?
R: It wasn’t really that different. I mean, the WHN? tour (in 2002) was in a van and with CFD we mostly flew between regions, but I felt a similar vibe from the scene and the punks on both tours (“similar” as in they were both amazing). The punks in Brasil are fukking alive, and I really like being there and playing there.

DP:  The only time I saw Artimus Pyle was in Chicago in 2007/08 with Dropdead and Bloodyminded, and I distinctly remember how much of a mindfuck Bloodyminded was for the hardcore kids-are you into noise and drone music?  I remember you saying that some of us wouldn’t understand why Bloody Minded was on the set before AP started theirs, and thought it was a great way to tacitly critique the narrow-mindedness that afflicts hardcore these days: What are some of the problems you see with the punk/hardcore scene right now? Regardless of wider political aspirations (or lack thereof), do you think that our scene has anything to teach American society at large?
R: I think everyone in ARTIMUS PYLE would agree that that show was just about the best we ever played (maybe part of the reason we haven’t played another one since?), and the vibe set by BLOODY MINDED played no small part in that. They are a political hardcore band, their assault is just based on electronic noise rather than guitars - the energy, the attack, the approach all have more in common with hardcore, even though most of the crowd was either put off or confused. That’s the only time I’ve seen them live, and it was mind melting. I’m quite into noise/drone/electronic sounds, but that world is SO vast and my experience is more listening and less involvement or really diving deep into the scene (maybe I’m afraid I would never make it out!). “Some of the problems with the punk/hardcore scene right now” is a whole separate set of questions…briefly I would say that since punk generations seem to last not more than a few years, we seem to be learning the same lessons over and over (and over) again. But I think that punk knowledge (and I’m talking about knowledge gained from involvement in rather than casual observation of) can teach “society at large” quite a lot. I also think that society at large will never listen….or learn.

DP:  You and your wife were were mainstays of the Milwaukee and Midwest punk scene when you lived there-what’s the Milwaukee scene like? And, if it’s not prying too much, why’d you return to the Left Coast?
R: Milwaukee scene is killer – so many great times there. Karoline is from there, and was involved with setting up shows in Milwaukee and Madison in the early ‘90s (not only did she refuse to book my band in ’93 because our name was stupid, she was responsible for the show that really opened my eyes to the DIY scene). She moved to SF in ’97 when we got married, and we moved back in 2003, partially to be closer to her family and partially just to give it a try. Bought a cheap ass house and started tending bar. Community (punk and otherwise) was awesome, basement shows are the best, and we were fortunate enough to have the space (and time) to treat touring bands the way that we think they should be treated, something we are not able to do now that we live back on the West Coast. We moved back in ’08 for a variety of reasons (weather and work were factors), but mostly there’s just something about San Francisco and we missed it. Living here is more difficult in some ways, but I don’t see us leaving anytime soon (unless we are priced out, which is a very real possibility).

DP:   Whenever I’m up in Oakland, I hear more and more that “the kids” or weirdoes like us in general are getting priced out of the area, and SF in particular.  What’s the state of the punk scene up there? Is there much of a unified scene, or has it splintered into sub-scenes (anarchopunk, gothpunk, neo-post-punk, etc. etc.) as in some other American cities like Chicago?
R: The problem with having so many bands playing so many different styles of punk is that people have the luxury of only going to see that kinds of bands they already like. In a smaller scene, you go to the punk show, whereas here you can go to the raw punk show or the queer punk show or the post punk show or whatever. It’s a bizarre problem to have – but there are so many bands that it sometimes makes the shows smaller. The money thing is ridiculous – it’s a more sinister version of the late ‘90s tech bubble that invaded this area, but basically you have multi-millionaires working 40 miles south of here who want to live where it’s cool. Stories of people literally knocking on doors and saying “I’ll give you $10 million for your house.” And obviously there is no way a normal person with a normal job can compete with that. Punks move to Oakland, sure (and the scene there is definitely bigger), but there are still enough weirdos entrenched in SF to keep it rocking, even while space and spaces are at a premium.

DP:     All of the projects you’ve been involved in have been thoroughly and resolutely DIY and committed to the sort of independent ethos a lot of us grew up on, but probably have become disillusioned with. Especially with your posts on Terminal Escape, there’s a clear sense of historical and scene vet perspective, without the jaded cynicism that too often comes with making DIY punk a central part of one’s life. What are some things that keep you involved in the punk scene?  
R: Not trying to evade the question, but “the punk scene” is what keeps me involved in the punk scene. I fukkn love playing in bands, love watching bands, love talking to punks (well, some of them), and this is absolutely my family. I’ve met my best friends through this world, they are the friends I will have forever and I look forward to making new ones. Last week I popped in a demo by a band called DASHER and Karoline and I listened to it 6 times in a row, just putting the whole day on pause and digging the sounds. The history is important, sure, and context is a huge part of why I personally think particular bands are important (or at least important to me), but without the new shit the history might as well be in a book. Punk is a breathing and evolving thing, and I am a long way from disillusioned. Frustrated? Yeah, and often. But only because I think we can always do better.

DP:  I got into punk just before the advent of the internet, and to me it seems like a gulf has opened between the pre- and post-internet punk scene, if only because of the onslaught of information now available to any kid in rural Saskatchewan who’s heard of the Sex Pistols. What are your thoughts on what the digital age has done to the DIY scene? Or am I placing too much importance on technological factors?
R: It’s completely different now. Completely. All those bands I mentioned at the start of this interview? One evening on the internet and you can get from SUICIDAL TENDENCIES to THE STALIN and ESKORBUTO. Obviously the internet is an invaluable tool for connecting punks around the world, but I honestly think the instant exposure to punk’s entire musical legacy from infancy to today stunts creativity.  It’s easy to ape shit, and certainly great bands come out of the manipulation of other bands’ ideas and always have, but the mystery and excitement are key factors that I’m afraid we might be losing, and probably forever. I had heard of WRETCHED for a YEAR before I ever heard the band. I just knew they were fast. That is unfathomable now.

 DP: Gotta ask you this one-what are a few of your favorite tour experiences? Coolest places to play abroad? In particular, what are some changes you’ve noticed when playing in Europe (if any)? All we hear about in the US media is “austerity this” and “austerity that,” are the Europunk scenes hurting, from what you’ve seen?
Again, that’s a separate interview. I’ve been touring half of my life, and don’t plan on stopping. Different places have different things to offer, so I don’t want to say that one is “cooler” than the other, but there are very few places I have toured that I would not love to return to. I haven’t been to Europe since early ’09, and that was before a lot of the current shit started to really hit the fan.

DP: What are some of your recent projects, musical or otherwise? What bands or labels should I rant and rave about to people who check out the blog?
Other: Terminal Escape, MAXIMUM ROCKNROLL shitworker
Check out: Chondritic Sound, Iron Lung, Prank, Break Up, Rhinocervs, Nostilevo, Shogun, Drunk With Power, TOUCHED BY NAUSEA, HERO DISHONEST, STILL SUIT, ON ON ON, METH SORES, REPLICA, IVENS…the list is thousands long.

Monday, May 20, 2013

Pharmakon-Milkweed, "It Hangs Heavy" EP (2013)

I was midway through my customary Monday night bender when a friend emailed me this. Sneering, as is my wont, at any and all new musical creations, I settled in with my Heineken and awaited disappointment. Call me confuddled, dear readers, but this is one of the most evil things I've heard in quite awhile. My inner cynic tells me this is some sort of legacy of that stupid witch house craze of yester-year, but taken on its own terms, "It Hangs Heavy" digs under your skin and makes you twitchy and nervous. Imagine Khanate minus the relentless, endlessly downtuned guitar and you get the idea. As reality turns into a grey puddle, the singer will be sneering me from great heights, I'm sure.

Saturday, May 18, 2013

Broken Water-Normal Never Happened 7" EP (2010)

As with every revivalist movement, the neo-'90s craze we're experiencing right now is mostly a pile of stinking, retrograde dogshit. Among a horde of contenders, only a few bands have really held up past the "haha, yeah, that reminds me of this one Nirvana riff...." moment. In fact, as far as I'm concerned, only Whirl/Whirr, Psychic Blood, and especially Broken Water are worth a damn in the all-important longevity category. These are the current bands with riffs heavy enough that you actually listen to them for reasons other than that you've worn out your copy of Loveless (again).

Enter Normal Never Happened. Broken Water has sometimes been criticized for writing great songs and never pulling off a great album, but when the songs are as good as the eponymous opener and "Faux King Vogue," it doesn't matter. If I want album-length coherence I'll listen to Godspeed You! Black Emperor or fuckin' Beethoven, thankyouverymuch. "Normal Never Happened" opens with a riff and beat as savage as "Keep on Rockin' in the Free World". It's a trick of production, I'm guessing, that the song is in fact heavier than Neil Young, but still: Broken Water means business, muhfuh. One of the things that separates them from the competition is their skill in creating songs with abrupt changes in mood and tempo, without losing intensity. "NNH" is a great example of this: around 40 seconds, the song slides from full-on rock brutality to a echo-chamber-like solemnity of spacey guitar, light-as-a-feather singing, and a rhythm section relegated to metronome status. As with most of BW's best work, Jon Hanna's guitar wizardry is front and center: the transition from Young-style freakrock to Bardo Pondesque spaciness is effortless. Even better is the drastically abrupt move, around 3:43, back to muddy guitar machinework.  "Faux King Vogue" is another case of how Broken Water manages to meld influences into something entirely their own: the song morphs back and forth between flippant Thurston Mooreisms and crunching feedback heaven without sounding awkward or contrived. It spirals towards sonic oblivion with a sense of control and mastery far too rare among the "I wanna be MBV" set. In short, these brief two songs contain all the reverb and tone you could possibly ask for in a record, and are perfect for getting blackout drunk in the afternoon, as your humble narrator is doing right now.

It's total trash! I don't know if the EP is still in print, but if it is, email Midheaven Mailorder and BUY IT!

Wednesday, May 15, 2013

Ugly Motors-s/t CS (2013)

Yet another review I have to start by apologizing to the band for taking so long to review. This is the sort of twitchy garage rock perfect for getting wasted on a Wednesday afternoon. Crude, single-note guitar riffs, holler-yawled vocals, and drums so primitive that "ramshackle" is pretty complementary.

If you've been reading DrugPunk for any length of time, you know that's just the sort of sound we go for in these here parts. This is clearly a bunch of friends getting trashed and playing music they love: crude, stumble-bum at times, but fucking fun. And who gives a shit about the rest of it, really?-rock 'n' roll has always been about being brash enough to make a lotta noise, technical proficiency be damned.

Which is to say, Ugly Motors will be the soundtrack to many a bender around here. The wanna-be-menacing riff of "Is That a Knife in your Pocket?" is particularly appealing, especially since it dissolves into hollered dissonance every time it runs the risk of becoming something other than a, well, wanna-be-menacing riff. "My Dead Asian Brother" manages to hold it together long enough to be a well-conceived exercise in crude pop songwriting: squalling yet tuneful guitars, barely-melodic singing, and a rhythm section that discretely keeps charging ahead despite it all.

Like I said, perfect for a Wednesday afternoon bender. Start yours here!

Tuesday, May 14, 2013

Crystal Soda Cream-Escape from Vienna LP (2013)

This album sounds like the kind of record I might concoct if I lived in the building featured on the cover: claustrophobic, melodramatic, and elegantly wasted in a way that us Amurikuhns could never match. Cold/dark/fuckitallwave is real big now, as well as a wholesale cannibalization of sounds that first drifted to the surface back in the mid-80s, but Central Europeans have a right to make this sorta music. Crystal Soda Cream have crafted one helluva sound on this LP and, like the building on the cover, it's great to hide behind while having a panic attack.

Of course, when I have panic attacks my preferred soundtrack is Skip James or this, but then again, formalism's never been my strong suit. CSC plays the sort of maudlin, droopy-eyed post-punk you'll love if you dig Martial Canterel and such biz. They're a live band, granted, unlike Canterel's synth ice picks to the neck, but I can feel the glacial frigidity and haughty Teutonic grandeur wafting from Danubian heights all the way down to my squalid flat in the Valdarno.

Come to think of it, this LP even features a song called "Roman Holiday." I don't think it's about going to Rome-it's a bit too chilly for that-but it's my fave'un here. The guitar is barely audible, but it's amazing how much presence you can pack into a few subdued, insistent notes. CSC comes dangerously close to forward momentum on "DIWHY," but the music is so contorted and considered that there's no danger of spontaneous joy breaking out. The noisy clusterfuck midway through "Drag" is cool, too, although the chorus worries me a lot, coming from Austrians: "You better stay out of this country I was born into."* Uh...? In any case, the Monozid LP I reviewed awhile is a lot of fun: dance yourself stupid to that, then start drinking gin and chill out with this one.

Hate this review? Good, go fix yourself a drink, put on your best mascara, and shake your neurotic ass to this fun piece of post-punk. HERE.
You can buy the LP HERE!

*Another case of me missing the irony-as I was hoping, this is bitter social commentary, not racist doggerel. Cheers to the band for contacting me on it!

Sunday, May 12, 2013

Walrus-"1990" from split 7" (2013)

It's a weird quirk of fate that every time I get a new slice of Walrus music to review, I'm too wasted to objectively assess it. That probably plays into the band's hands, but who gives a shit, right? Paul was the Walrus anyways, blame him.

This is only one track, but it's great good fun, perfect for May. The recording quality is great (by DrugPunk standards), and Walrus sounds more confident, bordering on cocky, every time in the studio. The result is a solid piece of '60s psych that is passionate enough to avoid being mere revivalism. There are some songs you just enjoy without having a whole helluva a lot to say about them, and this is one of them,

Get fucked and have fun with Walrus here.

P.S.-what's the attraction of the '90s? Seriously? I guess economically they look great from where we're at now, but goddam were they boring as watching paint dry! Seriously!

Saturday, May 11, 2013

Eternal Souncheck Distro

So Matt from Kitchen's Floor/Look Pond/et. al. started a pretty cool distro, Eternal Soundcheck. Among many other cool things you can find over there, he's got copies of the Royal Headache LP, the Meat Thump EP, and a whole buncha other hot shit you should cop like a dysentery victim cops iodine.

Don't question that metaphor, just Check out Eternal Soundcheck!

Wednesday, May 8, 2013

Noise from China 2X LP (2013)

This is the sort of “horrible noise” or “skronk” Bangs praised/lambasted/extolled back in 1981/2. It’s also the coolest thing I’ve heard all year, and undoubtedly the best thing to come outta China since the Black Death (look it up, genius). It’s also a standing refutation to the idea that only us decadent, debauched Westerners are capable of making truly sick, contorted and sadistic noise. I know nothing about any of these bands and care even less, but whatever. Of course, I didn’t listen to the whole thing-who the hell could listen to two CDS’ worth of longform noise improvisation in one sitting, I ask you?-but I’ve listened to most of the tracks over a few days’ time and this is the best noise I’ve heard since Druids of Huge broke up.

As far as I can tell-not knowing Mandarin and everything-this is a comp of recent Chinese noise (go figure, right?) compiled by a dude who’s pretty prominent in the noise scene. By “Chinese” I assume we’re really referring to Beijing, Shanghai, and Canton. It’s hard to imagine the peasants of the interior grooving to artists doing their best to ape Chicago’s BloodyMinded or Prurient from NYShitty. The comp kicks off with Orgasm Denial’s “Hawk Meets Penguin”: a squalling freeform piece of disgusting, feedback-drenched squalling noise. Ronez follows up with “Cosmic Frog Bizarre Warfare” (dontcha love these names?), which is a similar bit of noise, although heavier on the high-pitched tone terrorism as opposed to feedback. Ronez even throws in a bit of Mars-esque vocal contortionism. It’s a nice touch. It was also at this point that I realized one of my room mates was knocking on the door. Turns out she’d been doing so for a few minutes, asking me to turn down the “fotens romore” (‘fucking noise’) issuing from my rat’s nest of a room.
Most of the rest of the tracks follow the same general pattern: no instrumentation, simply a savage noisebox attack on my eardrums. In my review of HURE’s EP back in January, I outlined what I think of as the basic dichotomy in noise music. The people on this comp fall well to the other side of HURE’s colossal noiserock apocalypse. I threw this on with the window open so the whole time I was guzzling beer listening to this, the sonic misery coming outta my computer blurred with the motorcyles, buses, and people shouting down on the street: I recommend you take this in similarly. Either that or pop some Xanax, do a few lines of coke, guzzle some wine, and throw it on. IT’s that sorta mindfuck of a record. For a minute there-I think a bus broke down-it was diesel engine exhaust and shouted Tuscan profanities fighting it out with piercing feedback.

I just read an interesting article on the burgeoning Sinopop scene and its deep connections to the CCP’s efforts at developing “soft power” in East Asia. After listening to a few tracks of this comp I’m very curious to know more about Chinese noise, and its position vis-à-vis the wider society. Is this a buncha Beijing Uni dropouts getting blackout drunk on rice wine in a Shanghai back alley squat? Rich scions of the Shanghai bourgeoisie, recording on high-end equipment paid for by slave labor? Who knows. Somehow this sort of sadistic noise lends itself to either possibility, heroic avant-gardism or dilettantism, well, cruelty. If there’s any Lester Bangs-type weirdoes in China, get in touch and school me on what’s good across the pond. 

Buy a copy of this monstrosity from the burgeoning Tenzenmen Records!

Friday, May 3, 2013

The Zoltars-Live like Dragons 7" (2013)

Of course this band is from Austin. There’s a certain something-not a sound, but a vibe perceptible even from this distance-unique to Austin bands. Maybe it’s the Roky-esque guitar chug or the dead-insect vocals (reminds me of ? & The Mysterians, I know they weren’t from Austin but you get the idea), or the slight country shadings of the production, but yeah these are Texans from the good part (good city) of that beshitted Lone Star Republic.

As soon as I heard the nullnode talk-singing and scratchy, thin guitar sound on “All my Friends”, I knew this was a winner. Or at least a winner by DrugPUnk standards. Which is a loser by most peoples’. If you’re a frequent reader of this fine e-publication, you’re gonna dig the Zoltars, if'n you don't already. It’s got what we all love. A crude, minimal-by-design garage sound that plays like Roky getting fucked on gin and hanging out with Johnny Thunders; a subtle note of country menace giving the EP more presence than it would otherwise possess; and  great song titles like “Heroin Thunder.” What’s not to love? In fact, “Heroin Thunder” is the real winner here. The guitarist chugs along like a slow-moving Greyhound to Odessa, Texass, and the singer doesn’t bother finding a melody (harmony? I was too busy hitting on this really cute J.A.P. in high school music class to learn the difference) appropriate for the riff, he just talks, neutrally, over the noise. The bassist and drummer hold the whole fuckup of a tune together in a sorta understated way. This is the song that shoulda been the theme song for “That ‘70s Show” but never was, since it’s less flashy than said show’s theme song, while catching the apathetic boredom of being a teenager in a perversely enjoyable sorta way.

The Zoltars is on the same label that gave us the Bad Indians LP, but I like this thing more. It has all the promise of the Indians’ early work and none of the burdensomely front-forward psychedelic flair of their LP.  Visit mom for dinner, smoke some dope in her basement, and listne to this EP. Also look for it on my best-of list in December.

You can listen to the EP here. Then go buy it at the same page. Keep up with what the Zoltars are doing here.