Track Of The Day: The Paranoyds – ‘Hungry Sam’/’Trade Our Sins’

As they prepare to head out on a US tour with the awesome Tacocat, LA-based The Paranoyds are set to release their debut EP.

With this two-track, the band serves up a couple of slices of sleazy garage rock with a psychedelic pop edge thanks to the swirling, whirling keyboards, which sound like they’re straight out of a 1950s monster movie.

‘Hungry Sam’ is pure punk; effortlessly cool with a stomping opener that wedges itself in your brain after just a couple of listens. Meanwhile, ‘Trade Our Sins’ is slower, darker and sadder, but still sounds incredibly kick-ass.

Keen to make a name for themselves with their live shows and records rather than through social media (they don’t have a Facebook page), The Paranoyds’ debut release really speaks for itself. And with such an exciting support slot lined up, they’ll undoubtedly get more and more people listening.


Hungry Sam/Trade Our Sins is out now digitally, and will be released on 7-inch vinyl on July 12th via Suicide Squeeze. This will be a one-time pressing of 750, 650 on Orange Crush colour vinyl, and 100 on Neon Yellow colour vinyl – pre-order here

Vic Conway

EP: L.A. Witch – ‘Octubre’

With All Hallows Eve just a couple of weeks in the past, West Coast garage trio L.A. Witch bring us the appropriately named Octubre. Physically released on what the band have dubbed ‘Halloween Orange’ vinyl with a cover depicting a spider web background behind a bat perched on a headless torso, the EP combines five – mostly unreleased – tracks whose lifeless bodies have been reanimated and reworked by the band and producer Gregg Foreman.  

The record kicks off with thumping, distorted drums courtesy of percussionist Ellie English. Just at the point where the doom starts to get a little too creepy, ‘Haunting’ snaps into its sludgey bass (from Irita Pai) interspersed with top-line cymbals. Spry-sounding guitars moan all the way up the mix, enveloping Sade Sanchez’ slurred vocals like a dense fog, before a non-lyrical chorus of sharp chords shines through. The layers build as the song continues, its broken guitar effects repetitively flickering between shadow and light.


‘Sleep’ is a more upbeat Western style stomper, replete with a hooky tremolo lick and Sade’s old-timely croon – “Ooh baby, where did you go?” she intones. The track’s honky-tonk piano helps it capture the gothic tendencies of the Bad Old West until the ringing alarm of its middle eight leads into a surf-style guitar solo and a coda of the song’s chorus.

Next up, old style ballad with a whirly organ swing in its verses, ‘BB’s Momma’ is a deceptively simple slice of garage. On its opening half, Sade sounds like a laconic Wanda Jackson, whereas its second is a freak-out jam, combining bubbly guitar, piano thrash and stabs from the organ. Something in its jarring repetition and lyrical nihilism brings forth Murder Ballads era Bad Seeds.

Penultimate effort, ‘Heart of Darkness’, is the only track previously released – taken from a 2013 self-titled and self-released EP. Largely acoustic, it mostly consists of guitar and bass, with a single bass drum acting like a clarion, and some heavily distorted vocals. It’s another Western-esque take, as though Joseph Conrad’s tale of ivory greed and insanity has been transported to the West Coast in the 1800s, Colonel Kurtz and all.  

The EP closes with the appropriately named ‘Outro’. Also led by acoustic guitar, its waves of picked notes dovetail with electric feedback that creaks like seagulls, and ultimately winds up resembling Fleetwood Mac’s ‘Albatross’. And before you know it, it’s flown by.

Designed as more of a teaser of where the band might go in the future than necessarily a glimpse of a future output, L.A. Witch have crafted an EP that does more than just satisfy the completists. Whereas the band’s eponymous debut dealt in a straightforward blend of garage and rock ‘n’ roll, Octubre suggests a willingness to tell stories, switch up styles and blend layers of sound. And, with the nights getting colder, darker and mistier, perhaps it’s November that heralds the season of L.A. Witch.

Octubre is out now via Suicide Squeeze Records.

John McGovern

LIVE: Sextile – Electrowerkz, London 18.09.18

Beneath the flashing lights and amidst the smoke machines of London’s Electrowerkz, Sextile brought their brand of manic ‘Disco’ to town on Wednesday night. The L.A. band celebrated the release of their new EP with a set full of pounding beats, wailing guitars and glitchy synths.

Greeted by a loyal and energetic crowd, drummer Melissa Scaduto and guitarist & vocalist Brady Keehn bounced around the stage for the duration of their gig. Joined by a brilliant, blue-haired multi-instrumentalist for their live shows, the trio played with an energy that matched their manic synth textures.

Front-man Brady jolted back and forth across the stage, delivering his delayed vocals with care-free aplomb. His movements were mimicked by the crowd who fed from his jagged energy – which amped up each time he played guitar throughout the set – whilst Melissa kept things steady with her relentless drum beats.

The aptly named ‘Mental’ taken from the band’s 2017 album Albeit Living, and new track ‘Spun’ (taken from 3) were highlights in a set that included tracks from both releases. The trio barely paused for breath between songs, and closed the night covered in sweat to the sound of rapturous applause. Sextile’s sound was built for venues like Electrowerkz, and with the help of support act Numb.ers – they electrified their crowd on Wednesday night.

(Support came from

Kate Crudgington

EP: Sextile – ‘3’

Lovers of deviant but dance-able noise with an appetite for all things electronic should submerge themselves in the sound of Sextile‘s latest EP, 3. The L.A. duo released the record through Felte last week, and its a smoldering collection of tracks that seethe with an industrial, punk-infused bite.

The new release follows the band’s 2017 album Albeit Living and early 2018’s ‘Current Affair’ single. After various line-up shifts, Sextile are now comprised of Brady Keehn and Melissa Scaduto, who now favour synths over guitars. 3 was recorded in Los Angeles at their home and practice space using a KORG MS-10, a sequencer, a Fender Stratocaster and a LinnDrum.

3 jolts in to life with jagged synth grooves on ‘Disco’. The song would fit perfectly in a dimly lit basement bar, with moody vocals and snapping percussion punctuating the track. ‘Drop You’ follows with more of the pair’s fast-shifting drum beats, hazy synth textures and rowdy guitar riffs.

Midway through, ‘Paradox’ breaks in with its manic blur of synths and bass lines, leaving no room for respite. Prepare to lose your head to the penultimate ‘Spun’, which is two minutes of abrasive synths and punk-like vocals, that buzz with Sextile’s trademark intensity. This buzz bleeds in to final track ‘Hazing’, which is fueled by more jagged synth sequences, foreboding electronics and strung-out vocals.

Sextile are skilled in their ability to create infectious noise that urges listeners to dance, rebel, and reach out in to new sonic territories; and 3 is a short but savagely sweet example of this. Invest now.

Sextile UK 2018 Live Dates
Sept 18 London, UK @ Electrowerkz
Sept 19 Brighton, UK @ Hope & Ruin
Sept 20 Portsmouth, UK @ The Edge Of The Wedge

Follow Sextile on Facebook for more updates.

Kate Crudgington

WATCH: Death Valley Girls – ‘Disaster (Is What We’re After)’

Fans of Iggy Pop are going to approve of Death Valley Girls‘ new video for their latest single, ‘Disaster (Is What We’re After)’. The Los Angeles “doom boogie/dystopian punk/occult glam rockers” have shared the visuals featuring the icon, alongside the news they’ll be releasing their third studio album, Darkness Rains, on October 5th via Suicide Squeeze.

The ‘Disaster (Is What We’re After)’ video, directed by Kansas Bowling and shot on 16mm film, is a recreation of the famous Andy Warhol Eating a Hamburger short film, but starring Iggy Pop, eating a burger, listening to Death Valley Girls (which he proudly proclaims at the end).

“We’re strong believers in opti-mysticism and connecting with people through rock n’ roll” Death Valley Girls say of their collaboration with Iggy. “Having Iggy dig our music was more than amazing for us. When Kansas told us she had a dream about recreating the ‘Andy Warhol Eating a Hamburger’ short film but with Iggy starring for our music video, we were cautiously excited about the possibility. Next thing we know we’re in Miami with Iggy himself, and a rock n’ roll dream became reality!”

Death Valley Girls consists of vocalist & multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel, as well as a plethora of like-minded compatriots who can fit their lives around the band’s relentless touring schedule (and in the back of the van). On their third album Darkness Rains, they’re joined by bassist Alana Amram, drummer Laura Harris, and guests like Shannon Lay, The Kid (Laura Kelsey), members of The Make Up, The Shivas, and Moaning.

On their latest single, thundering bass lines and riotous guitar riffs combine to beckon disaster in classic rock style. It reflects the band’s ethos perfectly: “Embrace the darkness and don’t fear the Reaper”. Watch the video for ‘Disaster (Is What We’re After)’ below and follow Death Valley Girls on Facebook for more updates.

Pre-order your copy of Death Valley Girls’ Darkness Rains here.
(The first vinyl pressing is limited to 1,500 copies. Both the cassette and vinyl include digital downloads.)

Photo credit: Michael Haight

Kate Crudgington

Track Of The Day: Sextile – ‘Spun’

Prepare to lose your head to Sextile‘s latest track ‘Spun’. The L.A based duo have announced the release of their brand new EP titled 3, which is set to drop on September 14th via Felte, marking the start of their European tour.

‘Spun’ is two minutes of abrasive synths and punk-like vocals, buzzing with Sextile’s trademark electronic intensity. After numerous lineup changes since their inception in 2015, the now two-piece comprised of Brady Keehn and Melissa Scaduto have shifted toward a minimalist approach, favouring synths over guitars. Their new EP was recorded in Los Angeles at their home and practice space using a KORG MS-10, a sequencer, a Fender Stratocaster, a LinnDrum, and various percussion instruments.

With a “sonic palette that mirrors the chaos of the modern industrial era” Sextile are punk in their vision and trailblazing in their sound and performance. Listen to ‘Spun’ below and follow the band on Facebook for more updates.

Pre-order Sextile’s upcoming EP 3 here.

Sextile UK Live Dates 2018
Sept 13 Glasgow, UK @ Broadcast
Sept 14 Newcastle, UK @ Underground
Sept 15 Manchester, UK @ Soup Kitchen
Sept 16 Birmingham @ The Cuban Embassy
Sept 18 London, UK @ Electrowerkz
Sept 19 Brighton, UK @ Hope & Ruin
Sept 20 Portsmouth, UK @ The Edge Of The Wedge
Sept 21 Le Havre, FR @ Mc Daids
Sept 22 Angers, FR @ Levitation Festival
Sept 23 Lyon, FR @ Le Farmer
Sept 24 Limoges, FR @ El doggo
Sept 25 Landgraaf, NL @ Oefenbunker
Sept 26 Antwerp, BE @ TRIX
Sept 27 Paris, FR @ La Station
Sept 28 Hamburg, DE @ Karatekeller
Sept 29 Berlin, DE @ Urban Spree

Kate Crudgington

Track Of The Day: Complicated Animals – ‘Show Me’

If you dig 80s music, David Lynch films, and “dreamy synth-pop songs”; you’re going to like Complicated Animals latest single, ‘Show Me’. The Brazilian-American duo’s track is a lush electronic exploration of the magic that happens when we experience pure, genuine human emotion in a world where most of our interactions are dictated by technology.

Monica da Silva and Chad Alger debuted as Complicated Animals in 2015, with the release of their EP In This Game, but they’ve been creating music together since 2007. Having lived in both the United States and Brazil, da Silva combined her two cultures into her writing, melding Indie Pop and Bossa Nova to form a new genre, one she coined “Indie Nova” – and we’re into it.

Speaking of what inspired their latest single, “Show Me’, da Silva says: “It’s scary how detached we humans have become. Technology is great, but we’ve got to remember how important human interaction is, and not just go through the motions like zombies. For this song, Chad dug an old synthesizer we had out of the closet. We started stacking sounds and layering vocals. The production came together quickly, and virtually all of the sounds in the track were created using the same synth.”

We’re intrigued by the duo’s new track, and we think you will be too. Listen to ‘Show Me’ below, and if you’re planning on catching Greta Gerwig’s Ladybird when it’s released on 16th Feb (and why wouldn’t you?) listen out for da Silva’s song ‘Back To His Girl’, which is featured on the soundtrack!

Follow Complicated Animals on Facebook for more updates.

Kate Crudgington