Today's Hotness: Potty Mouth, Psapp, Swearin'

>> So we endeavored to deliver some real talk in our review of Potty Mouth's full-length debut, which was published in the fine electronic pages of Vanyaland Friday. We wrote about gender and double-standards and all-female bands, if only because when we came up in the scene decades ago those sorts of discussions were an everyday occurrence. We don't hear them much anymore, which is probably more a function of our spending 1/3 of our life at work, another 1/3 interacting with those under the age of five, and the final 1/3 either asleep or wishing we were asleep, than anything else. If we have one misgiving about the piece it is that it may read as if we felt like the Northampton, Mass.-based foursome needed defending. Nothing could be further from the truth. These women are as capable of staking their place in the world as they are of creating a terrific rock record, which is what they've done with Hell Bent. Sure, the collection does not invent the wheel, and as we stated in our piece, it neither aims to instruct (think Bikini Kill) nor does it get arty (think The Slits). This is the reason we set up the Vanyaland piece by referencing legendary California punk acts JFA and The Descendents. If you take a wide view on the first decade of punk rock, we think California bands more than those of any other scene kept punk fun, playful. Yes, Dead Kennedys brought serious political game, yes, Uniform Choice delivered straightedge rage in spades, and, yes, there are other notable outliers. But California punk's collective determination to keep punk fun, maybe even somewhat innocent, is a notion we feel Potty Mouth shares. We think you'll like Hell Bent, and we encourage you to check out our piece at Vanyaland via the link above. Before you click away, however, check out the two tracks from the record, "The Spins" and "Damage," that we've embedded below. Old Flame releases Hell Bent Tuesday, and you can order it right here.





>> Four years used to seem like a long time... and we suppose it still is in the life of a rock 'n' roll band. That's how long it has been since we've heard a squeak, skronk or ding from UK-based toytronica duo Psapp. We suppose the band is best known for having a song used as the theme to a teevee show in the US, but their records are all enjoyable and quirky in a sort of Tracey Thorn-meets-Tom Waits kind of way. News arrived last week that the duo was back, with a new song in tow and a promise that a new LP is not far off. The new tune "Everything Belongs To The Sun" touts a jagged, percussive groove, which underpins singer Galia Durant's incantatory vocals. It's not nearly as melodic as the powerfully poignant ballads that highlight Psapp's catalog, such as "Tricycle," or the brilliant click-and-cut tour de force "Leaving In Coffins." But "Everything Belongs To The Sun" exudes energy and confidence, and leaves us eager to hear more of the new music the band has promised. We'll keep you updated. In the meantime, stream the new song via the embed below.



>> Philly-based punk-pop superheroes Swearin' announced Friday it will release a sophomore set entitled Surfing Strange later this fall. The quartet's collection, described by some as both heavier and moodier, will be issued by Salinas Records in the US Nov. 5, and via Wichita in the UK the prior day, because that is how the UK rolls. Surfing Strange presents 11 songs, including the preview track "Watered Down," a thumping, mid-tempo strummer sung by Kyle Gilbride. Swearin' are touring the UK in October with its literal sister band Waxahatchee, and then will return to the US for a long strand of dates that stretches from mid-November through mid-December. Swearin's self-titled debut was one of our favorite records of 2012; Wichita is releasing it in the UK next month, meaning two Swearin' releases will be issued in back-to-back months over there, meaning UK music fans should be feeling pretty happy right now. Stream "Watered Down" via the Soundcloud embed below.

That Was The Show That Was: Frank Black | The Beachcomber, Wellfleet, MA | 28 July

[We are pleased to mark the return to these digital pages of the writing of longtime friend and former editor Ric Dube. Mr. Dube these days hosts the terrific More Lost Time rare indie rock podcast. Subscribe right here -- we continue to heartily endorse his product and/or service. Photo by Ric Dube. -- Ed.]

The Beachcomber billed the man as Black Francis, so it seemed like a lot of people showed upexpecting to hear Pixies songs, of which few were played. But within moments of the erstwhile Charles Michael Kittridge Thompson IV's taking the stage, guitar slung behind his back, it was clear that this was a Frank Black show. Tom Waits' "The Black Rider" was more preached than sung, an insane carnival barker's pitch delivered on the edge of a erupting volcano. And while a celebrity of his caliber can usually expect to have the crowd on his side anyway, it would have been difficult for any audience to have not been immediately attracted to the confidence of his evangelism. "The Black Rider" turned into a version of Larry Norman's "Six-Sixty-Six," completing a de facto cover medley for the damned, before Black took a breath to greet the crowd.

The crowd at the Beachcomber on a night like this one is a weird marginalized bunch because you have to understand the Beachcomber. More than 50 years old, the club sits at the end of a narrow road at the bottom of a hill, yet still on top of a cliff overlooking Cahoon Hollow Beach, one of the few beaches in New England with surfable waves. A big chunk of the place is open-air patio-style, they don't require shirts or shoes and are thus the only nightclub you're likely ever to hang out where the sand on the floor wasn't dumped there in an effort to manufacture atmosphere.

For the most part, the police leave the Beachcomber and Cahoon Hollow alone, so it's a 24-hour party there. During the day, it's a parking nightmare as locals and tourist families jockey for space on the beach and meals at the Beachcomber. In the evening, the Beachcomber is the nightspot of choice, but never feels crowded because there's practically no border between it and the beach. Late at night, the area becomes its own lovably freakish community.

This means that at a Frank Black show there's an odd mix of more casual Pixies fans, bigger fans who appreciated every movement their hero made, casual tourists in the room more to check out a legendary nightclub, and stoned locals just making their regular scene. I'm part of a tourist family, but part of the Beachcomber faithful, indoctrinated in the '80s, and lucky to schedule vacation in Wellfleet the week this show is booked.

Black performed with Eric Drew Feldman, the former Captain Beefheart and Pere Ubu bassist and keyboard player who produced Black’s 1994 Teenager of the Year, played on 2000's Frank Black and the Catholics' Dog In The Sand and has worked closely with PJ Harvey, Polyphonic Spree and others. The set included a handful of tunes from Teenager ("Two Reelers," "Sir Rockaby," "I Want to Live on an Abstract Plain") alongside Dog In The Sand numbers ("Robert Onion," "Bullet," "The Swimmer").

It has seemed weird for a lot of years that Black's best-known solo material has remained the two cuts on his 1993 debut solo release that got a fair amount of MTV video airplay despite that stuff being fairly mediocre compared to both the quality and amount of his output since then. It's just another indication of the power of MTV during that time. "Los Angeles" and "I Heard Ramona Sing" got some of the biggest responses of the set, though to be fair, it was hard not to appreciate versions of those tunes stripped of almost anything but the barest parts. What made that first solo record a little disappointing was not so much the songs as how overweight the damn songs were -– in every possible way.

Those there for Pixies numbers got the aforementioned few; in addition to "Where Is My Mind?" and "Nimrod’s Son," Black's own "Ten Percenter" turned into a noodling rendition of "Planet of Sound." Amid applause, Black mused, "Sometimes that sends a few people out the door, and sometimes that brings a few people in."

Twenty or so numbers flew by, as is always the case the crowd called for more, and Black declined with a smile on his face –- making it clear he was not playing coy by unplugging and bagging his guitar on the spot. "We have to drive to Hyannis tonight and it's late as it is," he explained.

In fairness to the fans, Hyannis is just not all that long a drive from Wellfleet. Thought it was late, for some. The flipside of the police mostly leaving the Beachcomber and Cahoon Hollow to exist in its microcosm is ever vigilant patrolling for drunk driving and disorderly behavior of every nearby road. With the show over, it was still too soon to drive home. I wandered down the trail toward the beach in darkness so thick I couldn't see my feet, though near the bottom I could see a few bonfires. Above, every star in the sky was clearly visible. "Who are you?" said a girl in the blackness behind me.

"Hi," I answered, my arms across my chest, looking up at the night sky. "Did you see the show?"

"Yeah," she answered. "He was beautiful. But I didn’t know any of those songs. Hey, we’ve got
some weed -- but I don’t want to interrupt your peeing." -- Ric Dube

Frank Black: Internets | Facebook | YouTube

For Amie: A Breast Cancer Awareness Benefit | Oct. 17

All the info is there in the poster. Interesting fact: we've never seen Bill Janovitz perform, not solo, not with Buffalo Tom, not with Crown Victoria. So we're actually really looking forward to this for more than just a chance to get out and support friends and a good cause. We've never seen Ms. Hersh either, although her bands don't loom nearly as large in our musical past as does Buffalo Tom. That band's "For All To See" from the No Alternative comp is as perfect an indie rock number as has been recorded, and there are tons of great songs spread across albums like Big Red Letter Day, Sleepy Eyed and Smitten. If you haven't been keeping up with Mr. Janovitz lately, his blog is always interesting and entertaining. Even better, he has been recording and posting cover tunes for about a year, if not more. We're posting a couple of our favorites below. We'll note for the record that right after Palace released Hope we stole the opening line for "Agnes..." for one of our own songs, brazenly, blatantly. And we'd do it again. See you Saturday afternoon at the Middle East.

Bill Janovitz -- "Agnes, Queen of Sorrow (Palace Music cover)" -- Cover of the Week
Bill Janovitz -- "Johnsburg, Illinois (Tom Waits cover)" -- Cover of the Week
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